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Call Type
Equity Chorus
Time(s)
Equity Chorus Call / Singers
Thursday, January 21, 2016
10 AM - Equity Female Singers
2 PM - Equity Male Singers
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Contract
Production (League)
$1917/week
Location
Pearl Studios NYC 500
500 Eighth Avenue
(35th/36th Streets)
New York, NY 10018
4th floor
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Seeking
Equity ensemble singers, male and female, for future replacements in the Broadway company.
See breakdown for more details
Preparation
Prepare a BRIEF song from legit musical theatre/standard opera or operetta repertoire, preferably in English. Do not sing pop or rock music. Bring book of music, in case you are asked for a second selection. An accompanist will be provided.
Please bring a picture and resume, STAPLED TOGETHER
Other Dates
Currently running on Broadway
Other
Production Spvsr: Seth Sklar-Heyn
Production Musical Spvsrs: David Caddick & Kristen Blodgette
Production Dance Spvsr: Denny Berry
GM: Alan Wasser Associates
Personnel
Music: Andrew Lloyd Webber
Lyrics: Charles Hart
Book: Richard Stilgoe and Andrew Lloyd Webber
Director: Harold Prince
Choreographer: Gillian Lynne
Casting: Tara Rubin Casting
· Chorus rules are in effect.
· A monitor will be provided.
Performers of all ethnic and racial background are encouraged to attend.
Always bring your Equity Membership Card to auditions.
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Breakdown
Seeking future replacements for “The Phantom Of The Opera” on Broadway.
Seeking male and female singers for all vocal chorus ensemble positions (tenors, baritones, basses, lyric and coloratura sopranos, mezzos and contraltos) and to understudy the following:
CHRISTING DAAE:
20’s: 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:
30’s – 40’s: 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 20’s – early 30’s: dashing, handsome young aristocrat. High baritone (2 octave range from A flat to A flat).
FIRMIN & ANDRE:
Late 30’s – 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:
30’s – EARLY 40’s; 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 30’s – early 50’s; the Opera’s ballet mistress. An ominous, stern, forbidding figure. Mezzo soprano to high B flat.
UBALDO PIANGI:
Late 30’s – 50’s; the opera’s leading tenor, Italian style singer, sings to high C. Requires opera training.
DON ATTILIO/PASSARINO:
(Chorus contract – excellent small specialty role) 30’s – 40’s. 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) 30’s – 40’s. Contralto or low mezzo. Physically interesting character woman. Short and round or tall and thin.
MONSIEUR REYER:
(Chorus contract-excellent small specialty role) 30’s – 40’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.
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.
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