PHANTOM OF THE OPERA (Broadway) NYC EPA
Phantom Company LP
AUDITION DATE
Jul 20, 2017
9:30 am - 5:30 pm (EDT)
Lunch 1 to 2
CONTRACT
Production (League) $1974/week
SEEKING
Seeking future replacements for the Broadway company of “The Phantom Of The Opera.”
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.
OPERA SINGERS AND PERFORMERS OF ALL ETHNICITIES ARE ENCOURAGED TO ATTEND.
PREPARATION
Please be prepared to sing a BRIEF song from legit musical theatre repertoire. Do not sing pop or rock music. Please bring your book of music in case you are asked to sing a second selection. An accompanist will be provided.
Please bring a current picture and resume, stapled together.
LOCATION
Actors' Equity New York Audition Center
165 W 46th St
16th Fl
New York, NY 10036
PERSONNEL
Produced By: Cameron Mackintosh and The Really Useful Company
Music By: Andrew Lloyd Webber
Lyrics By: Charles Hart
Book By: Richard Stilgoe and Andrew Lloyd Webber
Directed By: Harold Prince
Choreographed By: Gillian Lynne
Production Supervisor: Seth Sklar-Heyn
Production Musical Supervisors: Kristen Blodgette and David Caddick
Production Dance Supervisor: Denny Berry
General Manager: Alan Wasser Associates
Casting: Tara Rubin Casting
OTHER
EPA 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
CHRISTINE DAAE: 20’s: 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: 30’s – 40’s: 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 20’s – early 30’s: dashing, handsome young aristocrat. High baritone (2 octave range from A flat to A flat).
FIRMAN & ANDRE: Late 30’s – 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: 30’s – EARLY 40’s; 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 30’s – early 50’s; the Opera’s ballet mistress. An ominous, stern, forbidding figure. Mezzo soprano to high B flat.
MEG GIRY: Late teens – early 20’s; a member of the Corps de Ballet. Must dance on pointe and sing mezzo soprano to G.
UBALDO PIANGI: Late 30’s – 50’s; the opera’s leading tenor, Italian style singer, sings to high C. Requires opera training.
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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