"Fine now that you're here. " "Right here, Y/L/N. " You sigh heavily and rolled your hands through your hair.
You take out your flashlight and hold it up beside your gun. You ignored Morgans's demands and went toward the shed with your gun in hand ready. Reid sighed of relief, pulling away from the hug. "Okay, stay where you are. You keep your eyes on the unsub. "On my count of three. Spencer reid x reader kidnapped. " You could tell that lifted off so much off of him. You knew if you called someone they'd hear you, so you thought it would be better to do it on your own. You grabbed the handle and was about to open it, but you were stopped by someone's hand. "What's going to happen to me? " Hotch's eyes glared on top of yours. Without a fight, you handcuffed him and his face was as tired as his body looked. "Ok. " You then hang up the phone and groan. You slowly lure Mills away from Reid so one of them could untie him.
"He ran away when Reid and I came up to talk to him. " "Hey listen to me, Mills! You try again but with the same results. All of a sudden, something shiny hit your eye. You walked out of the shed in a limp and all of a sudden, you hear Hotch speak from the back of you. You helped her up slowly and sat her on the stairs right next to where she was. You thought to yourself. "JJ is in the ambulance and Morgan and Rossi are on their way. Spencer reid x reader abusive parents. " You then got up on your two feet and turned towards Rossi who already had Reid untied. "Yeah, uh agent Y/L/N? " You check in the backyard of the house and there was no sign.
You looked in the backyard again to double check but no sign of Reid or Mills anywhere. "You see, it's too late for me. " Your face went from joking to all seriousness. You sternly spoke into your talkie. You set your gun down to your waist and turned a corner seeing JJ on the floor with blood on her head. You then take your gun out and head south of the house, having it be pitch black dark out. You breathe heavily.
You call Derek and he immediately answers. "It's not too late Mills we can get you help. " You tell Morgan in a shaky voice. Mills gets closer to Reid's stomach. "You handled that unsub perfectly and I don't think there could've been another way. "
You should know because you and Spence are close and you know each other from top to bottom. He's not by the house anywhere or Mills. " "Thanks, I knew you could smile. " Mills cries as he slowly moves the knife away from Reid. Derek came up behind having your body jump a little. You kicked down the door and immediately saw Harper Mills about three inches away from cutting up Reid. She calmly raised her voice at the right level for you to hear her.
You move over to the left and having Mills follow your every move, you remained calm. Hotch and Rossi are coming to get you. " You slowly put the gun down to your level and breathe as calmly as you could. His creepy smile gives you goodebumps. They were begging for it. " "Mills, you're surrounded!
You thought for a minute and knew if you say yes then Hotch would've been upset. "I need an ambulance at six and third right away. " You took out your phone and immediately call Spence. Those three words are your favorite words to hear after a long week at the BAU. "He went that way. " You turned over to Reid, who's smile lit up your face in happiness as he was just admiring you. You groan in fury and shove your phone back into your pocket. "I think maybe Reid went somewhere outside of the house. You kicked it over and kneeled down, bringing Mills down with you. Hotch reaches in his pocket and calls Rossi.
You rushed to her with your talkie out. Derek came up to you and took the unsub off of Morgan hands. You scoff of laughter in a awkward way and Rossi took him to the same ambulance that JJ was in. Where would Reid go in a house like this? ' JJ winces at the pain as Derek is messing with it. Your eyes saw that Reid was tied up to a chair sweat covered all over his face. You went in front of him and placed your hand up in front of him telling him we mean no harm. You blushed and turned away to Hotch, who knew what was going on. "You go find him I'll stay with JJ. You sneakily get closer and closer to the unsub. We all do things we might regret. " You glanced up and you saw a shed with light in it. Put the knife down and no one gets hurt. " I'll send Rossi and Hotch for back up. "
CGOA auditions for Little Shop of Horrors. Young, hip, and smart, these girls are the only ones who have a grip on reality. Feb 29 Saturday 7:30 PM. It's always good to include a Sondheim song as well since his musical style is unique. "Sunday in the Park With George" from Sunday in the Park With George for mezzos with a strong belt.
All I care About Is Love ~ Chicago. You cannot reply to topics in this forum. Hi there, I am sooo excited to audition for Little Shop of Horrors. When To Sing an 80s Broadway Song. Ronnette: (Age 20 to 35. Make your audience pity poor Carrie White when you belt this dramatic opening number for mezzos. Brutally honesty and hard on his employees. A "venus fly trap" named Audrey2 is found and cultivated by an insecure botanist in a flowershop. "Finishing the Hat" from Sunday in the Park With George, a ballad for tenors who can float their high notes.
In exchange for his wildest dreams coming true, Seymour must follow the plant down a murderous path to world domination. Sunday in the Park with George. Secretly in love with Audrey. Little Shop of Horrors Sheet Music (Vocal Selections). Empty chairs at empty tables.
And I am telling you. As much as possible, condense all these requirements into just four or five songs, tops. Fast forwarding to 1986, The Shop transforms into a full-color star-studded extravaganza (Steve Martin turns in a must-see performance) with catchy 50s-style musical numbers, yet retaining the dentistry, love story arc and crime-drama themes of the original.
He is profit-driven, greedy, and manipulative. Audrey Song Suddenly Seymour. The meek floral assistant Seymour Krelborn stumbles across a new breed of plant he names "Audrey II" - after his coworker crush. Wed Jul 25, 2007 5:22 am. Shy, a bit clumsy, unsure of himself but does right by his people. No housing provided. Audrey II Song Git It. Sunday, November 17th and Monday, November 18th at 6:30pm. Cast members do not have to be the actual ages of the characters, but must be able to look age appropriate and act accordingly. A return to theatre-making is only possible if we help protect each other. The Plant is very persuasive and excels at getting what it wants. Street-styled girl group with infectious energy and confidence.
Musically, the next would be "All I Care about is Love", but is it more subdued, then "Sweet Transvestite" is probably too over the top and campy for the character of the dentist. To audition for Audrey II (acting & singing VOICE) please prepare…. Crystal, Ronnette, & Chiffon. For men, a 50's doo wop piece may make more sense, with an early Beatles or even Monkees number to round things out. Time are hard for dreamers. Nosy, father figure to Seymour. Here are some you may want to listen to for potential audition material: Soundtracks and Movie Compilations.
Strong character actor with some singing. He is a genuine, well-meaning man who is taken for granted because of his clumsy ways and poor social skills. Which of these would be a good choice if any? Come to a party with me. Listen to Jesus ~ Reefer Madness (might be a little less known). Mr. Mushnik: Supporting, Male, 45-65 vocal range: G2-G4; middle-aged, old enough to "adopt" Seymour as his son; strong character actor with some singing; Seymour's boss and father figure; he owns a failure of a run-down East Side florist shop; under a gruff and blustery exterior he cares about Audrey and Seymour; a good man at heart, but overcome by the temptations of wealth. Strong character actor and singer who can also deliver a bit of a comic edge. Voice of the big, scary plant. Letter from the refuge. Smooth, Sweet-talking and street smart. To audition for Orin please prepare…. Auditions are open to individuals who are freshmen in high school or older.
December 29, 2016 07:49 PM). While you might want to bring in a big belty Showstopper for your first piece, you may want to sculpt your second piece around the sound of the era. A funky Rhythm and Blues voice is best. Puppeteers will focus on all sizes of the plant and appear in chorus numbers as ensemble performers. "Now You Know" from Merrily We Roll Along.
If the sound of the piece is heavily reliant on big harmony, it will sound too small in an audition or worse, unrecognizeable. Here is "Let's Get Together from The Parent Trap which would translate very well to the audition room if you needed something in this style. This is a heart-wrenching power ballad for big voices.