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WALLIS ANNENBERG 2016 FALL SEASON Equity Principal Auditions - Wallis Annenberg Center for the Performing Arts Auditions

Posted June 6, 2016
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WALLIS ANNENBERG 2016 FALL SEASON - Wallis Annenberg Center for the Performing Arts

Wallis Annenberg 2016 Fall Season - Local EPA
Wallis Annenberg Center for the Performing Arts | Beverly Hills, CA

Date of Audition:
6/14/2016


Call Type
Equity Principal

Time(s)
Tuesday, June 14, 2016
10:00AM - 6:00PM
Lunch: 1:00PM - 2:00PM
Sign-up begins at 9:00AM

Contract
LORT Non-Rep
LORT B Minimum - $861/wk

Location
Wallis Annenberg Center for the Performing Arts
9390 N. Santa Monica Blv
Beverly Hills, CA 90210
Enter at the lobby. You'll be directed to the left. Street parking.


Seeking
Equity musical theatre performers for MERRILY WE ROLL ALONG and FOR THE RECORD: SCORSESE.

Preparation
Please prepare 16-32 bars of sing-your-face-off Pop-Rock vocals and/or 16-32 bars of a Sondheim song. Total audition package should not exceed 3 minutes. Please have brief 30 second monologue ready if asked. Bring sheet music and pic/resume. Accompanist provided.

Other Dates
See breakdown.

Other
No Stage Management positions available at this time.

www.thewallis.org

Personnel
Casting Director: Beth Lipari
See breakdown for rest of creative team.

· EPA Rules are in effect.

· A monitor will be provided.

Appointments
EPA rules in effect.
Sign-up begins at 9:00AM

Performers of all ethnic and racial background are encouraged to attend.

Always bring your Equity Membership Card to auditions.


Breakdown

Stage Managers and performers unable to attend this EPA may submit headshot/resume to:
ATTN: Casting or ATTN: PSM
The Wallis
9390 N Santa Monica Blvd
Beverly Hills CA 90210

Some roles this season will be understudied.

MERRILY WE ROLL ALONG
DIRECTOR: Michael Arden
PRODUCER: Cody Lassen and The Wallis Annenberg Center for the Performing Arts
MUSICAL DIRECTOR: Matt Gould
CHOREOGRAPHER: Eamon Foley
CASTING DIRECTOR: Beth Lipari

REHEARSAL: OCT. 18TH
OPENING: NOV. 30TH
CLOSING: DEC. 18TH

Franklin Shepard: (Late 30’s – 40’s)
Charming, very appealing, gifted composer. People are immediately drawn to him. As we travel back in time, it is no surprise that he is revealed as obsessively ambitious. He is swept up by his success, and subsequently alienates his closest friends and his wife. Charismatic leading man-type. Ability to play the piano is a plus, but not absolutely necessary. Natural-sounding high baritone, up to F#. ALL ETHNICITIES

Charley Kringas: (Late 30’s – 40’s)
Franklin’s closest friend, his lyricist and collaborator. Idolizes and loves Franklin, but he is not a man who will compromise art on the altar of commercial success. Sees Franklin’s tunnel vision for success above all else as the ultimate betrayal, and it irreparably severs their friendship. As we travel backwards in time, we see he is shy and easily agitated. Appealing character actor-type, but not necessarily a nerd. Natural-sounding high baritone, up to G. ALL ETHNICITIES

Joe Josephson: (Early 40’s)
Quintessential New York Broadway producer. While a bit crass, he has a big heart and sense of humor, and is well-meaning. Drawn to conventional musical theater, he ultimately realizes how gifted Frank and Charley are and produces their first hit, starring his wife Gussie. Knows he is losing her to Frank, and becomes a broken man. Baritone. ALL ETHNICITIES

Mary Flynn: (Late 30’s- 40’s)
Franklin and Charlie’s closest friend. Mary had the talent to be a great novelist; however, her insecurities and lack of self-esteem turn her into a bitter, overweight, acerbic drunk. She has been in love with Franklin from the beginning, but quietly suppresses her feelings until they can no longer be ignored. As we travel back in time, we see the warmth, care and loving dedication she had for her best friends, and the slimmer, attractive girl she once was. Role for an appealing character actress. Weight can be added through costuming at the beginning of the show. Two-octave range, from F below middle C, to the F two octaves higher. ALL ETHNICITIES

Beth Spencer: (Early – Mid 20’s)
Young aspiring singer/actress; meets Frank while auditioning for his revue. Winning, fresh, enthusiastic and talented. Very appealing and attractive. When we first meet her in 1967, she has discovered that Frank has been having an affair with his producer’s wife Gussie, and Beth and Frank are going through a traumatic divorce. Not only are they in a custody suit over their eight-year-old child, but -- because of Frank’s fame -- the entire event has turned into a horrifying media circus. Must have great chest mix sound. Sings “Not A Day Goes By”.
ALL ETHNICITIES

Gussie Carnegie: (Early – Mid 30’s)
She is a complete invention. She was Shirley Molinsky when she first went to work for producer Joe Josephson as his part-time secretary to pay for acting classes. Marries Joe, becomes one of the great Broadway musical stars. The first mature and sexual woman that Frank has met. Ultimately breaks up Frank’s first marriage and marries him. When we first meet her in 1976 California, she seems out of place in Hollywood, and realizes that Frank is, indeed, now having an affair with his young starlet. Actress must have glamour, wit, sexuality and must move very well. Broadway belter. ALL ETHNICITIES

Male Ensemble: Singer/Actor/Movers (20s-50s) All types. All ethnicities. Knowledge of Sondheim material very important.

Female Ensemble: Singer/Actor/Movers (20s-50s) All types. All ethnicites. Knowledge of Sondheim material very important.

FOR THE RECORD: SCORSESE
DIRECTOR: Anderson Davis
CHOREOGRAPHER: RJ Durell and Nick Flores
PRODUCER: The Wallis Center for the Performing Arts and For the Record Live.
MUSICAL DIRECTOR: Jesse Vargas
CASTING DIRECTOR: Beth Lipari

SCORSESE: American Crime Requiem is about the goodness of gangsters, the wisdom of wiseguys, the morality of the murderers in Martin Scorsese’s most?iconic films. It’s about the city streets they fought to control and, most of all, it’s about the songs that played on the car radio while they kicked somebody’s ass. This is not Scorsese the Musical. This is Frank Costello sitting across the table from you holding a severed hand covered in plastic while a guitarist sits just to his right wailing the opening riff of John Lennon’s “Well, Well, Well”. This is Travis Bickle, gun in his hand, staring at an episode of American Bandstand on an old TV set while, just behind him, an 8 piece rock band reinvents Jackson Browne’s classic “Late For The Sky”. This is rock ‘n’ roll with a story to tell. Part concert, part vintage nightclub, part theatrical experience putting you inside a Scorsese Universe where Jake LaMotta hands you a cocktail, tells a few terrible jokes, and introduces the next act.
Many of the most unforgettable scenes in Scorsese’s films are inseparable from?the songs that defined their style. From Italian Crooners, to Doo Wop, to Classic? ock ‘n’ Roll, Martin Scorsese’s deep ties to music and how that music can?transform a cinematic moment is the inspiration for this character driven concert.?Much like Vinyl, the songs that inspired the characters come to life in fully realized musical performances. Music takes the stage while this live movie music mashup reveals themes and throughlines that connect 40 years of Scorsese’s work.

ALL ETHNICITIES. Because of the variety of musical styles covered within each part, no role need be any particular race. In fact, this mashup of styles and sounds require creative casting choices that often look completely different from the actors in Scorsese’s films.

MARGOT: (20’s) A gold digging blonde bombshell with the voice of Dusty Springfield or Beyonce.

LORRAINE: (25­-35) Classic beauty turned mafia wife. Jewish­-Italian heritage. Solid 1950’s Long Island dialect. Jazz vocal ability with a bit of vintage soul. Part Peggy Lee and part GaGa.

SHARON: (30-­40) Vegas socialite, showgirl, and model. Rock singer with grit and strong gospel roots. Amy Winehouse meets Mahalia Jackson

DIANA: (any age over 20) A voice of a generation. A natural star with an ability to captivate an audience through her stage presence. Seeking an unconventional sound and the ability to bring an audience to their feet. Whitney, Janis, Diana, Tina. Open to all vocal types.

LEO: (20s) A young tormented Irishman seeking justice and revenge. Boston/Irish dialect. High pop tenor.

JACK: (35-­50) The ultimate mob boss. Commands the room with an intimidating presence. 1960’s vintage rock tenor.

RAY: (25-­35) Classically handsome New York italian. He could have been a member of the Rat Pack with his seductive croon, sharp wit and effortless style. Michael Buble, Dean Martin.

BOBBY: (30-40) Understated, determined, successful but always living on the edge. Natural New York accent. Rock baritone. New York dialect.

JOE: (30-­40) Loose cannon and loud mouthed Italian New Yorker. Short (under 5’8”). Strong comic skills. 1950’s Queens accent. Rock tenor.

MICK: (over 20) A voice of a generation. Inspired by the all of the male 1960’s rock icons. Must be a natural star with an ability to captivate an audience through his mesmerizing stage presence. Seeking an unconventional sound and the ability to be a front man.

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