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Breakdown
Douglas Carter Beane's new book re-invents the classic tale of a maid-turned-princess with fresh comedy, wit and satire: with pumpkin, glass slippers, Fairy Godmother and other story elements intact, it is now Cinderella's turn to rescue the Prince, reminding us once again that in a cruel world the act that matters most is kindness.
In addition to musical numbers from the original score this new production of Cinderella will include several songs from the Rodgers & Hammerstein trunk.
Seeking the following ensemble members/understudies/swings for future replacements:
DANCERS / ELLA covers: 20s. Female. Any ethnicity. Must be great dancers with solid ballet technique for extensive partnering and lifts.
ELLA: Though no one notices her beneath her rags and quiet demeanor, she is opinionated, charismatic, passionate, beautiful and funny. Idealistic and hopeful, she courageously challenges the prince to change the policies in his kingdom – and helps him discover who he truly is. Always her late father’s daughter, she is determined to see the good in everyone despite her hardships and suffering. We see her blossom into a confident woman. Beautiful and expressive traditional musical theatre soprano. An elegant dancer.
Potential to cover other roles as well.
DANCERS / TOPHER covers - 20s to E30s. Male. Any ethnicity. Must be a great dancer with solid ballet technique for extensive partnering and lifts.
TOPHER: A misguided and lost prince who longs to do something important with his life. Though brave and heroic, he feels lonely and unfulfilled. Charming but NOT a stereotypical ladies man, he is thoughtful, appealing and innocent – with an unforced goofy streak. Moral, genuine and kindhearted, he is at a crossroads and must take control of his kingdom and his future. Must have strong dance and partnering skills and great comedic timing. Soaring, rich musical theatre baritone to G. Potential to cover other roles as well.
DANCERS / JEAN-MICHEL covers: Male. 20s – 30s. Any ethnicity. Must be a great dancer with solid ballet technique for extensive partnering and lifts.
JEAN-MICHEL: A feisty, passionate peasant determined to make a change for the starving class. Impetuous. A firebrand, but lacks authority and isn’t taken seriously as a revolutionary. Has a crush on Gabrielle, though their courtship is forbidden because they are from different social classes. Please submit different and interesting physical types – he could be scrawny, chubby, short, tall, etc. Must have great comic timing. Vocal description: Traditional musical theatre voice. Must understand musical phrasing and have an attractive, compelling sound. Potential to cover other roles as well.
Dancers / Gabrielle Covers: Female, 20s – early 30s, ANY ETHNICITY. Must be great dancers with solid ballet technique for extensive partnering and lifts.
GABRIELLE: Ella’s stepsister and daughter of Madame. Encouraged by her mother and sister to value material wealth and social status, she unenthusiastically joins them in their abrasive behavior. Quietly passionate, empathetic, and witty, she is drawn to Ella and Jean-Michel. Ironically aware that she doesn’t fit in. Must have great comic timing. Strong and expressive traditional musical theatre voice. Potential to cover other roles as well.
Dancers / Charlotte Covers: Female, 20s – 30s, ANY ETHNICITY. Must be great dancers with solid ballet technique for extensive partnering and lifts. Interested in all physical types.
CHARLOTTE: Ella’s stepsister and daughter of Madame. Brash, self-centered, materialistic, snooty, loud, sassy, and bratty, she has a ridiculously high, but unfounded opinion of herself. She never passes up an opportunity to be the center of attention. Must have great comic timing. Strong and expressive traditional musical theatre character belt to an F. Potential to cover other roles as well.
Ensemble / Marie & Madame Covers: Female, 30s –E50s, ANY ETHNICITY. Must be solid dancers for partnering. Glorious and expressive traditional musical theatre sopranos to a G. Interested in all physical types.
MARIE: A friend to Ella and the town’s resident crazy lady and beggar woman, Marie is actually a fairy godmother in disguise. Wise, warm, otherworldly and charming. Marie rewards Ella for her kindness by making her dreams a possibility.
MADAME: Ella’s selfish stepmother. The epitome of vanity and fashion. A ravenous social climber who values wealth, status, and material possessions above all else. Unapologetically dismissive and sometimes cruel, Madame schemes her way up the social ladder. Must have incredible comic timing.
Dancer / Sebastian & Lord Pinkleton Covers: Male, 20s – 40s, ANY ETHNICITY. Must be great dancers with solid ballet technique for extensive partnering and lifts. Traditional musical theatre tenor to an A with power.
SEBASTIAN: The kingdom’s Lord Chancellor. Though he is Topher’s trusted advisor, he is devious and selfish. Using propaganda and dishonesty, he keeps Topher isolated and in the dark about his kingdom. Sebastian rules without regard for the lower class, or anyone other than himself – and truly believes he deserves to rule the kingdom. Must have incredible comic timing.
LORD PINKLETON: The Lord Chancellor’s right-hand man. Announces royal balls, banquets and even the weather to the villagers. Must have great comic timing. Potential to cover other roles as well.
Male Tumblers:
To play characters 20s-30s. Any ethnicity. Must be fantastic dancers with strong ballet technique for extensive partnering and lifts. Must tumble well: back handsprings, back tucks, aerials, etc. Strong singers for multiple voice parts.
Male Dancers:
To play characters 20s-30s. Any ethnicity. Must be fantastic dancers with strong ballet technique for extensive partnering and lifts. Strong singers for multiple voice parts.
Female Dancers and Swings:
To play characters 20s-30s. Must be fantastic dancers with strong ballet technique for extensive partnering and lifts. Strong singers who can handle multiple vocal parts.
Male Swings:
To play characters 20s-30s. Any ethnicity. 5’10” or smaller. Must be fantastic dancers with strong ballet technique for extensive partnering and lifts. Must tumble well: back handsprings, back tucks, aerials, etc. Strong singers with a solid high G (A flat a plus) who can handle multiple vocal parts.
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