Equity male and female ballet dancers who sing to comprise the ensemble and play various characters in the world of the Paris Opera Ballet.
See breakdown for more information.
Women: wear ballet clothes and bring ballet shoes and pointe shoes.
Men: wear ballet clothes and bring ballet shoes.
Men and Women should also prepare 16 bars of a ballad if you are asked to stay and sing.
Please bring a picture and resume, STAPLED TOGETHER.
1st Rehearsal: September 16th, 2014
Opens: October 25th, 2014
Closes: November 30th, 2014
Part fact, part fiction, Little Dancer is inspired by the obscure fourteen-year-old ballerina who posed for the famed Degas sculpture, 'Little Dancer, Aged Fourteen.'
Music by Stephen Flaherty
Book and Lyrics by Lynn Ahrens
Direction and Choreography by Susan Stroman
Music Director- David Loud
Casting: Tara Rubin Casting
· Chorus 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.
** BREAKDOWN UPDATED 5/23/14 **
*Adult Female dancers should be good ballet dancers with strong technique-some
dance en pointe but all must be strong in ballet.
*Adult Men should be 5’10" or taller and good ballet dancers with strong technique.
12 ENSEMBLE WOMEN:
WOMAN #1: BACKSTAGE WORKER, PERSON AT EXPOSITION, MARTINE VAN GOETHEM: Mother to Young Marie, and her other two daughters (Antoinette and Charlotte). Martine was once a dancer, but has come down in the world and is now a washwoman. She isn’t above getting money from men, too. She drinks too much as a way of lightening her burdens. She is a merry drunk, but can turn mean or maudlin at the drop of a hat. She is a loving yet neglectful single mother. Also: Dances well. Strong Alto (Belt), F# -- C.
WOMAN #2: BACKSTAGE WORKER, PERSON AT EXPOSITION, ANTOINETTE VAN GOETHEM: Marie’s older sister, a former ballerina, now turned courtesan. Antoinette is flighty, vain and a little naive. She believes she has a handle on life, but in fact is living precariously, at the mercy of the men she takes up with. She loves her sisters and has a good heart, always “helping” her sister Marie by giving bad advice. Very strong soprano singing, good acting, and movement. Coloratura Soprano with a dazzling high C.
WOMAN #3: RENEE (a washwoman); PERSON AT EXPOSITION, BACKSTAGE WORKER, CUSTOMER AT LE RAT MORT, MARY: A noted impressionist painter and friend of Degas. She is a single woman, 40’s, who has managed to make her own way in the world as an artist. Once Degas’ student, she now feels free to speak her mind to him as his equal. She once thought she might be in love with him, but their relationship is really one of close and honest friendship. Serious acting, good singing. Soprano (with Belt), G - G, moves well.
WOMAN #4: PROPRIETRESS OF LE RAT MORT; JOSETTE (a washwoman); PERSON AT EXPOSITION, MADAME THEODORE: A noted dance teacher at the Paris Opera Ballet. Strict, unbending, with a good eye for talent. She is somewhat protective of her young dancers, but is realistic enough to understand that being a dancer may also entail socializing with the wealthy patrons. She thinks Marie is very talented, but also undisciplined, and wants her to do well. Strong singing, andSABINE (Degas’ housekeeper): Degas’ loyal housekeeper. Middle-aged, unmarried, devoted to running his household and taking care of him. She has a contentious relationship with Degas, feels put-upon and abused, and yet adores him. Soprano (with Belt), G – G. Moves well.
WOMAN #5: LOUISE (a washwoman); PERSON AT EXPOSITION; BACKSTAGE WORKER; BALLERINA, CUSTOMER AT LE RAT MORT; PERSON AT EXPOSITION. Must have classical ballet technique and sing very well. Soprano (with Belt), G – G
WOMAN #6: CECILE (a washwoman); MME. PRUNEAU (wealthy mother of one of the dancers) ; BACKSTAGE WORKER, CUSTOMER AT LE RAT MORT; PERSON AT EXPOSITION. Must have classical ballet technique (pointe) and sing very well. Alto (G – C).
WOMAN #7: GABRIELLE (a washwoman); PERSON AT EXPOSITION, BACKSTAGE WORKER, CUSTOMER AT LE RAT MORT; BALLERINA. Must have classical ballet technique (pointe) and sing very well. Alto (G – C).
6 ENSEMBLE MEN:
MAN #1: PASCAL PLOUFF, who own the laundry where Martine works);PERSON AT EXPOSITION; DOCTOR, AUGUSTE CORBEIL –(shortened form of Vaucorbeil)—the director of the Paris Opera Ballet in 1881. (He would have known Marie in real life.) He is authoritarian with anyone who works at the ballet, and obsequious to anyone who may give money to the ballet. He’s willing to play favorites if it means receiving a donation, and will send young girls into the arms of patrons if it means that they renew their subscriberships. A very good politician within his organization. Baritone (G – E). Moves well.
Man #2: BACKSTAGE WORKER, PERSON AT EXPOSITION, ABONNEE, DOCTOR, CUSTOMER AT LE RAT MORT, LUIS MERANTE. First Balletmaster and Chief Choreographer in 1881. Cares only about his new ballet, and will cast anyone who serves his purpose. A taskmaster. Second Tenor (A – A). Moves well.
MAN #3: DOCTOR, CUSTOMER AT LE RAT MORT, PERSON AT EXPOSITION, WORKMAN, CHRISTIAN. Rehearsal violinist and romantic interest for Marie. A handsome and roguish young man, a talented musician, responds to Marie’s talent, and she to his. Early twenties. Need a great singer, someone with charm, danger, sex appeal. Tenor, A – F (solo) sings to B with Ensemble, moves well.
MAN #4: PHILIPPE DE MARCHAL: Antoinette’s lover--a wealthy man, privileged and jaded);ABONNEE, DOCTOR, PERSON AT EXPOSITION, WORKMAN. Must have classical ballet technique (partnering) and sing well. High Baritone (A – F).
MAN #5: GILBERT (a wealthy gentleman) ; DOCTOR, PERSON AT EXPOSITION, ABONNE, WORKMAN. Must have classical ballet technique (partnering) and sing well. Baritone (G – E).
MAN #6: EDUARD (a wealthy gentleman); DOCTOR; PERSON AT EXPOSITION; ABONNE, WORKMAN. Moves well. Tenor (B – B).
SEEKING ACTORS OF ALL ETHNICITIES AND CULTURAL BACKGROUNDS.