Thursday, October 22, 2015

Casting Call: 'The Diary of Anne Frank'

In early December, the Pennington Players of Kelsey Theater will hold auditions for "The Diary of Anne Frank."

In this transcendentally powerful adaptation by Wendy Kesselman, Anne Frank emerges from history: a living, lyrical, intensely gifted young girl who confronts her rapidly changing life and the increasing horror of her time with astonishing honesty, wit and determination. An impassioned drama about the lives of eight people hiding from the Nazis in a concealed storage attic, "The Diary of Anne Frank" captures the claustrophobic realities of their daily existence over two dark years; their fear, their hope, their laughter and their grief.

Auditionees should prepare a list of all actual or potential conflicts between Dec. 10 and March 20, as well as the monologue or monologues provided by Pennington Players for the roles they wish to audition for. Although not necessary, memorization is recommended, as is scheduling an appointment. Other readings from the play may be provided.

Auditions will take place from 7-9:30 p.m. Dec. 3 and 1-4 p.m. Dec. 5, with callbacks by invitation only from 1-3 p.m. Dec. 6. All three will be held in the Communications Building adjacent to Kelsey Theatre. Accents are unnecessary.

Rehearsals will begin with a mid-December read-through, when scripts will be distributed and costume measurements made. They will continue in early January, with two weeknights and one weekend afternoon per week based on actor availability. The show will run at 8 p.m. Fridays and Saturdays and at 2 p.m. Sundays March 11-20, plus at 10 a.m. March 14 and 18.

Monologues for the characters may be found here. Audition appointments are available here. For more information, or to state interest in doing the voiceovers, contact auditions@penningtonplayers.org. Those doing the latter should indicate their experience or education in speaking German. Both Kelsey Theatre and the communications building at Mercer County Community College, 1200 Old Trenton Road, West Windsor.

Anne Frank (13-17, looks 14)The younger daughter of Mr. and Mrs. Frank, Anne is a lively, curious girl of 13 at the beginning of the play. She remains optimistic throughout the months they are in hiding and always makes the best of the situation she is in. As her diary reveals, she is very introspective and creative and has a vivid imagination.
Otto Frank (early 50s)Anne's polite and practical father, Mr. Frank is the head of the "attic family." His calmness and patience are an asset in the cramped attic and a comfort to Anne, who is very close to him.
Edith Frank (early 40s)Anne's reserved and nervous mother. Loves Anne, but wishes she were more proper and polite, like her sister Margot. Because of her reserved nature, Mrs. Frank and Anne are not close.
Margot Frank (15-18, looks 16)Anne's older sister. Much more like her mother than Anne. She is quiet, modest, and reserved, Anne's opposite.
Putti Van Daan (early 40s)An irritable former business partner of Mr. Frank; his family is invited to stay in the attic with the Franks. Selfish and openly critical of others, especially Anne.
Petronella Van Daan (early 40s)Mr. Van Daan's vain and finicky wife. Prizes the material things of life, including a fur coat she brought to the attic with her. As a result, she is the center of many of the attic's conflicts.
Peter Van Daan (15-17, looks 16)The son of Mr. and Mrs. Van Daan. Shy, quiet. He soon becomes a friend and confidant for Anne, and they share a first kiss.
Jan Dussell (early 50s)Difficult to get along with, Mr. Dussell joins the Franks and the Van Daans after they have been in hiding about two months.
Miep Gies (mid 30s)A very well-liked, generous secretary in Mr. Frank's office. Helps to protect the families in hiding. Along with Mr. Kraler, she brings the refugees food, supplies, and news from the outside world.
Mr. Kraler (40s)A businessman who works with Miep protecting the refugees.
In addition to the above, two to three men who speak fluent German are wanted for voice-over segments. There should only be one or two recording sessions. There is no onstage commitment for this.

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