Audition For Studio Theatre Perth Productions

 Studio Theatre Productions Auditions

“Salt Water Moon”

by David French

Directed by Jane Stott

in Studio Theatre Perth: Tuesday and Thursday, May 7 and 9 at 7 p.m.

Production dates: August 8-25, 2019;  9 evening shows and 3 matinées

Synopsis

Set in Coley’s Point, Nfld, in 1926, this coming-of-age love story is the third in a series of plays by David French called The Mercer Plays.  Studio theatre presented another play from the series, Leaving Home, several years ago.   A ninety minute play with only two characters to carry the story, this will be a great opportunity for two young actors, portraying 17 and 18 year old youth.  Mary is in service for the right honourable Dawes and his wife, and is engaged to the local school teacher.  Only the summer before, she was keeping company with Jacob Mercer, a fisherman.  He left without saying goodbye, to seek his fortune in the big city.  On a moonlit August evening Jacob returns to try and woo Mary back.  He finds Mary is sitting on her employer’s porch, looking through her telescope, and waiting for her fiancé.

Cast requirements

One young man, able to portray an 18 year old.

One young woman, able to portray a 17 year old.

Both characters are on stage for the full play, a ninety minute one act play production.

Auditions and a general information session for interested actors and crew* will be held

on Tuesday and Thursday May 7 and 9 at 7 pm at Studio Theatre.

*This show will have adult mentors for all crew positions, and opportunities for high school students to work as tech designers and operators, set builders, costumers, front of house, stage managing, promotion and dramaturge.

Rehearsals

Rehearsals will be Tuesday and Thursday evenings and Sunday afternoons.Perusal copies can be obtained from Roberta Peets at  roberta@rideau.net

Your appropriate monologue should be memorized.  You will also be required to read from the script.

Monologue for Jacob character – speaking to Mary

Out of seven hundred and fifty men, only forty not dead or wounded . . . one regiment after another was wiped out-the Royal Dublin Fusiliers, The Border Regiment, The Essex.  And then it came the Newfoundlanders’ turn.  Colonel  Hadow walked twenty yards forward and gave the signal.  The Captain blew the whistle, and the men went over the top, heading straight into the German cross-fire, knowing they were walking alone t’rough the long grass of No Man’s Land into certain death.  Not a single man flinched or looked back, just kept on walking in perfect drill formation, the sun glinting off their bayonets.  Could he tell you what all the observers noticed that day as the Newfoundland Regiment walked into the storm of machine-gun bullets and motor shells:  how all the soldiers to a man tucked their chins into their forward shoulders like sailors leaning into a gale of wind.  Could he tell you that?  (Mary says nothing.) No, and that he couldn’t.  ‘Cause his own father wasn’t there to tell him the real story, was he?

Monologue for Mary Character – speaking to Jacob (Dot is Mary’s younger sister)

I pointed out the drugstore where Tommy Ricketts was now the druggist, and we went inside and looked at him.  He had the shyest smile, and the kindest eyes, and him so brave in the war.  The youngest soldier in the British Army to win a Victoria Cross.  . . .  Once outside, I told Dot who he was, and how she had to be like him.  Brave like him and Father, only brave in a different way.  I told her the matron was a coward, and like all cowards, I said, she was cruel, so the next time she puts her foot on you, Dot, I said, don’t make a sound:  don’t even cry out, ‘cause she’ll only grind her heel into you the harder.  Just look into her eyes, I said, and let her know that no odds how often she knocks you down, no odds on how hard she steps on you, the one t’ing she’ll never destroy is your spirit.  And maybe, just maybe she’d stop doing it, ‘cause it’s a funny t’ing, I said, about cruel people like the Matron, they only respects one kind of person in the long run, and that’s the ones they can’t break.