So you Didn't get a callback?
It happens. Let's not overreact, a callback audition is necessary when the panel needs to see something that they suspect a person can do but it was not demonstrated on the initial call. Sometimes this is completely unnecessary, for example, no men got a callback this year because we have the information necessary to cast the show.
Regardless of the outcome of the casting, the singing, acting, and dancing auditions were well appreciated. I know you put hard work into this process, and I am grateful that you did and that you were willing to put yourself into a vulnerable position to share that hard work. You should keep your head up high. If the results don't work out the way you were hoping, reflect on the process and action steps. Sometimes a show fits really well into your skill set, sometimes it is outside of your wheelhouse. I think you are probably better prepared for your next audition/try out of any sort--experience is important.
Again, many thanks.
Regardless of the outcome of the casting, the singing, acting, and dancing auditions were well appreciated. I know you put hard work into this process, and I am grateful that you did and that you were willing to put yourself into a vulnerable position to share that hard work. You should keep your head up high. If the results don't work out the way you were hoping, reflect on the process and action steps. Sometimes a show fits really well into your skill set, sometimes it is outside of your wheelhouse. I think you are probably better prepared for your next audition/try out of any sort--experience is important.
Again, many thanks.
Callback resources
Scene 7 is the French Dialogue, the top recording for So Good So Far is the accompaniment, the bottom is the cast recording. Note on the "So Good, So Far" accompaniment, the first four bars of piano repeat before the opening line.
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Synopsis
From New York to Paris, from ragtime to jazz: THE HELLO GIRLS chronicles the story of America’s first women soldiers in this new musical inspired by history. These intrepid heroines served as bilingual telephone operators on the front lines, helping turn the tide of World War I. They then returned home to fight a decades-long battle for equality and recognition, paving the way for future generations. THE HELLO GIRLS was commissioned and premiered by NYC’s Prospect Theater Company to celebrate the centennial of these groundbreaking women.
Lead Characters
All of the lead characters interact through solo singing. There is an impressive amount of solo and duet part work, for example, "Cryptic Triptych" beautifully weaves Bertha, Helen, and Louise in a trio. The lead five females are ever-present. Listed with each character are their major solos (meaning 16 bars or longer)
Grace Banker - Articulate and poised, with a core of steely strength that makes itself apparent as she grows into her role as leader. Grace has feature solos is "Answer the Call", "Connected", "See You on the Other Side", "Chaumont", "Twenty", "So Good, So Far", and "Making History".
Suzanne Prevot - Feisty, sardonic, tough-talking. A close friend of Grace's from AT&T. Feature solos in "Answer the Call", "Je M'en Fiche", "The Front", "Switchboard Lessons", and "Suzanne's Letter"
Helen Hill - From Idaho, Helen is a typical small-town farm girl. Sweet, over-enthusiastic, wholesomely kooky and prone to nervous panic. Helen has features in "Quinze Minutes" and "So Good, So Far"
Bertha Hunt - Married to a Navy Doctor who is also serving. Older, wiser, reliable, the den mother. Extremely knowledgable about military matters. Bertha is featured in "Quinze Minutes" and "So Good, So Far".
Louise LeBreton - Louise is 18, fearless, flirty, headstrong, and often insubordinate. Born in France, she has family fighting with the French Army. Louise possesses a French accent and is featured in "Je M'en Fiche" and "Quinze Minutes".
Cpt. Joseph Riser - The Signal Corps officer who recruits and trains the women. A career army man, a stickler for rules and order, he is skeptical of the women's presence in the army. Riser is featured in "Marching Orders", "Riser's Reprimand", and "The Lost Battalion".
General John Pershing - Commander of the American Expeditionary Forces. Hard, relentless, inflexible, with a deep sense of honor and American individualism and identity. Pershing sings a solo at the beginning of "Lives on the Line".
** The men listed below can be doubled or tripled into some of the soldier roles. The "man 1", "man 2", and "man 3" chorus roles are frequently soloists in short stints and have some significant parts included in "Hello Girls", "Lives on the Line", "Cryptic Triptych", and "The Duration' among others. The men listed below have some speaking and acting parts.
Pvt. Eugene Matterson - The most significant of the soldier characters, he is an enlisted man who works closely with Lt. Riser and serves in a subplot with Suzanne. Eugene is featured in "Switchboard Lessons" and has significant dialogue.
Lt. Ernest Wessen - Head of the recruiting center for the Signal Corps.
Pvt. Robert Dempsey - A Signal Corps operator at the Paris Telephone Exchange
Grace Banker - Articulate and poised, with a core of steely strength that makes itself apparent as she grows into her role as leader. Grace has feature solos is "Answer the Call", "Connected", "See You on the Other Side", "Chaumont", "Twenty", "So Good, So Far", and "Making History".
Suzanne Prevot - Feisty, sardonic, tough-talking. A close friend of Grace's from AT&T. Feature solos in "Answer the Call", "Je M'en Fiche", "The Front", "Switchboard Lessons", and "Suzanne's Letter"
Helen Hill - From Idaho, Helen is a typical small-town farm girl. Sweet, over-enthusiastic, wholesomely kooky and prone to nervous panic. Helen has features in "Quinze Minutes" and "So Good, So Far"
Bertha Hunt - Married to a Navy Doctor who is also serving. Older, wiser, reliable, the den mother. Extremely knowledgable about military matters. Bertha is featured in "Quinze Minutes" and "So Good, So Far".
Louise LeBreton - Louise is 18, fearless, flirty, headstrong, and often insubordinate. Born in France, she has family fighting with the French Army. Louise possesses a French accent and is featured in "Je M'en Fiche" and "Quinze Minutes".
Cpt. Joseph Riser - The Signal Corps officer who recruits and trains the women. A career army man, a stickler for rules and order, he is skeptical of the women's presence in the army. Riser is featured in "Marching Orders", "Riser's Reprimand", and "The Lost Battalion".
General John Pershing - Commander of the American Expeditionary Forces. Hard, relentless, inflexible, with a deep sense of honor and American individualism and identity. Pershing sings a solo at the beginning of "Lives on the Line".
** The men listed below can be doubled or tripled into some of the soldier roles. The "man 1", "man 2", and "man 3" chorus roles are frequently soloists in short stints and have some significant parts included in "Hello Girls", "Lives on the Line", "Cryptic Triptych", and "The Duration' among others. The men listed below have some speaking and acting parts.
Pvt. Eugene Matterson - The most significant of the soldier characters, he is an enlisted man who works closely with Lt. Riser and serves in a subplot with Suzanne. Eugene is featured in "Switchboard Lessons" and has significant dialogue.
Lt. Ernest Wessen - Head of the recruiting center for the Signal Corps.
Pvt. Robert Dempsey - A Signal Corps operator at the Paris Telephone Exchange
Chorus Roles
When the show ran off Broadway, there wasn't a chorus, it was only a cast of 10. The cast also played the part of the pit. In our production, I am intending to utilize the pit musicians on stage periodically and add chorus members.
Women's Chorus - A group of 8-12 women will start the show as switchboard operators seeking a role in the war. Later, they will appear as nurses on the Front. There were few roles for women within the war, but nurses were one of those roles, enabling us to bring more people into the production. There are a number of songs which will incorporate this group lending support to the female leads and covering some of the higher tenor parts which are in the upper register for high school male singers.
Additional Doughboys - While the performance can be done with only 5 men, that involves frequent splitting from the actors who aren't playing Riser and Pershing (those roles don't allow for splitting). Ideally, we will cast more than three people as "Man 1", "Man 2", and "Man 3" to relax that burden.
Women's Chorus - A group of 8-12 women will start the show as switchboard operators seeking a role in the war. Later, they will appear as nurses on the Front. There were few roles for women within the war, but nurses were one of those roles, enabling us to bring more people into the production. There are a number of songs which will incorporate this group lending support to the female leads and covering some of the higher tenor parts which are in the upper register for high school male singers.
Additional Doughboys - While the performance can be done with only 5 men, that involves frequent splitting from the actors who aren't playing Riser and Pershing (those roles don't allow for splitting). Ideally, we will cast more than three people as "Man 1", "Man 2", and "Man 3" to relax that burden.
Audition Dialogues
Also on Wednesday the 14th, you will be asked to perform one (or more) dialogues. You should prepare to read any part, but you do not need to memorize the material. If there are things you don't understand, it would be helpful to google them and make sure you are portraying the scene accurately. As with the singing, accents are required, feel free to experiment with it if you like.