The Full Monty
Directed and Choreographed by Chet Walker
AUDITIONS
Friday, November 7, 2014 - 7:00pm (registration begins at 6:30pm)
Audition Requirements: This is a musical and everyone will be required to sing 32 bars from a song and to read from the script. Please bring sheet music or CD for the singing part of the audition. An accompanist and CD player will be provided. If you do not have sheet music or a CD, be prepared to sing a song of your choice - a cappella (without accompaniment.) Callbacks will be held the same evening.
A first rehearsal will be held on Saturday, November 8, 2014 at 6:00 pm with Mr. Walker.
Rehearsals begin Sunday, January 4, 2014 and are typically scheduled Sunday through Thursday from 6:30pm to 10:00pm. The first week will be music. Mr. Walker will arrive January 12, 2015. Due to the size and complexity of this production, additional dates and times may be needed. Be prepared to list all and any conflicts with the rehearsal days and weeks at the time of the audition. All potential conflicts should be cleared for rehearsal and performance days.
We do not anticipate needing all actors at all scheduled rehearsals until the final two weeks of rehearsals. A detailed schedule, with dates and times and those REQUIRED to be at rehearsals, will be provided throughout the rehearsal process. However, please mark these dates on your schedule accordingly and make every arrangement necessary to attend all rehearsals and performances. Due to the requirements of this, and all productions, no one can be excused from any technical rehearsal or performance. If potential conflicts arise prior to rehearsals beginning – actors are asked to contact their stage manager immediately. If potential conflicts arise during the rehearsal process – you will notify your stage manager. The success of the production is impacted by the great attendance, discipline and accountability of all cast and crew at all scheduled rehearsals and performances.
About the Play:
A raucous pop-rock musical send-up of gender expectations and stereotypes that takes it all off.
Based on the cult hit film of the same name, THE FULL MONTY a 10-time Tony Award-nominee, is filled with honest affection, engaging melodies and the most highly-anticipated closing number of any show. The powerhouse team of Terrence McNally (RAGTIME) and David Yazbek (DIRTY ROTTEN SCOUNDRELS) cook up an aggressive crowd pleaser that both entertains and grabs your heart.
While spying on their wives at a 'Girls' Night Out,' a group of unemployed steelworkers from Buffalo see how much they enjoy watching male strippers. Jealous, out of work, and feeling emasculated, the men come up with a bold and unclothed way to make some quick cash. In preparing, they find themselves extremely exposed; not merely physically but emotionally. As they conquer their fears, self-consciousness, and prejudices, the men come to discover they're stronger as a group, and the strength they find in each other gives them the individual courage to "let it go."
THE FULL MONTY is a story full of heart. Right to the end, audiences will be wondering if these lovable misfits will really pull it off. With a raucous mix of razor-sharp humor and toe-tapping pizzazz, this heartwarming upbeat comedy is a must for any theatre looking for a big hit.
Characters NEEDED:
All characters are normal denizens of Buffalo. Unless specifically noted, all body types are welcome! You must be at least 18 years old before kick-off to audition. This show has adult themes and language. All ages are stage ages and pliable.
We need actors with comedy chops that can hit the depths and heights of reality. The audience must connect with these real people and fall in love with them, quirks and all.
Vocal ranges include key solo work. Depending on casting needs, some ranges may be wider or narrower to cover the full harmonies required. This music is more difficult than it first appears. Most of the men sing a variety of styles with considerable range. All include challenging harmonies while moving or dancing. We need good movers. No dance training or experience in any particular style is required, but many characters need to perform synchronized movement well while singing tight harmonies. Be prepared to dance!
Jerry Lukowski * – An unemployed mill worker. 30-40. Ra Range: Rock Tenor. Sings in 10 numbers. B2-Db5, strong controlled falsetto. “I'm out of work, divorced, in debt up to my balls ... And if I don't make some money soon they won't let me see my kid. I'm fed up, frustrated, angry and, oh yeah, scrap.” Jerry is a complex emotional character with serious heart and charisma, and genuine tenderness for his son – a regular guy. Very strong singing across genres, including a controlled and pretty falsetto, is required - 8 songs, 2 reprises, dense harmonies. Power-house actor. Jerry carries the show. MTI lists TFM as “Cast type = star vehicle-male.” Jerry is that male. Talent and stamina are mandatory. Body type = preferably good-looking (his “nice rear” is referenced).
Dave Bukatinsky * – An unemployed steel worker. 30-40. Range: Lyric Tenor with strong falsetto. Sings in 9 numbers. B2-Db5. “I just defrosted my refrigerator and vacuumed my living room. And how was your day?” Jerry's best friend, he is often swept along in Jerry's plans unwittingly. He struggles with unemployment and its effect on his marriage. “Heart” is often used to describe this show: Dave has heart in spades! A lovable, good-natured soul with body weight and self-esteem issues. Another “star vehicle-male” role. Must be comfortable enough with your belly to proudly wield it in all its glory. Body type = notably overweight relative to the other Monty Men - it is a key component of the character. Strong singer required.
Malcolm MacGregor * – an unemployed mill worker. 25-40. Range: High Tenor, smooth falsetto. Sings in 8 numbers. C#3-E5. “I sure could use a friend … I'm a compete loser who still lives at home with his mother.” His frank self-assessment neglects to mention his sweetness and sincerity. A shy gay man, he is rescued from a half-hearted suicide attempt by Jerry and Dave and becomes fast friends. Through their auditions for male strippers, he meets Ethan who buoys him through a very dark moment. Malcolm's self-esteem soars around his new companions. Beautiful voice required.
Ethan Girard * – an unemployed steel worker. 25-40. Range: High baritone/tenor. Sings in 6 numbers. F2-Bb5. “I don't know what I want. Something. Somebody.” Ethan remains an optimist while struggling with unemployment and friendship. He energetically attempts wallwalking a la Donald O'Connor's 'Singing In The Rain' acrobatics. His affection for Malcolm is openly genuine and uncomplicated. Good physical comedic role.
Noah “Horse” T. Simmons * – a retired African American mill worker. 50+. Range: Baritone/Tenor. Sings in 5 numbers. D3-Bb5. His “break-dancing days are probably over” but he sings and dances the funky show-stopping, 'Big Black Man.' Excellent mover with great dead-pan comedy. Body type = Black man (not necessarily big!). It is a key component of the character.
Buddy 'Keno' Walsh * – handsome and experienced gay male stripper. 21-32. His show opening Chippendale-esque performance for the Buffalo ladies bookends the beginning of the show nicely. May double in other roles. May sing in the songs 'Scrap' and 'Let It Go.'
Rehearsals will begin Sunday, January 4, 2015
Anticipated rehearsals are Sunday-Thursday 6:30 pm – 10:00 pm
Technical Rehearsals (Production week) begins Sunday, February 15th
All cast members are required to be at all technical rehearsals
Performance Dates: All cast members are required to be at all performances
Friday, February 20 – 7:30 pm
Saturday, February 21 – 7:30 pm
Sunday, October 22 – 2:00 pm
Wednesday, February 25 – 6:30 pm – Brush Up Rehearsal
Thursday, February 26– 7:30 pm
Friday, February 27 – 7:30 pm
Saturday, February 28 – 7:30 pm
Technical Crew Call Dates
All Company Members are asked to participate in at least 2 crew calls other than strike.
Additional crew calls may happen in October, November & December 2014
Saturday, January 17 – 10:00 am and/or 1:00 pm
Saturday, January 24 – 10:00 am and/or 1:00 pm
Saturday, January 31 – 10:00 am and/or 1:00 pm
Saturday, February 7 – 10:00 am and/or 1:00 pm
Saturday, February 14 – 10:00 am and/or 1:00 pm
Saturday, February 28 - after curtain STRIKE--All company members are required to
participate in STRIKE
Chet Walker
Director/Choreographer
Multi-Award Winning Director/Choreographer CHET WALKER has garnered acclaim onstage in theaters across the globe, in television, film, music video and all commercial media.
Chet originally conceived the 1999 Tony-Award-winning musical Fosse which also won an Outer Critics’ Circle Award and the Toronto Theater Alliance Award for Choreography. Other award nominations for Fosse include the L.A. Critics’ Award and the Outer Critics’ Circle Award, both for choreography, and the Olivier Award for Conceiver of Best Musical. Chet is also recipient of the L.A. Drama-logue Award for Best Choreography for Best Little Whorehouse in Texas; Sweden’s equivalent of the Tony Award for Best Choreography for Annie Get Your Gun; and Chicago’s Joseph Jefferson Award for his co-choreography of Pal Joey at the Goodman Theatre.
Also, as director/choreographer, Chet created SWEET CHARITY (BOB FOSSE’S ORIGINAL CHOREOGRAPHY) in the United States, Holland, Japan, Mexico, Norway and London’s West End; further credits include the London revival of PIPPIN at the Menier Chocolate Factory, The Tenth Anniversary Tour of LA CAGE aux FOLLES, CHICAGO in Atlanta and in Norway, A CHORUS LINE, FOLLIES, WORKING in Los Angles, FUNNY GIRL in Amsterdam, A FUNNY THING HAPPEN ON THE WAY TO THE FORUM Chicago’s Goodman Theater and Tel Aviv’s Cameri Theatre, KISS OF THE SPIDER WOMAN in Mexico City (Nomination for Best Musical), CABARET in Norway and in Belgrade, Serbia, SINGING IN THE RAIN in Madrid, THE PRODUCERS in Israel, Brazil, Argentina, (ACE AWARD nomination for Best Choreography), and the critically acclaimed THE DANCING MAN and JAZZ ON JAZZ in Norway. His creative talents have also produced five dance operas: CALOR, FEVER, CONFESSION OF LOVE, LOOK BACK IN LOVE and The New York Times critically acclaimed SEDUCTION; as well as three ballets: ANGER, THE DOWN LOW, and NIGHTCHASE for Julio Bocca’s Ballet Argentina. Chet recreated the original Bob Fosse choreography for the Chocolate Factory’s London revival of Pippin¸ directed by Mitch Sebastian.
His Broadway performing career began at the age of sixteen when he appeared in the first revival of On the Town. Other Broadway credits include: Lorelei, The Ambassadors, and four Bob Fosse musicals: The Pajama Game, Dancin’, Sweet Charity and PIPPIN.
Chet most recently received the Outer Critics Circle Award, the Drama Desk Award, the Astaire Award, and a Tony nomination for his choreography of Stephen Schwartz’s PIPPIN, the acclaimed revival now playing on Broadway at the Music Box Theatre, directed by Diane Paulus. The revival garnered an astonishing 10 Tony Award nominations, winning for several, including Best Revival of a musical. Chet’s upcoming projects include the new West End musical Feelin’ In The Mood (opening 2014) and Valentino, currently in development for Broadway.
