Thank you to all those who came out to audition for Damn Yankees. Below you will find the callback list, along with the schedule and notes that I have for things that I am looking for. Please remember that those who are not called back are still being considered for other roles in the show. Again, if you are NOT called back, it does not mean that you aren’t being considered for the show. Also, please note that there are some other people who may be auditioning between now and Thursday that could potentially be added to this list.
Katie Fransko, Diana Hoffman, Chrissie Capece
Doug Eppler, Walter Webster
Ellen Mather, Joyce Massey, Bev Beardsley, Patty Davis
Diana Hoffman, Lauren VanEmbden, Chrissie Capece, Kelsey Hogan, Katie Fransko
John Muller, Ron Athey, Walter Webster
Walter Webster, Ron Athey, Aaron Pope, John Muller
Joyce Massey, Meghan Moses, Bev Beardsley, Melissa Kiessling, Patty Davis, Sharon Walters
Justin Peterson, Kyle Devich, Dudley Dickerson, Jason Smith, Ian McArdle, Domonic Barnes, Sean Quinn, Steven Claire, Chris Kiessling, Brian Graziani, Noel Gomez, Alexis Mine, Mikaela Simon, Courtney Quinn, Raven Stewart
7pm-7:45pm Dance Call (I will need all people called back for Gloria, Lola, and Baseball Players/Dancers)
*Please dress comfortably and bring appropriate dance shoes—men should have jazz shoes or dance sneakers (or just sneakers, for now); ladies should have character shoes (or sneakers, for now)
Baseball Players/Dancers are dismissed after the dance call has been completed.
7:45pm We will start to begin callbacks for all of the roles. Please familiarize yourself with the audition sides (scenes) that have been posted at www.obsp.org/damn-yankees for the characters you have been called back for. You will also learn pieces of music that you should be familiar with as well. Below are the songs you should be familiar with along with any notes I may have for you.
LOLA- I think that the key to this character is a very unique combination of comedic timing and sexual allure. I want you to bring how your interpret this concept to callbacks.
• Look over “Whatever Lola Wants” where she belts the last verse “I always get…what I am for…”
• Also, be prepared to improv some movement with Joe Hardy sitting in a chair. I want to see what you can come up with in terms of character development and music. We will do this with you singing along to the first verse on the recording.
MEG- I think there needs to be a very unique dynamic between Meg and Joe Hardy; it should appear as though she is looking at Joe Hardy as if she sees the reflect of Joe Boyd staring back at her.
• Look over “Six Months Out of Every Year” for the first verse of the song where the tempo picks up.
• Also, be prepared to act through “Near to You” with Joe Hardy. I want to see a connection between the two characters
• Look over where Joe Hardy enters for the last verse of “Goodbye, Old Girl” after he realizes he has been transformed.
• Also, be prepared to act through “Near to You” with Meg. I want to see a connection between the two characters.
APPLEGATE- I think a balance between comedic timing and doing what you do best—manipulating—is key to this character. Despite the “evilness” of the character, for obvious reasons, you need to find ways to really win over the audience—MANIPULATE THEM!
• Look over “Those Good Old Days” last verse.
• Look over “Goodbye, Old Girl.”
• Look over “Shoeless Joe from Hannibal, MO,” especially some of the higher, belted parts.
• Look over “Heart.”
Please contact me if you have any questions and/or concerns at firstname.lastname@example.org. I look forward to seeing all of you on Thursday! BREAK A LEG!!