AUDITIONS ONE WEEK AWAY!

Auditions for Children of Eden are ONE WEEK away - August 6-8.  

This is the FCOA applefest show - and promises to be an amazing production.  The production team of Ted Smith, Pam Mahle, Marc Holland, Rosie Petulla, Peg Hennessy and Victoria Beals, along with Ben Geibel, have been working to tie loose ends together as we look forward to audition weekend and the eventual casting of the show.

Auditions:
Saturday Aug. 6 - 10am (Youth), 1pm (Teens/Adults)
Sunday  Aug. 7 - 2pm (Youth), 4pm (Teens/Adults)
Monday Aug. 8 - 7pm (General All-Age auditions).

Don't miss out on the chance to be part of a fantastic production at the Barrow-Civic.  See you at auditions

Character Descriptions for Children of Eden

CHARACTER DESCRIPTIONS FOR CHILDREN OF EDEN

These are just some basic notes on the roles in the show.  You will notice I have placed the Storytellers first in the list - this is not by mistake.  Read on!

STORYTELLERS: We are looking for a large ensemble of "Storytellers" of all shapes and sizes and voice types. The Storytellers are the heart of the show and they have many opportunities for solo lines and singing parts.  The music for the show is amazing and it is also fun to sing.   Along with some great movement, the Storytellers are not "just ensemble."   We are also looking for a Children's Chorus to help play Animals and sing as well and provide actors for Young Cain and Young Abel, as well as children in Adam's family line.

This is a great show for families to perform in together and we are looking for a multi-cultural and multi-talented cast of all races, shapes, sizes, voice types and abilities.  

FATHER: Baritone/2nd Tenor  G-A   

Very strong and commanding presence onstage.  Intimidating as well as kind and gentle. Father "learns" how to be a parent as show progresses.
 
ADAM: Tenor  B-A   
Innocent almost childlike at first. Obedient, loving and unquestioning,growing from innocence to fatherhood.
 
EVE: Soprano  G-G  
Inquisitive and daring.Willing to break rules in order to "learn". Ages from innocence to old age during Act 1.
 
CAIN: Tenor D-Ab   
Filled with curiosity and desire to learn more but on his own terms. Determined to go "beyond" like his Mother did. Inner angst and anger leads to murder of Abel.
 
ABEL: Baritone/Tenor B-G   
Obedient like Adam. Innocent and cautious.
 
SNAKE: Small Ensemble Group with Lead Singer  A-G  
Mysterious and sexy. "Bob Fosse" style song and dance number.
 
NOAH: Tenor Ab-Gb  
Obedient and strong. Humorous and loving. We need to empathize with his situation-learns how to make decisions when Father no longer speaks to him.
 
MAMA NOAH: Soprano( belter)  A-A  
Wise and supportive of family and Noah. Has rousing gospel number at end of show that needs to bring the house to it's feet!!!!
 
JAPHETH: Tenor Bb-Ab  
Noah's youngest son who is on love with Yonah.  Romantic, carefree, independent -doesn't care about the " consequence" of loving a daughter from the race of Cain.
 
YONAH: Alto/Soprano-belter  G-Gb
Noah's servant girl, in love with Japheth. Loving,innocent and brave.
 
SHEM: Male,Medium range  
Noah's son
 
AYSHA: Female, Medium range
Shem's wife
 
APHRA: Female, Medium range
Ham's wife
 
HAM: Male, medium range
Noah's son
 

Children of Eden Show Synopsis

We are presenting the synopsis of the show to help people begin to get familiar with the story.   The synopsis is pulled from the wikipedia website.  Similar synopses can be found on the MTI website and the Stephen Schwartz website (links in the sidebar).

ACT ONE.

The play opens with the creation story from the Book of Genesis ("Let There Be"). Eve is drawn to the tree of knowledge, even though Father (the God-character is always addressed as "Father" by the other characters) has warned her to stay away ("The Tree of Knowledge"). Father attempts to distract Adam and Eve by playing a game where Adam and Eve name all the animals ("The Naming"). With his children distracted for the time being, everything is right with the newly-created world ("Grateful Children," "Father's Day," and "Perfect"). Eve, however, still hungers for something more than what she has ("The Spark of Creation"). She meets a snake that tempts her with the fruit from the forbidden tree ("In Pursuit of Excellence"). Eve eats the fruit, meaning that she must be banished from the Garden of Eden ("The End of a Perfect Day" and "Childhood's End").

In a twist from the Genesis tale, Adam is portrayed as torn between two choices: either he can stay with Father in Eden, or he can eat the fruit and be banished with Eve. He chooses to stay with Eve, even though it means leaving the garden forever ("A World Without You"). Adam and Eve are driven out into the surrounding wilderness and have two children, Cain and Abel ("The Expulsion" and "The Wasteland"). Eve realizes that the same fire that led to her eating the fruit is present in her son, Cain ("The Spark of Creation (Reprise 1)"). Cain tells Abel of the problems that Adam and Eve made for them by leaving the garden and says that he intends to find the lost garden ("Lost in the Wilderness").

Adam and Eve find some pleasure in the fact that they have been able to create a life for themselves outside of Eden ("Close to Home"), but this peacefulness is again shattered when Cain says that he has found a ring of stones, proof that they are not the only humans alive; Adam admits that he had seen the ring of stones and the people who live there before but that he had never mentioned it because he was afraid of the potential consequences ("A Ring of Stones" and "Clash of the Generations"). This leads to a fight between Adam and Cain, but when Abel intervenes, he is killed, as Cain attempts to kill Adam but hits Abel instead ("The Death of Abel"). Father decrees that Cain's descendants will always bear a mark for the sin of their ancestor ("The Mark of Cain").

Act I closes with Eve about to die. She delivers a monologue about Cain's departure from the family and the birth of another son, Seth, who has since had children of his own. She then prays that her children and her grandchildren will regain the garden that was lost ("Children of Eden").

ACT TWO

The act opens with "Generations," a list of the many descendants of Cain and Seth, all the way down to Noah and his family, whose story comprises the second act’s plot. Father tells Noah that a storm is coming, so Noah must build a boat ("The Gathering Storm").

Noah has three sons, and two of them, (Shem and Ham), have wives, but his youngest son, Japheth, is unhappy with the wives Noah has tried to obtain for him. Instead, he wishes to marry the servant-girl, Yonah, a descendant of the race of Cain, and Japheth tells this to his surprised family ("A Piece of Eight"); however, Noah will not allow Yonah on the ark. All the animals return so that they can board the ark ("The Return of the Animals" and "Noah's Lullaby"). Japheth comes to say goodbye to Yonah. She sings "Stranger to the Rain," in which she says that she has always faced the problem of being shunned because she bears the mark of Cain. Japheth decides to sneak Yonah onto the ark. Japheth and Yonah sing "In Whatever Time We Have," which tells of their love for each other.

The rain comes, and it keeps raining and raining ("The Flood" and "What is He Waiting For?"). Yonah releases a dove to find dry land ("Sailor of the Skies"). The rest of the family discovers Yonah, and Shem and Ham wish to throw her overboard, but Japheth intervenes. It escalates into a fight, and it is only because Yonah intervenes that one of the brothers is not killed. Noah is unsure as to what he must do. His wife asks him if Father speaks to him anymore, and when Noah answers "No," she tells him, "You must be the father now." Noah has to decide what should be done without God telling him what to do ("The Spark of Creation (Reprise 2)"). 

Noah sings of the difficulties that he has faced in being a father, while at the same time Father sings of the problems he has faced in being a father ("The Hardest Part of Love"). Noah calls the family together ("Words of Doom"). He decides to give Japheth and Yonah his blessing ("The Hour of Darkness"). Then the dove returns and the family again sees the light of the stars. Mama leads the family in the gospel song ("Ain't It Good?"). Father gives humanity the power to control its fate ("Precious Children"). The family sings of the problems they will face and their desire to return someday to the Garden of Eden ("In the Beginning").

My Director letter to the FCOA Board

Why Children of Eden?   Why did I want to direct it?  What do you say to people who tell you "it's not well known enough"?

Below is my letter to the Programming Committee and FCOA Board when I submitted my request to be picked as the Director of Children of Eden.   I am sharing it so you know the depth of passion and knowledge I have for this production; both of which I believe will pour into the show itself.  I also believe you shouldn't be directing a show if you don't have passion for the material.  

I hope you read and find yourself inspired to return to or to join us for the first time on the Barrow-Civic Theatre Stage.  

Ted
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October 29, 2010

Please accept this letter as my desire to direct the musical Children of Eden for the Barrow-Civic Theatre for Applefest 2011.  

It is with great privilege that I put in to direct Children of Eden.  I am excited that it will be presented at the Barrow-Civic Theatre and I believe my previous production experience with musicals supports my passion to direct this show.   I feel that I bring a well-organized approach to directing, along with a critical eye to production quality, experience building and motivating a cast, and putting together a top-notch crew.   In directing previous musicals, I have found attention to detail as well as a unique and creative approach is desirable for a high-quality production; in addition, keeping an eye on budgetary concerns is key as well.

In previous productions I have directed, I have been fortunate enough to bring forth some new and interesting design elements to the Barrow stage, including stage extensions, running fountains & pools on stage, and expanding the visual and spatial impact of the show beyond the “fourth wall” and straight to the audience. It has been my honor to work with the acting community on Sweet Charity, Wizard of Oz, Kiss Me, Kate!, Joseph and the Amazing Technicolor Dreamcoat, 2 by 5, as well as representing the theatre in directing the 50^th Anniversary Gala and currently directing the BCT premiere of White Christmas.

Children of Eden, to quote the MTI website, is “is a frank, heartfelt and often humorous examination of the age-old conflict between parents and children.”   I cannot think of any better theme to address in our society today than that of family relationships.   In fact, I believe that as a theatre community, we are a family and the family for many of our actors, crew, and other volunteers.   The theatre arts inspire us to be communicators, to be supportive, to discover who it we are inside while interacting with those we live with.    From the opening number “Let There Be” where the show and the earth is created before our eyes, Children of Eden examines the emotions and decisions individuals and families make that shape their futures.   Stephen Schwartz has taken a biblical medium and adapted it to appeal to many different audiences, without losing the core meanings and story.   I doubt that anyone could walk away from seeing this show without being touched by the intrinsic story of love, respect, and the choices of life we all must face.

It is not unknown to the theatre that I have been a strong advocate for the Barrow-Civic Theatre to produce Children of Eden.  I have based that passionate support on the subject matter of the show, the opportunities for flexible staging, and the potential wide-spread range of roles, both lead and ensemble, for many in our community.   Having a solid and strong record of success with directing and show production behind me, I strongly feel in my soul that I would be able to bring Children of Eden to the stage in an inspiring and dynamic experience for all involved.   I have always felt a director should be knowledgeable of the show they wish to undertake-not just of the script as written but of the nuances of the writing and music.   I believe I fit that bill.

Children of Eden is, like many musicals, a detailed and ambitious undertaking; many view its chief weakness as being an “unknown” show, little known amongst our patrons and without the “draw” of the better known undertakings.   I embrace the challenge of making this the strength of the show.  I have the privilege of performing in a production of Children of Eden before and thoroughly enjoyed it and found myself immersed in the production.   I can honestly say the script and music are one of the most inspiring for a show that I have been involved with.  Stephen Schwartz, who also is the writer of Wicked, is an accomplished playwright and composer and I find his materials for Children of Eden both relatable and manageable for community theatre.

Children of Eden is played in two acts, with a minimum cast of 11-20 people; however the show is extremely flexible and can accommodate a much larger ensemble cast.   The show is set in multiple settings but lends itself ideally (in my vision) to a single unit set, the concept of which I have had previous success in utilizing onstage at the Barrow-Civic Theatre.   My initial thoughts on stage setting include a “floating” disc supporting the production, along with use of minimal sets, along with scrims and an onstage orchestra.  In addition, there is the opportunity for fluidity in set design to enhance the movement between scenes and utilize the fly system to its fullest capability.   I believe that the show can be designed within a traditional BCT show budget and done in at a level of quality and technique the theatre requires.  I also firmly stand behind my directors notes from the program for Wizard of Oz, in which I said “I believe that community theatre can do professional theatre.”  That single sentence is the driving force behind every moment I spend both on and off stage.

I have designed several shows keeping in mind not only visual impact for our audience, but also balancing the “picture” with the cast of characters on stage, so that they are not overshadowed.   I have always sought ways to utilize sets to their fullest capability without over-complicating the work of the stage crew, while incorporating unique elements and staging in the production.  In two productions, I have been able to utilize materials already owned in stock, thereby not spending a set budget and being able to utilize those monies for specialty drops or rental sound equipment) and staying within budget.

As with any of the shows I have previously directed, I would anticipate beginning production work on the show early in the spring, forming a production crew as soon as I can, and establishing a blog for the show (which I began with Wizard of Oz and have continued with great success with subsequent shows). My goal would be to have set designs completed by late spring and actually begin constructing the set in the warehouse (around other productions), to maximize time and space once the stage is free for the production to move into the theatre. 

I also strongly expect to be able to attract a first-class production crew, as I have done for previous productions I have helmed and directed.  It would also be my goal to continue offering opportunities for technical experience to both newcomers and regional college students studying the theatre arts.   The inclusion of these individuals, who wish to learn new skills, to be mentored in a first-class facility, and to put their classroom knowledge to actual use has been very successful in previous productions I have directed and I would continue to seek out those opportunities.

As it is truly a privilege and honor to direct in a facility like the Barrow, I am confident that if I were chosen as director for Children of Eden, the Barrow-Civic Theatre would be pleased with the resulting production quality and impression on our patrons and community.

Thank you very much,

Ted Smith