Upcoming
Auditions

KNOW WHAT’S HAPPENING You must be able to explain what’s going on with the character in your monologue. You don’t have to read the play, but you should know who your character is and how he/she fits into the story.

MEMORIZE The Creative Team can always tell the difference between messing up on words or lines because you are nervous or made an honest mistake and messing up because you didn’t memorize well enough. 

ACT  This means more than choosing a single emotional “tone” and doing that all the way through. Actors who stand out will be those who play multiple feelings, objectives, tactics and ideas. My favorite thing to watch is when characters realize or discover something: look for those moments. Make physical choices. The biggest trap we see actors fall into during auditions is thinking you’re showing way more acting than you actually are. Use your face, voice & body to convey all of the ideas in your head.

PRACTICE PRACTICE PRACTICE The Director will expect you to practice and work hard in rehearsals, so this audition is a test of that ability. Practice by yourself and in front of others. Practice while going for a walking or in the shower. Practice in front of a mirror or in the dark.

SLATING The industry term for introducing yourself in an audition, whether it’s in-person, virtual, or self-taped. The exact information you provide in a slate will depend on what the casting team asks for, often includes your name, name of the character you're reading as and name of the show it’s from.

CHARACTER DESCRIPTIONS

BRUCE MONTGOMERY - The groom. Wearing a tux. Mid-forties. Urbane and sophisticated on the surface, but a spoiled little boy underneath. Generally, considers himself to be entirely too "top drawer" to do anything as mundane as work for a living. Born with a silver pacifer.

TINA FITZHUGH - The bride. Wearing a bridal dress and veil. Mid-twenties to mid-thirties. A very "together" little lady. Believes in standing up for what's right, defending the "underdog" and is a vegetarian and an animal rights activist. Is wearing fingernail polish.

SYLVIA MONTGOMERY - Mother of the groom. Sixties to seventies. Wearing black. Quite chic and sophisticated and charming and elegant. Also ruthlessly devoted to her son and determined to keep the apron strings as tight as possible. Is not wearing nail polish.

JACKIE FITZHUGH - Father of the bride. Fifties to seventies. If this weren't a formal affair, Jackie would be wearing a loud plaid suit and bow tie. As it is, the rented tux he's wearing is a little too tight, and the pants are three inches too short. And that's the kind of guy he is.

JUDGE EMMETT - Fifties. Dressed in judicial robes. Distinguished, but rather quiet and sad. Also, quite inebriated.

DENNY O'CONNELL - The photographer. Dressed casually. Mid-twenties to mid-thirties. A truly "nice guy" - but unable to make a commitment. He's also a police photographer, but moonlights doing this type of affair because he's saving up to go to clown school.

FANNY FISHBURN - Thirties to forties. The Montgomery family maid. Dressed in plain coat and hat over a maid's uniform. She is hopelessly in love with Bruce and is pathological in her determination to win him. Not wearing nail polish.

KAROLINE KARTER - Late thirties, early forties. A Southern belle and dressed like one. The only flaw in her impeccable outfit is the VERY OBVIOUS run in her stocking which is stopped by a LARGE dab of fingernail polish. Honey simply drips from her lips, but there's malice and venom in her heart. A very dangerous woman. Her nails are unpolished.

RICHARD STARKEY, P.I. - Age unimportant. He's only got one scene but what a scene!

THE HOST/HOSTESS - The person in charge who is acting as the wedding (and mystery!) coordinator. For the sake of clarity, the script will refer to HOSTESS.

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