Limelight Summer 2013
Audition Materials
Quest- Monologues
Aladdin Jr.- Monologues & Songs
“MACBETH”- Monologues with songs
Once on this Island- Monologues, Songs, & Dance Combos
QUEST
Ages: 11-15
Directed by Michael Leali
Embark on a Quest in this all-original play written
by Michael Leali that toys with the traditional notions of the
fairy tale, and features a host of quirky characters including
a perfectionist prince and a princess at her best, both sent
out to discover who they are. Actors will have a chance to
originate unique characters and explore acting with masks.
Rehearsals Begin: June 3rd
Rehearses: M-F from 9am-1pm
Performs: June 19-22 at 7pm
Prepare one of the monologues from the following page
QUEST Audition Monologues
Male
Wait a second, was I supposed to take a left there? No, that was most certainly a
right. Right? I’m not sure. This map isn’t upside down, is it? That would make it a
left? Or is it still right at the crooked stump? This would be so much easier if it wasn’t
so dark. Or if I had the prince with me. He’s much better at reading these blasted
things. But what can you do, when a prince doesn’t want to rescue a princess?
There’s no talking to him. He’s so preoccupied with brewing that blasted perfect
potion. But how could he just leave some poor, defenseless princess alone in a hole in
the ground surrounded by goblins? And why are there so many forks in the road?
What happened to nice, simple roads that cut right through the mountain side? Huh?
And what have we here? A right? A left? Should I just turn around?
Female
Do you really want to know what’s wrong? Me! I’m what is wrong. Have my parents
even thought about what I want? How I feel? No. They were just going to spring this
on me just the same way they tricked me into having a tooth pulled. Do you recall that
time that Mother led me off on an exquisite May day—cherry picking she said—only to
bring me to that wretched man. And what happens next? They put me out with some
herbal trickery and next thing I know I am waking up, my mouth full of cloth and saliva
dripping all over my lovely frock. Oh no! They will not catch me so off guard this time!
Male/Female
Ah, the timidity of youth. I see, I see. Well, don’t worry. I won’t tell. But, if I were you, I
would stay away from the glen just over yonder. A nasty little goblin hole there is. I’m
sure those little fiends would like nothing more than to gnaw upon some fresh, young
love, partially digest it, only to regurgitate it back out, the slimy sinews of romance
decaying somberly upon the amorous world they so despise. Yes, yes, I dare say that
you best head straight that-a-way.
Disney’s Aladdin Jr.
Ages: 8-12
Directed by Eric Feltes
Assistant Directed by Deirdre Hurst
Welcome to Agrabah- city of mystery, of enchantment- where
a seemingly ordinary lamp changes the course of a young
man’s life. Do not be fooled by its commonplace appearance.
Like so many things, it is not what is outside, but what is
inside that counts.
Rehearsals Begin: June 3
Rehearses: M-F from 1pm-4pm
Performs June 26-29 at 7pm
Prepare one of the following music selections
• One Jump Ahead Part 2: Page 32-33, measures 19 to end
• Friend Like Me: Page 51, measures 24 – 52
• A Whole New World: Pages 76 – 77, measures 10 – 43
AND
Prepare one of the following monologues
Disney’s Aladdin Jr. Audition Monologues
Narrator (Male or Female)
Welcome to Agrabah, City of Enchantment, where every beggar has a story and every
camel has a tail! The big day has finally arrived, and you’re all just in time to join the
festivities. Yes, friends, this is the day when we finally find out who Princess Jasmine’s
future husband will be! Look! There’s Jafar, the Sultan’s right hand man. And there is
Iago, Jafar’s right hand . . . parrot! Ah, the main event. The moment we’ve all been
waiting for. There’s the Sultan: ruler of all he surveys . . .and anything else that
happens to be lying around. Let the festivities commence!
Disney’s Aladdin Jr. Monologues (continued)
Aladdin (Male)
I sure do like Jasmine. I mean, “The Princess!” Ugh! I must’ve sounded so stupid!
Then again, what does it matter? I’m never gonna see her again. Me, the “street rat!”
Besides, she deserves a prince. Or at least someone better than me. Oh why did I
Ever meet her? Boy I’m glad I met her! Look at all this junk! I bet no one’s been in
here for years. (Sees the lamp). Something’s written on this thing. Let’s see what it is!
Genie (Male or Female)
Oy! Ten thousand years in a tin can’ll give you such a crick in the neck! (cracks neck).
Ok, that’s better! Now, then, “Your wish is my command,” yadda yadda, you know the
drill, so shoot . . . Come on, kid, what’s it gonna be? Cash? Camels? The i-phone 5?
. . . .You must want something . . . Hey, kid, you speak? What’s your name? . . .
Aladdin! He does speak! Ok! This is gonna be a snap! May I call you Al? You know,
Al, you’re a lot smaller than my last master. Either that, or I’m getting bigger. Do these
harem pants make me look fat?
Jasmine (Female)
Oh, father, this law is unfair. Shouldn’t I be able to marry whom I want, when I want?
No girl wants one of the most important decisions of her life made for her. Every father
should know that! . . . You are not listening to me! Can’t you just be my father for once,
and not the Sultan? I want my freedom, father. Just like everybody else. I’m a
princess who feels like a prisoner.
Jafar (Male)
Am I pleased? Pleased to be playing nursemaid to a spoiled princess? Pleased to be
keeping tabs on every petty thief in Agrabah? While day in and day out that blithering
idiot remains Sultan? Of course I’m not pleased! Now, listen to this: Should an
unmarried Royal Princess, who is sole heir to the throne, fail to choose a husband, the
Sultan’s highest ranking official – that would be me – will immediately become
betrothed to the Princess. (evil laugh.)
“MacBeth”
Ages: 14 & Up
Directed by Brian Brems
Assistant Directed by Eric Feltes
Be a part of a new adaptation of William Shakespeare's
classic tragedy Macbeth, to be directed by Brian Brems and
featuring choreography and movement by Eric Feltes, with
inspiration from the music of David Bowie, Iggy Pop, and The
Talking Heads. There is no fixed setting; it is only the pure
story of betrayal, corruption, and murder in the name of
power. The play will use the original Shakespearean dialogue
and employ the use of expressionistic makeup, set design,
lighting, and sound. Be part of this nightmarish journey into
the darkness of the human soul.
Rehearsals Begin: June 3
Rehearses: M-F from 5-9pm
Performs July 17-20 at 7pm
Prepare one of the following monologues
* Any monologue may be performed by any actor. Do not let gender limit your choice. During your audition,
you will perform with a music selection chosen by the director. The songs are listed with each monologue, and
it is recommended that you try to track down the song on your own and use it to inform your audition
performance. Capture the song’s mood in your expression; let it help you find the emotion of the words. The
song will play during your monologue recitation for the director.
“MacBeth”Monologues
LADY MACBETH: The raven himself is hoarse that croaks the fatal entrance of Duncan under my
battlements. Come, you spirits that tend on mortal thoughts, unsex me here, and fill me from the
crown to the toe top-full of direst cruelty! Make thick my blood; stop up the access and passage to
remorse, that no compunctious visitings of nature shake my fell purpose, nor keep peace between the
effect and it! Come to my woman's breasts, and take my milk for gall, you murdering ministers,
wherever in your sightless substances you wait on nature's mischief! Come, thick night, and pall thee
in the dunnest smoke of hell, that my keen knife see not the wound it makes, nor heaven peep
through the blanket of the dark, to cry 'Hold, hold!'
The song for this monologue: “Art Decade,” by David Bowie. Album: Low, 1977.
MACBETH: If it were done when 'tis done, then 'twere well it were done quickly: if the assassination
could trammel up the consequence, and catch with his surcease success; that but this blow might be
the be-all and the end-all here, but here, upon this bank and shoal of time,
we'ld jump the life to come. But in these cases we still have judgment here; that we but teach
bloody instructions, which, being taught, return to plague the inventor: this even-handed justice
commends the ingredients of our poisoned chalice to our own lips. He's here in double trust;
First, as I am his kinsman and his subject, strong both against the deed; then, as his host, who should
against his murderer shut the door, not bear the knife myself. Besides, this Duncan hath borne his
faculties so meek, hath been so clear in his great office, that his virtues will plead like angels,
trumpet-tongued, against the deep damnation of his taking-off; and pity, like a naked new-born babe,
striding the blast, or heaven's cherubim, horsed upon the sightless couriers of the air, shall blow the
horrid deed in every eye, that tears shall drown the wind. I have no spur to prick the sides of my
intent, but only vaulting ambition, which overleaps itself and falls on the other.
The song for this monologue: “Warszawa,” by David Bowie. Album: Low, 1977.
HECATE: Have I not reason, beldams as you are, saucy and overbold? How did you dare to trade
and traffic with Macbeth in riddles and affairs of death! And I, the mistress of your charms, the close
contriver of all harms, was never called to bear my part, or show the glory of our art?
And, which is worse, all you have done hath been but for a wayward son, spiteful and wrathful, who,
as others do, loves for his own ends, not for you. He shall spurn fate, scorn death, and bear
he hopes 'bove wisdom, grace and fear! And you all know, security is mortals' chiefest enemy.
The song for this monologue: “Sister Midnight,” by Iggy Pop. Album: The Idiot, 1977.
Once on this Island
Ages: 11 & Up
Directed by Cori Veverka
Music Directed by Diana Nevills
Pit Directed by Matt Todd
Choreography by Alex Watts
There is an island where the poorest of peasants live and the
wealthiest of high society play. An orphan is sent on a journey
by the gods that tests the strength of love against the power of
death, on this island of two different worlds! We will bring this
modern re-interpretation of the Little Mermaid to life through
dance, movement, and song. The show features a strong
ensemble with many interesting and engaging characters. We
will explore the magic of storytelling and celebrate why we tell the story.
Rehearsals Begin: June 24
Rehearses: M-F from 9am-1pm
Performs July 31-Aug 3 at 7pm
Prepare one of the following music selections
• “One Small Girl" measures 35-53 (General song/Ensemble)
• "Waiting for Life" measures 17-49 (Female Solo- medium voice)
• "Some Girls" measures 26-63 (Male Solo- medium high)
AND
Prepare one of the following monologues
AND
Prepare one of the two dance combos found on the Limelight Website
Once on this Island Monologues
Note on performing monologues: This is a show about storytelling. Please perform these monologues
as though you are a storyteller bringing these words to life for a small child. Be as expressive as
possible. Make specific choices about your movement and expressions.
Monologue #1
There is an island where rivers run deep. Where the sea sparkling in the sun earns it
the name “Jewel of the Antilles.” An island where the poorest of peasants labor – and
the wealthiest of the grands hommes play. Two different worlds on one island! The
grand hommes, owners of the land and masters of their own fates. And the peasants,
eternally at the mercy of the wind and the sea, who pray constantly…to the gods.
Asaka, Mother of the Earth, Agwe, God Water. Erzulie. Beautiful Goddess of Love.
And Pape Ge, sly Demon of Death.
Monologue #2
Once on this island, there was a terrible storm. Many huts washed away! Many
peasants drowned by Agwe’s angry water! But one small girl caught his attention. And
she was spared. An orphan plucked from the flood by Agwe. Sheltered in a tree by
Asaka… and sent on a journey by the gods: a journey that would test the strength of
love against the power of death… on this island of two different worlds!!
Monologue #3
And Ti Moune was cast out of the Hotel Beauxhomme, and the gates slammed shut
behind her. And for two weeks, Ti Moune did wait at the gate. Not eating. Not sleeping.
Only waiting, only watching, as the grounds of the Hotel Beauxhomme were made
even more lovely, in preparation for the wedding. And at last, Andrea and Daniel were
married. And as superstition dictated, they came to the gates of the hotel to throw
coins to the peasants, thus assuring that their own fortunes would multiply. And the
gods began to cry – tears of compassion for the orphan Ti Moune, who proved that
love could withstand the storm, and cross the earth, and survive even in the face of
death.
OOTI Audition: Beginner Level Dance Combination
Song: “Waka Waka (This Time for Africa)” by Shakira—available for purchase on iTunes, also
available on YouTube.
Begin dance at time: 0:21 (when she begins to sing)
Counts:
1,2,3,4
5,6,7,8
1,2,3,4,5,6,7,8
1,2,3,4,5,6,7,8
1,2,3,4,5,6,7,8
1
2
3,4
5
6
7,8
1,2,3,4
5,6,7,8
1,2,3,4
5,6,7,8
“Africa”
Up to two 8-counts after
Moves:
Brush arms behind and up, ending with arms in
a “v” shape above your head
Push arms down so that they are straight out at
your sides
Step touch: right, left, right, left, right left,
right, left
Step touch add arms: arms come in front (1,2)
and out (3,4) repeat on left (5,6,7,8)
Repeat last step on both feet
Tendu right foot
Step feet together
Shake hips
Tendu right foot
Step feet together
Shake hips
“Teapot Arms” tilt right
“Teapot Arms” tilt left
“Teapot Arms” tilt right
“Teapot Arms” tilt left
Pose!
OPTIONAL freestyle choreography
OOTI Audition: Advanced Level Dance Combination
Song: “Waka Waka (This Time for Africa)” by Shakira—available for purchase on iTunes, also
available on YouTube.
Begin dance at time: 0:06 (after scream type noise)
Counts:
1,2,3,4
5,6
7,8
1,2,3,4
5,6,7,8
1,2,3,4,5,6,7,8
1,2,3,4,5,6,7,8
Shakira Starts Singing! 1,2
3,4
5,6
7,8
1,2
3,4
5
6
7
8
1,2,3,4
5,6,7,8
1,2,3,4
5,6,7,8
Up to two 8-Counts after
Moves:
Brush arms behind and up to a “v” shape
Push arms straight down
Lift arms back up to a “v” with right leg in
passé
Step right, passé left
Step left, passé right
3-step turn to right
3-step turn to left
“drum” right
“drum” left
Step right foot forward and sweep right arm
out
Step left foot forward and sweep left arm out
Step right foot out to the side and bring arms
up again to “v”
Step left foot out to the side and bring arms
down to sides
Right arm chops up
Left arm chops up
Arms cross in front of face
Arms come straight down to sides
Step and pivot to the back
Step and pivot to the front
Jazz-Square
Step, cross Leap!
OPTIONAL freestyle choreography