On With The Show adult auditions - Information for pre-audition workshops, audition dates and registration

BATS On With The Show Logo

If you are an adult aged 18+ and would like to join us to perform in our revue On With the Show - A Musical Theatre Roulette, here is the information you need about auditions.

The show will be performed at The Haymarket in Basingstoke on Friday 17 and Saturday 18 May 2024.


ACCESS AUDITION RESOURCES ONLINE: MEMBERS AREA

You must be a paid-up member to be able to access audition materials and the online audition form.

Access these resources by logging into your member account on the BATS website. If you are a new member, pay your membership online with a debit or credit card to gain instant access your account. Annual membership is £25 and runs from 1 July - 30 June.

AUDITION PACK and Outline rehearal Schedule

The audition pack provides more information about the auditions.

Cast will generally be called for rehearsal every Monday and Wednesday evening and on some Sundays.  View the outline rehearsal schedule.


Welcome talk

It is not mandatory to attend in order to audition:
Date: Mon 8 January 2024: 7.30pm – 10.00pm
Venue: Christ Church, Reading Road, Chineham, RG24 8LT
What will happen:
- We’ll outline the show/concept and share the ‘set’ list and the creatives who will be working on each number.
- Group singing and dance (ensemble audition routine) - so wear clothing/shoes you can move in!

 

Pre-audition workshops

You'll need to attend at least one pre-audition workshop to be taught the ensemble audition dance (everyone) and up to three other dance routines (optional). You can also book an optional individual 10-minute singing session with the musical director. You do not need to register to attend a pre-audition workshop. Though you’ll need to pre-book for an individual singing slot with the MD (see below).

Dates: Wed 10, Mon 15, Wed 17 January 2023

Timetable: Each pre-audition session will follow the same format:
7:30pm Ensemble Singing
8:00pm Movers Audition Routine (everyone must learn)
8:45pm Dancers Audition Routine (learn if you want to be considered as a dancer)
9:30pm Tap Audition dance (learn if you want to be considered as a tapper)

*Individual singing slots will run 8:00pm - 10:00pm. One session per person (additional sessions depending on availability). Book via the Show Manager at a pre-audition session (or email batsshowmanager@gmail.com)

Venue: Christ Church, Reading Road, Chineham, RG24 8LT

 

Auditions

The online audition form must be submitted by 11.59pm on Monday 14 January 2024.

Date: Sat 20 Jan: 9.45am (warm-up) - 4.00pm
Venue: Market Chambers, Church Street, Basingstoke, RG21 7QE

Date: Sun 21 Jan: 10.00am - 4.00pm
Venue: Ramsdell Village Hall, Baughurst Rd, Tadley RG26 5RA

Performance Fee

If you are successfully cast in the show, a performance fee of £50 is payable no later than 20 April. You can pay in instalments - just talk to us to request this.

Joseph and The Amazing Technicolor Dreamcoat Review, Nov 2023 - Basingstoke Gazette

Joseph and The Amazing Technicolor Dreamcoat is an absolute classic and BATS hit every note perfectly.

Andrew Lloyd Webber's musical is an absolute hit, it's safe to say most of us can recite the lyrics of at least one song thanks to its popularity with school drama departments. If your school didn't put on a show, the choir probably did its own rendition of Any Dream Will Do during assembly.

Every year BATS effortlessly brings the West End to The Haymarket, and Joseph and the Amazing Technicolor Dreamcoat is no exception. As expected, the show was a joy to watch, with colourful costumes, impressive singing, hilarious characters and expertly choreographed dancing.

The musical follows the Bible story of Jacob's favourite son Joseph, played by David Honeywell, and his eleven brothers.

It is a fun tale with wacky characters and brilliant songs, while also dealing with important themes of growing up, jealousy and forgiveness

BATS bought back the creative duo of Louise Travis (director and choreographer) and Jonathan Eiø who were behind the production of Rent in May to deliver the brilliant production.

The simple staging of bleacher steps with an impressive pyramid means all the focus is on the costumes, singing and dancing.

With more than 40 people on the stage, the performance is a musical extravaganza - it's hard to know where to look because it's all just so brilliant.

This year marks the first time in BATS' 60-year history that it has put on a relaxed performance. On November 15, the group turned down the volume, reduced the harsh lighting and altered the choreography to make the performance as accessible as possible. 

Despite the changes, the performance was as brilliant as ever and it was more magical knowing that some members of the audience were experiencing theatre for the first time thanks to the adaptations.

Megan Stanley
Basingstoke Gazette

Joseph and The Amazing Technicolor Dreamcoat Review, Nov 2023 - Retiring in Style

There’s just so much to love about BATS’ latest production, Joseph and The Amazing Technicolour Dreamcoat. It wasn’t just the dream coat that was amazing and technicoloured – this was a show full of colour, dance, laughter and eccentricity which had its audience totally engrossed and thoroughly entertained. If the main purpose of a show is to entertain, then the standing ovation at the end of Tuesday’s opening night, proved BATS had, once again, delivered.

The production was directed and choreographed by Louise Travis, with Luannsa Goodman as her co-choreographer and Jonathan Eiø as Musical Director. Louise and Luannsa were fortunate in having some superbly talented dancers to bring their choreography to life; in addition to the nifty footwork, I must make mention of what the judges on Strictly Come Dancing like to call “armography” which made the dancing even more watchable.

The costumes, as well as being of technicolour brilliance, were a fascinating mixture of styles, ancient and modern, making this Joseph production more edgy and up-to-date than some I have seen. Super-fast costume changes must have been required as various cast members were taking on several roles but nobody appeared to miss a step.

Every actor who plays Joseph puts a slightly different spin on the part and David Honeywell played him as a gentle soul seemingly unaware of the jealousy his thoughtless tales of his egocentric dreams were creating among his brothers. His relationship with Jacob, helping his father “live his youth again” in the early scenes was especially poignant, showing the audience just why Joseph was Jacob’s favourite son. During his rendition of “Close Every Door to Me” even the most excitable of the mainly young audience fell silent.

Ranged against “poor, poor Joseph” were the other eleven brothers. While the strength of the brothers mostly lies in their unity, they were all the stronger for their individuality. I only wish I could name them all personally because they were a brilliant Band of Brothers. James Young (Reuben - One More Angel in

Heaven, with a bevy of wives joining in the fun), Adrien Nortier (Simeon - Those Canaan Days) and Harrison Crangle (Judah - Benjamin Calypso) took the lead in three of the show’s most popular group songs. Best of all the brothers’ interpretation of Those Canaan Days, bewailing the fate that had befallen them since they had betrayed Joseph, supposedly to a life of servitude, was a standout performance. Their excellent characterisation and faultless harmonies won them the loudest applause of the night.

One of the three narrators, Kirsty Kingham, was unable to perform on the opening night, leaving Laura Newborough and Eronwy Selwyn to carry the story-line which must have been a considerable challenge. It is a tribute to them both that they carried it off so harmoniously.

The children were a delight and extremely well-rehearsed, taking obvious pride in their performance. Team Lloyd was on stage on Tuesday but I am sure Team Webber will have been equally charming.

As a reviewer, I had a great seat in the middle of the stalls (thank you, BATS!) but part of me wanted to be up in the Circle watching from on high as the story unfolded, so that I could get a better, more all round view of the action. Boy, was it busy! This was very much an “ensemble show” with most of the cast on stage for much of the time. From my seat in the stalls, this meant that some of the principal performances lacked the focus that their roles deserved. For example, the sequence with Potiphar, (well played by Benedict Kennedy) and Potiphar’s wilful wife (equally well played by April Fost-Evans) lost some of its impact because my eyes were irresistibly drawn to the startling choreography of the accompanying dancers (was it just me or was this reminiscent of “Cabaret”?) Even Pharaoh, played very successfully for laughs by Ian “Spud” Smith, started off his performance at the back of the stage where he, too, was partly obscured by the dancers in front of him. Up in the Circle, I would have seen them all more clearly and been able to enjoy their performances even better.

Incidentally, Wednesday evening was a “relaxed” performance, a first for BATS. As one of the governors at a special educational needs school, I really appreciate the society’s acknowledgment that absolutely everyone deserves the chance to experience live theatre. The cast and crew of Joseph played this for laughs, creating a real party atmosphere, a theatrical adventure to give pleasure to everyone. Their boundless energy and exuberance were totally infectious, so that everyone left the theatre with a smile on their face. Well done, BATS!

Jaqui Ball
Retiring in Style

Joseph and The Amazing Technicolor Dreamcoat Review, Nov 2023 - National Operatic and Dramatic Society (NODA)

SET: The set was two sets of bleachers that moved apart to make an entrance/exit at the rear of the stage. The backdrop being a technicolour brightly lit pyramid of colour. The use of the stage in this way made room for the large cast. The focus was therefore on lighting and costumes. 

COSTUMES: Costumes were fantastic, brightly coloured and varied in style from traditional biblical to modern and all were vibrant, well fitting and suited to their characters. There must have been some very quick changes due to doubling up of characters and scene changes. The narrators were in black and this was a good contrast to the colourful characters within the story.

Joseph’s coat was indeed amazing and the 29 colours were displayed in full glory in one of the cleverly choreographed dance routines.

THE PRODUCTION: Although this was a relaxed performance with slightly reduced sound volume and some adaptations to the script and lighting, it did not diminish the energy, exuberance and enthusiasm of the cast who worked hard and kept the pace up throughout the show. There was an almost party atmosphere during this sumptuous and fun filled production. All the performances oozed with personality and a certain amount of light-hearted mischief, its almost impossible to single out any individual. However, Ian ‘Spud’ Smith as Pharoah deserves a special mention, particularly as he clearly relished the role and his Elvis number was simply joyful.

The music provided by the live musicians under the direction of Jonathan Eio was never less than perfect and this complemented the tuneful singing of the cast. The intricate choreography from Director, Louise Travis and co-choreographer Luannsa Goodman was first class, varied in style and executed with precision. This biblical story was told with lightness and humour but there were also serious, important themes running through as well, such as sibling rivalry and the perils of greed and pride.

Well done BATS on making this theatrical experience inclusive and therefore open to an audience who may have been enjoying live performance for the first time. 

Chris Horton
District 14 Regional Representative
National Operatic and Dramatic Society (NODA)

Joseph and The Amazing Technicolor Dreamcoat Review, Nov 2023 - It's All An Act

I had the unique opportunity to attend a rehearsal of Joseph and The Amazing Technicolor Dreamcoat by the outstanding cast of Basingstoke Amateur Theatrical Society and directed by Louise Travis. Despite being a rehearsal, the performance was already incredible, showcasing raw talent that promises to be even more breath-taking with the addition of music, lights and scenery.

Highlights

The Potiphar Scene brought a fascinating clockwork orange vibe, adding a unique touch to the production.

The integration of narrators with the characters, particularly the brothers, was a brilliant choice, providing a fresh perspective on the storytelling.

The choreography was outstanding, effectively utilising the space and engaging the audience.

The well-rehearsed children added a delightful dimension to the production, contributing to a great overall sound.

Character Performances

Joseph: While well-sung, there seemed to be a bit of holding back, and I wished for more depth in the portrayal of light and dark throughout the performance as Joseph goes on a rollercoaster of a journey.

Jacob: Though lively, I felt he appeared a tad too sprightly for a father of 12 sons, particularly in the dance numbers. I understand the need for the involvement especially within the dance numbers but didn’t believe the age of the character.

Pharaoh: Surprisingly kind, lacking the expected arrogance, which offered an interesting take on the character. Working more as a crowd pleaser than a ruler.

The Potiphar’s: Potiphar’s ‘roar’ was appreciated, along with the aggressive nature that was to be expected with this character and Mrs. Potiphar effectively conveyed discomfort and tension in her scenes with Joseph and the audience.

Group Performances

The brothers showcased individual characters, each distinct, even while competing with their flowing locks. Those Canaan Days sung in acapella was just *Chef’s Kiss* and gave me goose bumps.

The wives’ inclusion was a lovely touch, providing great routines and support to the brothers even with all the quick changes demanding them.

The ensemble, including the angels, provided seamless support, singing as one. The angels sang cohesively, contributing to the ethereal atmosphere. The Ishmaelites added a delightful visual dynamic to the show. The Baker and the Butler, portrayed by Sally Manning and Laura Hughes respectively, took me by surprise with their vocal prowess. Their unexpected vocal abilities added an extra layer to the ensemble, showcasing their talent in a way that pleasantly caught me off guard. If you go to see this production, you’ll certainly understand what I mean when the Baker and the Butler open their mouths.

Observations

Due to unforeseen illness, only two narrators were singing, which was handled well and still made an amazing sound.

Lightning couldn’t be commented on directly due to the rehearsal venue, but set pictures and videos indicated a visually stunning production.

The costumes, which I got to see most of was great as this show can be very confusing with the different time settings and trying to figure out which route to go down, but feel they got it just right.

In conclusion, this rehearsal of Joseph and The Amazing Technicolor Dreamcoat provided a captivating glimpse into what promises to be an exceptional performance. The dedication of the cast and the creative choices made already set the stage for a truly memorable show. For those fortunate enough to attend, this production is sure to offer a magical experience at the theatre.

Jaz Wilson
It’s All An Act

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