Titanic — The Musical is a beautiful show that won 5 Tony Awards for Musical, Book, Original Musical Score, Orchestrations and Scenic Designer. We will be doing the Ensemble Version with full costumes.
You can read the description and synopsis on the Tams Whitemark site. http://www.tamswitmark.com/shows/titanic/. We will likely cast a slightly larger number of actors, especially the women.
We invite and encourage you to audition for the Madison area premiere of this exciting co-production by Stoughton Village Players and StageWorks Projects, Inc.
Please sign up for one ten-minute audition time slot on August 11th or 12th. Callbacks will be August 13th & 14th and we will contact you if you need to attend. Rehearsals will begin in late August and will be held Sunday evenings thru Thursday evenings. Many of our performers will be coming from Madison, so we will schedule accordingly.
For auditions please prepare 1 minute or 30 bars of a traditional musical theatre piece. (No a cappella please) and be prepared to read some lines from the script OR deliver a very short (about 1 minute) monologue, either contemporary or classical. We will post a few pages from the script that we may use for auditions.
Callbacks will involve a bit of stage movement, so wear comfortable clothes.
The sinking of the Titanic in the early hours of April 15, 1912, remains the quintessential disaster of the twentieth century. A total of 1,517 souls — men, women and children — lost their lives (only 711 survived). The fact that the finest, largest, strongest ship in the world — called, in fact, the “unsinkable” ship — should have been lost during its maiden voyage is so incredible that, had it not actually happened, no author would have dared to contrive it.
But the catastrophe had social ramifications that went far beyond that night’s events. For the first time since the beginning of the industrial revolution early in the 19th Century, bigger, faster and stronger did not prove automatically to be better. Suddenly the very essence of “progress” had to be questioned; might the advancement of technology not always be progress?
Nor was this the only question arising from the disaster. The accommodations of the ship, divided into 1st, 2nd and 3rd Classes, mirrored almost exactly the class structure (upper, middle and lower) of the English-speaking world. But when the wide discrepancy between the number of survivors from each of the ship’s classes was revealed — all but two of the women in 1st Class were saved while 155 women and children from 2nd and 3rd (mostly 3rd) drowned — there was a new, long-overdue scrutiny of the prevailing social system and its values.
It is not an exaggeration to state that the 19th Century, with its social stricture, its extravagant codes of honor and sacrifice, and its unswerving belief that God favored the rich, ended that night.
The musical play TITANIC examines the causes, the conditions and the characters involved in this ever-fascinating drama. This is the factual story of that ship — of her officers, crew and passengers, to be sure — but she will not, as has happened so many times before, serve as merely the background against which fictional, melodramatic narratives are recounted. The central character of our TITANIC is the Titanic herself.
— Peter Stone