THE PHANTOM OF THE OPERA (Broadway) NYC ECC / Male Singers
Phantom Company LP
AUDITION DATE
Thu, Dec 06, 2018
2:00 pm (EST) Male Singers
CONTRACT
Production (League) $2095/WEEK MIN
SEEKING
Seeking future replacements for “The Phantom Of The Opera” on Broadway.
Seeking male and female singers for all vocal chorus ensemble positions (tenors, baritones, basses, lyric and coloratura sopranos, mezzos and contraltos) and to understudy principals.
PREPARATION
Please be prepared to sing a BRIEF song from legit musical theatre/standard opera or operetta repertoire, preferably in English. Do not sing pop or rock music. Please bring your book of music with you, in case you are asked for a second selection. An accompanist will be provided.
Please bring a picture and resume, STAPLED TOGETHER.
LOCATION
Pearl Studios NYC (500)
500 8th Ave
New York, NY 10018-6504
12th floor
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: David Caddick & Kristen Blodgette
Production Dance Supervisor: Denny Berry
General Manager: Alan Wasser Associates
Casting: Tara Rubin Casting
OTHER
Casting for The Phantom of the Opera is interracial. Singers of all ethnic backgrounds and races are encouraged to attend.
ECC 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
Seeking male and female singers for all vocal chorus ensemble positions (tenors, baritones, basses, lyric and coloratura sopranos, mezzos and contraltos) and to understudy the following:
CHRISTING DAAE: 20’s: beautiful young singer. Soprano voice that combines elements of classical and pop singing. A light, floating 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).
FIRMIN & 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.
UBALDO PIANGI: Late 30’s – 50’s; the opera’s leading tenor, Italian style singer, sings to high C. Requires opera training.
DON ATTILIO/PASSARINO: (Chorus contract – excellent small specialty role) 30’s – 40’s. Bass or Bass baritone with a solid and legitimate low F. Should be a physically interesting character man with a good sense of comedy.
WARDROBE MISTRESS/CONFIDANTE: (Chorus contract –excellent small specialty role) 30’s – 40’s. Contralto or low mezzo. Physically interesting character woman. Short and round or tall and thin.
MONSIEUR REYER: (Chorus contract-excellent small specialty role) 30’s – 40’s. Tenor. Character role. The repetiteur (vocal coach) of the Paris Opera. An agitated, finicky, meticulous fellow. A strict disciplinarian. . always on the verge of hysteria.
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.
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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