Thalian Association Community Theatre will hold auditions for the play, A Midsummer Night’s Dream, Saturday March 27 at 11 am.
Auditions will be held at the Community Arts Center, 120 S. 2nd Street in downtown Wilmington. A Midsummer Night’s Dream will be directed by Chandler Davis. The production will run for live performances with limited seating May 7 through March 16 with streaming options also available.
Audition participants need to prepare a Shakespearean soliloquy that may be memorized or read. The selection should not take longer than one minute to perform. The director strongly encourages those auditioning to research the plot, characters, and writing style in the play to help them be as successful as possible in auditions. Those wishing to audition may call 910-251-1788 to set up an audition time. Callbacks will be that afternoon if needed. Due to mass gathering rules, the cast will remain smaller than typical TACT youth shows. All roles are available. TACT’s artistic director encourages youth with all levels of experience to audition. All are welcome. Audition forms will be available on Thalian.org or at the front desk of the CAC. Please do not enter the building until it is your time to audition.
Helpful information : https://www.sparknotes.com/nofear/shakespeare/msnd/
Also known as Robin Goodfellow, Puck is Oberon’s jester, a mischievous fairy who delights in playing pranks on mortals. Though A Midsummer Night’s Dream divides its action between several groups of characters, Puck is the closest thing the play has to a protagonist. His enchanting, mischievous spirit pervades the atmosphere, and his antics are responsible for many of the complications that propel the other main plots: he mistakes the young Athenians, applying the love potion to Lysander instead of Demetrius, thereby causing chaos within the group of young lovers; he also transforms Bottom’s head into that of an ass.
The king of the fairies, Oberon is initially at odds with his wife, Titania, because she refuses to relinquish control of a young prince whom he wants for a knight. Oberon’s desire for revenge on Titania leads him to send Puck to obtain the love-potion flower that creates so much of the play’s confusion and farce.
The queen of the fairies, Titania resists the attempts of her husband, Oberon, to make a knight of the young prince that she has been given. Titania’s brief, potion-induced love for Nick Bottom, whose head Puck has transformed into that of an ass, yields the play’s foremost example of the contrast motif.
A young man of Athens, in love with Hermia. Lysander’s relationship with Hermia invokes the theme of love’s difficulty: he cannot marry her openly because Egeus, her father, wishes her to wed Demetrius; when Lysander and Hermia run away into the forest, Lysander becomes the victim of misapplied magic and wakes up in love with Helena.
A young man of Athens, initially in love with Hermia and ultimately in love with Helena. Demetrius’s obstinate pursuit of Hermia throws love out of balance among the quartet of Athenian youths and precludes a symmetrical two-couple arrangement.
Egeus’s daughter, a young woman of Athens. Hermia is in love with Lysander and is a childhood friend of Helena. As a result of the fairies’ mischief with Oberon’s love potion, both Lysander and Demetrius suddenly fall in love with Helena. Self-conscious about her short stature, Hermia suspects that Helena has wooed the men with her height. By morning, however, Puck has sorted matters out with the love potion, and Lysander’s love for Hermia is restored.
A young woman of Athens, in love with Demetrius. Demetrius and Helena were once betrothed, but when Demetrius met Helena’s friend Hermia, he fell in love with her and abandoned Helena. Lacking confidence in her looks, Helena thinks that Demetrius and Lysander are mocking her when the fairies’ mischief causes them to fall in love with her.
Hermia’s father, who brings a complaint against his daughter to Theseus: Egeus has given Demetrius permission to marry Hermia, but Hermia, in love with Lysander, refuses to marry Demetrius. Egeus’s severe insistence that Hermia either respect his wishes or be held accountable to Athenian law places him squarely outside the whimsical dream realm of the forest.
The heroic duke of Athens, engaged to Hippolyta. Theseus represents power and order throughout the play. He appears only at the beginning and end of the story, removed from the dreamlike events of the forest.
The legendary queen of the Amazons, engaged to Theseus. Like Theseus, she symbolizes order.
The overconfident weaver chosen to play Pyramus in the craftsmen’s play for Theseus’s marriage celebration. Bottom is full of advice and self-confidence but frequently makes silly mistakes and misuses language. His simultaneous nonchalance about the beautiful Titania’s sudden love for him and unawareness of the fact that Puck has transformed his head into that of an ass mark the pinnacle of his foolish arrogance.
A carpenter and the nominal leader of the craftsmen’s attempt to put on a play for Theseus’s marriage celebration. Quince is often shoved aside by the abundantly confident Bottom. During the craftsmen’s play, Quince plays the Prologue.
The bellows-mender chosen to play Thisbe in the craftsmen’s play for Theseus’s marriage celebration. Forced to play a young girl in love, the bearded craftsman determines to speak his lines in a high, squeaky voice.
The tailor chosen to play Thisbe’s mother in the craftsmen’s play for Theseus’s marriage celebration. He ends up playing the part of Moonshine.
The tinker chosen to play Pyramus’s father in the craftsmen’s play for Theseus’s marriage celebration. He ends up playing the part of Wall, dividing the two lovers.
The joiner chosen to play the lion in the craftsmen’s play for Theseus’s marriage celebration. Snug worries that his roaring will frighten the ladies in the audience.
Theseus’s Master of the Revels, responsible for organizing the entertainment for the duke’s marriage celebration.
The fairies ordered by Titania to attend to Bottom after she falls in love with him.