CINDERELLA - Paper Mill Playhouse Auditions

Posted: August 5, 2019

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CINDERELLA - NYC EPA

Paper Mill Playhouse

AUDITION DATE
Mon, Aug 19, 2019
10:00 am - 6:00 pm (EDT)
Lunch 1:30 to 2:30

CONTRACT
COST TIER 4 ($901.00/WEEK MINIMUM)

SEEKING
Equity actor/singers for various roles. See breakdown.

PREPARATION
Please prepare a brief song in the style of the show. A piano accompanist will be provided. Bring a photo/resume stapled together.

LOCATION
Pearl Studios NYC (500)
500 8th Ave
New York, NY 10018-6504
4th floor. Check lobby upon arrival for any changes.

PERSONNEL
Producing Artistic Director: Mark S. Hoebee;
Associate Artistic Director: Patrick Parker

Director: Mark S. Hoebee
Choreographer: JoAnn M. Hunter
Musical Director: Michael Borth
Score: Richard Rodgers & Oscar Hammerstein II
Book: Douglas Carter Beane
Casting: Telsey + Company/Lauren Harris, CSA

Expected In the Room: Patrick Parker (Associate Artistic Director), Lauren Harris (Casting Director),

OTHER DATES
Rehearsals Begin in NY: October 28, 2019
Tech Begins at Paper Mill: November 14, 2019
First Performance: November 20, 2019
Press Opening: November 24, 2019
Closing: December 29, 2019

OTHER
EPA Procedures are in effect for audition.
An Equity monitor will be provided.
Equity’s contracts prohibit discrimination. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to attend every audition.
Always bring your Equity Membership card to auditions.

BREAKDOWN
SEEKING:
Performers of all ethnic and racial backgrounds are encouraged to attend.
[ELLA]
Female, 20's. ANY ETHNICITY. Though no one notices her beneath her rags and quiet demeanor, she is opinionated, charismatic, passionate, funny, and effortlessly beautiful. Idealistic and hopeful, she courageously challenges the prince to change the policies in his kingdom – and helps him discover who he truly is. Always her late father’s daughter, she is determined to see the good in everyone despite her hardships and suffering. We see her blossom into a confident woman. An elegant dancer, she must have strong dance and partnering skills and great comedic timing. Beautiful and expressive traditional musical theatre soprano.
[TOPHER]
Male, 20's. ANY ETHNICITY. A misguided and lost prince who longs to do something important with his life. Though brave and heroic, he feels lonely and unfulfilled. Charming but NOT a stereotypical ladies man, he is thoughtful, appealing, and innocent – with an unforced goofy streak. Moral, genuine, and kindhearted, he is at a crossroads and must take control of his kingdom and his future. Must have strong dance and partnering skills and great comedic timing. Soaring, rich musical theatre baritone to a G.
[MADAME]
Female, 40's to 60's. ANY ETHNICITY. Ella’s selfish stepmother. The epitome of vanity and fashion. A ravenous social climber who values wealth, status, and material possessions above all else. Unapologetically dismissive and sometimes cruel, Madame schemes her way up the social ladder. Must have incredible comic timing. Traditional musical theatre character voice.
[SEBASTIAN]
Male, 40's to 60's. ANY ETHNICITY. The kingdom’s Lord Chancellor. Though he is Topher’s trusted advisor, he is devious and selfish. Using propaganda and dishonesty, he keeps Topher isolated and in the dark about his kingdom. Sebastian rules without regard for the lower class, or anyone other than himself – and truly believes he deserves to rule the kingdom. Must have incredible comic timing. Traditional musical theatre character voice.
[MARIE]
Female, 40's to 60's. ANY ETHNICITY. A friend to Ella and the town’s resident crazy lady and beggar woman, Marie is actually a fairy godmother in disguise. Wise, warm, otherworldly and charming. Marie rewards Ella for her kindness by making her dreams a possibility. Glorious and expressive traditional musical theatre soprano to a G.
[GABRIELLE]
Female, 20’s. ANY ETHNICITY. Ella’s stepsister and daughter of Madame. Encouraged by her mother and sister to value material wealth and social status, she unenthusiastically joins them in their abrasive behavior. She has always followed rules but her awkward exterior hides a fiery revolutionary spirit. Passionate, empathetic, and witty, she is drawn to Ella and Jean-Michel. Ironically aware that she doesn’t fit in with her family. Must have great comic timing. Strong and expressive traditional musical theatre voice.

[JEAN-MICHEL]
Male, 20’s. ANY ETHNICITY. A feisty, passionate peasant determined to make a change for the starving class. Impetuous. A firebrand, but lacks authority and isn’t taken seriously as a revolutionary. Has a crush on Gabrielle, though their courtship is forbidden because they are from different social classes. Interested in interesting physical types – he could be scrawny, short, tall, chubby, etc. Must have great comic timing. Traditional musical theatre voice. Must understand musical phrasing and have an attractive, compelling sound.
[CHARLOTTE]
Female, 20’s. ANY ETHNICITY. Ella’s stepsister and daughter of Madame. Brash, self-centered, materialistic, snooty, loud, sassy, and bratty but in a funny and loveable way. She has a ridiculously high, but unfounded opinion of herself and has no concept of how ridiculous she looks. She never passes up an opportunity to be the center of attention. Ideally and extreme physical type. Must have great comic timing. Strong and expressive traditional musical theatre character belt to an F.
[LORD PINKLETON]
Male, 30’s to 40’s. ANY ETHNICITY. The Lord Chancellor’s right-hand man. Announces royal balls, banquets, and even the weather to the villagers. Must have great comic timing. Vocal description: Operatic tenor to an A with power. Understudies the role of SEBASTIAN.
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Equity’s contracts prohibit discrimination. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to audition.

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