If the Good Lord’s Willing and the Creek Don’t Rise
To download this audition document, scroll to the bottom of this page.
Auditions: Tuesday, September 4th from 6 p.m. – 7:30 p.m. or Thursday, September 6th from 6 p.m. – 7:30 p.m.
What is 5:16 Players?
The 5:16 Players is a community theater with a focus on wholesome entertainment. Now in our 1st year, we’re proud to bring you top-quality theatrical productions a year. We are sponsored and supported by First Presbyterian Church, and provide entertainment to the community without religious bias.
In addition to using many experienced theater folks, one of the objectives of our work is to provide a venue for those who have never been involved in the theater arts before. We enjoy seeing people discover a love of theater – whether that’s performing on the stage; building sets; making costumes; or working as a stage hand, lighting technician or sound technician. As new cast and crew members “learn the ropes” and become seasoned pros, they may decide to try their hand at stage managing or directing. All of our cast, crew, and management are volunteers. But, no matter what role you choose, this will be the most fun that you have had in a long time!
What will auditions be like?
We’ll have you sign in and fill out an audition form to tell us about yourself. Don’t worry if you’ve never done this before – experience is not required. If you have a head shot, bring it along. If not, we’ll take a picture to help us remember who’s who after you’re gone. If an auditioner is under the age of 18, they must have a parent present and have that parent sign minor participation forms.
We also understand that rehearsals may overlap with the end of current productions for some actors. We ask that you provide us with details of conflicts and impacts at your audition.
Everyone who’s auditioning will be together in one room, and you’ll be asked to read scenes from the play. It’s known as “cold reading”, because you’re not expected to memorize anything in advance. The material you need will be given to you. The Director and Stage Manager will run the auditions, and you’ll be asked to come forward a couple of times to read. We’re all friendly and promise that it won’t be intimidating. You may be asked to read a part that you’re obviously not suited for, or that you have no interest in. It doesn’t mean you’re being considered for that part but rather helps us gauge your flexibility and range.
No parts are pre-cast, and everyone who gets a part will have auditioned at one of the 2 scheduled times, unless special arrangements are made in advance.
Among the things we’ll be looking for are:
- Speaking voice quality – Can you project, so that you’ll be heard from the back of the auditorium?
- Energy – can we hear the interest and excitement in your voice?
- Facial Expression – Does it match the words you’re reading?
- Character – Can you “be” the person you’re reading?
- Willingness – Can you follow instructions and give it your best shot?
How will you pick the cast?
Many things go into putting a cast together. Of course, your performance at the audition is important, but so are other things that are not in your control. The script dictates, to a large extent, who will be cast. As an example, characters playing members of a family should look like they could be family. So casting is a process of finding good actors of an appropriate age who fit in combination with the other actors.
When will I know if I’m cast?
If we are able to cast you, we will call you no later than the day after the last audition. For this show, that means we’ll call by Thursday, January 11th after the second round of auditions. If you don’t hear from us, we were not able to use you this time. The number of people who audition prevents us from calling everyone. But remember, that doesn’t mean you did a poor job, and please – come back to audition for another show.
What am I committing to?
By coming to auditions you’re not committing to anything. Come try us out and see what you think. If we offer you a part, and you accept, then you are definitely making a commitment to attend every rehearsal. That means you can’t miss a rehearsal unless it’s absolutely necessary and you’ve told the Stage Manager in advance. No absences are allowed during the last two weeks of rehearsals. Even if you have your part learned down pat and don’t feel you need to be there, remember that your fellow actors are dependent on you being where you’re supposed to be. If someone has a line to deliver to you and you’re not there, it makes it very difficult to stay in character and keep the scene running smoothly. A major factor in a production not getting to a polished, professional level, is a cast that is erratic in attendance. OK, enough preaching – just want you to understand the importance of being at rehearsals.
Tell me about this play
This zany comedy, in the spirit of Kaufman and Hart, centers on Doc, an eccentric old man whose house caters to all sorts of characters. Now a retired judge, he spends his days “enjoying life.” When he’s not flying around the countryside in his balloon or fishing in a nearby dry riverbed, he works on his books of nonsense. This prompts his daughter, Charlotte, to decide he’s lost his marbles. So, conspiring with a sly lawyer, she plans to not only become his guardian but also sell his house and property. Throw in a psychologist on her first case, love sick teenagers, an irate school bus driver and an occasional artist or two and it’s a madhouse! Will Doc be committed or not? Of course he offers his own defense. “You ought to try tilting at a windmill every so often,” he philosophizes. “It’s great exercise and a nice breeze goes with it.” When he shows up at his sanity hearing dressed as a magician, his daughter and her lawyer think they have it all sewed up. However, Doc has a few surprise rabbits to pull out of the hat. This tour de force is appropriate for schools, churches, dinner theaters and all audiences. Can Doc pull it off? As Leo says, “There is method to his madness.” And Doc shows one and all what a little nonsense can do “If the Good Lord’s Willing and the Creek Don’t Rise.”
What are the roles available?
This show requires Teens and Adults. Please note that you don’t have to BE the age listed here, just be able to ACT and look approximately the ages listed.
Cast: 4 men, 5 women
Joe “Doc” Babcock: a vibrant, but eccentric man in his 50s; he enjoys life to its fullest
Steve Renfro: an amiable man, around 30, with an artistic flair.
Leo Jenkins: a likable puppy of a teenager.
Gerald Firestone: a conniving lawyer in his 40s
Mandy Pemberton: a bright, ambitious woman in her mid-20s.
Maxine McCallister: a large woman with great anxieties.
Doreen Furst: a rather self-absorbed teenager.
Charlotte Dinsel: a cold fish of a woman; around 30.
Elizabeth Claybourne: a close friend of Doc’s; she is also in her 50s.
What about rehearsals?
Our schedule calls for 2 rehearsals a week, for 9 weeks, followed by 1 weekend of performances. Our first rehearsal is scheduled for Monday, September 10th. Rehearsals are normally on Monday and Thursday evenings from 7pm-9pm. We take very seriously your commitment and your time. The schedule will be laid out in advance, and only vary rarely deviated from. You will never be expected to hang around waiting for the director to get to your part. The very first rehearsal will be a “read-through” and will include the entire cast. It’s just what it sounds like – we’ll all sit around and read the script. It’s the time to meet your fellow actors, hear the Director’s vision for the show, begin to assimilate your character, work on any tricky pronunciation, etc. We’ll give you your copy of the script, the schedule, and any other material you’ll need. After that, the next set of rehearsals will be broken down, scene by scene, and we’ll do the “blocking”. Blocking is the term used for any stage movement – crossing from one side to the other, sitting down, standing up – all the stuff that supports your lines. Bring a pencil and make notes in your script as you work. Once everything is blocked, the next few rehearsals we will go back through those scenes and work on them some more. By this time, you need to have your lines memorized for the scenes that we’re working that day. Once we’re through these “working” rehearsals, we’re now about 4 weeks in, and we’ve worked on every scene for at least 2 rehearsals, and it’s time to combine them, and run the full act, and later the full show, fine-tuning as we go. Expect about 17 rehearsals in all. There might be one or two added rehearsals near opening, if we seem to need them.
When are Performances?
Currently, there are plans for 2 performances of this show November 10th to November 11th. Here’s the performance Schedule:
|Day of Week||Date||Time|
|Saturday||November 10||6 pm|
|Sunday||November 11||1 pm|
Tickets cost are TBD, and you can have all your fans call the box office at 706-322-4523 to make their reservations.
Who Will Be Working on This Show?
LisaKay Matchen will direct this show.
For any other questions that I forgot to cover, please contact LisaKay Matchen