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Nunsense Auditions - May 21 & May 22, 2007 at 6:30pm - 9:30pmI’d like to take this opportunity to assist you in planning for auditions for VPA’s 2007 fall production of Nunsense. I will have the honor of working with probably the most talented cast and crew assembled for such a production. Because I want the very best, I want you to be able to put your best foot forward. In that light, it is appropriate that you understand how I am going to conduct auditions, what I “see” in the cast of characters, and what is expected of you if you are cast. First let me tell you that I have already assembled my crew to support this production. Like new parents, we have been planning since December for your arrival and are extremely excited to start working with you. My leading crew will be closely working with me during auditions to help select the best assembly of women for this cast (sorry guys, there are no roles for you except for crew or orchestra: I have some spots for you there if you are interested). Nunsense is the opening salvo for VPA’s 32nd season. This means that the show rehearses all summer and runs in the fall. Summer schedules are a concern to many and I understand, but I must have a committed team. To help you decide if you can make the commitment, I have listed my schedule (subject to change and continual update) here on my calendar. Let me reassure you that we are going to have fun. This is going to be the opportunity of a lifetime for five women. Ask any of the actresses that performed in VPA’s 1993 Nunsense if they wouldn’t do it again in a second, and I guarantee they would… in fact, you’ll likely see some of them at auditions. I will be there for you, as will my crew. We are dedicated, excited, and prepared. I hope you will join us.
There are four parts to the audition:
Auditions are both scary and fun. I will work with my staff to make this as fun and memorable as possible for you. If you are not cast, it does not mean you weren’t wonderful: there is just so very much that plays into the decision of who is cast. I will be glad to talk to anyone about their audition or answer questions. Please feel free to contact me: 232-8480 cellular (day) John Harris
Reverend Mother (Sister Mary Regina) is the leader of this musical troupe. She is wholly and utterly committed to the convent and these sisters, but she is an actress at heart. Dan Goggin says: “Sister Mary Regina is to the outside world a model Mother Superior even if she is overweight. But to those who know her, she is an outrageous, quick-witted soul who knows how to get a laugh. She tries to convince you that she is strict, but everyone knows that her ‘bark is worse than her bite!’.” The script is definitely written for a mother superior that is mature in habit size, but with habits being what they are (big tents) a lesser nun could carry this role. I see this character appearing between 45 and 60 (that's quite a spread.... oh, was that a pun?). I will be looking for an actress that can pull off the stern look, but with an underlying joy so she looks like she has to work at being stern. No one should ever really be afraid of Rev. Mother, though they ALL respect her position and dedication. I must warn auditioners that this role will be photographed in a swimsuit which will be projected onto a big screen in front of the audience… it won’t be a small suit, but it is still a swimsuit. This photograph will be in humorously good taste, but I don’t want it to be a surprise to anyone who might audition and ultimately get cast. Sister Mary Hubert is the #2 nun. The script represents Hubert as one of the most visible characters, line-wise and singing. She is "always there.” Before I begin rambling, let me quote Dan Goggin: “Sister Hubert is the Mistress of Novices, the second in command. She is always competing with the Mother Superior. She is the kind of person who will always try to be understanding and diplomatic. She teaches the novices the ground rules and is supposed to be dignified, but with the slightest bit of encouragement, she is ready to kick up her heels.” Sr. Hubert is always respectful, though she has enough self-confidence to land a barb or two on Reverend Mother without fear of reprisal. They have been through a lot together and Mother Superior couldn't function without her. I would see this character appearing between 40-60 years old. Sister Hubert really is the best friend to all the sisters. This is brought home in several places in the script where she takes the part of confidant with the other nuns. This does not mean Hubert is always second fiddle. In the closing number, "Holier than thou" she lets it rip in powerful gospel style. This song will make you want to get up and wave your arms. After a song like that, you can't relegate Sr. Hubert to a side-kick status. Whoever is cast must be able to belt that song out and win the audience. It is the final big number and this song alone should drive the audience to their feet... I want the audience singing "Holier than Thou" as they leave the theater! First described by Dan Goggin: “Robert Anne is a streetwise tough character from Brooklyn but with a heart of gold. She is a constant source of aggravation for the Mother Superior. All the kids adored her though because she spoke their language and she could hit a baseball ‘out of the park’.” Robert Anne has flair; she is a card and unashamed of it. She doesn't cause a stir because she wants to prove anything to anyone; it’s just the way she is. She could probably hail a NY cab from two blocks away. Her Brooklyn (or other exotic?) accent is there to stay no matter where she goes, it is her signature. Robert Anne is one of the three nuns that went to the Leper Colony with Reverend Mother and Sister Hubert. I don’t see her as the same age as the other two so she should appear 30-45 depending on the other cast members. Robert-Anne’s energy is fantastic; I can't imagine her voice being any less so. This is an actress not afraid to let it all hang out. That's what I want in this character more than any of the other characters; someone who will spill their soul through their voice and body on stage. If there's something else to give, she gives it, no restraint: pour it out. She has no timidity unless someone reins her in like the horse that is always looking for the weak spot in the fence. It is a good thing Robert Anne is a nun; I doubt there is a man out there that could handle her! Sister Mary Amnesia is the Sister we all love. Dan Goggin says: “Sister Mary Amnesia lost her memory after a crucifix fell on her head. She is very sweet and is the picture of innocence. She can't remember her past, so she looks at each new day with a childlike joy.” Without a doubt, this role has the chance to capture the audience's heart. She has the most touching song in the play, some great lines, and she certainly has the most memorable prop.... a rather precocious puppet named Sister Mary Annette. Sister Mary Annette is the complete opposite in character and voice from Amnesia. Amnesia must carry these dual roles switching back and forth in song and conversation with this wry character. Sister Mary Amnesia believes she is ACTUALLY having this conversation, and so must the audience. Sister Amnesia has youthful energy and the look of innocence and purity. I believe that Sister Amnesia needs to appear 21-35. She most certainly must look older than Sister Leo, her manners more mature, even though always innocent. The actress carrying this role has a tough balance to find. The innocence must be played straight, but powerful enough to carry the character; she must be absolutely believable and not over the top. Sr. Mary-Leo is best introduced by Playwright's own description, Dan Goggin: “Sister Mary Leo is the Novice, who has entered the convent with the firm desire to become the first nun ballerina. She had been a professional dancer before she entered the convent and is always eager to display her talent. She is very impressionable because she is young and can easily be led astray.” Sr. Mary Leo must appear young. She should appear between the ages of 18 and 25. Her look should be fresh and wide-eyed. Mary-Leo dances and sings beautifully. The play requires her to do a short dance, on "pointe". I'm sure the choreographer will not make this dance unduly difficult but the audience must believe that this young girl can actually do extraordinary ballet dance. Not being a dance expert, my initial stab as a layman is that she should appear "light". This doesn't mean she has to be a willow branch, but it also rules out a more mature figure. Leo should be young, fresh, and, to repeat, wide-eyed. Her voice must be pure and clean; her expressions must sell the whole package.
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