PHANTOM OF THE OPERA Equity Chorus Call Singers - Broadway/National Tour Auditions

PRODUCTION

PHANTOM OF THE OPERA – Equity Chorus Call / Singers

Broadway/National Tour Production Contract; $1653/week minimum

Producer: Cameron Mackintosh and The Really Useful Company

Music: Andrew Lloyd Webber

Lyrics: Charles Hart

Book: Richard Stilgoe and Andrew Lloyd Webber

Director: Harold Prince

Choreographer: Gillian Lynne

Production Supervisor: Peter Von Mayrhauser

Production Musical Supervisor: Kristen Blodgette and David Caddick

Production Dance Supervisor: Denny Berry

General Manager: Alan Wasser Associates

Casting: Tara Rubin Casting

Equity Chorus Call / Singers:

Thursday, January 6, 2011 at the Actors' Equity Audition Center

10 AM – Equity male singers 165 West 46th Street, 2nd Floor

2 PM – Equity female singers New York, NY. Studio C

Prepare a BRIEF song from legit musical theatre/standard opera or operetta repertoire, preferably in English. Do not sing pop or rock music. Please bring your book of music with you, in case you are asked for a second selection. An accompanist will be provided.
Please bring a picture and resume, STAPLED TOGETHER.

Ensemble Singers:

For future replacements for the Broadway and National Touring Company. 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. 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:

20s: beautiful young singer. Soprano voice that combines elements of classical and pop singing. A light, floaty soprano. She sings briefly to high E.

The Phantom:

30s – 40s: 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 20s – early 30s: dashing, handsome young aristocrat. High baritone (2 octave range from A flat to A flat).

Firmin & Andre:

Late 30s – 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:

30s – EARLY 40s; 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 30s – early 50s; the Opera’s ballet mistress. An ominous, stern, forbidding figure. Mezzo soprano to high B flat.

Ubaldo Piangi:

Late 30s – 50s; the opera’s leading tenor, Italian style singer, sings to high C. Requires opera training.

Don Attilio/Passarino:

(Chorus contract – excellent small specialty role) 30s – 40s. 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) 30s – 40s. Contralto or low mezzo. Physically interesting character woman. Short and round or tall and thin.

Monsieur Reyer:

(Chorus contract-excellent small specialty role) 30s – 40s. 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.

Casting for The Phantom of the Opera is interracial. Singers of all ethnic backgrounds and races are encouraged to attend.