1|Audition information for OUTSIDERS
Auditions for THE OUTSIDERS
Friday, May 13
Who may audition for OUTSIDERS?
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Current St. X freshmen, sophomores, and juniors
Girls who are freshmen, sophomores, or juniors AND who
o
o
o
Attend AHS, Mercy, Presentation, or SHA; or
Are daughters of St. X faculty and staff who are in high school; or
Attend another private high school outside of the Catholic high schools (only if the school does not have an
active Drama program.)
Important Dates
April
18
Audition information available outside the box office
May
9
Submit taped monologues to Google Drive by 3 pm
https://drive.google.com/folderview?id=0B9z6l00fhlOmNXh5MDEySi1ZTUE&usp=sharing
13
Auditions
3:10-4:00 Improv
4:00-4:30 Scenes performed (round 1)
4:45-6:00 Callbacks—coached scenes
August
12
20
Begin rehearsals with principals
Daily rehearsals
September
5-16
All cast and run crew required to attend ALL rehearsals on time
Shows
Friday 16
Saturday
Sunday
Thursday
Friday
Saturday
Grade Schools
17
7 pm
18
2 pm
22
7 pm
23
3:30 pm
24
2 pm
7 pm
2|Audition information for OUTSIDERS
Available roles
Principals—Male
1. Ponyboy—a greaser, 13-15 years old
2. Johnny—Ponyboy’s friend, 13-15 years old
3. Dallas—a greaser, 17-20 years old
4. Darry—Ponyboy’s oldest brother, 20 years old
5. Sodapop—Ponyboy’s second oldest brother, 16 years old
6. Two-bit—a greaser, 17-18 years old
7. Bob—chief antagonist (Soc), 16-18 years old
8. Randy— (Soc), 16-18 years old,
Principals—Female
1. Cherry—a Soc who befriends Ponyboy, 15-17 years old (may be double-cast for different shows
with Nurse)
2. Sandy—Sodapop’s girlfriend, 16 years old (may be double-cast for different shows with Mrs.
O’Briant)
3. Marcia—Cherry’s best friend, 15-17 years (may be double-cast for different shows with Doctor)
Featured characters—Male
1. Jerry—a parent
2. Mr. Syme—English teacher
3. Paul—Soc, very strong (their best fighter), 16-18 years old,
Featured characters—Female
1. Doctor (may be double-cast for different shows with Marcia)
2. Nurse(may be double-cast for different shows with Cherry)
3. Mrs. O’Briant—a parent (may be double-cast for different shows with Sandy)
Non-speaking:
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2-6 male Greasers at the rumble
4-8 male Socs at the rumble
Hospital Worker
Children in fire
3|Audition information for OUTSIDERS
What Do I Need To Do To Audition?
STEP 1: Register on VSM (stagemanagement.com.) (Your log-on code is greaser)
STEP 2: Decide what size role you’re auditioning for so you know what you need
to prepare for auditions.
Size of role you’re
auditioning for
Principal male role
Principal female role
Featured male role
Featured female role
Nonspeaking role
Perform
Improv?
Required
Required
Required
Required
Required
Perform Scene?
Submit taped monolog?
Required
Required
Required
Required
No
Required
No
No
No
Optional—do not need to do
If you audition for a(n)
You will also be considered for
Principal role
Featured role
Featured and non-speaking role
non-speaking role
STEP 3: Prepare your audition:
See the chart on page 3 and decide what you’d like to audition for. Then prepare the necessary
audition(s).
o Information about the required IMPROV is available on page 22 of this packet
o Information about the SCENES is available on page 14 of this packet
o Information about the MONOLOGUES is available on page 8 of this packet.
STEP 4: Fill out your résumé BEFORE auditions and print a copy to bring to
auditions.
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
Experienced people should create a résumé to print and bring to the auditions. See directions
on pages 5-6.
Newcomers may fill out an information sheet at auditions.
STEP 5: Fill out your verification sheet (and get a parent signature)
BEFORE auditions
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
Print out the audition verification sheet on page 7.
Sign it and have a parent sign it. Bring the signed copy to auditions. Do NOT attach it to your
résumé
4|Audition information for OUTSIDERS
STEP 6: Audition.
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
Arrive in plenty of time for your audition. Wear comfortable clothes. Have your completed
résumé (and verification sheet) ready to turn in.
After you audition, you are free to leave. If you are found loitering around the auditorium
after your audition, it could damage your chances of getting cast in the show.
5|Audition information for OUTSIDERS
Résumé Instructions: Your résumé must include the following information. See the
following page for a sample résumé.
Your name
Head shot of yourself. Make
sure it looks like you—we
don’t want a glamour shot.
Your school, your year in school
Height:
Weight:
Hair color:
Email:
Experience
(note—do not list St. X experience or experience before high school. If you have no other
experience, just leave this section off your resume. Do not list more than 6 roles, and list
them in reverse chronological order [the most recent first].)
Title of play
Role
Theatre
Training
(list any dance or vocal training you’ve had. If you’ve done GSA, include it here.)
Training
Teacher, school, or studio
Possible conflicts
(List EVERYTHING that could interfere with your attending rehearsals. Include regular
events such as clubs, jobs, other plays, etc. Also include one-time events such as retreats,
family vacations, etc. Give the dates of your conflicts. Failure to do so could cause you
to be dropped from the cast.)
Special skills
(list any special skills you have that we might be able to use in the show. Be sure to
include any specific dance or gymnastic skills you might have ). GIRLS: if you can dance
on pointe, be sure to list it here.
Auditions you’ll be performing: __improv __scene __monologue
(If there are roles you will NOT accept, add a statement here that reads, “Please do not
consider me for ________________ (name roles).
If you will accept any role, you can say that or just not put this statement at the bottom.
See the next page for a sample résumé.
6|Audition information for OUTSIDERS
Eugene Florcyzk
Saint Xavier High School, Junior
5’5”
120 lbs.
Brown hair
[email protected]
Experience
How to Hew a Zombie
Godspell
Butler
Chorus
Rydell High School Theatre
St. Michael’s Church Theatre
Training
Acting 1 class
Shakespeare workshop
St. Xavier High School
Kentucky Shakespeare
Possible conflicts
I work at the library Mondays from 5-9 but can miss this the final two weeks of rehearsal
Junior retreat: September 1-3.
Special skills
I can walk on my hands and do a back flip.
Auditions you’ll be performing: _x_improv _x_scene x__monologue
I will accept any role.
7|Audition information for OUTSIDERS
Verification sheet
Auditioner’s Name ________________________________________________________
By auditioning for this show, I understand that I am affirming that I will abide by all the rules and policies
of both St. Xavier High School and the St. Xavier High School Drama Department including








accepting that the decision of the auditioning panel is final with no appeals;
accepting that if I don’t fulfill my role to the directors’ satisfaction, I may be given a different
role or removed from the show;
being on time and prepared for all rehearsals and shows;
getting permission from a director beforehand if I need to miss a rehearsal for reasons other
than an emergency and posting the conflict on VSM;
checking VSM at least twice a day for changes in the rehearsal schedule;
checking my email at least once a day for VSM updates;
furnishing my own costume and shoes for the show (according to specifications I’m given);
(Girls only) affirming that I meet at least one of the following criteria:
o Attend AHS, Mercy, Presentation, and SHA;
o the daughter of St. X faculty and staff (and attend a high school)
o Attend another private high school outside of the Catholic high schools only if the school
does not have an active Drama program.
If you are not comfortable abiding by these rules and policies, please do not audition for the show.
Your signature _______________________________________________ Date ___________
Your parent’s signature _________________________________________ Date ___________
8|Audition information for OUTSIDERS
MONOLOGUES
For the first round for college-acceptance auditions, many colleges are now requiring taped monologues
instead of live ones. Therefore to practice this technique, you will tape your monologue for this show
and submit it to https://drive.google.com/folderview?id=0B9z6l00fhlOmNXh5MDEySi1ZTUE&usp=sharing
by 3 PM on May 9th. You will NOT perform your monologue live.
Have someone tape you performing your monologue. Keep the focus fairly close—we want to see your
face and your upper body. Before you begin your monologue, give your name and tell which monologue
you’ll be performing (“I’m Nick Marx and I’ll be performing the monologue “Sammy” by Mike Reynolds.)
Then perform your monologue.
When you upload your monologue, save it under your last name.
Choose one of the monologues on pages 9 through page 13 of this packet. Feel free to have someone
use your iPad for taping your monologue—close-ups are good. We are watching to see how sincere and
honest you can be in your acting and speech.
9|Audition information for OUTSIDERS
Possible Audition Monologues for The Outsiders
1. JORDAN by Michael Pepa
Talking to Himself
I don't think I can do this anymore, I really don't. The assignments, the teachers, the hours, the busy
work... oh, the busy work. 'Read these pages, answer these questions.' I must've heard that a thousand
times from a hundred different teachers over the years. Newsflash, folks -- I don't care about the
agricultural practices of the damned Illini. Didn't care before I read the ten textbook pages, and
certainly don't care now. Geez, I don't think I can do this anymore. So... maybe I won't. Maybe I'll just
get in my car and drive. Drive west, or something. California -- I've always wanted to go there.
Desperate times calls for desperate measures, right? Isn't that what they say? And all this high school
crap’s definitely proving to be a desperate time, so I guess it's desperate measure time. Time to leave -middle of the night style, no warning style, escape the bullcrap style. Yeah, that's the play. It's decided.
Tomorrow night, I run away from it all.
2. THEODORE by Sam Porta
Teenaged Theodore is talking to his red pet goldfish, Barry Sharkin.
What am I going do, Barry? I can't continue becoming a doctor, I don't have the patience or the patients.
I keep telling myself that if I study enough and immerse myself in the doctor culture enough, I'll learn to
like being one. No matter how hard I try, I hate learning to become a doctor. I know it's going make my
dad really upset, but I think I want to be a nurse. Being a nurse is where it's at, man. I mean, goldfish. I
didn’t mean to call you a man, Barry. I’m sure that’s an insult to good goldfish everywhere. Besides, if
I’m a nurse, I get to wear those sexy white shoes all day. I can take people's blood pressure and give
people finger pricks. I can even stand people on one of those scales with the sliding piece and struggle to
come up with an accurate weight. Ah, that's the life. Sooner or later I'll have to break it to my dad, but
not today. Today I'm going to relax and enjoy this relative feeling of prosperity I get whenever I dream
about being a nurse.. I'll see you later Barry Sharkin.
3. VAL by Charles Babcock
Valentine is talking to his friend, Marcus. Marcus is only interested in the superficial, the here and now,
and Valentine wants to go out and see the world.
Valentine: Dude, open your eyes. I mean, are you really ok with spending your life, your entire life here?
Where nothing ever changes, nothing is ever new? How can you stand that? This place is killing me,
man. It's so small here, and the world is so big. Don't you at least want to know what it's like out there?
Away from all this? That's all I think about anymore, getting out. Listen, we've sat through the same
boring, useless classes year after year, and after all that there's really only one thing I ever learned. And
that's that there's a world out there, just waiting for us. A brave new world. And it's big, and it's scary,
and it's coming right at us full speed ahead. And I don't know about you, Marc, but I wouldn't have it any
other way. Are you coming with me?
10 | A u d i t i o n i n f o r m a t i o n f o r O U T S I D E R S
4. TROY by Nathan Slaven
Troy is outside of a stranger's house with his friends.
Guys, maybe we should think about this. Please? We don't even know this guy. He could be, like, a cop,
or a Marine with PTSD or something. What are we going to do if he wakes up? Jake, seriously. Can we
please put the eggs down for one second? And, Liv, turn off your phone. There could be cameras, or
witnesses, or... Oh, come on. Ray's only fourteen. What are his parents going to think? And Liv, do you
really think you'll have a shot at getting into Yale with a record? Umm. Why are you guys looking at me
like that? You know, I'm not sure what's gotten into you all. I think I'm just gonna leave. Alright? (A
beat.) I won't tell anyone. I'm probably a coward, but I'm not a snitch. But, maybe I should talk. Besides,
what are you gonna do? Egg me? We’re friends. Crap! Did you see that? Liv, your phone! I think he saw
us. Wait. Is that a dog? Sorry, guys, I'm out.
5. KEVIN by Jay Bentley
Kevin Johnson is fifteen years old. He is very concerned for his older brother, Mike. They had both just
returned home from school and Kevin is in his bedroom talking to his reflection in the mirror. He has
been watching his brother go straight to his room after school every day to smoke weed. It has been
going on for a couple weeks and he doesn't know what to do.
Really, Mike... really? You just got home and went straight to your bedroom to get high. I can NOT take
this any longer. He needs help... But who should I talk to? I know if I tell mom and dad, they will ground
him for life. . .and Mike would never forgive me. Maybe I should talk to my counselor at school? (A
beat.) No, then he would just get in more trouble with the school... Which he doesn't need. I know that
I am his little brother so he’d never listen to me. (A beat.) But, maybe I should give it a chance. I mean
hey, I am a pretty easy to talk to. And--THIS HAS TO END. Alright, Kevin, you can do this. Okay... off to
his room I go. I can do this, I can do this.
6. PAUL by A.J. Breit
Paul is in his room, speaking to himself in the mirror.
I can't believe my freakin’ mom is drunk again. You would think after last time she’d just stop. Not only
does she embarrass herself but she embarrasses me. You know, it's hard sometimes when you just
want a mom to be there and she isn't. So much of the time I know that mom I'm talking to isn't my real
mother. It's Drunk Mom who doesn't know how to care for her children. Sometimes I just want to drink
the pain away myself, but I don't way to be like her. (A beat.) Oh great, she's yelling for me to come
downstairs, probably for something stupid that her drunk self thinks is important.
11 | A u d i t i o n i n f o r m a t i o n f o r O U T S I D E R S
7. RHETT by Corbyn Buchart
Rhett is a middle class teen who is pursuing an athletic career in college. He is outgoing and generally
well liked by his peers, but has serious anxiety when it comes to talking to females. He is talking to his
mirror reflection about his newfound addiction.
I know I shouldn't love it as much as I do, but after you get that head rush a few times there is no feeling
that can replace it. Just trying to find a way to cope with the stresses of high school has turned into one
of my biggest flaws. I didn't think that I could ever get worse at talking to girls, but now that I "smell like
lung cancer" they won’t even acknowledge me. (A beat.) I only smoke when I drink or when I just need a
break from homework, but now I can't hardly run two miles without wheezing. I have to use an inhaler
before and after every game I play because my lungs have lost so much elasticity. I don't know how I'll
be able to control this addiction in college with all of the freedom I'll be gaining there. My parents tried
to warn me, and my whole life I’ve seen how hard it has been on them. Watching Dad try to quit for
seven years and still not being able to—(breaks off and walks agitatedly around the room.) Why the hell
was I stupid enough to pick up that first cigarette and fall in love with destroying my body?
8. TYLER by Spencer Davis
(Tyler, a young man with untidy clothes and hair made messy by how much he had run his hands through
it, faces the floor as he sits across from Dr. Gilmore.)
TYLER: I have to keep distracting myself, keep weighing myself down. Give me a free sec or two and the
first thing I think about is her. All I do is regret and hate myself every time I look at them together. I see
the bastard every day. He doesn't brag or anything, but I see it in his damn face. I see how happy he is.
She makes him so happy. And I hate myself for hating that. After all, he is—was—my best friend. But
nowadays I'm a ball of hate. I haven't smiled for real in weeks. I keep telling myself I don't love her, I
keep running it through: She isn't for me anymore. She isn't for me anymore SHE ISN'T FOR ME
ANYMORE.( A beat.) It doesn't help. Nothing works and I just hate myself more... Damn it! I... I'm fresh
out of ideas. I wish I could be anything else-- literally anything else than what I am now. Every time I
catch my own reflection I jerk away like I'm staring down a loaded gun. All I can think anymore is "You're
a horrible friend and a waste of skin.” Damn it!
9. MACK by Camden Makowiack
Mack has roused his best friend out of bed.
Hey, thanks for seeing me at this hour. I…I just didn’t know what else to do. You’ve helped me get out of
literally every bad situation that I’ve been in, but at this point I honestly don’t think I can dig myself out
of this hole that I’m in. I really messed up bad and because of my stupid decisions, Sheila, is in the
hospital and my dad’s brand new Mercedes is completely totaled. See, she and I were out late last
night at Luke’s party, right?. Neither of us wanted to drink, but Sam and Logan and Kyle kept pressuring
us and shoving drinks at our faces. We just didn’t want to let them down, so we eventually gave in. So
by the end of the night we were both pretty much wasted. Suddenly Sheila came up to me with her
mascara running down her face. She told me that she had to be home within twenty minutes or else her
dad would ground her for a month. So we jumped in my car and sped off. The music was blaring, and
Sheila was being distracting, then all of a sudden I was crashing into this tree and Sheila flew into the
windshield. She wasn’t wearing a seat belt. I panicked and left her there. Dude, I really need your help
right now.
12 | A u d i t i o n i n f o r m a t i o n f o r O U T S I D E R S
10. JACOB by Andrew Marsden
Jacob is worried and scared about what to do for his drug addicted best friend. He's
saying his thoughts aloud to himself while nervously pacing alone in his room.
Conner... What do you expect me to do? Let you get completely screwed and high all the time? What a
moron... What can I do in a situation like this? Help him. How? I know, just do it--but how? Tell the
counselors. (A beat.) I could but that'd mean he'd get in trouble with his parents, and I don't want to
screw him over or have him get in trouble. Then what? Live with it? Live with the idea of me having a
chance to help and then doing nothing? Leave him alone is what I want to do. Walk away and forget
about it, but how can I do that when it's a friend? He's happy with it... I wouldn't have given a damn if it
was some dumb kid I didn't know, but Conner’s my best friend. I guess I got to do
something. I guess I'll try to talk to him. I guess I'll have to. I don't really want to though, but I'll have to.
He needs someone to get it through to him. What if I fail? (A beat.) Forget about that, and just do it...
for him.
11. ADAM by Brian Mattingly
Adam is talking to his best friend in his backyard after a party.
I don't know, man. Maybe I just shouldn't worry about it. It'll probably work itself out somehow. It
always just seemed so far away. Like it'd never really happen, and now here it is. The real world starts
next month. I mean you're going off to Ohio State and AJ is going to school six hours away. Everyone's
leaving and I'm just gonna be... here. I'm gonna miss all you guys. I don't even have a plan either. I mean
things are alright with Christy but what am I gonna do if that falls apart? I'm going to trade school dude.
There's no girls there. I'll be working in a factory for the rest of my life. Women don't work at factories
to meet guys, especially guys like me. I'll probably end up lonely and never have a family. Maybe I just
worry too much...Hell, I barely even have anybody as it is. After senior year it’s back to square one. For
me, at least. Right, James? James? (Sees that JAMES is asleep.) Sweet dreams, buddy. I don’t blame
you for falling asleep. . .my future isn’t worth staying awake for.
12. PATRICK by Cameron Mattingly
Patrick is a depressed 17-year –old whose mother died a month ago. He is dictating a letter into his
phone.
I’m recording this on May 13, 2015. Dear Mom, I can barely stomach the words because they hurt to
think about, but it's also the only thing on my mind. You were my main reason to stay in this deadbeat
town, and, without you. . .I mean why should I stick around? My friends are leaving for college in a
couple of weeks, you are dead, and everything I've ever loved or cared for will be--gone. As you know,
I've always been a big dreamer, wanting to make something great of myself. . .but I wanted this
primarily for you. But now I realize I was reaching for the unattainable. I'm not meant for greatness. . .or
for anything really. It's not like I'm going to hurt anyone--there is no one left to hurt, for me at least. So. .
.goodbye. (Patrick turns off his phone.)
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13. CARL by Christopher Thompson
(Carl is talking to his guidance counselor.)
I don't know what to do. Should I do what my parents want me to do or should I follow my
dream?.When I talked to my parents about it, they were so sure that I'm going to be a brilliant business
entrepreneur like my dad and take over the family business and become even richer than they are. They
are both so sure...but I'm not.
I want to make them proud, but I also want to be happy. I know I will hate working behind a
desk all day. But can I deal with my family’s disappointment in me? Plus . . .the business has been in our
family for three generations. Three generations! Am I willing to be the one to end the family tradition—
to let my great-grandfather’s business go to some stranger?
Is being an artist worth losing my family?
I love my family. Would it be all that tough to sit at a desk all day and earn lots of money until
one day I’ll get to. . .sit at a bigger desk just to earn even more money? mediocre pay until one day I got
my shot. Then I would just be sitting at a bigger desk all day...
No, I can’t. I just can’t.
So tell me, Mr. Campbell, how do I go about breaking the hearts of three generations?
14. BOBBY by Tony Wheeler
Bobby is talking to his girlfriend.
I don't believe your mother actually feels that way. You know it's Jason masterminding the whole thing.
Jason knows I'm not a coward. He knows very well that I'm serious, that I'm not irresolute in my feelings
for you. That our love isn't childish and founded upon ignorance or naiveté. . He sees exemplified in our
success, all of his failures. He's incredibly insecure and strives for dominance and control in every
situation he encounters. It just destroys him to see someone he hates achieving more than he did. He's
insecure, unhappy with his marriage, and likely incredibly depressed. To see an example of the teenage
love that he never had the opportunity to experience- -it's too much for him. He doesn't want me to be
a standup guy. He doesn't want me to be a good person. He doesn't want me to be an adult. He wants
me to fear him.
14 | A u d i t i o n i n f o r m a t i o n f o r O U T S I D E R S
SCENES
If you’d like to be considered for a principal or featured role, prepare one of the scenes below. You may prepare
the scene
 with specific people so you all perform together at auditions, or
 you may concentrate on one of the roles in a scene, and let a director or an assistant director perform the
scene with you.
No one will be allowed to perform in more than one of the scenes, though, so, for example, if James Dawson
agrees to perform scene 4 with Kyle Fitzgerald at auditions , James can’t also do a scene with Jacob Chamberlain.
The scenes may be memorized, but it’s fine if you would prefer to do it with the script.
Scene 1: TWO characters (PONYBOY, JOHNNY)
PONYBOY: (To the audience.) I’d been in a church before. But this falling-down old place gave me a
creepy feeling. What do you call it—a premonition. (JOHNNY enters with the supplies.)
JOHNNY: Nobody paid attention at the store. A week’s supply of baloney, two loaves of bread, a box of
matches, candy bars, candy bars, and—
PONYBOY: More candy bars! (Picks up a book.) Gone with the Wind! How’d you know I always wanted
to read that book?
JOHNNY: I remember you sayin’ something about it once. I thought maybe you could read it out loud
and help kill time or something.
PONYBOY: Thanks.
JOHNNY: (A beat.) We’re in big trouble.
PONYBOY: I’m still tired—and a little spooked. Things have been happening so fast. Man, I’m tired.
JOHNNY: Last night. (It’s too much to remember.) Was it just last night?
PONYBOY: Last night we were walkin’ Cherry and Marcia over to Two-Bit’s. Last night we were layin’ in
the lot, lookin’ up at the stars—
JOHNNY: Last night I killed Bob. He couldn’t have been over seventeen or eighteen and I killed him.
(Whispers.) I’m real tired, too.
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Scene 2: THREE characters (PONYBOY, RANDY, BOB)
BOB: (To Ponyboy) Hey, grease—
RANDY: How come you’re all by yourself, grease?
PONYBOY: Stay away from me.
BOB: Couldn’t think of it.
RANDY: Not safe for you to be out here all alone.
BOB: We’re gonna do you a favor, grease, We’re gonna cut off that long greasy hair.
PONYBOY: Leave me alone.
BOB: Need a haircut, grease?
PONYBOY: No.
BOB: Gonna cut it real close. How you’d like your haircut to begin just below your chin?
PONYBOY: Are you crazy? (Shouts.) Soda! Darry!
BOB: Shut him up.
RANDY: I see somebody comin’.
PONYBOY: Darry!
BOB: (Heading toward PONYBOY.) Okay, grease—
RANDY: Cool it, Bob!
BOB: He’s asking for it.
RANDY: Company’s comin’.
BOB: Have to give you another appointment, grease. Catch you later!
16 | A u d i t i o n i n f o r m a t i o n f o r O U T S I D E R S
Scene 3: TWO characters (PONYBOY, SODAPOP)
PONYBOY: Soda?
SODAPOP: Yes?
PONYBOY: How come you dropped out of school? I could hardly stand it when you left school.
SODAPOP: It’s cause I’m dumb. The only things I was passing were auto mechanics and gym.
PONYBOY: You’re not dumb.
SODAPOP: I am. Shut up and I’ll tell you something, but don’t tell Darry.
PONYBOY: Okay.
SODAPOP: I think I’m gonna marry Sandy. After she gets out of school and I get a better job and
everything. (A beat.) I might wait till you get out of school, though. So I can help Darry with the bills.
PONYBOY: (Approving.) Tuff enough. (With alarm.) Only wait till I get out so you can keep Darry off my
back.
SODAPOP: Don’t be like that. I told you he doesn’t mean half the things he says. He’s just got more
worries than someone his age ought to. He’s really proud of you because you’re brainy.
PONYBOY: Sure.
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Scene 4: TWO characters (DALLAS, JOHNNY)
DALLAS: This place is out of it. What do they do for kicks in the country. . .play checkers?
JOHNNY: We’re goin’ back and turnin’ ourselves in.
DALLAS: What?
JOHNNY: We’re goin’ back and turnin’ ourselves in. I got a good chance of bein’ let off easy. I ain’t got
no record. Both Ponyboy and Cherry can testify it was self-defense
DALLAS: Once they get their hands on you—
JOHNNY: I can’t stay in this church the rest of my life.
DALLAS: When they take you in, you’ll find out that greasers get it worse than anybody.
JOHNNY: We won’t tell you helped us, and we’ll give you what’s left of the money—
DALLAS: You sure you want to go back?
JOHNNY: It ain’t fair for Ponyboy to stay here with Darry and Soda worrying about him all the time. (A
beat.) I don’t guess my parents are worried about me or anything?
DALLAS: The other guys are worried. Two-bit was going to Texas to look for you.
JOHNNY: My parents—did they ask about me?
DALLAS: No, they didn’t. . (A beat.) Johnny, what do they matter? Shoot, my old man don’t give a hang
whether I’m in jail or dead in a car wreck or drunk in the gutter. That don’t bother me none.
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Scene 5: TWO characters (PONYBOY, JOHNNY)
JOHNNY: Those girls saved us from a fight, Pony. I’m real glad we didn’t have to fight.
PONYBOY: We’d a done okay.
JOHNNY: You don’t understand. I couldn’t take it again. I’d rather kill myself of something.
PONYBOY: You can’t kill yourself. Don’t talk like that.
JOHNNY: I gotta do something. (A beat.) Maybe I’ll just sleep here in the park tonight. Listen to the
water in the little fountain. Pretend it’s a waterfall some place in the mountains. (A beat.) There oughta
be someplace without greasers or Socs—with just people.
PONYBOY: Maybe out in the country. When we had the whole family, we’d drive out in the country.
JOHNNY: Lemme tell you something crazy. I think I like it better when my old man is hittin’ me. At least
then I know he knows who I am. I walk in that house, and nobody says anything. I walk out, nobody
says anything. I stay away all night and nobody notices. At least you got Soda. I ain’t got nobody.
PONYBOY: Shoot, you got the whole gang.
JOHNNY: Not like having your own folks care about you. (Settles down to sleep, then says softly--) It ain’t
the same.
PONYBOY: (To the audience.) Johnny went to sleep right away. Since I was asleep and dreaming, I
brought Mom and Dad back to life. Mom’d bake things, and Dad would drive the pick-up out early to
feed the cattle. When I woke up, I panicked. Johnny was still asleep. Just thinkin’ about facing Darry
this late made me shake.
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Scene 6: TWO characters (CHERRY, PONYBOY)
PONYBOY: Johnny tried to run, but the Socs caught him. One of them had rings on his hands. That’s
what cut Johnny up so bad.
CHERRY: All Socs aren’t like that. You have to believe me. Not all of us are like that.
PONYBOY: Sure.
CHERRY: That’s like saying all greasers are like Dallas Winston. I bet he’s jumped a few people.
PONYBOY: Lotsa times.
CHERRY: You think the Socs have it made, don’t you?
PONYBOY: Well, you do.
CHERRY: It may come as a surprise to you, but we have troubles you’ve never even heard of. You want
to know something? Things are tough all over.
PONYBOY: Then why are we so different?
CHERRY: You greasers are more emotional. We Socs are sophisticated—cool to the point of not feeling
anything. Sometimes I’ll catch myself talking and realize I don’t mean half the things I say. I don’t really
think a beer blast on the river bottom is super-cool, but I’ll rave about it to the group just to be saying
something. (A beat) I’ve never told that to anyone. You’re the first person. Why is that?
PONYBOY: Because I’m a greaser. And because I’m younger. So you don’t have to keep your guard up.
CHERRY: For a kid you’re awfully smart.
PONYBOY: Probably I’ll outgrow it. We’d better buy some popcorn and get back.
CHERRY: You read a lot, don’t you?
PONYBOY: Yeah. Why?
CHERRY: I could just tell. And I bet you watch sunsets.
PONYBOY: Yeah. What about it?
CHERRY: I used to watch them too before I got so busy.
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Scene 7: TWO characters (PONYBOY, CHERRY)
CHERRY: (To an angry BOB.)Bob, wait in the car. I said I’ll be along in a minute. (To PONYBOY.) I’d better
go with them.
PONYBOY: I know.
CHERRY: It’s too dangerous. If I see you in the hall at school and don’t say hi, it won’t be personal. It’s—
PONYBOY: The way things are.
CHERRY: I can’t even let my parents see me with you.
PONYBOY: It’s okay. Just don’t forget, some of us greasers watch sunsets, too. (A beat.)
CHERRY: I better not push the one-minute warning. (Calls.) I’m coming. . (To PONYBOY.) I hope I never
see that Dallas Winston again.
PONYBOY: Because he’s one of us?
CHERRY: Because I might fall in love with him. How’d that be for trouble?
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Scene 8: THREE characters (PONYBOY, JERRY, MRS. O’BRIANT)
Note: JERRY and MRS. O’BRIANT are adult characters. They may be played by either guys or girls.
MRS. O’BRIANT: I think he’s coming around.
JERRY: How you doin’, kid?
PONYBOY: Where ya takin’ me?
JERRY: Lie back. You’re in an ambulance.
PONYBOY: Ambulance? Where’s Johnny? Where’s Dallas?
JERRY: They’re in the ambulance right behind us.
MRS. O’BRIANT: Just calm down. You’re going to be okay. You just passed out.
PONYBOY: I didn’t pass out. Dallas hit me. He knocked me out.
JERRY: Because your back was in flames.
PONYBOY: It was?
MRS. O’BRIANT: It was.
PONYBOY: I didn’t feel it.
JERRY: Your friend put it out before you got burned.
PONYBOY: Are you taking us to the police station?
MRS. O’BRIANT: (Startled.) The police station?
JERRY: Why would we take you to the police station? We’re taking all of you to the hospital.
PONYBOY: Johnny and Dallas are all right?
JERRY: (Hesitates.) Which one’s which.
PONYBOY: Johnny had black hair. Dallas is the mean-looking one.
JERRY: (Speaking carefully.) Dallas will be all right. He burned one arm trying to drag the other kid out
the window. I don’t know about Johnny. A piece of timber caught him across the back. He might have
a broken back.
MRS. O’BRIANT: He has severe burns. Severe. They’re giving him plasma now.
JERRY: I swear you three are the bravest kids I’ve ever seen. (Tries to lighten the mood.) Are you
professional heroes or something?
MRS. O’BRIANT: I think you three were sent straight from Heaven.
PONYBOY: Are the little kids okay?
MRS. O’BRIANT: They’re okay—thank you. A lot of parents are waiting to thank you.
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IMPROV Auditions
Select ONE of the characters below to play in your improv audition. Think about how your character
would stand, walk, talk, sit, and what your character would think and feel about different things.
When you are called, you will enter onto stage, and you will be asked questions about your character
(and you may also be asked to do some things as your character). You will answer as your character
would answer. From the moment you enter until the moment you leave, you want to play your
character to the best of your ability.
You will perform for about 1-2 minutes. We will look at how convincing your are as your characters as
well as how well you display basic stage techniques of projection, sharing with the audience, etc.
ALL auditioners must go through the Improv auditions.
CHOICES FOR A CHARACTER TO IMPROVISE
MALE Teenagers
CLIFF
is fourteen years old and a greaser. He is thoughtful and insightful and has the potential to be a writer.
His literary interests and academic accomplishments set him apart from the rest of his gang. Although
he does better than all the other greasers in school, he’s fiercely loyal to the gang.
EARL
is sixteen. He’s usually " happy-go-lucky and grinning," but he has dropped out of school to take
care of his handicapped little brother. He wasn’t sorry to drop out—he did very poorly in
school. He is also a greaser.
MARVIN
is twenty and works as a roofer. He’s "hard and firm and rarely grins at all." He has "grown up too fast."
He was the captain of the football team in high school and won a college scholarship, but had to drop
out of school to take care of his family when his parents were killed in a traffic accident when he was
just eighteen. Strong, athletic, and intelligent, Marvin works two jobs to hold the family together. The
unofficial leader of the greasers, he is also the sole income now for two younger sisters and two younger
brothers.
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WAYNE
is the oldest member of the greaser gang, and "the wisecracker of the bunch." He is famous for shoplifting everything he can, including his black-handled switchblade, which he is also known for. He liked
fights, blondes, and for some unfathomable reason, school. He is extremely talkative.
ROY
is seventeen and the toughest member of the greaser gang. His eyes are blazing ice, cold with a hatred
of the whole world. He is a hardened teen who used to run with gangs in New York. His violent
tendencies make him more dangerous than the other greasers, and he takes pride in his criminal
record.
GLENN
is sixteen and the second-youngest in the greaser gang. . He is smaller than the rest, with a slight build.
He has a nervous, suspicious look in his eyes. He is the gang's pet, everyone's kid brother." He is always
"high-strung," living in a household where his father beats him all the time. Though Johnny does not
succeed in school, he approaches intellectual matters with steady concentration. The child of alcoholic,
abusive parents, he is nervous and sensitive. Since his parents do not care for him, Johnny sees the
greasers as his true family.
WALT
is a handsome member of the popular crowd who sees the futility of fighting. He wants to stay in the
popular crowd, but he understands that greasers have feelings and aren’t that different.
LEONARD
is a handsome member of the popular crowd whose indulgent parents have never disciplined him. As a
result, he believes he can do anything he wants and he will get away with it. He’s wild and a secret
alcoholic. He is also a phony—he pretends to be polite to grown-ups, but he is full of rage deep inside
and looks for ways to sabotage or injure others.
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GIRLS
LOIS
is a cheerful (yet thoughtful) sixteen year old who is the girlfriend of the leader of the popular crowd.
Although it’s important to her to be a member of that crowd, she is intelligent enough to realize that she
has to suppress a lot of her own personality in order to fit in. She is kind and sensitive to the feelings of
others.
DEBBIE
is a lively member of the popular crowd with a great sense of humor. She’s always up for an adventure,
and she shows a lot of spunk when she meets people who are different from herself.
MARILYN
Is a 16-year-old greaser girl. She comes from a brutal family and is saving her money up to run away.
She’s in love with a greaser boy, but she knows she needs to get out of town before something bad
happens to ruin her future. She is kind and gentle, but determined.
ADULTS
MR. MASON
Though an adult and a member of mainstream society, he judges the greasers on their merits instead of
automatically branding them juvenile delinquents.
MR. ELDEN
Is an English teacher. He cares about all his students and tries to inspire them to do their best.