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(NEW) The Drowsy Chaperone, Open Auditions
OPEN Auditions (Equity/Non-Equity): Monday, November 29, 2010 all auditions at the Gallery Players 7 PM – 9 PM (last sign in at 9 PM)199 14th Street (between 4th and 5th Aves) and Brooklyn, NY
Monday, December 6, 2010. Note: all parties signed in prior to the last7 PM – 9 PM (last sign in at 9 PM) sign in time will be seen and Wednesday, December 8, 2010 7:30 PM – 9:30 PM (last sign in at 9:30 PM) Equity audition procedures are NOT in effect. No Equity monitor provided. Producer runs all aspects of the audition. Please prepare 16-32 bars of an up-tempo song in the classic musical theatre style (Cole Porter, Irving Berlin, Cy Coleman, Kander & Ebb, etc.) to be performed in the style of one of the characters. We would rather not hear selections from the show. Bring sheet music in the correct key, no lead sheets. Please have a second contrasting song ready if requested. Dance auditions will take place at callbacks for characters where dance/movement is indicated. Bring picture and resume, stapled together.
The Gallery Players (Brooklyn) is holding open auditions for their production of
The Drowsy Chaperone. Equity Showcase, approval pending. Producer: Robert Earle Jones. Director: Hans Friedrichs. Choreographer: Christine O’Grady. Book by: Bob Martin and Don McKellar. Music and Lyrics: Greg Morrison and Lisa Lambert. 1st rehearsal: 12/27/10 (evenings and weekends, no holidays). Run: 1/29/11 – 2/20/11 (Thur-Sun, 16 performances). Sunday, December 12: Callbacks – Time TBD. THE DROWSY CHAPERONE: It all begins when a die-hard musical theater fan plays his favorite cast album on his turntable, and the musical literally bursts to life in his living room, telling the rambunctious tale of a brazen Broadway starlet trying to find, and keep, her true love.
The Drowsy Chaperone is a wildly entertaining tribute to jazz age musicals.
Seeking:
Man in Chair: M.: 30s - 50s. Our narrator. Show tune aficionado and self-proclaimed expert. Perhaps a bit manic and slightly agoraphobic, he seeks to chase his blues away by listening to a recording of a fictional 1928 musical comedy: The Drowsy Chaperone. Underneath his occasionally tart exterior exists a lot of heart. Sings only briefly. Role originated by Drowsy co-author Bob Martin.
Janet Van de Graaff/Jane Roberts: F.: 20s to early 30s. The bride who is giving up her successful career as a follies girl to marry her sweetheart. A lovely-yet-quirky ingénue. A young talented triple threat. Must be a strong dancer and singer. Special skills anywhere from playing musical instruments, gymnastics, tumbling, juggling, baton twirling, etc. are helpful and strongly encouraged to be noted. Alto G3-Ab. Role originated by Sutton Foster.
The Chaperone/Beatrice Stockwell: F.: Late 30s to early 50s. Janet’s glamorous martini-loving confidante. A bit Vera Charles with the heart of Auntie Mame. A diva to end all divas. Cynical quips are her specialty. British. Must be an extremely strong comedienne, have great timing and be a fabulous singer (belters a must). Strong mover. Alto F3-D5. Role originated by Beth Leavel.
Robert Martin/Percy Hyman: M.: 20s to early 40s. The Groom. A dashingly debonair, handsome classic 1920s leading man. Slightly quirky, a bit dim and unassuming. Must be an extremely strong tapper. Roller skating skills a plus. Tenor C3-Ab4.
Aldolpho/Roman Bartelli: M.: 30s – 40s. Over-the-top stereotypical latin lothario-type. Vain and a bit buffoonish. Must have great comic timing. Strong Mover/dancer. Bass/Baritone with a great falsetto A#2-G4 (higher notes can be performed calla foce).
Mrs. Tottendale/Ukulele Lil: F.: 30s to 50s. A scatterbrained society hostess and dowager. Not dumb, but certainly ditsy. Think Billie Burke or Natalie Schafer. Bubbly and optimistic, she gathers guests to her estate to celebrate the nuptials at hand. Alto G3-Db5. Moves well. While not necessary, guitar/ukulele experience is a plus. Role originated by Georgia Engel.
Underling/Noel Fitzpatrick: M.: 30s to 50s. Mrs. Tottendale’s butler. Cynical, dry and comically dignified. So English, he makes Noel Coward look like he’s from Coney Island. Tenor Ab2-G4. Moves well.
George/Cyril Devlin: M.: 20s to 40s. Robert’s anxious best man in charge of all the last minute details of the wedding. A strong character-type. The ultimate sidekick. Must be an extremely strong tapper. Tenor F3- Bb4.
Victor Feldzieg/Jack Adler: M.: Late 30s – 60s. A harried Broadway producer of a Ziegfeld Follies-type of revue. He is very unhappy that his leading lady is giving up the stage for love and will stop at nothing to end the nuptial plans. Bari-tenor Db3-Db4. Moves well.
Kitty/Sadie Adler F.: 20s – 30s. A dimwitted 1920s chorine and Feldzieg’s companion. There is really not a whole lot going on upstairs, but would give anything to be the star of Feldzieg’s Follies. Part Gracie Allen, part Jean Harlow. Good dancer. Soprano Bb3-F5. Gangster #1 and Gangster #2/The Tall Brothers: M.: 20s – 30s. A classic vaudeville duo with a strong sense of physical comedy (think 2 out of the Three Stooges). They pose as pastry chefs to put the pressure on Feldzieg to end the wedding. All heights, physical types and ethnicities strongly encouraged. Must be strong movers/dancers. Tenors Db3-Gb4.
Trix the Aviatrix/Gwendoline Hall F.: Late 20s to late 30s. The somewhat “butch” 1920s autopilot that saves the day and flies the company off to Rio. Think Amelia Earhart as played by Ethel Waters, but not necessarily African American. Ab3-Eb5 Belter.
Ensemble: M & F: 20s to 30s. Seeking two men and two women to play members of Mrs. Tottendale’s household staff, reporters and aviators. All must be excellent singers and extremely strong dancers.
NOTE: One of these gentlemen will play the role of the Superintendent.
Directions: Take the R to 9th St. or the F to 4th Ave. in Brooklyn. The R can be accessed at the Pacific/Atlantic station in Brooklyn which is served by the 2,3,4,5,N,B,D and Q trains from Manhattan.
(NEW) Glengarry Glen Ross, open call
Auditions will be held on Sunday, December 5 at 6:30pm and Monday, December 6 at 7pm. Both auditions will be held at The Chatham Playhouse, 23 North Passaic Ave., Chatham. Director Chase Newhart asks that actors be familiar with the script. Sides will be provided at the audition.
The Chatham Community Players will hold open auditions for
GLENGARRY GLEN ROSS by the David Mamet. The production runs March 4 – 19, 2011 at the Chatham Playhouse. Chase Newhart directs. The Chatham Players have an open call casting policy. ALL roles are open, none are pre-cast, and everyone is encouraged to audition. Any questions please call Kristin Furlong at (732) 208-4184 or email her at
kristinbarber33@yahoo.com. For directions or additional information, please visit
www.chathamplayers.org. Synopsis: It’s the early 1980’s in Chicago where all cons, like magic acts, begin with subtle manipulation, but then slide into sleight of hand when the mark becomes distracted. In a world where talking can be idle and irrelevant, but also meaningful and foreshadowing, the tone of the “talking” is the defining qualifier. Life in this crucible is represented by a constantly present chalkboard: Top man gets a Cadillac – Bottom man gets “erased”. Success leads to opportunity for greater rewards – Failure becomes an inescapable trap, spiraling inevitably down – a theme in a minor key.
Seeking:
Ricky Roma (Salesman, 40s) Suave, successful, devious and out for himself.
Shelly Levine (Salesman, 50s/60s) Sinking desperately in tragic quicksand, his boastfulness will lead to humiliation.
John Williamson (Manager, 30s/40s) Without real sales experience, apparently a company man – but nevertheless willing to scam in his own interest.
Dave Moss (Salesman, 50s) Tough, crude, and too bitter to play well the hand he’s been dealt.
George Aronow (Salesman, 50s) Frustrated and meek, depressed but accepting, he is needy – but still has common sense.
James Lingk (married, 30s/40s) We meet him drinking alone. Sensitive, malleable to others and deeply flawed.
Detective Baylen (Police Officer, 40s) Experienced, no-nonsense cop. Strong – will use force when needed.
