ALL INFORMATION

need to know

  • P&P will be an auditioned production, meaning that we can accept no more than a certain number of actors, and that selection process is by audition.  Our script features twenty-two characters, nine males and thirteen females.  Some additional ensemble is required although probably not more than five.  Those background characters may or may not be actors doubled from smaller principal roles.

  •  I am expecting a competitive audition and having to turn actors away.  That being said, auditioning - a lot - is a normal part of an actor's life, and every audition makes the next one easier and better.  Please don't be deterred from taking your shot.  We have a hard job to do, but we're sincerely rooting for you.  :)

  •  Ages: Another OPA first, I am setting no age restrictions at all.  That being said, I anticipate auditioning mostly the same age group (and group) that OPA has always served.  But Gellott specifically noted that she wrote this adaptation with optional multi-generational casting in mind and I am intrigued by this idea too.  On the other end of the spectrum, our youngest characters are fifteen.  If you are younger than that, persuade, in your audition, that you can be believed to be fifteen or older.

  •  And theatre's not impossible, but certainly unpredictable with Covid.  Right now there are a few venues where this production might land.  Below is my proposed schedule, but as some variables remain, there could potentially be changes to our tech and show dates.  The next most likely scenario's that our show weekends would have to slide a week earlier or later.  I am asking actors for their gracious flexibility in the month of March.  Know that I always try to be sensitive to actors' and families' schedules and that I'll communicate updates the hour I hear them.

  •  Also regarding Covid, my hope is to market the show well and give our cast a great crowd.  I also feel that masks handicap the actors and undermine the suspension of disbelief significantly.  My intention is to advertise a socially distantanced and mask-wearing seating environment, to keep actors segregated onstage and backstage, and to declare upfront that they will not be wearing masks themselves.  We are not the only theatre company striking this balance.  I believe this model can serve both goals of providing a normal theatre experience for our actors, and offering a comfortable theatre experience to our audience.

     

HOW DO I REGISTER?

  • That one's super easy!  I am comfortable without a formal online registration this production cycle.  Instead your audition form will be your registration.  And that isn't "due" until auditions themselves.  So... just show up!

     

TUITION AND FEES

  • $245 first child

  • $230 second child

  • $220 third child

  • $215 fourth child and on

  • We ask for tuition at first rehearsal to start covering costs, but it is not due in full until March 31st.

  • The only other additional cost may be clothes or shoes to be worn beneath or as a part of your costumes.

  • Limited partial scholarships are available.  Please comment during registration if you are interested in Pride and Prejudice but tuition is cost prohibitive.

  • Limited partial work scholarships are also available.  Parents and some older actors may agree to complete various costuming, set-building, or other projects and/or join some of our group work days.

     

AuditionS

  • Auditions are Friday January 1st at 1:30 at Grace Reformed Presbyterian Church in Bend.  We host open auditions, meaning that families and friends are welcome to watch.

  •  If you really want to audition but cannot make the audition (or callback) date, please reach out.  It's harder for us, but we still try to accommodate as best we can.

  •  When you arrive, check in at the front table, we'll give you a number, take your picture, and collect your audition forms and liability waivers.  Blank copies of both will be made available or you may access them here.

  •   Actors are to prepare a 30 - 90 second monologue.  No singing this time around.  No dance portion either.

  •  I am accepting books, movies, self-written monologues (if you know what you're doing), "something I found on the internet", and of course other straight plays or musical theatre monologues.  Only monologues from Pride and Prejudice itself are unacceptable.  But material connecting to that time period and the same tone and themes of Pride and Prejudice, better yet your preferred character(s), helps us imagine which roles might fit you well.

  •   And if you're new to auditions, practice clarity and a LOT of vocal expression and body language.  I'm allowing chairs, props, whatever little costume accents you might like to add - although none of that's necessary.  Again, I am expecting a competitive audition.  Try to dig deeper than just reciting a memorized paragraph.

  •  Everyone should be honing their best British accent - mindful that there are many British accents, most of which are inappropriate for Pride and Prejudice.

  •  You are welcome to leave as soon as you finish your monologue.

  •  And you might decide to read Pride and Prejudice, the book, over Christmas break.  It's a good time to do it, and I'll be requiring this of the cast anyway.  You may also choose to watch the BBC 1995 Pride and Prejudice miniseries, (I believe it's on Hulu and purchasable on Amazon) although I am considering committing one or two rehearsals or evenings maybe to watching it together as a cast.
     


CALL BACKS

  • Callbacks are Saturday January 2nd at 1:30 at The Bridge Church in Redmond.  Callbacks are closed (although siblings or anyone's welcome to support from the waiting room) and by invitation only.  Everyone will receive an e-mail Friday evening sharing whether or not we need you at callbacks Saturday and if so which roles you'll be asked to read. 

  • At callbacks you'll read sides (dialogue) from the Pride and Prejudice script.  We do not expect you to memorize or really even prepare for callbacks, (although I will also likely post to the same Pride and Prejudice folder a twelve-hour-notice preview of the callback material) it's more a measurement of your versatility and/or your "inherent sameness" (fitcasting) with the characters you read, also your chemistry with your potential co-actors.  We additionally pay attention to your raw ability to "take direction," to deliver a line or accomplish an acting objective in a different way based on rehearsal style prompts we suggest.

  • We'll likely go long and late.  If I had to guess I would expect that some actors may be released as early as 3:30 and others as late as 5:30.  Sorry.  I'm a family-unfriendly tyrant callback day.

  • We've been fairly consistent at releasing a cast list within the next day or two.  No promises though.



Rehearsals

  • Mondays 1:30 - 4:30 in Bend

  • Fridays 1:30 - 4:30 in Redmond

  • Saturday 10:30 - 1:30 in Redmond

  • Regular rehearsals begin Friday January 8th and end the week before tech week.  Ideally, our final rehearsal will be Saturday March 6th.

     

SCHEDULING

Pride and Prejudice has no show-stopping ensemble song and dance numbers, just a series of scenes, many of which employ only a few actors.  We are scheduling three rehearsals a week but every rehearsal will be an attendance-by-call situation.  A partial commitment to Mondays/Fridays/Saturdays does complicate our rehearsal calendar puzzle and may affect casting, but for most roles (NOT Elizabeth Bennet, not some others; consult the character/scene breakdown chart for a better idea) a partial commitment is something we can work around.  Please communicate your conflicts and time constraints early and clearly; there will be a section for you to fill out on the Audition Sheet.

  • On average I'm guessing actors will be called to two rehearsals a week.

  • Expect some all-calls to read through, dance rehearsals, and some character discussion.

  • Expect full three days a week all-calls starting around the end of February / beginning of March as we transition into run throughs for tech, and opening.

     

Tech Week

  • Tech week is a notoriously long, exhausting, "hurry up and wait" kind of week.  Don't expect to get much school work done, or much of anything else done, all week.

  • And again, I unfortunately cannot guarantee these exact tech rehearsal dates or even the week.  Our two show weekends and tech week may have to slide forward or backward depending on our venue and I am asking for actors' gracious flexibility with their March.

  •  IDEAL Load In Sunday, March 7th afternoon / evening.  (volunteers will be needed, but actors will not be called)

  • IDEAL Monday, March 8th tech rehearsal afternoon / evening.

  • IDEAL Tuesday, March 9th: tech rehearsal afternoon / evening.

  • IDEAL Wednesday, March 10th: tech rehearsal afternoon / evening.

     

Shows

  • IDEAL Friday, March 12th: call time 5:00, curtain 7:00.

  • IDEAL Saturday, March 13th: call time 5:00, curtain 7:00.

  • IDEAL Sunday, March 14th: call time 1:00, curtain 3:00.

  • IDEAL Friday, March 19th: call time 5:00, curtain 7:00.

  • POTENTIAL ENCORE SHOWING Saturday, March 20th: call time 12:00, curtain 2:00.

  • IDEAL Saturday, March 20th: call time 5:00, curtain 7:00.

  • IDEAL Sunday, March 21st: call time 1:00, curtain 3:00.

Please reply or e-mail Jonathan@OvationPA.com or
Savana@OvationPA.com with any questions!

See you guys at auditions!