What's It All About?
Set in the early 1940s, Arsenic tells the story of newspaper drama critic Mortimer Brewster, a normal, run‐of‐the‐mill guy who is anxious to marry his fiancee, the girl‐next‐door and a minister’s daughter, Elaine. But standing solidly between Mortimer and matrimonial bliss isthe wackiest, weirdest family tree that ever grew! His two sweet aunts, Abby and Martha have developed murder as their favorite hobby. Out of a twisted sense of sympathy, they regularly poison lonely old men with a mixture of arsenic and elderberry wine and then bury them in the cellar. Cousin Teddy sports pince‐nez and a handlebar moustache and regularly charges up San Juan Hill! And horrid brother Jonathan has just arrived from an asylum with a new face (ala Boris Karloff) and a sinister side‐kick named Dr. Einstein.
It’s “Home Sweet Homicide” as Mortimer tries to thwart the police (a kindly but goofy bunch), conceal a corpse, curtail anymore killing, and convince Elaine that a wedding with a man who is drowning in such a murky gene pool would lead to nothing but woe. Arsenic and Old Lace is a classic
comic melodrama.
It’s “Home Sweet Homicide” as Mortimer tries to thwart the police (a kindly but goofy bunch), conceal a corpse, curtail anymore killing, and convince Elaine that a wedding with a man who is drowning in such a murky gene pool would lead to nothing but woe. Arsenic and Old Lace is a classic
comic melodrama.
Cast List...
ABBY BREWSTER (Julia Friedrichsen): One of two elderly sisters who live in one of the oldest houses in Brooklyn and have all their lives. Of the two sisters, Abby is clearly the more dominant (though not dominating, in any way), and directors often want to see the actor who reads for this role display an understanding
of her dominance. Do not play a stereotypical old woman as you read for Abby, and don’t play her as if she is your age. You might want
to try out a character voice if asked to read Abby. A churchgoer with an odd sense of Christian duties, old‐fashioned, kindly, calm.
Both Abby and her sister, Martha, are happy, healthy, lucid, and spry. Show me age with some vitality. Something else to keep in mind, both
of the aunts have AWESOME one‐liners (some of which are in sides) that will just send shockwaves of laughter through the audience. Find them. They’re there. Try to deliver them and get a laugh. (Has approximately 275 lines) This is a major role.
of her dominance. Do not play a stereotypical old woman as you read for Abby, and don’t play her as if she is your age. You might want
to try out a character voice if asked to read Abby. A churchgoer with an odd sense of Christian duties, old‐fashioned, kindly, calm.
Both Abby and her sister, Martha, are happy, healthy, lucid, and spry. Show me age with some vitality. Something else to keep in mind, both
of the aunts have AWESOME one‐liners (some of which are in sides) that will just send shockwaves of laughter through the audience. Find them. They’re there. Try to deliver them and get a laugh. (Has approximately 275 lines) This is a major role.
MARTHA BREWSTER (Claire Vetter): The more submissive (but not submitting) of the two sisters. She has a backbone and should not be played as a weakling. She and her sister have lived together for many, many years. Their personalities and pecking order around each other have been firmly rooted for eons. Many of Martha’s qualities are mirrored in her sister. The directors want the actor playing Abby to show them that Abby is different from Martha. Attack the role with truth but without stereotypes. Old‐fashioned, very conventional in terms of how people should behave in public despite her private
behavior. (Has approximately 190 lines) This is a major role.
behavior. (Has approximately 190 lines) This is a major role.
MORTIMER BREWSTER (Max Langbehn) (Male, low to mid‐30’s): A nephew of Abby and Martha, and brother to both Teddy and Jonathan Brewster, Mortimer is a nice guy, one who is comfortable with himself despite everything and quick on his feet in terms of assessing situations and making decisions. He’s kind to his aunts, genuine and teasing with his fiancée. He’s a theater critic who hates his job because he has to see so many lousy shows, and he’s a novice writer of nonfiction ‐‐ an exceptionally intelligent guy who doesn’t have proper outlets for his talents. As a result, he finds himself fuming with criticism for all things both in and outside his work life. Even so, he is a likable guy, and should be played as such. His care and affection for his dear aunts are immediately evident in the opening encounters he has with them. He’s also deeply in love with Elaine Harper, a neighbor of his aunts. She’s an exceptionally rare find for him, and he’s quickly realized that she’s the one who he cannot allow to slip away.
Some of Mortimer’s natural intellect slips out in a few of his opening lines. However, his real talents are revealed as he frantically thinks on his feet in order to preserve the best possible outcome for his beloved aunts once he realizes the full extent of their shenanigans. This selfless dedication to his family should exist as further evidence of his genuine decency. The actor who seeks this role must be comfortable to utterly let go from day one of the rehearsal process. Mortimer controls the show. If Mortimer is weak, the show will not work. Directors like to see absolute, raw energy in audition. As soon as the first body is discovered, Mortimer must be electrified. He carries that energy all the way through the duration of the show, with the possible exceptions of when he is tied up and when he departs with Elaine at the close of Act 3. Mortimer must be played with an apt understanding of physical comedy, perfection of timing in dialog delivery, likability in presence, “overemphasis” in presentation, and an ability to display agility in navigating the rapidly changing circumstances of each scene. He can be arrogant. He thinks he’s above the plays he reviews and doesn’t see Elaine’s point that the plays often humanize him. Also, he can’t imagine that his brother Jonathan is up to no good – until Jonathan turns on him. AND, he can be manically excitable, given to big, comic pauses and funny surprised faces as the plot unfolds. One of the world’s best comic characters. (Has approximately 290 lines) This is a major role.
Some of Mortimer’s natural intellect slips out in a few of his opening lines. However, his real talents are revealed as he frantically thinks on his feet in order to preserve the best possible outcome for his beloved aunts once he realizes the full extent of their shenanigans. This selfless dedication to his family should exist as further evidence of his genuine decency. The actor who seeks this role must be comfortable to utterly let go from day one of the rehearsal process. Mortimer controls the show. If Mortimer is weak, the show will not work. Directors like to see absolute, raw energy in audition. As soon as the first body is discovered, Mortimer must be electrified. He carries that energy all the way through the duration of the show, with the possible exceptions of when he is tied up and when he departs with Elaine at the close of Act 3. Mortimer must be played with an apt understanding of physical comedy, perfection of timing in dialog delivery, likability in presence, “overemphasis” in presentation, and an ability to display agility in navigating the rapidly changing circumstances of each scene. He can be arrogant. He thinks he’s above the plays he reviews and doesn’t see Elaine’s point that the plays often humanize him. Also, he can’t imagine that his brother Jonathan is up to no good – until Jonathan turns on him. AND, he can be manically excitable, given to big, comic pauses and funny surprised faces as the plot unfolds. One of the world’s best comic characters. (Has approximately 290 lines) This is a major role.
TEDDY BREWSTER (Isaac Seaton): Nephew of the sisters, brother to Mortimer. He thinks he’s Theodore Roosevelt. Actor playing the role has to convince audience that he is Roosevelt. Several times in play, Teddy runs up a flight of stairs and screams “CHARGE!” as if he is going up San Juan Hill again. He’s a wonderful acting opportunity. Show me what you can do. A fun role. Google Teddy Roosevelt to hear his voice. (Has approximately 60 lines) This character is on stage much of the time. This is a larger supporting role.
JONATHAN BREWSTER (Abe Wieland): Jonathan is a sociopath, a shady, creepy, unpredictable, short‐tempered, violent murderer -- a felon on the run. As a child, he “tortured” his brother Mortimer and worms. He’s the antagonist, and he does an amazing job at it. He’s been through numerous plastic surgeries to
alter his appearance so the police can’t ID him. The actor who seeks this role should display a menacing presence in audition. He harbors a very deep‐seated animosity for Mortimer. Directors in auditions want to see a Jonathan who is sedate and looming in one instant, and wildly aggressive and animalistic in the next. While in control, he can be petty. (Has approximately 190 lines) This is a larger supporting role.
alter his appearance so the police can’t ID him. The actor who seeks this role should display a menacing presence in audition. He harbors a very deep‐seated animosity for Mortimer. Directors in auditions want to see a Jonathan who is sedate and looming in one instant, and wildly aggressive and animalistic in the next. While in control, he can be petty. (Has approximately 190 lines) This is a larger supporting role.
ELIANE HARPER (Symmone Gauer): A deceptively interesting character. She’s the daughter of a minister. Yet, she really doesn’t play well the role of a minister’s daughter. She’s a little bit wily, and sassy, and absolutely sharp. She is refinement mingled with the realities of a life that’s been lived a bit beyond what might
be expected given her upbringing. The actor seeking this role will show genuine zest and spunk. She will also need to display a wonderful sense of versatility. We witness Elaine progress from casual happiness, to utter bliss , to twisted confusion, to stark fear, to godsend relief, and back to casual
happiness again. Truly, this role will be a challenge to perfect. The actor who seeks to take on Elaine must show tremendous versatility in audition. Audience (and directors) need to “buy” every moment of Elaine. The actress who gets this role should be good at transitions. From the audition, it should be clear who she is and why Mortimer is willing to settle down with this gal. She is self confident, quick witted, and "surprisingly smart for a minister's daughter." She engages in witty, flirty banter with Mortimer and shows a great deal of patience with him. (Has approximately 100 lines) This is a great supporting role.
be expected given her upbringing. The actor seeking this role will show genuine zest and spunk. She will also need to display a wonderful sense of versatility. We witness Elaine progress from casual happiness, to utter bliss , to twisted confusion, to stark fear, to godsend relief, and back to casual
happiness again. Truly, this role will be a challenge to perfect. The actor who seeks to take on Elaine must show tremendous versatility in audition. Audience (and directors) need to “buy” every moment of Elaine. The actress who gets this role should be good at transitions. From the audition, it should be clear who she is and why Mortimer is willing to settle down with this gal. She is self confident, quick witted, and "surprisingly smart for a minister's daughter." She engages in witty, flirty banter with Mortimer and shows a great deal of patience with him. (Has approximately 100 lines) This is a great supporting role.
DR. EINSTEIN (Briggs Tople): Mousey companion and plastic surgeon to Jonathan. Utterly submissive to Jonathan, but knows how to (attempt to) control him. A good guy (or girl) whose life has gone bad. Given a few different decisions along the way, we should believe that he (0r she) would have become a wonderful,
upstanding citizen. The audience truly has to sympathize with this guy. Script says Einstein is “ ratty in appearance. His/her face wears the
benevolent smirk of someone who lives in a pleasant haze of alcohol. There is something about the doctor that suggests the unfrocked priest/nun.” Einstein should not be played overly intoxicated. IT WOULD BE REALLY NICE IF THE ACTOR IN THIS ROLE COULD SPEAK WITH A BIT OF A BELIEVABLE GERMAN ACCENT. (This role is meant to be male but could easily be switched to female) (Has approximately 120 lines) This is a great supporting role.
upstanding citizen. The audience truly has to sympathize with this guy. Script says Einstein is “ ratty in appearance. His/her face wears the
benevolent smirk of someone who lives in a pleasant haze of alcohol. There is something about the doctor that suggests the unfrocked priest/nun.” Einstein should not be played overly intoxicated. IT WOULD BE REALLY NICE IF THE ACTOR IN THIS ROLE COULD SPEAK WITH A BIT OF A BELIEVABLE GERMAN ACCENT. (This role is meant to be male but could easily be switched to female) (Has approximately 120 lines) This is a great supporting role.
OFFICER O’HARA (Kyle Ireland): Good‐natured and well‐intentioned but annoying. O’Hara really doesn’t mean to come across as annoying as he does. He is on very good terms with the aunts. The actor seeking this role needs to plainly display the nagging, persistent drive that’s kindled within him once he discovers
that Mortimer is a famous dramatic critic. O’Hara also requires a fairly believable portrayal of heavy intoxication. It’s possible to go too far with this, and it’s certainly possible to come across totally inappropriately. Try to find some balance. Bottom line, O’Hara
is full of life and must be played big. (Has approimately 55 lines) Nice supporting role
that Mortimer is a famous dramatic critic. O’Hara also requires a fairly believable portrayal of heavy intoxication. It’s possible to go too far with this, and it’s certainly possible to come across totally inappropriately. Try to find some balance. Bottom line, O’Hara
is full of life and must be played big. (Has approimately 55 lines) Nice supporting role
LT. ROONEY (Dan Sharp): This is a fun role and a complicated one. Rooney is the man in charge at the local police precinct. Very early on in the show we gain a pretty strong understanding of the caliber of men and women he has to manage under his watch. As such, he’s forced to run a pretty tight ship, but even though Rooney has very little patience for blunders and mistakes, most of which he deems inexcusable, he will, at the end of the show, refuse to consider some important evidence that is pretty much staring him in the face. The actor who seeks this role will be able to display a strong, commanding presence. He’s loud, decisive, and clearly in‐charge of every situation in which he finds himself – even if he isn’t. (Has approximately 35 line all in the last scene of the play) A very nice smaller role.
OFFICER BROPHY (Brandon Heim): The first police officer we meet in the show, Brophy is a thoroughly likable sort of fellow. (Has approximately 35 lines) Nice smaller role.
OFFICER KLEIN (Sarah Malsom): Klein is not good at cleaning guns. Also, likable. (has approximately 30 lines) Nice smaller role.
OFFICER KLEIN (Sarah Malsom): Klein is not good at cleaning guns. Also, likable. (has approximately 30 lines) Nice smaller role.
DR. REV. HARPER (Hamza Jamal): We see Elaine’s father only in the opening scene of the show (so, if you’re looking for a role that won’t require you to go to a ton of rehearsals, while you build grades or apply to college, say you’re interested in being the minister). Dr. Harper is a doctor of divinity, minister of the church next door to the Brewsters. The Brewster sisters have seen many ministers come and go over the years, but they seem to be particularly fond of Dr. Harper. Harper displays an inexhaustible sense of kindness for the Brewster sisters, but his affection for them has suffered a bit in recent months as his daughter has began dating their nephew, Mortimer. Harper worries that Mortimer is perhaps not the best option for his child. The actor who seeks this role should
display a sense of polish, refinement, and mild‐mannered sensitivity towards others. Still, he’s no pushover. He feels very much at ease giving voice to his concerns for his daughter and her relationship with Mortimer. (Has approximately 35 lines all in the first scene of the show)
display a sense of polish, refinement, and mild‐mannered sensitivity towards others. Still, he’s no pushover. He feels very much at ease giving voice to his concerns for his daughter and her relationship with Mortimer. (Has approximately 35 lines all in the first scene of the show)
MR. GIBBS (Jacob Smilloff): This is a very quick part, but it’s VITAL to plot. Gibbs is the quiet old man who comes to the Brewster home looking to rent a room. His dialog, short as it is, is very revealing. It speaks to the sort of education and background he’s had. He’s a little gruff, but he warms up fairly quickly upon being offered a treat he hasn’t had since he was a child. The actor in this role has to display stark fear once Mortimer frantically chases him from the clutches of his aunts. Again, it’s really a nice bit part. It offers some challenges but is very brief. This is a good role to get your feet wet with. (Has approximately 15 lines) A small role.
MR. WITHERSPOON (Dominic Meyers): Superintendent of Happydale Sanitarium. Has a gentle, reserved dynamic. Has seen it all with regards to human behavior. Very little catches Witherspoon off‐guard. This too, is a small role. Great to get your feet wet. (Has approximately 20 lines all in the last scene of the show)
MRS. LILLIAN RIVERDALE (Peyton Johnson): One of the members of the Ladies Wednesday Forum that meets at the Brewster House.
MRS. NELLIE VANDERGRAFF (Sydney Kost): One of the members of the Ladies Wednesday Forum that meets at the Brewster House.
MRS. RUTH DAGOSTINO (Maria Jenkins) Another of the members of the Ladies Wednesday Forum that meets at the Brewster House.
MRS. MINNIE CALHOUN (Sunni Kaven): Another of the members of the Ladies Wednesday Forum that meets at the Brewster House.
READ THROUGH IS MONDAY AFTER SCHOOL IN C122. Schedules and Scripts will be available at that time.
AUDITION TIPS
1. Act. Don’t just read. -- Remember, you are auditioning to act in a play. Yes, there are times when simply being a cute little kid is enough, but for the most part, we are looking for actors. So many people stand before the director and read the lines they were given that when someone really tries to act out the part they make a big impression. And that’s what you want…to stand out from the crowd.
2. Learn a little bit about the play you are auditioning for. -- Aberdeen Central Theatre doesn’t typically go for cutting edge theater productions. Most of the plays we chose have been around for many years. Read the information about the play, the characters, etc. listed above. Search the internet for information about the play (not the movie). The more you understand the play and the characters, the more you will be able to do with the piece of script you will be given to audition with.
3. Take the time you need to prepare. -- Remember Rule #1 – Act. Don’t just read. Once you select your audition side, take some time to get familiar with the part you have selected to audition with. We just want to know that you have the ability to actually act. If you did your research and learned a little bit about the play, you can start to make some decisions about how to play the part during your audition.
We really like to see that you have thought about the character, and how they would behave if they were speaking the lines you were given. Think about their mood, the situation they are in, and who they are talking with. These things all play into how that person would act. You may not get the interpretation completely right, and that’s OK. We want to see that you thought about your character, and that you can do something with the part.
4. Slow down and enunciate every word. -- One sure sign of nervousness is speeding through the lines. When you talk too fast it is harder to make sure each word is understood, and the emotion that should accompany those words does not come through. Slow down and make sure you say each word clearly.
Think about the way people really speak. For most people the pace is more relaxed, and there are pauses sprinkled throughout the conversation. Remember, we don’t want you to simply read the lines. We want you to speak the lines like your character is a real person having a real conversation.
5. If you make a mistake, battle though it. -- Even the best actors occasionally make mistakes on stage. But good actors know how to work through their mistakes without letting the audience realize that a mistake was made. One of the things we are looking for is poise. We want to know how you will react when things don’t go as rehearsed. If you fall apart during an audition, it doesn’t give the director much confidence that you will react well on the nights of the show.
If you do make a mistake, don’t apologize. Don’t ask to start over. Just pick up from where the mistake was made and push forward.
6. Don’t be too cockey. -- No one is guaranteed a spot in a play. It doesn’t matter what other roles you have had, or what other theaters you have worked with. If we decide you are not the right fit for the role, you will not get the part. If you have good acting experience, and you audition well, you greatly increase your chances of getting cast. If you come across as being someone that is hard to work with, it makes it much more difficult for the director to give you a part. After all, who wants to take on a headache? I have seen quite a few young actors walk into an audition because they just assume they will be given a part, and their audition is flat and uninspiring. Then they are shocked when they didn’t get a major role in the play. If you are taking the directors time to go through the audition, you need to give it your best. Every time, with every role. I have also seen many high school actors do very well if the one part they want and do much worse on the parts they do not want. What happens if you don't get the part you wanted and you chose to not do well on the other roles on purpose? You just might not get a part, so do well on all parts just in case the director sees you in a different role than you see yourself. If you have acting experience, we will know from the information on your audition form. And we do like to see some previous experience, but again, that does not guarantee you a part in our plays. It is not unusual that a person with no previous acting experience gets a good part because they blew us away in the auditions.
7. Audition often. -- One of the biggest obstacles between you and getting cast in a play is your nervousness. Nervousness makes you more timid. It makes you rely on the script in your hand too much, so you end up reading and not acting. It makes you talk too fast. It make you less memorable and more likely to get lost in the crowd. Be prepared and this should not happen. The best way to overcome your nervousness is to practice. That means auditioning more.
If you don’t get the part, shake it off as a learning experience, and when the next show roles around, go out and audition again. The more you go through the process, the easier it becomes.
8. Accept any role given. -- It is in your best interest to accept any role that is given to you by the directors, even if it is a much smaller role than you wanted. This is especially true if you are new to the theatre program. Many times the directors see something in you at the auditions that they want to see more of and so you might be given a smaller role so the directors can see what you can do with it. Take this opportunity to show off your talent. This show is a great vehicle for this. Many of the supporting or even smaller roles are great character roles for actors to show off their craft. Take these roles and commit to making them the best they can be.
THE BEST ADVICE -- Be Prepared! Know the audition side you are using. Know what is happening in the scene and why it is in the play. That way, you can play the role with the right attitude and create a believable character that will be remembered by the directors!
1. Act. Don’t just read. -- Remember, you are auditioning to act in a play. Yes, there are times when simply being a cute little kid is enough, but for the most part, we are looking for actors. So many people stand before the director and read the lines they were given that when someone really tries to act out the part they make a big impression. And that’s what you want…to stand out from the crowd.
2. Learn a little bit about the play you are auditioning for. -- Aberdeen Central Theatre doesn’t typically go for cutting edge theater productions. Most of the plays we chose have been around for many years. Read the information about the play, the characters, etc. listed above. Search the internet for information about the play (not the movie). The more you understand the play and the characters, the more you will be able to do with the piece of script you will be given to audition with.
3. Take the time you need to prepare. -- Remember Rule #1 – Act. Don’t just read. Once you select your audition side, take some time to get familiar with the part you have selected to audition with. We just want to know that you have the ability to actually act. If you did your research and learned a little bit about the play, you can start to make some decisions about how to play the part during your audition.
We really like to see that you have thought about the character, and how they would behave if they were speaking the lines you were given. Think about their mood, the situation they are in, and who they are talking with. These things all play into how that person would act. You may not get the interpretation completely right, and that’s OK. We want to see that you thought about your character, and that you can do something with the part.
4. Slow down and enunciate every word. -- One sure sign of nervousness is speeding through the lines. When you talk too fast it is harder to make sure each word is understood, and the emotion that should accompany those words does not come through. Slow down and make sure you say each word clearly.
Think about the way people really speak. For most people the pace is more relaxed, and there are pauses sprinkled throughout the conversation. Remember, we don’t want you to simply read the lines. We want you to speak the lines like your character is a real person having a real conversation.
5. If you make a mistake, battle though it. -- Even the best actors occasionally make mistakes on stage. But good actors know how to work through their mistakes without letting the audience realize that a mistake was made. One of the things we are looking for is poise. We want to know how you will react when things don’t go as rehearsed. If you fall apart during an audition, it doesn’t give the director much confidence that you will react well on the nights of the show.
If you do make a mistake, don’t apologize. Don’t ask to start over. Just pick up from where the mistake was made and push forward.
6. Don’t be too cockey. -- No one is guaranteed a spot in a play. It doesn’t matter what other roles you have had, or what other theaters you have worked with. If we decide you are not the right fit for the role, you will not get the part. If you have good acting experience, and you audition well, you greatly increase your chances of getting cast. If you come across as being someone that is hard to work with, it makes it much more difficult for the director to give you a part. After all, who wants to take on a headache? I have seen quite a few young actors walk into an audition because they just assume they will be given a part, and their audition is flat and uninspiring. Then they are shocked when they didn’t get a major role in the play. If you are taking the directors time to go through the audition, you need to give it your best. Every time, with every role. I have also seen many high school actors do very well if the one part they want and do much worse on the parts they do not want. What happens if you don't get the part you wanted and you chose to not do well on the other roles on purpose? You just might not get a part, so do well on all parts just in case the director sees you in a different role than you see yourself. If you have acting experience, we will know from the information on your audition form. And we do like to see some previous experience, but again, that does not guarantee you a part in our plays. It is not unusual that a person with no previous acting experience gets a good part because they blew us away in the auditions.
7. Audition often. -- One of the biggest obstacles between you and getting cast in a play is your nervousness. Nervousness makes you more timid. It makes you rely on the script in your hand too much, so you end up reading and not acting. It makes you talk too fast. It make you less memorable and more likely to get lost in the crowd. Be prepared and this should not happen. The best way to overcome your nervousness is to practice. That means auditioning more.
If you don’t get the part, shake it off as a learning experience, and when the next show roles around, go out and audition again. The more you go through the process, the easier it becomes.
8. Accept any role given. -- It is in your best interest to accept any role that is given to you by the directors, even if it is a much smaller role than you wanted. This is especially true if you are new to the theatre program. Many times the directors see something in you at the auditions that they want to see more of and so you might be given a smaller role so the directors can see what you can do with it. Take this opportunity to show off your talent. This show is a great vehicle for this. Many of the supporting or even smaller roles are great character roles for actors to show off their craft. Take these roles and commit to making them the best they can be.
THE BEST ADVICE -- Be Prepared! Know the audition side you are using. Know what is happening in the scene and why it is in the play. That way, you can play the role with the right attitude and create a believable character that will be remembered by the directors!