HomeMy WebLinkAboutThe Citizen, 2005-06-29, Page 13BLYTH FESTIVAL SALUTE, JUNE 29/30, 2005, PAGE 13
Casting the
kids
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In a play about a family of 13 children, plenty of kids
are needed. Lots of young actors applied for roles in
The Thirteenth One
Festival artistic director Eric Coates plays games with young
actors to see who can respond with enthusiasm.
There’s a special challenge for the
creative team behind the scenes of
The Thirteenth One.
With the heart of the play’s story
being the imminent birth of a 13th
child in a Depression-era family,
there’s a requirement for the 12 other
children.
In order to cast those parts, in
early June Festival artistic director
Eric Coates, his associate Gil Garratt
and Michelle Fisk, the play’s
director, held open auditions for
children from the surrounding
region. They were swamped with 62
people showing up for nine roles
(the eldest of the children will be
played by a professional actor and
the second by a local actor already
cast).
With so many children to get
through in a short period of time,
individual auditions become
impossible. The team is prepared.
Coates leads the first group of 10
five and six year olds through a
series of games. He assigns each a
number and asks her or him (girls
outnumber boys by a wide margin)
to leap forward when he signals and
shout out their number “like it’s the
happiest day of your life”.
Later, he asks them to run across
the floor and pretend they’re finding
a treasured gift under a Christmas
tree and show their joy.
The children are asked to start
reciting a poem or nursery rhyme on
Coates’s signal, then stop in mid
sentence when he signals another
young actor to recite. Later, each is
asked to jump for joy and announce
“I’ve got a baby sister!”
Later Fisk explains the goals of the
games. They’re trying to single out
kids with energy, yet who have an
ability to concentrate, she says. They
hope to fund a sense of spirit.
Because aLI the young actors play
members of the same family, they
need to look like they could be
related. Most of the younger
children will be on stage together
during a few crowded scenes so
most won’t have much to say.
Playwright Denyse Gervais Regan
has been historically accurate in
calling for children from two-and-a-
half to 17 years of age, Fisk says.
Though it might be possible to use a
two-and-a-half-year-old in a movie,
on stage where they must take part in
every performance, it would be
impossible. Instead. < Fisk says,
they’re looking for children of five
or six who can look younger.
And, “We’re looking for kids who
want to be here.” Fisk says. And
parents who understand what they’re
signing on for. The young actors
have to be available every day
during the rehearsal period. In the
final few days as the show prepares
for opening, that means 12-hour
days. Fisk says she told parents they
could only count on having Sundays
off during rehearsals.
The kids are also on stage right at
the end of the play so that means
they’ll be up until after 10 each
performance night. While there are
days off once the show goes into the
repertory of the season, alternating
with other plays, there can be no
week-long family holidays.
Still, there are lots of takers for the
roles and the choices are hard. Fisk,
Coates and Garratt have to schedule
call-backs of the most likely
candidates before deciding the final
casting.
Michelle Fisk, director of The Thirteenth One, Suzanne Roberts
Smith, one of the cast members and Gil Garratt, associate
artistic director, react to the children’s performances.
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