A GENTLEMAN’S GUIDE TO LOVE & MURDER Equity Principal Auditions - National Tour Auditions

Call Type
Equity Principal

Time(s)
Equity Principal Auditions (3 days)
Monday, February 2, 2015
Tuesday, February 3, 2015
Wednesday, February 4, 2015
10 AM to 6 PM each day. Lunch 1:30 to 2:30.

Contract
Production (League)
Tiered Tour Production: Tier D; $996/week

Location
Pearl Studios NYC 500
500 Eighth Avenue
(35th/36th Streets)
New York, NY
4th floor

Seeking
Equity Actors who sing for various principal roles in the upcoming Touring Production.

see breakdown.

Preparation
The style of the score is completely legit; a hybrid between Candide, A Little Night Music, and Gilbert & Sullivan. Prepare a song of your own in these styles.

Bring picure and resume, stapled together.

Other Dates
Rehearsal: 8/11/2015
Open: 9/30/2015

Other
Casting: Binder Casting/Jay Binder, CSA & Jason Styres, CSA

Personnel
Director: Darko Tresnjak
Book: Robert L. Freedman
Music: Steven Lutvak
Lyrics: Robert L. Freedman, Steven Lutvak
Musical Director: Paul Staroba
Musical Staging: Peggy Hickey

· EPA 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

NOTE: This is a high-style, English romantic farce set in the Edwardian era. It requires highly trained actors who sing beautifully with a legit sound and have great comic skills. All roles are similar stylistically to characters in Oscar Wilde plays. English accents are required for all roles.
________________________________________

SEEKING THE FOLLOWING:

THE D’YSQUITH FAMILY
(late 30s – mid 50s): Must be an experienced, skilled, and transformational comedic actor who has a superb grasp on British farce. Physical comedy and stamina is a necessity. Does not necessarily need to be a phenomenal singer, but must be able to carry a musical comedy without an ounce of hesitation. Plays a full range of characters from the same family, ranging from an off-kilter priest to a closeted bee enthusiast to a lowly custodian (each of them intrinsic English types).

MONTY NAVARRO
(early 30s – mid 40s): Handsome and effortlessly charming, clever and charismatic, vulnerable and endearing, with a highly developed appreciation for life’s ironies. Monty is the engine of the plot; must be able to command attention and draw the audience in. While he is intent on killing off the entire family tree, he must have a winning charm that would garner anybody’s trust. High baritone with a strong top; solid low A to high A.

SIBELLA
(late 20s to mid 30s): Sexy, flirtatious, narcissistic, willful, calculating, and irresistible. A social climber, yes, but also truly loves Monty, and in the end would do anything to protect him. Tremendous wit and high style. Character mezzo, low F# to high A - belting not required.

PHOEBE
(early 20s – early 30s): Beautiful, virtuous, forthright, romantic, comically earnest, with a backbone of steel. She is not your typical ingénue. Actress must have a sense of irony and humor, in addition to a youthful innocence behind her sophistication. Coloratura soprano up to a high sustained C# with an optional high Eb. Very flexible and agile, B below middle C on the bottom. Also open to performers from a strong operatic background.

MISS SHINGLE
(late 40s - mid 60s): A Cockney housekeeper/governess who has served a wealthy, titled family for 30 years. She informs Monty that he is indeed a D’ysquith. Confident character voice with a superb ability to draw in the audience through storytelling. While she is forthright, there is a touch of mystery and cunning about her. Excellent vocal technique is not necessary. Should be comfortable with music hall style singing.

THE D’YSQUITH FAMILY STANDBY
(late 30s – early 50s): Standby. Must be an experienced, skilled, and transformational comedic actor who has a superb grasp on British farce. Physical comedy and stamina is a necessity. Does not necessarily need to be a phenomenal singer, but must be able to carry a musical comedy without an ounce of hesitation. Plays a full range of characters from the same family, ranging from an off-kilter priest to a closeted bee enthusiast to a lowly custodian (each of them intrinsic English types).