FLASHDANCE, THE MUSICAL - Garden Theatre Auditions

Posted: February 5, 2019

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FLASHDANCE - Windermere FL Dancers Only Auditions by Appointment
Garden Theatre, Inc.

AUDITION DATE
Fri, Feb 22, 2019
7:30 pm (EST)
Auditions begin at 7:30pm. End time is TBD.

APPOINTMENTS
Please schedule an appointment at: https://auditionsmanager.com/registration.php?AU=RRO0jU225

CONTRACT
Guest Artist $585 [based on Guest Artist contract guidelines]

SEEKING
AEA and Non AEA Dancers, Adult Only (18+). We are looking for a very diverse range of ethnicity in our actors. All roles are paid.

This audition is for DANCER Roles ONLY!
NO VIDEO SUBMISSIONS WILL BE ACCEPTED FOR DANCER ROLES.

Non-Dancers - please see separate notice in Casting Call for video submission info.

PREPARATION
Be warmed and ready to dance. Additional instructions will be given upon making an appointment. Bring picture and resume.

LOCATION
Peaches Dance Studio
9001 Taborfield Avenue
Windermere, FL 34786

PERSONNEL
Directed and Choreographed by: Jani Walsh-Weber

OTHER DATES
Rehearsals: June 6, 2019 - July 3, 2019
Performances: July 5, 2019 - July 28, 2019

Callbacks will be held on Wednesday March 20, 2019 - BY INVITATION ONLY.

OTHER
Dance like you’ve never danced before! Flashdance: The Musical tells the inspiring and unforgettable story of 18-year-old Alex, a welder by day and ‘flashdancer’ by night, who dreams of becoming a professional dancer. When a romance complicates her ambitions, she harnesses it to drive her dreams. Based on the Paramount Pictures film, Flashdance boasts an iconic score and pop hits including “Maniac,” “Gloria,” “I Love Rock ‘n Roll,” and the sensational title track “Flashdance…What a Feeling.”
An Equity Monitor will not be provided. The producer will run all aspects of audition.
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.

BREAKDOWN
DANCERS WHO ARE STRONG SOLO VOCALISTS
ALEX (19-21) Must be an excellent jazz and contemporary jazz dancer, hip-hop a plus, strong dance improv skills, strong belt voice, Bb below C, belt to high D, pop sensibility, with smooth transition from pop mix to belt. Sings “Put it On,” “Here and Now,” “Hang On.”
GLORIA (mid-late 20s) Good dancer with powerful belt, very good pop sensibility, strong low chest voice (Bb below C) to high Db, straight tone, seamless transition from mix to belt a must. Sings “Gloria,” and “Chameleon Girls.”
KIKI (20s-30s) African American. Must be an excellent jazz and contemporary jazz dancer, hip-hop a plus, strong belt with pop/R&B instincts, must be able to riff, belt to a high D. Sings “Maniac,” “Manhunt,” and “What a Feeling.”
TESS (30s-40s) A sexy dancer. Must be excellent jazz and contemporary jazz dancer, hip-hop a plus, strong belt singer, rock sensibility, range Bb to C above middle C, star dancer. Sings “Maniac,” and “I Love Rock and Roll.”
Dancers who Sing
ENSEMBLE (20s-30) The men must be good dancers. They also must be good singers as they do various featured singing roles as Steel Workers. They sing “Steeltown Sky,” and “Justice.”
The women must be strong dancers. They also must be good singers. They sing in various Ensemble numbers.
Please read the requirements carefully.
If we saw you at the January 28th open dance call or the January 29th open singer call, we do not need to see you again. It also does not mean that you are no longer under consideration.


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 audition.

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