All information about the audition is from www.johawes.com. Applications should be made to Jo Hawes, following the guidelines in the picture below.
THE SECRET DIARY OF ADRIAN MOLE is at last getting its well deserved West End run. Casting will take place asap as rehearsals start at the end of April !! The production will play the Trafalgar Studios until September. Luke Sheppard will direct and head up the original creative team
Please make suggestions as a matter of urgency with the following information.
Nigel, his best friend| 12/14 | unbroken voice Nigel is a bit of a simpleton, but with an enormous, infectious energy. He believes everything he’s told and would absolutely jump off a cliff if you told him to. Strong comic potential here for a quirky, bright actor.
Pandora, a bright young thing| 12/14 | RP, soprano Pandora Braithwaite is absolutely super thank-you-very-much and everybody knows it from the second they meet her. Transferring to Adrian’s school from the local posh school, Pandora is fiercely ambitious; a young Maggie Thatcher dressed straight out of Vogue, with ‘hair the colour of treacle’. Beautiful, and with brains to match her looks, she has Adrian – and the audience – in the palm of her hand from the moment she arrives.
Barry Kent, the school bully | 12/14 | unbroken voice. A gruff, monosyllabic thug who bullies Adrian. Even the teachers are scared of him. Must be a strong presence, but also look the same age as the other children; part of the humour to the audience is of seeing a young schoolboy attempt to be menacing.
All information below is from www.jowhawes.com. All applications should be made to Jo Hawes following the guidelines below.
MARY POPPINS - TWO CHILDREN REQUIRED FOR A PRACTICALLY PERFECT NANNY
We are looking for bright, well-spoken children who can sing, act and dance well to play Jane and Michael Banks for the forthcoming production of Mary Poppins at the Prince Edward Theatre in London.
JANE BANKS – playing age 10 –12 years, maximum height 4’10”
MICHAEL BANKS – playing age 9 – 10 years, maximum height 4’8″
All boys must have unbroken voices, girls must be undeveloped and we cannot see children with fixed braces.
Auditions will take place in London on March 25, recalls on March 30 and final casting on April 10 All children must be available for al those dates and under no circumstances will we be seeing anyone via self tape. The production commences rehearsals on 2 September 2019.
All info below is from https://www.rsc.org.uk/news/childrens-casting-for-the-boy-in-the-dress Please enquire at the email below.
The Boy in a Dress Casting:
We are looking for eight boys to perform in our new musical The Boy in the Dress, which opens in November.
We will be looking to cast eight boys to share the roles of Dennis and Darvesh in our brand new musical adaptation of David Walliams’ book The Boy in the Dress later this year.
The RSC is a committed equal opportunities employer with responsible child safeguarding practices in place.
Today 11 year old Tait started preparing for his School of Rock video entry. Here's his first shot - pretty good already! I love how Tait has such an easy flow to his voice and such a clear tone. We worked on
1) Singing on the vowels not the consonants.
Vowels allow the throat to be open, and the space in the mouth to become a productive resonating chamber for the sound: like singing in a lovely big cathedral!
Consonants, while great for storytelling, energy and engaging the diaphragm (another topic!) they also shut the mouth, make the tongue get in the way and potentially tighten the jaw.
In the video, you can see how Tait makes sure he sings on the vowels, especially as he starts to sing higher.
2) Using different vocal registers.
People talk about "head voice", "middle voice" and "chest voice". I don't believe we have three voices but there are different techniques that need to be applied when you're singing in different parts of your range. To get the best sound from every note in your range (clear, warm easy, non-breathy, powerful, controlled yet free!) you need to understand really understand your voice.
For example, when you sing higher, you need (as above) to open the vowels wider, which consequentially loosens the jaw, which lowers the larynx (another topic!) and gets the tongue out of the way.
You also need to use more air support as you sing higher as the vocal chords become longer, thinner and tighter.
Listen to how Tait tries to adjust things as he moves into the very top of his range.
For more on this please take a read of:
"Singing tips for resonance" - Your personal EQ.
"Singing tips for resonance" - The house.
3) Dynamics and musicality.
These come naturally to Tait, as they will do for many of you, but listen to how the song grows, how the phrases seems to dance in the air. Tait and I have spent a lot of time encouraging him to use his dynamics and musicality so that his singing comes alive.
Take a look inside the Sing Space.
Opportunities, Auditions and castings.