NEW YORK MUSICAL THEATRE FESTIVAL 2011 **Updated** Equity Principal Audition - NYMF Auditions

New York Musical Theatre Festival 2011

Equity Principal Auditions

Tuesday, July 26, 2011

KIKI BABY

CRAZY, JUST LIKE ME

MY HISTORY OF MARRIAGE

TUT

All productions will use the NYMF Special Agreement:

Rehearsal stipend: $500; $27 per performance; pension fund payment.

The 2011 New York Musical Theatre Festival will run from 9/26-10/16, at various venues in NYC.

Most shows will have six perfs each (perf dates for each show TBA).

Equity Principal Auditions:

Tuesday, July 26, 2011 Actors' Equity Association Audition Center

9:30 AM - 5:30 PM 165 West 46th Street, 2nd Floor

Lunch from 1 - 2. New York City

Please prepare 32 bars of a musical theatre selection: either something specifically appropriate for any of the shows, or a general selection that shows off your range. Bring sheet music in the correct key; accompanist is provided, but may not transpose.

Please bring FOUR COPIES of your stapled-together picture and resume.

Notes from Equity: Each production listed below will be represented at this call by a separate individual with casting authority (i.e. the authority to effectively recommend a performer for a callback or casting).

KIKI BABY Producers: Jeffery & Elizabeth Passero. Music: Grant Sturiale. Lyrics: Ellen Fitzhugh.

Book: Lonny Price, Kitt Lavoie. Dirs: L. Price, Matt Cowart. Choreo: Josh Rhodes. CD: J. Passero.

1st reh: 9/7/11. Runs 10/5-10/16.

Absurd, raucous musical comedy concerning a hardworking seamstress who is the only thing standing between her family and the pit of a worldwide depression. Until, one day, a visiting impresario hears the voice of an angel floating from her flat – and determines to make her four-year-old daughter an international star. A tale of fame, fortune, failed opera divas, dwarfs, sweatshop bosses, monumentally bad parenting, and what happens to a little girl when no one will tell her “no”.

Casting note: All must be expert in comedy.

Christine:

30s. Poor seamstress. Devoted, pragmatic mother of Kiki (a child prodigy). Clear-eyed lioness, determined to protect her cub through difficult times. Sings.

Levisee:

Frenchman, 40s. Elegant impresario turned de facto father figure to Kiki. Witty and sly. A young Michael Caine with a Pepé Le Pew accent. Sings.

Maladin:

Man, 30s-40s. Butcher. Kiki’s principled, everyman father. Requires a strong high baritone voice.

Adolph:

30s-40s. A little person. Former vaudeville performer with the unfortunate vocal patterns of Jimmy Durante. Working-class, with a flair for the dramatic and a viciously wry assessment of everyone around him. Baritone.

Frau Dangl:

German. A very pregnant, very “German” police officer. Landlady to Kiki and her family. Devoted more to order than to justice.

Paddy O’Brien:

Irishman, 20s-40s. Cab driver. Neighbor to Kiki and her family. Industrious, if a bit naïve. Devoted to his wife Patsy. Good singer and “Lucky Charms” accent required.

Patsy O’Brien:

Irish woman, 20s-40s. Paddy’s wife. Childless nurturer who seeks to mother everyone – even those who don’t want it. Good singer and “Lucky Charms” accent required.

Grandmother:

70s. Kiki’s grandmother. Uses a wheelchair. Jabbering and incoherent due to too many strokes and a dash of dementia – but a great source of comfort and stability to Kiki. Mostly non-singing role.

Marina:

40s-50s. A wreck of a would-be opera diva. Sings.

Markus:

40-60. A sweatshop manager who employs Kiki’s mother. Gruff and vicious in the name of efficiency – but with a surprising humanity underneath. Baritone.

Kiki:

CAST (Jenn Colella). Sweet-natured but rambunctious four-year-old singing prodigy played by a 30something actress. Our narrator. CAST – Jenn Colella.

CRAZY, JUST LIKE ME Producer: Rob Intile. Score/Mus Dir: Drew Gasparini. Book: D. Gasparini & Louis Sacco. Dir/Choreo: Stephen Agosto

Best friends Mike and Simon live together. They, along with Mike’s fiancée Lauren, are all on the brink of personal discoveries. A love triangle amongst the three of them takes place, and hilarity ensues.

Simon:

Man, 24-30. Protagonist. Experiencing a quarter-life crisis. Closeted but “figuring it out”. Think Zach

Braff circa “Scrubs”. Tenor to Bb.

Mike:

Man, 24-30. Protagonist. Best friends with Simon, and in love with Lauren. Cares for Simon like a little brother. Confident, cool, frat-type. Tenor to G.

Lauren:

Woman, 24-30. Down-to-earth “girl next door” type. Mike’s girlfriend. Insightful and caring. Mezzo.

Dr. Albert Headman:

Man, 40- 60. Fun-loving therapist from a bygone era of the ‘60s. Very insightful. Plays a playful, father-figure role in Simon’s life. Tenor to E or F.

Stacey:

Man, 30-40. Gay. Lauren’s friend from work.

If unable to attend, please send picture/resume to Crazy, Just Like Me; ATTN: Stephen Agosto; 601 10th Ave #3E; NY, NY 11040.

MY HISTORY OF MARRIAGE Producer: Just my Luck Productions. GM: Lisa Dozier. Music: David Shire. Lyrics: Lee Kalcheim & D. Shire. Book: L. Kalcheim. Dir: Michael Bush. Mus Dir: Steven Ray Watkins. Casting: Stephanie Klapper Casting.

After surviving a disastrous divorce, New York magazine writer Nan Freeman finds her illustrious career flushed down the pipes. Her last chance at a comeback arrives in the form of a lecherous publisher and a lunatic proposal: Nan must write a book about the history of marriage. Scenes from her book take us on a hilarious journey through the annals of matrimony where she learns a thing or two about her own relationships. Will she give love another shot?

Nan:

Mid 40s. Sassy and smart (yet vulnerable) writer. Divorced mother of a 19-year-old son. Still recovering from a bad divorce which caused a career slump, but determined to go on. Alto.

Judy:

50-60s. Nan’s agent. Protective of Nan, but tough. Gay woman who’s ready to get married—despite Nan’s objections. Alto.

Ellen:

Early/mid 20s. Grad student from the Midwest. Still has small-town sweetness and naïveté, but is very ambitious. Knows what she wants. Soprano.

Yvette:

Mid 40s-50s. Scandinavian. Judy’s partner. Reserved. Offsets Judy’s manic side with her calm. Vocal range is flexible.

Aaron:

19-20. Nan’s son, a college sophomore. Smart. Cool. Knows it all. But is protective of his mom. Jazz aficionado. Vocal range is flexible.

Peter:

Mid 40s. Nan’s ex-husband. Very successful restaurant owner. Handsome, self-involved. Has not quite gotten over Nan, despite his manic dating practices. Baritone.

Henry:

Late 40s-50. Nan’s publisher. Suave, sophisticated, quintessential New Yorker (transplanted from small-town New England). Loves good food, good talk and pretty women. Baritone.

Rabbi Weiss:

Late 40s-50. Sweet, unassuming man. Nice sense of humor. Had tried doing stand-up comedy, but gave up to become a rabbi. Baritone.

If unable to attend, send photo/resume to Stephanie Klapper Casting, 39 West 19th St 12th Floor,

New York, NY 10011.

TUT Producer: Warrior LLC. GM: Lisa Dozier. Music/Libretto: Marcus Hummon. Dir/Choreo: Abdel Salaam. CD: Stephanie Klapper.

Dance oratorio, originally written as a pop opera, with two stories being told in alternating fashion. The main story is told on the bottom level; this is the story of Tutankhamun, his short reign, his untimely death at the hands of the high priest Ay, and Tut's revenge in the afterlife. On a stage built above, and connected by 16 steps (the steps leading to the tomb), is the story of Howard Carter, and his miraculous discovery in 1922.

Tut:

Man. African American, Arab or other non-Caucasian ethnicity, 18-25. Slender build. The historical Tutankhamun died somewhere between the age of 17-19. Beautiful tenor voice.

Ankhesenamun:

Woman. African American or other non-Caucasian ethnicity, 18-25. Very beautiful, slender. The historical Ankhesenamun was Tut's older half-sister, by just a few years. Performer needs an expressive and powerful voice (mezzo soprano or alto) with range.

Ay:

Man, 30-55. Dominant vocal role (baritone with second tenor range); operatic power and emotion are definitely needed. Role requires quite a bit of acting ability.

Carter / Ahkenaten:

Male, Caucasian, 30s-40s. Beautiful tenor voice required. Actor has to be able to “kill” the ballad.

Achmed / Nefertiti:

Nefertiti: Woman. Beautiful. Achmed: 12-year-old boy. Alto or mezzo soprano.

General Horemheb / Lord Carnarvon:

Male. African American, Arab or other non-Caucasian ethnicity, 30s-40s. The historical Horemheb would have been middle-aged. Renowned for his fighting prowess. Needs to have a physical presence and be of large build. Bits of operatic conversational voicing ... tenor or second tenor.

If unable to attend EPA, please send picture/resume to
NYMFTUT@gmail.com

All of the information above is subject to change. Check “Casting Call” or the Equity Audition Center bulletin boards frequently for updates. See separate casting notices for more NYMF 2011 EPAs.

Michael Cassara Casting is the resident casting office for the 2011 New York Musical Theatre Festival, and will be coordinating days of Equity Principal Auditions for multiple shows on July 12, 14 and 26. An Equity Chorus Call will be held on July 13. Individual shows will be using their own casting practices; please read breakdowns for details. General festival submissions (not for a specific show) may be sent to Michael Cassara Casting, 333 W. 39th Street – Suite #601A, New York, NY 10018, Attn: NYMF.

Note to non-Equity performers from Michael Cassara Casting:

“Due to the high turnout of Equity members for these combined EPA days, it is unlikely we will be able to see EMC or [other] non-Equity performers. A non-Equity open call will be held in July – and details will be available on
facebook.com/michaelcassaracasting and
michaelcassara.net – as the time draws closer.”