Singing audition info (updated with excerpts)

These are the sections from each song that I’d like to hear from each character:

RITA Busy woman: bars 1-9, then 34-48

Stand up: bar 61-96

 I’m really looking for the contrast between the first section of busy woman and the 2nd, to really
forshadow the character arc that Rita is going to go through. There is plenty of rubato (pulling
around of speed and dynamics) possible here, so just go for it!

 For stand up I really want to see that Rita has undergone her transformation and has realised her
potential as a leader and orator – this should be juxtaposed against the first song!

 Plenty of room to show different shades of your voice with these two songs.

EDDIE I’m sorry, I love you: bars 1-27 then bars 130 (from 3rd beat) to 149
The letter: bars 1-34 then 101-end

 I’m looking for a sense of fun and jollity in I’m sorry, which of course we then need to contrast with
The letter.
 There is lots of room to show of your vocal prowess not in range and volume, but in the intimacy
of your performance. Less really is more here! (in both numbers)

HAROLD Always A Problem: bars 1-42 (including ensemble section)

 I mean…just be funny!

BARBARA Ideal World: bars 1-41

 I really see a kind of jazz singer vibe at the beginning, which then turns into an actual comedy
number, but I’m completely open to your individual interpretations of the song. In any case, it’s got
to be funny!

CLAIRE Wossname: bars 1-36

 Comedy, comedy, comedy. This song lives or dies on the comic timing of the lines.
 You have plenty of space to speed through or slow down specific lines to bring them out and vice
versa
 The first words that spring to my mind is ‘innocent but funny’. Do with that what you will!

CONNIE Same Old Story: 1-24 then 45 (4th beat) to 53

 A very powerful number here. It is deceptively simple and thus all too easy just to sing this as one
would in a karaoke, but I’m looking for something more here
 There is a depth to the lyrics and meaning that I’d really love for you to bring out
 Try and think about the reason why she is singing this song. Is she imploring Rita or instructing?
How you interpret will affect how you perform it!
TOOLEY This Is America: bars 1-36 then 75-87 (1st beat)
 Boorish bravado is what I need here
 We need to dislike this guy, but he also needs a degree of Danny-from-Grease-esque cool about
him
 Try to get the exact pronunciations down for the 75-87 (consult your local American, if you have
access to one)

CORTINA MAN Cortina: bars 9-30 then 35-36 (direct cut, we’ll run over this)
 I’m really feeling a car commercial for this song, and thus it should be smooth and…commercial
 It’s quite funny and not too serious, so just have fun with it!

ENSEMBLE Men: Made in Dagenham: bars 86-93

Mixed: Made in Dagenham: 94-end
Women: Wossname: 21-28
Mixed: Stand up: bars 203-end (additional, if needed)

Vocal ranges are given at the beginning of the libretto, which will be available at the workshops and
hopefully online!

……………………………………………………………………………………………………………

Musical excerpts:

Rita:
Eddie:
Harold:
Barbara:
Claire:
Connie:
Tooley:
Cortina man:
Ensemble: Men & mixed
Ensemble Women:

If needed: