PHANTOM OF THE OPERA – Equity Chorus Call for Singers
Broadway Production Contract; $1703/week minimum
Producers: Cameron Mackintosh and The Really Useful Company
Music: Andrew Lloyd Webber
Lyrics: Charles Hart
Book: Richard Stilgoe and Andrew Lloyd Webber
Director: Harold Prince
Choreographer: Gillian Lynne
Production Supervisor: Peter Von Mayrhauser
Production Musical Supervisor: Kristen Blodgette and David Caddick
Production Dance Supervisor: Denny Berry
General Manager: Alan Wasser Associates
Casting: Tara Rubin Casting
Equity Chorus Call / SINGERS:
Friday, July 6, 2012 at Pearl Studios “500”
10 AM – Equity female singers 500 8th Avenue, 4th floor (#412 holding room)
2 PM- Equity male singers New York City
Prepare a BRIEF song from legit musical theatre/standard opera or operetta repertoire, preferably in English. Do not sing pop or rock music. Please bring your book of music with you, in case you are asked for a second selection. An accompanist will be provided.
Please bring a picture and resume, STAPLED TOGETHER.
Seeking future replacements for the Broadway Company of “The Phantom Of The Opera.”
Seeking male and female singers for all vocal chorus ensemble positions (tenors, baritones, basses, lyric and coloratura sopranos, mezzos and contraltos) and to understudy principal roles.
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.
Special Chorus Parts:
DON ATTILIO/PASSARINO: (Chorus contract – excellent small specialty role) 30s – 40s. 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) 30s – 40s. Contralto or low mezzo. Physically interesting character woman. Short and round or tall and thin.
MONSIEUR REYER: (Chorus contract-excellent small specialty role) 30s – 4’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.
To understudy the following principal role:
CHRISTING DAAE: 20s: beautiful young singer. Soprano voice that combines elements of classical and pop singing. A light, floating soprano. She sings briefly to high E.
THE PHANTOM: 30s – 40s: 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 20s – early 30s: dashing, handsome young aristocrat. High baritone (2 octave range from A flat to A flat).
FIRMIN & ANDRE: Late 30s – 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: 30s – EARLY 40s; 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 30s – early 50s; the Opera’s ballet mistress. An ominous, stern, forbidding figure. Mezzo soprano to high B flat.
UBALDO PIANGI: Late 30s – 50s; the opera’s leading tenor, Italian style singer, sings to high C. Requires opera training.
Casting for The Phantom of the Opera is interracial. Singers of all ethnic backgrounds and races are encouraged to attend.
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