• Demonstrates technical ability on instrument/voice
• Seeks out opportunities to participate in musical activities both in and out of school
• Is sensitive to the rhythm and changes in tempo of music
• Carries tune easily and with confidence
• Performs one or more instruments in exceptionally musical manner
• Is recognized by peers and professionals as talented
• Demonstrates high levels of concentration for a sustained period of time while practicing
• Is eager to improve and readily accepts new solutions to technical problems
• Is eager to attempt new styles/periods of music

Part I: Students will be interviewed on their interest and involvement in music.

Part II: Students will participate in “music games” to determine musical skill and natural ability (recognizing high/low, same/different pitches and rhythm).

Part III: Students must be fully prepared to perform two pieces of contrasting nature (i.e. fast/slow piece and lyrical piece).

• Vocalists are required to sing with accompaniment. Singing along with a vocalist on CD is not appropriate. However, a “Karaoke” type accompaniment is acceptable, as long as the vocal part is not heard.
• Memorization is not required. However, the piece should be well rehearsed and performance ready.
• If written music is available, please have copies for the evaluator.
• If the student has written any original music, copies should be brought to the audition and performed.

NOTE: Students are required to bring copies of printed music, karaoke accompaniment tracks, as well as any instrument needed, to the music screening. If the student is proficient on more than one instrument they should be prepared to perform on each for the audition. A piano will be provided by the school.

• Seeks out opportunities to perform formally or informally
• Shows a marked ability to reproduce detailed physical and/or vocal behaviors of others
• Shows a variety of facial expressions and body movement
• Can create an imaginary or scripted character different than themselves using a variety of physical and vocal characteristics
• Uses a variety of vocal changes and inflections in reading or telling stories
• Communicates ideas with creativity, feeling and detail
• Displays emotions freely
• Can improvise situations/actions physically
• Can improvise dialogue

Part I: All students will be interviewed about their theatre interests.

Part II: Students will be taken through a variety of activities dealing with movement, use of voice, creativity, characterization, imagination, pantomime, and improvisation.

Part III: (4-6 grades only) Students will be required to act out one memorized monologue from the prepared list (approximately 45-60 seconds). Costume and props are not allowed (a chair will be provided). Preparations should include the following:

• Plan your movements and how you will use the space available.
• Memorize your lines and your movements.
• Rehearse until you know the monologue completely.
• Ask others to watch you and give you some suggestions.

Peter (from Peter Pan)—Tink, where are you?  Quick, close the window.  Bar it.  Now when Wendy comes she will think her mother has barred her out, and she will have to come back to me!  Now Tink, you and I must go out the door.  Look, Tink.  It is Wendy’s mother.  She is a pretty lady, but not so pretty as my mother.  She is saying “Come home Wendy.”  You will never see Wendy again lady, for the window is barred.  She has laid her head down.  There are two wet things sitting on her eyes.  As soon as they go away another two come and sit on her eyes.  She is moaning, “Wendy, Wendy.”  She wants me to unbar the window.  I won’t.  She is awfully fond of Wendy.  I am fond of her too.  We can’t both have her, lady.  Come on, Tink; we don’t want any silly mothers.

Gwendolyn (from The Poor Little Rich Girl)—Now Puffy, don’t look frightened!  I’m not going to let Jane take you away.  Why, you’re my best friend, almost.  And I love you!  If I knew how to sew, I’d mend you.  Oh, Puffy, maybe some day we’ll go back to Johnnie Blake’s, and then it won’t matter if you are shabby.  Of course, a farm isn’t stylish.  But do you remember the gingham dress I wore?  With the pocket?  And we ate with father and mother, oh, for a whole week!  Oh, I wish we were then now!  But—can we pretend.  See Puffy!  Here’s Johnnie now.  How do you do Johnnie? (imitates Johnnie) Hello, kid.  Goin’ fishin’ with me?  See Here! ‘Fraid cat!  You’re afraid of worms.  Well, come on.

Lucy (from Peanuts)—Linus, do you know what I intend?  I intend to be a queen.  When I grow up I’m going to be the biggest queen there ever was, and I’ll live in this big palace with a big front lawn, and have lots of beautiful dresses to wear.  And when I go out in my coach…. all the people will wave and I will shout at them, and….in the summertime I will go to my summer palace and I’ll wear my crown in swimming and everything, and all the people will cheer and I will shout at them…. What do you mean I can’t be a queen?  There must be a loophole.  This kind of thing always has a loophole.  Nobody should be kept from being a queen if she wants to be one.  IT’S UNDEMOCRATIC!  I know what I’ll do.  If I can’t be queen, then I’ll be very rich.  I’ll work and work until I’m very very rich, and then I will buy myself a queendom.

Mary (from The Secret Garden)—Colin Craven, you stop that screaming!  I hate you!  Everybody hates you!  You will scream yourself to death in a minute and I wish you would!  You stop!  There is nothing the matter with your horrid back.  Martha, come here and show me his back this minute.  There?  There’s not a single lump there.  Except for backbone lumps and they’re supposed to be there.  See.  I have them too.  See?  No lump.  It’s not there.  You were just mad at me for not coming back when I said I would.  Weren’t you?  You were and you know it.   I was always coming back, Colin.   I’m as lonely as you are.  I was just late, that’s all.   It just took me longer than I thought because….I found your mother’s garden. You must see it.

Frankie (from The Member of the Wedding)—John Henry.  John Henry.  Come over and spend the night with me.  I thought maybe me and you could put up my Indian teepee and sleep out here in the yard.  And have a good time.  Why don’t you stay and spend the night?  Suit yourself!  I only asked you because you looked so ugly and so lonesome.  I wonder when that Papa of mine is coming home.  He always comes by dark.  I don’t want to go into that empty, ugly house all by myself.  I think something is wrong.  It is too quiet.  I have a peculiar warning in my bones.  I bet you a hundred dollars it’s going to storm.  A terrible, terrible dog-day storm.  Or maybe even a cyclone.  Something is wrong.  It is too quiet.

Charlie (from Charlie & the Chocolate Factory)—Mum! Dad! Grandpa Joe!  Grandfolks! You’ll never believe it!  You’ll never believe what happened!  Well….I was walking home ….and the wind was so cold….and the snow was blowing so hard….and I was looking down to protect my face….And there it was….just lying there in the snow…kind of buried….I looked around…and no one seemed to look as if they had lost anything…and so I picked it up and wiped it off…and I couldn’t believe my eyes.  I found a 50 pence piece.  Then I thought it wouldn’t hurt if I bought a Wonka Whipple-Scrumptious Fudgemallow Delight since it was…my 50 pence…and I was just sooo hungry for one.  Well…I took the wrapper off slowly…I ate the candy.  There wasn’t any Golden Ticket.  But…I still had 45 pence left and…well…you know how I love chocolate—I bought another Whipple-Scrumptious Fudgemallow Delight…and…and…and I FOUND THE FIFTH GOLDEN TICKET.  I did!  I did!  I really did!  Hurray!  It’s off to the chocolate factory!!!

Charlie (from Peanuts)—I think lunchtime is about the worst time of day for me.  Always having to sit here alone.  There’s that cute little redhead girl eating her lunch over there.  I wonder what she’d do if I went over and asked her if I could sit and have lunch with her.  She’d probably laugh right in my face.  It’s hard on a face when it gets laughed in.  There’s an empty place next to her on the bench.  There’s no reason why I couldn’t just go over and sit there.  I could do that right now.  All I have to do is stand up.  I’m standing up.  I’m sitting down.  I’m a coward.  I’m so much of a coward she wouldn’t even think of looking at me.  She hardly ever does look at me.  Why shouldn’t she look at me?  Is she so great and am I so small that she couldn’t spare one little moment just to….She’s looking at me.  She’s looking at me.  Lunchtime is among the worst times of the day for me.

Tom (from Tom Sawyer)—Oh, shucks, baby you want to see your mother, I reckon.  Who cares?  Nobody wants ya to.  Go ‘long home and get laughed at.  Oh, you’re a nice pirate, you are.  Hucky and me ain’t crybabies.  We’ll stay, won’t we, Hucky?  Let him go if he wants to.  I reckon we can get along without him.  You can both go if you want to.  I’m going to stay.  Say!Wait!Wait!  I want to tell you something.  Hold on, Joe.  Hold on, Hucky.  I’ll tell you what we’ll do.  If you’ll wait till its daylight, we’ll all go back to the town together.  An’ if you want to quit pirating an’ go to Sunday School, Hucky and me won’t hinder you.  We’ll just know you wasn’t cut out to be a terror of the seas, or mebby we’ll get up a regular robber gang instead, if you’ll wait till ‘bout ten o’clock.  Is it a whack?  You go to sleep and me and Hucky will keep watch.

Scarecrow (from the Wizard of Oz)—Do you think if I go to the Emerald City with you, that the Great Oz would give me some brains?  If Oz will not give me any brains, I will be no worse off that I am now.  You see, I don’t mind my legs and arms and body being stuffed because I cannot get hurt.  If anyone treads on my toes or sticks pins into me, it doesn’t matter, for I can’t feel it.  But I do not want people to call me a fool, and if my head stays stuffed with straw instead of with brains, as yours is, how am I ever to know anything?  Do let me carry that basket for you.  I shall not mind it for I can’t get tired.  I’ll tell you a secret.  There is only one thing in the world that I am afraid of.  A lighted match.  But I’d face a whole box full of them for the chance of getting some brains.

Annie (from Little Orphan Annie)—That dog there?  A stray?  Oh no officer, he’s …. He’s my dog.  His name?   His name is…..Sandy.  right, that’s it,  Sandy.  I call him Sandy, you see, because of his nice sandy color.  Answer to his name?  you mean…..when I call him?  Well, you see, Officer…..I just got him an sometimes he just doesn’t want to answer…..But I’ll call him!   Here, Sandy.   Here boy.  Sandy.  Good Sandy.  Good Old Sandy.  Oh, poor boy.  Did they hurt you?  They’re after you, ain’t they?  But don’t worry, I ain’t gonna let them get you or me.  I’ll take care of you.  And everything’s gonna be fine.   For the both of us.  If not today, well….maybe tomorrow. 

• What is a monologue?
  • A lengthy speech within a play/musical presenting the words or thoughts of a single character.
• When selecting a monologue look for:
  • A character about your own age
  • Material two to three minutes in length when performed
  • A piece that is interesting, dramatic, or fun
  • A piece that shows your acting ability
• How is a monologue prepared?
  • Read the play
  • Write down everything you can about your character and try to be those things
  • Plan out your movements and how you will use the space available
  • Memorize your lines and your movements
  • Rehearse until you know it completely
  • Ask others to watch you and give suggestions.

• Seeks out opportunities to perform formally or informally
• Shows a marked ability to reproduce detailed physical and/or vocal behaviors of others
• Shows a variety of facial expressions and body movement
• Can create an imaginary or scripted character different than themselves using a variety of physical and vocal characteristics
• Uses a variety of vocal changes and inflections in reading or telling stories
• Communicates ideas with creativity, feeling and detail
• Displays emotions freely
• Can improvise situations/actions physically
• Can improvise dialogue

Part I: All students will be interviewed about their theatre interest and participation.

Part II: Students will be taken through a variety of activities dealing with movement, use of voice, creativity, characterization, imagination, pantomime, and improvisation.

Part III: Students will be required to act out a memorized monologue (approximately two minutes in length) from the following State approved list of plays. Costumes and props are not allowed (a chair will be provided if needed).

• Ah, Wilderness, Eugene O’Neill
• Anastasia, Guy Bolton
• Androcles and the Lion, Geroge Bernard Shaw*
• Anne of Green Gables, Alice Chadwicke*
• Anne of the Thousand Days, Maxwell Anderson
• Antigone, Jean Anouilh*
• Arsenic & Old Lace, Joseph Kesselring*
• Bad Seed, Maxwell Anderson*
• The Belle of Amherst, William Luce*
• Brighton Beach Memoirs, Neil Simon
• Broadway Bound, Neil Simon
• The Crucible, Arthur Miller
• Cyrano de Bergerac, Edmond Rostand*
• The Diary of Anne Frank, Francis Goodrich & Albert Hackett*
• The Effect of Gamma Rays on Man-in-the-Moon Marigolds, Paul Zindel
• The Glass Menagerie, Tennessee Williams*
• The Grapes of Wrath, adaptation Frank Galati
• Harvey, Mary Chase*
• I Remember Mama, John van Druten*
• Member of the Wedding, Carson McCullers*
• Midsummer Night’s Dream, William Shakespeare*
• The Miracle Worker, William Gibson*
• No Time for Sergeants, Ira Levin
• Our Town, Thorton Wilder *
• Picnic, William Inge
• Pygmalion, George Bernard Shaw*
• A Raisin in the Sun, Lorriane Hansberry*
• Romeo & Juliet, William Shakespeare*
• The Skin of Our Teeth, Thorton Wilder *
• Steel Magnolias, Robert Harling
• Wind in the Willows, Alan Bennett & Jeremy Sams*

*denotes a play recommended for consideration for 7-12 grades; all others recommended for 9-12

Note: Shakespeare writes in verse that requires special skills and understanding. Please be aware of this special skill/need when selecting a monologue.

• What is a monologue?
  • A lengthy speech within a play/musical presenting the words or thoughts of a single character.
• When selecting a monologue look for:
  • A character about your own age
  • Material two to three minutes in length when performed
  • A piece that is interesting, dramatic, or fun
  • A piece that shows your acting ability
• How is a monologue prepared?
  • Read the play
  • Write down everything you can about your character and try to be those things
  • Plan out your movements and how you will use the space available
  • Memorize your lines and your movements
  • Rehearse until you know it completely
  • Ask others to watch you and give suggestions.

• Work goes beyond simple representation to include details or elements of self-expression, feelings, or moods; fresh approach to ways of viewing things

• Includes more detail than typical; is meticulous to an almost excessive degree; catches on to balance, foreshadowing, perspective, and shading very easily; enjoys challenging experiences

• Lines and details display a high degree of empathy or attention to characteristics and details that others miss

• Is eager to work with new media or subject matter and continues to attempt to master each one. (NOTE: A student may learn to draw a favorite subject matter quite well through constant practice, but this skill does not transfer to other subject matter. The same situation may occur in regards to a particular media in which a student has worked frequently).

• Anxious to participate in art activities beyond assignments, both in and out of school

• Simply put, a portfolio is a collection of an artist’s very best finished and fully complete art.
• Artwork must be original and completed within the last year.
• 10-14 works of art (may include one or two pieces of sculpture).

CAREFULLY READ THE SUGGESTIONS FOR PORTFOLIO PREPARATION:

K-6 Student Portfolios May Include:

• a picture of your child wearing a hat, drawn from life (in other words, they are looking at themselves in a mirror). Focus on the head/shoulders.
• a drawing of a family pet.
• a drawing of a favorite animal in its habitat.
• a picture of a favorite superhero, in action, or a sport scene.
• a drawing of a family member sitting in a chair, from live observation.
• an illustration of a sentence from a nursery rhyme. (Example: “Humpty Dumpty had a great fall”/“The Little Dog Laughed to see such a Sport and the Dish ran away with the Spoon”).
• an illustration from a favorite story - show the action, the characters, and the setting of the story.
• a picture from imagination:
  • Example 1: A sneaker flying to the moon in outer space.
  • Example 2: A picture of a dragon, fairy or other magical creature and where that creature lives.

CAREFULLY READ THE SUGGESTIONS FOR PORTFOLIO PREPARATION:

7-12 Student Portfolios May Include:

• a picture of three favorite objects overlapping each other, from live observation (set the objects on a table so each are overlapping, look at them and draw them).
• a self-portrait.
• a landscape composition.
• an interior composition.
• an interior and exterior perspective. 
• a figure in action.

• your very best work. Each drawing should take a half hour minimum, if not more, and be fully completed with care.
• drawings that are neatly presented: Remove paper from sketchbooks neatly, make sure artworks are flat without folds/creases/tears.
• recent work-created within the past year.
• any combination of the following: pencil drawings, ink drawings, oil/chalk pastels, paintings, collages, sculptures. Please complete these works using the lists of ideas from above. It is best to emphasize drawing as the majority of the works in the portfolio.
• work that is about 8 ½” x 11” in size.
• each piece clearly labeled with student’s name.

• step by step projects done in a class.
• work where portions have been completed by an instructor/parent or other adult/student.
• “poured paintings” where paint is poured to create a design.
• work done quickly without sufficient time.
• work without a fully developed background, with the exception of a portrait.
• a portfolio exclusively containing cartoons (no more than one may be submitted).
• still life drawings of a single object such as a pen or eraser on a page (instead include at least 3 objects).
• expensive bulky cases or leather bound portfolios. (A plain folder is ideal, labeled with your child’s name.)
• physical sculptures or large work-please submit photographs of these, ideally 8 x 11 prints.
• family photographs or casual snapshots.
• school arts and craft projects.