GUYS AND DOLLS - Guthrie Theater Foundation Auditions

Posted: February 11, 2019

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GUYS AND DOLLS - NYC Appointments
Guthrie Theater Foundation

APPOINTMENTS
NYC Appointment Only Audition Date(s): 02/25/2019, 02/26/2019, 02/27/2019

CONTRACT
LORT Non-Rep LORT A; $1116/week min

SEEKING
Submissions from AEA members only for various roles/ensemble.

Seeking Diverse, Multi-Ethnic, extremely strong dynamic, distinctive, Actor Singers and Triple Threat Actor Singer Dancers for GUYS AND DOLLS, A Musical Fable of Broadway!
See breakdown.

INSTRUCTIONS
For consideration, email picture and resume ASAP. Deadline for receipt is 2/22
Deadline: Fri, Feb 22, 2019

SUBMIT TO
submission.mccorklecasting@gmail.com

PERSONNEL
Artistic Director: Joseph Haj
Director: Kent Gash
Musical Director: Darius Smith
Choreographer: Wendell Dell Howlett
Book: JO SWERLING and ABE BURROWS
Casting Director: Pat McCorkle, Katja Zarolinski
MUSIC AND LYRICS: FRANK LOESSER
Casting Assistant: Nathan Francis

OTHER DATES
Callback Date(s): 02/28/2019
Rehearsal Date(s): 05/21/2019
Opening Date(s): 06/28/2019
Closing Date(s): 08/25/2019
Extension Date(s): 08/31/2019

OTHER
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 submit.

BREAKDOWN
ALL CHARACTERS: Seeking Diverse, Multi-Ethnic, extremely strong dynamic, distinctive, Actor Singers and Triple Threat Actor Singer Dancers for GUYS AND DOLLS, A Musical Fable of Broadway!
All actors should have EXCELLENT FACILITY with Language, as GUYS AND DOLLS is written in the aspirational patois of Gamblers, Gangsters, Ne'er Do wells, Dance Hall girls, Show People, First Generation Immigrants and the working class of Melting Pot New York who often speak in what they believe is refined language that aspires to class ascendancy and acceptance. They, like all New Yorkers strive to be the "First, Best, and World Class" versions of anything and everything they do, be they Hot Box Dancer, Mission Doll, or petty Gambler. Not unlike the DICK TRACY Comic strip characters, some of the characters should have outsize or unusual physical characteristics that would earn them their given nicknames, in order to create the world of outsiders, hustlers, misfits, first/second generation immigrants that flavor, the fast talking, sexy, energetic, surprising, sensual, unpredictable and pungent BROADWAY/RUNYONLAND/ MELTING POT that has made GUYS and DOLLS cl assic and beloved. Always working an angle or at some kind of work, these are the Men and Women of New York between the wars who aspire to the American Dream but are denied because of the way they speak, or look or where they are from so when fate, the establishment and the upper class deny them access, just like the Marx Brothers, WC FIelds, Bert Williams, the Gershwins, Ellington, Blake, Waller, Puente, Tizol and Arnaz they achieve world class renown in their arena by conning, gambling, betting, stripping, entertaining, singing and dancing... and they get a bit of their own back in the process!
FULL COMPANY WILL DO SOME DANCING!
Bravura Dance is an essential element in the world of GUYS And DOLLS!
FULL COMPANY VOCAL NEED: GUYS AND DOLLS is big voices full throttle Broadway musical where the singing as an intersection of Broadway Tin Pan Alley clarion/honk and belt, anointed luscious legit singing and the rhythmically infallible SWING of the Best Jazz music! The collective company sound moves nimbly between all three ideas.
[SKY MASTERSON]
Male. Any ethnicity. An iconic Tall Dark and Handsome larger than life charmer, a leading man with a steely electric gaze, and a dazzling raffish grin that the ladies all swoon for and the men feel is a true man's man. Must possess a primal, palpable sensuality and an effortless sexual energy and charisma. A consummate Actor with excellent language skills totally comfortable in lengthy book scenes and who sings at the intersections of the Great Big-voiced Broadway Baritone Leading men like Alfred Drake, Paolo Zsot and John Raitt but can also swing like Sinatra, Tony Bennett, Harry Connick Jr., Billy Eckstine or the great Joe Williams. The voice must be thrilling, dynamic and not only heard but felt. He's called Sky because his charm, his eyes and his presence must fill the theatre and seduce the entire audience. His singing must be exciting, vibrant and electric so that it's not only admired but deeply felt by anyone in earshot. Equally adept in singing the heartfelt I've never Been in Love Before, the soulful Jazz Art song that is My Time of Day and the rousing classic swing of Luck Be A Lady. A bold and dynamic high-stakes gambler whose luck never seems to run out, and a wild card who surprises himself when he falls in love with the one human being on the planet immune to his charms. Must be six feet tall or more. VIn Diesel, Bobby Cannavale, Michael B. Jordan, kind of immediate charisma and presence. Suave, smart, handsome.
Gender: male
Age: 35 to 42
Vocal range top: E5
Vocal range bottom: B3

[SARAH BROWN]
Female. Latinx, Latin, or Hispanic. Sarah is a bright-eyed woman who serves as Sergeant of the local Mission. She posses a kind of smoldering beauty ala Rita Hayworth in GILDA coupled with the burning intelligence of Heddy Lamarr or Jean Simmons and sings with clear, powerful, warm and supple Legit Soprano of limpid, burnished beauty. She must be equally at home in the lush beauty of I'll Know and I've never Been in Love Before and be able to swing as freely as the great Ivy Anderson or Ernestine Jackson in If I Were A Bell. An impossible to define, alluring combination of soulfulness, burning intelligence, can be no-nonsense tough and direct while still being confidently in possession of her femininity and her sensuality. Not unlike a velvet hammer. She fully believes in her worthy cause and wishes to convert the gambling sinners to saints yet falls inexplicably in love with Sky, and her dilemma is reconciling her attraction to a man who is the antithesis of what she knows is best for her. To the unwise she appears prudish and uptight, but her goodness and warmth are never to be taken advantage of and she is infinitely cannier than Sky believes her to be. Easily the smartest person in the play!
Gender: female
Age: 25 to 32
Vocal range top: G5
Vocal range bottom: B3

[MISS ADELAIDE]
Female. Any ethnicity. Nathan's fiancé and a lead “exotic dancer” at the Hot Box nightclub. She loves Nathan more than anything in the world and desperately wants to get married. Pretty, outspoken, stubborn and instantly lovable. Requires a consummate Triple Threat Comic Actor with a dynamic full throttle Broadway Belt that is a force of nature. She must have superb timing, facility with language, a genuine heart and like the greatest comic actresses be capable of a simple and honest depth of feeling. Hers is a comedy of truth, circumstance and heart, not schtick.
Trusting, faithful, optimistic, Sensuous, Voluptuous and Beautiful enough to be the headline entertainment and "exotic adult dancer" at the Hot Box Club... A delicious mixture of Betty Boop, Jean Hagen (Lina Lamont in Singin' in the Rain) Josephine Baker, Carmen Miranda, Bette Midler, Madeline Kahn, Ellen Green, Judy Holiday, DIana Sands, Pat Suzuki, Nancy Kwan, Christine Toy Johnson, Andrea Burns and Margaret Cho. And of course both Vivian Blaine who originated the role indelibly and Faith Prince who valiantly carried the torch forward. Miss Adelaide is a true original with a heart of gold, an aspiring spirit always reading and trying to better herself and those she loves. Much smarter than she realizes. Must be immensely lovable and immediately connect with an audience.
Gender: female
Age: 28 to 40
Vocal range top: E5
Vocal range bottom: A3

[NICELY-NICELY JOHNSON]
Male. African-American. Just like his name suggests, he is the nicest and cheeriest of the gambling crooks. High-spirited and a bit naïve, but sincere and genuine. Nathan's loyal friend and lackey. A would be Bon vivant, Raconteur, Man about town. Seeking an African American Actor-Singer-Dancer equally comfortable in TinPan Alley and Gospel revival meeting. Must have excellent singing voice in the BROADWAY/TIN PAN ALLEY, doesn't need a microphone... CLARION CALL TENOR STYLE of the Great Frank Loesser Tenors, STUBBY KAYE (who Immortalized the role) ARTHUR RUBIN and DICK POWELL while being equally adept at the SWING & GOSPEL GLORY of the legendary KEN PAGE (who redefined the role) and the witty, razor sharp comic timing, and distinctive style and flare of TITUS BURGESS (who redefined the role yet again). While traditionally cast with a corpulent, plus size actor, girth is less vital than a physically memorable shape and size coupled with surprising, fleet dance chops and a winning personality that can light up the room.
Gender: male
Age: 30 to mid to late 40's
Vocal range top: B5
Vocal range bottom: D4

[4 MALE DANCER-SINGERS WHO ACT]
4 MALE DANCER-SINGERS who ACT. SEEKING CONSUMATE DANCER-SINGERS with excellent technical facility, athleticism, strength and rhythmic precision. Particular interested in gymnastic and tumbling skills! Must all sing extremely well. AFRICAN AMERICAN, LATINO, LATINX, HISPANIC, MIDDLE EASTERN and ASIAN PERFORMERS strongly encouraged to submit (one of these tracks will play a gambler and also a hot box dancer)

[1 FEMALE DANCER-SINGER, A STAR DANCER]
1 FEMALE DANCER-SINGER, A STAR DANCER with great presence and personality, who also sings well with consummate facility and technique, ala PAULA KELLY, ANN REINKING, JULIET PROWSE, JUDITH JAMESON. AFRICAN AMERICAN, LATINO, LATINX, HISPANIC, MIDDLE EASTERN and ASIAN PERFORMERS strongly encouraged to submit.



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 submit.

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