CAST LIST FOR THE WILD PARTY
4TH ANNUAL SUMMER AUCTION GALA CABARET AUDITIONS
AUDITIONS FOR THE CRUCIBLE
Ensemble: Camille DeMars, Kristi-Anne Lyons, Dustin Gonzales, Carley Magette, Anna Shaw, Megan Rodgers
This summer, we are thrilled to offer the Gala audience a night of show stopping musical theatre from the 20th century.
Directed by Paige Gagliano
Music Directed by Michael Hull
Auditioners should prepare 32 bars of a musical theatre piece produced between 1901 – 1999. Please bring your sheet music bound (book, binder or folder) for the accompanist. The directors are also asking all of those auditioning to be familiar with a second contrasting piece. The directors will not see any a capella auditions.
***If you are absolutely unable to attend vocal auditions on the 20th, please contact the box office and we’ll do our best to accommodate you.***
The rehearsal schedule will be determined by performer availability throughout May and June, typically in the evenings.
As this is a fundraiser, each performer will be strongly encouraged at least 4 tickets to the Summer Auction Gala.
Arthur Miller’s The Crucible revolves around a young farmer, John Proctor, his wife, Elizabeth, and a young servant girl, Abigail, who maliciously causes Elizabeth’s arrest for witchcraft. John brings Abigail to court to admit the lie – and it is here that the monstrous course of bigotry and deceit is terrifyingly depicted. John, instead of saving his wife, finds himself also accused of witchcraft and ultimately condemned with a host of others. Winner of the 1953 Tony Award for Best Play, this exciting drama, based on the Puritan purge of witchcraft in old Salem, is both a gripping historical play and a timely parable of our contemporary society. The role of Elizabeth Proctor will be played by Managing Artistic Director Jenny Ballard.
Director: George Judy
Stage Manager: Megan Collins
Vocal Auditions: Sunday June 2nd: 6-10 PM
Callbacks (if needed): Monday, June 3rd, 7-10 PM
PLEASE PREPARE the sides for the characters you are interested in.
Please call the box office at 225-924-6496 to sign up for your audition. Scripts are available for rent (with a $20 cast, refundable deposit). Please call to request a copy of the script.
Cheever is a tailor and a clerk of the court who places great importance in his job, which he sees as a holy one. He is at once fearful, embarrassed, apologetic, and a little officious. He discovers the doll that Mary knitted for Elizabeth Proctor. Discovering a needle in the doll's stomach, he believes that Elizabeth is practicing some kind of witchcraft that has affected Abigail.
An old man, Giles Corey is "knotted with muscle, canny, inquisitive, and still powerful. . . . He didn' t give a hoot for public opinion, and only in his last years did he bother much with the church. He was a crank and a nuisance, but withal a deeply innocent and brave man." Corey refuses to answer the charges levied against him and is crushed to death beneath heavy stones that are placed upon his chest by the inquisitors, who are attempting to torture a confession out of him. Because he neither admitted the charge nor denied it and risked being hanged, his property passed to his sons instead of the town. His refusal to cooperate and his disdain for the trials is illustrated in his last words before he dies beneath the stones: "More weight."
Reverend Parris's daughter, Betty, is caught up in the fear and accusations which are generated after the girls are discovered dancing in the woods. It is not revealed whether her illness is feigned or if it is a genuine physical response to a traumatic situation, but it is clear that she is easily influenced and deeply affected by her experiences.
Reverend Samuel Parris
Parris, Salem's minister, and Abigail's uncle, is a weak character who appears to enjoy and to be protective of the status which his position brings. This aspect of his personality is evident in his dispute about whether the provision of his firewood should be taken out of his salary or is extra to it. He is concerned with appearances, and, when interrogating Abigail about her dealings with witches in the opening scene, he seems to worry more about what these activities will mean to his reputation than Abigail's spiritual state. He continues to follow public opinion right to the end of the play, when he insists that Proctor's confession must be made publicly in order for it to be effective.
The central figure in the play, Proctor is an ordinary man, a blunt farmer who speaks his mind and is often ruled by his passions. It is revealed early in the play that he has had an adulterous affair with Abigail, who worked as his servant. Yet he clearly shows remorse for his act and is attempting to right his error; he is conciliatory with his wife, Elizabeth, and disdainful of Abigail's sexual advances. When the accusations fly at the trials, he is determined to tell the truth, even if it means criticizing and antagonizing the investigators. His determination to expose Abigail's false accusations eventually leads him to admit his own adultery to the court. He is at his most self-aware in his final speech when he realizes the importance of maintaining his integrity. Explaining why he has recanted his confession, he cries: "Because it is my name! Because I cannot have another in my life! Because I lie and sign myself to lies! Because I am not worth the dust on the feet of them that hang! How may I live without my name? I have given you my soul, leave me my name!"
Deputy Governor Danforth
Danforth is described as a "grave man of some humor and sophistication that does not, however, interfere with an exact loyalty to his position and his cause." Contrary to the strong and proficient appearance he puts forth, however, he is revealed to be, at times, distracted and uncomprehending of the proceedings over which he presides. Although, like Hale, he is presented with considerable evidence that Proctor and the others are innocent, he refuses to grant them clemency. He argues that it would reflect badly on the court if he released prisoners after executing a number of people accused of the same crimes—regardless of their innocence. He is a stubborn man who sees no flexibility in the law and whose pride and position will not allow him to reverse a previous decision.
Goody Sarah Good
Goody Good is a ragged and crazy woman who seems to live on the edges of town life. Although past
child-bearing age, she is thought to be pregnant. The fact that she is eventually jailed as a witch suggests how eager the townspeople are to condemn anyone who does not conform to the accepted norms of their community.
Reverend John Hale
Hale embodies many of the moral contradictions of the play: he is a man of integrity who, although at times misguided and overzealous, is willing to change his mind when confronted with the truth. Despite this admirable trait, he lacks the moral conviction to act against proceedings that will condemn innocents to death. He comes to realize that John Proctor is guilty of nothing more than adultery yet he lacks the courage to question the decisions of the court and the prevailing attitude of seventeenth century society. While his fair-mindedness and humanity deserve a measure of respect, Hale's inability to perceive—and endorse— the power in Proctor's stand for personal virtue leaves his character ignorant and weak.
Hathorne is a "bitter, remorseless Salem judge" who has bigoted views although he appears courteous and respectful on the surface.
Marshall Herrick (Willard)
Herrick seems to be the gentle and courteous side of law enforcement in Salem. He follows the law carefully, treats people gently, and has the respect of the townspeople. Despite this, he is still a participant in the inquisition that results in the executions of numerous residents.
The Putnam's servant, Mercy Lewis is described as "a fat, sly, merciless girl." She quickly follows Abigail in her accusations and finds a power and confidence in accusation which contrasts with her usually fearful demeanor.
Nurse is a hard-working, honest member of the community who is shocked by his wife, Rebecca's arrest. Both he and his wife are shown to be kindly town elders who, before the accusations fly, are highly respected and liked by all. He is more or less an innocent bystander whose life is turned upside down by the hysteria that grips Salem.
Goody Rebecca Nurse
When Rebecca is accused of witchcraft it becomes clear that the town has lapsed into collective madness as she stands out uniquely as a woman of great wisdom, compassion, and moral strength. She is gentle and loving, deeply spiritual, and a mother of eleven children and twenty-six grandchildren. Her moral character and strong sense of her own goodness is evident in her adamant refusal to sign a confession. When she is brought into the room where John Proctor is about to sign his confession, her presence proves pivotal in Proctor's decision to take a stand for integrity and not sign the confession.
Goody Ann Putnam
Goody Putnam is "a twisted soul . . . a death-ridden woman haunted by bad dreams." The death of all of her children has affected her deeply. Her pain has been turned into a vindictiveness which is directed at Rebecca Nurse.
Putnam is "a well-to-do hard-handed landowner" who attempts to benefit from the accusations made against other members of the community. Giles Corey accuses him of taking advantage of accused landowners' plights. Knowing that the convicted will be forced to sell their land for much less than it is worth, Putnam is all too eager to attain these properties at cut-rate prices. He has many grievances, and his vengeful, angry behavior seems to stem from his desire for power and possessions.
Tituba is Reverend Parris's black slave and a native of the island of Barbados. She is suspected of black magic due to the traditions of Voodoo that were prevalent in her home country. She is genuinely fond of Abigail and Betty. The events bring out her superstitious nature, and her fears become uncontrolled, eventually degenerating into madness when she is in jail.
Susanna Walcott is carried along by the hysteria of the other girls, enjoying the attention which they get from making accusations. Otherwise she is nervous and tense.
Mary Warren is the Proctors' servant who seems timid and subservient but who finds a powerful role in a kind of people's jury in the courtroom. She occasionally dares to defy Proctor, particularly in her insistence that she must attend the hearings, but she is easily intimidated into at least partial submission. Proctor convinces her that she must expose Abigail's lies to the court, which she agrees to do. She becomes hysterical before the court, however, and soon joins Abigail in pretending that mere is evil witchcraft at work. Her behavior in the court contributes, in part, to John Proctor's arrest.
In the character of Abigail are embodied many of the main issues of the play. Her accusations initially reveal a mischievous enjoyment in wielding power over other people's lives. But the fact that the events which they set in motion seem to far outweigh the initial mischief suggests that the community of Salem has embedded in its fabric elements of social corruption, moral disease, or unresolved and repressed feelings of anger and hostility. Abigail's actions should be seen as an effect rather than a cause of the town's accusatory environment. It is noteworthy that, because her parents were brutally killed, she is without adults to whom she is close: Parris cares for her material needs, but there is no evidence that they are emotionally close or that he provides her with anything but the most basic of guidance. Her adulterous relationship with John Proctor might be seen as a craving for affection which, in the absence of family love, manifests itself in physical desire. Her eventual escape to Boston where it is reported she became a prostitute suggests the same craving for emotional love through physical intimacy. Abigail's apparent belief in witchcraft may have similar roots to her sexual neediness. It is psychologically plausible that she would need to find an alternative to the strict and, it seems, loveless Puritanism of her uncle, and that this would attract her to precisely the things—black magic, physical expression, and sexual conjuring—which the religion of her community forbids (she craved attention regardless of whether it was positive or negative attention). She is at once a frightening and pitiable character, malicious in her accusations and sad in her need for close human contact and attention.