Audition Notices

Audition Notices



Audition August 20th 7:00 PM


Alexander is having a bad day. A terrible day. A horrible day. To be quite honest, it’s a terrible, horrible, no good, very bad day. But then, everybody has bad days, sometimes. In this delightful adaptation of her popular book, Judith Viorst sets Alexander’s rather trying life to music and brings to the stage one of America’s feistiest characters. Not only does Alexander wake up with gum in his hair, but his mother forgets to pack him dessert, and his best friend decides he’s not his best friend anymore. And if that’s not bad enough, Alexander’s brothers don’t have any cavities but—he does. And just when it can’t get any worse, there are lima beans for supper and —yuck!—kissing on TV. It is enough to make anyone want to go to Australia. Alexander’s struggles with life’s daily dramas will not only entertain but educate young audiences as they identify with Alexander and the obstacles he encounters, encouraging them to share their feelings and to realize that bad days happen—even in Australia. Commissioned and premiered by the John F. Kennedy Center for the Performing Arts.


Boys will be boys
– They.

Viorst intends for Alexander to be a pretty typical boy. She actually modeled him after her own same-named son, and doesn’t hide his misbehaving, messy, mischievous side. In fact, the book actually seems to celebrate it by making Alexander so endearing through the humor he creates.

So what exactly is it that makes Alexander so boyish?

On the first page, we see a certain degree of slob-ness: he tells us that he has gum in his hair, and the illustration depicts toys strewn all over his floor, socks hanging out of his drawers, and all sorts of sports equipment lying around. Yes, Alexander also likes sports, and he has a drum on the floor, too, meaning he likes noise, energy, and all-around rambunctiousness. These are the qualities we tend to see in boys across all sorts of media.

And it’s by no means a bad thing. Alexander gets into just enough trouble to make him interesting, but not so much that we judge him. For instance, he tries to pull the old “invisible castle” trick when his teacher asks what he drew for school (6). That’s the same kind of slyness that endeared us to other 1970s boys like the Fonz.

Don’t fret, youngsters: the typical boy is still around today. You don’t have to look too far past Drake or Josh, Phinneas or Ferb, or even sidekick snowmen to see how goofy, somewhat underachieving boys capture our attentions and our collective hearts.

Alexander does come up with more than just the boyishness, though. He demonstrates the tell-tale signs of classic sibling rivalry as he witnesses his older brothers getting awesome toys and awesome sneakers and awesome teeth while he ends up with nothing.

Nothing except cavities, that is.

He’s still a little kid, too, with his teddy bear by the bed, his hatred of all things gooey and romantic, and his love of a good cat cuddle at the end of the day.

In short, Alexander demonstrates a wide range of characteristics—but none of them are really surprising. He’s “typical”…and that’s just what Viorst wants him to be. Kids, who don’t have super sophisticated repertoire of character traits in their growing brains can still identify with Alexander as a kind of archetypal kid.



Anthony and Nick

There’s not much to say about Anthony and Nick other than forget Anthony and Nick.

Those jerks.

These guys are older brothers, plain and simple. After an already nasty day, Anthony “makes” Alexander fall in the mud, and Nick calls him a “crybaby.”

More than for other characters, the illustrations tell us a lot about these two boys. As Alexander mopes about his boring white sneakers, the illustrations show Nick sitting pretty in his red ones with white stripes and Anthony smugly tying up a nice shiny pair of white ones with red stripes. Even before they start picking on Alexander for real as part of the written story, the illustrations show a braggy Anthony smiling and holding up his awesome Corvette Sting Ray car at breakfast while Alexander holds his head in his hands.

So…do Anthony and Nick have their little bro’s back? Do they lift him up when he’s down? No. The opposite, actually. Anthony looks like he holds Alexander down in the mud while Nick taunts him. So, yeah, these guys aren’t exactly supportive or empathetic older siblings.

And just like in real life, they don’t change over the course of one day. They’ll probably pick on the little guy tomorrow, too.

Brothers are just like that. Even in Australia.


Mom doesn’t get a whole lot of action in the story, but she seems to be around a lot of the time. She’s the driver, the listener, the disciplinarian, and finally, in the end, the tell-it-like-it-is-er.

In fact, while Alexander represents all things boy, Mom breaks a whole lot of the stereotypes we might bring into the story. First, she’s not super involved in all of the things that Alexander is doing. She doesn’t act in any way other than to show up when Alexander is getting revenge on his brother, and even in the end, when she is the voice of reason, it comes in the form of Alexander’s paraphrase.

Some people have come to think of this as an “ambivalent” approach to parenting—it’s certainly not the all cuddles, hugs, oohs, and ahs that we might expect from, say, Joan Cleaver.

Not us here at Shmoop.

Keep two things in mind before passing judgment on Mom:

(1) All of this is told from Alexander’s eyes, which are in turn tinted by the lens of an already terrible day, so…

(2) Mom’s style seems to be one of encouraging more independence from her boys. She lets Alexander makes the mistakes he does, she takes on some authority when things get punchy (even though Nick totally started it), and her straight-forward message at the end—that some days are like this—is an oldie but a goody.



Paul is Alexander’s buddy. He doesn’t get too much exposition as a character, but he does serve the important purpose of highlighting the importance of social life for children.

The boys’ relationship mirrors the timeless frenemy dynamic we see in classic duos: the likes of Jo and Amy March, Helena and Hermia, Woody and Buzz.

Paul gets the praise for his sailboat drawing; he gets the best dessert at lunchtime; he gets to dictate who’s friends and who’s not. It’s all pretty typical little kid schoolyard drama, but that doesn’t make it any easier for Alexander to deal him him.

In other words, Paul’s a stupid face.

Audition Notice – Evil Dead the Musical

Audition Notice – Evil Dead the Musical

When: Sunday, August 6 at 7:00pm

Where: Sutter Street Theatre, 717 Sutter Street, Folsom, CA 95630   Auditions will consist of cold reads from the script plus singing and learning a dance combination, so please dress to move (No skirts). Prepare 16-32 bars of a Rock Ballad or an upbeat song that best showcases your voice. Bring your song on either sheet music (accompanist will be provided) or a cd.

SYNOPSIS:  “It’s an old tale. You’ve probably heard it a hundred times. Boy and his friends go on a week-long vacation in the woods. Three friends turn into Candarian demons. One friend is killed by a forest of evil trees. Two demons are killed by their boyfriends respectively, while one stays in the cellar trying to kill everything in sight. Like I said, pretty standard stuff.” – Ash   This hilarious live stage show takes all the elements of the cult classic horror films, Evil Dead 1, Evil Dead 2, and Army of Darkness then combines them to make one of the craziest theatrical experiences of all time.
REHEARSALS: Starting September 4 on Mondays through Thursdays from 7:00pm to 10:00pm

PERFORMANCE DATES: October 7th – 29th Fridays and Saturdays at 8:00pm, Sundays at 7:00pm PLUS special performances on Monday the 30th and Tuesday the 31st at 7pm (The day before and on Halloween).  You MUST be available tor all performance dates.

WHAT TO BRING: Please bring a resume and headshot if you have them plus a list of any conflicts you have during the rehearsal dates.  Remember, no conflicts during performances.   DANCE AUDITION: The choreographer will teach a dance combo. You will then dance in small groups for the director and choreographer. Wear clothes you can dance in & closed toed shoes, dance shoes are preferable.

CHARACTER BREAKDOWN:   Note:  Must be 18 or older to audition or have parent’s permission if under 18.
Ash (Male – Tenor/Baritone): The hero and iconic character of the musical. This devoted S-Mart housewares employee evolves over the course of the show from a cowardly college student to a wise cracking deadite slayer with his detachable hand chainsaw and 12 gauge “boomstick.”

Linda (Female – Mezzo-Soprano): The girl next door. Linda is sweet, thoughtful, and completely devoted to Ash, until she turns evil and tries to kill him. She laughs an annoyingly inordinate amount of time after transforming.

Cheryl (Female – Mezzo-Soprano): Ash’s sister and the odd woman out in the group. Looking to spend a week relaxing, she is the recipient of Scotty’s jokes and torment. The only one to sense the evil surrounding the cabin, she is the first to be possessed, turning her into an aggressive, foul mouthed demon that speaks in very bad puns. Spends the majority of the show locked in the cellar.

Scotty (Male – Tenor/Baritone): Good looking, cocky, a prankster and Ash’s best friend. Thinks himself the brave one until he’s forced to kill, then his panic leads him to flee. He returns to warn Ash about the woods and attempts to help his friend even as he is knocking on death’s door.

Shelly (Female – Mezzo-Soprano): Beautiful, easy, and not too smart. She is Scotty’s latest fling and looking to party. Just because she becomes an evil demon doesn’t mean she can’t look good doing it!

Annie (Female – Mezzo-Soprano): Quite the overbearing explorer who finds missing pages to the Necronomicon and wants to reunite with her father to continue their research. Very bossy and drawn to Ash. Must be comfortable in a tear away semi-revealing costume.

Ed (Male – Tenor/Baritone): Annie’s coworker, boyfriend, and doormat. He travels with her to the cabin to proceed with their research of the book of the dead. After turning evil, his confidence may lack but this “Bit Part Demon” is ready to sing!

Jake (Male – Tenor/Baritone): Stereotypical Southerner and reliable enough to help Annie and Ed find the path to the cabin, but too stupid and stubborn to listen to reason that will keep him alive.

Moose (Male – Tenor/Baritone): A possessed, singing, Candarian Demon moose head! That enough makes it awesome, except once moose get going they never stop!

Fake Shemps (Ensemble Cast) These are the true comedians of the show, AKA the trees of Evil Dead. A nasty group of trees out to get the campers and will stop at nothing, be prepared to be gross!

Folsom Olde Tyme Radio Show


Old Tyme Radio Show at Sutter Street Theatre in Folsom, CANext Radio Show:

August 12’th, 2017
AT 4:00 pm


Original scripts from shows such as:

  • Our Miss Brooks
  • The Bickersons
  • Richard Diamond Private Detective
  • Gunsmoke
  • Fibber McGee & Molly
  • …and many more!

Plus vocal selections by the cast!  This is becoming an extremely popular show, and at $10 a ticket, it’s one of the best entertainment deals in town!

No phone in or on-line reservations are available for this show.

Tickets are only $10 at the door – The best deal in town!

Old Tyme Radio Show at Sutter Street Theatre in Folsom, CA

Sutter Street Cabaret


July 15th
at 4pm

Come join us for an afternoon of entertainment every third Saturday of the month featuring dance, music, stand up comedy and more.



Review by Gerry Camp

    Folsom’s treasure, Sutter Street Theatre, can seemingly do anything, from classic comedies, full-cast Broadway musicals, gross-out farces, and delightful family stories. And sometimes—not often enough, in my humble opinion—they tackle one of the great plays. This they’ve done by bringing us Thornton Wilder’s masterpiece, “Our Town,” playing through July 16.

    Most readers will know that the play depicts life in a small town, Grover’s Corners New Hampshire, in the early 1900s. It is presented on a bare stage—here all black—with few props, the actions being mimed by the cast. The play frequently reminds us that it is a play as the main character, known only as the Stage Manager, narrating the story, moving back and forward in the characters’ lives, speaks directly to the audience throughout.

    To pull this off demands actors who become the characters, making the audience believe in their lives as the Stage Manager tells their stories, showing life’s universal patterns, their daily lives, love and marriage, and death.

    Director Allen Schmeltz has assembled a cast who draws us in completely. James Gilbreath is warm and compassionate, with frequent gentle humor, as the omniscient Stage Manager. The focus of the story is on George Gibbs (Daniel Putman), the son of the local doctor (Keith Casey) and his wife (Jessica Plant), who falls in love with his next-door neighbor, Emily Webb (Lauren Tyner, who steals the show, positively glowing in the heart-breaking part).

    The two mothers selflessly but unsentimentally manage their families. Doc Gibbs is overworked, but has a moving scene with George when he suggests that he be of more help to his mother. Rich Kirlin is perfect as Emily’s father, especially when he has an awkward talk to George on the morning of the wedding, suggesting afterward that there should be a custom where the father of the bride is never alone with the husband-to-be. His scene before the wedding, in which he gives Emily to George, wonderfully conveys a father’s love and feeling of loss.

    Maybe I’m being a spoiler when I reveal that the third act is about Emily’s death at twenty-four in childbirth. Joining the other recent dead in the cemetery, she decides, against their advice, to go back and re-live her twelfth birthday. I defy anyone, whether you’ve seen the play before or not, to hold back tears as she learns that nobody realizes the beauty of life while they’re living it. She finally lets go, speaking the play’s most moving lines: “Good-by, Good-by world. Good-bye Grover’s Corners . . . Mama and Papa. Good-by to clocks ticking . . . and Mama’s sunflowers. And food and coffee. And new-ironed dresses and hot baths . . . and sleeping and waking up. Oh, earth, you’re too wonderful for anybody to realize you.”

    Many reading this will have seen the play before. Never mind; if you love great theater you owe it to yourself to see this wonderful production of one of the American theater’s greatest works.