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The next Broadway star

By
Griffin Spriggs

The Characters

1. The Diva
2. The Crier
3. The Endless Auditionee
4. The One Who Wont Leave
5. The Suck Up
6. The Dancer
7. The First Timer
8. The One Who Holds Notes Too Long (Thinks Theyre Mariah)
9. The One Who Starts In Wrong Key
10. The One Who Starts Over
11. The Shy One
12. The One Who Mom Sent
13. The Rival 1
14. The Rival 2
15. The One Who Lies About Age
16. The One With Too Much Makeup
17. The One Who Doesnt Understand English
18. The Clueless One
19. The One Who Had Too Much Sugar
20. The Lost One
21. The Texter
22. The Emo Kid
23. The Actual Star
24. Stage Mom
25. Director
26. Musical Director
27. Choreographer
28. Producer
29. Stage Manager (Voice Over)
30. Accompanist (Non-talking)

ACT ONE
Scene 1 Opening Night
SETTING:

Opening Night of a bad Broadway show. Backstage

AT RISE:

We see a group of people standing around, getting ready for


Opening Night. The traveler is used as the main for the
performance. The curtain is about to rise and you can feel the
energy in the room.

Music 1: Another Opening Another Show from Kiss Me Kate


ALL
(Sing)
ANOTHER OPNIN, ANOTHER SHOW
IN PHILLY, BOSTON, OR BALTIMOE,
A CHANCE FOR STAGE FOLKS TO SAY HELLO
ANOTHER OPNIN OF ANOTHER SHOW
ANOTHER JOB THAT YOU HOPE, AT LAST,
WILL MAKE YOUR FUTURE FORGET YOUR PAST,
ANOTHER PAIN WHERE THE ULCERS GROW,
ANOTHER OPNIN OF ANOTHER SHOW
FOUR WEEKS, YOU REHEARSE AND REHEARSE
THREE WEEKS, AND IT COULDNT BE WORSE.
ONE WEEK, WILL IT EVER BE RIGHT?
THEM OUT OTHE HAT, ITS THAT BIG FIRST NIGHT!
THE OVERTURE IS ABOUT TO START,
YOU CROSS YOUR FINGERS AND HOLD YOUR HEART,
ITS CURTAIN TIME AND AWAY WE GO,
ANOTHER OPNIN OF ANOTHER SHOW
STAGE MANAGER
(Voice Over)
Placesthis is your places call, for the top of Act 1. I repeat, this is your places call for the top of
Act 1. Have a great opening.
(People take their spots for the top of the show. Their back is to
the audience, because the traveler is the main. The traveler opens and we
hear a thunderous applause as an overture begins. The lights fade.)

(The lights come back up and there is music playing, applause happening
and the cast is in the middle of their curtain call. As the group takes their
final bow, facing the back. The traveler closesthe applause dies down,
the music continues, as the exit musicbut plays very softly. The group
cheers)
ACTOR 1
We did it guyswe FINALLY opened!
ACTOR 2
Im so proud of you guys!
ACTOR 3
I dont think you guys understand, how nervous I was, I was afraid they wouldnt like my
performancebut theyw seemed to love it.
(As the group, takes one BIG group hug, the PRODUCER enters, very
quietly, and waits until they are done. Once they are done, they notice the
PRODUCER and they give him/her a round of applause.)
PRODUCER
Thank you guys. You guys were wonderful; I cant be more proud of you guys. You rock. I want
you to all know that I love you very deeply, and that you have been wonderful to work with, for
the past couple of months. The reviews came out from our preview and they werent great. The
box office sales, for the last couple of months and the sales from tonight, were awful. So I have
to sadly, tell you that we have to close. Tomorrow.
ALL
What? Noyou cant do this. I just got this job, etc (ad-lib)
ACTOR 4
This is ridiculous. Did you hear the way, the audience sounded tonight?
PRODUCER
Yes, but its not about the way the audience sounds. Its about how much money we make and we
havent made enough to make a profit and weve been in previews for the last three months.
ACTOR 5
You cant do this I refuse!
PRODUCER
Guys look, Im truly sorry, but we JUST cant pay all of you and the crew and the orchestra and
still make a profit. Im sorry but the decision has been made and theres no changing it. Closing
night will happen tomorrow. Im sorry. Please pack up your dressing rooms.
(The PRODUCER exits)

ACTOR 6
Wellyou all know what this means. Back to the auditioning process. Maybe this timeIll be
the Next Broadway Star.
(Blackout.)

ACT ONE
Scene 2 Welcome to Auditions
SETTING:

The audition room, for a musical, thats to come to Broadway. The


first part of the scene is done in front of the main, so that they can
setup the audition room. We can see the waiting room, and we can
see, the audition room. On Stage Right, there are a bunch of
chairsthey are made to look like the hallway of a rehearsal
studio. On Stage left is a table with three chairs, a piano and a few
extra chairs, in case someone auditioning needs one.

AT RISE:

We are in front of the main. The DIRECTOR, MUSICAL


DIRECTOR and CHOREOGRAPHER enter. They stand center
and give the Welcome to Audition speech.

DIRECTOR
Hello, and welcome to the auditions for The Dream. I am Griffin Spriggs, the director for the
show and I would just like to say, that this show means, a lot to me. Its loosely based on my life.
I have worked hard on this project for the past 6 years and I am thrilled to be here. This is my
debut directing a Broadway show. Im trying my bestso if I make a mistake, please be patient
and dont take anything to seriously. If I say something to offend you, please just let me know.
MUSICAL DIRECTOR
My name is Jessica Burchfield and I am the Musical Director. This show is not as close to me, as
it is to Griffin, but its going to be a good show. The score is beautiful, the script is brilliant and
some of the ideas for the set design, lights and sound are awesome. I have musically directed a
couple of Broadway Shows beforesuch as Annie, Annie Get Your Gun, and Legally Blonde.
But, none of them, stuck with me, the way this one does. This is truly, the best thing to come to
Broadway, in a while.
CHOREOGRAPHER
Hi, my name is Lanae Hernandez and Im the choreographer. I am so excited to be
choreographing this show. This is also, my debut as a choreographer, on Broadway. I have been
in several productions as a dancer before. I love dance and I have many ideas for the ensemble. I
love the team, that we have assembled and I cant wait to begin working on the show. I just have
a few tips for you guys, for the dance audition. Please try your best with the steps and remember
to have fun.
DIRECTOR
Okay, were going to hold of the vocal auditions. We will then break for lunch, when we come
back we will have the dance auditions. We will then dismiss everybody, who has already done
their vocal audition. When you walk into the audition room, please give us your headshot and
resume, and audition form the proceed to go the pianist. When youre ready, please say your
name, what you are singing and, if you have a specific role that you would like to play. If you
dont have one they are over here on this table. Would anybody else like to give any advice?

MUSICAL DIRECTOR & CHOREOGRAPHER


Have fun!
DIRECTOR
I would like to introduce Joan McCelvey, our accompanist for today.
(The main opens to revel the audition room, with the people auditioning sitting
around)
DIRECTOR
Okay, so we are going to start with number 1. Please give us a few minutes to get ready.
(The creative team walks Stage Left to the audition room. The Lights shift)
DIRECTOR
You have got to be kidding me.
CHOREOGRAPHER
What?
DIRECTOR
That (first name) (last name) is here, again. I cant stand her. She is the biggest diva, and I just
ughIve worked with her, before. She was the lead in the last show I was in.
MUSICAL DIRECTOR
What are you talking about? She is the nicest person. Shes so talented. She would be really good
as the lead
DIRECTOR
I WOULD NEVER? ARE YOU CRAZY? Were you there for my last show?
MUSICAL DIRECTOR
Yes, and I SAW that performance. Ive only seen her preform, Ive never worked with her, so I
dont know how she acts.
DIRECTOR
Okwhatever. We need to get started.
(The creative team sits behind the table.)

ACT ONE
Scene 3 The Diva
SETTING:

The audition room.

AT RISE:

We are in the audition room. The DIVA walks in and hands them
the papers they have to and then walks over to the accompanist.
THE DIVA
(Entering the room)

Good morning.
(Walks over to the table, hands the creative team, their headshot,
resume and audition form. THEY then walk over to the
accompanist and tell them what temo, etc.)
DIRECTOR
(Once the DIVA is in front of table, ready to begin)
So, I see that you have been in multiple shows, as the lead?
THE DIVA
Yes.
DIRECTOR
Ever on Broadway?
THE DIVA
No.
DIRECTOR
Okgreat. You can begin whenever youd like.
THE DIVA
(Under their breath)
Obviously.
(Regular Voice)
Hello, my name is Saralynn Grace and I will be preforming the song ______________; from the
musical _______________________. Thank you.
MUSIC 2: 16 bars of whatever song
(The MUSIC DIRECTOR tells the DIRECTOR, that they can cut
them off, SHES heard enough.)
DIRECTOR
Thank you, thatll be enough. Well let you know either way, but please stay until the dance
audition.

(The DIVA freezes. She is shocked. The creative team, starts


writing things down, because they think she is gone. After a few
moments the DIRECTOR looks up and sees that she is still there,
with her shocked face)
UmIm sorry did you not hear me, I said
THE DIVA
Oh, no, I heard you.
CHOREOGRAPHER
(Under her breath)
Wow!
MUSICAL DIRECTOR
Then which part did you not understand.
THE DIVA
The part, where you cut me off.
MUSICAL DIRECTOR
Well, I had heard enough of your voice to get an idea and
THE DIVA
Well, did you ever think, that either of them
(Gestures to the DIRECTOR and CHOREOGRAPHER)
had heard, enough.
MUSICAL DIRECTOR
No I just assumed
THE DIVA
You shouldnt assume. I mean, you didnt even let me get to the part of the song, where I was the
best, I mean the whole thing was amazing, but the really good part, the money note.
DIRECTOR
Well if you want us to hear the money note, then please sing it.
THE DIVA
No, now I cant. I am no longer in the zone or in character. I WILL not start over, either, that is
very unprofessional.
CHOREOGRAPHER
Well, obviously she doesnt know, what else is unprofessional.
THE DIVA
(To the choreographer)
Im sorry, what was that??

CHOREOGRAPHER
I said you didnt know what else, was unprofessional.
THE DIVA
What is that supposed to mean?
CHOREOGRAPHER
(Standing up, walking to THE DIVA)
That you think starting over is unprofessional. But have you heard the way you have talked to
each one of us. Youre acting like such a diva because we cut
THE DIVA
Did you just call ME a diva? Oh my goodnessshe JUST called me a diva
CHOREOGRAPHER
There you go again. You know I honestly thought that you would get into the show because you
are SO talented. Your voice was amazing. Ill be shocked, if you get cast now.
(THE DIVA lets out a cry of frustration, storms to the piano, takes
takes her music and bag and storms out of the room. Then sits in
the waiting room, with the rest of the cast.)
THE DIRECTOR
(As THE DIVA is exiting through the door)
Will be in contact.

(BLACKOUT.)

ACT ONE
Scene 4 The Crier
SETTING:

The waiting room and the audition room

AT RISE:

It is the same as the previous set.


(The lights come up Stage Right. Everybody is minding their own
business, getting mentally ready, running through their songs. We
can see the creative team in a shadow, writing stuff downtalking.
We hear a phone ring.)

THE CRIER
(Answers the phone)
Hello? (pause) Yes, this is her/him, how can I help you? (pause) He what? Oh my god. Umcan
I call you back, Im at an audition. (pause) Whats your number? Can you hold on one second
(Starts looking for paper and pencil in bag, cant find any, so he or
she starts asking people. They dont have any either, so he or she
walks over to where the audition forms are and grabs one, rips it in
half, leaves one half on the table, grabs a pencil and walks back to
their seat.)
Okay, go ahead. 2124724601. Thank you, thank you very much. Goodbye.
(He or she hangs up the phone and then sits there for a second and
then starts balling their eyes out.)
DIRECTOR
Number 2, we are ready to see you.
THE CRIER
Oh, you have got to be kidding me.
(Pulls her/himself togetherkind of and walks into the room. The
lights transition. THE CRIER gives the paper with the number on
it to the creative team with the resume. Then walks over to
accompanist and tells them the tempo, where to start, end, etc
then walks to the center of the room.)
MUSICAL DIRECTOR
Ummsweety, I think you gave us the wrong piece of paper.

THE CRIER
OhumIm sorry
(Running to the table, grabbing the paper, runs to his/her bag puts
the paper in his/her bag. Starts to look for the audition form. Cant
find it.)
Umexcuse me
(Runs to the hallway, to where he/she was sitting. Grabs the paper,
then runs back inside and hands them the paper.)
Im sorry, that was the number of the hospital, that my ferret is in.
CHOREOGRAPHER
Oh, myis he ok?
THE CRIER
(Starts crying again)
She and nonot really, um she kind of
(Gestures flat-lining, with the noises)
DIRECTOR, MUSICAL DIRECTOR, CHOREOGAPHER
Oh, mythats horrible, you shouldnt be here(adlib)
DIRECTOR
Look, if you wanna go and come back another day, you are more than welcome to.
CHOREOGRAPHER
Yeah, we totally understand.
MUSICAL DIRECTOR
Its really not a problem.
THE CRIER
NO!! I want to audition today, like everybody else. If I dont, then you will look at me
differently. Just can I have one minute???
ALL
Yes, of course.
(THE CRIER turns around, away from the table and starts
uncontrollably sobbing. This lasts, for awhile.)
THE CRIER
(Turning back to the table)
OkIm sorry, I think I have it all outwait
(Starts crying)
no I dont.

(HE/SHE turns back around, away from the table again. The
MUSICAL DIRECTOR, pulls the little tissue packs out from HER
purse and walks over to THE CRIER and comforts them. We cant
hear what they are sayingwe only hear, crying stopping, sniffles,
etc The MUSICAL DIRECTOR walks back to the table and
gives the creative team, a thumbs up.)
THE CRIER
OkayHello, my name is _________________ and Ill be performing the song
_________________; from the musical _____________________. Thank you.
MUSIC 3: 16 bars of whatever song.
DIRECTOR
Thank you. That was excellent.
MUSICAL DIRECTOR
Beautiful.
THE CRIER
Thank you. And sorry about all of the crying.
CHOREOGRAPHER
Its ok. Were sorry for your loss.
MUSICAL DIRECTOR
Im sure hesshes in a better place now.
THE CRIER
(Begins crying again)
Yeahme too
(Grabs his/her items and runs out crying)
CHOREOGAPHER
(Once he/shes gone.)
Man, its like the hoover dam broke.
(Blackout.)

ACT ONE
Scene 5 The Endless Auditionee
SETTING:

The same

AT RISE:

We are in the audition room, and the next person walks in. We
have skipped a few numbers, so this person isnt number 3 more
like number 7. He/She walks to the table, hands them, his/her
audition form, headshot and resume, and then walks over to the
piano. Tells them, the normal stuff. Then walks to the center of the
room.
THE ENDLESS AUDITIONEE

Goooooood morning.
DIRECTOR
Good morning Mr./Mrs
THE ENDLESS AUDITIONEE
(last name.)
DIRECTOR
I see that you have been, in a couple of Broadway shows before.
THE ENDLESS AUDITIONEE
Yes, yes I have.
DIRECTOR
Well, thats great. Begin when ever youd like.
THE ENDLESS AUDITIONEE
Hello, my name is _____________________. I am __________years old. I was born and raised,
right here in New York City and I am very excited to be auditioning for this awesome new show.
When I was born I was 7lbs and 6 oz. I was born on May 4, _ _ _ _. May the fourth be with
youget it.
(HE or SHE sees, that the creative team, is not amused, so
HE/SHE moves on)
AnywaysI will be singing the song _______ from the musical _____________. Music by
_____________ and lyrics by___________________. Did you know that (5 facts about the
lyricist or composer)? Ok, well here I go. Oh that was kind of like the song from the Little
Womenoh mywhat was that song called. Abolishing, Demolishing?
MUSICAL DIRECTOR
Astonishing.

THE ENDLESS AUDITIONEE


Yeah, the song is astonishing.
CHOREOGRAPHER
No, thats the name of the song!
THE ENDLESS AUDITIONEE
Oh
DIRECTOR
Can we proceed please.
THE ENDLESS AUDITIONEE
Oh yessorry.
MUSIC 4: 16 bars of whatever song
(THE ENDLESS AUDITIONEE sings 16 bars of the song and
then the DIRECTOR tells HIM/HER that it is enough. They can
stop, but HE/SHE doesnt. When the DIRECTOR tells them to
stop, the ACCOMPANIST stops playing. So, THE ENDLESS
AUDITIONEE keeps singing without music. It eventually gets
really bad and they hold out notes way to long. The
CHOREOGRAPHER puts headphones in at one point. The
DIRECTOR starts writing stuff down, on another piece of paper.
The MUSICAL DIRECTOR starts going on HER phone.
Eventually the MUSICAL DIRECTOR says)
MUSICAL DIRECTOR
Oh my godenough!
THE ENDLESS AUDITIONEE
Now you listen to me(Enough from In The Heights)
DIRECTOR
Stop. Seriously.
THE ENDLESS AUDITIONEE
What?
DIRECTOR
Your audition is over. You have taken WAY too long and you didnt listen to us, when we told
you to stop. Please go sit and get ready for the dance audition.
THE ENDLESS AUDITIONEE
OhIm sorryI just

MUSICAL DIRECTOR
No, go.
(The DIRECTOR taps the CHOREOGRAPHER on the shoulder
and tells HER that she can take her headphones out. SHE does.)
CHOREOGRAPHER
Ohhe/shes done. Oh my that audition was endless.
(BLACKOUT.)

ACT ONE
Scene 6 The One Who Wont Leave
SETTING:

The same.

AT RISE:

Another auditioner is walking into the room. This is auditoner


number 8. He/She does the same thing as anyother persone
auditioning.
MUSICAL DIRECTOR

Hi _______________________
THE ONE WHO WONT LEAVE
Hi.
MUSICAL DIRECTOR
So youre a great singer, dancer and actor?
THE ONE WHO WONT LEAVE
I believe so.
MUSICAL DIRECTOR
One of the best?
THE ONE WHO WONT LEAVE
Could be.
MUSICAL DIRECTOR
Really? You think you could cast in this show?
THE ONE WHO WONT LEAVE
I really do.
MUSICAL DIRECTOR
All right. What are you gonna sing?
THE ONE WHO WONT LEAVE
___________ from the musical _______________
MUSICAL DIRECTOR
All right.
MUSIC 5: 16 bars of whatever song
(The song starts off really good, but then eventually it gets really
bad. Really really bad.)

DIRECTOR
Thank you.
CHOREOGRAPHER
Oh, good lord. What was that? Do you really think that youre a good singer? Seriously. Im not
trying to be rude. Do you think youre a great singer?
THE ONE WHO WONT LEAVE
Are you serious?
CHOREOGRAPHER
Honey, it sounded like a lawnmowerI mean, its just not
THE ONE WHO WONT LEAVE
Are you seriously, all in agreement?
CHOREOGRAPHER
Im sorry honey, its just that musical theatre is not where you are headed.
DIRECTOR
All right, thank you __________________.
THE ONE WHO WONT LEAVE
Guys, can I just have two seconds. Im right here, I can try again. Please let me just
(The Creative Team shakes their head)
Come on guys, I need this job. Seriously let me just sing one more song.
MUSICAL DIRECTOR
Im sorry, honey, youre just not a good singer.
(THE ONE WHO WONT LEAVE starts singing his/her song
again.)
DIRECTOR
(Over the song)
No. No. No, no, no no.
(When the song ends)
Look, ______________ you are a really sweet guy/girl. But singing is just not for you.
THE ONE WHO WONT LEAVE
What about my acting? I have two monologues.
CHOREOGRAPHER
No, no. Just no.

THE ONE WHO WONT LEAVE


Come on.
A C! A C! I Got a C on my coat hanger sculpture.
MUSICAL DIRECTOR
Seriously, please stop, especially with that monologue.. We will give you a call later, please go
out and sit and get ready for the dance audition.
THE ONE WHO WONT LEAVE
Seriously, I just really need this job.
DIRECTOR
Ok, well well take that into consideration.
THE ONE WHO WONT LEAVE
Okthank you.
(Exits.)
DIRECTOR
(When THE ONE WHO WONT LEAVE is gone)
Really, Lanae, really?
CHOREOGRAPHER
What?
MUSICAL DIRECTOR
You cant just ask someone questions like that.
DIRECTOR
He/She probably would have just left after his/her audition, if it wasnt for that question.
CHOREOGRAPHER
Well, I just wanted to see if he/she honestly thought that they were the best.
DIRECTOR
Well sometimes, you dont need to find those things out.
(Blackout.)

ACT ONE
Scene 7 The Suck Up
SETTING:

The Same as the previous scene.

AT RISE:

The audition room. Number 9 enters and goes to set his/her paperwork on
the table.

THE SUCK UP
(Setting audition form, headshot, and resume on the table)
I just wanted to thank you guys so much for this awesome opportunity.
(Walks over to the accompanist)
So this song, should not be hard for you. Since you are so skilled and talented on the piano.
(Walks to the center of the room)
DIRECTOR
So ___________ ___________, have you ever been on Broadway before?
THE SUCK UP
No, sir. And can I just say, that shirt looks really good on you.
DIRECTOR
Um, thank you.
(Looking at the resume)
Have you ever been in a theatrical production before?
THE SUCK UP
No, sir.
MUSICAL DIRECTOR
Then, what made you want to audition for this show?
THE SUCK UP
I saw Legally Blonde and thought that you did such a phenomenal job, musically directing that.
That I just HAD to work with you.
MUSICAL DIRECTOR
Ha ha. Okay.
THE SUCK UP
And you Lanae. Youre choreography is brilliant and very modern.
CHOREOGRAPHER
Ive never choreographed a Broadway Show before.

THE SUCK UP
Well, I saw your choreography from Seussical Jr. in the summer of 2015. It was so good!
CHOREOGRAPHER
Thank you?
DIRECTOR
All right, ____________ what will you be singing for us today?
THE SUCK UP
Well, coincidently,
(points to the DIRECTOR)
your favorite song. __________________ from the musical ________________.
DIRECTOR
Of course. Begin, when ever youd like.
THE SUCK UP
Hello, my name is _____________ ______________, and today Ill be singing
_______________ from the musical ________________. Thank you.
MUSIC 6: 16 Bars of whatever song
DIRECTOR
Thank you, very much.
THE SUCK UP
(Getting HIS/HER stuff from the accompanist.)
No, thank you. Even, if I dont get this role. It a big honor to preform in front of such Broadway
geniuses. You three are the next Lin-Manuel Mirandas.
CHOREOGRAPHER
Yeahuh-huhokay.
MUSICAL DIRECTOR
Who?
DIRECTOR
(Sarcastic)
You are too sweet. Goodbye now.
(THE SUCK UP exits)
DIRECTOR
What a suck up. That was unbelievable.

MUSICAL DIRECTOR
Whos Lin-Manuel Miranda?
CHOREOGRAPHER
OH MYyou know In the Heights, Hamiltion.
MUSICAL DIRECTOR
Ohgot it!
(BLACKOUT.)

ACT ONE
Scene 8 The Dancer
SETTING:

The same as the previous scene.

AT RISE:

The lights come up on the waiting room. There is a girl on the


floor. Stretching. After a little bit. The director walks out of the
door and calls her number.

DIRECTOR
Number 14. We are ready for you. Again number 14.
(The DANCER chasses to the audition room. Once in the room,
SHE hands the creative team HER audition form and resume. Then
walks over to the accompanist, then walks to the center of the
room.)
THE DANCER
Hello, my name is Grace Evans. Before we begin, can I ask the choreographer a few questions?
DIRECTOR
Uhyeahsure.
THE DANCER
Ok, thank you.
(Pulls out a piece of paper and then to the choreographer)
What is the most dominate type of dance, in this production?
CHOREOGRAPHER
Umwell there really isnt a specific type that is highlighted in the show. They are all in the
show equal amount of times.
THE DANCER
Will there be lifts in the show?
CHOREOGRAPHER
Yes.
THE DANCER
Is there two different ensembleslike a dance and a singing.
MUSICAL DIRECTOR & DIRECTOR
No.
THE DANCER
Okso, if Im not the strongest singer, could I still get in the show?

CHOREOGRAPHER
Yesmost definitely.
THE DANCER
Ok good. How much tap
DIRECTOR
Im sorry to interrupt, but could we please get started with the vocal audition. I would like to eat
lunch at noon. If you would like to know more about the dance, ask her at lunch or after the
auditions are completed.
THE DANCER
Of course, I am so sorry.
(Takes a moment)
Hello, I am Grace Evans and I will be singing ___________ from the musical
__________________.
MUSIC 7: 16 Bars of whatever song.
DIRECTOR
Thank you very much Grace.
MUSICAL DIRECTOR
That was great!
THE DANCER
Thank you!
(THE DANCER exits)
DIRECTOR
Boy, she had A LOT of questions.
CHOREOGRAPHER
Yeahquestions that I didnt even know the answers to.
(BLACKOUT.)

ACT ONE
Scene 9 The First Timer
SETTING:

The same as the previous scene.

AT RISE:

We see the waiting room of the rehearsal studio. There is one


person with their face buried in their music.
THE RIVAL 1

Excuse me, is this seat taken?


THE FIRST TIMER
Umno, no its not.
THE RIVAL 1
What was that?
THE FIRST TIMER
(Loudly)
NO!!!!
THE RIVAL 1
Okay, geez.
(THE DIRECTOR enters from the door.)
DIRECTOR
Number 15, we are ready to see you.
THE FIRST TIMER
Oh goodness.
THE RIVAL 1
Is that you?
THE FIRST TIMER
Yes, it is.
THE RIVAL 1
Then, you need to go in there.
THE FIRST TIMER
Ok, Im going.
(THE FIRST TIMER walks through the door. The lights transition.
THE FIRST TIMER walks into the room and just stands there.)

DIRECTOR
Hello. Do you want to give us anything?
THE FIRST TIMER
Um, I dont know.
DIRECTOR
What do you mean, you dont know?
MUSICAL DIRECTOR
I think this is his/her first time.
(To THE FIRST TIMER)
Is it your first time?
THE FIRST TIMER
Yes, it is.
MUSICAL DIRECTOR
Ok, did you fill out an audition form?
(THE FIRST TIMER nods.)
Do you have a resume?
(THE FIRST TIMER nods again)
Ok, can you hand us those?
(THE FIRST TIMER walks over to table and hands them the
papers)
Now, go over to the accompanist and giver her the music and tell her, where you are starting and
ending and how fast, you want her to play.
THE FIRST TIMER
Okay.
(Does what the MUSICAL DIRECTOR described and then comes
back to the center of the room.)
MUSICAL DIRECTOR
Now, introduce yourself, what song you will be singing and tell us what musical its from.
THE FIRST TIMER
Okay.
(Beat.)
Hello, my name is ______________ _________________ and Ill be singing the song
_______________ from the musical ___________________.
MUSIC 8: 16 bars of whatever song

DIRECTOR
Thank you very much.
THE FIRST TIMER
Thank you.
(THE FIRST TIMER exits)
CHOREOGRAPHER
Well, that was adorable.
(BLACKOUT.)

ACT ONE
Scene 10 The One Who Holds Notes Too Long (Thinks Theyre Mariah)
SETTING:

The Audition Room

AT RISE:

We see the beginning of someones audition.

HOLDS NOTES TOO LONG.


Hello, my name is __________ _____________ and Ill be singing the song ____________ from
the musical ________________.
DIRECTOR
Great.
MUSIC 9: 16 bars of whatever song.
(These 16 bars are the longest 16 bars, because HE/SHE holds
notes, longer than what they are written for and adds riffs, that
dont sound good, everywhere.)
HOLDS NOTES TOO LONG
Thank you.
(THE ONE WHO HOLDS NOTES TOO LONG gets HIS/HER
music and exits)
MUSICAL DIRECTOR
What the crap???
DIRECTOR
That was something else.
CHOREOGRAPHER
Aww man, I wanted to ask her about her ex Nick Cannon.
DIRECTOR
Good one Lanae.
MUSICAL DIRECTOR
Wow. That was just crazy!
CHOREOGRAPHER
Did you that all she wanted for Christmas was you?

DIRECTOR
Wow. Really Lanae?
CHOREOGRPAHER
What? I cant help it. Im such a funny person.
MUSICAL DIRECTOR
That song, was way too long. Some of the notes were held out more than what they should have
been, I can tell you that.
DIRECTOR
And all the riffsthey werent even good.
MUSICAL DIRECTOR
Did she think that they sounded good?
CHOREOGRAPHER
YeahI guess. Im surprised she didnt bring a cd and lip sync to it.
DIRECTOR
What?
CHOREOGRAPHER
You know, like she did in 2014 at Rockefeller Center during Christmas.
DIRECTOR
Oh, it was another, joke
CHOREOGRAPHER
(Laughing at HER self)
I am on a roll today.
(BLACKOUT.)

ACT ONE
Scene 11 The One Who Starts In The Wrong Key
SETTING:

The same as the previous scene.

AT RISE:

We see the beginning of someone elses audition.

STARTS IN THE WRONG KEY


Good morning, my name is _________________ and today I will be singing the song
____________, from the musical ____________________.
MUSICAL DIRECTOR
Oh, I love this song.
STARTS IN THE WRONG KEY
Oh and I wont need accompanist. Ill do this acapella.
MUSIC 10: 3 bars of whatever song.
(THE ONE WHO STARTS IN THE WRONG KEY does what
their name says, starts in the wrong key and the MUSIC
DIRECTOR stops the song.)
MUSICAL DIRECTOR
Im sorry, can we stop, for a second. Please.
DIRECTOR
Um, sure.
CHOREOGRAPHER
Jess, now is not really a good time to stop for a Dunkin run.
MUSICAL DIRECTOR
No, thats not why Im stopping.
(To THE ONE WHO STARTS IN THE WRONG KEY)
Hi, Mr/Ms. _____________________. I hate to stop you in the middle of your audition, but you
started the song, in the wrong key.
STARTS IN THE WRONG KEY
No, I did not.
MUSICAL DIRECTOR
Um, yes you did. I listen to this song on repeat and I know that you started in the wrong key.
STARTS IN THE WRONG KEY
Have you ever heard of transposing a song.

MUSICAL DIRECTOR
Yes, I have. I havent lived under a rock for the last 10 years.
CHOREOGRAPHER
Well, I mean you didnt know who Lin-Manuel Miranda was, so agree to disagree.
MUSICAL DIRECTOR
(To CHOREOGRAPHER)
Not now.
(To THE ONE WHO STARTS IN THE WRONG KEY)
You transposed the music. I know that, but you started singing in the original key.
STARTS IN THE WRONG KEY
Okay, whatever.
MUSICAL DIRECTOR
You know, just start over, please.
MUSIC 11: 16 bars of whatever song (the previous song)
(The song starts and THE ONE WHO STARTS IN THE WRONG
KEY; starts in the wrong key. The MUSICAL DIRECTOR just
rolls her eyes and then THE ONE WHO STARTS IN THE
WRONG KEY realizes that they started in the wrong key, because
one of the notes is either too high or too low.)
STARTS IN THE WRONG KEY
Iumguess you were right.
MUSICAL DIRECTOR
Mhmmmmmmmm.
STARTS IN THE WRONG KEY
Umwellthank you.
(THE ONE WHO STARTS IN THE WRONG KEY exits.)
MUSICAL DIRECTOR
You know sometimes I question my knowledge in music and then auditions, like that happen and
I realize, oh yeahI DO know what Im talking about.
(BLACKOUT.)

ACT ONE
Scene 12 The One Who Starts Over
SETTING: The waiting room of the audition.
AT RISE: We see the waiting room. The seat that RIVAL 1 was sitting in before is
now open. RIVAL 2 enters and asks about that seat.
RIVAL 2
Umexcuse me, but is that seat taken?
STARTS OVER
NoI dont think so.
RIVAL 2
Okay, thank you.
(RIVAL 2 sits in the seat and starts filling out the paperwork. HE
sits there, for a little before RIVAL 1 enters and sees HIM sitting in
HER spot.)
RIVAL 1
(In a disguised voice)
Umexcuse me, but you are sitting in my seat.
RIVAL 2
Oh, Im sorry, Ill moo
(Looks up and sees RIVAL 1)
Actually I wont. You got up and didnt call a seat check.
RIVAL 1
Are you kidding me? What are you like 10 years old?
RIVAL 2
Umyes.
RIVAL 1
I cant stand youugh
(Storms away)
(At some point, in those lines, the DIRECTOR enters, about to call
the next person, but HE just stands at the door and watches this
happen.

DIRECTOR
(To himself)
Umokwow
(Out loud)
Number 23 youre up.
(THE ONE WHO STARTS OVER gets up and walks into the
audition room. The lights transition. Once in the room THE ONE
WHO STARTS OVER does what they have to before the audition
starts, hands resume and audition form, etc)
CHOREOGRPAHER
Hello.
STARTS OVER
Hello.
MUSICAL DIRECTOR
So, what will you be performing for us today?
STARTS OVER
The song __________________ from the musical _______________________.
MUSICAL DIRECTOR
Great. Whenever youre ready.
MUSIC 12: 16 bars of whatever song
(The music starts. There is a very definite beginning point, but
THE ONE WHO STARTS OVER forgets to come in and start
singing. The music stops, when THE ONE WHO STARTS OVER
begins speaking.)
STARTS OVER
Oh, Im sorry I forgot to come in? Could I start over?
DIRECTOR
Sure.
MUSIC 13: 16 bars of whatever song
(The music starts again. This time, THE ONE WHO STARTS
OVER gets further into the music, but HE/SHE forgets the words.
HE/SHE stands there for a little, just shocked and scared. The
music stops, when HE/SHE starts talking.)

STARTS OVER
Im really sorry, but I forgot the words, can I go look at them?
DIRECTOR
Umsure
(THE ONE WHO STARTS OVER runs over to the piano and
looks at their music and then runs back.)
STARTS OVER
Ok, Im good. Can I start over?
DIRECTOR
Surewhy not.
STARTS OVER
Thank you.
MUSIC 14: 16 bars of whatever song.
(The music begins. This time THE ONE WHO STARTS
OVER, gets through the whole song.)
DIRECTOR
Thank you, thatll be enough.
STARTS OVER
Thank you.
(Exits)
CHOREOGRAPHER
If he/she was going to ask to start over, one more time. I probably would have personally said no.
(BLACKOUT.)

ACT ONE

Scene 13 The Shy One


SETTING:

Same as previous scene

AT RISE:

The DIRECTOR is calling number 24. NOTE: Mostly all of THE


SHY ONEs lines are said very quietly, but still loud enough for
the audience to hear.

DIRECTOR
Number 24, we are ready for you. Its your time to shine.
(THE SHY ONE gets up and walks to the audition room. The
lights transition. THE SHY ONE does the normal audition stuff.
Then walks to the center of the room.)
SHY ONE
Hello, my name is
CHOREOGRAPHER
What was that? Im gonna need you to speak up.
SHY ONE
(A little louder)
Hello, my name is
CHOREOGRAPHER
A little louder.
SHY ONE
(Louder, but the line is delivered really fast.)
Hello, my name is __________________ and I will be preforming the song _______________
from the musical ____________________.
MUSICAL DIRECTOR
Woah.slow down. Breathe.
(HE/SHE does so.)
Now come here.
(THE SHY ONE walks over to the MUSICAL DIRECTOR, they
have a conversation, that we cant here. When, they are done, THE
SHY ONE walks back to the center of the room and closes her
eyes.)

SHY ONE

(Normal level of voice and says so we can understand)


Hello, my name is __________________ and I will be preforming the song _______________
from the musical ____________________.
CHOREOGRAPHER
Um, can you open your
MUSICAL DIRECTOR
(To THE SHY ONE)
No, no, honey your fine.
(To the CHOREOGRPAHER)
Ill explain later.
(To the SHY ONE)
Please proceed.
MUSIC 15: 16 Bars of whatever song.
(THE SHY ONE sings the song beautifully, but has HIS/HER eyes
closed through the whole thing.)
SHY ONE
Thank you.
(Exits)
DIRECTOR
So, why were his/her eyes closed?
CHOREOGRAPHER
Yeah, I want to know, too, since you interrupted me earlier.
MUSICAL DIRECTOR
He/She was shy and that was the only way that I could get him/her to speak up and sing out.
He/She was terrified and I told him/her that, it was ok, there was no need to be afraid. He/She
then proceeded to tell me that he/she could sing the song at home, with his/her eyes closed and I
told him/her that it was okay to do that, for this audition, but no other one. They may not be as
nice at another audition, so he/she needs to get comfortable with singing with their eyes open,
especially if they want to be in this business.
(BLACKOUT.)

ACT ONE

Scene 14 The One Who Mom Sent


SETTING:

The same as the previous scene

AT RISE:

There is already somebody in the audition room, introducing their


self. But they are miming it. The lights are up on the waiting room.
But we can see the audition room. A STAGE MOM enters and
starts trying to talk to people, but no one is answering because they
are all trying to practice and get mentally prepared.
STAGE MOM
(To one person)

Excuse me, I have a question.


(That person turns away)
Ok, I see how it is.
(To another person)
Do you know
(That person also turns away)
Ok thats it.
(Yells, angry)
HEY! I HAVE A QUESTION AND I NEED AN ANSWER. HAS MY BABY BOY GONE
YET?
(THEY heard the yelling in the audition room and THE ONE
WHO MOM SENT opens the door, to see who it was.)
WHO MOM SENT
Mom, what are you doing?
STAGE MOM
(Running to the door)
Oh, baby youre going, Im so happy.
WHO MOM SENT
Mom, not now, please.
STAGE MOM
Hold on let me get a picture! Say cheese!
(Takes a picture)
Now ask the nice man, if I can watch you.
(THE ONE WHO MOM SENT gives HIS mom the 1 second
finger. Then shuts the door waits a little and then opens the door.)
WHO MOM SENT

He said, absolutely not! Sorry!


(HE shuts the door quickly)
(Throughout THE ONE WHO MOM SENTs intro, the STAGE
MOM leans up against the door, to listen. SHE then opens the door
and sticks her phone in their, so she can record HER son, right
before HE starts to sing)
WHO MOM SENT
(Very uninterested, in what HE is saying)
Hello, my name is Brian Mitchell, and Ill be performing the song ______________________
from the musical ________________________. Thank you.
(The DIRECTOR sees the phone)
DIRECTOR
(To THE ONE WHO MOM SENT)
One second please.
(Walks over to the door. Opens it)
Hi, can I help you?
STAGE MOM
YesI really wanted to watch my sons audition. But you said no, so I was trying to record it,
you know so I can give him feed back.
DIRECTOR
Well, is this your sons first audition?
WHO MOM SENT
Sadly, it
STAGE MOM
(pushing through the door, interrupting HER son)
It is, yes it is. I know its shocking with a famous mom, like me, having his first audition, at this
late age.
CHOREOGRPAHER
Who are you?
STAGE MOM
I am Berandette
CHOREOGRAPHER
Peters?!?!?
WHO MOM SENT

Ha! You wish!


STAGE MOM
(To THE ONE WHO MOM SENT)
Hey!
(To the Casting Team)
No, Bernadette Mitchell.
MUSICAL DIRECTOR
Never heard of you.
DIRECTOR
I really dont care who you are, Im going to believe you and tell you, that you can watch the
audition.
STAGE MOM
Oh, thank you!!!
MUSIC 16: 16 Bars of Whatever Song
STAGE MOM
Honey you did awful. Do you want to look like that Barry kid from next door?
WHO MOM SENT
Garry?
STAGE MOM
Whatever! Well, do you?
WHO MOM SENT
No
(Quietly)
I really dont want to be here at all.
STAGE MOM
What was that?
WHO MOM SENT
I said I dont want to be here at all.
STAGE MOM
Why honey, yes you do. You love coming to auditions!

WHO MOM SENT

No I dontyou doyou didnt make it, when you were younger, so now youre hoping I do by
forcing me to go to auditions. Well guess whatId rather be playing baseball, than standing in
front of table and singing. Its ridiculous.
STAGE MOM
You take that back.
WHO MOM SENT
Never!
(Storms out.)
STAGE MOM
(To the Creative Team)
Hes only kidding. He loves this. Hed be thrilled to accept the role of the lead.
DIRECTOR
I didnt offer him that role.
STAGE MOM
(Takes wallet out of purse and pull out a 20. Tries to give it to the
DIRECTOR.)
Yes, you did.
DIRECTOR
(Refusing the 20)
No I didnt. And according to the way, you thought his performance was, why should I?
STAGE MOM
Because he was greathe was the only suitable candidate for the role.
MUSICAL DIRECTOR
No, he wasnt.
STAGE MOM
Who asked you? Does it look like I was talking to you?
CHOREOGRAPHER
Come on Jess, lets go wait for Griffin down in the lobby. If we dont leave now, I might end up
punching the Broadway reject over here.
(CHOREOGRAPHER and MUSICAL DIRECTOR exit)

DIRECTOR

Look, I dont have time for this right now because Im really hungry and want some lunch. But
maybe you should let Brian, do what he wants to do for once. Your time to shine is in the past
and I hate to break it to you, but you cant live through your child. No one will be happy. You
might want to forget this type of life for him. Just go back to your husband and think about
signing Brian up for Baseball in the fall.
STAGE MOM
I cant.
DIRECTOR
Of course you can, you just go up to the baseball field, get the paperwork
STAGE MOM
No, I mean I cant go back to my husband. He died. 5 months ago. He loved the theatre and
loved the idea of his son, following in his footsteps and I just want to make him proud, by
making our son this big Broadway star, like his father wanted to be. Ive never done theatre
before, I hate going to these auditions but I just feel like, if I dont. Ill forget him and forget who
he was and
DIRECTOR
HeyI dont really know you that well, but I can guarantee you, that you will not ever forget
your husband. Hes the father of your children for crying out loud. Im sure he was a really
special guy and Im sure he was really talented.
STAGE MOM
Yeah he was.
DIRECTOR
Now, come on, were all breaking for lunch.
STAGE MOM
Can I just have one minute please?
DIRECTOR
Of course.
(The lights come up stage right on the waiting room.
Hey guys, so were going to break for lunch. Please be back at 1:30, ready to dance. Thanks
guys.
(Everybody starts to leave and the lights fade, to a single spot on
the STAGE MOM, still in the audition room.

STAGE MOM

(Talking upto heaven)


Sohey, its me. After your sons audition today, I started to think what my life would be if I
never met you. That day in the park, do you rememberyou were just back from your second
national tour. You said Hi and in that instant I imagined our whole life together.
(Beat.)
So youre right I do, I do get lost in what might be. What if I had been in that park a day later?
Or an hour later? Or what if I had gone with Jackie and I hadnt you know stopped to watch that
magician.
MUSIC 17: Always Starting Over from the IF/THEN
STAGE MOM
(Sings.)
IN MY LIFE I NEVER THOUGHT
ID GET A SECOND CHANCE.
I THOUGHT I WAS DONE
THEN I MET YOU
AND THOUGH I NEVER DREAMED
I COULD LEARN HOW TO LOVE AGAIN.
I PLACED MY BET
AND YOU CAME THROUGH
I SOMEHOW STILL LOST
I SOMEHOW ALWAYS DO
THIS TIME FEELS NEW
THANK YOU FOR FINDING ME
AND THANK YOU FOR THE CARE
AND SCREW YOU FOR MAKING ME
THINK THAT THIS LIFE MIGHT BE FAIR
YOU PROMISED TO LOVE ME,
A PROMISE YOU KEPT
AND I WONT BE SORRY,
THAT YOU SAID TO LEAP
AND I LEAPED
I WONT REGRET
WHAT I DID THEN,
THOUGH IT HURTS MORE
THAN I COULD IMAGINE BACK THEN
ALL THE SAME EVEN SO,
I WOULD LOVE YOU
ALL OVER AGAIN

AM I ALWAYS STARTING OVER?


IN A BRAND NEW STORY
AM I ALWAYS BACK AT ONE,
AFTER ALL IVE DONE?
CAUSE IVE BURNED
ALL OF MY BRIDGES
AND LEARNED
EVERY LAST LESSON TOO,
SO HOW COULD I START NEW?
I LOVE OUR CHILDREN
BOTH FIERCLELY AND WELL
WHEN THEY ASK ABOUT YOU
OH, LODRY STORIES ILL TELL
AND I WONT REGRET THE LIVES
I DIDNT LEAD
I KNEW YOU,
I LOVED YOU,
LET THAT BE ALL THAT I NEED
SAY THAT ITS FATE
SAY ITS FORETOLD
IM THREW WITH FIGHTING
AND IM MUCH TOO OLD,
WHAT THE GODS HAVE TO GIVE
ILL TAKE AND ILL LIVE,
AND BE BOLD
AM I ALWAYS STARTING OVER?
EVERY BRAND NEW STORY
AM I AWLAYS STARTING OUT
WITH THE END IN DOUBT
WE CAN LEAVE LIFE FOR TOMRORROW
OR GRIEVE ALL THAT WE THOUGHT WED DO
OR MAKE EACH MOMENT NEW.
ALL THAT HAS HAPPENED
IS HAPPENING NOW.
ALL THAT MIGHT HAPPEN,
IS HERE, SOMEHOW
ALL OF THE CHOICES
THAT MADE ME, ME
ALL OF THE ACCIDENTS
YET TO BE

ALL THATS AHEAD


AND ALL THATS BEHIND
ITS ALL IN THE MOMENT
I MAKE UP MY MIND
AND OPEN MY HEART
AND START
AND START
CAUSE WERE ALWAYS STARTING OVER
EVERY LIFE WERE LIVING
AND WERE ALWAYS
JUST AWAKE
EVERY STEP WE TAKE,
AND MY LOVE, OUR LIFE IS OVER
BUT LOVE ILL MAKE YOU ONE LAST VOW
TO START OVER
AND OVER
AND OVER, SOMEHOW
MY NEW LIFE STARTS RIGHT NOW!
(BLACKOUT.)
End of Act 1

ACT 2

Scene 1 The Dance Audition


SETTING:

A dance studio.

AT RISE:

The choreographer is onstage, showing the people who are


auditioning, the steps. Once SHEs done showing the steps, she
goes out into the audience, with the DIRECTOR and the
MUSICAL DIRECTOR to watch.

MUSIC 18: I Hope I Get It from A Chorus Line


CHOREOGRAPHER
STEP, KICK, KICK, LEAP, KICK, TOUCHAGAIN!
STEP, KICK, KICK, LEAP, KICK, TOUCHAGAIN!
STEP, KICK, KICK, LEAP, KICK, TOUCHAGAIN!
STEP, KICK, KICK, LEAP, KICK, TOUCHRIGHT!
THAT CONNECTS WITH
TURN, TURN, OUT, IN, JUMP, STEP,
STEP, KICK, KICK, LEAP, KICK, TOUCH.
GOT ITGOING ON. AND
TURN, TURN, TOUCH, DOWN, BACK, STEP,
PIVOT, STEP, WALK, WALK, WALK
RIGHT! LETS DO THE WOLE COMBINATION,
FACING AWAY FROM THE MIRROR.
FROM THE TOP. A-FIVE, SIX, SEVEN, EIGHT!
{Dance Break}
ALL
GOD, I HOPE I GET IT.
I HOPE I GET IT.
HOW MANY PEOPLE DO THEY NEED?
BOYS
HOW MANY PEOPLE DO THEY NEED?
GIRLS
GOD, I HOPE I GET IT.
ALL
I HOPE I GET IT.
HOW MANY BOYS, HOW MANY GIRLS?
GIRLS

HOW MANY BOYS, HOW MANY?


ALL
LOOK AT ALL THE PEOPLE!
AT ALL THE PEOPLE.
HOW MANY PEOPLE DOES HE NEED?
HOW MANY BOYS, HOW MANY GIRLS?
HOW MANY PEOPLE DO THEY?
SOLO 1
I REALLY NEED THIS JOB.
PLEASE GOD, I NEED THIS JOB.
IVE GOT TOO GET THIS JOB.
CHOREOGRAPHER
Stage left boys. Lets do the ballet combination. This group of girls, second group follow. A
1,2,3,4,5,6
{Dance Break}
ALL
GOD, I REALLY BLEW IT!
I REALLY BLEW IT!
HOW COULD I DO A THING LIKE THAT?
BOYS
HOW COULD I DO A THING LIKE
ALL
NOW ILL NEVER MAKE IT!
ILL NEVER MAKE IT!
SHE DOESNT LIKE THE WAY I LOOK.
SHE DOESNT LIKE THE WAY I DANCE.
SHE DOESNT LIKE THE WAY I
{Dance Break}
CHOREOGRAPHER
All rightlet me see the boys. The whole group. A 5, 6, 7, 8.
{Dance Break}
CHOREOGRAPHER
OkaygirlsA 5, 6, 7, 8.
{Dance Break}

ALL
GOD, I THINK IVE GOT IT.
I THINK IVE GOT IT
I KNEW HE LIKED ME ALL THE TIME.
STILL IT ISNT OVER

SOLO 2
WHATS COMING NEXT?

IT ISNT OVER

SOLO 3
WHAT HAPPENS NOW?

I CANT IMAGINE WHAT SHE WANTS

GIRLS
I CANT IMAGINE WHAT SHE

GOD, I HOPE I GET IT!


I HOPE I GET IT.
IVE COME THIS FAR, BUT EVEN SO
IT COULD BE YES, IT COULD BE NO,
HOW MANY PEOPLE DOES HE?
I REALLY NEED THIS JOB.

A FEW VOICES
MY UNEMPLOYMENT IS GONE.

PLEASE, GOD, I NEED THIS JOB.

A FEW VOICES
I KNEW I HAD IT FROM THE START.
ALL

IVE GOT TO GET THIS SHOW.


SOLO 4
WHO AM I ANYWAY?
AM I MY RESUME?
THAT IS A PICTURE OF A PERSON I DONT KNOW.
SOLO 5
WHAT DOES HE WANT FROM ME?
WHAT SHOULD I TRY TO BE?
SO MANY FACES ALL AROUND, AND HERE WE GO.
I NEED THIS JOB, OH GOD, I NEED THIS SHOW.
(The CHOREOGRPAHER, DIRECTOR and MUSICAL
DIRECTOR walk up onto the stage, from the audience)
DIRECTOR
Thank you all, very much. At this time, we are going to dismiss numbers 1-25. We will be in
touch with you, either way. Have a safe trip home and thank you all for coming. As for
everybody else, we will proceed with the vocal auditions downstairs. We will give number 26 10
minutes, to get situated and ready to audition. Thank you.

(EVERYBODY scatters, in their own directions. The main closes


and the next scene is done in front of it, while the audition room is
set up behind the curtain.)
(End of Scene)

ACT TWO
Scene 2 The Rivals

SETTING:

Walking down to the audition room, from the dance studio.

AT RISE:

THE RIVAL 1 is walking and THE RIVAL 2 enters and


accidently bumps into HER.
RIVAL 1

Um, excuse you.


RIVAL 2
What?
RIVAL 1
You just ran into me.
RIVAL 2
I did not!
RIVAL 1
You did soI was walking this way, to the elevator and you came by and just purposely ran into
me.
RIVAL 2
(Taking out cellphone)
I dont know what youre talking about.
RIVAL 1
Look, just because you THINK, that you are going to get this part, doesnt give you the right to
be mean and rude.
RIVAL 2
I dont thinkI know.
RIVAL 1
How?
RIVAL 2
Because Im ME...
RIVAL 1
Are you kidding me, I really think that you only come to theses auditions just because Ill be
here, there is no way that you can possibly get this part.
RIVAL 2
Well see

RIVAL 1
What do you mean, well see? Its a girls role and you are a boy auditioning for it.
RIVAL 2
Maybe, since its a new show, the creative team will consider changing it to a boy.
RIVAL 1
Why would they consider changing the gender of the role? There is obviously a reason, that they
decided to make the gender female.
RIVAL 2
You never know.
RIVAL 1
Well, actually I do knowbecause...becausebecause. I talked to the director.
RIVAL 2
You talked to the director?!?!?!? Thats not fairyou always get the roles that I want!
RIVAL 1
What are you talking about?
RIVAL 2
Every time I audition for the ensemble of a show or for a role that could be any gender, you
always get it.
RIVAL 1
I dont know what youre talkig about.
RIVAL 2
UghI cant fight right now, Ive got to prepare myself for the audition.
(The RIVAL 2 exits, we hear an elevator sound, the lights fade.
They come up on the stage, when the main opens and its the
audition room again. The RIVAL 2 is in the room, auditioning and
the RIVAL 1 runs on and burst through the door)
RIVAL 1
No! This is MY audition time!
DIRECTOR
Im sorry, you werent here, so we had to move on.
RIVAL 1
Can I please sing my song.

MUSICAL DIRECTOR
What is it?
RIVAL 1
The Galinda part of What Is This Feeling from Wicked.
CHOREOGRAPHER
Oh, how funny, his audition song was the Elphaba part of that song.
DIRECTOR
Why dont you do the song as a duet?
THE RIVALS
Absolutely not. I cant (ad-lib)
DIRECTOR
Well, you either do it as a duet, or you dont do it at all.
THE RIVALS
Fine. Well do a duet.
MUSIC 19: What Is This Feeling from WICKED
RIVAL 1
DEAREST, DARLINGEST, MOMSIE AND POPSICLE
RIVAL 2
MY DEAR FATHER
RIVALS
THERES BEEN SOME CONFUSION
OVER ROOMING HERE AT SHIZ.
RIVAL 2
BUT OF COURSE, ILL CARE FOR NESSA.
RIVAL 1
BUT OF COURSE, ILL RISE ABOVE IT.
RIVALS
FOR I KNOW THATS HOW YOUD WANT ME TO RESPOND.
YES, THERES BEEN SOME CONFUSION
FOR YOU SEE, MY ROOMATE IS
RIVAL 1
UNUSSUALLY AND EXCEEDINGLY PECULIAR

AND ALTOGETHER QUITE IMPOSSIBLE TO DESCRIBE


RIVAL 2
BLONDE.
RIVAL 1
WHAT IS THIS FEELING,
SO SUDDEN AND NEW?
RIVAL 2
I FELT THE MOMENT
I LAID EYES ON YOU.
RIVAL 1
MY PULSE IS RUSHING,
RIVAL 2
MY HEAD IS REELING,
RIVAL 1
MY FACE IS FLUSING.
RIVALS
WHAT IS THIS FEELING?
FERVID AS A FLAME,
DOES IT HAVE NAME?
YES!
LOATHING!
UNADULTERATED LOATHING.
RIVAL 1
FOR YOUR FACE,
RIVAL 2
YOUR VOICE,
RIVAL 1
YOUR CLOTHING.
RIVALS
LETS JUST SAY I LOATHE IT ALL!
EVERY LITTLE TRAIT HOWEVER SMALL
MAKES MY VERY FLESH BEGIN TO CRAWL!
WITH SIMPLE UTTER LOATHING.
THERES A STRANGE EXHILARATION
IN SUCH TOTAL DESTESTATION

ITS SO PURE, SO STRONG.


THOUGH I DO ADMIT IT CAME ON FAST
STILL I DO BELIEVE THAT IT CAN LAST.
AND I WILL BE LOATHING, LOATHING YOU
MY WHOLE LIFE LONG.
(BLACKOUT.)

ACT 2
Scene 3 The One Who Wears Too Much Makeup

SETTING:

The Same

AT RISE:

We are in another audition. The creative team have terrified faces. At the
moment, the girls back is to us, so we cant see her face but when she
turns around she is wearing, way too much make up.
DIRECTOR

Hiwhats your name?


TOO MUCH MAKEUP
________________ __________________
DIRECTOR
And um, what song will you be preforming for us today?
TOO MUCH MAKEUP
Song?
DIRECTOR
Yes, you were supposed to prepare 16 bars of an up-tempo or ballad, from a Broadway musical.
TOO MUCH MAKEUP
Well, when was that mentioned??
DIRECTOR
On the audition notice.
TOO MUCH MAKEUP
Well, I have a monologue prepared. May I please preform that?
DIRECTOR
Yeah, sure that is fine.
TOO MUCH MAKEUP
Hello, my name is __________ __________ and Ill be preforming a monologue from
___________. Thank you.
MONOLOGUE
DIRECTOR
Thank you.
ACT 2
Scene 4 The One Who Lies About Their Age & The Lost One

SETTING:

The Same

AT RISE:

The ONE WHO WEARS TOO MUCH MAKE MAKEUP, is leaving the a
audition room. The DIRECTOR gets up and walks to the doorway.

DIRECTOR
At this time, we are going to begin to take two people at a time, because we are running out of
time. We will have you enter the room, hand us the papers that you need to give us and then we
will hand you a scene. You have will have a little bit of time to look over the scene and then we
will ask you to preform the scene. So, can we please have numbers 35 and 36.
(The ONE WHO LIES ABOUT THEIR AGE gets up.)
Number 36 please.
(No one moves)
Again, can we please have number 36.
(People start looking around for number 36)
I will call one more time and then I will move onnumber 36 please come and audition.
LIES ABOUT THEIR AGE
I found number 36!
DIRECTOR
Great, will you please send them in.
LIES ABOUT THEIR AGE
Well, she is kind of sleeping, soI dont know what to do.
DIRECTOR
Wake her up.
LIES ABOUT THEIR AGE
I dont think I can do that.
DIRECTOR
Finelet me.
(The DIRECTOR walks over to THE LOST ONE)
Hey, number 36, Im going to need you to get up. Its time for your audition.
LOST ONE
(Very Confused)
What are you talking about?
DIRECTOR
Your audition for the musical The Dream.

LOST ONE
Ohok
(The LOST ONE gets up and walks into the audition room, after
the DIRECTOR, and the ONE WHO LIES ABOUT THEIR AGE,
very confused)
LIES ABOUT THEIR AGE
(To the creative team)
Hello.
LOST ONE.
Where am I?
DIRECTOR
So Miss _______________, you are really 18?
LIES ABOUT THEIR AGE
Yes, sir.
CHOREOGRAPHER
Are you sure? Have you looked at your birth certificate recently?
LIES ABOUT THEIR AGE
Yes, I have and I am 18 years old.
CHOREOGRAPHER
Ok, if you say so.
(They ALL look at THE LOST ONE.)
LOST ONE
What?
MUSICAL DIRECTOR
Do you have anything to give us?
LOST ONE
Um, I dont think so.
MUSICAL DIRECTOR
Ok
LOST ONE
What year is this?

MUSICAL DIRECTOR
2016.
LOST ONE
Ok. So in all serious, what am I doing?
DIRECTOR
Auditioning for a Broadway musical.
LOST ONE
Do I have to sing? Because I cant!
DIRECTOR
Not anymore, we just need you to read this scene and act it out.
LOST ONE
Ok. Wheres the scene?
DIRECTOR
Im about to give it to you.
(DIRECTOR hands the girls the scene.)
You can have a few seconds to look over it and then well begin.
(The girls look over the scene and then perform the folllowing)
CHICKEN BONES FOR THE TEENAGE SOUP
BY ALAN HAEHNEL
KIMMY: Kelly, you are my very best friend. You are amazing.
KELLY: Kimmy, you know I feel the same way about you.
KIMMY: I will always love you. I mean it. You know, Bridget gave me one ofer school pictures
yesterday, one of the little wallet-sized ones, and she wrote on the back of it best friends
forever. But she doesnt really mean it. She was just writing that.
KELLY: She wrote that on mine, too.
KIMMY: No way.
KELLY: Yes way.
KIMMY: See, thats what I mean. Some friends go around writing that stuff and saying that stuff
to everybody, but they dont mean it. But when I say it to you, and when I write it on the back of
the 8x10 school photo I give you, you know I really mean it. Kimmy and Kelly, best friends
always.
KELLY: Forever.
KIMMY: And ever
KELLY/KIMMY: Amen.
KIMMY: See? That shows what amazing friends we are, when we finish
KELLY: Each others sentences?

KIMMY: Yes! Were like one person


KELLY: Inside two bodies?
KIMMY: Yes! I mean, sometimes when Im talking to you I just feel as if Im talking to myself.
KELLY: I know what you mean. And how many times have we worn practically exactly the same
thing to school and we didnt even call each other?
KIMMY: I know it! We have the same tastes in foods, the same tastes in music
KELLY: The same tastes in fashion, the same tastes in guys.
KIMMY: Yeah, we do, dont we?
KELLY: Were the luckiest two people on earth, to have each other as friends. That first day in
kindergarten, the first day I met you, it was like a cloud just opened up and the sun came shining
through and I knew we were going to be like twins.
DIRECTOR
Thank you very much. Well be in contact.
CHOREOGRAPHER
Hold on, one second. Ms. __________________, I still dont believe that you are 18 years old.
LIES ABOUT THEIR AGE
Well, I am.
CHOREOGRPAHER
Can I please see an ID, then?
(LIES ABOUT THEIR AGE nods and pulls out an ID. The
CHOREOGRAPHER looks at it.)
This is a school id, for this year. And it says you are in the 7th grade.
LIES ABOUT THEIR AGE
IumIm really dumb. They held me back.
CHOREOGRAPHER
Get out.
(LIES ABOUT THEIR AGE and LOST ONE exit. As they exit the
LOST ONE says)
LOST ONE
Seriously, where are we?
(BLACKOUT.)

ACT 2
Scene 4 The Clueless One & The One Who Had Too Much Sugar

SETTING:

The same.

AT RISE:

We see THE CLUELESS ONE and THE ONE WHO HAD TOO MUCH
SUGAR are in the middle of their audition. THE ONE WHO HAD TOO
MUCH SUGAR talks really fast. The CLUELESS ONE is the biggest
blonde that you will ever know.

TOO MUCH SUGAR


So, then my mom took me to the car and put me in my seat and drove all the way to California,
to see my grandma. And then when I got to my grandmas house I spent all the time that I could
with her because I loooooove her and thenwhat was the question?
DIRECTOR
Whats your name??
TOO MUCH SUGAR
Oh, ___________________ _____________________
DIRECTOR
(To the CLUELESS ONE)
Ok, and whats your name?
CLUELESS ONE
My what?
DIRECTOR
Your name.
CLUELESS ONE
Oh um_________________ __________________
MUSICAL DIRECTOR
Really?
CLUELESS ONE
Yeahhahahahaha.I think
TOO MUCH SUGAR
(Jumping up and down)
Lets go lets go lets go!!!
DIRECTOR
Ok, then lets begin.
CLUELESS ONE
Begin what?

CHOREOGRAPHER
The audition.
CLUELESS ONE
The what?
CHOREOGRPAHER
Audition.
CLULESS ONE
Oh, yeah, thatwhatever that is.
DIRECTOR
(Hands the girls the scene.)
You can have a few seconds to look over it and then well begin.
(The girls look over the scene and then perform the folllowing)
CHICKEN BONES FOR THE TEENAGE SOUP
BY ALAN HAEHNEL
KIMMY: Kelly, you are my very best friend. You are amazing.
KELLY: Kimmy, you know I feel the same way about you.
KIMMY: I will always love you. I mean it. You know, Bridget gave me one ofer school pictures
yesterday, one of the little wallet-sized ones, and she wrote on the back of it best friends
forever. But she doesnt really mean it. She was just writing that.
KELLY: She wrote that on mine, too.
KIMMY: No way.
KELLY: Yes way.
KIMMY: See, thats what I mean. Some friends go around writing that stuff and saying that stuff
to everybody, but they dont mean it. But when I say it to you, and when I write it on the back of
the 8x10 school photo I give you, you know I really mean it. Kimmy and Kelly, best friends
always.
KELLY: Forever.
KIMMY: And ever
KELLY/KIMMY: Amen.
KIMMY: See? That shows what amazing friends we are, when we finish
KELLY: Each others sentences?
KIMMY: Yes! Were like one person
KELLY: Inside two bodies?
KIMMY: Yes! I mean, sometimes when Im talking to you I just feel as if Im talking to myself.
KELLY: I know what you mean. And how many times have we worn practically exactly the same
thing to school and we didnt even call each other?
KIMMY: I know it! We have the same tastes in foods, the same tastes in music
KELLY: The same tastes in fashion, the same tastes in guys.

KIMMY: Yeah, we do, dont we?


KELLY: Were the luckiest two people on earth, to have each other as friends. That first day in
kindergarten, the first day I met you, it was like a cloud just opened up and the sun came shining
through and I knew we were going to be like twins.
DIRECTOR
Thatll be enough, thank you.
CLUELESS ONE
Enough of what?
TOO MUCH SUGAR
Enough of the audition. This is called a side and the director only wanted us to read a little of the
side, so then
CLUELESS ONE
Oh, my, Godlike, what did you have to eat before this audition? Like 10 pounds of sugar?
TOO MUCH SUGAR
Yes!!!!! I must fit in the four major food groups everyday.
CHOREOGRAPHER
And what might those be, Buddy the Elf.
(CHOREOGRAPHER mouths the following and counts on HER
hand)
TOO MUCH SUGAR
Candy, Candy Corn, Candy Cane, and syrup!
DIRECTOR
Okay, thatll be enough, thank you. Have a great day will be in contact.
CLUELESS ONE
Contact for what?
MUSICAL DIRECTOR
If you got thenevermind just go.
(TOO MUCH SUGAR runs out of the room and the CLUELESS
ONE exits very confused)
(BLACKOUT.)
ACT 2
Scene 5 The Texter & The Emo Kid

SETTING:

The same

AT RISE:

The DIRECTOR is about to start the audition for The TEXTER and The
EMO KID.

DIRECTOR
Numbers 42 and 43 please.
(Number 42 gets up and is The EMO KID and THEY slowly walk to the
door, very melancholy.)
Number 43.
(No response)
Number 43.
(Sees number 43 and walks over to them, its The TEXTER and they dont
look up from there phone.)
Um excuse me, would you like to audition or not?
(No response.)
Yo, do you want to audition for this show or naw, LOL.
TEXTER
(Not looking up)
Yeah, sure fine.
(Gets up and walks into the room without looking up)
MUSICAL DIRECTOR
Well, hello and sorry about the wait.
EMO KID
Its fine, Im used to not getting what I want. Or when I want it.
DIRECTOR
Ok so, we are going to
TEXTER
One sec.
(Continues to text. The line is delivered after a little of time just
texting.)
Ok you can go.
DIRECTOR
I just gonna tell you, that we are going to read a scene, thats all.
EMO KID
Oh, okthat sounds great.

TEXTER
YOLO, am I right?
MUSICAL DIRECTOR
What??
DIRECTOR
Please, just read this scene.
(The EMO KID reads the scene very sadly and with no emotion.
The TEXTER reads their lines and then goes right back to their
phone.)

BROTHER MAKEOVER by D. M. Larson


from the Published Play "A Little Private Education"

LUKE: Please, Peg. Don't leave me alone with her.


PEG: I see you two are getting along pretty well.
LUKE: She's all over me. I don't know what to do.
PEG: Tell her no.
LUKE: But if I don't play nice, I'll lose everything. She made that pretty clear.
PEG: Then let her have her way.
LUKE: I can't seem to do that either.
PEG: You're stuck, bro. I don't know what to tell you. (Smiles) You've got to admire her though.
LUKE: What?
PEG: Men have been doing this to women for years. Look at Hollywood. Haven't you heard of
the casting couch? Now the tables have been turned. Women are in position to do it to men. It
doesn't feel so good, does it?
LUKE: No.
PEG: I'm having trouble feeling too sorry for you.
LUKE: Thanks a lot. When did I ever do this anyone else? I don't deserve this.
PEG: What about that time in high school?
LUKE: What time?
PEG: Remember that girl, Jamie?
LUKE: Jamie? Jamie who?
PEG: Poor girl. You don't even remember her.
LUKE: Come on, Peg. Get to the point.
PEG: You know, Jamie, your prom date.
LUKE: Oh, that girl.

DIRECTOR
Thank you, thatll be enough.
TEXTER
Great TTYL.
(The TEXTER exits)
EMO KID
I get it, I disappointed you.
DIRECTOR
No, Im just running out of time. Its not because of you.
EMO KID
No, it is. Im just gonna go listen to my AC/DC album. Goodbye.
(The EMO KID exits)
CHOREOGRAPHER
Well, that was weird.
MUSICAL DIRECTOR
A very UNIQUE pair.
DIRECTOR
Yes, it was.
(BLACKOUT.)

ACT 2
Scene 6 The One Who Doesnt Understand English
SETTING:

The same.

AT RISE:

The creative team is talking and THE ONE WHO DOESNT


UNDERSTND ENGLISH enters and starts auditioning.
(The ONE WHO DOESNT UNDERSTAND ENGLISH enters)

DIRECTOR
Um, hi, were not really auditioning people right now, how can we help you?
DOESNT UNDERSTAND ENGLISH
(Pulls out a Spanish to English dictionary, flipping through the pages
through out his lines.)
Hellomynameis._____________ (very Spanish name).and.I.audition
for.theplay.
DIRECTOR
Were not holding auditions right now. WE ARE ON A BREAK!
DOESNT UNDERSTAND ENGLISH
LikeRossandRachelwere.
CHOREOGRAPHER
Yes, but that doesnt mean he should have cheated on her.
MUSICAL DIRECTOR
Not right now.
(To THE ONE WHO DOESNT SPEAK ENGLISH)
DO YOU UNDERSTAND ENGLISH?!?!?
DOESNT UNDERSTAND ENGLISH
Mysong___________ __________.
Music 20: 16 Bars of whatever song
DOESNT UNDERSTAND ENGLISH
Gracias.
(The ONE WHO DOESNT UNDERSTAND ENGLISH exits)
MUSICAL DIRECTOR
Well, that was very very strange.
(BLACKOUT.)

ACT 2
Scene 7 The Actual Star
SETTING:

The same.

AT RISE:

The DIRECTOR is checking in the audition room to see if there is anyone


else left.

DIRECTOR
(To the creative team)
Ok, so theres nobody else. Lets begin casting!
ACTUAL STAR
Actually, there is.
DIRECTOR
(To himself)
Oh, youve got to be kidding me. I thought she left.
(To the ACTUAL STAR)
Oh _________ ________, I didnt know you were here.
ACTUAL STAR
Well, I am.
(Awkward silence)
Are you going to let me audition or not?
DIRECTOR
Sorry, we are no longer holding auditions. Maybe next time though.
(The MUSICAL DIRECTOR, who has made HER way to the door
to see what all the commotion is about, interrupts the DIRECTOR)
MUSICAL DIRECTOR
And this just happens to be next time.
DIRECTOR
Um, Jessica, can I talk to you?
(The DIRECTOR pulls the MUSICAL DIRECTOR into the
audition room and shuts the door.)
What are you doing?
MUSICAL DIRECTOR
Letting ______________ ___________ know that they can still audition.
DIRECTOR
Weve talked about this, I dont want her in my show.

MUSICAL DIRECTOR
Well, too bad, I want her in OUR show. Shes talented and if she is a diva, Ill get you a coffee
from Dunkin and if she youll get me a coffee from Dunkin. Deal.
DIRECTOR
Fine, deal.
(The MUSICAL DIRECTOR runs back to the door and opens it as
the DIRECTOR crosses back to the audition table.)
MUSICAL DIRECTOR
(To the STAR)
You are more than welcome to come and audition.
THE ACTUAL STAR
Thank you.
(Walks into the room and prepares herself)
Hello, my name is __________________ ______________ and Ill be singing the song
_____________________ from the musical _________________. Thank you.
MUSIC 21: 16 bars of whatever song
THE ACTUAL STAR
Thank you.
(Gets her stuff and exits.)
CHOREOGRAPHER
Wow!
MUSICAL DIRECTOR
Right
DIRECTOR
Eh, she was alright.
(BLACKOUT.)

ACT 2
Scene 8 Casting
SETTING:

The Casting Room.

AT RISE:

The main is closed, because behind it the audition room is getting struck
and the next scene is getting set. There is a table and on it are a whole
bunch of papers and folders. The DIRECTOR, MUSICAL DIRECTOR
and CHOREOGRAPHER all surround the table. They all look exhausted
and frustrated.
CHOREOGRAPHER

Well, I really liked her movement.


MUSICAL DIRECTOR
Yeah, but her voice wasnt that great.
DIRECTOR
Her voice was good, but it wasnt what Im looking for, for my supporting female role.
CHOREOGRAPHER
Ok so, we can put her in the ensemble then? I would love to have her as a dancer.
DIRECTOR
Yeah thats fine.
(He starts going through all of the papers, looking for the person
that he can cast as the lead.)
MUSICAL DIRECTOR
Okay, so we have the ensemble covered and we have most of the major roles cast. All we have
left are the supporting female role and the lead female.
DIRECTOR
Yeah I know.
(Finds a form)
I really liked her acting and singing ability. If you dont mind, I would like to put her in as the
supporting role.
MUSICAL DIRECTOR
Perfect. I loved her voice.
CHOREOGRAPHER
Yeah and her dancing wasnt that great and thats fine because she doesnt dance in the show.
DIRECTOR
Now, that only leads the female lead.

MUSICAL DIRECTOR
I know exactly who that goes to.
DIRECTOR
Dont you dear say her name, I will not under any circumstances cast her. I really like her.
(Shows an audition form)
MUSICAL DIRECTOR/CHOREOGRPAHER
What?!? Are you kidding me?!?! Shes awful for this role. ____________ is way more qualified.
(The MUSICAL DIRECTOR and CHOREOGRPAHER ad-lib
reasons why the ACTUAL STAR should be the lead and why
another girl should not be the lead, until...)
DIRECTOR
(Yells.)
STOP!!!
CHOREOGRAPHER
Well what do you want for the lead role then?
DIRECTOR
What do I want?
MUSIC 22: Being Alive from Company
DIRECTOR
(Sings.)
SOMEONE TO HOLD YOU TOO CLOSE,
SOMEONE TO HURT YOU TOO DEEP,
SOMEONE TO SIT IN YOUR CHAIR,
TO RUIN YOUR SLEEP.
MUSICAL DIRECTOR
Thats true, but theres more to it than that.
CHOREOGRAPHER
Is that all you think there is to it?
MUSICAL DIRECTOR
Youve got so many reasons for not casting her,
(Shows headshot)
but Griffin, you havent got one good reason for casting her
(Shows another headshot)
CHOREOGRAPHER
Come on, youre on to something Griffin. Youre on to something.

DIRECTOR
(Sings.)
SOMEONE TO NEED YOU TOO MUCH,
SOMEONE TO KNOW YOU TO WELL,
SOMEONE TO PULL YOU UP SHORT
AND PUT YOU THROUGH HELL.
CHOREOGRAPHER
You see what youve got to look for?
MUSICAL DIRECTOR
Youre not a kid anymore, Griffin. I dont think youll ever be a kid again, kiddo.
CHOREOGRPAHER
Dont be afraid it wont be perfect. The only thing to be afraid of really is that it wont be.
MUSICAL DIRECTOR
Dont stop now. Keep going.
DIRECTOR
(Sings.)
SOMEONE YOU HAVE TO LET IN,
SOMEONE WHOSE FEELINGS YOU SPARE,
SOMEONE WHO, LIKE IT OR NOT,
WILL WANT YOU TO SHARE
A LITTLE, A LOT.
MUSICAL DIRECTOR
And what does all that mean?
CHOREOGRPAHER
Griffin, how do you know so much about it, when youve never been there?
MUSICAL DIRECTOR
Its much better living it than look at it, Griffin.
CHOREOGRPAHER
Add em up, Griffin. Add em up.
DIRECTOR
(Sings.)
SOMEONE TO CROWD YOU WITH LOVE,
SOMEONE TO FORCE YOU TO CARE,
SOMEONE TO MAKE YOU COME THROUGH,
WHOLL ALWAYS BE THERE,
AS FRIGHTENED AS YOU

OF BEING ALIVE
BEING ALIVE,
BEING ALIVE,
BEING ALIVE.
CHOREOGRAPHER
Forget the past, Griffin, and make a decision. Choose someone! Choose someone!
DIRECTOR
(Sings.)
SOMEBODY, HOLD ME TOO CLOSE,
SOMEBODY, HURT ME TOO DEEP,
SOMEBODY, SIT IN MY CHAIR
AND RUIN MY SLEEP
AND MAKE ME AWARE
OF BEING ALIVE,
BEING ALIVE.
SOMEBODY, NEED ME TOO MUCH,
SOMEBODY, KNOW ME TOO WELL,
SOMEBODY, PULL ME UP SHORT
AND PUT ME THROUGH HELL
AND GIVE ME SUPPORT
FOR BEING ALIVE,
MAKE ME ALIVE.
MAKE ME CONFUSED,
MOCK ME WITH PRAISE,
LET ME BE USED,
VARY MY DAYS.
BUT ALONE, IS ALONE,
NOT ALIVE.
SOMEBODY, CROWD ME WITH LOVE,
SOMEBODY, FORCE ME TO CARE,
SOMEBODY, MAKE ME COME THROUGH,
ILL ALWAYS BE THERE,
AS FRIGHTENED AS YOU,
TO HELP US SURVIVE
BEING ALIVE,
BEING ALIVE,
BEING ALIVE!

(BLACKOUT.)

ACT 2
Scene 10 Opening Night (Take 2)
SETTING:

Opening Night of another Broadway show, this time it is the opening of


the show, that we have been auditioning for the whole time.

AT RISE:

The cast is backstage and they are excited. You can feel the energy.

THE DIVA
I am so excited about this show, I just wish that I would have gotten my own dressing room.
THE CRIER
(Crying.)
I am just so happy, that tonight is opening, but Im going to miss all of you after this
performance.
THE DIVA
You know, its more than one performance right, its a Broadway show. We preform 8 times a
week.
THE CRIER
Really, thats great.
(Starts crying even more)
Im so happy.
THE ENDLESS AUDITIONEE
Thhhhhiiiiiiisssssss isssss goooiiinnngggg toooooooooooooooo bbbbbeeeeeee sooooooo
mmmmuuuucccchhhh ffffuuuunnnn! (This is going to be so much fun, dragged out)
THE ONE WHO WONT LEAVE
(Enters, not in costume, because they werent cast)
Can I please, just be in the ensemble for one
ENTIRE CAST
LEAVE.
(Points in the direction The ONE WHO WONT LEAVE came
from.)
THE SUCK UP
(Runs up to the DANCER, who is the only one stretching)
Oh my goodness, youre dancing is beautiful.
THE DANCER
Uh-huh. Thanks. Im still not letting you come over to my house, again, no matter how much
you suck up to me.

THE SUCK UP
It was only one time. I didnt mean to spill salsa on that beautiful white couch of yours.
THE DANCER
Ugh.
(Storms away.)
THE FIRST TIMER
(To the ONE WHO HOLDS NOTES TOO LONG)
So after, the show we have a party, right?
HOLDS NOTES TOO LONG
(Held out really long, with a bunch of crazy riffs)
Yes.
(The ONE WHO STARTS IN THE WRONG KEY and the
ONE WHO STARTS OVER enter in all black.)
STARTS IN THE WRONG KEY
I cant believe we didnt get cast.
STARTS OVER
Yeah, neither can I, now were backstage people.
STARTS IN THE WRONG KEY
Well, I know why you werent cast.
STARTS OVER
What was that Key of A, or wait I mean Key of C
STARTS IN THE WRONG KEY
That wasntIm sorry let me start over Thats not very
THE SHY ONE
(Crosses to the two bickering and says very quietly)
Um excuse me...
(Yells)
HEY! STOP FIGHTING AS TO WHY YOU DIDNT GET CAST AND GO DO YOUR JOB,
SO THAT MY CAST MATES AND I LOOK GOOD ONSTAGE. KAY?
(They nod. The next line is said very quietly)
Thank you!
STAGE MOM
(Off-stage)
Oh, honey, look I found are seats. Theyre front and center, just like I wanted. Come and sit next
to me baby boy.

THE ONE WHO MOM SENT


(Off-stage)
Mom, please stop embarrassing me.
RIVAL 1
That Gypsy Robe is mine.
RIVAL 2
No, its mine.
(RIVAL 1 runs off and RIVAL 2 chases her off)
LIES ABOUT THEIR AGE
Wow, that a lot of makeup, you are wearing.
TOO MUCH MAKEUP
Its so the people in the back can see my facial expressions. If you were 18, youd know that.
LIES ABOUT THEIR AGE
I am 18!
OFF-STAGE VOICE
Can you please move to your own seat?
DOESNT UNDERSTAND ENGLISH
(Off-stage)
Musical.
OFF-STAGE VOICE
I know this is a musical, but you arent sitting in your assigned seat and I need you to move.
THE LOST ONE
(Off-stage)
I seem to be lost, can you please show me to my seat?
OFF-STAGE VOICE
Yes, once I get this patron to move.
THE LOST ONE
(Off-stage)
Oh, wont. He/She doesnt understand English.
(The ONE WHO HAD TOO MUCH SUGAR runs across the
stage, yelling SUGAR! I NEED SUGAR! SUGAR! SUGAR!
SUGAR! The CLULESS ONE enters and says)

THE CLULESS ONE


Oh my god, you guys, did you see that tiny sugar elf just run across the stage?
THE EMO KID
No, I never see anything happy.
(The DIRECTOR, CHOREOGRAPHER and MUSICAL
DIRECTOR enter)
DIRECTOR
Can I have everybodys attention please?
(Everybody gets quite)
I just wanted to thank you all for this experience that you have given me, I couldnt have picked
a better cast than this one. You made my job easy. This is a great show to be debut as a Broadway
director. I cant wait to see the show tonight. Break legs and have a great opening night! Jessica
or Lanae would you like to say anthing?
MUSICAL DIRECTOR and CHOREOGRAPHER
Have fun. You will do great!
DIRECTOR
Oh and one more thing, I want you to all know that you are all made of stars in your own special
way. And, I will be taking this for the performance.
(Takes away the TEXTERs cell)
THE TEXTER
Hey, you cant
DIRECTOR
See me after the show for it.
(To everyone)
Break legs.
(Everybody disburses and gets ready for places.)
Hey _______ ______ can I talk to you?
THE ACTUAL STAR
Yes, of course.
DIRECTOR
I just wanted to let you know, that I am very proud of you, you have matured out of your Diva
years and have become a very professional actress and I appreciate that.
THE ACTUAL STAR
Thank you.

DIRECTOR
I dont know if you knew this, but I didnt originally want to cast you as the lead.
THE ACTUAL STAR
I did. Everybody did and I believe you owe Jess a coffee from Dunkin.
DIRECTOR
Yeah, I know. Now get to your place and remember were all made of starts.
(DIRECTOR, MUSICAL DIRECTOR and
CHOREOGRAPHER exit)
MUSIC 23: WERE ALL MADE OF STARS from Finding Neverland
SOLO 1
YOU CAN BE ANYTHING YOU WANNA BE
YOU CAN GO ANYWHERE YOU WANNA SEE
A LITTLE HARD WORK AND YOU CAN DO IT
FAITH WILL GET YOU THROUGH IT
SO MANY POSSIBILITIES
SOLO 2 & SOLO 3
YOU GOTTA BELIEVE IT SEE IT
AND YOU CAN BE IT
THE ANSWERS ARE ALL INSIDE YOURSELF
SOLO 4 & SOLO 5
THE UNIVERSE HAS PLENTY OF SPACE
AND THE GIFT THAT IT GAVE TO THE WHOLE HUMAN RACE
IS THAT
ALL
WERE ALL MADE OF STARS
WERE ALL MADE OF DREAMS
NO MATTER WHO YOU ARE
YOU CAN DO WHAT YOU WANT
GO WHERE YOU LIKE
BE WHO WANNA BE
SOLO 6
IF A DOCTOR COULD SAVE ONLY JUST ONE LIFE
FROM PAIN AND FROM MISERY
THATS WHAT I WANNA BE

SOLO 7
I WOULD SAIL ALL AROUND THE WORLD
A LIFE OF DISCOVERY
THAT IS THE LIFE FOR ME
SOLO 8
IF I COULD WRITE EVERY SINGLE DAY
I WOULD WRITE ALL MY CARES AWAY
SOLO 9
ID BE LEADING A DIFFERENT LIFE
A WONDERFUL LIFE
ALL
A MAGICAL LIFE!
BAH BAH BAHDY DAH DAH DAH DAH ETC.
YOU CAN DO WHAT YOU WANT
GO WHERE YOU LIKE
BE WHO YOU WANT TO BE
SOLO 10
BE WHAT YOU WANNA BE
ALL
BE WHAT YOU WANNA BE!

(BLACKOUT)
End of Act 2
End of Show