Pittsburgh Civic Light Opera
CONTRACT
RMTA $1203 weekly minimum
SEEKING
Equity actors for roles in 2022 summer season (see breakdown).
Equity performers of all racial and ethnic backgrounds, gender identities and expressions, and performers living with disabilities are encouraged to audition.
The summer season will be performed at the Benedum Center in Pittsburgh Pa.
As a condition of employment, all performers must be fully vaccinated against Covid-19, as defined by the CDC, by first rehearsal.
There are no stage manager or assistant stage manager positions open at this time.
INSTRUCTIONS
Read and follow the instructions at https://www.pittsburghclo.org/about/clo-auditions. Prepare a brief contemporary musical theater song that shows range, in a style appropriate to season's shows. If you wish, you may choose one of the prepared songs, appropriate for your voice type and range at https://www.dropbox.com/sh/o0icd6humf9vuxx/AAAXjAHPHE5xW_Wczf-82LRKa?dl=0. Submit your audition prior to 11:59 pm on Feb 1st, 2022. Non-complete or incorrectly labeled submissions will not be considered.
Deadline: Tue, Feb 1, 2022
PERSONNEL
Viewing auditions:
Mark Fleischer, Executive Director
Billy Mason, Producing Associate
James Cunningham, Music Supervisor
Geoff Josselson, JZ Casting
Katja Zarolinski, JZ Casting
OTHER DATES
Summer Season rehearsals and performances are as follows:
The Drowsy Chaperone Jun 14-26
Kinky Boots Jun 28-Jul 10
Godspell Jul 5- 17
A Chorus Line Jul 29-31
Sister Act Aug 2- 14
OTHER
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 submit.
BREAKDOWN
THE DROWSY CHAPERONE:
[MAN IN CHAIR] Musical theatre aficionado who mourns the end of the Golden Era. He narrates the show as he listens to the record on vinyl. [ROLE IS CAST]
[MRS. TOTTENDALE] Female identifying, 40s-60s, A wealthy widow and host of the wedding. She is flighty, eccentric, often times forgetful, and funny. She is absolutely charming, bubbly and oblivious to the confusion her behavior generates in other people. (G3-Db5)
[UNDERLING] Male identifying, 50s-60s Mrs. Tottendale’s unflappable butler and manservant. He is stoic, dry-humored and sarcastic. A cross between Arthur Treacher and Niles the butler from The Nanny. (Ab2-G4)
[ROBERT MARTIN] Male identifying, 20s-30s, The groom-to-be who is deeply in love with Janet. He is the token 1920s leading man – debonair, dashing, and a matinee idol. He is cheesy, cheerful, and optimistic. Must be able to tap dance and roller skate. (C3-Ab4)
[GEORGE] Male identifying, 30s-40s, Robert’s anxious best man. He is loyal, sincere, and nervous. Makes looking out for Robert’s interests his top priority so that the wedding will come off without a hitch. (F3-Bb4)
[FELDZIEG] Male identifying, 40s-50s, Harried producer who will do anything to stop the wedding in order to keep Janet in the Follies. He is nervous, sarcastic, impatient, overbearing, and insensitive. (Db3-Db4)
[KITTY] Female identifying, 30s, 1920s dumb blonde chorine. She is Mr. Feldzieg’s companion and will do anything to be a leading lady. (Bb3-F5)
[GANGSTER #1 & #2] Male identifying, 30s-40s, Two jovial gangsters who are posing as pastry chefs. Typical 1920s Broadway gangsters full of word play and stylized movements. (Db3-Gb4)
[ALDOLPHO] Male identifying, 40s. A womanizing cad who is very impressed with himself. He is confident, vigorous, and a buffoon. Vaudeville-style acting and fake Spanish/Italian accent required. (A#2-G4)
[JANET VAN DE GRAAF] Female identifying, 20s-30s, Star of Feldzieg’s Follies who is conflicted about giving up her life on the stage to marry Robert Martin. Attractive, vivacious, outgoing personality. She loves being the center of attention and is the consummate 1920s starlet. (G3-E5)
[THE DROWSY CHAPERONE] Female identifying, 40s-50s, Janet’s alcoholic confidante. Care-free, often because she is drunk. An experienced “woman of the world” who couldn’t care less what the world thinks. A melodramatic diva to be reckoned with who gleefully chews the scenery and steals just about every scene she is in. (F3-D5) [ROLE IS CAST]
[TRIX] Female identifying, 30s-50s, The brave and brash female aviator. She is sassy, sleek and a take charge kind of gal. (Ab3-Eb5)
KINKY BOOTS:
[CHARLIE PRICE] Male identifying, late 20s - early 30s, Caucasian. Just out of university, a really nice guy who has no clue what to do with the rest of his life. He’s handsome, lovable, but there’s a temper right under the skin. Henpecked by his girlfriend and a little lost. Must have a great rock belt. (C3-B4)
[LOLA/SIMON] Male identifying, early 30s, Black. A strong, confident comedic cross-dresser who needs to feel comfortable wearing everything from full glamour drag to nothing but boxing trunks. Must have a killer voice with power blues and gospel chops to a Bb. Must move well and be comfortable in high heels. Must have star presence and an enormous emotional range for this very challenging role. (C3-B4)
[LAUREN] Female identifying, 20s, BIPOC. Beautiful, quirky working class girl, who is funny, smart, practical and focused, but has had bad luck with men. Must have a pop voice with belt and comedic chops. (Bb3- F#5)
[NICOLA] Female identifying, 20s. Charlie's girlfriend since school. Steel willed, she is driven and uncompromising. She knows what she wants and goes for it. Must have a great pop voice. (Bb3-F#5)
[DON] – Male identifying, 30s – 40s. Lola’s nemesis. Burly hyper-masculine bear of a factory worker. (C3-F4)
[GEORGE] Male identifying, 40s-50s, BIPOC. Factory manager keeping up traditions. Reserved. (C3-F4)
PLEASE NOTE: The two children's roles of Young Charlie and Young Lola below will be auditioned later in the spring to help assure we don’t have sudden voice changes or growth spurts. A new notice will be posted in advance of those auditions.
[YOUNG CHARLIE] Male identifying, age 10, Caucasian. This is our lead as a ten year old boy. Lost, quiet, reflective. He works in the opening and closing sequences. Must have a great voice. (G3-D4)
[YOUNG LOLA] Male identifying, age 10, Black. This is Lola as a ten year old boy who's father wants him to be a boxer, but he already knows he’s destined to wear high heels. Must have a great voice and comfortable wearing high heels during the show. (G2-D4)
SISTER ACT:
[DELORIS VAN CARTIER] Female identifying, mid 20s to early 40’s, Black. Brassy and crafty, Deloris is a Donna Summer wannabe with dreams of glitz, glamour and fabulous glory. Brash and single-minded, she looks out for herself and no one else. After witnessing a murder, she is left at the mercy of the Sisters of Queen of Angels Convent where she must learn to put her faith in something other than herself. Sings extensively throughout, including “Fabulous, Baby!,” “Raise Your Voice,” and “Take Me To Heaven.” Expansive Belt Range (E3-F#5).
[CURTIS JACKSON] Male identifying, 30s-40s, Black. High Baritone. Smooth, charismatic and dangerous, Curtis is a Philadelphia club owner, underworld ringleader and Deloris’ married boyfriend. An opportunist and narcissistic, he orders his gang to hunt Deloris down after she sees him murder one of his own thugs. Sings “When I Find My Baby.” (A2-Ab4)
[JOEY] Male identifying, 20’s-40’s. Joey is big, burly and a fiercely loyal member of Curtis’ gang. A self-described ladies’ man, he is certain he can get close to any woman, including nuns. Sings in “Lady in the Long Black Dress.” (Bb2-Eb5)
[PABLO] Male identifying, 20s-40s, Lantinx. Tenor with High Falsetto. Pablo is Curtis’ bodyguard and a member of his gang. He speaks almost exclusively in Spanish though TJ and Joey don’t understand a word he is saying. Sings in “Lady in the Long Black Dress.” (B3-F5)
[TJ] Male identifying, 20s-40s, Black. Baritone with High Falsetto. TJ is Curtis’ nephew and an overeager and somewhat dim-witted member of his gang. Sings in “Lady in the Long Black Dress.” (Db3-Eb5)
[EDDIE SOUTHER] Male identifying, late 20s-30s, Black. Expansive High Baritone Range. Charming and unassuming, Eddie is the by-the-book Philadelphia cop protecting Deloris. His crush on Deloris causes him to perspire anxiously, earning him the begrudged nickname “Sweaty Eddie.” Eddie longs to be the hip, sexy and suave man he thinks Deloris wants. Sings “I Could Be That Guy.” (Ab2-B4)
[MOTHER SUPERIOR] Female identifying, 40s-60s. Alto and Mezzo. Stalwart and iron-willed, Mother Superior looks after the Sisters of Queen of Angels Convent fiercely and passionately. Though at first righteous and unwavering, the wonderful changes in her Sisters melts her icy exterior and reveals her warm heart. Sings “Here Within These Walls” and “I Haven’t Got A Prayer.” (D3-E5)
[MONSIGNOR O’HARA] Male identifying, 50s-60s. Tenor. Benevolent Monsignor O’Hara is the priest at Queen of Angels Parish. Kind and charitable, he hides Deloris in the convent and is delighted by the fresh new music she brings to the church, not to mention the new parishioners in the pews. (E3-G4)
[SISTER MARY ROBERT] Female identifying, 20s. High Belt. Mary Robert is a timid young postulant, waiting for her call to sisterhood. At first shy, modest and a slave to the rules of the convent, Deloris’ infectious music draws out a huge, show-stopping singing voice. Her experiences with Deloris cause her to question whether to take her final vows or leave the convent. Sings “The Life I Never Led.” (F#3-A5)
[SISTER MARY PATRICK] Female identifying, 20s-early 40s. Alto with Ability to “Squeal” E6. Enthusiastic, good-natured and sweet, Sister Mary Patrick believes it is truly great to be a nun. Eternally optimistic, she finds joy and delight in everything she does. Must be a strong comedienne. Sings in “It’s Good To Be A Nun” and “Bless Our Show.” (G3-E6)
[SISTER MARY LAZARUS] Female identifying, 40s-60s. Alto Rapper. Tough, wisecracking and full of gusto, Mary Lazarus is dry and cynical, but happy to lend a hand, especially when it’s right for the convent. Must be a strong comedienne. Sings in “It’s Good To Be A Nun” and “Bless Our Show.” (F3-B4)
A CHORUS LINE:
[CASSIE] Female identifying, 30s. A star dancer who has had success in featured roles on Broadway and now needs a job. Recently back from LA, she wants to start over and put herself on the line. She is passionate about dance and it shows in her performance. Vulnerable but committed. Had a relationship with Zach in the past. An outstanding dancer and sings extremely well, belter. (A3-D#5) [ROLE IS CAST]
[DIANA] Female identifying, Puerto Rican, late 20s. Warm and likable. She attended the High School of Performing Arts, where her drama teacher told her that she would never make it as an actress. Despite her setbacks, she still believes in the thrill and power of dancing on Broadway. Sings extremely well, mezzo. (G3- C#5)
[SHEILA] Female identifying, 30s. Her mother pushed her into being a ballerina and she used dance as a means to escape her unpleasant home life. Strong, opinionated and assertive but not mean. Her sharp, biting sense of humor and tough, passive aggressive attitude cover her insecurity and vulnerability. (G3-Bb4) [ROLE IS CAST]
[VAL] Female identifying, 20s. Adorable but, savvy and self-assured. Her dreams of being a Rockette were dashed and she learned that her looks were holding her back. Not one to settle, she went to a doctor and bought herself a new look and new physique, of which she is very proud. Sings extremely well. (G#3-C#5)
[KRISTINE] Female identifying, 20s. She “could never really sing,” but grew up dancing to the radio. She is often panicked and nervous, but has a loving husband, Al, who helps ground her. Unintentionally comedic. (B3-Eb5) [ROLE IS CAST]
[BEBE] Female identifying, 20s. She grew up being told she was different looking, but feels beautiful when she dances. Sings extremely well. (F#3-C#5) [ROLE IS CAST]
[JUDY] Female identifying, late 20s. Funny and quirky. She used to dance around the living room, but is now ready for Broadway. Tall, thin and off-beat. (G#3-C#5) [ROLE IS CAST]
[CONNIE] Female identifying, early 30s, Asian. Born in Chinatown. Sings about being 4’10” and laments being too short to be a ballerina. Energetic and self-assured. Petite -- should be under 5’3”. (C4-D5) [ROLE IS CAST]
[MAGGIE] Female identifying, 20s. Sweet girl-next-door, she had a difficult home life growing up and used to dance and fantasize as a way of escape. Has a strong, high belt/mix. (A3-E5) [ROLE IS CAST]
[ZACH] Male identifying, 30s – early 40s. A charismatic, controlling, and manipulative but brilliant Broadway director/choreographer. Always seems strong and self-assured, despite the emotional circumstances he creates.
[PAUL] Male identifying, late 20s, Puerto Rican. Shy and sensitive. Left school at a young age after being bullied for being effeminate. He secretly began to work in a seedy drag show, which he hid from his parents. A strong actor able to deliver a long, engaging monologue. (C#3-F#4) [ROLE IS CAST]
[MIKE] Male identifying, 20s. Italian. He discovered dance when he started attending his sister’s dance class and realized he could do that, and better. Athletic and masculine. Sings well, tenor. (F3-G#4)
[BOBBY] Male identifying, 20s. A bit of an oddball, he tells great stories of all of the trouble he’s gotten into over the years. He is funny, attractive and charismatic. (Eb3-C4)
[AL] Male identifying, 30s. Kristine's husband; he is her rock. He is tough and street smart, from a working class background. Masculine and appealing, with strong singing voice. (E3- G#4) [ROLE IS CAST]
[RICHIE] Male identifying, 20s, Black. After winning a basketball scholarship to college, he almost became a kindergarten teacher, but instead put his considerable energy into dance. Charismatic with a big tenor voice. (D3-A4)
[MARK] Male identifying, 20. Boyish and innocent. His memories of his adolescent sexual awakening include misinterpreting a wet dream as gonorrhea. (E3-G#4) [ROLE IS CAST]
[GREG] Male identifying, 30s, Smart, wry and witty, he describes himself as very East Side.” Has known he was gay since a young age and is at home with it. (D3-E4) [ROLE IS CAST]
[DON] Male identifying, 20s. All American. He tells a story of working in strip joints and having an affair with an older stripper. ( D3-F#4) [ROLE IS CAST]
[LARRY] Male identifying, 20s. Zack’s assistant choreographer. Efficient but kind and supportive of the dancers auditioning. He is a superb dancer.
[ADDITIONAL DANCERS] Males and Females, 20s to play various named dancers in the audition who get cut in the opening number, including TRICIA, ROY, TOM, BUTCH, LOIS, VICKI, FRANK.
GODSPELL:
DIRECTOR'S NOTE: We are looking for a contemporary company of first-rate actor/singers and comedians that
dance or move extremely well and are diverse in ethnicity, age, and personality. Looking for a group of misfit individuals that possess a sense of play and spontaneity, along with an ability to improvise and exercise their imaginations to the fullest, building with, and off, other performers to form a tight knit family of vulnerable humanity. We are also very interested in including actor/musicians who are extremely proficient in any hand-held instrument: especially guitar, mandolin, violin, reeds, recorder, flute, percussion, concertina, and horns.
We are actively seeking performers of all races, ethnicities, gender identities and expressions, body types and abilities for all roles.
[JESUS] Must be the most charismatic individual in the cast. High energy, charming, funny, gentle but with strength. He is the sort of person others instinctively follow. He sings “Save the People,” “All for the Best,” “Alas for You,” “Beautiful City” (Tenor)
[JOHN THE BAPTIST/JUDAS] He has attributes of both Biblical figures: He is both Jesus' lieutenant and most ardent disciple and the doubter who begins to question and rebel. Like Jesus, he is also charismatic, but in more of an overt revolutionary way. Usually played by someone handsome and masculine, with an undertone of sexuality. He is the most serious and intellectual of the group, though as with all the actors, he must still possess a good sense of physical comedy. He sings “All For the Best,” and “On the Willows.” (Baritone)
[PLAYER 1] Very high energy. Impish and playful. Multi-instrumentalist. Sings “We Beseech Thee.” (Tenor)
[PLAYER 2] Not the brightest in the bunch, a little slow on the uptake. But there is a great sweetness and innocence. Sings “All Good Gifts” (Tenor)
[PLAYER 3] The comedian, the class clown. Can do a hundred voices and imitations. Sings “Light of the World.” (Tenor)
[PLAYER 4] A bit of a tomboy, but basically open and sweet. Perhaps the youngest of the group. The first of the group to commit to following Jesus. Sings “Day by Day.” (Alto)
[PLAYER 5] The confident one, the show-off. The first one to volunteer, sometimes jumps in before they really understands what's going on. Sings “Bless the Lord.” (Soprano)
[PLAYER 6] The shy one. Sometimes a little slow to get things, but when they do, they commit all the way. Has an earth mother kind of warmth. Sings “By My Side.” (Alto)
[PLAYER 7] Sassy and slightly cynical, the most urban of the group. Also the sexy one, but that sexiness contains a large element of put-on, in the manner of Mae West or Madonna. Sings “Turn Back, O Man.” (Alto)
[PLAYER 8] Another class clown. Goofy and a cut-up. In the 2012 Broadway revival, this track played several instruments, including conga, ukulele and guitar. Sings “Learn Your Lessons Well.” (Mezzo-Soprano)
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 submit.
Videos
