Theatre Under the Stars 2023-24 Season - Houston EPA / ECC Singers
Theatre Under the Stars | Houston, TX
Notice: Audition Call Type: EPA
Saturday, March 25, 2023
1:00 PM - 9:00 PM (C)
Break: 5:00-6:00pm
ECC Singer/EPA Houston Appointments can be made here: https://koalendar.com/e/tuts houston-equity-singerepa-audition-for-2023- 2024-season
WCLO
$1277 weekly minimum
Equity actors/singers who move well for principal roles and chorus singer parts in Theatre Under the Stars 2023-24 Season (see breakdown).
TUTS is committed to diversity and encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities to attend this call.
Please prepare a brief musical theatre vocal cut to perform. You may be asked to perform an additional musical theater vocal cut in a contrasting style, so we suggest preparing more than one in case casting asks to see an additional option. There will be an accompanist on site. Bring your headshot/resume.
Theatre Under the Stars
800 Bagby St Ste 200
Houston, TX 77002-2532
Small Rehearsal Room in TUTS Building. Please enter through HSMT Lobby.
Expected to attend:
Artistic Line Producer/Casting: Laura Nan Peete
Company Manager: Seth Pecore Accompanist: Ben Childress
Choreographer: Courtney Jones Choreographer Assistant: TBD
Assistant: Sam Gonzales
Director: Eboni Bell Darcy
Director: Ryan Scarlata
Equity Room Monitors: Sam Gonzales Equity Room Monitors: Lizzy Cooper
SWEENEY TODD
First Rehearsal: 9/19/23
First Preview: 10/17/23
Opening: 10/19/23
Closing: 10/29/23
CINDERELLA
First Rehearsal: 11/14/23
First Preview: 12/5/23
Opening: 12/7/23
Closing: 12/24/23
UGLY CHRISTMAS SWEATER First Rehearsal: 11/7/23
First Preview: 11/28/23
Opening: 11/30/23
Closing: 12/24/23
NEWSIES
First Rehearsal: 4/23/24
First Preview: 5/21/24
Opening: 5/23/24
Closing: 6/2/24
OTHER
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.
Equity encourages everyone participating in the auditions to wear a two-ply cloth face mask, surgical mask, singer’s mask or respirator (N95, KN95 or KF94). Single-ply face masks, gaiters and bandanas are not recommended. Singer’s masks can be found at www.broadwayreliefproject.com/singersmask.
Equity encourages members to prepare for their audition prior to arriving at the audition venue, to the extent that they can (e.g., get dressed, hair/make-up, etc.) to avoid crowding in bathrooms and dressing rooms.
Holding/Audition room information:
The audition room can accommodate no more than 90 individuals at a time.
The audition room can accommodate no more than 60 dancers at a time (no more than 20 will be seen at once).
The holding room can accommodate no more than 30 individuals at a time.
VIRTUAL AUDITION INFO: Virtual Material submission closes April 10th.
You can submit your virtual submission here:
https://docs.google.com/forms/d/e/1FAIpQLSe4Z2P862tV7y7z4TTdqAX2tGogd0vTdICRL5y6W1XlZIYKA/viewform) . Link allows you to submit your: Headshot/Resume.
What to Prepare for ECC Dancer?
- Please prepare the musical theatre dance combo provided and paste a YouTube link into the submission form. Video is coming soon.
What to prepare for ECC Singer/EPA?
- Please film a 32-bar musical theatre vocal cut and paste a YouTube link into the submission form.
Please note that the identifying descriptions for each character are reflective of the character ONLY within the show, not the actor identity performing the role.
Music and Lyrics: Stephen Sondheim
Book: Hugh Wheeler
Director/Choreographer: Dan Knechtges
Music Director: Charlie Alterman
SWEENEY TODD: (Presenting 30’s-50’s, Male-Identifying, Baritone, Any Ethnicity): Sweeney escaped from prison after being wrongfully accused and jailed for fifteen years. Formerly a proud barber, a loving husband and a happy father, Sweeney is now consumed by loss and revenge. He has returned to London to right the wrongs committed against him, his wife, and his daughter. Sweeney is charming but hot-tempered, ferocious yet vulnerable. Strong baritone/bass who can whistle. Speaks with an Estuary or London dialect.
MRS LOVETT: (Presenting 30’s-50’s, Female-identifying, Mezzo Belt, Any Ethnicity): An entrepreneurial meat pie shop owner who will do whatever it takes to survive. She is in love with Todd and hopes that he’ll forget the past and build a new life with her. At first shocked by Sweeney’s bursts of violence, Lovett turns his desire for revenge into a profitable business venture. She is resourceful, ambitious, charismatic, and has great comedic timing. Speaks with a Cockney accent.
ANTHONY HOPE: (Presenting 20’s, Male-Identifying, Tenor, Any Ethnicity) A youthful sailor who helps Sweeney return to London and unexpectedly falls in love with Johanna. He is idealistic, romantic and a little reckless. His passions sometimes get the better of his reason and his enthusiasm sometimes makes him unintentionally comedic. Over the course of the show, he awakens to the horrors around him and becomes disillusioned with London. Speaks with a standard British accent (RP).
JOHANNA: (Presenting 20’s, Female-identifying, Soprano, Any Ethnicity) Todd's long-lost daughter and Judge Turpin's young ward. Homeschooled and largely homebound. She has a rebellious, subversive, and romantic streak and longs to escape her confinement. Johanna is aware that Judge Turpin isn’t her real father and suspects that he might be a predator. Like her father, she has experienced trauma and possesses a buried capacity for violence. Although described as “pale” and “yellow haired,” we are not taking this literally. Speaks with a standard British accent (RP).
ADOLFO PIRELLI: (Presenting 30’s-50’s, Male-Identifying, High Tenor, Any Ethnicity): An Irish former employee of Sweeney’s who has since developed a public persona as a flamboyant and flashy world famous Italian barber. A charlatan who sells fake medicine and challenges other barbers to shaving contests. Pirelli is charming, calculating, and over-the-top comedic. Possess some anti-English sentiments and does not take lightly to being publicly embarrassed by Sweeney. Speaks in both an Italian and Irish accent.
Book & Lyrics: Oscar Hammerstein II
Music: Richard Rodgers
Director: Eboni Bell Darcy
Music Director: TBD
CINDERELLA: (Presenting 20’s-30’s, Female-identifying, Soprano, Any Ethnicity): Kindhearted beauty with an infectious generosity of spirit. Though she has been flying under the radar she comes fully into herself as an articulate dynamic woman with a great deal to say.
FAIRY GODMOTHER: (Presenting 30’s-50’s, Female-identifying, Soprano, Any Ethnicity): Warm with a spark of humor, wonder, and glamour… she lifts the magic in the show and highlights what is possible!
CHRISTOPHER: (Presenting 20’s-30’s, Male-identifying, Tenor, Any Ethnicity): A charming young prince. The prince of the kingdom leads with heroic bravado but deeply naïve and not always quick on the draw. In search of his purpose. His kindhearted nature spills into an endearing goofiness at times. Light comedic touch essential. Soaring, rich musical theatre baritone to G.
STEPMOTHER: (Presenting Late 40s – 50s, Female-identifying, Mezzo-Soprano, Any Ethnicity) Cinderella’s stepmother. A vain and tyrannical climber. Deeply concerned with status and image and entirely dismissive of her stepdaughter. Comic timing essential.
Director/Choreographer: Dan Knechtges
Cheryl (presenting 50s, Female-identifying, Mezzo-Soprano, Any Ethnicity) Mezzo. The Director of HR. She is left to deal with the aftermath of the CEO leaving and will single handedly save the day. She takes charge with a can-do-Mrs. Claus-cookie-baking attitude. A corporate problem solver, she hides a secret creative past she’s afraid to revisit.
Niles (presenting mid 20s-early 30s, Male-identifying, Tenor Any Ethnicity) Influencer with an Alexander McQueen meets Sesame Street aesthetic and flamboyant confidence. Niles happens to be the “boyfriend” of Cheryl’s clueless daughter Kelly. His flair for the DRAMA is revealed as he orchestrates the Ugly Xmas Sweater Runway Ball with the audience.
Charlie (presenting 50s-60s, Any gender identity, Alto/Baritone, Any Ethnicity) No one is sure exactly what Charlie does, but they have been with the company since time began. Somehow in charge of technology but through a 1980s lens. Dry, witty and always armed with a zinger. Think Selma Diamond meets Nick Offerman. Despite the barbs, they want Cheryl’s plan to succeed as they love the company.
Kelly - (presenting mid 20s-early 30s, Female-identifying, Mezzo-Soprano, Any Ethnicity) Kelly is Cheryl’s daughter and they have a typical mother/daughter relationship – difficult. The definition of a modern millennial. Self absorbed, a little clueless, but a doll. Quick to champion Cheryl and jump into the Ugly Sweater creation madness!
Olga (presenting 40s-early 50s, Female-identifying, Mezzo-Soprano, Any Ethnicity) The powerful, glamorous CEO, COO, All-around Global Boss Leader of S-Corp. Her accent is vaguely German, her demeanor is demonstrative, and her style is divine. Money & success motivate her.
Music: Alan Menken
Lyrics: Jack Feldman
Book: Harvey Fierstein
Director: Ryan Scarlata
Music Director: TBA
JACK KELLY: (Presenting late early 20’s, Male-identifying, Tenor, Any Ethnicity) The charismatic leader of the Manhattan newsies is an orphaned dreamer and artist who yearns to get out of the crowded streets of New York and make a better life for himself out West. Fiercely protective of his friends and strongly loyal, Jack isn’t afraid to use his voice to attain better conditions for the working kids of New York City. Though living on the streets has given him a tough-guy exterior, Jack has a big heart and can demonstrate a sweet vulnerability. Sings solo, many lines, some dancing, stage combat.
DAVEY: (Presenting late early 20’s, Male-identifying, Tenor, Any Ethnicity) Les’s straight-laced, bright big brother starts selling newspapers to help his family earn a living, but becomes swept up in the fervor of the strike. A leader in his own right who is learning to use his voice to uplift others, Davey is the brains of the resistance.
CRUTCHIE: (Presenting late teens-early 20’s, Male-identifying, Tenor, Any Ethnicity) A dedicated newsie with a bum leg that’s painful but helps sell more papes. Though he walks with the assistance of a crutch, Crutchie doesn’t let it define him; when in a jam, Jack Kelly’s best friend relies on a goofy sweet sense of humor and optimistic resilience. Crutchie is the heart of the newsies’ resistance. The performer in this role must be able to dance enthusiastically in character while still physically portraying Crutchie’s “bum” leg.
KATHERINE PLUMBER: (Presenting late early 20’s, Female-identifying, Soprano/belt, Any Ethnicity) An ambitious young reporter working hard to make a name for herself as a legitimate journalist in a time when women aren’t taken seriously. Quick, funny, and resourceful, she boldly captures the voice of a new generation rising in her coverage of the newsies’ strike. While she generally has no time for cocky, streetwise young men, she makes an exception for Jack Kelly. Sings solo, many lines, some dance, stage combat
MEDDA LARKIN: (Presenting 30’s-40’s, Female-identifying, Mezzo/belt, Any Ethnicity) Inspired by vaudeville performer Aida Overton Walker, this big-voiced saloon singer and star of the Bowery offers her theater as a safe haven for the newsies. An astute entertainer with great comic delivery, she’s a good friend to Jack and stands firmly behind the newsies in their fight for justice. Sings solo, some dance
JOSEPH PULITZER: (Presenting 30’s-50’s, Male-identifying, Any Ethnicity) A pompous businessman through and through, owns the World (a major NY newspaper) and is concerned solely with the bottom line. Katherine’s no-nonsense father, Pulitzer doesn’t sympathize with the strikers, but he does eventually – and grudgingly – respect Jack. Sings solos and many lines.
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