Happy New Year, everyone. We here at the KAT's Meow hope that you and your family had a wonderful holiday season and wish you a fantastic 2005. Now onto what's happening in Kensington. Lots of exciting news to report.

We're Closer Than Ever

Closer Than Ever Music by David Shire Lyrics by Richard Maltby, Jr. Conceived by Steven Scott Smith Directed by Duane Monahan Music Direction by Doe B. Kim Produced by Craig Pettinati Auditions: Tuesday, January 11 (8pm); Wednesday, January 12 (7:30pm) Callbacks: Thursday, January 13 (7:30pm) If you hadn't heard already, our Winter 2005 show selection, The Last 5 Years, has been postponed. A professional theater group in Alexandria has decided to produce the show, and as a result, a restriction was placed on all theater groups within a 90 mile radius. We plan to produce it within the next year or two. Fortunately, there are well-written musicals out there and incumbent director, Duane Monahan, and Craig Pettinati have decided to produce Closer Than Ever, a revue, each song telling its own story. Here in a trim, efficient package, the stories of commonplace impulses and attributes are set to music. The temptations of a faithful husband; the body-consciousness of a fitness fanatic; the sexual indiscretions of the lady in the next office. The show marches so devotedly to the beat of the everyday world that there's even a deft tribute to Muzak. Click here to go to the Closer Than Ever page »

The Rocky Horror Show, KAT's #1 Gross(ing) Production

Rocky Horror was a dynamic success, drawing dedicated viewers back two, three and four times. Through the creative vision of director, Craig Pettinati, Rocky wore a different face while keeping the essence of Richard O'Brien's original intent. Magenta was hardly magenta, as Karissa Swanigan donned her given blonde bob with hot, electric blue streaks and gave her lips a geisha effect. Also breaking from tradition was the choice to cast Dr. Scott and the narrator as women, and to also have them played by the same person. Usually played by men in their 50s or 60s, Pettinati cast a 25-year-old woman. The most marked departure from the traditional productions was the use of color. Usually thought of as a dark, grey show, each character had a color which helped define them. This was the first show where all of the leads wore wireless mics -- eight in total. This posed problems for our sound designer, Kevin Garrett. Our first weekend suffered many "on and off" outages as a result of radio frequency issues that could only be solved by the manufacturer. David Cannon, who reviewed the show for The Sentinel, saw the show the first night, our most "rocky" night sound wise. However, we enlisted the help of the company that sold us the mics. They made a special visit to the Town Center, tweaked our new system, and from that point on, our sound issues were non-existent. We are thrilled to have brought you such a kooky show and are thrilled about what's next. Click here to go to the Rocky Horror Show page »

Coming Soon...

We have decided to produce the critically acclaimed, Kiss of the Spider Woman, based on the book by Manuel Puig. Terrence McNally adapted the Spanish novel into a musical and John Kander and Fred Ebb wrote the music and lyrics, respectively. Kiss of the Spider Woman explores the complex relationship between two men caged together in a Latin American prison. One of them, a gay window dresser, has been imprisoned for allegedly making sexual advances towards a young boy. In order to escape the brutality of prison life, he spends his days dreaming of Aurora, a B-movie actress from the 40s who once played the role of the sinister Spider Woman. His dreams, however, become more complicated when the warden asks him to spy on his cellmate, a political activist jailed for his involvement in the Argentinian revolution. Auditions in late February. Runs May 2005. Click here to go to the Spider Woman page »

Tom-Katting Around

In the last issue of the Meow, you may have noticed I gave out some tips about the audition process for a musical. I bring that up because I have not quite finished insulting your intelligence. Here is the rest of the flotsam. First and least important, it is helpful to bring a headshot and a resume. The reason it is the least important thing is that failure to bring them is not going to ruin your chances if you're right for the part, nor will they enable you to get the part if someone else is clearly better than you. Having a resume is more a time and work saver for you, since instead of having to list your past shows on each and every application, you can simply put down "See attached resume," and move on to the good stuff, like whether or not you know how to play a trombone. Your headshot should be a black and white 8x10 recent photograph of yourself. The people whose job it is to look at these things will tell you the headshot should look like you, and it should. If you are 47, don't bring in a shot of yourself at 17. On the other hand, it would not hurt to submit a headshot that will look like something like the character you are trying out for. I normally have a beard and wear spectacles, but when I had my headshots done recently, I had some taken that way and some without glasses, in a variety of moods. Then I shaved (which I was going to have to do anyway for the part I was playing in an upcoming show) and took all of the same combinations but without the beard. I made no attempt to look younger than my 59 years or thinner than my ample weight, but I wound up with a variety of "looks" I could submit for any future role. It is Auditioning 101 to say that you don't sing a song at your audition that is from the show you are trying out for. On rare occasions this is permitted, and typically, the audition notice will so state. If you don't see it, don't do it. Speaking of audition notices, many will say it's OK to provide your own accompaniment or to sing without any, and if there is nothing said about it, you can infer that it is permissible. That said, you should not do it. Part of what the people who are judging you want to find out is how well you are going to adapt to their way of doing things. What if they have a lousy accompanist? It can happen on rare occasions, but you should bravely muddle through. It is like trying to play baseball on a muddy field. Remember, the field is just as muddy for your opponents as it is for you. The better prepared you are with your song, the less the ineptitude of the pianist will matter. (And I should point out, most of them are quite good and will play the song at the tempo you desire). The next things are more about good auditioning etiquette than they are tips on how to succeed. First, when you come before the auditioners, always state your name clearly and say what you are going to sing. You should give your name even if you have done twenty shows with that director; even if you are the director's cousin; even if you are the director's mother. Failing to give your name says by implication to your competitors, "I am really in with these people, unlike you, so my chances are a lot better than yours." Finally, don't let yourself get psyched out by the auditors, and don't expect perfect justice. I have gone to auditions where I was hailed and glad-handed, and then got squat. I have been to other auditions where the auditors sat stone faced like a committee of Soviet Commissars, and I wound up with a good part. As to the justice of the process, you should keep in mind that the director has to look at the total picture, and therefore, has a number of factors in play. And if you feel you have been unfairly denied a part because the director was too chummy with your competitor (sadly, it does happen on occasion), target your wrath at the director, not the theater group. That same group may put on a show next time that is directed by someone who is desperately seeking new talent. If you are going to stay mad at the theater that spurned you, you will never get to be that new talent. Break the leg--tcl – Tom Lane Click here to read about our next auditions »