42ND STREET & BILLY ELLIOT AUDITION PREP 

42nd Street Breakdown

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Rehearsals begin Monday, May 6th

Performance Dates:     

Thursday, June 6 – Sunday, June 9

Thursday, June 13 – Sunday, June 16

Thursday, June 20 – Sunday, June 23

CREDITS

Music by Harry Warren           

Lyrics by Al Dubin

Book by Michael Stewart & Mark Bramble

Based on the novel by Bradford Ropes

Directed by Suellen Yates

Choreographed by Tina Leak

Music Director – Stephen Field

 

ROLES

 

PEGGY SAWYER:  Young, talented, and hopeful, comes to New York form Allentown dreaming of being in a Broadway musical.  At the beginning of the show we see Peggy is nervous and quirky but eager and keen. As the show continues, we see Peggy’s talent shine through and her inner steel and strength of character to remain true to herself.  This actress must be believable as an all-round Broadway star; she must be able to act, sing, and dance, including tap.  

 

JULIAN MARSH: A powerful and charismatic Broadway director, he often comes across as very gruff as he barks his directions at actors and crew. He obviously doesn’t show emotion easily and keeps his thoughts and feelings to himself.  He definitely feels the responsibility to make sure Pretty Ladysucceeds and the cast and crew get to keep their jobs. 

 

DOROTHY BROCK: A temperamental and glamourous Broadway star. A prima donna almost past her prime. Must be older than Peggy and show the transition from being hateful and vengeful to her but softening over time. You always see this softer side with her obvious love for Pat but contrast this to her using Abner for exactly what she wants.  Must be able to move.

 

MAGGIE JONES: Co-author of Pretty Ladywith Bert Barry, and they make a great comic pair.  She is fun, enthusiastic, and has a good relationship with the chorus girls.  Must sing and move well with great comic timing.

 

BERT BARRY: Co-author of Pretty Ladywith Maggie Jones, and they make a great comic pair.  A worrier who wants to make sure the show goes on without a hitch.  Has to sing and play comedy with vaudevillian timing. 

 

BILLY LAWLOR: A young leading man, young enough to play the juvenile lead.  Billy is cheeky and charming with an eye for the ladies.  Great dancer and legit tenor.

 

PAT DENNING: Dorothy’s ex-vaudeville partner and the love of her life.  He is down on his luck.  He and Dorothy must hide their relationship from Abner. Forms a friendship with Peggy.

 

ABNER DILLON:  (speaking role only)  Dorothy’s wealthy, fussy sugar daddy.  He falls in and out of love very easily, but always looks after his investments.  It takes him a while to figure out that Dorothy is using him for his money.  Probably a Texan accent.

 

ANDY LEE: The dance director and choreographer of Pretty Lady.  Must be a first rate tap dancer.  

 

OSCAR: Rehearsal pianist

 

MAC: Stage Manager

SONGS

 

ACT I

            Overture and “Opening Act One" – The Orchestra

            “Young and Healthy” – Peggy and Billy

            “Shadow Waltz” – Dorothy and girls

            “Go into Your Dance” – Maggie, Peggy, Annie, Phyllis, Lorraine, and Andy

            “You’re Getting to Be a Habit with Me” – Dorothy

            “Getting out of Town” – Maggie, Bert, Pat, and Ensemble

            “Dame” – Billy and Ensemble

            “I Know Now” – Dorothy, Billy, and Ensemble

            “We’re in the Money” – Annie, Phyllis, Lorraine, Peggy, Billy, and Ensemble

            “Forty-Second Street” - Dorothy

ACT II

            Entr-acte – Orchestra

            “There’s a Sunny Side to Everything” – Annie and Ensemble

            “Lullaby of Broadway” – Julian, Billy, Andy, Bert, Annie, Phyllis, Lorraine, Gladys, Maggie, +

                        Abner, and Ensemble

            “Montage” – Orchestra

            “About a Quarter to Nine” – Dorothy and Peggy

            “Shuffle off to Buffalo” – Bert, Maggie, Annie, and Girls

            “Forty-Second Street” – Peggy and Ensemble

            “Finale Act Two – Forty-Second Street” - Julian

SYNOPSIS

Time: Early 1930s

Place: New York City and Philadelphia

 

ACT I

The show begins just as the auditions for a Broadway musical, Pretty Lady, are drawing to a close.  One young dancer, Peggy Sawyer, is late for auditions but her unceremonious entrance has caught the eye of the show’s leading man, Billy Lawlor, who promises to help her secure an audition.  Unfortunately, the director, Julian Marsh, is too busy to deal with latecomers.  Peggy is ordered to leave the theatre as the star of the show, Dorothy Brock, arrives with her sugar daddy, Abner Dillon.  She has only landed the leading role because Abner is the show’s principal backer.  Her petulance and threats to walk out, taking Dillon’s cash with her, hold little sway with Julian, who will not be ordered around by his leading lady. Eventually, Dorothy starts to rehearse.

 

During a break, Dorothy meets up with Pat Denning, the love of her life, who she is keeping on the back burner to not endanger things with Abner.  They agree to meet only when Abner is not around.

 

Peggy has returned to the theatre to get her purse. She is invited to lunch with some of the other dancers and Maggie.  The girls decide to dance there, and Peggy proves she can hold her own with them.

 

After lunch, the group dance back to the theatre where they learn the chorus is one girl short.  Peggy gives an impromptu performance, impresses Julian, and she joins the show.

 

Billy and Dorothy rehearse their love scene under the watchful eye of Abner, who insists handshakes are better than kisses. Peggy, who hasn’t had time to prepare for the first dance number, makes a mess of the routine and Dorothy loses her temper.   Peggy faints and is taken to Dorothy’s dressing room to recover, where she befriends Pat Denning.  When Dorothy walks in and sees them together, she is furious, but they all have to pretend that Pat is Peggy’s boyfriend when Abner enters.  Julian is worried that Dorothy’s secret boyfriend will endanger the financing for his show, so he calls a local gangster to run Pat out of town, who leaves for Philadelphia – which is also where previews for Pretty Ladyhas been scheduled.

 

At the final dress rehearsal, Dorothy is annoyed at being left out of the big dance number.  At the party that evening, she gets drunk and tells Abner what she really thinks of him before trying to find Pat.  Julian calls on his gangster friend again, but Peggy overhears and runs to Dorothy’s dressing room to warn her.  She runs into Pat there, where they are again discovered by Dorothy, who throws them both out.

 

The preview performance opens and is going well, until Peggy is pushed into Dorothy, who falls and can’t get up.  The curtain comes down, Peggy is fired, and the performance is cancelled.

 

ACT II

Dorothy has broken her ankle and will not be able to continue in the show.  Julian decides the whole show will have to be cancelled.  The dancers decide that the answer is to replace Dorothy and that Peggy is the one to do it.  They convince Julian she is the girl for the job, and they all run to the train station to stop her return to Allentown, having given up on her dream of Broadway.

 

Julian and the cast convince her, and she agrees to take the part.  She now has 36 hours to learn her role before she opens Pretty Ladyon Broadway, under Julian’s unyielding direction. Before the show opens, she is visited by Dorothy, who explains how her injury was a blessing in disguise, giving her the time to realize what is really important – she and Pat have gotten married.  She wishes the new leading lady luck.

 

With the words “You’re going out there a youngster, but you’ve got to come back a star”, Julian sends Peggy out for her opening night performance.  It is a tremendous success, and Peggy is proclaimed a star.  She is invited to a big party at the Ritz, but decides to go the party the chorus is having instead.  After the show, she stays behind to thank the man who has made it all possible, Julian Marsh.


 

Billy Elliot Breakdown

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CREDITS

Rehearsals will be underway by Saturday, July 6 and may begin as early as Saturday, June 8

 

Performance Dates:     

Thursday, August 1 – Sunday, August 4

Thursday, August 8 – Sunday, August 11

Thursday, August 15 – Sunday, August 18

Book and Lyrics by Lee Hall

Music by Elton John

Originally Directed by Stephen Daldry

Orchestrations by Martin Koch

 

Directed by Cathy Street

Choreographed by Brooklyne Williamson Moore

Music Director – Stephen Field

 

IN GENERAL

  • All characters have regional accents from County Durham, North England.  This accent needs to be a part of all reading for this show.

  • The show includes swearing by both adults and children.

  • The doublings indicated were used for the original Broadway production and may change for this production

ROLES

BILLY ELLIOT:  (10-13) A boy who stumbles upon a ballet class and develops a passion for dance.  To him, dance is a way to feel whole and free himself from the problems of life.  He finds himself stuck between appeasing family and chasing his new found love.

DEBBIE WILKINSON:(9-12)  The ballet teacher’s daughter.  A bit stand-offish and argumentative, her childhood crush on Billy leads her to constantly discourage him.

MICHAEL:(10-13)  Billy’s careless and fun-loving best friend.  He lives in the realm of expressing oneself, going so far as to commonly dress in women’s clothing. 

DAD:Billy’s stoic father, Jackie. A widowed miner struggling with maintaining a household in lieu of a work strike; he is at the end of his tether.  He is still deeply scarred by the death of his wife. Billy’s dancing initially sends him into a rage but he learns to support his son.  A miner.  He has a tough exterior but a big heart.

GRANDMA:Billy’s eccentric grandmother.  She is forgetful and a bit aloof.  Despite her inattention, she harbors a bitter resentment towards her dead abusive husband but has found solace through dance.  Great sense of humor.  Close to Billy.

MRS. WILKINSON:The local ballet teacher who eventually becomes Billy’s mentor.  Hardened and mouthy, she actually has capacity for caring when she sees promise in Billy.  She believes in the power of personal expression through dance.  Doesn’t suffer fools gladly.  Great energy, drive, determination, warmth, and compassion.

TONY:Billy’s brother.  A lazy but passionate miner.  Hothead and scrappy with seemingly no regard or respect for his father, although he shares his disapproval of dance.  A hard line unionist.  Does not understand Billy’s need to dance; only fully supports Billy in the last moments of the show.

GEORGE:Billy’s boxing teacher and a miner.  Friend of Dad’s.  Community spirited.  Great comic timing.

 

MINERS:

            1 – Pit Supervisor

            2 – 

            3 – 

            4 – 

            5 – 

            6 – 

            7 – Scab and Posh Dad

            8 – 

            9 – Big Davey– A working class leader of the union.

            10 – 

            11 – Mr. Braithwaite– Dance school pianist and miner.  Strong singer with good comedy skills.

             12 – 

            13 – Older Billy – very strong ballet dancer

 

BALLET GIRLS:

            Alison Summers

            Keeley Gibson

            Angela Robson

            Julie Hope

            Karen Davidson

            Sharon Percy

            Margaret Gormley

            Tina Harmer

            Tracy Atkinson

            Susan Parks

 

WOMEN:

            Woman 1/Dead Mum– Billy’s deceased mother. Warm, compassionate, and sympathetic.

            Woman 2/Clipboard Woman

            Woman 3 – Lesley

 

BOYS: 

            Small Boy

            Tall Boy/Posh Boy (Kevin)

 

SONGS

ACT II

            “Merry Christmas, Maggie Thatcher”

            “Deep into the Ground”

            “At the Pit Gates”

            “He Could Be a Star”

            “No Mines in London”

            “Posh Boy’s Audition”

            “Electricity”

            “Soup Kitchen”

            “The Ballet School Letter”

            “Once We Were Kings”
            “The Letter (Reprise)”

            “Finale”

ACT I

Overture

“The Stars Looks Down”

“All out for Breakfast”

“Shine”

“Grandma’s Song”

“Solidarity”

“Expressing Yourself”

“The Letter”

“We Were Born to Boogie”

“Sleepless Night”

“Angry Dance”    

  

SYNOPSIS

Time: 1984

Place: Easington and London, England

Act One

Scene 1:  It is March 1984.  As the play opens the small Yorkshire mining community of Easington receives word that the National Union of Mineworkers has voted to strike.  The opening musical number, “The Stars Look Down”, highlights the solidarity of the striking miners and their determination to fight for a better future.  We meet young Billy Elliot, who shares a glimpse into his own dreams of a different future.

Scene 2:  Breakfast I the Elliot household.  Billy’s older brother Tony and their father Jackie head off to the picket line, leaving Billy to navigate breakfast with his grandmother, whose behaviour suggests she has Alzheimer’s.  It is evident that the Elliot family is struggling in the wake of the untimely death of Billy’s mother, who appears to Billy in a quiet moment. 

Scene 3:  Billy and his best friend Michael go to their regular boxing lesson.  Billy’s lack of interest in boxing is eclipsed only by his lack of ability in the sport.

Scene 4:  George, the boxing instructor, leaves Billy behind at the community hall to practice his boxing moves, and Billy suddenly finds himself caught up in a ballet class under the instruction of Mrs. Wilkinson, the mother of Billy’s classmate Debbie.  He ends up participating in the whole class, dancing along with the girls to “Shine”. Mrs. Wilkinson makes it clear she expects to see him back next week. 

Scene 5:  Billy is back home with Grandma, once again dealing with her forgetfulness and confusion.

Scene 6:  In “Grandma’s Song”, Grandma remembers clearly that her life with Billy’s grandfather was not a happy one.  She regrets having devoted her life to doing only what other expected of her. 

Scene 7:  With a police blockade as a backdrop, Billy returns to Mrs. Wilkinson’s dance class. The strains of “Shine” now intermingle with the miners’ chorus chants of “Solidarity” and the angry police response.

Scene Eight:  Billy’s father is furious to discover that his son has been skipping boxing class to attend ballet and forbids Billy to continue.

Scene Nine:  Mrs. Wilkinson tells Billy that she thinks he has enough potential as a dancer to audition for the Royal Ballet School and offers to teach him privately.

Scene Ten:  Billy goes to visit Michael, and finds his friend dressing up in women’s clothing. Once Billy gets over the initial shock, he joins Michael in the musical number “Expressing Yourself”, celebrating the value of being true to oneself.

Scene Eleven:  Clashes between the striking miners and the police have become increasingly violent, and some of the more militant miners are beginning to take the law into their own hands.  Jackie intercepts Tony who is heading out armed for a fight, and they engage in an ugly standoff that sends Billy screaming to his room.

Scene Twelve:  Billy arrives at his first private lesson with Mrs. Wilkinson. At her request, he has brought a collection of odds and ends that mean something to him so that they can come up with ideas for a dance.  He shares “The Letter” that his mother left for him shortly before she died.  They dance to “We Were Born to Boogie”.

Scene Thirteen:  Debbie flirts with Billy but his mind is only on his imminent audition.

Scene Fourteen:  The morning of the audition, Billy’s home is in chaos because Tony has been injured in a fight. Frustrated that Billy hasn’t arrived at their agreed-upon meeting spot, Mrs. Wilkinson shows up at the Elliot house and adds to the chaos by informing Jackie that his youngest son is missing his auditions for the Royal Ballet School.  Jackie orders her out, and Billy to his room.

Scene Fifteen:  Billy dances his “Angry Dance” as the strikers riot, and the curtain falls on Act I.

 

Act Two

Scene One:  Christmas 1984.  The strike is in its tenth month, and the hardship that the community is facing is barely masked by the satirical choruses of “Merry Christmas Maggie Thatcher”. Jackie’s bittersweet song “I Won’t Leave Them Until I Die” evokes memories of Billy’s mother.

Scene Two:  Billy and Michael share a beer in the empty community hall.  Michael expresses his feelings for Billy with a kiss.  Billy is momentarily shocked, and he makes it clear that he doesn’t share the attraction.  As a gesture of friendship, Billy offers Michael a tutu to try on.

Scene Three:  Michael heads home and we flash forward into a “Dream Ballet” in which Billy dances with his adult self.  Jackie comes looking for his youngest son, and the dream ends with Billy standing up to his father.

Scene Four:  Following some soul-searching, Jackie goes to see Mrs. Wilkinson to ask if she thinks Billy really has a chance to be accepted into ballet school.  She informs him that, although Billy missed the local audition, there is still a chance he could audition in London, Jackie refuses her offer of financial support, insisting that Billy is his responsibility.

Scene Five:  Having made up his mind that he needs to raise the money to send Billy to London to audition, Jackie swallows his pride and crosses the picket line to join the other “scabs” who are continuing to work the mine.  Tony tries to stop him, and Billy gets caught in the midst of their struggle.  When they realize what the fight is about, the other miners rally together to collect money for Billy’s audition.

Scene Six:  Jackie swallows his pride and accepts a generous donation from one of the scabs. They are off to London for the audition.

Scene Seven:  Billy and his dad arrive in London for the Royal Ballet School audition.  Jackie feels uncomfortable and out of his element, but a chance conversation with a male dancer leaves him reflecting on what it would mean to support Billy’s dream. Billy, meanwhile, is a nervous wreck. He is surprised to learn that the audition consists only of a series of exercises, and that the audition panel has no interest in observing the dance he has worked so hard to prepare.  In frustration, he lashes out and shoves another boy.  The audition panel reprimands him sternly.  Just when it seems the audition has been a complete disaster, a panelist asks one final question that inspires Billy to express what dance means to him, which he does in “Electricity”.

Scene Eight:  Back to Easington, the miners are gathered in the community soup kitchen for their meagre meal.  Everyone is eager to know how Billy’s audition went.

Scene Nine:  The long awaited letter arrives from the Royal Ballet School. Billy has been accepted into the school! As the family celebrates, they get word that the strike has ended.  The NUM has caved to the government’s demands and the miners will go back to work with nothing to show for their year-long battle.

Scene Ten:  Billy returns to Mrs. Wilkinson’s ballet class one last time to tell his teacher his news and to say goodbye.

Scene Eleven:  The miners wish Billy well and prepare to go down the mine, singing “Once We Were Kings”.

Scene Twelve:  Billy’s mother appears to him one last time and it appears that he is now ready to wish here farewell.  The final farewell, however, is for Michael, who looks on as Billy embarks on his new life. 

CALLBACK SIDES

SCENE ONE - BILLY and MRS. WILKINSON MRS. WILKINSON

MRS. WILKINSON

Oi. You owe me fifty pee.

BILLY

No I don’t.

MRS. WILKINSON

Oh, yes you do.

BILLY

What for?

MRS. WILKINSON

Your lesson. You don’t think I do this for the good of me health, do ya?

BILLY

What are you on about? That wasn’t a lesson.

MRS. WILKINSON

Of course it was a bloody lesson, it nearly killed me. Admittedly, your fan work wasn’t so hot, but you’ve got quite a nice turnout.

BILLY

A what?

MRS. WILKINSON

Fifty pee, stop pissing about.

BILLY

I haven’t got fifty pee. I spent it on boxing.

MRS. WILKINSON

Well, you can bring it next week.

BILLY

What do you mean next week?

MRS. WILKINSON

Well, you’re coming again, aren’t you?

BILLY

You’ve got to be joking. To this crap?

MRS. WILKINSON

Please yerself then, darling.

SCENE THREE - BILLY and DEBBIE

DEBBIE

So are you gonna go back then?

BILLY

What, to ballet?

DEBBIE

Plenty of lads do ballet.

BILLY

Aye, poufs.

DEBBIE

Not necessarily.

BILLY

Who like?

DEBBIE

What about that Rudolph Nureyev?

BILLY

Who?

DEBBIE

He’s not a pouf.

BILLY

Anyway, I don’t know why you bother going. You’re crap at it.

DEBBIE

No I’m not. Anyway, I don’t have much choice, do I?

BILLY

How do you put up with her?

DEBBIE

Hey, how would you like it if I slagged off your mom?

BILLY

My mom’s dead.

DEBBIE

Oh. See ya then.

SCENE NINE - BILLY and MRS. WILKINSON

BILLY

I just came to tell ya - I got in.

MRS. WILKINSON

Oh.

BILLY

Well, me dad thought you should know.

MRS. WILKINSON

It’s alright. They sent us a letter when it happened.

BILLY

Miss, I know I should have come before, but ... you know ...

MRS. WILKINSON

I can imagine.

BILLY

Well, goodbye Miss. And Miss, I just wanted to say thanks, Miss. For everything that you did. I could never have done it without you, Miss.

MRS. WILKINSON

Well, good luck, Billy.

BILLY

Thanks. Well ... goodbye.

MRS. WILKINSON

Goodbye, then.

BILLY

I’ll miss you, Miss.

MRS. WILKINSON

No you won’t Billy. You’ll get down there and you’ll realize just what a crap little dance school this was. What a complete second-rate training I gave you. And you’ll spend five years unlearning everything I taught you. It’s alright. That’s the way it is. Here’s a piece of advice Billy. Piss off out of here. Start everything afresh, and don’t look back. You ... are very, very special. Now piss off before I start to cry.

BILLY

Ok.

MRS. WILKINSON

And good luck, Billy.

BILLY

And good luck as well, Miss.

MRS. WILKINSON

Yeah, thanks. Thanks, Billy.

SCENE FOUR - DAD, MRS. WILKINSON, and BILLY

DAD

What the bloody hell’s going on here?

MRS. WILKINSON

Can I help you?

DAD

What the hell do you think you’re doing, Son?

BILLY

Nowt.

DAD

Nowt? I thought you were at boxing, and you’re here messing around with lasses in tights!

MRS. WILKINSON

Excuse me, I am trying to teach a class here.

DAD

Shut up, you.

BILLY

It’s healthy, Dad. It’s just like sport.

DAD

Ballet?!

BILLY

It’s not just poufs that do ballet. Look at that Rudolph Nureyev.

DAD

Rudolph Nureyev? He’s bent as a nine bob note, Son. I’m busting me bollocks off, trying to find you them fifty pee and you’re here, running around like a ... like a fruit!

MRS. WILKINSON

Mr. Elliot, I’ve never head anything so bigoted and ridiculous in my life.

DAD

Don’t you call me bigoted, you ignorant cow.

BILLY

But I like it, Dad.

DAD

That’s it. You’re banned. No more bloody boxing, no more bloody ballet. From now on, you stay at home and you look after your nana.

MRS. WILKINSON

Listen, if anybody does the ordering about in here, it’s gonna be me.

DAD

You listen to me, this is my son. Don’t you dare tell me what to do.

SCENE SIX - DAD and TONY

(Dad catches Tony trying to sneak out of the house in the middle of the night. Tony has a crowbar. Dad knows that Tony is up to no good, and plans to participate in some kind of rebellious activity against the local police. The atmosphere is tense, dangerous.)

DAD

What are you doing with that?

TONY

Nowt.

DAD

Put it back where it belongs.

TONY

This has got nothing to do with you.

DAD

Hasn’t it? You’re going nowhere with that.

TONY

Don’t you tell me what to do.

DAD

Just put it back, Son.

TONY

Look, this isn’t bloody Disneyland, Dad. If you want to go down there and get the shit kicked out of you, that’s your business ...

DAD

Don’t be so bloody stupid, Son.

TONY

There are two thousand police on the doorstep. Did you see what they did to Harry Robson? They broke both his bloody legs, man!

DAD

You’re not going out there. The last thing we need’s you in the hospital. Just put it back, Son.

TONY

Make us.

DAD

I said put it back.

TONY

What you gonna do? Hit us? Come on then. Come on! No? You’ve been a complete waste of space since mom died.

SCENE TWO - GRANDMA and BILLY

(Grandma is looking through a shoebox of Billy’s things)

BILLY

Grandma, what are you doing?

GRANDMA

I know it’s in here somewhere. You’ve hidden it.

BILLY

Grandma! That’s me private stuff.

GRANDMA (She sees a letter Billy is holding)What is that?

BILLY

Nothing. It’s private. Mom left it for me.

GRANDMA

Where has she gone?

BILLY

She’s dead Grandma. You were at the funeral.

GRANDMA

Was I?

BILLY

Of course you were. She was buried next to Granddad.

GRANDMA

Oh, not him an’ all. Aw, Christ Billy, they’re dropping like flies.

BILLY

For heaven’t sake. I brought you a pasty.

GRANDMA

Really?

BILLY

From the Co-op. Just don’t tell Dad I was late or anything. Grandma, do you really not remember about Granddad.

GRANDMA

‘Course I do. How could I forget your Granddad Billy? We were married thirty-three year.

BILLY

So what was he like?

GRANDMA

He was a complete ... bastard.