1|Audition information for OUTSIDERS

Auditions for THE OUTSIDERS Friday, May 13

Who may audition for OUTSIDERS?  

Current St. X freshmen, sophomores, and juniors Girls who are freshmen, sophomores, or juniors AND who o o o

Attend AHS, Mercy, Presentation, or SHA; or Are daughters of St. X faculty and staff who are in high school; or Attend another private high school outside of the Catholic high schools (only if the school does not have an active Drama program.)

Important Dates April 18

Audition information available outside the box office

May 9 Submit taped monologues to Google Drive by 3 pm https://drive.google.com/folderview?id=0B9z6l00fhlOmNXh5MDEySi1ZTUE&usp=sharing 13

Auditions 3:10-4:00 Improv 4:00-4:30 Scenes performed (round 1) 4:45-6:00 Callbacks—coached scenes

August 12 20

Begin rehearsals with principals Daily rehearsals

September 5-16 All cast and run crew required to attend ALL rehearsals on time Shows

Friday 16 Saturday Sunday Thursday Friday Saturday

Grade Schools 17 7 pm 18 2 pm 22 7 pm 23 3:30 pm 24 2 pm 7 pm

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Available roles Principals—Male 1. Ponyboy—a greaser, 13-15 years old 2. Johnny—Ponyboy’s friend, 13-15 years old 3. Dallas—a greaser, 17-20 years old 4. Darry—Ponyboy’s oldest brother, 20 years old 5. Sodapop—Ponyboy’s second oldest brother, 16 years old 6. Two-bit—a greaser, 17-18 years old 7. Bob—chief antagonist (Soc), 16-18 years old 8. Randy— (Soc), 16-18 years old, Principals—Female 1. Cherry—a Soc who befriends Ponyboy, 15-17 years old (may be double-cast for different shows with Nurse) 2. Sandy—Sodapop’s girlfriend, 16 years old (may be double-cast for different shows with Mrs. O’Briant) 3. Marcia—Cherry’s best friend, 15-17 years (may be double-cast for different shows with Doctor) Featured characters—Male 1. Jerry—a parent 2. Mr. Syme—English teacher 3. Paul—Soc, very strong (their best fighter), 16-18 years old, Featured characters—Female 1. Doctor (may be double-cast for different shows with Marcia) 2. Nurse(may be double-cast for different shows with Cherry) 3. Mrs. O’Briant—a parent (may be double-cast for different shows with Sandy) Non-speaking:    

2-6 male Greasers at the rumble 4-8 male Socs at the rumble Hospital Worker Children in fire

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What Do I Need To Do To Audition? STEP 1: Register on VSM (stagemanagement.com.) (Your log-on code is greaser) STEP 2: Decide what size role you’re auditioning for so you know what you need to prepare for auditions. Size of role you’re auditioning for Principal male role Principal female role Featured male role Featured female role Nonspeaking role

Perform Improv? Required Required Required Required Required

Perform Scene?

Submit taped monolog?

Required Required Required Required No

Required No No No Optional—do not need to do

If you audition for a(n)

You will also be considered for

Principal role Featured role

Featured and non-speaking role non-speaking role

STEP 3: Prepare your audition: See the chart on page 3 and decide what you’d like to audition for. Then prepare the necessary audition(s). o Information about the required IMPROV is available on page 22 of this packet o Information about the SCENES is available on page 14 of this packet o Information about the MONOLOGUES is available on page 8 of this packet.

STEP 4: Fill out your résumé BEFORE auditions and print a copy to bring to auditions.  

Experienced people should create a résumé to print and bring to the auditions. See directions on pages 5-6. Newcomers may fill out an information sheet at auditions.

STEP 5: Fill out your verification sheet (and get a parent signature)

BEFORE auditions  

Print out the audition verification sheet on page 7. Sign it and have a parent sign it. Bring the signed copy to auditions. Do NOT attach it to your résumé

4|Audition information for OUTSIDERS

STEP 6: Audition.  

Arrive in plenty of time for your audition. Wear comfortable clothes. Have your completed résumé (and verification sheet) ready to turn in. After you audition, you are free to leave. If you are found loitering around the auditorium after your audition, it could damage your chances of getting cast in the show.

5|Audition information for OUTSIDERS

Résumé Instructions: Your résumé must include the following information. See the following page for a sample résumé.

Your name

Head shot of yourself. Make sure it looks like you—we don’t want a glamour shot.

Your school, your year in school Height: Weight: Hair color: Email:

Experience (note—do not list St. X experience or experience before high school. If you have no other experience, just leave this section off your resume. Do not list more than 6 roles, and list them in reverse chronological order [the most recent first].) Title of play

Role

Theatre

Training (list any dance or vocal training you’ve had. If you’ve done GSA, include it here.) Training Teacher, school, or studio

Possible conflicts (List EVERYTHING that could interfere with your attending rehearsals. Include regular events such as clubs, jobs, other plays, etc. Also include one-time events such as retreats, family vacations, etc. Give the dates of your conflicts. Failure to do so could cause you to be dropped from the cast.)

Special skills (list any special skills you have that we might be able to use in the show. Be sure to include any specific dance or gymnastic skills you might have ). GIRLS: if you can dance on pointe, be sure to list it here. Auditions you’ll be performing: __improv __scene __monologue (If there are roles you will NOT accept, add a statement here that reads, “Please do not consider me for ________________ (name roles). If you will accept any role, you can say that or just not put this statement at the bottom.

See the next page for a sample résumé.

6|Audition information for OUTSIDERS

Eugene Florcyzk Saint Xavier High School, Junior 5’5” 120 lbs. Brown hair [email protected]

Experience How to Hew a Zombie Godspell

Butler Chorus

Rydell High School Theatre St. Michael’s Church Theatre

Training Acting 1 class Shakespeare workshop

St. Xavier High School Kentucky Shakespeare

Possible conflicts I work at the library Mondays from 5-9 but can miss this the final two weeks of rehearsal Junior retreat: September 1-3.

Special skills I can walk on my hands and do a back flip.

Auditions you’ll be performing: _x_improv _x_scene x__monologue

I will accept any role.

7|Audition information for OUTSIDERS

Verification sheet Auditioner’s Name ________________________________________________________ By auditioning for this show, I understand that I am affirming that I will abide by all the rules and policies of both St. Xavier High School and the St. Xavier High School Drama Department including        

accepting that the decision of the auditioning panel is final with no appeals; accepting that if I don’t fulfill my role to the directors’ satisfaction, I may be given a different role or removed from the show; being on time and prepared for all rehearsals and shows; getting permission from a director beforehand if I need to miss a rehearsal for reasons other than an emergency and posting the conflict on VSM; checking VSM at least twice a day for changes in the rehearsal schedule; checking my email at least once a day for VSM updates; furnishing my own costume and shoes for the show (according to specifications I’m given); (Girls only) affirming that I meet at least one of the following criteria: o Attend AHS, Mercy, Presentation, and SHA; o the daughter of St. X faculty and staff (and attend a high school) o Attend another private high school outside of the Catholic high schools only if the school does not have an active Drama program.

If you are not comfortable abiding by these rules and policies, please do not audition for the show.

Your signature _______________________________________________ Date ___________ Your parent’s signature _________________________________________ Date ___________

8|Audition information for OUTSIDERS

MONOLOGUES For the first round for college-acceptance auditions, many colleges are now requiring taped monologues instead of live ones. Therefore to practice this technique, you will tape your monologue for this show and submit it to https://drive.google.com/folderview?id=0B9z6l00fhlOmNXh5MDEySi1ZTUE&usp=sharing by 3 PM on May 9th. You will NOT perform your monologue live. Have someone tape you performing your monologue. Keep the focus fairly close—we want to see your face and your upper body. Before you begin your monologue, give your name and tell which monologue you’ll be performing (“I’m Nick Marx and I’ll be performing the monologue “Sammy” by Mike Reynolds.) Then perform your monologue. When you upload your monologue, save it under your last name. Choose one of the monologues on pages 9 through page 13 of this packet. Feel free to have someone use your iPad for taping your monologue—close-ups are good. We are watching to see how sincere and honest you can be in your acting and speech.

9|Audition information for OUTSIDERS

Possible Audition Monologues for The Outsiders 1. JORDAN by Michael Pepa Talking to Himself I don't think I can do this anymore, I really don't. The assignments, the teachers, the hours, the busy work... oh, the busy work. 'Read these pages, answer these questions.' I must've heard that a thousand times from a hundred different teachers over the years. Newsflash, folks -- I don't care about the agricultural practices of the damned Illini. Didn't care before I read the ten textbook pages, and certainly don't care now. Geez, I don't think I can do this anymore. So... maybe I won't. Maybe I'll just get in my car and drive. Drive west, or something. California -- I've always wanted to go there. Desperate times calls for desperate measures, right? Isn't that what they say? And all this high school crap’s definitely proving to be a desperate time, so I guess it's desperate measure time. Time to leave -middle of the night style, no warning style, escape the bullcrap style. Yeah, that's the play. It's decided. Tomorrow night, I run away from it all. 2. THEODORE by Sam Porta Teenaged Theodore is talking to his red pet goldfish, Barry Sharkin. What am I going do, Barry? I can't continue becoming a doctor, I don't have the patience or the patients. I keep telling myself that if I study enough and immerse myself in the doctor culture enough, I'll learn to like being one. No matter how hard I try, I hate learning to become a doctor. I know it's going make my dad really upset, but I think I want to be a nurse. Being a nurse is where it's at, man. I mean, goldfish. I didn’t mean to call you a man, Barry. I’m sure that’s an insult to good goldfish everywhere. Besides, if I’m a nurse, I get to wear those sexy white shoes all day. I can take people's blood pressure and give people finger pricks. I can even stand people on one of those scales with the sliding piece and struggle to come up with an accurate weight. Ah, that's the life. Sooner or later I'll have to break it to my dad, but not today. Today I'm going to relax and enjoy this relative feeling of prosperity I get whenever I dream about being a nurse.. I'll see you later Barry Sharkin. 3. VAL by Charles Babcock Valentine is talking to his friend, Marcus. Marcus is only interested in the superficial, the here and now, and Valentine wants to go out and see the world. Valentine: Dude, open your eyes. I mean, are you really ok with spending your life, your entire life here? Where nothing ever changes, nothing is ever new? How can you stand that? This place is killing me, man. It's so small here, and the world is so big. Don't you at least want to know what it's like out there? Away from all this? That's all I think about anymore, getting out. Listen, we've sat through the same boring, useless classes year after year, and after all that there's really only one thing I ever learned. And that's that there's a world out there, just waiting for us. A brave new world. And it's big, and it's scary, and it's coming right at us full speed ahead. And I don't know about you, Marc, but I wouldn't have it any other way. Are you coming with me?

10 | A u d i t i o n i n f o r m a t i o n f o r O U T S I D E R S 4. TROY by Nathan Slaven Troy is outside of a stranger's house with his friends. Guys, maybe we should think about this. Please? We don't even know this guy. He could be, like, a cop, or a Marine with PTSD or something. What are we going to do if he wakes up? Jake, seriously. Can we please put the eggs down for one second? And, Liv, turn off your phone. There could be cameras, or witnesses, or... Oh, come on. Ray's only fourteen. What are his parents going to think? And Liv, do you really think you'll have a shot at getting into Yale with a record? Umm. Why are you guys looking at me like that? You know, I'm not sure what's gotten into you all. I think I'm just gonna leave. Alright? (A beat.) I won't tell anyone. I'm probably a coward, but I'm not a snitch. But, maybe I should talk. Besides, what are you gonna do? Egg me? We’re friends. Crap! Did you see that? Liv, your phone! I think he saw us. Wait. Is that a dog? Sorry, guys, I'm out. 5. KEVIN by Jay Bentley Kevin Johnson is fifteen years old. He is very concerned for his older brother, Mike. They had both just returned home from school and Kevin is in his bedroom talking to his reflection in the mirror. He has been watching his brother go straight to his room after school every day to smoke weed. It has been going on for a couple weeks and he doesn't know what to do. Really, Mike... really? You just got home and went straight to your bedroom to get high. I can NOT take this any longer. He needs help... But who should I talk to? I know if I tell mom and dad, they will ground him for life. . .and Mike would never forgive me. Maybe I should talk to my counselor at school? (A beat.) No, then he would just get in more trouble with the school... Which he doesn't need. I know that I am his little brother so he’d never listen to me. (A beat.) But, maybe I should give it a chance. I mean hey, I am a pretty easy to talk to. And--THIS HAS TO END. Alright, Kevin, you can do this. Okay... off to his room I go. I can do this, I can do this. 6. PAUL by A.J. Breit Paul is in his room, speaking to himself in the mirror. I can't believe my freakin’ mom is drunk again. You would think after last time she’d just stop. Not only does she embarrass herself but she embarrasses me. You know, it's hard sometimes when you just want a mom to be there and she isn't. So much of the time I know that mom I'm talking to isn't my real mother. It's Drunk Mom who doesn't know how to care for her children. Sometimes I just want to drink the pain away myself, but I don't way to be like her. (A beat.) Oh great, she's yelling for me to come downstairs, probably for something stupid that her drunk self thinks is important.

11 | A u d i t i o n i n f o r m a t i o n f o r O U T S I D E R S 7. RHETT by Corbyn Buchart Rhett is a middle class teen who is pursuing an athletic career in college. He is outgoing and generally well liked by his peers, but has serious anxiety when it comes to talking to females. He is talking to his mirror reflection about his newfound addiction. I know I shouldn't love it as much as I do, but after you get that head rush a few times there is no feeling that can replace it. Just trying to find a way to cope with the stresses of high school has turned into one of my biggest flaws. I didn't think that I could ever get worse at talking to girls, but now that I "smell like lung cancer" they won’t even acknowledge me. (A beat.) I only smoke when I drink or when I just need a break from homework, but now I can't hardly run two miles without wheezing. I have to use an inhaler before and after every game I play because my lungs have lost so much elasticity. I don't know how I'll be able to control this addiction in college with all of the freedom I'll be gaining there. My parents tried to warn me, and my whole life I’ve seen how hard it has been on them. Watching Dad try to quit for seven years and still not being able to—(breaks off and walks agitatedly around the room.) Why the hell was I stupid enough to pick up that first cigarette and fall in love with destroying my body? 8. TYLER by Spencer Davis (Tyler, a young man with untidy clothes and hair made messy by how much he had run his hands through it, faces the floor as he sits across from Dr. Gilmore.) TYLER: I have to keep distracting myself, keep weighing myself down. Give me a free sec or two and the first thing I think about is her. All I do is regret and hate myself every time I look at them together. I see the bastard every day. He doesn't brag or anything, but I see it in his damn face. I see how happy he is. She makes him so happy. And I hate myself for hating that. After all, he is—was—my best friend. But nowadays I'm a ball of hate. I haven't smiled for real in weeks. I keep telling myself I don't love her, I keep running it through: She isn't for me anymore. She isn't for me anymore SHE ISN'T FOR ME ANYMORE.( A beat.) It doesn't help. Nothing works and I just hate myself more... Damn it! I... I'm fresh out of ideas. I wish I could be anything else-- literally anything else than what I am now. Every time I catch my own reflection I jerk away like I'm staring down a loaded gun. All I can think anymore is "You're a horrible friend and a waste of skin.” Damn it! 9. MACK by Camden Makowiack Mack has roused his best friend out of bed. Hey, thanks for seeing me at this hour. I…I just didn’t know what else to do. You’ve helped me get out of literally every bad situation that I’ve been in, but at this point I honestly don’t think I can dig myself out of this hole that I’m in. I really messed up bad and because of my stupid decisions, Sheila, is in the hospital and my dad’s brand new Mercedes is completely totaled. See, she and I were out late last night at Luke’s party, right?. Neither of us wanted to drink, but Sam and Logan and Kyle kept pressuring us and shoving drinks at our faces. We just didn’t want to let them down, so we eventually gave in. So by the end of the night we were both pretty much wasted. Suddenly Sheila came up to me with her mascara running down her face. She told me that she had to be home within twenty minutes or else her dad would ground her for a month. So we jumped in my car and sped off. The music was blaring, and Sheila was being distracting, then all of a sudden I was crashing into this tree and Sheila flew into the windshield. She wasn’t wearing a seat belt. I panicked and left her there. Dude, I really need your help right now.

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10. JACOB by Andrew Marsden Jacob is worried and scared about what to do for his drug addicted best friend. He's saying his thoughts aloud to himself while nervously pacing alone in his room. Conner... What do you expect me to do? Let you get completely screwed and high all the time? What a moron... What can I do in a situation like this? Help him. How? I know, just do it--but how? Tell the counselors. (A beat.) I could but that'd mean he'd get in trouble with his parents, and I don't want to screw him over or have him get in trouble. Then what? Live with it? Live with the idea of me having a chance to help and then doing nothing? Leave him alone is what I want to do. Walk away and forget about it, but how can I do that when it's a friend? He's happy with it... I wouldn't have given a damn if it was some dumb kid I didn't know, but Conner’s my best friend. I guess I got to do something. I guess I'll try to talk to him. I guess I'll have to. I don't really want to though, but I'll have to. He needs someone to get it through to him. What if I fail? (A beat.) Forget about that, and just do it... for him.

11. ADAM by Brian Mattingly Adam is talking to his best friend in his backyard after a party. I don't know, man. Maybe I just shouldn't worry about it. It'll probably work itself out somehow. It always just seemed so far away. Like it'd never really happen, and now here it is. The real world starts next month. I mean you're going off to Ohio State and AJ is going to school six hours away. Everyone's leaving and I'm just gonna be... here. I'm gonna miss all you guys. I don't even have a plan either. I mean things are alright with Christy but what am I gonna do if that falls apart? I'm going to trade school dude. There's no girls there. I'll be working in a factory for the rest of my life. Women don't work at factories to meet guys, especially guys like me. I'll probably end up lonely and never have a family. Maybe I just worry too much...Hell, I barely even have anybody as it is. After senior year it’s back to square one. For me, at least. Right, James? James? (Sees that JAMES is asleep.) Sweet dreams, buddy. I don’t blame you for falling asleep. . .my future isn’t worth staying awake for.

12. PATRICK by Cameron Mattingly Patrick is a depressed 17-year –old whose mother died a month ago. He is dictating a letter into his phone. I’m recording this on May 13, 2015. Dear Mom, I can barely stomach the words because they hurt to think about, but it's also the only thing on my mind. You were my main reason to stay in this deadbeat town, and, without you. . .I mean why should I stick around? My friends are leaving for college in a couple of weeks, you are dead, and everything I've ever loved or cared for will be--gone. As you know, I've always been a big dreamer, wanting to make something great of myself. . .but I wanted this primarily for you. But now I realize I was reaching for the unattainable. I'm not meant for greatness. . .or for anything really. It's not like I'm going to hurt anyone--there is no one left to hurt, for me at least. So. . .goodbye. (Patrick turns off his phone.)

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13. CARL by Christopher Thompson (Carl is talking to his guidance counselor.) I don't know what to do. Should I do what my parents want me to do or should I follow my dream?.When I talked to my parents about it, they were so sure that I'm going to be a brilliant business entrepreneur like my dad and take over the family business and become even richer than they are. They are both so sure...but I'm not. I want to make them proud, but I also want to be happy. I know I will hate working behind a desk all day. But can I deal with my family’s disappointment in me? Plus . . .the business has been in our family for three generations. Three generations! Am I willing to be the one to end the family tradition— to let my great-grandfather’s business go to some stranger? Is being an artist worth losing my family? I love my family. Would it be all that tough to sit at a desk all day and earn lots of money until one day I’ll get to. . .sit at a bigger desk just to earn even more money? mediocre pay until one day I got my shot. Then I would just be sitting at a bigger desk all day... No, I can’t. I just can’t. So tell me, Mr. Campbell, how do I go about breaking the hearts of three generations?

14. BOBBY by Tony Wheeler Bobby is talking to his girlfriend. I don't believe your mother actually feels that way. You know it's Jason masterminding the whole thing. Jason knows I'm not a coward. He knows very well that I'm serious, that I'm not irresolute in my feelings for you. That our love isn't childish and founded upon ignorance or naiveté. . He sees exemplified in our success, all of his failures. He's incredibly insecure and strives for dominance and control in every situation he encounters. It just destroys him to see someone he hates achieving more than he did. He's insecure, unhappy with his marriage, and likely incredibly depressed. To see an example of the teenage love that he never had the opportunity to experience- -it's too much for him. He doesn't want me to be a standup guy. He doesn't want me to be a good person. He doesn't want me to be an adult. He wants me to fear him.

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SCENES If you’d like to be considered for a principal or featured role, prepare one of the scenes below. You may prepare the scene  with specific people so you all perform together at auditions, or  you may concentrate on one of the roles in a scene, and let a director or an assistant director perform the scene with you. No one will be allowed to perform in more than one of the scenes, though, so, for example, if James Dawson agrees to perform scene 4 with Kyle Fitzgerald at auditions , James can’t also do a scene with Jacob Chamberlain. The scenes may be memorized, but it’s fine if you would prefer to do it with the script.

Scene 1: TWO characters (PONYBOY, JOHNNY) PONYBOY: (To the audience.) I’d been in a church before. But this falling-down old place gave me a creepy feeling. What do you call it—a premonition. (JOHNNY enters with the supplies.) JOHNNY: Nobody paid attention at the store. A week’s supply of baloney, two loaves of bread, a box of matches, candy bars, candy bars, and— PONYBOY: More candy bars! (Picks up a book.) Gone with the Wind! How’d you know I always wanted to read that book? JOHNNY: I remember you sayin’ something about it once. I thought maybe you could read it out loud and help kill time or something. PONYBOY: Thanks. JOHNNY: (A beat.) We’re in big trouble. PONYBOY: I’m still tired—and a little spooked. Things have been happening so fast. Man, I’m tired. JOHNNY: Last night. (It’s too much to remember.) Was it just last night? PONYBOY: Last night we were walkin’ Cherry and Marcia over to Two-Bit’s. Last night we were layin’ in the lot, lookin’ up at the stars— JOHNNY: Last night I killed Bob. He couldn’t have been over seventeen or eighteen and I killed him. (Whispers.) I’m real tired, too.

15 | A u d i t i o n i n f o r m a t i o n f o r O U T S I D E R S Scene 2: THREE characters (PONYBOY, RANDY, BOB) BOB: (To Ponyboy) Hey, grease— RANDY: How come you’re all by yourself, grease? PONYBOY: Stay away from me. BOB: Couldn’t think of it. RANDY: Not safe for you to be out here all alone. BOB: We’re gonna do you a favor, grease, We’re gonna cut off that long greasy hair. PONYBOY: Leave me alone. BOB: Need a haircut, grease? PONYBOY: No. BOB: Gonna cut it real close. How you’d like your haircut to begin just below your chin? PONYBOY: Are you crazy? (Shouts.) Soda! Darry! BOB: Shut him up. RANDY: I see somebody comin’. PONYBOY: Darry! BOB: (Heading toward PONYBOY.) Okay, grease— RANDY: Cool it, Bob! BOB: He’s asking for it. RANDY: Company’s comin’. BOB: Have to give you another appointment, grease. Catch you later!

16 | A u d i t i o n i n f o r m a t i o n f o r O U T S I D E R S Scene 3: TWO characters (PONYBOY, SODAPOP) PONYBOY: Soda? SODAPOP: Yes? PONYBOY: How come you dropped out of school? I could hardly stand it when you left school. SODAPOP: It’s cause I’m dumb. The only things I was passing were auto mechanics and gym. PONYBOY: You’re not dumb. SODAPOP: I am. Shut up and I’ll tell you something, but don’t tell Darry. PONYBOY: Okay. SODAPOP: I think I’m gonna marry Sandy. After she gets out of school and I get a better job and everything. (A beat.) I might wait till you get out of school, though. So I can help Darry with the bills. PONYBOY: (Approving.) Tuff enough. (With alarm.) Only wait till I get out so you can keep Darry off my back. SODAPOP: Don’t be like that. I told you he doesn’t mean half the things he says. He’s just got more worries than someone his age ought to. He’s really proud of you because you’re brainy. PONYBOY: Sure.

17 | A u d i t i o n i n f o r m a t i o n f o r O U T S I D E R S Scene 4: TWO characters (DALLAS, JOHNNY) DALLAS: This place is out of it. What do they do for kicks in the country. . .play checkers? JOHNNY: We’re goin’ back and turnin’ ourselves in. DALLAS: What? JOHNNY: We’re goin’ back and turnin’ ourselves in. I got a good chance of bein’ let off easy. I ain’t got no record. Both Ponyboy and Cherry can testify it was self-defense DALLAS: Once they get their hands on you— JOHNNY: I can’t stay in this church the rest of my life. DALLAS: When they take you in, you’ll find out that greasers get it worse than anybody. JOHNNY: We won’t tell you helped us, and we’ll give you what’s left of the money— DALLAS: You sure you want to go back? JOHNNY: It ain’t fair for Ponyboy to stay here with Darry and Soda worrying about him all the time. (A beat.) I don’t guess my parents are worried about me or anything? DALLAS: The other guys are worried. Two-bit was going to Texas to look for you. JOHNNY: My parents—did they ask about me? DALLAS: No, they didn’t. . (A beat.) Johnny, what do they matter? Shoot, my old man don’t give a hang whether I’m in jail or dead in a car wreck or drunk in the gutter. That don’t bother me none.

18 | A u d i t i o n i n f o r m a t i o n f o r O U T S I D E R S Scene 5: TWO characters (PONYBOY, JOHNNY) JOHNNY: Those girls saved us from a fight, Pony. I’m real glad we didn’t have to fight. PONYBOY: We’d a done okay. JOHNNY: You don’t understand. I couldn’t take it again. I’d rather kill myself of something. PONYBOY: You can’t kill yourself. Don’t talk like that. JOHNNY: I gotta do something. (A beat.) Maybe I’ll just sleep here in the park tonight. Listen to the water in the little fountain. Pretend it’s a waterfall some place in the mountains. (A beat.) There oughta be someplace without greasers or Socs—with just people. PONYBOY: Maybe out in the country. When we had the whole family, we’d drive out in the country. JOHNNY: Lemme tell you something crazy. I think I like it better when my old man is hittin’ me. At least then I know he knows who I am. I walk in that house, and nobody says anything. I walk out, nobody says anything. I stay away all night and nobody notices. At least you got Soda. I ain’t got nobody. PONYBOY: Shoot, you got the whole gang. JOHNNY: Not like having your own folks care about you. (Settles down to sleep, then says softly--) It ain’t the same. PONYBOY: (To the audience.) Johnny went to sleep right away. Since I was asleep and dreaming, I brought Mom and Dad back to life. Mom’d bake things, and Dad would drive the pick-up out early to feed the cattle. When I woke up, I panicked. Johnny was still asleep. Just thinkin’ about facing Darry this late made me shake.

19 | A u d i t i o n i n f o r m a t i o n f o r O U T S I D E R S Scene 6: TWO characters (CHERRY, PONYBOY) PONYBOY: Johnny tried to run, but the Socs caught him. One of them had rings on his hands. That’s what cut Johnny up so bad. CHERRY: All Socs aren’t like that. You have to believe me. Not all of us are like that. PONYBOY: Sure. CHERRY: That’s like saying all greasers are like Dallas Winston. I bet he’s jumped a few people. PONYBOY: Lotsa times. CHERRY: You think the Socs have it made, don’t you? PONYBOY: Well, you do. CHERRY: It may come as a surprise to you, but we have troubles you’ve never even heard of. You want to know something? Things are tough all over. PONYBOY: Then why are we so different? CHERRY: You greasers are more emotional. We Socs are sophisticated—cool to the point of not feeling anything. Sometimes I’ll catch myself talking and realize I don’t mean half the things I say. I don’t really think a beer blast on the river bottom is super-cool, but I’ll rave about it to the group just to be saying something. (A beat) I’ve never told that to anyone. You’re the first person. Why is that? PONYBOY: Because I’m a greaser. And because I’m younger. So you don’t have to keep your guard up. CHERRY: For a kid you’re awfully smart. PONYBOY: Probably I’ll outgrow it. We’d better buy some popcorn and get back. CHERRY: You read a lot, don’t you? PONYBOY: Yeah. Why? CHERRY: I could just tell. And I bet you watch sunsets. PONYBOY: Yeah. What about it? CHERRY: I used to watch them too before I got so busy.

20 | A u d i t i o n i n f o r m a t i o n f o r O U T S I D E R S Scene 7: TWO characters (PONYBOY, CHERRY)

CHERRY: (To an angry BOB.)Bob, wait in the car. I said I’ll be along in a minute. (To PONYBOY.) I’d better go with them. PONYBOY: I know. CHERRY: It’s too dangerous. If I see you in the hall at school and don’t say hi, it won’t be personal. It’s— PONYBOY: The way things are. CHERRY: I can’t even let my parents see me with you. PONYBOY: It’s okay. Just don’t forget, some of us greasers watch sunsets, too. (A beat.) CHERRY: I better not push the one-minute warning. (Calls.) I’m coming. . (To PONYBOY.) I hope I never see that Dallas Winston again. PONYBOY: Because he’s one of us? CHERRY: Because I might fall in love with him. How’d that be for trouble?

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Scene 8: THREE characters (PONYBOY, JERRY, MRS. O’BRIANT) Note: JERRY and MRS. O’BRIANT are adult characters. They may be played by either guys or girls. MRS. O’BRIANT: I think he’s coming around. JERRY: How you doin’, kid? PONYBOY: Where ya takin’ me? JERRY: Lie back. You’re in an ambulance. PONYBOY: Ambulance? Where’s Johnny? Where’s Dallas? JERRY: They’re in the ambulance right behind us. MRS. O’BRIANT: Just calm down. You’re going to be okay. You just passed out. PONYBOY: I didn’t pass out. Dallas hit me. He knocked me out. JERRY: Because your back was in flames. PONYBOY: It was? MRS. O’BRIANT: It was. PONYBOY: I didn’t feel it. JERRY: Your friend put it out before you got burned. PONYBOY: Are you taking us to the police station? MRS. O’BRIANT: (Startled.) The police station? JERRY: Why would we take you to the police station? We’re taking all of you to the hospital. PONYBOY: Johnny and Dallas are all right? JERRY: (Hesitates.) Which one’s which. PONYBOY: Johnny had black hair. Dallas is the mean-looking one. JERRY: (Speaking carefully.) Dallas will be all right. He burned one arm trying to drag the other kid out the window. I don’t know about Johnny. A piece of timber caught him across the back. He might have a broken back. MRS. O’BRIANT: He has severe burns. Severe. They’re giving him plasma now. JERRY: I swear you three are the bravest kids I’ve ever seen. (Tries to lighten the mood.) Are you professional heroes or something? MRS. O’BRIANT: I think you three were sent straight from Heaven. PONYBOY: Are the little kids okay? MRS. O’BRIANT: They’re okay—thank you. A lot of parents are waiting to thank you.

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IMPROV Auditions Select ONE of the characters below to play in your improv audition. Think about how your character would stand, walk, talk, sit, and what your character would think and feel about different things. When you are called, you will enter onto stage, and you will be asked questions about your character (and you may also be asked to do some things as your character). You will answer as your character would answer. From the moment you enter until the moment you leave, you want to play your character to the best of your ability. You will perform for about 1-2 minutes. We will look at how convincing your are as your characters as well as how well you display basic stage techniques of projection, sharing with the audience, etc. ALL auditioners must go through the Improv auditions.

CHOICES FOR A CHARACTER TO IMPROVISE MALE Teenagers

CLIFF is fourteen years old and a greaser. He is thoughtful and insightful and has the potential to be a writer. His literary interests and academic accomplishments set him apart from the rest of his gang. Although he does better than all the other greasers in school, he’s fiercely loyal to the gang.

EARL is sixteen. He’s usually " happy-go-lucky and grinning," but he has dropped out of school to take care of his handicapped little brother. He wasn’t sorry to drop out—he did very poorly in school. He is also a greaser.

MARVIN is twenty and works as a roofer. He’s "hard and firm and rarely grins at all." He has "grown up too fast." He was the captain of the football team in high school and won a college scholarship, but had to drop out of school to take care of his family when his parents were killed in a traffic accident when he was just eighteen. Strong, athletic, and intelligent, Marvin works two jobs to hold the family together. The unofficial leader of the greasers, he is also the sole income now for two younger sisters and two younger brothers.

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WAYNE is the oldest member of the greaser gang, and "the wisecracker of the bunch." He is famous for shoplifting everything he can, including his black-handled switchblade, which he is also known for. He liked fights, blondes, and for some unfathomable reason, school. He is extremely talkative.

ROY is seventeen and the toughest member of the greaser gang. His eyes are blazing ice, cold with a hatred of the whole world. He is a hardened teen who used to run with gangs in New York. His violent tendencies make him more dangerous than the other greasers, and he takes pride in his criminal record.

GLENN is sixteen and the second-youngest in the greaser gang. . He is smaller than the rest, with a slight build. He has a nervous, suspicious look in his eyes. He is the gang's pet, everyone's kid brother." He is always "high-strung," living in a household where his father beats him all the time. Though Johnny does not succeed in school, he approaches intellectual matters with steady concentration. The child of alcoholic, abusive parents, he is nervous and sensitive. Since his parents do not care for him, Johnny sees the greasers as his true family.

WALT is a handsome member of the popular crowd who sees the futility of fighting. He wants to stay in the popular crowd, but he understands that greasers have feelings and aren’t that different.

LEONARD is a handsome member of the popular crowd whose indulgent parents have never disciplined him. As a result, he believes he can do anything he wants and he will get away with it. He’s wild and a secret alcoholic. He is also a phony—he pretends to be polite to grown-ups, but he is full of rage deep inside and looks for ways to sabotage or injure others.

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GIRLS

LOIS is a cheerful (yet thoughtful) sixteen year old who is the girlfriend of the leader of the popular crowd. Although it’s important to her to be a member of that crowd, she is intelligent enough to realize that she has to suppress a lot of her own personality in order to fit in. She is kind and sensitive to the feelings of others.

DEBBIE is a lively member of the popular crowd with a great sense of humor. She’s always up for an adventure, and she shows a lot of spunk when she meets people who are different from herself.

MARILYN Is a 16-year-old greaser girl. She comes from a brutal family and is saving her money up to run away. She’s in love with a greaser boy, but she knows she needs to get out of town before something bad happens to ruin her future. She is kind and gentle, but determined.

ADULTS MR. MASON Though an adult and a member of mainstream society, he judges the greasers on their merits instead of automatically branding them juvenile delinquents.

MR. ELDEN Is an English teacher. He cares about all his students and tries to inspire them to do their best.