We're now counting down to our first performance of the Risland Season of Disney's The Little Mermaid!
NYTC runs two OnStage training programmes each year, both ending with full-scale performances at the Aotea Centre. Our "Little Mermaid" programme started rehearsals in February, working towards the shows at the end of June. Tickets will go on sale on April 11 from Ticketmaster.
See details of our performances for schools.
Disney's "The Little Mermaid" 2020
|1st Rehearsal||9th February|
|Group rehearsals each Sunday as scheduled.|
|Lead rehearsals scheduled on Thursday evenings.|
|Extension Dance Workshop||27 Feb|
|Extension Dance Auditions||5 March|
|Camp Adair, Hunua||27 - 29 March|
|Runs of Show|
|Leads & Older Cast||16 & 18 June, 6:30 - 8:30|
|Full Cast||20 & 21 June|
|Aotea Centre, Auckland CBD||22 - 28 June|
NYTC's OnStage is an all-access training programme for children and young adults aged between 7 - 21. You don't need to audition to be part of the chorus, and lead roles are auditioned from within the cast. Rehearsals are broken up through the day by age group, and all of the skills you need to participate in the show are taught by our experienced tutors. Rehearsals will be mostly Sunday afternoons, with lead rehearsals on Thursday evenings.
We run special performances for schools at a heavily discounted educational rate. If your school is interested in attending please get in touch.
Our younger cast, Teams Red and Yellow (11 and under) rehearse together, then are split into two groups for the performances, each performing 4 shows. This helps to keep our younger cast members fresh and enthused throughout the production week.
|Registration Fee||Includes show pack of t-shirt, souvenir programme, & full cast photo
Ages 11 and under - $370 incl GST
Ages 12+ - $490.00 incl GST
There is an additional cost of approximately $150 for our lead camp weekend. Lead camp is for older cast and those younger cast selected as leads
Public tickets for our production of Disney's "The Little Mermaid" will be on sale from Ticketmaster from April 11th.
The majority of our regular Sunday rehearsals take place at Bayfield Primary School in Herne Bay. When we have separate lead rehearsals, they are usually held at Takapuna Normal Intermediate School, just off the Northcote off-ramp. Occasionally due to schedule conflicts we will arrange for rehearsal to take place at another school.
We try to be as flexible as possible with rehearsals - we know you all have busy lives! Having said that, we appreciate being let know well in advance if you can't make a rehearsal - especially if you are a lead. You can email email@example.com at any time to let us know. If it's a last minute emergency, you can always text the rehearsal phone - 021 112 5687. Please note this phone is only monitored during rehearsal time.
Each cast-member will have a regular Sunday afternoon rehearsal slot for the duration of the programme. These are roughly allocated by age - the younger the cast-member, generally the earlier in the afternoon their rehearsal time will be. In addition to these group Sunday rehearsals, there are extra lead rehearsals for those selected to play main roles - these are generally on a Thursday evening from 6:30 - 8:30pm.
We've based our policies around those of schools - as our rehearsals are mostly at schools, it makes sense! We take a roll at the start of each rehearsal group, so that we're aware of who is present. At the end of the rehearsal, the cast are free to leave - whether they walk home or get picked up is up to you (and them!). Should you be running late for a pick up, please just let us know. There is always a safe, supervised place where a cast-member can wait until they're picked up - we realise sometimes traffic happens! In the event that a cast-member isn't picked up, we will try to contact the family member named on their registration form.
Once we get into the theatre, we are more strict on pickup and drop off. Students 16 and over can check themselves out. Those between 14 and 16 can get a signed permission slip from their parent or care-giver, which enables them to do the same. Those under 14 will be held at the theatre until picked up by their family.
We normally do our first round of casting in the weekend following registration. Then, a few weeks later, we have our second round of casting, this is when the majority of the roles are filled.
In the first round of auditions, we get all cast to learn a small excerpt of script and a song. We watch them all perform this to the best of their abilities, and then we put together our first cast. This allows us to start working on putting the show together, and also gives the rest of the cast an idea of the sort of person we are looking at for each role. We often run callbacks at this point, which allows us to look further at specific cast-members.
We schedule specific times for the first round of auditions for most of our cast - but we will often audition our youngest castmembers during their usual rehearsal time, as this is usually less stressful for them.
In the final round, a castmember can select which role they specifically want to audition for. Each castmember should select one role only - we will of course be considering them for other roles based on their audition regardless.
For example, if we were staging 'Hamlet The Musical', a castmember could choose to audition for the role of Hamlet. We would watch them perform the required material for the Hamlet role. We might then decide they're better placed as Rosencrantz, and call them back for that.
Regardless of the outcome of your audition - and even if you don't audition at all - every cast member performs in the chorus.
Choosing a role to audition for can be difficult. This is why in the first round of auditions, we don't make you choose - everyone from your age-group learns the same piece of script and song, and we assign the roles based on that. Once we've picked our first round cast, you can look at the people chosen, and get an idea of what sort of person we're looking at for each role.
As a general rule, it's best to pick the most challenging role you feel you can be impressive with. We will provide detailed information about each role, and the amount of singing, dancing, and acting that is required. If you're not a confident performer, it's generally not a good idea to audition for a major lead immediately.
The staff are always happy to talk to you about which role to challenge for - you can either come up and talk about it at rehearsal, or email us on firstname.lastname@example.org
Jonathan Alver is a multi-skilled director and producer of both stage and screen with international experience in the UK, Europe, US and New Zealand. Trained as a singer at the Royal Northern College of Music, his major directing debut came at the age of 25 when he remounted the Royal Shakespeare Company’s production of Showboat at the London Palladium.
Jonathan has since gone on to direct numerous theatre and opera productions around the world including Aida, La Boheme, Falstaff, Lucia di Lammermoor, Macbeth and Tosca, as well as more than 100 broadcast television hours of Shortland Street and Go Girls.
Jonathan began his long association with New Zealand in 1996, taking up the role of Artistic Director and then General Director of New Zealand Opera. Amongst his many achievements during that time he is particularly proud of establishing and delivering a ground-breaking opera outreach programme for New Zealand schools and an Emerging Artists’ Programme.
In the last ten years Jonathan has toured theatrical productions and delivered major events, co-produced Jailhouse Rock - The Musical at the Piccadilly Theatre in London’s West End, directed television and developed his own screen and theatre projects.
Originally from Wellington, Frith is a 2013 graduate of the Acting course at Toi Whakaari: NZ Drama School. She then relocated to Auckland in 2014 to pursue a career in the performing arts.
Alongside acting, Frith has also had an extensive career as a dancer, dance teacher and choreographer. After 13 years of dance training, she began teaching Classical Ballet and Jazz in 2008 with the Lynley-Anne Ward School of Dance in Wellington. In 2009, Frith branched out to Hip Hop and began teaching regularly at Pump Dance Studios, as well as competing in competitions at a national level with Infinite Dance Crew.
Since moving to Auckland, Frith has been an instructor for Shut Up and Dance and has choreographed for many theatre and dance productions, most recently Western Springs College’s production of the Addams Family Musical. A number of her original theatre shows have had a heavy dance component, most notably The Best Possible Album Party That Anybody Has Ever Been To, co-created and choreographed by Frith, which had two popular seasons in Auckland and toured to Wellington.
James Doy (B.Mus L.T.C.L.) was one of the founding members of the National Youth Theatre Company, and has been the Musical Director since its inception in 2005. In 2012 James was appointed General Manager by the NYTC Board in addition to his duties as MD.
Outside of NYTC James has a resume including Christmas and Opera in the Park, Rob Guest, Max Bygraves and Shirley Bassey. In the world of musical theatre, James has played for many international touring productions including Les Miserables, Little Shop of Horrors, Porgy and Bess, Cats, Matilda and Wicked.
In 2014 James received the prestigious 'NZ Musician of the Year' award from the Variety Artists Club. James was the Musical Director of the NZ Opening Ceremony for the 2015 ICC Cricket World Cup, composing, arranging, and working with artists from Sole Mio to Hayley Westernra as well as putting together a huge showcase for the music from each of the 14 participating nations. He composed the theme for Peta Matthias’s Taste series, which have been screened all over the world, and most recently composed the full length musical Peter Pan for NYTC in 2017.