Callbacks
Saturday, May 31 from 1-5pm
Invitation Only
Directed by Christopher Cooper
Music Directed by Makai Keur
Choreographed by Caleb Parker Heath
Stage Managed by John Schultz
If the May 29th initial audition date does not work for you or if all audition slots are full, please email cmcooper2020@gmail.com for virtual audition tape instructions. All auditionees (both in-person and virtual) must complete the audition form prior to auditioning.
Not all who audition will be cast. An invitation to callbacks does not guarantee a role. Conversely, not receiving a callback does not mean you will not be cast.
We kindly ask that you show up to your audition 15 minutes prior to your time slot with the audition form completed. You will only be permitted to audition pending completion of the audition form and SignUp Genius.
If you have any questions, feel free to reach out to John Schultz at Johnmschultzjr@gmail.com!
What To Prepare
All auditionees must prepare a 32-bar cut of a musical theatre or opera theatre piece in the style of the show. In addition to your song, auditionees are asked to select one of the below options:
● OPTION A - Please prepare a 60-second monologue of your choosing.
● OPTION B - Please select one of the below text excerpts to perform. Copies will be provided at auditions for you to read from if desired.
Memorization is not required for the monologue options, but is definitely welcomed!
An accompanist will be provided, but you may bring in a track if desired. No a cappella singing, please.
Excerpt One - Willoughby in Sense And Sensibility (adapted by Kate Hamill)
When I met your sister, I only wanted an idle dalliance. Something to do in the country. I mean - you misunderstand me - I thought that it was only a harmless flirtation! And at first, I thought that surely Marianne also knew that it could not lead to anything. You must see that it was impossible for me to seriously pursue a girl with no fortune, no station, no - forgive me - no notable family. But quite against my intentions, the part I played became the most pressing reality. I found myself most terribly in love.
Excerpt Two - Renfield in Dracula (adapted by William McNulty)
Ah, I see you know something of the case. Yes, the enchanting Miss Mina Grant. A voluptuous specimen she was, I’ll be sworn. Might have had a go at her myself except for my loyalty to dear old Dr. Thom. And are you also informed that we have in our midst a certain houseguest, a Miss Lucy Westphal? Another looker, by the way, every bit the equal of the late Miss Grant, but with the distinct advantage of being alive. At least temporarily, that is, since she’s been exhibility the very same appalling symptoms.
Excerpt Three - Molly in Peter And The Starcatcher (by Rick Elice)
You stop that right now. I won’t answer any such question. You’re leaning toward the sentimental and that’s all well and good for a boy, but the fact is we girls can’t afford to be sentimental. We must instead be strong. And when I marry, I shall make it very clear to this person – that sentimentality is not on the calendar. He will have to lump it or leave it. And if he should leave, I’ll stay a spinster and pin my hair back and volunteer weekends at the hospital. And I will love words for their own sake, like “hyacinth” and “Piccadilly” and “onyx.” And I’ll have a good old dog, and think what I like, and be a part of a different sort of family, with friends, you know? – who understand that things are only worth what you’re willing to give up for them.
Excerpt Four - Emily in Our Town (by Thornton Wilder)
Well, up to a year ago I used to like you a lot. And I used to watch you as you did everything…because we'd been friends so long…and then you began spending all your time at baseball…and you never stopped to speak to anybody any more. Not even to your own family you didn't…and, George, it's a fact… you've got awful conceited and stuck-up, and all the girls say so. They may not say so to your face, but that's what they say about you behind your back, and it hurts me to hear them say it; but I've got to agree with them a little. I'm sorry if it hurts your feelings…but I can't be sorry I said it.
Excerpt Five - Hannay in The 39 Steps (adapted by Patrick Barlow)
London. 1935. August. I’d been back three months in the old country and frankly wondering why. The weather made me liverish, no exercise to speak of and the talk of the ordinary Englishman made me sick. I’d had enough of restaurants and parties and race meetings. No pal to go about with - which probably explains things. Hoppy Bynge lost in the Canadian Treasury, Tommy Deloraine married off to a blonde heiress in Chicago, Chips Carruthers eaten by crocodiles in the Limpopo. Leaving me. Richard Hannay. Thirty-seven years old, sound in wind and limb. Back home. Which was no home at all if you want to know. Just a dull little rented flat in West One. Portland Play actually. And I was bored. No more than bored. Tired. Tired of the world and tired of - life, to be honest. So I called my broker. He wasn’t in. Dropped into my club. Full of old colonial buffers. Had a scotch and soda, picked up an evening paper, put it back. Full of elections and wars and rumours of wars. And I thought - who the bloody hell cares frankly? What does it all matter? What happens to anyone? What happens to me? No-one’d miss me. I wouldn’t miss me. I could quite easily just - (He takes a slug of scotch. Knocks it back.) And then I thought - wait a minute! Come on Hannay! Pull yourself together man! Find something to do, you bloody fool! Something mindless and trivial. Something utterly pointless. Something - (He has a brainwave.) - I know! A West End show! That should do the trick!
About The Show:
When the low-born Monty Navarro finds out that he’s eighth in line for an earldom in the lofty D’Ysquith Family, he figures his chances of outliving his predecessors are slight and sets off down a far more ghoulish path. Can he knock off his unsuspecting relatives without being caught and become the ninth Earl of Highhurst? And what of love? Because murder isn’t the only thing on Monty’s mind…
Casting
We are currently seeking auditionees ages 16 and up to audition for the following roles in A Gentleman’s Guide To Love And Murder.
All roles are currently unpaid, volunteer positions. Not all who audition will be cast.
Montague “Monty” Navarro
Handsome, clever, charismatic, vulnerable and endearing. Discovers he is in line to become the Earl of Highhurst, and intends to kill off the family that stands in his way.
Gender: Male Age: 25-40
Vocal Range Top: Bb4
Vocal Range Bottom: Bb2
The D’Ysquith Family
The collection of family members Monty intends to kill off:
Asquith D’Ysquith, Jr. - a dandy
Lord Adalbert D’Ysquith - Eighth Earl of Highhurst
Reverend Lord Ezekiel D’Ysquith - a clergyman
Lord Asquith D’Ysquith, Sr. - an elderly banker
Henry D’Ysquith - a country squire
Lady Hyacinth D’Ysquith - a benefactress
Major Lord Bartholomew D’Ysquith - a bodybuilder
Lady Salome D’Ysquith Pumphrey - an actress
Chauncey D’Ysquith - a janitor
*Must be agile and willing to play each of the male and female characters above.
Gender: Male Age: 30-50
Vocal Range Top: G4
Vocal Range Bottom: Bb2
Phoebe D’Ysquith
Monty’s cousin.
Gender: Female Age: 18-25
Vocal Range Top: B5
Vocal Range Bottom: F#3
Sibella Hallward
The girl Monty loves.
Gender: Female Age: 25-40
Vocal Range Top: A5
Vocal Range Bottom: F#3
Miss Shingle
Monty’s unexpected visitor.
Gender: Female Age: 45-70
Vocal Range Top: E5
Vocal Range Bottom: D#3
Anticipating a diverse, expanded ensemble of 9 male tracks and 9 female tracks, each of which have featured character appearances. Not all roles will have speaking lines. The following roles to be played within the expanded ensemble:
Tour Guide
Miss Evangeline Barley - a chorus girl
Tom Copley - a farmer
Lady Eugenia D’Ysquith - Countess of Highhurst
Inspector (Chief Inspector Pinckney) - of Scotland Yard
Magistrate
Prison Guard
Important Dates and Locations
Most rehearsals will be Mondays, Thursdays, and Fridays (6pm-9pm) and Sundays (1pm-5pm).
Early in the process, not all will be called to each rehearsal (with the exception of the read through on July 20.) All Actors will be called to rehearsals as we move further into the process. Tech Week through the end of the run will be mandatory - no exceptions.
Auditions, Callbacks, Rehearsals, and Sitzprobe will all take place at the Episcopal Church Of The Resurrection. Starting Monday, September 15 all events will occur at the performance venue, the Performing Arts Center at Academy Park.
Key Dates
Auditions - May 29 (6pm-9pm)
Callbacks - May 31 (1pm-5pm), invitation only
First Rehearsal - July 20 (1pm-5pm)
Sitzprobe - September 14 (7pm-10pm)
Tech Week - September 15-18 (5pm-10pm)
Performances - September 19 (7pm), September 20 (2pm & 7pm), and September 21 (2pm) 2025
Strike - Immediately following the final performance on September 21.
The first rehearsal and tech week/performances are MANDATORY. No exceptions or conflicts will be allowed during those periods.
FLO MISSION
FLO seeks to unite and uplift the Franklin community through vibrant performances of light opera and classic musical theatre which showcases local talent. We are dedicated to artistic excellence and personal growth–offering mentorship, educational programs, and opportunities for all ages to cultivate a lifelong love for the arts.
We strive to entertain, enlighten, and bring joy, acting as a beacon of LIGHT within our community.
SIGNUPGENIUS: https://www.signupgenius.com/go/9040C4EAFAA2BA6FB6-55975294-audition
AUDITION FORM: https://docs.google.com/forms/d/e/1FAIpQLSd72-O2U1NdC7VXLLIlP9TE-6IsHD1vRa7CvTHl909CthKHDA/viewform?usp=header