YOUNG FRANKENSTEIN Equity Chorus Call Singers - Fulton Theatre Auditions

Call Type
Equity Chorus

Time(s)
Equity Chorus Call / Singers

who DANCE very well

Friday, September 6, 2013
9 AM - Equity male singers who dance very well

11 AM - Equity female singers who dance very well

Contract
LORT Non-Rep
$731/week AEA minimum

Location
Pearl Studios NYC 500
500 Eighth Avenue
(35th/36th Streets)
New York, NY
12th floor

Seeking
Strong dancers who can sing well. All ensemble roles must dance well.

Some ensemble will cover principal roles. MANY OF THE ENSEMBLE PLAY BIT PARTS IN THe SHOW. SEEKING STRONG CHARACTERS AND EVEN COMEDIANS.

see breakdown

Preparation
Prepare a brief song in the style of the show (you are welcome to sing from the show). Accompanist provided.

Also bring both tap and character shoes in case asked to stay and dance after all have sung.

Bring picture and resume stapled together.

Other Dates
Young Frankenstein:
1st rehearsal: 2/20/14
Open:3/11/14
Close: 3/30

Other
ECCs - all calls on 9/6
9 AM - Male Singers
11 AM - Female Singers
2 PM - Male Dancers
4 PM - Female Dancers

Personnel
Artistic Director: Marc Robin, attending the auditions
Director/Choreographer: Marc Robin
Casting: Bob Cline, attending the auditions
Music and Lyrics: Mel Brooks
Book: Mel Brooks and Tom Meehan

· 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.

Breakdown

Seeking strong dancers that can sing well. All ensemble roles must dance well in thIs productions.
MANY OF THE ENSEMBLE PLAY BIT PARTS IN THe SHOW. SEEKING STRONG CHARACTERS AND EVEN COMEDIANS.


ENSEMBLE: Sopranos, Altos, Tenors, and Basses. Looking for singers with big, healthy voices, impeccable diction and wide ranges. Sopranos should not hesitate in showing off their sustained high notes and Basses should give us their best ‘low’. Also, specifically looking for a real old-fashioned “Barbershop Quartet” Top Tenor. Understudies for the Principals will be drawn from the ensemble. ALL MUST DANCE WELL AND HAVE A BACKROUND IN TAP.

Some ensemble will cover the following principal roles.

FREDERICK FRANKENSTEIN: early 30s to 40s. A famous scientist dedicated to his work and innocent of the world at large. Intent to distance himself from his notorious grandfather whose scientific legacy is less than legitimate. A warm lyric baritone who sings to E-flat, and a comic actor who combines the manic energy of Danny Kaye with the charm and elegance of Fred Astaire. Sings with effortless charm (‘Puttin’ On the Ritz”) and requires vocal power for a full-voice traditional Broadway ballad.

ELIZABETH: 30s. Frederick’s spoiled and self centered fiancée. Great comic role. A lyric soprano with wide range (to High C) who can deliver a showy coloratura fireworks with complete ease. Music has a “comic-operetta-ish” sensibility that reflects the songs of Romberg, Herbert, Friml and early Kern.

IGOR: 30-40s. A hunchback servant at the Frankenstein estate in Transylvania. Great comic role. High light baritone (to F#) should have the nimble charm to sing English music hall style songs and the show-biz savvy of Jimmy Durante.

INGA: 20s-30s. A young local Transylvanian woman who becomes Dr Frankenstein’s eager assistant. Oblivious to her own sexuality and appeal. A bright, clear youthful “Broadway Mezzo” with a high sustained belt to D-flat and a sweet mixed voice that extends up to high E.

FRAU BLUCHER: 40s – 60s The housekeeper at the Frankenstein estate. She keeps the secrets of the past. A great slyly comic role. Requires skilled, dark, dramatic Lotte Lenya alto with a real sense of the Berlin Cabaret world of the 1920s and 30s. Solid belt up to B-flat and a workable mix that extends up to E-flat.

INSPECTOR KEMP/BLIND MAN: 40s-50s (one actor will play both roles) Head of the local police with highly developed sense of his own power and a keen desire to keep order in the town. The Blind Man is a recluse who enjoys a meal with Frankenstein’s monster. This double role requires a great comic, transformational actor. Big legit bass-baritone voice that can really open up and soar to high F. Should demonstrate very dramatic singing chops in terms of volume and the break-your-heart quality of a singer like Al Jolson in his prime.

THE MONSTER: The monster created when Dr. Frankenstein performs his famous brain transplant. Bass-baritone with good legit sound up to E-flat. Physically imposing.