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PIPPIN (SETA Tour) – Equity Principal Auditions
Fran and Barry Weissler, Howard and Janet Kagan | New York, NY
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Date of Audition:
2/24, 2/25, 2/26/2014
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Call Type
Equity Principal
Time(s)
Equity Principal Auditions (3 days)
Monday, February 24, 2014
Tuesday, February 25, 2014
Wednesday, February 26, 2014
10 AM to 6 PM each day
lunch 1:30 to 2:30
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Contract
Short Engagement Touring Agreement
Contract/category/salary pending
Location
Ripley-Grier 520 (Everyone must show
government photo ID to enter building.)
520 8th Ave. (36th/37th)
New York, NY
16th Floor (Mon, Tue) 17th Floor (Wed)
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Seeking
Equity Actors who sing, and actors who sing and dance, for principal roles in the Short Engagement Touring Agreement production.
see breakdown.
Preparation
Please prepare a brief, standard, musical theater pop song to sing. Bring sheet music; an accompanist will be provided. There will be no dancing at this call.
Please bring a picture and resume, stapled together.
Other Dates
ECC/Singers 2/27, 10am women, 2pm men
ECC/Dancers 2/28, 10am women, 2pm men
EPAs: 2/24, 2/25, 2/26, 10am-6pm
(see separate notices)
1st reh: On/About 7/28/14. 1st Perf: On/About 9/8.
Closes: On/About 9/27/15 (Subject to change).
Other
Circus Creation: Gypsy Snider of Les 7 Doigts De La Main
Casting Director: Duncan Stewart and Benton Whitley of Duncan Stewart and Company
Personnel
Music/Lyrics: Stephen Schwartz
Book: Roger O. Hirson
Director: Diane Paulus
Musical Supervisor: Nadia DiGiallonardo
Choreographer: Chet Walker
· 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
PIPPIN
Male, to play early 20s-mid 20s. The son of Charlemagne and heir to the throne of the Holy Roman Empire, Pippin has returned from university to discover that he does not know what to do with his life. He searches for something in his life to be fulfilling. Tenor.
LEADING PLAYER
Female. Dangerous, charismatic, extremely charming and seductive, the Leading Player is the leader of the troupe and the mastermind behind Pippin's journey. The Leading Player must be an incredibly strong performer with the willingness to take risks and dig deep and dark; a powerful presence. Alto/Mezzo with a strong belt.
CHARLEMAGNE
Male, to play late 40s-early 60s. Pippin’s father and the King of the Holy Roman Empire. War is the most important part of being king in his eyes. Excellent comedic timing. Knowledge of Juggling, unicycle, knife throwing a plus. Legit Baritone.
FASTRADA
Female, to play early 40s-early 50s. Pippin’s step mother, Charlemagne’s wife, and Lewis’s mother. A manipulative woman with sexual appeal and a strong desire for power, Fastrada aims to get her son Lewis to be first in line to the throne. Dancer.
LEWIS
Male, to play early 20s-early 30s. The son of Charlemagne and Fastrada, Pippin’s half brother. He is a soldier in Charlemagne's army and he prides himself on his athleticism and physical prowess. Tenor, will cover the role of Pippin. Must move extremely well.
BERTHE
Female, to play early 60s-80s. Pippin’s grandmother, and Charlemagne’s mother. An incredibly spunky older woman with excellent comedic timing. Berthe now resides in the country due to a personality conflict with Fastrada. She encourages Pippin to live life to the fullest. Must be physically agile and strong, unafraid of heights, and willing to train on trapeze. Alto.
CATHERINE
Female, to play late 20s-mid 30s. She is older than Pippin and his love interest, a tragically widowed farmer’s wife with a young son. Must have a comedic sensibility. She is kind, generous, romantic, and strong-willed. Mezzo with a strong mix.
THEO
Male, to play 9-11 years old. Catherine’s rebellious son who soon develops a loving relationship with Pippin. Singing is required.
NOTE from Les 7 Doigts de la main Circus Creator. The world of Pippin we are trying to create involves the use of multi-disciplined circus arts. For our actors, singers and dancers, we are really interested to see what physical capacities they bring to the table in terms of strength, flexibility and dexterity. We would want to integrate these creative and unique skills into the musical numbers. Skills with contortion, tissue, hand-balancing, hand to hand, pairs and duo-mixed would be of added value.
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