Why Audition at Cultural Park Theater?
If you have made it this far, then perhaps you’ll go a little further. Read on, and allow me to spend a few minutes encouraging you to take the next step to auditioning at CPT.
Many people are curious about what it is like to perform on stage. Somewhere in the back of their mind they wonder if they could possibly do this and also wonder about the pros and cons of it all. Rest assured, anyone can do this. YOU can do this. All it takes is for you to dabble your toes in the water for the first time.
CPT actively encourages new people to audition. As a community theatre, we depend upon new blood to keep us growing and alive. Many directors actively recruit new people for that very reason. And each year we cast many actors from the ages of 7 through 77 and up. Auditioning for a show isn’t all that difficult or scary. Many others have done it – so can you.
- If you think you may want to try, but are still wondering if you have the time or need to know more, contact the CPT office and they will send your information to the show director who will contact you to answer any questions that you may have.
- Every audition is different, and every director conducts their auditions differently from the others. But here are a few things that are universally true for them all:
- New faces are ALWAYS welcome at CPT. Directors actively recruit new actors and actresses all year.
- Everyone at an audition wants you to do well – even those auditioning for the same role are cheering you on. You are admired and respected just for trying.
- Don’t judge your talent or stage possibilities. The director appraises auditioners objectively to determine the best mix of people and talents for their production.
- If you don’t receive a role, it doesn’t mean you weren’t great. Each role brings an ingredient to the mix and the director needs to select the cast that blends the best.
- Winston Churchill said it best, “Never, never, never give up.” If you don’t land a role the first time it just means that maybe you weren’t a good fit for the current show but you could be great for the next one.
A CPT production brings together the most diverse group of people you could imagine. In working towards opening night, whether your part is large or small, we become close friends and have the best of times together! And remember that while the risk of auditioning may seem huge, the payoff is much bigger.
If you still have worries about auditioning there are other ways to join in the fun, each show cast it own production team be it stage crews, lighting and sound technicians, set builders and painter, publicity, and many others with our back stage support. For more information on these and other volunteer opportunities at Cultural Park contact our volunteer dept at cptvolunteers@gmail.com and we will get back to you with answers to your questions so you can become a member of the Cultural Park Family.
Cultural Park Theater produces 16 plays, musicals and revues each year. All auditions are open to everyone so keep your eyes on this web site, our facebook page and your email for audition opportunities.
Saturday, January 25 Sunday, January 26
10 AM – 1 PM 10 AM – 1 PM
Cultural Park Theatre Cultural Park Theatre
This is an Open Public Casting Call for the Classic Play “The Owl and the Pussycat,” which will be performed on stage, weekend performances, March 20th through March 29th at the Cultural Park Theater, 528 Cultural Park Blvd., in Cape Coral, Florida.
The Owl and the Pussycat opened in New York in 1964 and was such a success that it was soon made into a film with Barbra Streisand and George Segal. The comedy is based on two strongly written, very human characters, Doris and Felix, who delude themselves into believing they are something they are not. She is a prostitute but would like everyone to think she is a much sought-after actress/model. He, a clerk in a bookstore and a self-styled intellectual, would like everyone to believe he is a talented writer, although he has never had anything published.
Felix uses his binoculars to spy on Doris, and when he realizes her “profession,” he tells the landlord. Doris gets thrown out, and she somehow finds out that Felix is the one who turns her in. So she comes a-knockin’ on his door, dragging a suitcase and her television set, demanding that he put her up until she can find a new place. They’ve never met. This is how the play begins – with Doris banging on his door at 2 in the morning.
When the two meet and unexpectedly fall in love, they discover, after a frustrating period of on-again, off-again romance, that their refusal to look at themselves honestly is preventing them from finding happiness with each other. They can see each other’s weaknesses and self-delusion, but not their own. Because the author has anchored his comedy in these two very likeable and believable characters, we continue to be amused at their increasingly ridiculous behavior as they come closer and closer to discovering and accepting the truth about themselves.
The casting call is open to everyone 25 to 40 years of age. This is a cold read format audition, which means you do not need to prepare anything in advance. You are welcome to bring an entertainment resume and headshot, if you have one, but they are NOT required.
ROLE BREAKDOWN
The Owl and the Pussycat requires 1 man and 1 woman, and the characters break down as follows:
- Sherman(30s) A single self-brooding educated aspiring writer, dark and depressing at times.
- Doris W. (30s) A somewhat uneducated actress, model and part-time prostitute, often somewhat violent and explosive.
For additional information, you may call the theater and leave a message for the director 239-772-5862
Sunday, March 1 10:00 am – 1:00 pm
at the Cultural Park Theatre
This is an Open Public Casting Call for the original musical revue “A Passage to Ireland” which will be performed on stage April 24 through May 3, at the Cultural Park Theater 528 Cultural Park Blvd. in Cape Coral, Florida. A Passage to Ireland is an original musical revue which is full of warmth, humour and pathos as the story unfolds at the end of the 1850s, after Bridget Finnigan escaped from the Great Famine in Ireland as a teenager and began a new life in the north of England. She settled down to make friends at the Irish Centre and married a young cutlery worker, Arthur Eastgate. Life was good, they had two children and Arthur became the owner of his own business. But Bridget, heard the call, the little village of Old Durra in the far west of Ireland began to call to her, softly at first but it soon reached the point where she and her new family had to heed the call and this is where we pick up the story. Music, song and dance has long been the lifeblood of Ireland and that is how we follow this young family’s journey of inquiry; in word, dance and song from the Yorkshire railway station of Shefeld, through the great Port of Liverpool. Then on the Roscommon crossing the Irish Sea, the time spent in Dublin ‘in the rare auld times’ meeting up with family and childhood friends. Finally arriving at journey’s end in rural Mayo where the memories, good and bad, are suddenly all around Bridget. She finds what family and neighbours survived and stayed in Ireland, and she discovers what has happened to her childhood home. The laughter and the heartache, what is past and what is to come all melt together to display the triumph of family and the human spirit. This is Bridey’s life, this is Bridey’s story, and yet it is the story of Ireland.
A Passage to Ireland is written and directed by Patrick Shepherd who wrote and directed his first musical revue last year. That revue was called “A Wedding in Tuscany” and it was immensely popular, going on to win five Marquee Awards. Patrick has high hopes for this revue also. The casting call is open to everyone 16 years of age and older. We are also casting the role of Lucy, daughter of the Shaws, this role is open to girls aged 13 to 16. This is a cold read format audition which means you do not need to prepare a monologue in advance. You are welcome to bring an entertainment resume and headshot if you have one but they are NOT required.
All roles, as well as production volunteers, are being considered at this audition. Prepare to sing 32 bars of a song (roughly 1 ½ mins). If you are not sure what to sing then an uptempo ballad would work, or if you know any songs with an Irish connection or favor then that might be your better choice. Also, please bring some comfortable shoes as you may be asked to learn some simple steps to music.
ROLE BREAKDOWN A Passage to Ireland requires 10 men 10 women, and 3 children. (several of the ensemble members will also be dancers) the characters break down as follows: (Please note that ages are meant as those that you can realistically expect to portray on stage in make-up and costume and not what your age should necessarily be.)
Bridget Eastgate – Soprano (age mid 20s-early thirties ) hard-working and loving wife and mother. No nonsense type with an infectious smile and a good sense of humour.
Arthur Eastgate Bariton/Tenor (age mid 20s-late thirties) Bridget’s Yorkshire husband. Loving and cheerful. Always looks for the positive in things. loyal friend who dotes on his family.
Mary Wolfe – Soprano (age mid 50s-mid 60s) Bridget’s aunt in Dublin. Salt of the Earth type, very eclectic, knows everyone. Family oriented. Soft centre in a hard shell.
Padraig Wolfe – Baritone (age late 50s-late 60s) Mary’s husband. Grin and bear it type, does what needs to be done. Will do anything for you if you’re on his good side.
Moira Shaw – Sop/Alto (age late 20s-late 30s) Northern Irish ex-pat living in England. Outgoing and excitable but can become serious in the blink of an eye. Loves to be surrounded with friends.
Billy Shaw – Bar/Tenor (age late 20s-mid 40s) Moira’s English husband, friendly type. Loves to make her happy and very nervous about meeting her Irish family.
Matilda Eastgate – Alto (age mid 50s-late 60s) Arthur’s mother. Had a hard life when she was younger, a survivor of the Shefeld cholera outbreak. Loves being a grandmother.
Albert Eastgate – Bar/Tenor (age late 50s-late 60s) Matlda’s husband. Gruff exterior of a steelworker but always yields to his wife’s wishes. Observant and astute.
Sinead – Sop/Mezzo (age 18-early 30s) n Irish ex-pat and member of the Irish Centre. close friend of Bridget. Mischievous, full of fun and energy. t her best when she’s organizing social events.
James – Bar/Tenor (age 19-mid 30s) Sinead’s beau. Irish ex-pat and Irish Centre member. Crazy about Sinead but concerned she’s too carefree. Protective of her but also can loosen up and have a fun time.
Ensemble – Five males and five females (several will be featured ensemble roles);
(ages 17-early 60s) Some of the ensemble will be dancers and all will double up their roles for different scenes.
Children – Two girls and one boy;
Kate (aged 8 – 11) and Kevin (aged 6 – 8) are brother and sister and the children of Arthur and Bridget
Lucy (aged 13 – 16) is the daughter of Billy and Moira.
For additional information, you may call the theater and leave a message for the director 239-772-5862.