Stages St. Louis 2019 Season - NYC EPA
STAGES St. Louis
AUDITION DATE
Fri, Jan 04, 2019
9:30 am - 5:30 pm (EST)
Lunch 1 to 2
CONTRACT
LOA ref. to COST CONTRACT $576 wk AEA min
SEEKING
Equity actor/singers for various roles in the 2019 season. See breakdown.
There are currently no Stage Manager positions, however SMs can see separate notice on casting call for future consideration submissions
PREPARATION
Please prepare a song in the style of or from any of the shows in the season. You may do two 16 bars instead of one song if you wish. Bring picture and resume.
LOCATION
Actors' Equity New York Audition Center
165 W 46th St
16th Fl
New York, NY 10036
PERSONNEL
Executive Producer: Jack Lane
Artistic Director: Michael Hamilton
Casting: Wojcik/Seay Casting
OTHER
EPA Procedures are in effect for 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
THE BOY FROM OZ
Director: Michael Hamilton
Choreographer: Dana Lewis
MD: Lisa Campbell Albert
Peter Allen: Legendary Australian Singer/Songwriter/Showman; early 30s-mid 40s. Charming and charismatic Star performer with a distinct sex appeal and flamboyant sense of humor. Pop Bari-Tenor. Must sing and dance well. Role is cast. Seeking standbys or replacements.
Young Peter: Young Peter Woolnough (Allen); boy aged 10-12 from the Australian outback who dreams of fame and fortune as a performer. Accomplished child actor with an unchanged voice who sings and tap dances well. Acrobatic skills a plus. plus.
Greg Connell: Peter’s lover and business manager; late 20s-mid 30s. Accomplished young Leading Man who sings and moves well. Extremely masculine, intelligent, and athletic.
Judy Garland: Legendary Star and beloved Gay Icon; late 30s-mid 40s. Seeking an accomplished singer/actress who moves well and evokes the Garland persona more than imitates. A total performer; should be well-versed in the MGM Garland performance style. This is the mature Judy at the height of her concert career post Hollywood.
Liza Minnelli: Eager and loving daughter of Judy Garland, also capable of becoming the legendary Award-winning star of “Cabaret”; early 20s-mid 30s. A virtuoso performer; sensitive and emotionally accessible. Should be well-versed in the early “Liza With A Z” performance style.
Marian Woolnough: Simple, affectionate, and straight-forward mother to Peter Woolnough/Allen; mid 40s-early 50s. Lived her life in the Australian back country and adored her son. Must sing and move well.
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GREASE
Director: Michael Hamilton
Choreographer: Tony Gonzalez
MD: Lisa Campbell Albert
Danny Zuko: Undisputed leader of the Burger Palace Boys – a super-cool group of high school wheeler-dealers; early 20s. Athletic, attractive, confident and cool with an easy-going charm. Must sing and move very well. Dance skills a plus. Bari-tenor with a developed falsetto.
Kenickie: Danny’s Second in command; early-mid 20s. Attempts to be tough and surly. He avoids any show of softness, but is easily hurt. Extremely passionate about his car and Rizzo – in that order. Must sing and move very well. Dance skills a plus. Tenor.
Doody: Youngest of the guys with dreams of being a pop-teen idol; early 20s. Boyishly handsome with a disarming smile and a hero-worshipping attitude towards the others. Plays the guitar. Must sing and move very well. High Tenor. Falsetto a plus.
Roger: The class clown; an “anything for a laugh”-type of guy; early 20s. A bit of a klutz; not quite as athletic as the others. Seeking all ethnicities. Must sing and move very well. Tenor with strong falsetto.
Sonny: Young and attractive Italian-looking wheeler-dealer who thinks he’s a real lady-killer; early 20s. Nervous and energetic. Athletic build a plus. Must sing and move very well. Bari-Tenor with falsetto.
Eugene: The class valedictorian and all-around “nerd”; early-mid 20s. Physically awkward and somewhat pompous, but a complete gentleman with the ladies. Must sing and dance well. Tenor II.
Sandy Dumbrowski: Danny’s love interest; early 20s. Sweet, wholesome, and naïve, but with an innocent sexuality bubbling just below the surface. Mirrors the Sandra Dee persona of the “Gidget” movies. Must sing and move well. Soprano with belt.
Betty Rizzo: Leader of the Pink Ladies; early-mid 20s. Tough, sarcastic and outspoken, but vulnerable. Wears her “bad girl” reputation like a badge of honor. Sexy with unconventional good looks. Must sing and move very well. Dance skills a plus. Mezzo/Soprano II.
Marty: The “beauty” of the Pink Ladies; early-mid 20s. Sexy and sophisticated, a real “bombshell”. Eager to be an adult, she betrays her real age whenever she opens her mouth. Actively seeking all ethnicities. Must sing and move well. Soprano with belt.
Frenchy: A waif-like dreamer; good-natured and dumb; early 20s. Fussy about her appearance – particularly her hair – she can’t wait to finish high school so she can be a beautician. Must sing and move very well. Soprano.
Jan: Tom-boyish, slightly annoying “kid” sister-type; early 20s. A compulsive eater; could be slightly chubby. Loud and pushy with the girls, but intensely shy with boys. Must sing and move well. Mezzo.
Patty: Attractive, but aggressive and overly-cheerful high school cheerleader; early 20s. A know-it-all, she is given to bursts of disconcerting enthusiasm. Catty, but in an All-American Girl sort of way. Must sing and dance well. Baton twirling a plus. Soprano.
Miss Lynch/Angel: Much maligned “old maid” English Teacher at Rydell High; late 30s-mid 40s. Attempts to understand her students, but never really “with it”. Actively seeking all ethnicities. Featured in a fantasy as a soul-singing Aretha Franklin-type Angel. Should sing well with a strong Soul/R&B background.
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MAN OF LA MANCHA
Director: Michael Hamilton
Choreographer: Dana Lewis
MD: Lisa Campbell Albert
Cervantes/Don Quixote: Charismatic and innately idealistic 17th-century poet and actor; early 40s-mid 50s. As Quixote, he becomes a flamboyantly adventurous knight on a quest to right the world’s ills. Elegant and unconsciously pompous. Seeking all ethnicities. Classical training a plus. Must sing and move well. Trained Baritone.
Sancho: Manservant to Cervantes and adoring follower of Don Quixote; late 30s-mid 50s. Honest and loyal; a cross between the proto-typical “buddy”and a borsht-belt comic. Should sing and move well. Tenor II.
Governor/Innkeeper: Commanding and respected male leader of the prison. Very masculine, with a distinct comic flair. As the Innkeeper, he is a hard-working working-class host, eager to please. Must sing and move well. Trained Bass-Baritone.
Duke/Dr. Carrasco: Sly, elegant, and openly entitled member of the upper-class; late 20s-early 40s. Intelligent and pompous, he and needs to be in control and eagerly chooses to destroy things he doesn’t understand. Quixote’s ultimate nemesis. Baritone.
Captain of the Inquisition: Cold and unfeeling Prison Warden; a perfect military specimen; early 30s-early 40s. All powerful, with deadly grace; his word is law. Athletic build a plus. Baritone.
Aldonza/Dulcinea: Accomplished and charismatic Leading Lady; 30s-early 40s. Powerful, pragmatic, with a knowing sexuality. Streetwise and a true survivor, she is desperate to believe in a better life than the one she knows. Trained Soprano who moves very well. Dance skills a plus. Actively seeking all ethnicities.
Antonia: Mature Ingenue, delicate and adorable; mid 20s-mid 30s. Niece to Don Quixote and engaged to Dr. Carrasco. On the surface, innocent and pure of heart; but with a steely core that betrays a truly venal and selfish nature. Trained Soprano.
Housekeeper: Character woman with comic skills; late 30s-early 50s. Overly pious, she easily dominates every situation – making the conversation solely about herself. Trained Mezzo. Seeking all types and all ethnicities.
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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