Jack & The Beanstalk

Audition Infomation

 

Sunday 26th June 2022 at The Henrician (formerly the Evesham Arts Centre) from 11am until 5.30pm.
 
(Bring water/snacks and wear comfortable shoes/clothes you can move in) 
 
Principal auditions will begin from around 1pm; so if you’re not intending to audition for a principle role you’re free to leave from then.
 

 

CHARACTER DESCRIPTIONS 

 

FLESHCREEP: The Giant's obsequious henchman, and because the Giant is only heard for most of the show, Fleshcreep must assume much of the identity of the main villain of the piece. At the same time, because he is merely the Giant's representative and servant, there are many opportunities for comedy as Fleshcreep shows his cringing subservience to his master. There are several ways of playing this part, and much will depend on the physical characteristics of the actor. It can be very effective as a kind of Uriah Heep character, with a cringing posture and whinging voice, but with an underlying vindictiveness that is sure to get the audience booing; or, if you have a bigger, more flamboyant personality playing the part, he can be blustering and more obviously villainous, vain and boastful in his self-assurance. He must obviously be able to inspire the audience to hate him by his selfish cruelty, and be able to handle their jeers and shouts and play on this.

 

FAIRY MOONBEAM: This Fairy, as most pantomime fairies, should be the embodiment of good and beauty, though you can interpret this fairly liberally! She can equally well be played by a young pretty dancer, or a more mature "godmother" type lady, and you can adapt her involvement in the magical vegetable ballet scene accordingly. If you use our suggestion of "Giants in The Sky" to close Act 1 - and it is a great number! - then she will need a very strong singing voice.

 

DAME TROT: Jack and Billy’s poor, hard-working mother needs to be able to combine several different qualities in her character, which makes her "meatier" than many pantomime dames. She must firstly be able to inspire the audience's sympathy in her struggle against poverty and the bullying of the evil Giant's henchman, and be seen as an endearing, motherly figure. But at the same time, as Jack is our real hero, she must allow the audience to side with him in her nagging frustration with his ineptitude. The way round this is to make the nagging humorous, so that we are always aware that mother and son are really devoted to each other. Her other major relationship is with Daisy the Cow - we must believe that she is genuinely fond of the "old cow" and this prompts her determination to rescue her from the Giant. Dame Trot is also enamoured of the King and there is much humour to be found in her pursuit of him.

 

JACK TROT: The unlikely hero of this panto should ideally be young, or at least boyish in his demeanour, so that we really feel that he's inexperienced in life, a little dizzy, and rather gullible. The more these qualities are played up at the beginning of the show, the more dramatic will be his final conquering of the Giant, and the more interesting will be his transformation from callow, silly youth to real hero, worthy of winning Jill's hand. Jack should inspire the empathy of all boys in the audience, and hopefully the adoration of all the girls! He will need a good singing voice and also to be quite fit physically for all that climbing up and down beanstalks, and chases!

 

SILLY BILLY TROT: Dame Trot’s other, rather useless son, Silly Billy is the comic of the family due to his dopiness - while Jack worries his mother by never being around and by getting into scrapes, Billy is willing but hopelessly inept. Billy regards Jack with awe and devotion, and tries his best to look after him. He needs good rapport with the audience. A good part for a character actor who is not afraid of making an idiot of himself!

 

JILL: She is traditionally the local squire's daughter, and one imagines that she and Jack have grown up together like brother and sister, but that their relationship can't come to much because of the difference in their financial status. Jill is a bit of a tomboy, and is always

game for an adventure, though she should be feminine and pretty enough to be a real catch for Jack once he has proved himself and vanquished the Giant. As ever, singing and dancing skills will help enormously.

 

KING MAURICE: The ruler of the little kingdom which is being terrorised by the Giant, should be a fairly comic, sympathetic, bumbly sort of man who can't quite cope with the responsibility of his position. The audience should feel that he is not to blame for being frightened into doing what the Giant demands, and that he is a good and kind man at heart, but one who is easily manipulated by the other characters.

 

GRABBIT: The King's incompetent assistant who has a kind of simple charm that should endear him to the Audience. He can be played by an actor of any age, as long as he is not afraid of making a fool of himself! Comic ability is obviously essential - and physical fitness, as he is involved in the slapstick scenes.

 

DAISY THE COW: Requires two dedicated actors - male or female - who are able to make the most of this endearing role! In spite of never speaking, and never showing their faces, with skill and a lot of practice, these actors can make Daisy a real character and become the star of the show! An ability to dance is a real bonus for these performers!

 

THE GIANT: Like Daisy, the playing of this part depends on a great deal of skill in animating a difficult costume so that it becomes a believable character. The Giant is mostly heard as an offstage voice, and with the aid of sound technology, most male actors should be able to sound convincingly frightening - though a deep voice is certainly a good starting point! 

 

 

All audition pieces can be found in the digital script below on the page numbers highlighted. 

 

Fleshcreep - pg 10&11 & pg 30&31

 

Fairy Moonbeam - pg 10&11

 

Dame Dottie Trot - pg 13&14&15 (to exit)

 

Jack Trot - pg 13&14&15 (to exit)

 

Billy Trot - pg 15 (long solo section)

 

Jill - pg 37 pg 49&50

 

King Maurice - pg 30&31

 

Grabbit - pg 45&46 (to grabbit exit)

 

Daisy the Cow - (to be cast from dance audition)

 

Giant Blunderbore - pg 54(from giant entrance) & 55 (to end Giant dialogue)

 

If you have any audition queries please email: jackpanto2023@gmail.com

Singing audition lyrics
Lyrics.pdf
Adobe Acrobat document [29.7 KB]
Digital Script
Denyer - Jack and the Beanstalk_50.pdf
Adobe Acrobat document [1.1 MB]
Singing Audition Backing Track (without vocals)
Gloria_Estefan_Get_On_Your_Feet(Custom_B[...]
MP3 audio file [8.8 MB]
Singing Audition Backing Track (with vocals)
Gloria_Estefan_Get_On_Your_Feet(Custom_B[...]
MP3 audio file [8.8 MB]
Tweets from PhoenixTheatre @Phoenix_T_G

News

Email: musicals@phoenixtheatregroup

.co.uk for more information on our 2022 Autumn Musical Production- 

Shrek The Musical

Print Print | Sitemap
© Phoenix Theatre Group