Villagers Theatre will hold auditions for "The Musical Comedy Murders of 1940."Auditions are from 7 p.m. to 9 p.m. on June 29 and 30. Callbacks, if needed, will be from 7 p.m. to 9 p.m. on July 1. Short monologues are provided below for each of the characters. Please memorize the monologue for the audition. You may also be asked to read from sides, which will be provided at the audition. Those auditioning for Nikki, Eddie, O'Reilly, or Roger should be prepared to sing from either "Oklahoma" or "Carousel." If you are auditioning for Helsa, please sing "The Boys in the Back Room."
The creative team responsible for a recent Broadway flop (in which three chorus girls were murdered by the mysterious "Stage Door Slasher") assembles for a backer's audition of their new show at the Westchester estate of a wealthy "angel." The house is replete with sliding panels, secret passageways and a German maid who is apparently four different people- all of which figure diabolically in the comic mayhem that follows when the infamous "Slasher" makes his reappearance and strikes again-and again. As the composer, lyricist, actors and director prepare their performance, and a blizzard cuts off any possible retreat, bodies start to drop in plain sight, knives spring out of nowhere, masked figures drag their victims behind swiveling bookcases, and accusing fingers point in all directions.
Roles are:
| Helsa Wenzel Late 20s | Helsa is the maid of the Grossenknueten estate. She is killed in the first scene of the play, only to be impersonated by her twin brother, Dieter. The actress who plays Helsa also appears at the end of the play as "Katrina, the cook from Koblenz." The actress playing Helsa must be able to do a convincing German accent. This is a challenging role, very much in the "Victor/Victoria" mode. The actress must be able to convince the audience that she is Dieter, who is a female impersonator, when she is "revealed." This character is also involved in two very physical "fight" scenes. | Monologue: (with a thick German accent) I am of triplets. Sisters. But they are in Germany. (after a pause) My mutter und vater worked in Berlin as laborers in the Government printing plant. In 1923 they died, when a carton which contained marks, the equivalent of five American dollars fell on them und they were crushed. (breath) My sisters und I were raised by relatives. We saw each other only on Weinachtsabend, when we met to decorate the Weinachtsbaum, und give out the Weinachtsgeschenke. (pause) My point is...I did not know my sisters! |
| Elsa Von Grossenknueten Mid 40s | Elsa is the owner of the mansion and is the financial backer of many musicals. Elsa summons the group together in an attempt to find out who murdered her "friend" Bebe McAllister. She is extremely eccentric, and thinks that the idea of chasing after a killer is great fun. Her grandfather was a spy, and she claims that espionage runs in her blood. | Monologue: (enthusiastically) My dear, these are actors, producer, director, composer, lyricist, coming to get MY money for their Broadway show. Nothing short of the end of the world will stop them, certainly not a little snow. And I must tell you, espionage is in my blood, Sergeant, I won't fail you! (picking up a make up kit) Poor dead Bebe's Deco make-up kit. Being au courant was so important to her. And now...she is anything but. And this notebook of hers may reveal a murderer. Oh Sergeant, this is going to be a grand adventure, isn't it? And I've planned a perfectly grand menu for the occasion. To begin...a tureen of December frit, followed by lobster on dill.... Oh sorry, we should get you to your room to rest for tomorrow's events! |
| Michael Kelly Mid 40s | Kelly is an undercover cop. Elsa appeals to him to help solve the mystery of the Stage Door Slasher. Kelly's tough, no-nonsense attitude puts him at odds with the zany Elsa and the dramatic types that visit. He is kidnapped by an unseen figure and disappears into a secret passage. Ideally, the actor playing Kelly will be of an ethnicity other than white, there is a joke within the script when Elsa comments that she thought all NYC policemen were Irish. To which he responds: "We are." | Monologue: I'm in charge of this investigation and I say you are staying here. This is a murder investigation and I'm a cop. This has gone too far for adventures, Miss Grossenknueten. I am Michael Kelly of the New York City Police Department here on the case of the stage door slasher. The killer is working too damn fast. He didn't go for you or the notebook. He went for someone who obviously could have exposed him. And not just once. We've had two murders, maybe three. Maybe four, if we count O'Reilly who is missing. |
| Patrick O'Reilly Mid 30s | O'Reilly claims to be an Irish tenor, but he is very suspicious, especially in regards to the mysterious Helsa. The two engage in a very physical brawl. Eventually, O'Reilly claims to be "Tony Garibaldi", an undercover cop with a Bronx accent-only to reveal himself as a Gestapo Agent named Klaus Stansdorff, sent to find German defectors. Nikki confronts him, but before he can reveal the truth, Helsa stabs him through a copy of Moby-Dick. The actor playing O'Reilly must be able to affect an Irish brogue, a Bronx accent, and a German accent. O'Reilly is involved in one the very physical fight scenes. | Monologue: (with an Irish accent to Nikki) Sure'n you're familiar with Ireland, colleen. Well, there's a spot in County Blarney which the sun, comin' over the McNamara mountains, hits first; wakin' the fine village of... McGillicuddy to another of God's days. It's there I'm from and it's there that I'll ever be. (with a Bronx NY accent) I'm not Irish, I'm Italian. Lt. Tony Garibaldi, N.Y.P.D. Working undercover on da case of da stage door slasher. The maid is the slasher and she's on her way up the river. Ok, Wenzel, the jig's up, come out with your hands up...Eins, Zwei, Drei. Vier, Funf, Acht, Neun, Zehn. (with a German accent) I am Klaus Stansdorff of the Geheime Staatspolizei. Temporarily assigned to the German Consulate in New York...as a cultural attache'. What I want is you, Sergeant Kelly, to take the lantern and lead the way into the tunnel. Bitte, Sergeant, I could easily have killed you before, but I didn't. Why not? Professional courtesy. |
| Ken De La Maize Early 40s | Ken is a "typical" director, speaking of theater as a "pure art." He also has an annoying habit of name-dropping, constantly citing the various celebrities he has worked with over the years. Everyone always claims to have seen the films he makes, only for him to reveal that they have not yet been released. The actor playing Ken should be able to sing, at least a little. | Monologue: Ahhh...to be back. Back in the theater. That event as ancient as man and as mysterious and inspiring as the nature man once sought to imitate or appease in his earliest rituals...rituals we now call - the theater. Not moving pictures, but life. Life distilled to a pure clear ring of truth. Never forget that! (pause) Well, if you'll excuse me, I'm going to take my sherry upstairs and into the bathtub. Get rid of some of the Union Pacific Railroad I brought with me. See you later. |
| Nikki Crandall Late 20s - Early 30s | Nikki is considered a typical chorus girl- but she is eventually revealed to be Ensign Nicole Crandall, of United States Naval Intelligence. Her secret mission was to find the Germans who were to sabotage American war efforts. She is also interested in solving the mystery of the Stage Door Slasher, and helps to break the code in Bebe's notebook. Ken almost kills her, as does Helsa/Dieter. Eddie saves her twice, prompting the two to fall in love. The actress playing Nikki should be able to sing. | Monologue: Don't make a move, Daddio, or you'll be pushing up daisies. (flashes an ID) Ensign Nicole Crandall, United States Naval Intelligence. The Nazis landed this guy and five others on Long Island three weeks ago. We caught four of them in Sag Harbor posing as novelists. The saboteurs had false identities, a half million dollars and a mission to blow up installations all over this country to effectively retard this country's communication system. But this guy and a guy named Franz Becker decided the money was more important than the Fatherland and took off with the do-re-mi. The Katzenjammer Kid here bumped off Becker for the greenbacks. We knew this guy had a sister, Helsa Wenzel, and thought it might be long shot he'd come here. (taking a pause) They sent me in to catch him because I was the only agent who could sing harmony. |
| Eddie McCuen Late 20s - Early 30s | Directly based on Bob Hope, Eddie is the out of work comedian that ties the different story lines together. He is attracted to Nikki, but fumbles when he tries to talk to her. He was a replacement for an actor, and thus has no connection to Manhattan Holiday. He is the one who realizes the connection between the Slasher case and the party, and later helps to defeat the slasher and Dieter. These brave actions unite him with Nikki. He has an obvious attraction to Nikki the whole play, and ultimately ends up saving the day and getting the girl. The actor playing Eddie should be able to sing and dance a little. | Monologue: I only got the gig yesterday. Some other guy got sick. My agent asked me, can I sing. Sure, I say...always say "yes," one of my rules. No matter what they ask, yes. This morning a limo picks me up, parks me in front with the chauffeur. Then we pick up a dame and a mug in Yorkville. What a trip! Driving in a snowstorm. I can't see a thing so I don't know how the driver can. And on top of that he's deaf! He had to be. I did forty minutes of my best stuff ...he don't crack a smile! |
| Marjorie Baverstock 40s-60s | Marjorie is a Broadway producer. She constantly flatters everyone around her, and speaks in elevated language; her "new word" is "divoon." She is accidentally killed by Dieter at the end of the first act; strangely, no one seems to notice, despite the fact that there is an enormous sword through her back. | Monologue: I didn't get to tell you Mr. McCuen, that I think it's simply divoon of you to fill in at the last minute like this. But I'm sorry to hear you want to leave, because I for one, would be quite sorry to see you go. I've been hearing such good things about your work. And of course, Ken De La Maize, who is directing the audition knows every agent in Hollywood. Elsa, I can't wait for you to hear the show. It's divoon, simply divoon. And I have a budget all worked out. Even down to the opening night party. We'll hold it at Sardi's, naturally, and if we charge the actors just a teensy cover charge, we'll break even. |
| Roger Hopewell 30s-50s | Roger is the composer for "White House Merry-Go-Round", and Bernice's partner; the two have had a string of Broadway hits. Roger enjoys teasing Ken about his artistic ways, but flares up whenever someone insults his musical style. He also knows how to deal with Bernice's many quirks. Towards the end of the play, Roger reveals a surprising knowledge of ciphers, and helps Nikki and Bernice break the code in Bebe's notebook. Ideally, the actor playing Roger should be able to play the piano and sing a little. | Monologue: (flamboyantly) Quick, someone, a martini. I am in danger of frostbite. Marjorie, sweetheart, I love your new word...divoon! (to O'Reilly) Your eyes are very blue. I'm not being licentious. A triple libidinous, perhaps. A bit lascivious. But not licentious. (turning to Ken) Ken! I didn't see you..How wonderful to be working with you again. I was saying to Bernice on the way here, now our script will have distilled truth, and clean rings, and new sparkplugs, and all those wonderful things that Ken does. |
| Bernice Roth 30s-50s | The perpetually thirsty lyricist and Roger's writing partner, Bernice is very odd and emotional, frequently losing her composure and screaming. When Marjorie fails to respond to the closing number of "White House Merry-Go-Round", Bernice is hugely offended, despite the fact that Marjorie was dead at the time. She spends the entire second act attempting to "fix" the play, even when she is held hostage by Ken, O'Reilly, and Dieter. In the finale, she is struck with inspiration toward a new work that takes place in the heartland of American-a cowboy play called Nebraska. | Monologue: Hi gang! Sorry I'm late getting downstairs, but the storm froze the lock on my overnight case and I've been upstairs heating it with a candle. And the candle kept dripping wax on the rug so I moved into the closet and set something on fire. See, I don't know what I set on fire, cause whatever it was burnt up. Then the maid comes in while I'm kneeling on the floor in the closet under this raging fire and wants to know if I'm Haitian! (to Roger) His eyes are very blue. |
The show is directed by Judi Parrish and produced by Emily Russoniello and Howard Gross.
For additional information, you can email eustacem@aol.com.
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