Equity Principal Auditions
Friday, July 12, 2013
10AM –6 PM
Lunch 1:30 to 2:30
Pearl Studios NYC "519"
519 8th Avenue
New York, NY
Equity singing actors, men and women for possible replacements in the currently running Broadway production.
see breakdown for details.
Prepare a BRIEF song from legit musical theatre/standard opera or operetta repertoire, preferably in English. Do not sing pop or rock music. Bring book of music with you, in case you are asked for a second selection. An accompanist will be provided.
Bring picture & resume stapled together.
Currently running on Broadway
Casting: Tara Rubin Casting
Music: Andrew Lloyd Webber
Lyrics: Charles Hart
Book: Richard Stilgoe and Andrew Lloyd Webber
Director: Harold Prince
Choreographer: Gillian Lynne
Production Spvsr: Seth Sklar-Heyn
Production Musical Spvsr: David Caddick & Kristen Blodgette
Production Dance Spvsr: Denny Berry
· 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.
Seeking future replacements for the Broadway company of “The Phantom Of The Opera.”
Women should be sopranos (lyric or coloratura), mezzo sopranos, or contraltos, with strong legit musical theatre or opera voices.
Men should be strong legit musical theatre or opera tenors, baritones, or basses. Two of the basses in the chorus must sing to low F.
PLEASE NOTE: OPERA SINGERS AND MINORITIES ARE ENCOURAGED TO ATTEND.
CHRISTINE DAAE: 20’s: beautiful young singer. Soprano voice that combines elements of classical and pop singing. A light, floaty soprano. She sings briefly to high E.
THE PHANTOM: 30’s – 40’s: high baritone or tenor (with a good low range) from low A flat to high A flat. Needs a dynamic, bravura, “star” performance, both frightening and irresistible.
RAOUL, VICOMTE de CHAGNY: Late 20’s – early 30’s: dashing, handsome young aristocrat. High baritone (2 octave range from A flat to A flat).
FIRMAN & ANDRE: Late 30’s – 50ish; the managers of the Paris Opera House. Trying to be elegant, they are slightly befuddle and bumbling. Need good instincts for stylish comedy. Good supporting roles. Baritones; one sings to A, one to G.
CARLOTTA GIUDICELLI: 30’s – EARLY 40’s; the prima donna of The Paris Opera. A diva in every sense of the word. Coloratura soprano, to high E. Requires opera training.
MADAME GIRY: Late 30’s – early 50’s; the Opera’s ballet mistress. An ominous, stern, forbidding figure. Mezzo soprano to high B flat.
MEG GIRY: Late teens – early 20’s; a member of the Corps de Ballet. Must dance on pointe and sing mezzo soprano to G.
UBALDO PIANGI: Late 30’s – 50’s; the opera’s leading tenor, Italian style singer, sings to high C. Requires opera training.
DON ATTILIO/PASSARINO: (Chorus contract – excellent small specialty role) 30’s – 40’s. Bass or Bass baritone with a solid and legitimate low F. Should be a physically interesting character man with a good sense of comedy.
WARDROBE MISTRESS/CONFIDANTE: (Chorus contract –excellent small specialty role) 30’s – 40’s. Contralto or low mezzo. Physically interesting character woman. Short and round or tall and thin.
MONSIEUR REYER: (Chorus contract-excellent small specialty role) 30’s – 40’s. Tenor. Character role. The repetiteur (vocal coach) of the Paris Opera. An agitated, finicky, meticulous fellow. A strict disciplinarian. . always on the verge of hysteria.