ONCE ON THIS ISLAND - NYC ECC - Male Singers
The Once On This Island LLC
AUDITION DATE
Mon, May 07, 2018
2:00 pm (EDT) Male Singers
CONTRACT
Production (League) $2034/week min
SEEKING
Equity ensemble singers for possible future replacements in the currently running Broadway production. See breakdown.
PREPARATION
Prepare 16 bars of a contemporary musical theatre song in the style of Ahrens and Flaherty. Show range. Bring sheet music; a piano accompanist will be provided. Bring a photo/resume stapled together.
LOCATION
Pearl Studios NYC (519)
519 8th Ave
12th Fl
New York, NY 10018
PERSONNEL
Producers: Ken Davenport, Hunter Arnold
Director: Michael Arden
Choreographer: Camille A. Brown
Book and Lyrics: Lynn Ahrens
Music: Stephen Flaherty
Musical Supervisor: Chris Fenwick
Musical Director: Alvin Hough, Jr.
General Manager: DTE Management/Ryan Conway
Casting: Telsey + Company
OTHER DATES
Currently running
CIRCLE IN THE SQUARE THEATRE, NYC
OTHER
ECC Procedures are in effect for this audition.
An Equity monitor will be provided.
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 attend every audition.
Always bring your Equity Membership card to auditions.
BREAKDOWN
Ensemble/Featured Chorus
[MALE STORYTELLER/ARMAND]
Male, non-Caucasian, 40s – 50s. Featured in the ensemble with many step-out moments and solo lines. Plays ARMAND (The ancestor) and MONSIEUR BEAUXHOMME (Daniel’s stern father. Reminds Daniel of the harsh realities of life. Not deliberately cruel, but determined. Represents the heart of aristocratic society). Understudies the principal roles of TONTON JULIAN (Ti Moune’s adoptive father. “Tonton” is a French affectionate term for “Uncle.” Described as an “old peasant.” He teaches Ti Moune that love has no limits, and he goes to great lengths to support her wishes. Caring, loving, and practical) and AGWE (God of Water. A mentor to Ti Moune. Larger than life, mysterious. Perhaps the peasants' greatest fear next to Papa Ge himself. Commanding voice and presence). Strong bass/baritone. Strong musician skills. Strong dancer. ENSEMBLE
[MALE STORYTELLER 1]
Male, non-Caucasian, 20s – 40s. Featured in the ensemble with many step-out moments and solo lines. Understudies the principal role of PAPA GE (God of Death. Antagonist to the other gods. Sly, cunning, manipulative, seductive, cynical, and teasing, he is feared by the people because of what he represents: the unknown that is death. The other main instigator of the drama). Strong tenor. Strong musician skills. Strong dancer. ENSEMBLE
[MALE STORYTELLER 2]
Male, non-Caucasian, 20s – 30s. Featured in the ensemble with many step-out moments and solo lines. Understudies the principal role of DANIEL (Ti Moune's love interest. A handsome, aristocratic young man who struggles with crossing social barriers. Sensitive and poetic). Strong tenor or baritenor. Strong musician skills. Strong dancer. ENSEMBLE
[FEMALE STORYTELLER/ANDREA]
Female, non-Caucasian, 20s. Featured in the ensemble with many step-out moments and solo lines. Daniel’s betrothed. An attractive, elegant, and refined young woman. She seems cold at first but turns out to be both humane and determined. She pities Ti Moune, but despite having little affection for Daniel, she will not allow sentiment to interfere with her well-ordered plan for marriage and the aristocratic ways. Also understudies the principal role of TI MOUNE (A beautifully spirited peasant girl, full of restless energy and optimism. The heroine. Tries to break social barriers to be with her love, Daniel). Strong mezzo. Strong musician skills. Strong dancer. ENSEMBLE
[FEMALE STORYTELLER 1]
Female, non-Caucasian, 20s – 30s. Featured in the ensemble with many step-out moments and solo lines. Understudies the principal role of ERZULIE (Goddess of Love. A mentor to Ti Moune and foil to Papa Ge. The most approachable of the gods, but ultimately no less egocentric. One of the main instigators of the events of the story, she is looked upon fondly by the people. Set out to prove that love is stronger than the fear of death—by love, she means the power of the human heart) and the ensemble specialty of ANDREA (Daniel’s betrothed. An attractive, elegant, and refined young woman. She seems cold at first but turns out to be both humane and determined. She pities Ti Moune, but despite having little affection for Daniel, she will not allow sentiment to interfere with her well-ordered plan for marriage and the aristocratic ways). Strong soprano. Strong musician skills. Strong dancer. ENSEMBLE
[FEMALE STORYTELLER 2]
Female, non-Caucasian, 30s – 40s. Featured in the ensemble with many step-out moments and solo lines. Understudies the principal roles of MAMA EURALIE (Ti Moune’s adoptive mother. Described as an “old peasant.” Caring, over-protective, superstitious, fiercely loving, and strong-willed, her similarities often lead to clashes with Ti Moune) and ERZULIE (Goddess of Love. A mentor to Ti Moune and foil to Papa Ge. The most approachable of the gods, but ultimately no less egocentric. One of the main instigators of the events of the story, she is looked upon fondly by the people. Set out to prove that love is stronger than the fear of death—by love, she means the power of the human heart). Strong mezzo. Strong musician skills. Strong dancer. ENSEMBLE
[MALE SWING 1]
Male, non-Caucasian, 20s. Understudies Storytellers and the principal role of DANIEL (Ti Moune's love interest. A handsome, aristocratic young man who struggles with crossing social barriers. Sensitive and poetic). Strong tenor. Strong musician skills. Strong dancer. ENSEMBLE
[MALE SWING 2]
Male, non-Caucasian, 30s – 40s. Understudies STORYTELLERS and the principal roles of TONTON JULIAN (Ti Moune’s adoptive father. “Tonton” is a French affectionate term for “Uncle.” Described as an “old peasant.” He teaches Ti Moune that love has no limits, and he goes to great lengths to support her wishes. Caring, loving, and practical), AGWE (God of Water. A mentor to Ti Moune. Larger than life, mysterious. Perhaps the peasants' greatest fear next to Papa Ge himself. Commanding voice and presence), and PAPA GE (God of Death. Antagonist to the other gods. Sly, cunning, manipulative, seductive, cynical, and teasing, he is feared by the people because of what he represents: the unknown that is death. The other main instigator of the drama). Strong baritenor or tenor. Strong musician skills. Strong dancer. ENSEMBLE
[FEMALE SWING 1]
Female, non-Caucasian, 20s. Understudies Storytellers and the principal roles of TI MOUNE (A beautifully spirited peasant girl, full of restless energy and optimism. The heroine. Tries to break social barriers to be with her love, Daniel) and ASAKA (Mother of the Earth. A mentor to Ti Moune. Personifies the peasants’ connection to the land. She is generous and good-humored on the surface, but like all the gods feared by the islanders; her “motherly” facade is not to be trusted. She is powerful, funny, and ironic). Strong mezzo. Strong musician skills. Strong dancer. ENSEMBLE
[FEMALE SWING 2]
Female, non-Caucasian, 30s – 40s. Understudies Storytellers and the principal roles of MAMA EURALIE (Ti Moune’s adoptive mother. Described as an “old peasant.” Caring, over-protective, superstitious, fiercely loving, and strong-willed, her similarities often lead to clashes with Ti Moune) and ASAKA (Mother of the Earth. A mentor to Ti Moune. Personifies the peasants’ connection to the land. She is generous and good-humored on the surface, but like all the gods feared by the islanders; her “motherly” facade is not to be trusted. She is powerful, funny, and ironic). Strong soprano with belt. Strong musician skills. Strong dancer. ENSEMBLE
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 audition.
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