REBECCA **Updated** Equity Principal Audition - Broadway Theatre TBA Auditions

REBECCA - Equity Principal Auditions

Broadway / Production Contract Currently $1,653/week minimum.

Producers: Ben Sprecher/Louise Forlenza

Music: Sylvester Levay

Book/Lyrics: Michael Kunze

Dirs: Michael Blakemore / Francesca Zambello

Mus Dir: Kevin Stites

Mus Staging: Graciela Daniele

Casting: Binder Casting

1st reh: 2/6/12. 1st preview: 3/27/12. Opens 4/22/12.

Equity Principal Auditions:

Monday, September 19, 2011 Ripley-Grier Studios

Tuesday, September 20, 2011 520 Eighth Avenue, 17th Floor (elevator to 16)

Wednesday, September 21, 2011 New York City

10 AM - 6 PM all three days.

Lunch from 1:30 – 2:30.

Please prepare a brief song; material should lean toward standard musical theatre, w/contemporary musical theatre sensibilities. No rock and no commercial pop. Bring sheet music in the correct key; accompanist is provided, but may not transpose.

Please bring a picture & resume, stapled back-to-back.

Based on the world-famous novel by Daphne Du Maurier. Musical has had several successful productions throughout Europe. Story is set in 1926.

Seeking (all roles are available):

Note: All principals are English.

Maxim de Winter:

English, late 30s - mid 40s. Upper-class, dashing, cultured. Owner of Manderley. Has recently lost his beautiful, accomplished wife Rebecca in what the world believes was a tragic drowning. In fact, however, he killed her himself. He is haunted by her and by his crime, and remains so even after he marries the innocent young girl he meets in Monte Carlo. Expresses his love to her as if she were a child or doesn’t pay attention; lost in his own morose thoughts. Range: Low Bb (9th below middle C) up to very strong Ab above the staff. Dramatic tenor, with a not-too-legit sound.

Jack Favell:

English, late 30s - mid 40s. Working-class with pretensions. Rebecca’s cousin. Swarthy good looks. Lacking integrity and given to arrogant and egotistical behavior, he drinks to excess. Was Rebecca’s lover while she was married to Maxim and tried to blackmail him. Range: C up to F. Character baritenor.

Frank Crawley:

English, mid 40s - early 50s. Middle-class. Pleasant-looking. Maxim’s kind, loyal overseer at Manderley. Befriends the second Mrs. de Winter almost immediately. Range: C up to E, w/optional high G#. Warm but powerful baritone.

Ben:

English, 50s. Lower-class, Cockney. Strange-looking but harmless; somewhat mentally challenged. Was witness to Rebecca’s wanton way of life, and to the events of the evening of her drowning. Paranoid, and frightened that he will be punished and locked away. Range: C# up to E. Character tenor.

Mrs. Danvers:

English, late 40s - early 50s. The sinister, imposing housekeeper at Manderley. She was obsessively devoted to Rebecca, and remains so even after her death. Despises Maxim’s young wife for taking her mistress’s place. Vengeful and spiteful. The power of her presence is such that the slightest glance could make one’s blood run cold. Range: Low F up to belted F# (top line of staff).

Beatrice:

English, mid 40s - mid 50s. Upper-class. Maxim’s sister. One might call her handsome. On the surface, she seems a bit blunt, but she is friendly, outgoing and forthright. Part of the English manor set, a lover of horses and sports. Range: Bb below middle C to show/pop/belted D. Warm, contemporary Broadway belt.

Mrs. de Winter (“I”):

Update, posted 9/13/11: Role previously listed as available is now CAST. Auditioning performers will be considered as possible replacements, should any become necessary. English, early - mid 20s. Lower middle-class. Shy, self-conscious but very appealing. Begins as a paid companion to a wealthy American woman. In Monte Carlo, she meets and marries Maxim. At first, she is gauche and insecure; she cannot understand Maxim’s sudden shifts in mood. It is not until they are faced with the potential reality of his conviction for his crime that she becomes a strong, mature woman – confident in the love she has with him. We never learn the heroine’s name. She is referred to through out the piece as “I”. Range: Low F below the staff up to third-space E. Clear, clean, seamless sound, not too belty. Starts sweet and mixy, then gains vocal maturity throughout the show, with vocal power at the top as well.