Equity Chorus Call / Singers
Tuesday, January 7, 2014
10 AM - Equity Female Singers
2 PM - Equity Male Singers
Pearl Studios NYC "519"
519 8th Avenue
New York, NY
Men & women for replacements for the currently running Broadway company.
Prepare a BRIEF song from legit musical theatre/standard opera or operetta repertoire, preferably in English (no pop or rock music). Bring your book of music in case asked for a second selection. An accompanist will be provided.
Please bring a picture and resume, STAPLED TOGETHER.
Currently running on Broadway.
Music: Andrew Lloyd Webber
Lyrics: Charles Hart
Book: Richard Stilgoe and Andrew Lloyd Webber
Director: Harold Prince
Choreographer: Gillian Lynne
Prod. Spvsr: Seth Sklar-Heyn
Prod. Musical Spvsr: David Caddick & Kristen Blodgette
Prod. Dance Spvsr: Denny Berry
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.
Seeking male and female singers for all vocal chorus ensemble positions (tenors, baritones, basses, lyric and coloratura sopranos, mezzos and contraltos)
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.
For the ensemble and to understudy the followig principal roles:
20’s: beautiful young singer. Soprano voice that combines elements of classical and pop singing. A light, floating soprano. She sings briefly to high E.
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).
FIRMIN & 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.
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.
Late 30’s – early 50’s; the Opera’s ballet mistress. An ominous, stern, forbidding figure. Mezzo soprano to high B flat.
Late 30’s – 50’s; the opera’s leading tenor, Italian style singer, sings to high C. Requires opera training.
(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.
(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.
(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.