Monday, September 8, 2025
11:00 AM – 7:00 PM (P)
Break 2:00 PM – 3:00 PM
$1154 weekly minimum (Tier 3)
Equity actors for roles in SWEENEY TODD (See breakdown).
All Equity stage managerial positions have been filled.
Please prepare a song of your choice from SWEENEY TODD or another choice in the genre. Please bring sheet music/music book and a stapled headshot and resume. An accompanist will be provided.
La Mirada Theatre Rehearsal Space
15519 Phoebe Ave
La Mirada, CA 90638
Producers: Tom McCoy and Cathy Rigby
Producing Artistic Director: B.T. McNicholl
Director: Jason Alexander
Choreographer: Lee Martino
Music Director: Darryl Archibald
Casting Director: Julia Flores
Expected to attend:
Music Director: Darryl Archibald
Choreographer: Lee Martino
Casting Director: Julia Flores
Rehearsals: 1/6/26
Opening: 1/31/26
Closing: 2/22/26
EPA Procedures are in effect for this 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.
Notice: Audition Call Type: EPA
This production will not alter the material in any way. It does re-imagine how the material is presented. Similar to Man of La Mancha, the trope of a play is performed in an environment different from the one it's presented in. La Mancha has many settings for the Quixote story, but it all takes place in the prison that Cervantes finds himself in. This production will present in a similar way. It will be performed by the inmates of Fogg's Asylum, the madhouse referenced in the play. Therefore, all cast members will play characters of our mutual creation who are committed to the asylum, as well as their assigned characters in the Sweeney story. All sets, costumes and props will be limited to what would organically exist in that asylum. The ensemble will be ever-present onstage, participating and reacting to the main action. It is a very physical and stylish production, and though it contains the humorous moments we all know, it leans more to the dark and complex themes of the play.
SWEENEY TODD / BENJAMIN BARKER
40-50s. Character identifies as male. Open to all ethnicities. Strong physical presence, menace yet also innocence. Approaching this role with a Jekyll/Hyde sensibility. It is really two characters: Benjamin Barker and Sweeney Todd. Todd is who Barker created not only as an alias but as a model for who he must become if he is to prevail. There are real differences between them - certainly emotionally but also perhaps physically and/or vocally. Looking for an actor to find physical/vocal differences between the two personas. All actors must be comfortable with, and capable of safely navigating, heights, staircases, and ladders onstage. British accent. Strong baritone.
Vocal Range: F2 – Gb4
MRS. LOVETT
35-55. Character identifies as female. Open to all ethnicities. Unlike others in the cast, Lovett is not an inmate of the asylum; she is a nurse who has become enthralled by the mysterious figure overseeing the play. As the nurse, she is efficient, cold, unreadable. But she transforms as Lovett. Though this character contains much of the more comedic material of the show, there is darkness, as well. She is a survivor. She can be ruthless and selfish. She’s cunning – just as capable of cutting a throat as Sweeney himself – yet she clings to the illusion of being a proper lady with social aspirations. Lovett is a conniving and willing accessory to all the mayhem. A deeply interesting and complex character. Physical comedy and strong British cockney. All actors must be comfortable with, and capable of safely navigating, heights, staircases, and ladders onstage. Mezzo-Soprano (G3 – E5)
JOHANNA BARKER
18+ to play late teens to 20s. Open to all ethnicities. Character identifies as female. Innocent, lovely, ingenue. Her inmate persona is to be determined, but clearly she is an object of unwanted attention all too often. Is she defenseless? Who knows? She is naive and young only because exposure to the real world is denied her. Yes, she is fearful, but she also dares a lot for a young lady of her circumstances. Some surprising strength or spine might be wonderful. All actors must be comfortable with, and capable of safely navigating, heights, staircases, and ladders onstage. Soprano (C3 – A5)
ANTONY HOPE
20s-mid 30s. Character identifies as male. Open to all ethnicities. We must believe him to be righteous Christian, kindly, ingenue. His inmate persona is to be determined, but it must contain what we know Antony to be - decent, impulsive and romantic. However, he has sailed the world. He has seen good and bad - he may not be quite as naive and innocent as he is portrayed. Perhaps his calling to Christianity is an ideal because of all the wickedness he has seen. All actors must be comfortable with, and capable of safely navigating, heights, staircases, and ladders onstage. Tenor (Bb2 – F4)
TOBIAS RAGG
18+ to play late teens to 20s. Open to all ethnicities. We welcome and encourage actors of all gender identities, expressions, and lived experiences to audition. Tobias can navigate the streets but struggles to understand complex intentions. There's a sweetness and vulnerability – Toby is, in many ways, still a child, a blend of Oliver and the Artful Dodger. They serve and follow to avoid harm, but others entrust them with important tasks because people instinctively trust them. An “everyperson” and a bit of a performer. Toby’s inmate persona is still in development, but they are clearly the scapegoat or “whipping boy” of the asylum. All actors must be comfortable with, and capable of safely navigating, heights, staircases, and ladders onstage. Vocal Range: Tenor, Mezzo-Soprano, or any range fitting a non-binary vocal quality. We're open to a variety of vocal types that reflect Toby’s emotional accessibility.
JUDGE TURPIN
40-65. Character identifies as male. Open to all ethnicities. Edgy, stern. A corrupt, lecherous judge who exiled Todd to steal his wife and later raises Johanna with twisted intentions. He represents law twisted for personal gain. Turpin’s inmate persona is to be determined, but clearly capable of cruelty and cunning. You cross him at your own peril. And yet, as awful as he is as Turpin, he has some calling to the Church. He punishes himself for his sins. He just can't escape them. He can't escape his own ego and pride. Which begs the question - when and how was it challenged? All actors must be comfortable with, and capable of safely navigating, heights, staircases, and ladders onstage. Bass-Baritone (E2 – Gb4)
BEADLE BAMFORD
35-55. Character identifies as male. Open to all physical types. Open to all ethnicities. Odious, conniving and weasley. The Judge’s lackey, obsequious and cruel. He’s responsible for enforcing the Judge’s will and assists in maintaining control over Johanna. His inmate persona is to be determined, but definitely a Judas. Hides and covers his actions. Blames others. Attaches to those with power. Sycophant. All actors must be comfortable with, and capable of safely navigating, heights, staircases, and ladders onstage. Tenor (D3 – D5)
BEGGAR WOMAN / LUCY BARKER
35-60. Character identifies as female. Open to all ethnicities. Unstable, mercurial, and disarmingly sexual. She presents as an unhinged street woman – begging, muttering, and making provocative, often lewd comments. Beneath the madness, however, she is Lucy Barker, the long-lost wife of Sweeney Todd, driven to the edge by Judge Turpin’s abuse and exploitation. Her inmate persona is still in development, but likely represents a survivor of profound trauma — someone who has weaponized her damage as a means of survival. She is possibly over-sexualized or promiscuous, but always as a form of self-protection or manipulation, never caricature. Unpredictable and potentially dangerous – she might seduce you or stab you. She’s twitchy, erratic, and hyper-vigilant. Almost certainly a substance user. Her behavior is fragmented, but her perception is razor-sharp beneath the surface. All actors must be comfortable with, and capable of safely navigating, heights, staircases, and ladders onstage. Mezzo-Soprano (Ab3 – F5)
ADOLFO PIRELLI / DANIEL O’HIGGINS
30-50. Character identifies as male. Open to all ethnicities. Comedic. Theatrical, officious, vain. His inmate persona is to be determined. Smart as a whip. Has skills. Learns fast. Born liar. Trickster. Thief. Conman. Blackmailer. Heartless. Italian and Irish dialects. All actors must be comfortable with, and capable of safely navigating, heights, staircases, and ladders onstage. Tenor or High Baritone (B2 – C5)
JONAS FOGG / ENSEMBLE
30s–60s. Character identifies as male. Open to all ethnicities. The warden of the insane asylum. Cold, clinical, and cruel. His inmate persona is probably the Renfield of the group. Clearly crazy. And so thrilled to be given the role of running the place. Probably only taste of power he's ever known. All actors must be comfortable with, and capable of safely navigating, heights, staircases, and ladders onstage. Vocal Range: Open
ENSEMBLE
20-45. We welcome and encourage actors of all gender identities, expressions, and lived experiences to submit. Open to all ethnicities. Seeking an unconventional and offbeat/darkly comedic ensemble of actors who move or dance. Actors will serve as the Greek Chorus and collaborate to create a character driven movement vocabulary. The ensemble is on stage for the majority of the production and will portray a variety of roles including citizens of London, customers, police, etc. Seeking a mix of both Movers and Dancers, but all must be singers with the ability to sing in tight harmonies. Ensemble must be comfortable with physically demanding movement, including crawling and climbing. Please mark on submission if you have experience with acrobatics and/or parkour; this is a plus but not a requirement for all. Principal understudies will be cast from within the ensemble. Vocal Ranges: Open
OFFSTAGE SWINGS
25-55. Swings to cover ensemble roles. See Ensemble breakdown above for details.
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