MISSION: Northland Pioneer College provides educational excellence that is affordable and accessible for the enrichment of communities across northeastern Arizona.
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Information About
Performing Arts Center

Auditions

Northland Pioneer College’s Department of Performing Arts announces auditions for their fall musical production of...

Hello, DOLLY!
Hello Dolly

Music and Lyrics by Jerry Herman; Book by Michael Stewart;
Based on the play The Matchmaker by Thornton Wilder

Directed by Carson Saline
Musical Direction by Mindy Flake
Choreography by Becky Eagle

Hello, Dolly! is the story of Mrs. Dolly Levi’s efforts to marry Horace Vandergelder, the well-known half-a-millionaire, and send his money circulating among the people like rainwater the way her late husband, Ephraim Levi, taught her. Along the way she also succeeds in matching up the young and beautiful Widow Molloy with Vandergelder’s head clerk, Cornelius Hackl; Cornelius’ assistant, Barnaby Tucker, with Mrs. Molloy’s assistant, Minnie Fay; and the struggling artist, Ambrose Kemper, with Mr. Vandergelder’s weeping niece, Ermengarde.

What happens in the end? Dolly gets her man, of course. Even makes him glad she caught him!

* Auditions will consist of musical performances AND a dance call. * Auditions are open to ANYONE!

** If cast, actors will need to enroll in SPT 199 (one credit), 200 or 201 (3 credits, For majors).

Rehearsals are Tuesday and Thursday evenings from 6:30 -10:00. Beginning Oct.23, we will move to nightly rehearsals Mon-Fri. Show opens Friday Nov 10.

NOTE: We do our best to call actors only when they are needed for rehearsal. But given the scale of this production, actors may expect to be called to most rehearsals regardless of their roles.

WHAT TO PREPARE: 

  • Prepare TWO contrasting song cuts 
    • Typically about 32 measures of an up-tempo 
    • about 16 measures of a ballad).
  • Each song cut should be no longer than ONE minute in duration. 
  • Musical choices should be in the style of the show.
  • Bring sheet music in the appropriate key, with cuttings clearly marked.
    • An accompanist will be provided. 

DO NOT SING FROM THE SCORE. NO ACCAPPELLA OR RECORDED ACCOMPANIMENTS.

  • All Singers should plan to attend the dance portion which will begin at 9:00 PM. 
  • Feel free to bring a change of clothes, and dance shoes if you have them. 
    • Warm up and stretch prior to 9:00
    • A brief dance combination will be taught by the choreographer.

Click here to sign up for an audition!

Please arrive at least twenty minutes prior to your audition time to complete the paperwork and have your photo taken.

ATTENTION: PLAN AHEAD - CALLBACKS WILL BE AUGUST 24, AT 6 PM. WE WILL LET YOU KNOW IF YOU'RE INVITED TO A CALLBACK. Sides will be available no later than Noon Wednesday, Aug 23.

* CHARACTER BREAKDOWN

Hello, DOLLY! Cast List:

 Mrs. Dolly Gallagher Levi 

An indefatigable meddling matchmaker; a widow in her middle years
(Orig. Range: Eb3-G4 w/ opt. notes down to Bb2; Med-Voice Vers: G3-C#5 w/ opt. notes down to F#3)

 Mrs. Irene Molloy 

A millineress with a hat shop near 14th Street in New York City
(Contralto - Range in both versions: A3-D5, w/ optional notes down to G3 and up to E5)

 Minnie Fay 

A young girl who works in Irene’s Shop.
(Comic Soprano - Orig. Range: Eb4-F5 w/ opt. notes down to C4; Med. Voice Vers: Bb3-F5)

 Ernestina 

A single woman in need of Mrs. Levi’s services 
(Range in both versions: F4-D5)

 Ermengarde

The 17-year-old niece of Horace Vandergelder.
(Orig. Range: E4-G5; Med. Voice Vers: A3-C#5)

 Horace Vandergelder 

Proprietor of a hay and feed store in Yonkers, NY, and a client of Mrs. Levi’s.
(Baritone - Range in both versions: B2-E4)

 Cornelius Hackl 

Vandergelder’s chief clerk, 33 years old.
(High Baritone - Orig. Range: D#3-G4 w/ opt. notes down to Bb2; Med. Voice Vers: C3-G4 w/ opt. notes down to A2)

 Barnaby Tucker 

An assistant to Cornelius, 17 years old.
(Tenor - Orig. Range: E3-G4 w/ opt. notes down to Bb2; Med. Voice Vers: Bb2-G4 w/ opt. notes down to A2)

 Ambrose Kemper 

A young artist seeking to marry Ermengarde
(Tenor - Orig. Range: E3-G4; Med. Voice Vers: F#3-F#4)

Supporting (from the Chorus)

 Mrs. Rose 

Sells vegetables from a street cart, a friend of Mrs. Levi’s from years before.

 Rudolph Reisenweber

The Prussian major-domo of the Harmonia Gardens Restaurant.

 Stanley

A young waiter

 Fritz, Harry, Louie, Danny, Manny and Hank 

 Harmonia Gardens waiters; non-speaking chorus/dancers.

 First Cook 

Harmonia Gardens employee with a German accent.

 Second Cook 

Harmonia Gardens employee.

 Judge

White-whiskered, red-nosed, New York night court.

 Policemen 

Several New York City officers; only one speaking.

 Court Clerk (Recorder) 

Male chorus member.

Ensemble:

  • Townspeople of New York City and Yonkers 
  • Feed Store Customers
  • Harmonia Gardens Customers
  • Polka Contest Contestants
  • 14th Street Parade Ensemble

TIPS FOR A STRONGER AUDITION

What do we look for?

  1. Performability
  2. Good for your voice
    • Shows you off to the greatest advantage
  3. Target the role/s you want
    • Similar sound/style/character/emotion
    • Without you indicating, those listening would know what character you want.
  4. Entertaining - there’s no rule against it. 
    • Know which story and how to tell it
      1. Personal story layered onto a song?
      2. Story of the song in context to the show from which you took it?
Contrast - at the very least Ballad and up-tempo
  1. Ballad shows emotional range, phrasing, and sensitivity to the words.
  2. Up-tune shows a sense of Personality, rhythm, and excitement as a performer.

What to avoid

  1. Anything extremely well known 
    • Overdone songs
      1. Phantom of the Opera
      2. Les Miserables
      3. Cats
      4. Miss Saigon
      5. Grease
      6. Etc.
    • “Signature” songs
      1. Over the Rainbow
      2. Don’t Rain on My Parade
      3. And I Am Telling You
      4. I Will Always Love You
      5. Let it Go
      6. Etc.
  2. One-joke wonders (single gimmick songs)
  3. Too cheerful - don’t make anyone sick (religious or morally uplifting)
    • Yes, I know it sounds weird – But don’t preach to the auditioners.​
      1. When You Walk Through A Storm
      2. Forget Your Troubles
  4. Too depressing
  5. Too boastful
    • C’est moi
    • Me
  6. Self-deprecating
    • Mr. Cellophane
  7. Original Material
  8. Too difficult - don’t make your job harder
  9. From the score or by the composer in the room (unless specifically requested to do so)
  10. Do not sing the list
    • Yes, there is one.
    • See appendix
  11. 5-year rule
    • If the Broadway Production has not been closed for at least five years – do not sing a song from the score.
  12. Songs composed for a character of the opposite gender - does it read as ignorance or a choice? 
    (It's not a no-no, but you have to make sure the people behind the table know it's a choice. Know what story YOU are telling. Beware of problem lyrics- changing them to make the song fit your story could cause other problems)
    • What story are you trying to tell?
    • Does the lyric directly contradict your story?
  13. Why no Sondheim??
    • Difficult to sight-read accompaniment
    • Complicated time signatures
    • Complex rhythms
    • Chromatic movements
  14. Similar composers to avoid in Auditions
    • Jason Robert Brown
    • Adam Guettel

Set yourself up for the greatest success

  1. Cuttings
    • Complete musical phrases
    • Emotional phrases should be resolved as well.
    • about a minute’s worth in common time
    • 32 - Uptempo
    • 16 - Ballad
    • 8 – Be prepared to use a shorter cut if they are running behind schedule
    • Can be a few more or less
  2. Sticky Notes!!!!! - Marking cuts
    • Internal cuts
    • Second endings
    • Skipping pages
    • Cut and paste
  3. More fun with Sticky notes
    • starting pitch
    • Bell tone, cords, two-measure intro...
  4.  Page turns
    • minimize them
      1. If possible, get your cut down to two pages facing each other.
      2. Single-sided copies can be taped back to back (stronger this way)
      3. Five points of tape perpendicular
        • Accordion fold-outs (3-4 pages)
        •  Be sure to mark the page that folds out.
  5. Even more fun with sticky notes!!!!!
    • Create tabs so you can open the song you want, to where your cut begins
    • in a pinch, can be used to tape pages together.
  6. Three whole punch!!!!!
  7. In a binder, or folder
  8. Not in plastic sleeves – You don’t want the glare to affect their ability to accompany you.

Communicating with accompanist

  1. Have the book open when you approach the piano.
  2. Please keep your backside to yourself!!!
  3. Greet the pianist as you place the book on the piano or music stand.
    • If they reach out for it, take the cue. But don’t expect it.
  4. Walk the pianist through any page turns
  5. Point out key changes, special moments, or tricky cuts
  6. Indicate tempo physically and audibly
    • Don’t sing the song to teach tempo
      1. Speak the lyrics if necessary
    • Don’t snap/clap the beat in the pianist’s face
      1. Tap the piano or your own hand
  7. Be prepared to Answer any questions the pianist has for you.

Remember: no one behind the table is paying for your performance. You are giving them a gift. Enjoy the chance to perform for them.  They are on your team! They want you to make their job so easy. They are rooting for you to be THE ONE. Enjoy the opportunity to show them your best. Give it all you've got.

Questions  Please contact Richard 'Carson' Saline  |  email |  (928) 536-6247