The Hudson Players are a true community theater. Thus all our shows feature volunteer actors and stage personnel. All roles in our productions are always open to auditioners, with no restrictions. For non-musicals scripts are usually available for perusal at the Hudson Library at least two weeks prior. Those auditioning will be asked to read from the script. For musicals, auditioners are asked to have a song prepared and to bring along appropriate sheet musical for the accompanist. Musical auditioners will also be asked to read from the script and in many cases shown a brief movement exercise. Those interested in working backstage, on sets, lights, etc, are encouraged to come to auditions as well and fill out a form letting the producer know their areas of interest. All auditions are held at the Barlow Community Center on Oviatt St in Hudson, typically at 7pm on Sunday and Monday evenings.
Pirates of Penzance
Auditions: Feb. 17 & 18, 2019 – 7:00 p.m.
Performances: April 26 & 27, May 3, 4, 5, 10, 11, 12, 17 & 18, 2019
The Pirate King – (Baritone) Swashbuckling, athletic, and handsome leader of The Pirates of Penzance. An adventurer and sentimental, romantic f ellow. He wants to be a pirate just to have his shirt open, the wind in his hair, and to stand around like Captain Jack Sparrow.
Mabel – (Soprano) Young and beautiful, very much a young woman of the 19th century. She is genuine and utterly sincere as she captures the love of young Frederick. Her naivety and innocence make her a sweet and funny character.
Frederic – (Tenor) Young handsome, manly, and genuine. The feelings between Ruth, his nursery maid, and him are deep feelings, they care for each other on the most profound level. That is why he can attack her so vehemently at the one moment for having grey hair, and at the next put his arms around her to sing a very beautiful duet. However, his feelings for Mabel are true love at first sight. He is funny because he is so sincerely trying to do the honorable thing; he truly is the “slaveof duty”, which is a running joke throughout the show, as well as thesubtitle of the show. For him, duty is before all.
Major General Stanley – (Baritone) He is “dignified respectability”, in the truest sense of those words. He is “vivid”, with the warmth and good humor one would expect from SantaClaus. Quirky with military discipline, but believable.
Ruth – (Contralto) She is a proper English nanny and has raised young Frederic “properly” to be a gentleman. It isfrom her that he has learned to be so polite and honorable and tocherish respectability… and to give himself over wholly and completely to love. The feelings between Ruth and Frederic are the deep feelings of – almost – mother and son. They care for each other on the most profound level. She wants to marry Frederic though he resists because he suspects she isn’t as beautiful as she suggests.
Sergeant of Police – (Bass) Obeys his duty and the law, but is a coward at heart. The choreography will call for a good dancer in addition to good vocal ability.
Samuel – (Baritone) The Pirate King’s right hand man, he is sincere, earnest, and simple-minded.
Edith – (Soprano) One of Major-General Stanley’s daughters.
Kate – (Mezzo-soprano) One of Major-General Stanley’s daughters.
Isabel – (Soprano) One of Major-General Stanley’s daughters.
Chorus of Daughters – (Contraltos and Sopranos) The more vivid and individual each daughter is, the better. Big voices are essential as there are more Pirates and Constables than daughters. Comedic understanding and basic dancing.
Chorus of Pirates – (Baritones and Tenors) Simple minded, tender-hearted souls. Big, full-out singing is what is thrilling about the Pirates. The choreography calls for basic dancing ability in addition to strong vocal ability and a keen comedic sense. Pirates can be played by males or females.
Constables – (Bass or Baritones) They obey their duty and the law, but are cowards at heart. Constables can be played by males or females.
All Hudson Players auditions are open auditions with all roles available. No experience is necessary. For non-musicals please be prepared to read from the script. For musicals please bring sheet music for the accompanist and prepare at least a 16 bar audition song. Musical auditions will also normally include a movement exercise and reading from the script. Please email firstname.lastname@example.org with any questions.
Peter Wolf Toth - Visual Arts; Sculpture