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DEATH FOR FIVE VOICES - Prospect Theater Company Auditions

Posted: November 5, 2012

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DEATH FOR FIVE VOICES – Equity Principal Auditions

Prospect Theater Company
New York, NY

Call Type
Equity Principal

Date of Audition

Actors' Equity Association Audition Center
165 West 46th Street
2nd Floor
New York, NY 10036
> EPA Rules are in effect.

Monday, November 12th
9:30 AM — 1:30 PM
No Lunch Break
> A monitor will be provided.

Music & Lyrics: Peter Mills
Book: Peter Mills and Cara Reichel
Director: Cara Reichel
Musical Director: Daniel Feyer
Casting Director: Jason Najjoum

Other Dates
EPAs: 11/12 & 11/14. See separate notices.

Rehearsals will begin around January 22, 2013, with performances February 16 - March 17, 2013 at the West End Theatre (263 West 86th St., NYC). (Schedule is subject to change.)

$145/week (20 hour work week)

Ethnically diverse, skilled actor-singers (m/f) with excellent musicianship and vocal technique. See Breakdown for details.

A breakdown has been added for this notice.

Actors should prepare a brief song which demonstrates their legit musical theater / vocal technique (please see voice type in breakdown below) and acting ability.
Bring picture and resume, stapled together.

This audition was rescheduled from the original 10/30 audition date.
Performers of all ethnic and racial backgrounds are encouraged to attend.
Always bring your Equity Membership Card to auditions.


A world premiere original musical drama from two of Prospect Theater Company’s founding artists (creators of Illyria, The Flood, and The Pursuit of Persephone, among others). Set in Naples, Italy from 1585 – 1590, the show is based on historical events in the life of the brilliant and infamous Renaissance composer Carlo Gesualdo, Prince of Venosa, who brutally murdered his wife Maria D’Avalos and her lover Fabrizio Carafa. A compelling and psychologically complex new work, with a sophisticated score that explores the darker realms of desire and inspiration.

Ethnically diverse, skilled actor-singers with excellent musicianship and vocal technique rooted in bel canto/classical pedagogy. Ability to harmonize, and blend to create an ensemble sound is a must. Experience in classical theater / Shakespearean performance is a plus.

NB: Ages are given as of 1585, when the play begins.

20. Tenor. A gifted composer and, upon the sudden death of his elder brother Luigi, the new Prince of Venosa. Deeply passionate about music, intensely self-involved, highly intelligent, charming but hot-tempered—possibly manic-depressive. Attracted to those things which are forbidden—including both Maria and Fabrizio, whom he murders. While he shuns the rules and strictures of the Catholicism, he is fundamentally spiritual and believes deeply in God.

26. Mezzo. Carlo’s wife (and first cousin). A great beauty and highly prized possession in Neapolitan society. Though still young, she is weighted with sorrow beyond her years. First married at 15, she is the veteran of two dead husbands (the first marriage quite happy, the second quite terrible), and five dead children. Her experiences have led her to struggle with deep existential questions. She seeks love to validate her life’s meaning.

30. Baritenor. A prominent nobleman, Duke of Andria. Carlo’s close friend and later Maria’s lover. He has a well-deserved reputation both as a lover of women, and a lover of art. In his early 20s he was an officer in the military, and now serves the Viceroy of Naples as an ambassador. Attractive, suave, sophisticated, a realist who can at times be cynical – but at his core an honorable, sensitive, and good man.

45. Tenor. Carlo’s paternal uncle; Maria’s maternal uncle. The Bishop of Conza, later a Cardinal and the Archbishop of Naples. Calculating, but sincerely religious, and deeply ambitious regarding his career in the church. He sees Carlo’s gifts with music as a tool placed in his world by God, that he may use to advance his prospects within the Church, and to glorify Christ. He believes in the Church as a vehicle through which to advance a humanist point of view—that we all play our part in God’s plan, which we cannot understand—and as a tool for advancing “the greater good.”

40. Alto. Carlo’s mother; the niece of a former Pope. Dignified, elegant, conservative in her views, unsentimental to the extreme, and an absolute realist. She has little real power beyond the immediate control and influence of her family, and therefore seeks to manage her family’s future, particularly her son’s, with an iron fist. Protects and values the family honor and status in society above all else.

28. Soprano. Maria’s maidservant, a warm and devoted companion. Practical, feisty, deeply protective of Maria and her children. She helps facilitate Maria’s affair with Fabrizio.

30s. Bass/Baritone. The Steward of Carlo’s palace, San Severo, in Naples. Dignified, slightly pompous, very Catholic. Extremely invested in “the rules” of his position, and in the rules of his religion.


If you can’t attend the EPA, please submit headshots and resumes for consideration to Auditions by appointment will be held in November 2012.

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