THE PRODUCERS - FL OPEN Call
American Stage Company
AUDITION DATE
Mon, Jan 29, 2018
9:00 am - 5:00 pm (EST)
break 1 to 2.
Tue, Jan 30, 2018
9:00 am - 5:00 pm (EST)
break 1 to 2.
APPOINTMENTS
For an audition appointment please email casting@americanstage.org with photo/resume and preferred audition time/date. No phone calls please.
CONTRACT
SPT ref. to LORT; $579
SEEKING
Equity and non-Equity performers for various roles and ensemble. See breakdown. (For any role CAST, actors will be considered for possible understudies or replacements)
PREPARATION
32 bars in the style of the show. Singing from the show is encouraged. Sides and more information will be provided at http://americanstage.org/auditions/.
LOCATION
American Stage Company
163 3rd St N
St Petersburg, FL 33701
Check in on 2nd Floor Lobby
PERSONNEL
Director: Rye Mullis
Musical Director: Jeremy Silverman
Choreographer: Shain Stroff
Producing Artistic Director: Stephanie Gularte
OTHER DATES
Rehearses 3/27/18-4/19/18
Runs 4/20/18 - 5/13/18
OTHER
Dance callbacks 6pm-10pm each night.
An Equity Monitor will not be provided. The producer will run all aspects of this audition.
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
Max Bialystock:
Mid 40’s – 60’s. A sleazy, washed up Broadway producer seducing little old ladies for their money. A loveable rogue who is desperate to return to his former glory days. Must have great comedic timing. Range: Baritone, low Bb to high Eb – Role is cast. We will consider actors for possible understudy or replacement.
Leo Bloom:
Mid 20’s – late 30’s. A timid, unassuming, naive, neurotic accountant yearning to become a Broadway producer and live life to the fullest! Must have great comedic timing and the ability to sincerely take it all in and react. Tap dancing a plus! Range: Tenor/Baritone, low A to high F
Ulla:
20’s: early 30’s. The voluptuous Swedish actress ready to be an overnight star! A triple threat. Must be able to stop the show, belting and dancing her solo, and deliver comedic lines with a Swedish accent. The ideal candidate would be taller than Leo. Range: Mezzo/Alto, low Bb tohigh Eb, great belter.
Roger De Bris:
40’s – 60’s. The flamboyant gay director desperate for the true recognition of his theatrical talent. The ideal candidate would be tall & statuesque for the evening gown scene & have the comedic schmaltz necessary to play Hitler (German accent for Hitler) Range: Baritone, low G to high G. – Role is cast. We will consider actors for possible understudy or replacement.
Carmen Ghia:
20’s–late 40’s. Roger’s significant other. The ideal candidate would be shorter than Roger and have the moves of a cat and the soul of Norma Desmond. Range: Tenor/Baritone, low C to high F, good falsetto.
Franz Liebkind:
40’s. The Nazi author of Springtime for Hitler who has never left WWII behind. A good German accent & the ability to play big comedy seriously are necessary. Range: Baritone/Tenor, low A to high G. – Role is cast. We will consider actors for possible understudy or replacement.
Ensemble:
Seven men & seven women of all ages to play a multitude of roles, such as Roger’s entourage, Mr. Marks, the judge, little old ladies, show girls, first nighters, male accountants, male & female prisoners, storm troopers, etc. Most chorus people will be in at least five to six numbers. Four excellent tapping showgirls needed for “I Want to Be a Producer.” Lone Storm Trooper begins “Springtime for Hitler” (tenor solo). These chorus parts are fun with plenty of stage time and lots of variety!
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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