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Call Type
Equity Principal
Time(s)
Equity Principal Auditions
Thursday, March 12, 2015
10 AM to 6 PM
lunch 1:30 to 2:30
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Contract
COST
Tier 4- Equity Minimum $824/week
Location
Pearl Studios NYC 500
500 Eighth Avenue
(35th/36th Streets)
New York, NY
4th floor
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Seeking
Equity actor/singer for various principal roles.
see breakdown.
Preparation
See breakdown for full preparation instructions.
Also, bring picture and resume, stapled together.
Other Dates
Reh: o/a 8/24/15. Performs: 10/8 - 11/8/15
Producing Artistic Director: Mark S. Hoebee
Managing Director: Todd Schmidt
Associate Artistic Director: Patrick Parker
Other
EPA: 3/12, 10am-6pm, at Pearl 500.
ECC/Dancers: 3/16, 10W, 2M, at Pearl 500
ECC/Singers: 3/17, 10W, 2M, at Pearl 519
Personnel
Director/Choreographer: Andy Blankenbuehler
Music: Richard Oberacker
Book/Lyrics: Robert Taylor and Richard Oberacker
Musical Director: David Kreppel
Casting: Tara Rubin Casting/Lindsay Levine
· EPA Rules are in effect.
· A monitor will be provided.
Performers of all ethnic and racial background are encouraged to attend.
Always bring your Equity Membership Card to auditions.
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Breakdown
PREPARATION INSTRUCTIONS:
Please prepare a brief uptempo traditional musical theater song (or something similar) with a jazz or swing feel. For example- Cole Porter, Gershwin, etc. No pop/rock please.
For anyone who is playing an instrument please play a selection of your choice that is period appropriate. Any instrumentalist will have to sing as well, so please also prepare a song to sing without your instrument.
Please bring a picture and resume, STAPLED TOGETHER.
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SYNOPSIS:
Set in 1945, “BANDSTAND” tells the story of a mismatched swing band of military veterans who join together to compete in a national radio contest in New York City with a prize that will guarantee instant stardom to the winners. But with complicated relationships, the demands of the competition and the challenging after-effects of the War that each vet band member carries, going all the way for a win in the contest seems like a dream that may break them more than give them their big break. The score is strongly influenced by authentic 1940’s swing music, much of which is played onstage by the characters who make up the band. The show races towards a “live on air” finale that has an emotionally charged and surprise twist ending that requires every ounce of talent, stamina and raw nerve that these musicians possess.
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SEEKING:
DONNY NOVITSKI
(mid 20s) Polish/Italian American. He is handsome but in an unusual, melting pot way. He is a gifted musician, both as a pianist and vocalist. He has a confidence in his talent that can sometimes appear arrogant but he always has the goods to back it up. He also carries an energy of unrest, of frustration in knowing how much he has to offer musically without the recognition and rewards afforded others. This can sometimes result in speaking impulsively. However, there must be in him an inherent likeability that compensates for these flaws. And when he is at his piano in front of an audience, he is a true star. Donny also carries the enormous emotional burden of his war experiences. MUST ALSO PLAY PIANO. Strong high baritone with “crooner” colors in moments, low B flat (lightly) to strong high G (with optional high B flat). THIS ROLE IS ON OFFER. If accepted, seeking Understudy.
JULIA TROY
(mid 20s) She is very intelligent, probably bookish, with a nurturing sensibility. Julia can seem as if she isn’t particularly concerned with being pretty but when she is in front of an audience, she does in fact care a great deal. She has put her life on hold to grieve and to be a companion to her mother. The Julia that has star quality, that can make herself look quite attractive, has been in hiding for a long time. She has incredible vulnerability that she hides very well. But in those moments she can retain her sly sense of humor. She can give herself over to her music in such an organic, unstudied and we should be reminded of Judy Garland in Julia’s mix of vulnerability and strength. She has an extraordinary singing voice (Warm alto, low F# to belt D, Legit to G.) THIS ROLE IS CAST. Seeking Understudy.
MRS. JUNE ADAMS
(50s) Julia’s mother. She is a woman who likely has let age and disillusionment get the best of her figure. She has a natural and easy comedic sense about her but it is tied very closely to the disappointments in her life. A realist by nature, with an atheistic bent. But she does try very hard to appear upbeat and winning when around others who aren’t her close family. She is extremely proud of her daughter and thankful for her daughter’s loyalty, but she is also very intuitive about Julia’s needs and can be very pointed and wise when necessary. Low character alto, low A flat to middle G
JIMMY CAMPBELL
(mid to late 20s) Jimmy is very handsome and can be cautious and very quick to suspect people of dealing unfairly with him and those he cares about. But he is extremely loyal once he comes to trust someone and feel they trust him. He is someone that appears to be an underdog in terms of his physicality but can be the strongest person in the room emotionally. Harbors a secret attraction to Donny. He has a lawyer’s mind, analytical and calculating. MUST ALSO PLAY THE SAXOPHONE.
DAVY ZLATIC
(late 20s- early 30s) Davy is an archetypical Falstaff. He is big in body and spirit. He can be boisterous and at times vulgar in his humor. He drinks almost constantly and while his drinking lends a cheerful veneer to his personality, it covers a very dark center. He knows that he can use his humor and good-time bonhomie to keep him from falling into despair. And given his size and physical power, it should be apparent that if he were to become angered, he could do a lot of harm. MUST ALSO PLAY BASS.
NICK RADEL
(late 20 to early 30s) Nick is a man who seems constantly irritated with the world and those that inhabit it. Whether this comes from his physical attributes or his experiences as a prisoner of war in Germany isn’t entirely clear. Fortunately this constant irritation manifests itself in humorous if blistering verbal outbursts. Nick must have the sharpest, most cynical sense of humor and be able to get a laugh by the slightest impatient roll of the eyes. And because his talent on the trumpet is so extraordinary, he can channel that fierceness and sharpness into his playing. MUST ALSO PLAY TRUMPET.
WAYNE WRIGHT
(late 20s to early 30s) Wayne is a Marine with a capital “M”. He is disciplined and precise, often impatient and completely convinced that this is the result of his training and service. The opportunities for any number of odd habits that deal with cleanliness, discipline and order to appear are endless. He is a man that has an enormous capacity to bond, to be loyal and to love but he tries his best to disguise that. And because those expressions of bonding, care and brotherhood go unspoken, they are not evident in his text and must be something that we see and sense in his being. MUST ALSO PLAY TROMBONE.
JOHNNY SIMPSON
(mid 20s to mid 30s) Johnny is a very simple man. He’s not stupid or a comic idiot foil, but there might have been some knocks to the head in his accident which has left him with a rather bad back. He’s an observer, and when needed a straightforward speaker of truth. He is very loyal and trustworthy, if sometimes slower on the uptake than the others. When playing with the band, however, this simplicity serves him and he can be single minded in his groove and the unshakable foundation to the swing. MUST ALSO PLAY DRUMS.
SEEKING ACTORS OF ALL ETHNICITIES AND CULTURAL BACKGROUNDS.
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