ABET is thrilled to announce the cast of DROOD….

LESLIE RICHART as Edwin Drood / Alice Nutting
EVAN GOULD as Your Chairman, Mr. William Cartwright / Mayor Sapsea
JIMMY ALEXANDER as John Jasper / Clive Pagett
JESSICA ALEXANDER as Rosa Bud / Miss Diedre Peregrine
AMY FARMER as The Princess Puffer / Miss Angela Prysock
DAISY MILLER as Helena Landless / Janet Connover
ALEC HADDEN as Neville Landless / Victor Grinstead
BOB SHELLENBERGER as The Reverend Crisparkle / Cedric Montcrieffe 
RICHARD SPEED as Bazzard / Phillip Bax
SUSAN J ROCHE as Stage Manager, Ms. J. Throttle
LEONARD ALTERMAN as Durdles / Nick Cricker
HAYS JACOBS as Deputy / M. Cricker
JORDYN JONES as Wendy / Isabel Yearsley
LAUREN BELL as Beatrice / Florence Gill (Flo)
ELEANA CARRION as Succubus / Gwendolen Pynn
KELSEY MARTIN as Succubus / Sarah Cook

As a lover of the English language and dramatists that have mastered usage, Tennessee Williams has long been a favorite stalwart of the theatre for me. Along with Eugene O’Neill and Arthur Miller, Williams has remained one of the most respected and important American playwrights. With A Streetcar Named Desire, first appearing in 1947, Tennessee Williams received the Pulitzer Prize for Drama in 1948; in 1951 the film adaption of the play, directed by Elia Kazan and starring Vivien Leigh and Marlon Brando, was awarded four Academy Awards.

Williams is notorious for evident themes, reoccurring motifs, and strong symbolism in his writing. Each audience member may have a different experience in viewing and listening to this play. Over the years, each time I come back to this play, I have discovered new things. Characters, that I once had difficulty in understanding, have with time and life experience, become easier to sympathize with or to understand. Even characters that seem unforgivable have endearing and admirable qualities.

Although, I would like for each audience member to form his or her own relationship with the play, I will offer the following as possible themes, motifs, and symbols that others have identified:

THEMES include fantasy’s inability to overcome reality, the reluctance or inability of people to accept the truth, the relationship between sex and death (sex and death are intricately and fatally linked in Blanche’s experience), and dependence on men.

Light (and Blanche’s decent into darkness), repetitive bathing (as an attempt to wash away sin), and drunkenness (as either a socializing or anti-social behavior) are MOTIFS that strengthen the themes.

The SYMBOLS are plentiful. The list included here may offer insight in the play, for the literary scholars:

Streetcar named Desire: Blanche’s desire. Although Blanche arrives in New Orleans as a somewhat broken woman, she keeps alive her desire to be with a man and to lead a life as an elegant, respectable woman.

Streetcar named Cemeteries: Old, disgraced Blanche, the one that Blanche left behind—dead, so to speak—in her hometown of Laurel, Miss., to begin anew in New Orleans. This streetcar can also suggest that life is over for the new Blanche as well, for she is damaged property edging toward madness.

Street named Elysian Fields: The new life Blanche is seeking. In Greek mythology, the Elysian Fields (also called Elysium and the Elysian Plain) made up a paradise reserved for worthy mortals after they died. Because Blanche’s old self “died” in Laurel, Miss., she traveled to New Orleans to seek her Elysium.

Belle Reve: Name of Blanche’s family home in Mississippi. It represents the “beautiful dream” (the meaning of Belle Rêve in French) that Blanche seeks but never experiences.

Blanche’s white suit: False purity and innocence with which Blanche masks her carnal desire and cloaks her past.

Blanche’s frequent bathing: Her attempt to wash away her past life.

Alcohol: Another way Blanche washes away bad memories.

Bright light: Penetrating gaze of truth that sees the real Blanche with all her imperfections. When she greets Stella the first time in the apartment, she says, “And turn that over-light off! Turn that off! I won’t be looked at in this merciless glare!” Blanche avoids bright lights throughout the play.

Blanche: Blanche means white in French, and—in keeping with her name—she wears a white dress and gloves in the opening scene of the play to hide her real self in the purity that white suggests.

Stella: Stella means star or like a star in Latin, although she lives in a shabby apartment building in a lower-class section of New Orleans. It could be argued that she is the star of her husband’s life and the star that led Blanche to New Orleans.

Stanley: Old English name meaning stone field. Thus, it is possible he represents a cemetery for Blanche. Stanislaus was the name of a king of Poland. Clearly, Stanley is the king of his household.

The small Kowalski apartment: The size and plainness of the life to which Blanche, who formerly lived in a splendid mansion, must adjust.

Allen Grey: Gray area of Blanche’s life, between the bright light that she avoids and the darkness she seeks. She loved Allen Grey, but he betrayed her. In New Orleans, she remembers the good and the bad of her relationship with him.

Paper: Imagery centering on paper represents impermanence, unreality, or artificiality. For example, the paper legal documents Blanche brings with her to New Orleans attest to the loss of the family homestead, Belle Reve. The youth* collecting for the local paper, The Evening Star, represents the ephemerality of sexual gratification. Apparently, he reminds Blanche of Allen Grey. On a whim, she suddenly kisses the youth but then dismisses him, mindful of the disgrace she brought upon herself with her liaison with a student. The song Blanche sings while bathing, “Paper Moon,” symbolizes the fantasy world of love.

*On a note about this particular production, I make no attempt to disguise the young actor playing the paper collector when he appears as other young men in the show. The idea being, from Blanche’s perspective, all young men remind her of Allen Grey.

Regardless of your encounters to this work, whether it is your first experience with this play, or one of many, I urge you to listen to the play as if for the first time and to absorb the story portrayed through our production, so that you can make your own original connections with the play.

Enjoy the show.

Respectfully,

Dave Alan Thomas

DROOD (The Mystery of Edwin Drood) 

book, music and lyrics by Rupert Holmes
directed by Samuel Fisher
musical direction by Zeek Smith
choreographed by Alejandro Rodriguez 

AUDITIONS: Saturday, May 11 at 2pm

Performance Dates: Sept 6, 7, 12, 13, 14, *15, 20, 21, *22

AUDITION PREPARATION

Please bring a song to perform, with sheet music in the appropriate key, and come prepared to move, dressed in clothes you can move in.

AVAILABLE ROLES

YOUR CHAIRMAN, MR. WILLIAM CARTWRIGHT (baritone). The emcee and host of the Music Hall Royale. The Chairman sets the scenes and keeps the pace of the show moving. Frequently jokes with the audience and is the guide through the mystery. Steps in to fill the comic role of Mayor Sapsea. A seasoned showman. Character age: 30’s -50’s.

JOHN JASPER (tenor or lyric baritone). The opium addicted choirmaster of Cloisterham Cathedral. He is madly in love with his music student and his nephew’s fiance Rosa Bud. Played by Clive Pagett, the charmingly egotistical leading man of the Music Hall Royale. Candidate for murderer and lover. Character age: 20’s-40’s.

EDWIN DROOD (mezzo soprano). John Jasper’s cocky nephew who goes missing on Christmas Eve. He has been engaged to Rosa Bud since they were very young. Played by the quite temperamental Alice Nutting- London’s premier male impersonator. Character age: 20’s -30’s.

ROSA BUD (lyric soprano). A sweet and innocent young lady who is uneasy about her music tutor’s (Jasper) passions towards her. Engaged to Edwin Drood, Rosa is unhappy with the arrangement. Played by Miss Diedre Peregrine, the ingénue of the Music Hall Royale. Candidate for detective, murderer, and lover. Character age: 20’s -30’s.

THE PRINCESS PUFFER: (alto). The down on her luck proprietress of the opium den that John Jasper frequents. Played by the bawdy Grande Dame of the Music Hall Royale, Miss Angela Prysock. A strong comedienne. Candidate for murderer and lover. Character age: 30’s -60’s.

HELENA LANDLESS (mezzo soprano). The mysterious young woman from Ceylon with a “somewhat untraceable geographical accent.” The fiery and temperamental twin sister of Neville. Played by the lively Janet Connover, Candidate for detective, murderer, and lover. Character age: 20’s -30’s.

NEVILLE LANDLESS (baritone). The other half of the mysterious family from Ceylon. Neville has a very hot temper and immediately falls for Rosa Bud. He is the main suspect after Drood’s disappearance. Played by Victor Grinstead, the newest member of the Music Hall Royale. Candidate for detective, murderer, and lover. Character age: 20’s -30’s

THE REVEREND CRISPARKLE (tenor/baritone). The sweet and kind minister at Cloisterham Cathedral who watches over the Landless twins. He once was in love with Rosa’s mother. Played by Cedric Montcrieffe- a character actor of the Music Hall Royale. Candidate for detective, murderer, and lover. Character age: 30’s -50’s

BAZZARD (baritone/tenor). Aspiring playwright and assistant to Reverend Crisparkle. Played by Phillip Bax, the understudy for John Jasper and bit player waiting for his big break. Character age: 20’s -40’s. Candidate for detective, murderer, and lover. If played correctly, a guaranteed audience favorite.

DURDLES: (baritone/tenor). The drunken stonemason who inscribes and oversees the crypts at Cloisterham Cathedral. Played by Nick Cricker, the clown prince of the Music Hall Royale. Candidate for murderer and lover. Character age: 30’s -60’s

DEPUTY: (tenor/baritone) A young street urchin and apprentice to Durdles. Played by a relative of Nick Cricker who is just starting off in show business. The youngest member of the company. Candidate for lover. Character age: Teens-20’s.

STAGE MANAGER, MR. JAMES THROTTLE (non-singing). Tries to keep the show on task. Character age: 20’s – 60’s

DETECTIVE DICK DATCHERY: A mysterious white whiskered stranger who appears in Cloisterham after the disappearance of Edwin Drood. Played by Alice Nutting for most of the 2nd act. The audience then votes which character is wearing the Datchery disguise: Candidates: Rosa Bud, Neville Landless, Helena Landless, Bazzard, Rev. Crisparkle

LADIES AND GENTLEMEN OF THE ENSEMBLE: Townspeople, opium den customers, dancers, servants, police, street vendors, mob, etc. All ensemble members require a great deal of improvisation as they are responsible for joking with the crowd to warm them up and for tallying the hand votes for their designated section of the audience.

THE LAST FIVE YEARS

book, music and lyrics by Jason Robert Brown
directed by Alejandro Rodriguez
musical direction by Zeek Smith
vocal coaching by Alejandro Rodriguez
production design by Lee Hamby 

AUDITIONS: Saturday, March 23 at 1pm

Performance Dates: June 14, 15, 16, 21, 22

ABOUT THE PLAY

THE LAST FIVE YEARS is a contemporary song-cycle musical that ingeniously chronicles the five year life of a marriage, from meeting to break-up… or from break-up to meeting, depending on how you look at it.  READ FULL SYNOPSIS

AVAILABLE ROLES

1 female / 1 male

CATHERINE HIATT | Female, 25-35, vocal range: F3 – D#5 | Character arcs from an ambitious, fresh-faced girl in a new relationship to a woman stunned by a betrayal and a divorce that she is only beginning to understand. 

JAMIE WELLERSTEIN | Male, 25-35, vocal range: A2 – Bb4 | Character arcs from an ambitious guy on a promising first date with a dazzling career to someone who is blinded by success and ego. He is very lovable, yet makes unintentional choices that sabotages his own happiness. 

AUDITION PREPARATION

Audition Requirements
16-32 Bars of a Contemporary Music Theater Piece

Callback Requirements 
Women:  STILL HURTING / THE NEXT TEN MINUTES 
Men:  IF I DIDN’T BELIEVE IN YOU / THE NEXT TEN MINUTES

 

A STREETCAR NAMED DESIRE

by Tennessee Williams

directed by Dave Alan Thomas

AUDITIONS: Wednesday, March 6 at 7pm

Callbacks: Thursday, March 7 at 7pm

Rehearsals: We will not rehearse on weekends until tech weekend. Most rehearsals are from 7:00-9:30pm on Mondays-Thursdays.

Performance Dates: May 10-26

ABOUT THE PLAY

Setting: The scene is the interior and exterior of the two-room Kowalski apartment in New Orleans French quarter. The action of the play takes place in the spring, summer and early fall one year in the late 1940s.

Synopsis: When Blanche DuBois visits her younger married sister Stella following the loss of their ancestral home, Blanche’s frail mental health fails under husband Stanley’s unremitting scrutiny.

AUDITION PREPARATION

Please prepare a 1-2 minute monologue from any of Tennessee Williams’ plays. If you do not come with a prepared monologue, the director will provide one for you to read from. After that, there will cold reading from the script.

AVAILABLE ROLES

6 males, 5 females

The Characters (in order of appearance)

A NEIGHBOR who shares a laugh with Eunice over Stanley and Stella and lets Stella know that Blanche has arrived is one of the first people we see.

EUNICE HUBBELL: Stanley and Stella’s upstairs neighbor, to whom Stella turns for comfort when Stanley mistreats her. She is married to Steve Hubbell (see below).

STANLEY KOWALSKI: A brash young man in his twenties who earns his living as a traveling salesman. He is prone to react physically when angered. He and Stella have not been married long, and so are quite comfortable in their 2-room apartment.

STELLA KOWALSKI: Blanche’s younger sister, who left their home, Belle Reve, some time ago. She likes Stanley’s energy and strength, but not the violence. She stands up to him in her way, but has not told him that Blanche is coming to visit.

STEVE HUBBELL: A poker-night and bowling buddy of Stanley’s who lives upstairs from the Kowalski’s with his wife Eunice.

HAROLD (MITCH) MITCHELL: A bachelor poker-night buddy of Stanley’s who lives with his aged mother. He is fascinated by Blanche and wants to protect her.

A MEXICAN WOMAN: A vendor of Mexican funeral decorations who frightens Blanche by issuing the plaintive call “Flores para los muertos,” which means “Flowers for the dead.”

BLANCHE DuBOIS: Stella’s older sister, who lived at Belle Reve as the elderly relatives passed away, holding onto their ancestral home until she could no longer support it on her teacher’s salary. She tells Stella that she just needs a bit of rest from all she’s been through, but there is an air about her that suggests she may be looking for a more permanent haven.

PABLO GONZALES: A poker-night buddy of Stanley’s.

THE NEWSBOY (Young Collector): A teenage boy collecting for the local paper. Something in his face or voice so reminds Blanche of a former beau from her Belle Rive days; She returns to that time and flirts with him.

A DOCTOR and NURSE from the sanitarium.

The seniors are taking part in a twelve week reminiscence project at the center, starting on Fri January 18, from10:00am -11:30pm, and ending on March 29. The purpose of this group is to explore, share and celebrate their lives and memories in a group. As part of that process they will share stories about their unique childhood memories with the creative drama students from ABET who will visit them at the center. This event will be videotaped. Then for the next ten Saturday morning’s at the theatre, the children will be guided in dramatizing some of those stories told to them during that gathering. On April 13 and 14 the seniors who took part, and their families and friends, will be invited to come to the theatre as our honored guests to watch a performance that they so generously contributed material to and to further celebrate their lives. The educational goal for the children is for them to gain a clearer insight into how real- life stories are the basis for all theatre. In addition to taking part in the Reminiscence Project we will also be inviting local seniors with a background in theatre to be guest experts who lend their expertise to the production.

  
photos from last February’s Reminiscence Theatre Project  

Both aspects of Project are again being facilitated by Aine Healy-Richardson who has a background using Reminiscence work as part of her role as an Occupational Therapist working with Seniors in London and Ireland. She also facilitated a very successful Oral History Project in conjunctions with the Beaches Area Historical Society in Jax Beach in 2007 when she interviewed over sixty local residents from all over the beaches area in group videoed sessions in order to preserves those stories of local people in the museum archives. She is passionate about story-telling in all generations and is currently running the Children’s Creative Drama Program at ABET.

What some of the kids said about the last project…

I learned that young or old you always have a story, and that the seniors were once kids just like us. I like that the play was about real stories told right to us. ~ Katy Orum

What I learned from this season’s interview exercise was how much more difficult life seemed for people in the 1940s. I learned a little about how people had to work, eat and live. ~ Anna Toutain

I learned about history and American culture before my generation. I realize how much I can learn from my elders and their unique experiences. ~ Brittany Forshay

What some of the seniors said…

I believe the past is worth remembering and worth sharing. Life in our youth was so different. Memories that have faded to the back our minds have been unlocked by our weekly meetings. These wonderful women who I now consider to by my friends have helped me to recall moments in my past that I thought were long forgotten. The show was wonderful and the experience of making theater with our stories was thrilling. ~ Irene Duvall

The sponsors who funded this project should be applauded for their role in helping to bring us together to share our memories. I deeply appreciate the opportunity to recall some memories that are very dear to my heart and I have thoroughly enjoyed the experience. ~ Dee Tammaro

The Friendships that have been formed in this group will be lifelong. This is a great way to teach children about theater and where stories come from. Expect to see much more of us in the audience! ~ Nancy Graeme

The memories this group has stirred up are amazing, the stories I have heard from others are poignant, extremely interesting and enlightening. I will never forget the wonderful people I’ve met in the past twelve weeks. ~ Dolores Nardino

What some of the parents said…

I wanted to write and thank you for creating the “reminiscence project” and allowing Cady to be part of it. Besides being a wonderful show, the inter-generational friendships that occurred are priceless. Cady still calls Nancy “her senior” and when she has a chance to see her she gets so excited. Being in the audience and watching the women see their lives on stage was just amazing. Thinking about it still gives me goose bumps. The lasting benefits from this program went on long after the curtain went down – and for that I am so grateful. Thank you again, for creating such a wonderful program – and thank you Blue Cross Blue Shield and the Cultural Council for funding something so worthwhile in our community.  ~ Rachel Dorrian

The Reminiscence Project was a blessing to our community in many ways. The children learned about what life was like for kids their age in the 1940′s from the eyes of those children, now senior citizens. They learned not only what the girls and boys of the forties did for fun, but what they did when trauma occurred, as in WWII bombing of their country. As parents, we hope that our children can learn in school about their past and the inheritance they received from those who lived and fought for our country. But to actually talk to and interact with and learn from an actual person who lived in that time is a gift I could never replace. In an act of brilliance and compassion, Aine Healy- Richardson and ABET put together the perfect pieces for this to happen when she combined eager young thespians with senior citizens in our community. The result was phenomenal. ~ Ann von Thron

There has been high excitement lately amongst the children attending creative drama classes at Atlantic Beach Experimental Theatre in Atlantic Beach. It began when they heard that ABET was staging The Best Christmas Pageant Ever as their holiday show this season. Many of them already knew the well-loved story of the town whose Christmas Pageant took a bit of a detour when it was taken over by the dreaded Herdman kids. They wanted to be in it. For a lot of them this meant auditioning for the first time, competition for roles and the prospect of multiple performances. They had to talk to parents and get the go ahead to be part of it should they be lucky enough to land a role. It meant giving up other activities to be able to attend rehearsals and still have time for homework and it meant acting with older children and adults for the first time.

Now rehearsals are in full swing and eleven of the fifteen kids in the show were cast from those attending classes at ABET. This despite stiff competition from the many wonderful children who turned up to audition at ABET. New friendships are being forged at the evening rehearsals, with the older children who have trained elsewhere and who bring a wealth of experience, sharing their skills and knowledge with the new-comers. The adult cast members are also acting as mentors and guides to the young thespians. From JARDALE HARRIS (9yrs old) who had only attended two drama classes before his talent was spotted and he was cast as David, to JACK BARNARD who is gracing ABET’s stage for the 25th time, this is truly a multi-generational cast.

All in all, volunteer SUSAN ROCHE filled her truck to capacity twice with her utility trailer packed to the brim as well. An extra SUV was also loaded to maximum capacity.
 

ABET volunteer Susan Roche loads her truck:

ABET volunteers load truck with donations:

photos by CELIA FRANK

book and lyrics by Lynn Ahrens, music by Stephen Flaherty
based on the novel My Love, My Love; or, The Peasant Girl by Rosa Guy

AUDITION DATE: SUNDAY, NOVEMBER 18, 4PM

PRODUCTION INFORMATION

PERFORMANCE DATES: March 15-17, 21-24, 28-30, 2013

Director: CARYL BUTTERLEY
Musical Director: ZEEK SMITH
Choreographer: NATALIE ROSADA
Stage Manager: DANIEL ADAM OSOFSKY

ONCE ON THIS ISLAND is a play within a play. It opens in the present, on a Caribbean island, where a group of villagers have taken refuge from a growing storm. In order to comfort a scared child in their midst, they tell the legend of the orphan girl Ti Moune. The villagers play the different characters in their tale, weaving music, dance and storytelling into a magical fable of star-crossed lovers, temperamental island gods, and the power of love.

REHEARSALS

REHEARSALS WILL BEGIN IN FEBRUARY.
Exact rehearsal dates and times will be scheduled based on actors availability, however, please be aware this show is a truly interactive ensemble piece and the entire cast will be needed at most of the rehearsals. We ask that you have limited conflicts during the month of February through the March performances if you would like to be cast in this production

INFO FOR AUDITIONERS

BRING A PHOTO AND RESUME with you to the audition. It does NOT have to be a professional photo but by having one to leave with us, you help us remember who you are as we make final casting decisions.

WEAR COMFORTABLE CLOTHING. We’ll be teaching everyone a short dance combination to assess comfort with movement. The roles of Ti Moune and Papa Ge require more dance ability than the rest of the ensemble.

ALL ROLES REQUIRE SINGING. It is a plus if you play a musical instrument, but it isn’t required

PREPARE A SONG in the style of pop, gospel or contemporary musical theatre that accurately demonstrates your vocal ability and range, and have sheet music in the appropriate key. We will provide an accompanist. No a cappella or CD accompaniment auditions please.

AVAILABLE ROLES

Note: An integral part of the story told in Once On This Island includes a history of the island’s color caste system, and its predominantly African heritage. In casting the show we will be giving strong consideration to that, however, with the exception of the roles of Ti Moune and Daniel (whose ethnicity is noted in the breakdown below), we are open to the possibility of non-traditional casting choices and encourage everyone with a strong voice to audition.

TI MOUNE | F, late teens – mid 20s, vocal range A3-E5 (bright belt mezzo) Some dance required. Character is of African descent | A peasant girl. Curious and energetic with an infectious joy for life

DANIEL | M, late teens – mid 20s, vocal range B2-F4 (warm light tenor). Character is a mix of African and French descent. | Ti Moune’s love interest. A member of the ruling class, torn between duty and love

AGWE | M, late 20s-60ish, vocal range B2-G4 (full high baritone) | God of the Sea. Powerful yet playful

ASAKA | F, 30ish-60ish, vocal range E3-E5 (powerful gospel mezzo) | Mother of the Earth. Fierce with a wicked sense of humor

ERZULIE | F, late 20s-60ish, vocal range A3-E5 (warm lyrical mezzo) | Goddess of Love. Warm and kind

PAPA GE | M, late 20s-50ish, vocal range B2-G4 (sharp lead tenor). Some dance required | The Spirit of Death. A trickster. Lithe and mysterious

MAMA EURALIE | F, 40ish-60ish, vocal range G3-C5 (warm lyrical alto) | Ti Moune’s adoptive mother. Tries to be stern but has a generous spirit

TONTON JULIAN | M, 40ish-60ish, vocal range A2-E4 (light baritone) | Ti Moune’s adoptive father. Gentle with a quiet strength

ANDREA | F, late teens – mid 20s, vocal range B3-D5 (warm soprano) | Daniel’s betrothed

ARMAND | M. 40ish-60ish, (Bass-Baritone) | Daniel’s father

by Mike Gibb and Kevin Walsh  

directed by ROB TAYLOR
musical direction by AARON MARSHALL

AUDITION DATE: Saturday, Nov 3 at 2pm 

Performances dates: Jan 25 – Feb 10 

AUDITION INFORMATION

Please bring a resume and 8×10 picture, if possible. Prepare a ballad song to sing. and bring sheet music, No acappella auditions please. There will be cold readings from the script

AVAILABLE ROLES

Nancy Mclehose/Clarinda age 28-35
Robert Burns/Sylvandar age 30s
Jean Armour (Burns) age 30s
James Mclehose age 40s
Gavin Hamilton age 25/28
Jenny Clow age 18-20
Erskine Nimmo age 30s