Jan 292018
 

Auditions for As You Like It

New Farm Nash Theatre is proud to announce auditions for our second show of the year – William Shakespeare’s “As You Like It”!

About the show
Shakespeare’s timeless comedy is a pastorale par excellence, filled with cross-dressing, mistaken identities, clashing politics, and a healthy swathe of romance. This production will have a contemporary Australian setting, and capture something of the absurdity and comedy of the city/country divide and our political landscape, without stepping away from the brilliance of the Bard.

For greater detail about the play and the characters, you can check out this site.

Where/When/RSVP?
Auditions will be held the 10th of February in the Nash Theatre Play Shed, and will be held in small groups.

There are three audition slots available – 10am-12pm, 12.45-2.45, and 3.00-5.00pm. You will need to book in for ONE of these sessions, and will be in attendance till the entire group has been seen.

The Play Shed can be found in the back car park of the New Farm Uniting Church, 52 Merthyr Road, New Farm. Access to the car park can be found from… Parking in the actual car park is very limited, so please allow yourself time to find street parking as suitable.

To RSVP, you can either: email the director Jason Nash (jasonenash@gmail.com), or hit the “Going” button on the Facebook event page, and indicate in the comments below which session you wish to attend.

Requirements
All auditionees are asked to present the following:
– One pre-prepared Shakespearean monologue of your choice, with an emphasis on comedic delivery
– An on the spot run through one of the attached scenes (NB: pairings and scene choices will be random – you will be allowed to have scripts in hand, but please have a read through and familiarise yourself with the attached excerpts)

You will be asked to fill out an audition form, and have the option of bringing a CV and headshot. You may be photographed for reference purposes.
Successful auditionees will be required to become financial members of Nash Theatre for insurance purposes.

What roles are available?
Age ranges are a guide only – you are welcome to audition for any part you feel capable of. “GB” refers to a gender blind role. Some roles may be doubled.
NB: This show will feature live music and some “campfire” style singing. The ability to sing, or play guitar or ukulele is considered an advantage, but not a requirement.
Rosalind – Female, 20-35. Daughter of the recently usurped Duke Senior. Lead character, will spend a healthy portion of the play disguised as a man and therefore will need to adopt some truly wretched swagger.
Celia, Female, 25-35. Daughter of usurper Duke Ferdinand. Rosalind’s best friend and cousin who is loyal to a fault but can communicate worlds of meaning with an eye roll.
Touchstone, Male, 20-50. The court clown and something of a dandy. Savage in his criticisms, and shortsighted in his romances.
Orlando, Male, 20-30. Naïve but earnest young man who is angsty over his withheld inheritance one moment, and overwhelmed with romantic passion the next. Wears his heart on his sleeve. Must be physically capable, as there will be at least one major fight scene.
Oliver, Male, 30-40. Orlando’s older brother, jealous and proud of his younger brother but equally poor at concealing his emotions.
Duke Ferdinand, GB, 40+. The new duke, who has just usurped the old duke, and asked all the old duke’s followers to retreat to the backbench whilst nursing a mess of insecurities about their ability to maintain the top job. A totally unfamiliar character to Australians of course.
Duke Senior, GB, 40+. The old duke, who has retreated to hold peaceful court in the forest. Should probably be a bit angrier at being usurped from power, but has discovered a mellow dignity. Parent of Rosalind.
Jacques, 20-50, Male but could be GB depending on casting availability. Melancholy, broody, poetic and philosophical. Gives one of the most famous speeches of all time, but is a total buzzkill.
Silvius, Male, early 20s. Young, in love with Phebe, and totally hopeless at wooing.
Phebe, Female, 20-30. Strong, angry, fierce, knows what she wants. Apparently that’s not Silvius.
Corin, GB, 40+. Previous occupant of a dwelling in rural Arden who opens their doors to the strange motley crew arriving from the city. Slow, but not stupid.
Hymen, Female, Age Open. Goddess of love, local legend. The kind of local that you know you can always go to for a crystal and a cup of herbal tea.
Charles, GB, Age Open. Will be involved in at least one fight scene and must be physically capable of fight choreography. A wrestler/ overzealous PT ready to prove themselves.
Audrey, GB, 20-40. Vulgar, uncouth, uneducated but somehow still desirable. At least by Touchstone.
Amiens, Le Beau, Lords, Sir Oliver Martext, etc. GB, Age Open. These parts will be doubled and incorporated into the other roles describe above.

Audition Scenes
Please familiarise yourself with these texts – you aren’t required to memorise every scene, and you will be randomly partnered with somebody to play at least one of these scenes. Don’t worry if it’s not for a role you’re interested in, we are measuring everyone from the same handful of scenes. Printed copies will be available at the audition.
SCENE ONE
ACT I SCENE III A room in the palace.
[Enter CELIA and ROSALIND]
CELIA Why, cousin! why, Rosalind! Cupid have mercy! not a word?
ROSALIND Not one to throw at a dog.
CELIA No, thy words are too precious to be cast away upon
curs; throw some of them at me; come, lame me with reasons.
ROSALIND Then there were two cousins laid up; when the one
should be lamed with reasons and the other mad
without any.
CELIA But is all this for your father? 10
ROSALIND No, some of it is for my child’s father. O, how
full of briers is this working-day world!
CELIA They are but burs, cousin, thrown upon thee in
holiday foolery: if we walk not in the trodden
paths our very petticoats will catch them.
ROSALIND I could shake them off my coat: these burs are in my heart.
CELIA Hem them away.
ROSALIND I would try, if I could cry ‘hem’ and have him. 20
CELIA Come, come, wrestle with thy affections.
ROSALIND O, they take the part of a better wrestler than myself!
CELIA O, a good wish upon you! you will try in time, in
despite of a fall. But, turning these jests out of
service, let us talk in good earnest: is it
possible, on such a sudden, you should fall into so
strong a liking with old Sir Rowland’s youngest son?
ROSALIND The duke my father loved his father dearly. 29
CELIA Doth it therefore ensue that you should love his son
dearly? By this kind of chase, I should hate him,
for my father hated his father dearly; yet I hate
not Orlando.
ROSALIND No, faith, hate him not, for my sake.
CELIA Why should I not? doth he not deserve well?
ROSALIND Let me love him for that, and do you love him
because I do. Look, here comes the duke. 37


SCENE TWO
ACT IV SCENE I The forest.
[Enter ROSALIND, CELIA, and JAQUES]
JAQUES I prithee, pretty youth, let me be better acquainted
with thee.
ROSALIND They say you are a melancholy fellow.
JAQUES I am so; I do love it better than laughing.
ROSALIND Those that are in extremity of either are abominable
fellows and betray themselves to every modern
censure worse than drunkards. 7
JAQUES Why, ’tis good to be sad and say nothing.
ROSALIND Why then, ’tis good to be a post.
JAQUES I have neither the scholar’s melancholy, which is
emulation, nor the musician’s, which is fantastical,
nor the courtier’s, which is proud, nor the
soldier’s, which is ambitious, nor the lawyer’s,
which is politic, nor the lady’s, which is nice, nor
the lover’s, which is all these: but it is a
melancholy of mine own, compounded of many simples,
extracted from many objects, and indeed the sundry’s
contemplation of my travels, in which my often
rumination wraps me in a most humorous sadness. 18
ROSALIND A traveller! By my faith, you have great reason to
be sad: I fear you have sold your own lands to see
other men’s; then, to have seen much and to have
nothing, is to have rich eyes and poor hands.
JAQUES Yes, I have gained my experience.
ROSALIND And your experience makes you sad: I had rather have
a fool to make me merry than experience to make me
sad; and to travel for it too!


SCENE THREE
ACT IV, Scene 1 (Note: Rosalind is currently in disguise as “Ganymede”, a young man who has offered to pretend to be “Rosalind” so that Orlando can learn how to woo her)
ROSALIND Come, woo me, woo me, for now I am in a holiday
humour and like enough to consent. What would you
say to me now, an I were your very very Rosalind?
ORLANDO I would kiss before I spoke. 57
ROSALIND Nay, you were better speak first, and when you were
gravelled for lack of matter, you might take
occasion to kiss. Very good orators, when they are
out, they will spit; and for lovers lacking–God
warn us!–matter, the cleanliest shift is to kiss.
ORLANDO How if the kiss be denied?
ROSALIND Then she puts you to entreaty, and there begins new matter.
ORLANDO Who could be out, being before his beloved mistress?
ROSALIND Marry, that should you, if I were your mistress, or
I should think my honesty ranker than my wit.
ORLANDO What, of my suit?
ROSALIND Not out of your apparel, and yet out of your suit.
Am not I your Rosalind?
ORLANDO I take some joy to say you are, because I would be
talking of her.
ROSALIND Well in her person I say I will not have you.
ORLANDO Then in mine own person I die. 69
ROSALIND No, faith, die by attorney. The poor world is
almost six thousand years old, and in all this time
there was not any man died in his own person,
in a love-cause. Men have died from time to
time and worms have eaten them, but not for love.
ORLANDO I would not have my right Rosalind of this mind,
for, I protest, her frown might kill me. 84
ROSALIND By this hand, it will not kill a fly. But come, now
I will be your Rosalind in a more coming-on
disposition, and ask me what you will. I will grant it.
ORLANDO Then love me, Rosalind.
ROSALIND Yes, faith, will I, Fridays and Saturdays and all.
ORLANDO And wilt thou have me?
ROSALIND Ay, and twenty such.
ORLANDO What sayest thou?
ROSALIND Are you not good?
ORLANDO I hope so. 95
ROSALIND Why then, can one desire too much of a good thing?


SCENE FOUR
Act I, Scene 1
OLIVER Now, sir! what make you here?
ORLANDO Nothing: I am not taught to make any thing.
OLIVER What mar you then, sir? 29
ORLANDO Marry, sir, I am helping you to mar that which God
made, a poor unworthy brother of yours, with idleness.
OLIVER Marry, sir, be better employed, and be naught awhile.
ORLANDO Shall I keep your hogs and eat husks with them?
What prodigal portion have I spent, that I should
come to such penury? 36
OLIVER Know you where you are, sir?
ORLANDO O, sir, very well; here in your orchard.
OLIVER Know you before whom, sir?
ORLANDO Ay, better than him I am before knows me. I know
you are my eldest brother; and, in the gentle
condition of blood, you should so know me. The
courtesy of nations allows you my better, in that
you are the first-born; but the same tradition
takes not away my blood, were there twenty brothers
betwixt us: I have as much of my father in me as
you; albeit, I confess, your coming before me is
nearer to his reverence.
OLIVER What, boy!
ORLANDO Come, come, elder brother, you are too young in this. 50
OLIVER Wilt thou lay hands on me, villain?
ORLANDO I am no villain; I am the youngest son of Sir
Rowland de Boys; he was my father, and he is thrice
a villain that says such a father begot villains.
Wert thou not my brother, I would not take this hand
from thy throat till this other had pulled out thy
tongue for saying so: thou hast railed on thyself.
OLIVER Let me go, I say. 60
ORLANDO I will not, till I please: you shall hear me. My
father charged you in his will to give me good
education: you have trained me like a peasant,
obscuring and hiding from me all gentleman-like
qualities. The spirit of my father grows strong in
me, and I will no longer endure it: therefore allow
me such exercises as may become a gentleman, or
give me the poor allottery my father left me by
testament; with that I will go buy my fortunes. 69
OLIVER And what wilt thou do? beg, when that is spent?
Well, sir, get you in: I will not long be troubled
with you; you shall have some part of your will: I
pray you, leave me.
ORLANDO I will no further offend you than becomes me for my good.


SCENE FIVE
Act III, Scene 2
[Enter CORIN and TOUCHSTONE]
CORIN And how like you this shepherd’s life, Master Touchstone? 12
TOUCHSTONE Truly, shepherd, in respect of itself, it is a good
life, but in respect that it is a shepherd’s life,
it is naught. In respect that it is solitary, I
like it very well; but in respect that it is
private, it is a very vile life. Now, in respect it
is in the fields, it pleaseth me well; but in
respect it is not in the court, it is tedious. As
is it a spare life, look you, it fits my humour well;
but as there is no more plenty in it, it goes much 20
against my stomach. Hast any philosophy in thee, shepherd?
CORIN No more but that I know the more one sickens the
worse at ease he is; and that he that wants money,
means and content is without three good friends;
that the property of rain is to wet and fire to
burn; that good pasture makes fat sheep, and that a
great cause of the night is lack of the sun; that
he that hath learned no wit by nature nor art may
complain of good breeding or comes of a very dull kindred.
TOUCHSTONE Such a one is a natural philosopher. Wast ever in 30
court, shepherd?
CORIN No, truly.
TOUCHSTONE Then thou art damned.
CORIN Nay, I hope.
TOUCHSTONE Truly, thou art damned like an ill-roasted egg, all
on one side.
CORIN For not being at court? Your reason.
TOUCHSTONE Why, if thou never wast at court, thou never sawest
good manners; if thou never sawest good manners,
then thy manners must be wicked; and wickedness is 40
sin, and sin is damnation. Thou art in a parlous
state, shepherd.
CORIN Not a whit, Touchstone: those that are good manners
at the court are as ridiculous in the country as the
behavior of the country is most mockable at the
court. You told me you salute not at the court, but
you kiss your hands: that courtesy would be
uncleanly, if courtiers were shepherds.
TOUCHSTONE Instance, briefly; come, instance.
CORIN Why, we are still handling our ewes, and their 50
fells, you know, are greasy.
TOUCHSTONE Why, do not your courtier’s hands sweat? and is not
the grease of a mutton as wholesome as the sweat of
a man? Shallow, shallow. A better instance, I say; come.
CORIN Besides, our hands are hard.
TOUCHSTONE Your lips will feel them the sooner. Shallow again.
A more sounder instance, come.
CORIN And they are often tarred over with the surgery of
our sheep: and would you have us kiss tar? The
courtier’s hands are perfumed with civet. 61
TOUCHSTONE Most shallow man! thou worms-meat, in respect of a
good piece of flesh indeed! Learn of the wise, and
perpend: civet is of a baser birth than tar, the
very uncleanly flux of a cat. Mend the instance, shepherd.
CORIN You have too courtly a wit for me: I’ll rest.
TOUCHSTONE Wilt thou rest damned? God help thee, shallow man!
God make incision in thee! thou art raw. 70
CORIN Sir, I am a true labourer: I earn that I eat, get
that I wear, owe no man hate, envy no man’s
happiness, glad of other men’s good, content with my
harm, and the greatest of my pride is to see my ewes
graze and my lambs suck.
TOUCHSTONE That is another simple sin in you, to bring the ewes
and the rams together and to offer to get your
living by the copulation of cattle; to be bawd to a
bell-wether, and to betray a she-lamb of a
twelvemonth to a crooked-pated, old, cuckoldly ram,
out of all reasonable match. If thou beest not
damned for this, the devil himself will have no
shepherds; I cannot see else how thou shouldst
‘scape.