"If a man does not keep pace with his companions, perhaps it is because he hears a different drummer.
Let him step to the music which he hears, however measured, or far away."
—Henry David Thoreau
THE CAST AND CREW
in order of Apperence
"If a man does not keep pace with his companions, perhaps it is because he hears a different drummer.
Let him step to the music which he hears, however measured, or far away."
—Henry David Thoreau
THE CAST AND CREW
in order of Apperence
| Waldo | Ben Damberg |
| Lydian | Katie Thompson |
| Mother | Teri Cadeau |
| Henry | Jim Baratta |
| John | Jayden Rolstone-Kobal |
| Bailey | Justin Ziebarth |
| Deaconess Ball | Maryssa Poderzay |
| Ellen | Angel Imberg |
| Sam Staples | Tim Madzey |
| Townspeople | Alex Haglund, Wynonna Clinton |
| Crew | Ben Frey, Demetri Johnson |
| Directors | Jack Gritzmacher, Jeremy Liimatta |
To all who auditioned, the production team extends a heart-felt "thank you!" To those who were not cast, there are plenty of behind-the-scenes positions still available. If you are interested, contact Mr. G or Mr L. Our first read-thru will take place Monday Dec. 1st in room 238 (Mr. Gritzmacher's room). Scripts will only be issued to those who bring the $50 activity fee (check payable to ISD 2154). |
DESCRIPTION OF CHARACTERS
Waldo—A man with size and charisma. Most important quality: humor. He is not a villain, but a deep-thinking, feeling human being. He was, indeed, like Thoreau himself 14 years before. He must have magic, so that he is almost Godlike on the lecture platform, a man Thoreau looks up to worshipfully. Age: 43.
Lydian—A handsome, patrician woman, with class and quality, and a mature beauty. So much of her role is beneath the surface of the play that it must be an intelligent enough actress to project the meaningful sub-text. Candida-like, she inspires the worship of the younger man and the devotion of her husband.
Mother—Must be a good actress as she plays not merely the exasperation at having such a strange son, but the repressed sorrow of the funeral scene. As truthful a person as you can find . . . fifties or sixty.
Henry—Young, unshaven, 29. We must believe he is constantly THINKING. The only time this role has not worked is when it is played by somebody who is TOO much of a weirdo—he is NOT a nut. He is the sanest man in an insane world. WIT is his major quality, and a sensitivity which makes him hear faster and more clearly than anybody else, and his mind races ahead of the mind of the Universe!
John—Two years older than Henry—but a warm, out-going human being. If this is the most handsome man in your company, it will be doubly effective when he dies—as everybody in the audience should have warmed to him, mentally and physically. He MUST be able to laugh: great, warm, uninhibited laughter.
Bailey—The common man. A true innocent—he must be able to play suspicion at first, then wanning. Must be capable of comedy timing, as he has some of the biggest laughs in the play. Late thirties or early forties. He is not stupid, but a blank slate, which Henry writes upon. Must be one of your best actors.
Ball—Can either be a fat man or a tall, thin one. Be sure he is not a caricature, however. By his own lights, his conduct is all logical and lawful. Fifty perhaps, but solid enough to make him a worthy (rather than a straw-man) antagonist.
Ellen—If she is a breathtaking beauty, we are way ahead of the game—for both brothers should fall in love with her at sight! She must be able to play a combination of innocence and intellectual curiosity. Early twenties.
Sam—This, too, must be an effective actor, this unwilling public servant. In his late forties or early fifties, he should be able to squirm, not be too bucolic. Your best character actor!
townspeople—a wide variety of types . . . enough young men to play soldiers.