Imaginary Invalid Callback Information Sheet Because of the many strong auditions given last week, a couple of the Imaginary Invalid characters require call­backs. The process will be similar to how rehearsals work, in that the student should prepare for the role in advance and will then take notes from the director. Be prepared to run the same scene at least three times while working with the director. The audition pieces below have been marked by the director, so pay attention to that info while preparing your own movement. The cast list will be posted by Tuesday evening. Please remember that call­backs are another chance to show off what you can bring to the role as an individual. Play to your strengths and go big or go home! Cléante: Jeremy Kawaja; Brody Bennight Director’s Advice Don’t forget that Cléante is making this piece up as he goes along. Take time to note pauses and integrate the markings given in the piece. Remember that Cléante is essentially tricking Argan the same way the doctors do in the script ­­ by sounding official and knowledgeable even if you’re not. Tell a convincing enough story and anyone will believe you. Use physicality and large flourishes ­­ be big and bold. Audition Piece CLÉANTE. (Pretending to be a Music Master and improvising in front of ARGAN) You must imagine, then, that I am a … s hepherd . ARGAN. A shepherd, eh? CLÉANTE. And your daughter, monsieur, is a... shepherd ess . Now...hmm (p
ause, thinking of an explanation) …. it so happened that the shepherd went to.... ( having an AH­HA! moment) the performance of a masque. And the shepherdess, as it turned out was there too. And the shepherd and the shepherdess came face to face. (He becomes increasingly entranced to the point that he almost forgets his situation.) And he saw before him, not a shepherdess but a young goddess . The masque was far too short; for the end of it meant the parting from his belov’d. And when he returned to his home, there was no thought in him but how he could see his loved one once again. (Staring off with lovey dovey eyes) ARGAN. What happened to his sheep? CLEANTE: (Startled) The shepherds, whom the poets write of...uh... have no sheep! ____________________________________________________________________________ Angelica: Madison Horton; Valerie Ferrell Director’s Advice Be big. Angelica might dance around while talking about meeting Cléante. She’s a girl who has read the classic romances of the time and has now found herself inside one. Think over the top Disney princess naivety about love and falling into it quickly. Though she is mainly just lovey dovey, she shouldn’t be a still fixture. Movement and ability to integrate common sense stage business into the role are important. Audition Piece ANGELICA. (Spinning in glee) Oh, Toinette! Don’t you think our meeting was ordained ? Set down, in the Divine Diary ­­ “On such and such a day in sixteen seventy­four, ( Writing into the air) Angelica meets Cléante.” (Big love­sigh followed by dreamy eyes) The one evening in the whole year when I go out to the theatre...and such a wonderful excuse to come and introduce himself. (coming back to reality) And isn’t it maddening , being kept so close, and under such restraint? (Turning to Toinette suddenly worried and doubtful) Do you think he loves me, as he says he does? ____________________________________________________________________________ Louise: Valerie Ferrell; Savannah Pease Director’s Advice Don’t be afraid to really use your physicality in this role, and to remember that while Louise is listed as 15 in the script, a younger version is actually funnier here. Her crying should indicate her youth. She’s not afraid to mimic Argan’s childishness like foot stomping, throwing herself on the floor instead of falling gracefully. Put on a show. Show how easy it is to fool Argan. Louise wants nothing more than to hide in a corner with her books until she can escape her restricted life. The way she has fun with Argan is by being spunky and over dramatic. Audition Piece ARGAN. Turn round. (H
e barely touches her, but LOUISE goes into a crescendo of obviously fake childish wails ) For heaven’s sake­­I hardly touched you. LOUISE. I think I’m going to faint. (Stumbling left and right) ARGAN. Faint? LOUISE. I think I”m dying. (Faking extreme symptoms) ARGAN. Dying? LOUISE. Yes­­ (she stages a spectacular sway, stagger and fall) a
nd I hope I am. (G
ives a few extraordinary cries/shrieks/sobbing, closes her eyes, convulses extremely. Then lies, tongue out, unmoving ).