Welcome to Moorpark College Theatre Arts
"Twelfth Night"
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- Anyone can audition! (Tell your friends!)
- You do not need to be a theatre major to audition or be in a show.
- The main audition days are the first two days of auditions with callbacks on the last day of auditions.
- If you are unable to make the first two days of auditions, feel free to come the last day of auditions.
- If you can't make any of the audition days but would still like to be considered, please pick a side and email a self-tape to jloprieno@vcccd.edu.
- Sides (a small section of the script actors are given before an audition for either a play, film or television show) will be posted on this website closer to the dates of auditions.
- Pick a side or two that interests you and bring it to the auditions.
- There will be a sign in sheet at the auditions.
- You do not have to stay for the whole duration of the audition time but you are free to stay and watch.
- You do not have to come right when the audition starts.
- If cast, you will enroll in the production class that is 3 units.
- The show runs from Thursday, March 13th - Sunday, March 23rd.
- Rehearsals will begin Monday, January 13th
- Rehearsals will be M&W 6-9:15 and T&TH 3:30-5:45
- If you are a supporting character, you will not be called to all of those rehearsals but you are free to stay and watch
NO FEAR SHAKESPEARE SYNOPSIS "TWELFTH NIGHT"
In the kingdom of Illyria, a nobleman named Orsino lies around listening to music, pining away for the love of Lady Olivia. He cannot have her because she is in mourning for her dead brother and refuses to entertain any proposals of marriage. Meanwhile, off the coast, a storm has caused a terrible shipwreck. A young, aristocratic-born woman named Viola is swept onto the Illyrian shore. Finding herself alone in a strange land, she assumes that her twin brother, Sebastian, has been drowned in the wreck, and tries to figure out what sort of work she can do. A friendly sea captain tells her about Orsino’s courtship of Olivia, and Viola says that she wishes she could go to work in Olivia’s home. But since Lady Olivia refuses to talk with any strangers, Viola decides that she cannot look for work with her. Instead, she decides to disguise herself as a man, taking on the name of Cesario, and goes to work in the household of Duke Orsino.
Viola (disguised as Cesario) quickly becomes a favorite of Orsino, who makes Cesario his page. Viola finds herself falling in love with Orsino—a difficult love to pursue, as Orsino believes her to be a man. But when Orsino sends Cesario to deliver Orsino’s love messages to the disdainful Olivia, Olivia herself falls for the beautiful young Cesario, believing her to be a man. The love triangle is complete: Viola loves Orsino, Orsino loves Olivia, and Olivia loves Cesario—and everyone is miserable.
Meanwhile, we meet the other members of Olivia’s household: her rowdy drunkard of an uncle, Sir Toby; his foolish friend, Sir Andrew Aguecheek, who is trying in his hopeless way to court Olivia; Olivia’s witty and pretty waiting-gentlewoman, Maria; Feste, the clever clown of the house; and Malvolio, the dour, prudish steward of Olivia’s household. When Sir Toby and the others take offense at Malvolio’s constant efforts to spoil their fun, Maria engineers a practical joke to make Malvolio think that Olivia is in love with him. She forges a letter, supposedly from Olivia, addressed to her beloved (whose name is signified by the letters M.O.A.I.), telling him that if he wants to earn her favor, he should dress in yellow stockings and crossed garters, act haughtily, smile constantly, and refuse to explain himself to anyone. Malvolio finds the letter, assumes that it is addressed to him, and, filled with dreams of marrying Olivia and becoming noble himself, happily follows its commands. He behaves so strangely that Olivia comes to think that he is mad.
Meanwhile, Sebastian, who is still alive after all but believes his sister Viola to be dead, arrives in Illyria along with his friend and protector, Antonio. Antonio has cared for Sebastian since the shipwreck and is passionately (and perhaps sexually) attached to the young man—so much so that he follows him to Orsino’s domain, in spite of the fact that he and Orsino are old enemies.
Sir Andrew, observing Olivia’s attraction to Cesario (still Viola in disguise), challenges Cesario to a duel. Sir Toby, who sees the prospective duel as entertaining fun, eggs Sir Andrew on. However, when Sebastian—who looks just like the disguised Viola—appears on the scene, Sir Andrew and Sir Toby end up coming to blows with Sebastian, thinking that he is Cesario. Olivia enters amid the confusion. Encountering Sebastian and thinking that he is Cesario, she asks him to marry her. He is baffled, since he has never seen her before. He sees, however, that she is wealthy and beautiful, and he is therefore more than willing to go along with her. Meanwhile, Antonio has been arrested by Orsino’s officers and now begs Cesario for help, mistaking him for Sebastian. Viola denies knowing Antonio, and Antonio is dragged off, crying out that Sebastian has betrayed him. Suddenly, Viola has newfound hope that her brother may be alive.
Malvolio’s supposed madness has allowed the gleeful Maria, Toby, and the rest to lock Malvolio into a small, dark room for his treatment, and they torment him at will. Feste dresses up as "Sir Topas," a priest, and pretends to examine Malvolio, declaring him definitely insane in spite of his protests. However, Sir Toby begins to think better of the joke, and they allow Malvolio to send a letter to Olivia, in which he asks to be released.
Eventually, Viola (still disguised as Cesario) and Orsino make their way to Olivia’s house, where Olivia welcomes Cesario as her new husband, thinking him to be Sebastian, whom she has just married. Orsino is furious, but then Sebastian himself appears on the scene, and all is revealed. The siblings are joyfully reunited, and Orsino realizes that he loves Viola, now that he knows she is a woman, and asks her to marry him. We discover that Sir Toby and Maria have also been married privately. Finally, someone remembers Malvolio and lets him out of the dark room. The trick is revealed in full, and the embittered Malvolio storms off, leaving the happy couples to their celebration.
NO FEAR SHAKESPEARE "TWELFTH NIGHT"
Viola
A young woman of aristocratic birth, and the play’s protagonist. Washed up on the shore of Illyria when her ship is wrecked in a storm, Viola decides to make her own way in the world. She disguises herself as a young man, calling herself "Cesario," and becomes a page to Duke Orsino. She ends up falling in love with Orsino—even as Olivia, the woman Orsino is courting, falls in love with Cesario. Thus, Viola finds that her clever disguise has entrapped her: she cannot tell Orsino that she loves him, and she cannot tell Olivia why she, as Cesario, cannot love her. Her poignant plight is the central conflict in the play.
Orsino
A powerful nobleman in the country of Illyria. Orsino is lovesick for the beautiful Lady Olivia, but becomes more and more fond of his handsome new page boy, Cesario, who is actually a woman—Viola. Orsino is a vehicle through which the play explores the absurdity of love: a supreme egotist, Orsino mopes around complaining how heartsick he is over Olivia, when it is clear that he is chiefly in love with the idea of being in love and enjoys making a spectacle of himself. His attraction to the ostensibly male Cesario injects sexual ambiguity into his character.
Olivia
A wealthy, beautiful, and noble Illyrian lady, Olivia is courted by Orsino and Sir Andrew Aguecheek, but to each of them she insists that she is in mourning for her brother, who has recently died, and will not marry for seven years. She and Orsino are similar characters in that each seems to enjoy wallowing in his or her own misery. Viola’s arrival in the masculine guise of Cesario enables Olivia to break free of her self-indulgent melancholy. Olivia seems to have no difficulty transferring her affections from one love interest to the next, however, suggesting that her romantic feelings—like most emotions in the play—do not run deep.
Sebastian
Viola’s lost twin brother. When he arrives in Illyria, traveling with Antonio, his close friend and protector, Sebastian discovers that many people think that they know him. Furthermore, the beautiful Lady Olivia, whom he has never met, wants to marry him. Sebastian is not as well rounded a character as his sister. He seems to exist to take on the role that Viola fills while disguised as Cesario—namely, the mate for Olivia.
Malvolio
The straitlaced steward—or head servant—in the household of Lady Olivia. Malvolio is very efficient but also very self-righteous, and he has a poor opinion of drinking, singing, and fun. His priggishness and haughty attitude earn him the enmity of Sir Toby, Sir Andrew, and Maria, who play a cruel trick on him, making him believe that Olivia is in love with him. In his fantasies about marrying his mistress, he reveals a powerful ambition to rise above his social class.
Feste
The clown, or fool, of Olivia’s household, Feste moves between Olivia’s and Orsino’s homes. He earns his living by making pointed jokes, singing old songs, being generally witty, and offering good advice cloaked under a layer of foolishness. In spite of being a professional fool, Feste often seems the wisest character in the play.
Sir Toby Belch
Olivia’s uncle. Olivia lets Sir Toby Belch live with her, but she does not approve of his rowdy behavior, practical jokes, heavy drinking, late-night carousing, or friends (specifically the idiotic Sir Andrew). Sir Toby also earns the ire of Malvolio. But Sir Toby has an ally, and eventually a mate, in Olivia’s sharp-witted waiting-gentlewoman, Maria. Together they bring about the triumph of chaotic spirit, which Sir Toby embodies, and the ruin of the controlling, self-righteous Malvolio.
Maria
Olivia’s clever, daring young waiting-gentlewoman. Maria is remarkably similar to her antagonist, Malvolio, who harbors aspirations of rising in the world through marriage. But Maria succeeds where Malvolio fails—perhaps because she is a woman, but, more likely, because she is more in tune than Malvolio with the anarchic, topsy-turvy spirit that animates the play.
Sir Andrew Aguecheek
A friend of Sir Toby’s. Sir Andrew Aguecheek attempts to court Olivia, but he doesn’t stand a chance. He thinks that he is witty, brave, young, and good at languages and dancing, but he is actually an idiot.
Antonio
A man who rescues Sebastian after his shipwreck. Antonio has become very fond of Sebastian, caring for him, accompanying him to Illyria, and furnishing him with money—all because of a love so strong that it seems to be romantic in nature. Antonio’s attraction to Sebastian, however, never bears fruit. Despite the ambiguous and shifting gender roles in the play, Twelfth Night remains a romantic comedy in which the characters are destined for marriage. In such a world, homoerotic attraction cannot be fulfilled.
The Captain
The captain of Viola and Sebastian’s sunken ship. After they reach land, the Captain assures Viola that Sebastian was still alive when they were separated. He also helps her establish a new life in Illyria by informing her about Orsino and Olivia as well as disguising her as Cesario.
Fabian
A servant of Olivia’s. Fabian often accompanies Sir Toby and Maria, and he enjoys partaking in their scheme to embarrass Malvolio. In the end, however, he is the first one to own up to their prank.
Twelfth Night Auditions
Audition Scene 1
Orsino, Curio, Valentine
https://www.sparknotes.com/nofear/shakespeare/twelfthnight/act-1-scene-1/
Act I Scene 1
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Original Text |
Modern Text |
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Enter ORSINO , CURIO , and other lords; Musicians playing |
ORSINO , CURIO , and other lords enter with musicians playing for them. |
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ORSINO If music be the food of love, play on. Give me excess of it that, surfeiting, The appetite may sicken, and so die. That strain again, it had a dying fall. 5 Oh, it came o'er my ear like the sweet sound, That breathes upon a bank of violets, Stealing and giving odor. Enough, no more. 'Tis not so sweet now as it was before. O spirit of love, how quick and fresh art thou, 10 That, notwithstanding thy capacity Receiveth as the sea, nought enters there, Of what validity and pitch soe'er, But falls into abatement and low price Even in a minute. So full of shapes is fancy 15 That it alone is high fantastical. |
ORSINO If it’s true that music makes people more in love, keep playing. Give me too much of it, so I’ll get sick of it and stop loving. Play that part again! It sounded sad. Oh, it sounded like a sweet breeze blowing gently over a bank of violets, taking their scent with it. That’s enough. Stop. It doesn’t sound as sweet as it did before. Oh, love is so restless! It makes you want everything, but it makes you sick of things a minute later, no matter how good they are. Love is so vivid and fantastical that nothing compares to it. |
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CURIO Will you go hunt, my lord? |
CURIO Do you want to go hunting, my lord? |
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ORSINO What, Curio? |
ORSINO Hunting what, Curio? |
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CURIO The hart. |
CURIO The hart. |
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ORSINO Why, so I do, the noblest that I have. Oh, when mine eyes did see Olivia first, Methought she purged the air of pestilence. 20 That instant was I turned into a hart, And my desires, like fell and cruel hounds, E'er since pursue me. |
ORSINO That’s what I’m doing—only it’s my heart that’s being hunted. Oh, when I first saw Olivia, it seemed like she made the air around her sweeter and purer. In that instant I was transformed into a hart, and my desire for her has hounded me like a pack of vicious dogs. |
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Enter VALENTINE |
VALENTINE enters. |
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How now! What news from her? |
What’s going on? What have you heard from her? |
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VALENTINE So please my lord, I might not be admitted, But from her handmaid do return this answer: 25 The element itself, till seven years' heat, Shall not behold her face at ample view, But like a cloistress, she will veiled walk And water once a day her chamber round With eye-offending brine—all this to season 30 A brother’s dead love, which she would keep fresh And lasting in her sad remembrance. |
VALENTINE I’m sorry, but they wouldn’t let me in. But I got the following answer from her handmaid. Olivia’s not going to show her face for the next seven years—not even to the sky itself. Instead, she’ll go around veiled like a nun, and once a day she’ll water her room with tears. She’s doing this out of love for her dead brother, whom she wants to keep fresh in her memory forever. |
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ORSINO O, she that hath a heart of that fine frame To pay this debt of love but to a brother, How will she love, when the rich golden shaft 35 Hath killed the flock of all affections else That live in her, when liver, brain, and heart, These sovereign thrones, are all supplied, and filled Her sweet perfections with one self king! Away before me to sweet beds of flowers. 40 Love thoughts lie rich when canopied with bowers. |
ORSINO Oh, if she loves her brother this much, think how she’ll love me when I finally win her over and make her forget all her other attachments! Her mind and heart will be ruled by one man alone—me! Take me to the garden. I need a beautiful place to sit and think about love. |
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Exeunt |
They exit. |
Audition Scene 2
Maria, Fool, Olivia, Malvolio
Act 1, Scene 5
https://www.sparknotes.com/nofear/shakespeare/twelfthnight/act-1-scene-5/
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Enter MARIA and the FOOL |
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MARIA Nay, either tell me where thou hast been, or I will not open my lips so wide as a bristle may enter in way of thy excuse. My lady will hang thee for thy absence. |
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FOOL Let her hang me. He that is well hanged in this world needs to fear no colors. |
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MARIA Make that good. |
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FOOL He shall see none to fear. |
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MARIA A good lenten answer. I can tell thee where that saying was born, of “I fear no colors.” |
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FOOL 10 Where, good Mistress Mary? |
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MARIA In the wars. And that may you be bold to say in your foolery. |
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FOOL Well, God give them wisdom that have it. And those that are fools, let them use their talents. |
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MARIA Yet you will be hanged for being so long absent. Or to be turned away, is not that as good as a hanging to you? |
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FOOL Many a good hanging prevents a bad marriage, and, for turning away, let summer bear it out. |
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MARIA You are resolute, then? |
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FOOL 20 Not so, neither, but I am resolved on two points. |
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MARIA That if one break, the other will hold. Or, if both break, your gaskins fall. |
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FOOL Apt, in good faith, very apt. Well, go thy way. If Sir Toby would leave drinking, thou wert as witty a piece of Eve’s flesh as any in Illyria. |
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MARIA Peace, you rogue, no more o' that. Here comes my lady. Make your excuse wisely, you were best. |
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Exit |
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FOOL (aside) Wit, an ’t be thy will, put me into good fooling! Those wits, that think they have thee, do very oft prove fools. And I, that am sure I lack thee, may pass for a wise man. For what says Quinapalus? “Better a witty fool, than a foolish wit.” |
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Enter OLIVIA with MALVOLIO with attendants |
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God bless thee, lady! |
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OLIVIA Take the fool away. |
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FOOL 35 Do you not hear, fellows? Take away the lady. |
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OLIVIA Go to, you’re a dry fool. I’ll no more of you. Besides, you grow dishonest. |
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FOOL Two faults, madonna, that drink and good counsel will amend. For give the dry fool drink, then is the fool not dry. Bid the dishonest man mend himself. If he mend, he is no longer dishonest. If he cannot, let the botcher mend him. Anything that’s mended is but patched. Virtue that transgresses is but patched with sin, and sin that amends is but patched with virtue. If that this simple syllogism will serve, so. If it will not, what remedy? As there is no true cuckold but calamity, so beauty’s a flower. The lady bade take away the fool. Therefore, I say again, take her away. |
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OLIVIA Sir, I bade them take away you. |
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FOOL Misprision in the highest degree! Lady, Cucullus non facit monachum—that’s as much to say as I wear not motley in my brain. Good madonna, give me leave to prove you a fool. |
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OLIVIA Can you do it? |
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FOOL 55 Dexterously, good madonna. |
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OLIVIA Make your proof. |
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FOOL I must catechise you for it, madonna. Good my mouse of virtue, answer me. |
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OLIVIA Well, sir, for want of other idleness, I’ll bide your proof. |
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FOOL 60 Good madonna, why mournest thou? |
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OLIVIA Good fool, for my brother’s death. |
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FOOL I think his soul is in hell, madonna. |
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OLIVIA I know his soul is in heaven, fool. |
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FOOL The more fool, madonna, to mourn for your brother’s soul being in heaven. Take away the fool, gentlemen. |
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OLIVIA What think you of this fool, Malvolio? Doth he not mend? |
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MALVOLIO Yes, and shall do till the pangs of death shake him. Infirmity, that decays the wise, doth ever make the better fool. |
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FOOL God send you, sir, a speedy infirmity, for the better increasing your folly! Sir Toby will be sworn that I am no fox, but he will not pass his word for two pence that you are no fool. |
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OLIVIA How say you to that, Malvolio? |
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MALVOLIO 75 I marvel your ladyship takes delight in such a barren rascal. I saw him put down the other day with an ordinary fool that |
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has no more brain than a stone. Look you now, he’s out of his guard already. Unless you laugh and minister occasion to him, he is gagged. I protest I take these wise men that crow so at these set kind of fools no better than the fools' zanies. |
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OLIVIA Oh, you are sick of self-love, Malvolio, and taste with a distempered appetite. To be generous, guiltless, and of free disposition is to take those things for bird-bolts that you deem cannon-bullets. There is no slander in an allowed fool, though he do nothing but rail. Nor no railing in a known discreet man, though he do nothing but reprove. |
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FOOL Now Mercury endue thee with leasing, for thou speakest well of fools! |
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Enter MARIA |
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MARIA Madam, there is at the gate a young gentleman much desires to speak with you. |
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OLIVIA From the Count Orsino, is it? |
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MARIA I know not, madam. 'Tis a fair young man, and well attended. |
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OLIVIA 95 Who of my people hold him in delay? |
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MARIA Sir Toby, madam, your kinsman. |
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OLIVIA Fetch him off, I pray you. He speaks nothing but madman. Fie on him! |
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Exit MARIA |
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Go you, Malvolio. If it be a suit from the count, I am sick, or not at home. What you will, to dismiss it. |
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Exit MALVOLIO |
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Now you see, sir, how your fooling grows old, and people dislike it. |
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FOOL Thou hast spoke for us, madonna, as if thy eldest son should be a fool, whose skull Jove cram with brains, for— here he comes—one of thy kin has a most weak pia mater. |
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Audition Scene 3
Viola and Olivia
https://www.sparknotes.com/nofear/shakespeare/twelfthnight/act-1-scene-5/
Act I Scene 5
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Now, sir, what is your text? |
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VIOLA Most sweet lady— |
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OLIVIA A comfortable doctrine, and much may be said of it. Where lies your text? |
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VIOLA In Orsino’s bosom. |
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OLIVIA In his bosom? In what chapter of his bosom? |
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VIOLA To answer by the method, in the first of his heart. |
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OLIVIA 205 Oh, I have read it. It is heresy. Have you no more to say? |
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VIOLA Good madam, let me see your face. |
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OLIVIA Have you any commission from your lord to negotiate with my face? You are now out of your text. But we will draw the curtain and show you the picture. Look you, sir, such a one I was this present. Is ’t not well done? |
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OLIVIA removes her veil |
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VIOLA Excellently done, if God did all. |
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OLIVIA 'Tis in grain, sir. 'Twill endure wind and weather. |
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VIOLA 'Tis beauty truly blent, whose red and white Nature’s own sweet and cunning hand laid on. 215 Lady, you are the cruel’st she alive If you will lead these graces to the grave And leave the world no copy. |
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OLIVIA O, sir, I will not be so hard-hearted. I will give out divers schedules of my beauty. It shall be inventoried, and every particle and utensil labeled to my will: as, item, two lips indifferent red; item, two grey eyes, with lids to them; item, one neck, one chin, and so forth. Were you sent hither to praise me? |
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VIOLA I see you what you are, you are too proud. 225 But, if you were the devil, you are fair. My lord and master loves you. Oh, such love Could be but recompensed though you were crowned The nonpareil of beauty. |
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OLIVIA How does he love me? |
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VIOLA With adorations, fertile tears, 230 With groans that thunder love, with sighs of fire. |
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OLIVIA Your lord does know my mind. I cannot love him. Yet I suppose him virtuous, know him noble, Of great estate, of fresh and stainless youth. |
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In voices well divulged, free, learned, and valiant; 235 And in dimension and the shape of nature A gracious person. But yet I cannot love him; He might have took his answer long ago. |
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VIOLA If I did love you in my master’s flame, With such a suffering, such a deadly life, 240 In your denial I would find no sense; I would not understand it. |
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OLIVIA Why, what would you? |
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VIOLA Make me a willow cabin at your gate And call upon my soul within the house. Write loyal cantons of contemned love 245 And sing them loud even in the dead of night. Halloo your name to the reverberate hills And make the babbling gossip of the air Cry out “Olivia!” Oh, you should not rest Between the elements of air and earth, 250 But you should pity me. |
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OLIVIA You might do much. What is your parentage? |
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VIOLA Above my fortunes, yet my state is well. I am a gentleman. |
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OLIVIA Get you to your lord. I cannot love him. Let him send no more— 255 Unless perchance you come to me again To tell me how he takes it. Fare you well. I thank you for your pains. Spend this for me. |
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OLIVIA offers VIOLA money |
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VIOLA I am no fee’d post, lady. Keep your purse. My master, not myself, lacks recompense. 260 Love make his heart of flint that you shall love, And let your fervor, like my master’s, be Placed in contempt. Farewell, fair cruelty. |
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Exit |
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OLIVIA “What is your parentage?” “Above my fortunes, yet my state is well. 265 I am a gentleman.” I’ll be sworn thou art; Thy tongue, thy face, thy limbs, actions, and spirit, Do give thee fivefold blazon. Not too fast! Soft, soft! Unless the master were the man. How now? Even so quickly may one catch the plague? 270 Methinks I feel this youth’s perfections With an invisible and subtle stealth To creep in at mine eyes. Well, let it be.— What ho, Malvolio! |
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Audition Scene 4
Antonio and Sabastian
https://www.sparknotes.com/nofear/shakespeare/twelfthnight/act-2-scene-1/
Act 2 Scene 1
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Enter ANTONIO and SEBASTIAN |
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ANTONIO Will you stay no longer, nor will you not that I go with you? |
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SEBASTIAN By your patience, no. My stars shine darkly over me. The malignancy of my fate might perhaps distemper yours. Therefore I shall crave of you your leave that I may bear my evils alone. It were a bad recompense for your love to lay any of them on you. |
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ANTONIO Let me yet know of you whither you are bound. |
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SEBASTIAN No, sooth, sir. My determinate voyage is mere extravagancy. But I perceive in you so excellent a touch of modesty that you will not extort from me what I am willing to keep in. Therefore it charges me in manners the rather to express myself. You must know of me then, Antonio, my name is Sebastian, which I called Roderigo. My father was that Sebastian of Messaline, whom I know you have heard of. He left behind him myself and a sister, both born in an hour. If the heavens had been pleased, would we had so ended! But you, sir, altered that, for some hour before you took me from the breach of the sea was my sister drowned. |
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ANTONIO Alas the day! |
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SEBASTIAN A lady, sir, though it was said she much resembled me, was yet of many accounted beautiful. But though I could not with such estimable wonder overfar believe that, yet thus far I will boldly publish her: she bore a mind that envy could not but call fair. She is drowned already, sir, with salt water, though I seem to drown her remembrance again with more. |
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ANTONIO Pardon me, sir, your bad entertainment. |
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SEBASTIAN O good Antonio, forgive me your trouble. |
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ANTONIO If you will not murder me for my love, let me be your servant. |
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SEBASTIAN If you will not undo what you have done—that is, kill him whom you have recovered—desire it not. Fare you well at once. My bosom is full of kindness, and I am yet so near the manners of my mother, that upon the least occasion more mine eyes will tell tales of me. I am bound to the Count Orsino’s court. Farewell. |
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Exit |
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ANTONIO The gentleness of all the gods go with thee! I have many enemies in Orsino’s court, Else would I very shortly see thee there. 40 But, come what may, I do adore thee so That danger shall seem sport, and I will go. |
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Exit |
Audition Scene 5
Malvolio, Viola
https://www.sparknotes.com/nofear/shakespeare/twelfthnight/act-2-scene-2/
Act 2 Scene 2
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Enter VIOLA , MALVOLIO following |
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MALVOLIO Were not you even now with the Countess Olivia? |
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VIOLA Even now, sir. On a moderate pace I have since arrived but hither. |
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MALVOLIO She returns this ring to you, sir. You might have saved me my pains to have taken it away yourself. She adds, moreover, that you should put your lord into a desperate assurance she will none of him. And one thing more, that you be never so hardy to come again in his affairs, unless it be to report your lord’s taking of this. Receive it so. |
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VIOLA 10 She took the ring of me. I’ll none of it. |
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MALVOLIO Come, sir, you peevishly threw it to her, and her will is it should be so returned. (he throws down the ring) If it be worth stooping for, there it lies in your eye. If not, be it his that finds it. |
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Exit |
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VIOLA 15 I left no ring with her. What means this lady? Fortune forbid my outside have not charmed her! She made good view of me, indeed so much That sure methought her eyes had lost her tongue, For she did speak in starts distractedly. 20 She loves me, sure! The cunning of her passion Invites me in this churlish messenger. |
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None of my lord’s ring? Why, he sent her none. I am the man. If it be so, as ’tis, Poor lady, she were better love a dream. 25 Disguise, I see thou art a wickedness, Wherein the pregnant enemy does much. How easy is it for the proper false In women’s waxen hearts to set their forms! Alas, our frailty is the cause, not we, 30 For such as we are made of, such we be. How will this fadge? My master loves her dearly, And I, poor monster, fond as much on him, And she, mistaken, seems to dote on me. What will become of this? As I am man, 35 My state is desperate for my master’s love. As I am woman, now, alas the day, What thriftless sighs shall poor Olivia breathe! O time, thou must untangle this, not I. It is too hard a knot for me to untie! |
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Exit |
Audition Scene 6
Sir Andrew, Sir Toby, Fool
https://www.sparknotes.com/nofear/shakespeare/twelfthnight/act-2-scene-3/
Act 2 Scene 3
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Enter SIR TOBY BELCH and SIR ANDREW |
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SIR TOBY BELCH Approach, Sir Andrew. Not to be abed after midnight is to be up betimes, and diluculo surgere, thou know’st,— |
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SIR ANDREW Nay, my troth, I know not. But I know to be up late is to be up late. |
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SIR TOBY BELCH A false conclusion. I hate it as an unfilled can. To be up after midnight and to go to bed then, is early, so that to go to bed after midnight is to go to bed betimes. Does not our life consist of the four elements? |
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SIR ANDREW Faith, so they say, but I think it rather consists of eating and drinking. |
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SIR TOBY BELCH Thou'rt a scholar. Let us therefore eat and drink. Marian, I say! A stoup of wine! |
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Enter FOOL |
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SIR ANDREW Here comes the fool, i' faith. |
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FOOL How now, my hearts! Did you never see the picture of “We 15 Three”? |
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SIR TOBY BELCH Welcome, ass. Now let’s have a catch. |
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SIR ANDREW By my troth, the fool has an excellent breast. I had rather than forty shillings I had such a leg, and so sweet a breath to sing, as the fool has.—(to the FOOL) In sooth, thou wast in very gracious fooling last night when thou spokest of Pigrogromitus, of the Vapians passing the equinoctial of Queubus. 'Twas very good, i' faith. I sent thee sixpence for thy leman. Hadst it? |
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FOOL I did impeticos thy gratillity, for Malvolio’s nose is no whipstock. My lady has a white hand, and the Myrmidons are no bottle-ale houses. |
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SIR ANDREW Excellent! Why, this is the best fooling when all is done. Now, a song. |
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SIR TOBY BELCH (giving money to the FOOL) 30 Come on. There is sixpence for you. Let’s have a song. |
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SIR ANDREW (giving money to the FOOL) There’s a testril of me too. If one knight give a— |
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FOOL Would you have a love song or a song of good life? |
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SIR TOBY BELCH A love song, a love song. |
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SIR ANDREW 35 Ay, ay. I care not for good life. |
Audition Scene 7
Malvolio
https://www.sparknotes.com/nofear/shakespeare/twelfthnight/act-3-scene-4/
Act 3 Scene 4
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Exeunt OLIVIA and MARIA |
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MALVOLIO Oh, ho! Do you come near me now? No worse man than Sir Toby to look to me. This concurs directly with the letter. She sends him on purpose that I may appear stubborn to him, for she incites me to that in the letter. “Cast thy humble slough,” says she. “Be opposite with a kinsman, surly with servants. Let thy tongue tang with arguments of state. Put thyself into the trick of singularity,” and consequently sets down the manner how: as, a sad face, a reverend carriage, a slow tongue, in the habit of some sir of note, and so forth. I have limed her, but it is Jove’s doing, and Jove make me thankful! And when she went away now, “Let this fellow be looked to.” “Fellow!” Not “Malvolio,” nor after my degree, but “fellow.” Why, everything adheres together, that no dram of a scruple, no scruple of a scruple, no obstacle, no incredulous or unsafe circumstance—what can be said? Nothing that can be can come between me and the full prospect of my hopes. Well, Jove, not I, is the doer of this, and he is to be thanked. |
Auditions Scene 8
https://www.sparknotes.com/nofear/shakespeare/twelfthnight/act-5-scene-1/
Orsino, Viola, Olivia
Act 5, Scene 1
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Enter OLIVIA and attendants |
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ORSINO Here comes the Countess. Now heaven walks on earth. But for thee, fellow. Fellow, thy words are madness: Three months this youth hath tended upon me; 95 But more of that anon. (to an officer) Take him aside. |
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OLIVIA What would my lord, but that he may not have, Wherein Olivia may seem serviceable? Cesario, you do not keep promise with me. |
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VIOLA Madam? |
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ORSINO 100 Gracious Olivia— |
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OLIVIA What do you say, Cesario?—Good my lord— |
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VIOLA My lord would speak. My duty hushes me. |
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OLIVIA If it be aught to the old tune, my lord, It is as fat and fulsome to mine ear 105 As howling after music. |
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ORSINO Still so cruel? |
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OLIVIA Still so constant, lord. |
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ORSINO What, to perverseness? You, uncivil lady, To whose ingrate and unauspicious altars 110 My soul the faithfull’st off'rings have breathed out That e'er devotion tendered—what shall I do? |
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OLIVIA Even what it please my lord that shall become him. |
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ORSINO Why should I not, had I the heart to do it, Like to the Egyptian thief at point of death, 115 Kill what I love?—A savage jealousy That sometimes savors nobly. But hear me this: Since you to nonregardance cast my faith, And that I partly know the instrument That screws me from my true place in your favor, 120 Live you the marble-breasted tyrant still. But this your minion, whom I know you love, And whom, by heaven I swear, I tender dearly, Him will I tear out of that cruel eye Where he sits crowned in his master’s spite. 125 Come, boy, with me. My thoughts are ripe in mischief: I’ll sacrifice the lamb that I do love To spite a raven’s heart within a dove. |
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VIOLA And I, most jocund, apt, and willingly, To do you rest, a thousand deaths would die. |
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OLIVIA 130 Where goes Cesario? |
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VIOLA After him I love More than I love these eyes, more than my life, More, by all mores, than e'er I shall love wife. If I do feign, you witnesses above, Punish my life for tainting of my love! |
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OLIVIA 135 Ay me, detested! How am I beguiled! |
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VIOLA Who does beguile you? Who does do you wrong? |
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OLIVIA Hast thou forgot thyself? Is it so long?— Call forth the holy father. |
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Exit an attendant |
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ORSINO (to VIOLA) Come, away! |
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OLIVIA 140 Whither, my lord?—Cesario, husband, stay. |
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ORSINO Husband? |
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OLIVIA Ay, husband. Can he that deny? |
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ORSINO Her husband, sirrah? |
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VIOLA No, my lord, not I. |
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OLIVIA Alas, it is the baseness of thy fear That makes thee strangle thy propriety. 145 Fear not, Cesario. Take thy fortunes up. Be that thou know’st thou art, and then thou art As great as that thou fear’st. |
Spring 2025 One Acts
- Anyone can submit a one act or audition! (Tell your friends!)
- It is best to have taken the Playwrighting Class at Moorpark College
- You do not need to be a theatre major to submit a one act or audition or be in a show.
- After the submission deadline, the one acts will be chosen during finals week
- First time playwrights/directors are not allowed to direct their own material. They can direct another one act however
- Auditions will be the 1/21, 1/22, 1/23
- The main audition days are the first two days of auditions with callbacks on the last day of auditions.
- If you are unable to make the first two days of auditions, feel free to come the last day of auditions.
- If you can't make any of the audition days but would still like to be considered, please pick a side and email a self-tape to sfagan@vcccd.edu.
- Sides (a small section of the script actors are given before an audition for either a play, film or television show) will be posted on this website closer to the dates of auditions.
- Pick a side or two that interests you and bring it to the auditions.
- There will be a sign in sheet at the auditions.
- You do not have to stay for the whole duration of the audition time but you are free to stay and watch.
- You do not have to come right when the audition starts.
- If cast, you will enroll in the production class that is 3 units.
- The show runs from Wednesday April 23rd - Saturday May 3rd.
- Rehearsals will begin Monday, January 27th
- Rehearsals will be MTWTH 3:30-6
- If you are a supporting character, you will not be called to all of those rehearsals but you are free to stay and watch