THE CONNIE COMPANY PRESENTS THE LION, THE WITCH, AND THE WARDROBE
THE LION, THE WITCH, AND THE WARDROBE
Dramatized by Joseph Robinette, from the story by C.S. Lewis
Auditions open to youth ages 8-20.
Audition dates: Nov. 30 & Dec. 1
Audition Time: 5-7pm
Location: The Actor’s Lab, 20700 N. Main St, Cornelius
Actors only need to attend one audition session. Those interested should bring a recent picture, resume or list of theatre experience, and a list of conflicts for the December through January time frame. In all cases, auditionees should arrive at the start of the appropriate audition and plan to stay for the session. Auditionees will be evaluated and dismissed in groups. Auditions will consist of theatre exercises and cold readings from the script.
Performances dates are Jan. 28-Feb. 6. All performances will take place at Armour Street Theatre. Production and rehearsal details will be available at the audition. The production will be directed by Jessica Zingher.
The Connie Company also seeks teens and college students interested in working behind the scenes as student stage managers, running crew and technicians. Internship credit is available. Contact Katie Mullis, Education Director at [email protected] for more information.
This dramatization of C.S. Lewis’ classic work faithfully recreates the magic and mystery of Aslan, the great lion, his struggle with the White Witch, and the adventures of four children who inadvertently wander from an old wardrobe into the exciting, never-to-be-forgotten Narnia. The intense action features chases, duels and escapes as the witch is determined to keep Narnia in her possession and to end the reign of Aslan. This story of love, faith, courage and giving, with its triumph of good over evil, is a true celebration of life.
Roles available for the following characters:
Aslan – The king and god of Narnia. The noble lion sacrifices his life so that the Witch will spare Edmund. After being resurrected the next morning, Aslan rises and defeats the White Witch once and for all. In the context of the book’s Christian allegory, Aslan represents Christ.
The White Witch – This evil queen of Narnia places a spell on the land so that it is winter and never Christmas. The Witch is the “Emperor’s hangman,” as Mr. Beaver says, and she has the right to kill any Narnian traitor. She wields a wand that turns creatures and people to stone. The wand also produces the Turkish Delight that enslaves Edmund and makes him greedy. The Witch kills Aslan, and it is only after he rises from the dead that he defeats her. Like any malicious character, the Witch, an embodiment of evil, could represent Satan, or she may be a servant of Satan. “She calls herself the Queen of Narnia thought she has no right to be queen at all, and all the Fauns and Dryands and Naiads and Dwarfs and Animals—at least all the good ones—simply hate her.”
Peter Pevensie – Peter is the oldest of the Pevensie children, and he is noble and courageous. He matures into a young man during his first few days in Narnia. He immediately proves himself after protecting Susan from a ferocious wolf. Aslan knights him, and eventually crowns him the High King of Narnia. During his reign he is known as King Peter the Magnificent.
Susan Pevensie – The second oldest of the Pevensie children, Susan is the beauty among the Pevensies. She is sweet and kind, and perhaps a little bland. Santa Claus gives her a horn to blow if she ever finds herself in a dangerous situation. When she becomes queen at Cair Paravel, she is known as Queen Susan the Gentle.
Edmund Pevensie – The third oldest Pevensie child, Edmund is a brat for most of The Lion, The Witch, and the Wardrobe. Edmund is spiteful and mean, and likes to tease his sister, Lucy. His greed for the enchanted Turkish Delight leads him to act as a traitor against his siblings. Edmund joins forces with the White Witch, but eventually sees the error of his ways and returns to the good side.
Lucy Pevensie – The youngest Pevensie is cheerful, kind, and brave. This curious, happy-go-lucky girl is the first of the children to venture into Narnia. Later, she urges her siblings to search for her friend, Tumnus, when they find that the faun’s home is ransacked. In the beginning, she is the protagonist, although Aslan fills that role later in the novel. We view much of the action through her optimistic eyes, as a foil to the skeptical eyes as Edmund. Santa Claus gives Lucy a cordial, which she uses to heal the wounded following the battle with the Witch’s troops. She is known as Queen Lucy the Valiant.
Tumnus – Lucy meets Tumnus, a faun, on her first excursion into Narnia. He initially intends to kidnap her and bring her to the White Witch. Tumnus does not go through with it, and he spares her life. For his crime, the Witch ransacks his home and petrifies him. Later, Aslan rescues Tumnus from the spell. Kind, sensitive, and caring, Tumnus and Lucy become fast friends once it is settled that he is not going capture her. He also makes a mean cup of tea.
Mr. Beaver – Mr. Beaver is Tumnus’s friend, and he aids the Pevensie children in the search for the petrified faun. Mr. Beaver introduces the Pevensies to Santa Claus and ultimately brings them to the Stone Table and Aslan.
Mrs. Beaver – She is Mr. Beaver’s wife. Mrs. Beaver is kindly, good-natured, motherly, and a good cook.
Dwarf – The dwarf is one of the Witch’s evil henchman and is her right-hand man.
Fenris Ulf – Fenris Ulf is a wolf and the chief of the Witch’s Secret Police. Peter murders the evil wolf after Fenris chases Susan up a tree.
Father Christmas – Father Christmas is also known as Santa Claus and he makes a cameo appearance in the land of Narnia. He explains that Christmas has arrived in Narnia and as a gift, gives special tools to each of children.
White Stag – A very rare creature who, as legends has it, grants a wish to anyone who captures it.
Various Ensemble characters including Witch’s Army, Aslan’s Followers, Wood Nymphs, unicorns, and centaurs
All roles, unless otherwise announced, are open. DCP encourages anyone who is interested to audition and we are always eager to welcome new faces and fresh talent to our stage. Except as specifically required by the playwright for certain roles, Davidson Community Players has a non-discrimination casting policy, open to members of all races, sexes, creeds, orientations, and abilities. We encourage and welcome members of diverse backgrounds, experiences, and abilities to audition for our productions.
Auditioning at DCP
DCP encourages everyone to audition for a show regardless of your acting experience. We want you to feel comfortable at auditions and we strive to make this a rewarding experience for everyone.
In order to provide you with the best audition experience possible, we have compiled a few helpful hints and bits of information about the audition and rehearsal process.
- Read over the audition notice thoroughly. The audition information will provide details about character description, audition requirements and general information about the rehearsal schedule.
- Read the script and/or research the play. For non-musicals directors generally ask for a cold reading, which are scene selections from the script, so familiarity with the script is certainly beneficial.
- If you are auditioning for a musical, you will be asked to perform a song of your choice as well as participating in a group dance audition. You will need to provide sheet music for the accompanist at the audition. Choose a song that showcases your voice. Read the audition notice carefully to see if there is a particular style of song requested by the director. DCP offers musical theatre audition workshops which are a great way to prepare for auditions!
- Update your resume and headshot. Your resume should include your theatre and/or performance experience, if any. If you have special skills or training that is relevant to theatre, please list on the resume. Your headshot does not need to be professional; however, it is suggested that it be a recent photograph. Attach the headshot to the back of the resume and bring to auditions.
- Unless otherwise noted, auditions are held at the Armour Street theatre. You will enter through the basement door nearest the gravel parking lot where you will be greeted by our audition assistant. You will sign in and be given a numbered audition form. Please fill out the form as completely as possible with special attention paid to the area where you list your conflicts.
- Depending on the director, you may be seen as part of a group or individually. For a non- musical, you will be asked to do cold readings with others who are auditioning.
- For musicals, you will be asked to perform your musical selection and then learn and present a dance sequence. The director may ask you to do a cold reading as well as dance and sing.
- If you are auditioning for a Connie Company production, you may be asked to participate in theatre games and improvisations.
- Some directors will schedule a "callback" or second round of auditions. Notification of callbacks will be made by phone within 24 hours of the final audition. Being called back does not mean you are cast in the production and likewise NOT being called back doesn't mean that you are NOT cast in the production.
- Casting the show is the responsibility of the director and in the case of a musical, the director and music director. Our DCP policy is that all casting decisions will be made within 72 hours of the final audition (or callback) unless there are extenuating circumstances. Casting offers will be made by a phone call. After the cast is confirmed, the cast list will be posted on the DCP website. DCP will send out notices to those who are not cast via email.
- DCP encourages and welcomes people of all races, genders and abilities to audition for all productions.
In general, plays rehearse 6 weeks and musicals 8-10 weeks. Rehearsals are usually held five days a week, Sunday-Thursday, in the evening. All rehearsals are held at the Armour Street theatre unless otherwise noted. The director will provide a rehearsal schedule at least two weeks in advance. Directors are encouraged to create rehearsal schedules taking into account the actor conflicts. The week prior to the production is "tech" week, which will be nightly rehersals until opening. A "brush up" rehearsal may be scheduled between the first and second week of the show.
Casting is the most difficult part of being a director. Directors agonize many hours over the casting process to ensure that the best choices are made for their particular production. Frequently a strong actor may not be cast because the actor does not fit the director's vision for the part, is physically mismatched with other cast members or has numerous conflicts. Please don't be discouraged if you are not cast for a production; just keep auditioning!