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The Story:
About five years ago, I noticed, for the hundredth time, a breakdown for one of the more obscure musicals. It said, simply,
"All roles open."
Having posted casting notices for my own projects, I couldn't understand why the director or producers wouldn't describe what they were looking for just in case everyone in the world didn't know the show as well as they knew it.
It finally hit me that day that I could assemble the detailed breakdowns and other relevant information about the most popular shows. My goal was to be able to look up the information for my students when they came in wanting to prepare for an audition.
I then gathered information over several years, and it has come in handy in my coaching. I had entered much of the data into my old computer, and then my poor Mac went home to his maker and took my breakdowns with him.
I'm in the process of re-gathering and re-entering the information, and here is what I have so far. Feel free to check it out when you are seeking more details about a show; this is a work-in-progress. I would like to eventually have at least a hundred and fifty shows, descriptions of characters, vocal ranges, synopses, and anything else that you would find helpful.
I invite you to e-mail me with information if you would like to help create this database for you fellow artists. In the meantime, I'll keep chipping away. Of course, I'm trying to get the most popular shows up first, and most of my breakdowns are compellations of several different listings (separate productions) in order to give you a pretty safe overview. I make no promises that the next production will be cast according to the following descriptions, but these are pretty standard. My thanks to The Ultimate Broadway Fake Book for their descriptions and stats on many of the shows. Sorry for the typos and formatting and syntax mistakes. I just wanted to get it up here for your use.
The Breakdowns:
ANNIE
MUSIC AND LYRICS: Music by Charles Strouse; Lyrics by Martin Charnin
BOOK: Thomas Meehan
PRODUCER: Mike Nichols, Irwin Meyer, Stephen R. Friedman and Lewis Allen
DIRECTOR: Martin Charnin CHOREOGRAPHER: Peter Gennaro
MAJOR PERFORMERS: Andrea McArdle, Reid Shelton, Dorothy Louden, Sandy Faison, Robert Fitch and Sandy the Dog
| OPENED: 4/21/77 | THEATER: Alvin Theatre | PERFORMANCES: 2,377 |
Once in a while comes an idea which seems so simple and natural that an occasional "I could have thought of that" can be heard among the countless shouts of "Bravo!" and "Encore!" Annie is such an idea. An orphan girl and her dog searching for the warmth and comfort of a real home served as the basis for this gigantic hit musical, inspired by a popular comic strip. With the help of Charles Strouse's tuneful score, including "Tomorrow," Annie now ranks with such all time family favorites as Peter Pan and The Wizard of Oz. A new production opened on Broadway in 1997.
BREAKDOWN: Six orphans: females, must tap, strong stage presence, low B flat to high F belt; Annie: sensitive, determined, rugged, must tap, low B flat to high F belt; Hannigan: cantankerous, stubborn, character actress, low B flat to high D, mezzo-soprano; Grace Farrell: business type, warm, low B flat to high G above middle C, excellent soprano; Rooster: snake, New York accent, moves well, high G above middle C, tenor, Lily St. Regis: real doll, loves to dress well, show-off, Jersey accent, high belt to C, mezzo; Bert Healey: radio voice, Rudy Valle character types, low C to high F above middle C, tenor; Three females: radio backup singers, character types, harmony to high F sharp; Mr. McCracken: experienced ventriloquist with dummy required, determined, strong character, low B flat to high E belt, alto; Franklin Roosevelt: strong-willed, compassionate, statesman, must sing, low C to middle C; Eight male and eight females: sing, move well, ensemble.
BELLS ARE RINGING
MUSIC AND LYRICS: Jule Styne, Betty Comden and Adolph Green
BOOK: Betty Comden and Adolph Green
PRODUCER: Theatre Guild DIRECTOR: Jerome Robbins
CHOREOGRAPHER: Jerome Robbins and Bob Fosse
MAJOR PERFORMERS: Judy Holliday, Sydney Chaplin, Jean Stapleton, Eddie Lawrence, Peter Gennaro, Bernie West, Frank Aletter
| OPENED: 11/29/56 | THEATER: Shubert | PERFORMANCES: 924 |
Ever since appearing together in a night-club revue, Betty Comden and Adolph Green had wanted to write a musical for their friend, Judy Holliday. The idea they eventually hit upon was to Breakdown Miss Holliday as a meddlesome operator at a telephone answering service who gets involved with her clients lives. She is in fact so helpful to one, a playwright in need of inspiration, that they meet fall in love, dance and sing in the subway, and entertain fellow New Yorkers in Central Park. In addition to being Comden and Green's longest-running Broadway Hit, Bells Are Ringing introduced no less than three standards- "Just In Time,' "Long Before I Knew You," and "The Party's Over." For the 1960 MGM movie version, Miss Holliday was co-starred with Dean Martin in a production directed by Vincente Minnelli.
BREAKDOWN: Ella: 25-30, pretty, quirky, strong singer, comic timing, Judy Holiday type; Jeffery: 30s, handsome playboy, strong singer with flair, Cary Grant type; Sue: 35-45, easily duped, strong character actress, Edith Bunker type; Sandor; 35-50, slick, Hungarian con-man, gambler, must sing; Gwynne: 25-30s, must sing; Inspector Barnes: 40-50, strong comic timing, Steve Martin type; Francis: 30-50, ever helpful fall guy, must sing; Olga: 20-30, tight, rich, Christine Baranski type;Carl: 20s, young Marlon Brando wannabe actor type, must sing; Four males and four females: 20-50, strong singers/dancers.
BYE BYE BIRDIE
MUSIC AND LYRICS: Music by Charles Strouse; Lyrics by Lee Adams
BOOK: Michael Stewart
PRODUCER: Edward Padula and L. Slade Brown DIRECTOR: Gower Champion
CHOREOGRAPHER: Gower Champion
MAJOR PERFORMERS: Chita Rivera, Dick van Dyke, Kay Medford, Paul Lynde, Dick Gautier, Michael J. Pollard, Susan Watson.
| OPENED: 4/14/60 | THEATER: Martin Beck | PERFORMANCES: 607 |
The young songwriting team of Lee Adams and Charles Strouse struck gold on their first outing with this strictly-for-laughs look at the drafting of a Presley-like rock star and the devastating effect it had on his songwriter-agent- and the entire country. Gower Champion's fresh and imaginative choreography, combined with expert performances, helped make this an immediate success, but the show's fun-filled book and lively score have made it a lasting favorite with theater groups around the world.
BREAKDOWN: Albert: early 30s, baritone, good mover, attractive; Rose: late 20s-early 30s, mezzo, attractive, major dance role; Conrad: mid-20s, baritone, '50s rock star type, handsome; Mae: late 50s, obsessive, very funny; Kim: to play 15-16, soprano, pretty; Mrs. MacAfee: early to mid-40s, soprano, typical '50s mom; Hugo: to play 16-17, tenor, good-looking, intense; Randolph: to play 10, cute but bratty, must have guardian for tour; Males and Females: mid-teens to 50s, dancing, singing, acting ensemble to play Conrad's fans.
BEST LITTLE WHOREHOUSE IN TEXAS ... more coming soon
MUSIC: Carol Hall
BOOK: Larry King & Peter Masterson
BREAKDOWN: Ed Earl Dodd, baritone, character actor, blustering, crusty Old Boy Texan; Melvin P. Thorpe, baritone, character actor who moves, strong comedic televangelist; Governor, baritone, character actor, must move well, tap ability a plus; Shy, singer, dancer, fresh-off-the-farm, big belt; Angel, singer, dancer, big belt, hard Texas-whore exterior/gentle inside; Edsel Mackey, character actor, dry wit; Senator Wingwoah, character will play multiple roles; Narrator, country singer, storyteller; chorus, 10 males & 10 females, great bodies, will play multiple roles.
BOYS FROM SYRACUSE, THE ... more coming soon
MUSIC AND LYRICS: Richard Rodgers and Lorenz Hart BOOK: George Abbott
PRODUCER: George Abbott DIRECTOR: George Abbott
CHOREOGRAPHER: George Balanchine
MAJOR PERFORMERS: Jimmy Savo, Teddy Hart, Eddie Albert, Wynn Murray, Ronald Graham, Muriel Angelus, Marcy Wescott, Betty Bruce
| OPENED: 11/23/38 | THEATER: Alvin | PERFORMANCES: 235 |
The idea for The Boys from Syracuse began when Rodgers and Hart, while working on another show, were discussing the fact that no one had yet done a musical based on a play by Shakespeare. Their obvious choice was The Comedy of Errors chiefly because Lorenz Hart's brother Teddy Hart was always being confused with another comic actor, Jimmy Savo. Set in Ephesus in ancient Asia Minor, the ribald tale concerns the efforts of two boys from Syracuse, Antipholus and his servant Dromio (Eddie Albert and Jimmy Savo) to find their long-lost twins, also named Antipholus and Dromio (Ronald Graham and Teddy Hart). Complications arise when the wives of the Ephesians, Adriana (Muriel Angelus) and her servant Luce (Wynn Murray), mistake the two strangers for their husbands. A highly successful Off Broadway revival of The Boys from Syracuse was presented in 1963 and ran for 502 performances. The movie version, which RKO-Radio released in 1940, starred Allan Jones and Joe Penner (both in dual roles). It was directed by A. Edward Sutherland.
CABARET ... more coming soon
MUSIC AND LYRICS: John Kander and Fred Ebb BOOK: Joe Masteroff PRODUCER: Harold Prince DIRECTOR: Harold Prince CHOREOGRAPHER: Ron Field MAJOR PERFORMERS: Jill Haworth, Jack Gilford, Bert Convy, Lotte, Lenya, Joel Grey, Peg Murray, Edward Winter OPENED: 11/20/66 THEATER: Broadhurst PERFORMANCES: 1,165
Adapted from Christopher Isherwood's Berlin Stories and John van Druten's dramatization, I Am a Camera, Cabaret used a sleazy Berlin night club as a metaphor for the decadent world of pre-Hitler Germany. Though the story focused on Sally Bowles (Jill Haworth), a hedonistic British expatriate, and her ill-fated affair with Clifford Bradshaw (Bert Convy), an American writer, the symbolism of the show was conveyed through an epicene Master of Ceremonies (Joel Grey) who recreated the tawdry atmosphere of the early thirties through a series of musical numbers at the Kit Kat Club. Adding to the mood of the evening was a score that was purposely reminiscent of Kurt Weill, and included such evocative pieces as "Willkommen," "Cabaret," and "Married." In 1972, Bob Fosse directed a successful movie version for Allied Artists using a somewhat different story. Joel Grey repeated his original role, and others in the film were Liza Minnelli, Michael Yourk, and Marisa Berenson. Seven of the songs written for the stage production were retained, with "Maybe This Time," "MeinHerr," and "Money, Money" added.
Chorus: Males and Females: 25-40, excellent dancers and good singers, you must play one, or preferably two of the following instruments with great proficiency: trumpet, trombone, tenor, sax, alto sax, clarinet, violin, accordion, harp, cello, banjo (guitar).
CHICAGO MUSIC AND LYRICS: John Kander and Fred Ebb BOOK: Fred Ebb and Bob Fosse
PRODUCER: Robert Fryer and James Cresson DIRECTOR: Bob Fosse
CHOREOGRAPHER: Bob Fosse
MAJOR PEFORMERS: Gwen Verdon, Chita Rivera, Jerry Orbach, Barney Martin, Mary McCarty, Graciela Daniele
OPENED:6/3/75 THEATER: 46th Street PERFORMANCES: 923
Chicago had a lengthy gestation period. In the mid-Fifties, director Bob Fosse tried to secure the rights to Maurine Dallas Watkins' 1926 play of the same name, but it was not until thirteen years later that the way was cleared for him to turn it into a musical for Gwen Verdon. The saga of murderess Roxie Hart, and the way she manages not only to avoid going to prison but also to become a vaudeville headliner, was adapted into sardonic commentary on American huckstering, vulgarity and decadence. With the tale performed as a show-business vaudeville show, the songs were able to capture the required showbusiness tawdriness through numbers such as "And All That Jazz" and " Razzle-Dazzle." Shortly after the Broadway opening of Chicago, Miss Verdon was hospitalized and was replaced for six weeks by Liza Minnelli. A major Broadway revival opened in 1997.
BREAKDOWN: Roxie Hart: 35-47, a spectacular dancer in the Fosse style, a big, first-rate, Broadway belt voice, an innocent with the ability to murder, sexy, funny, any ethnicity, originally played on Broadway by Ann Reinking; Velma Kelly: 30-45, spectacular dancer in the Fosse style, a big, first-rate Broadway belt voice, sarBreakdownic, extremely sexy, tough, funny, murderer, with a keen eye for publicity, any ethnicity, Billy Flynn: 35-50, a suave, educated lawyer who can talk, wheedle, and persuade anyone to do anything, his clients literally get away with murder, must have a wonderful baritone voice and move well, sexy, handsome, charming, masculine, any ethnicity, Amos Hart: 40-58, charming, funny, vulnerable, milquetoast of a man, so in love with his wife that he would mortgage anything to pay for her outrageous extravagances, must sing well and be physically adept, a comic-sad character actor, any ethnicity, Matron "Mama" Morton: 37-55, great belt voice, sexy, funny, powerful and tough character actress; Mary Sunshine: meal, age open, male soprano or counter tenor who can sign legitimately up to a high B flat, acts like a good natured talk show hostess, is actually a high-powered gossip columnist, must be a good comedian and great legit singer, any ethnicity.
CHORUS: Male and Female dancers who sing: age open, all types, any ethnicity, great, sexy, strong, athletic dancers in the Fosse style with good singing voices. Note: the dancing in this show is extremely
difficult and strenuous, not seeking singers who move well but dancers who are in top performance shape.
CHRISTMAS CAROL, A ... more coming soon BREAKDOWN: Fred: 30's, actor/singer, baritone, warm and sincere, narrator of story; Bob Crachit: 40s, character actor/singer, baritone; Fezziwig/Christmas present: 40-50s, character actor/singer, to play both roles, large jolly man, must move well; Belle: 20s, actress/singer, plays young Scrooge's love interest and later Fred's wife, Four males: 10-15, good actor/singers; Two females: 11-14, good actresses/singers; Males and females; 19-50s, character types, ensemble.
CINDERELLA MUSIC AND LYRICS: Richard Rodgers and Oscar Hammerstein II
BOOK: Oscar Hammerstein II
PRODUCER: Richard Lewine for CBS-TV DIRECTOR: Ralph Nelson
CHOREOGRAPHER: Jonathan Lucas
MAJOR PERFORMERS: Julie Andrews, Howard Lindsay, Dorothy Stickney, Ilka Chase,
Kaye Ballard, Alice Ghostley, Edith Adams, Jon Cypher
AIR DATE: 3/31/57
When CBS-TV decided to mount a musical version of Cinderella, the network was fortunate in securing the services of Julie Andrews, fresh from her engagement as the Cinderella-like heroine of My Fair Lady, as well as the Broadway theatre's most illustrious writing team Richard Rodgers and Oscar Hammerstein II. In adapting the children's fairy tale, Hammerstein was careful not to alter or update the familiar story. It was still about the put-upon drudge (Julie Andrews), her wicked Stepmother (Ilka Chase) and Stepsisters (Kaye Ballard and Alice Ghostley), her Fairy godmother (Edith Adams), the ball that the King and Queen (Howard Lindsay and Dorothy Stickney) give for their son (Jon Cypher), the love that blossoms when Cinderella and Prince meet, Cinderella's loss of a glass slipper, and the Prince's discovery that the foot that belongs to the slipper also belongs to his inamorata. Because the production was filmed live and could not be preserved except in black-and-white kinescope, a new production was filmed on tape in 1965, and has since been repeated eight times. Heading the Breakdown were Lesley Ann Warren ( Cinderella), Stuart Damon (the Prince), Celeste Holm (Fairy Godmother). Walter Pidgeon (King) and Ginger Rogers (Queen). The stage adaptation (which includes the song "Boys and Girls Like You and Me," originally intended for Oklahoma!), has been produced frequently throughout the United States. A prominent stage production appeared in New York in 1993 by the New York City Opera.
BREAKDOWN: Cinderella: late teens-early 20's. heroine, kind-hearted dreamer, mezzo soprano; Prince: handsome, charming, longing for his true love, hi-baritone; King: late 40s-50s, good ruler, father, comedic ability, baritone; Stepmother: late 30s-50s, ambitious for her two daughters, comedic ability, alto; Godmother: 30s-early 50s, magical, alto; Queen: late 40s-50s, wife, mother concerned for her son, mezzo soprano; Joy 20s-early 30s, stepsister, comedic ability, mezzo soprano; Portia: 20s-early 30s, stepsister, not smart, alto; Herald: 20s-40s, enthusiastic official, announces the ball, tenor; Chef: age open, hi-baritone; Steward: age open, hi-baritone; Males and females: to play townspeople, guests at the ball, singers, dancers, ensemble; Males and females: 8-12, ensemble
CHORUS LINE, A MUSIC AND LYRICS: Music by Marvin Hamlisch Lyrics by Edward Kleban
BOOK: James Kirkwood and Nicholas Dante PRODUCER: NY Shakespeare Festival (Joseph Papp)
DIRECTOR: Michael Bennett CHOREOGRAPHER: Michael Bennett (and Bob Avian)
MAJOR PERFORMERS: Carole Bishop, Pamela Blair, Wayne Cilento, Kay Cole, Priscilla Lopez, Donna McKechnie & Sammie Wiliams
OPENED: 4/15/75 THEATER: Shubert PERFORMANCES: 6,137
Beginning with the deceptively simple premise of an audition for chorus dancers, A Chorus Line eventually proves to be a serious and absorbing examination of the dancer's mentality, interpreted in universal themes through a series of monologues, dialogues and musical sequences. Created as a workshop production in Joseph Papp's Public Theatre, the show pointed the way to a production process now as common to new musicals as the once mandatory out-of-town tryout. In 1983, A
Chorus Line became the longest running musical in Broadway history.
BREAKDOWN: Diana: Puerto Rican, optimistic, full of life, must dance, act and sing very well; Paul: Puerto Rican, shy, short, strong dancer/singer/actor; Mark: 20, youthful, innocent, strong dancer/singer; Val: sassy, great body, good dancer, big belt voice; Christine: tall, beauty contestant looks, strong dancer, good comic timing; Al: Italian, macho, big strong belt voice, good dancer; Richie: African-American, dancer, high energy, strong voice; Judy: tall, quirky, strong dancer; Bebe: good singer/dancer; Bobbie: good dancer, strange sense of humor, strong acting abilities and voice; Cassie: great dancer/singer/actress, star quality; Shelia: tall, bombshell, tough exterior, good sense of humor, strong actress; Greg: tall, good-looking dancer, good body, strong ballet technique; Connie: Asian, short, around 4'10", dancer; Mike: Italian, strong voice, tap dancer, song and dance man; Maggie: strong belt voice, good dancer; Don: all-American boy, good voice and dancer; Zach: the director/choreographer, authoritative personality, strong actor/dancer; Larry: the assistant choreographer, strong dancer with good technique. Note: All must be strong dancer/singer/actors.
DAMN YANKEES BREAKDOWN: Applegate: mature role, humorous, cynical devil, skilled actor, great timing, character baritone; Joe Boyd: fanatic Washington Senators fan, aging pot-bellied man, mature role, baritone; Meg Boyd: baseball widow wife, loving, mature, good low G to high F; Joe Hardy: respectful, athletic, young, all-American type, makes deal with the devil, baritone; Lola: ultimate seductress, works for the devil,
excellent singer, dancer, actress, belt range; Gloria, feisty young reporter, good belt voice, dance ability.
Chorus: Male dancers and singers: strong performers, dance and vocal.
DR. JEKYLL & MR. HYDE (Sachs, Mandel) This Gothic thriller debuted at the Alley Theatre in Houston in 1990, breaking the 824 seat venue's box office records. Then Houston's Theatre Under the Stars mounted its current production in January. It garnered $1.6 million in ticker sales, with more than 80,000 people attending 35 performances-another box office record. Book writer and lyricist Leslie Bricusse maintains that the show is a natural for Broadway, since it takes the spectacle/pop opera genre to a new level. BREAKDOWN: Dr. Jekyll/Mr. Hyde: 35-45, bespectacled scientist, shy, self-effacing, sexually inhibited/dynamic, electrifying, impulsive, exciting, bold, with raw sex appeal and a dark, mean streak, baritone, low B flat to F, principal; Margaret Cavendish: 25-35, Jekyll's fiancée, very intelligent, attractive, outwardly proper but not too far from the surface is a wildly passionate woman, good at comedy, soprano with a G, principal; Gabriel Utterson: 45-55, a very English barrister, precise, astute, strong comedic sense, bass, low B to E, ensemble; Richard Enfield: wealthy, fun-loving banker friend of Jekyll's, a ladies' man, very concerned with social etiquette, strong comedic sense, tenor to F, ensemble; Dr. Hastie Lanyon: 35-45, Jekyll's most conservative friend, a fellow physician seemingly genial but with a short-sighted view of science, strong comedy, baritone, B to E, ensemble; Lucy Turner: 18-25, a maid in a brothel, spunky, game, not particularly bright, good Cockney accent, very vulnerable, mezzo, C to G; Reverend Luster: 50's, blustery, pompous, judgmental, with a secret life for lust; Poole: 30-45, Jekyll's Butler, behind the stiff upper lip is a sneer, a bit sadistic; Sir Danvern Carew: 50-60, retired army man, stiff ramrod, an absolute bore, should be able to do a Southern accent as well, bass; Bryan Elliot: 30-40, handsome, well-built, sharp, aware, baritone/tenor to an F; Madame Goodheart: 35-45, a very grand, sexy, madame of a high class brothel,mezzo; Catherine:20-30, brothel lady, tries to be elegant, good comedic sense and dance, second soprano; Alicia Ann: 20-30, brothel lady, fun-loving, good at comedic timing and dance, Southern accent may be required, second soprano; Elizabeth: 20-30, tall, quirky brothel lady, good at physical comedy. EVITA MUSIC AND LYRICS: Andrew Lloyd Webber and Tim Rice BOOK: Tim Rice
PRODUCER: Robert Stigwood and David Land DIRECTOR: Harold Prince
CHOREOGRAPHER: Larry Fuller
MAJOR PERFORMERS: Patti LuPone, Bob Gunton, Mandy Patinkin
OPENED: 9/25/79 THEATER: Broadway PERFORMANCES: 1,567
Because of its great success in London (where it opened at the Prince Edward Theatre in June, 1978, and is at this writing, still playing), Evita was a practically pre-sold hit when it began its run on Broadway. Based on events in the life on Argentina's stong-willed leader, Eva Peron, the musical- with Patti LuPone in the title role-traced her rise from struggling actress to wife of dictator Juan Peron (Bob Gunton), and virtual co-ruler of the country. Though the plot was told entirely through song, and had originally been conceived as a project for records, the razzle-dazzle staging of Harold Prince turned Evita into an exciting theatrical concept that has been hailed throughout the world. Of no little help, of course, has been the universal popularity of the haunting melody, "Don't Cry For Me, Argentina." The film version, starring Madonna, was released in December of 1996.
BREAKDOWN: Evita: 16-33, strong actress/stronger singer, must move very well, belter with head mix, low E to high G belt; Che: 25-35, strong actor/stronger singer, must move very well, tenor/high baritone, low A to high B, falsetto to high F; Peron: mid-40s, strong actor/ singer, character leading man, bass/baritone to high F; Mistress: 18+ to play 16, actress/singer, very pretty, innocent, soprano, low A to high E, also in ensemble; Magaldi: 30s, actor/singer, character leading man, eccentric comic flair, tenor/high baritone to high G, prefer high B, also in ensemble
FALSETTOS, THE The story centers around Marvin, who is gay, Jewish, and confused. He wants a tight knit family, a group that "harmonizes," but has trouble reconciling that need with his wife, Trina and son, Jason, whom he left in order to be with the handsome athletic Whizzer. Their psychiatrist, Mendel, is smitten with Trina and eventually marries her. Jason is about to be bar-mitzvahed and is worried about following in his father's genetic footsteps. Then there are Marvin's lesbian neighbors, Charlotte and Cordelia, who bring some much-needed support in Act Two when the scourge of AIDS descends.
BREAKDOWN: Marvin: 30-40, tenor, gay, Jewish, lovably neurotic; Whizzer: male, 28-40, tenor, very attractive, very athletic, well-dressed, LEAD; Mendel: male, Caucasian, 30-45, Jewish psychiatrist, preferably under 5'9", charming, neurotic, very quick, sharp sense of humor, tenor, LEAD; Trina: 28-40, mezzo soprano, Marvin's ex-wife, barely clinging to her sanity; Charlotte: 30-40, any ethnicity, lesbian, doctor, compassionate, warm and concerned, alto, LEAD; Cordelia: 28-40, any ethnicity, lesbian, kosher caterer, Charlotte's lover, funny, insecure, mezzo soprano or high alto, LEAD. Note: The show is entirely sung and requires strong singers and actors.
FANTASTIKS, THE BREAKDOWN: Luisa: 16, innocent, starry-eyed, soprano; Matt: 20, naïve, adventuresome, tenor: El Gallo: 30+, worldly, wise, narrator, baritone; Bellomy and Hucklebee: 40+, father, comic character; Mortimer: 35+, for death scenes, comedic timing a must; Henry: 50+, aspiring actor, comedic timing a must; Male or female: age open, to play a mute, mime.
FIORELLO BREAKDOWN: Fiorella: 30s-50s, character man, blue collar, skilled politician, LEAD; Thea: 20s-30s, beautiful, strong soprano, dress model, LEAD; Dora: 20s-30s, comedic, strong singer, loyal, protective, LEAD; Floyd: 20s-30s, big comedy man, blue-collar cop, some singing ability needed, comedy skills a must; Morris: late 30s-60s, comedic, strong singer, overworked, hen-pecked, dry self-deprecating humor; Neil: 20s-30s, young, industrious, strong singer, comedic flair; Mitzi: 20s-30s, flashy, funny chorine, ensemble; Mr. Zapatella: 30s-60s, character man, versatile, sings and moves well, ensemble; Frank Scappini: 20s-40s, tough-looking, strong actor, singer, dancer, ensemble; Derby: 20s-30s, ensemble; Frantic: male, African-American, 20s-40s, sings and moves well, ensemble;
Males and females: 20s-30s, any ethnicity, singer/dancers, ensemble. All ensemble members should be strong singer/actor/dancers able to play multiple roles, and sing and dance with some jazz technique.
FUNNY THING HAPPENED ON THE WAY TO THE FORUM BREAKDOWN: Pseudolus: male, 40s, uninhibited, wily slave, timing and enunciation critical; Senex: male, 50s, henopecked slave owner; Hero:male, 20s, innocent, romantic ingénue, must have beautiful tenor voice; Hysterium: male, 30s-40s, frantic, nervous, comic; Erronius: male, 70s, old, senile, comic, few lines; Marcus Lycus: male, 40s, a buyer and seller of courtesans, comic; Miles Gloriosus: male, 35ish, a man-awing man, suoper warrior with a big bass baritone voice; Three Proteans: late teens-20s, comics, lost of physical action, "three stooges," playing a variety of roles; Domina: female, 50s, dominating, battleaxe, imperious; Philia: 20s, virginal, lovely, pretty, soprano; Tintinabula, Panacea, The Geminae (twins), Vibrata, and Gymnasia: late teens-20s, sexy, courtesan dancers, skimpily dressed, Gymnasia must be very tall; Three males and three females: chorus, all ages, singing no dancing.
GREASE ... coming soon GUYS AND DOLLS ... more coming soon. BREAKDOWN: Sky Masterson: Caucasian, late 30s-early 40s, stylish gambler, strong leading man, strong theatre credits, strong singer, baritone to E flat; GYPSY ...coming soon. HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING ...coming soon. INTO THE WOODS ...coming soon. I LOVE MY WIFE ...coming soon. JESUS CHRSIT, SUPERSTAR ...coming soon. BREAKDOWN: Jesus: 20s-30s, any ethnicity, rock tenor, excellent actor; Judas: 20s-30s, any ethnicity, rock tenor, charismatic, rough, paranoid, street smart; Pilate: 30s any ethnicity, rock baritone, authoritative; Herod: 30s-40s, any ethnicity, bizarre, extreme character, dangerous, volatile, commanding performer, ensemble; Mary: 20s-30s, any ethnicity, earthy, mezzo, contemporary belt; Caiaphas: 30s-40s, any ethnicity, low bass/rock top, ensemble; Annas and Simon: 20s-30s, any ethnicity, high baritone, ensemble; Priests: 20s-30s, any ethnicity, contemporary theater sound, less rocky, ensemble. Apostles: 20s-30s, any ethnicity, all vocal types, good rock singers, ensemble.
JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT BREAKDOWN: Joseph: 20s, strong singer/actor, good-looking and extremely charismatic, the favorite son, tenor to A; Narrator: 18+, warm and friendly, strong singer with very high belt, should move extremely well, mezzo, low F to high F, Pharaoh: Elvis impersonator, should look, sound and move like Elvis, baritone, low A flat to D flat; Jacob: 60+, father of a huge family, character actor who sings, baritone with mid-C; Potiphar: 40+, character actor with Rudy Vallee-type voice, should move well, rich tenor, mid-range character voice. Potiphar's wife: seductress with good sense of humor, god with comedy, strong dancer. Brothers: 16-35, all sizes, shapes, and ethnicities, strong singer/dancers, good with comedy, various vocal ranges. Four guards: males, 6' or taller, good physiques, non-singing, non-dancing roles. Female dancers: strong dancers who sing, ensemble.
KING AND I, THE ...coming soon. LEND ME A TENOR BREAKDOWN: Max: Mid-30's, mild mannered, must sing tenor; Tito: 30's-40's, imposing, must sing tenor; Maggie: late 20's, bent up passion; Maria: mid-30's, glamorous, Italian accent; Diana: mid-30's, beautiful, sexy; Julia: 50's-60's, elegant, theatrical.
LES MISERABLES ...coming soon. MAN OF LA MANCHA ...coming soon. ME AND MY GIRL ...coming soon. MEET ME IN ST. LOUIS ...coming soon. MISS SAIGON ...coming soon. MUSIC MAN ...coming soon. NO, NO, NANETTE ...coming soon. NUNSENSE ...coming soon. OF THEE I SING ...coming soon. ONCE UPON A MATTRESS ...coming soon. PAJAMA GAME ...coming soon. PHANTOM ...coming soon. PHANTOM OF THE OPERA...coming soon. PIPPIN ...coming soon. RAGS ...coming soon. RENT The 1996 Tony and Pulitzer Prize-winning modernization of La Boheme set amongst mid-90's New York street kids. Rent spans a Christmas to a Christmas in the lives of three couple, one heterosexual, one gay and one lesbian. The urban trashheap setting is the backdrop for an evening of tears and triumphs, ever so loosely based on Puccini's original. The doomed HIV-positive drag queen/musician Angel, the warm and vulgar documentary filmmaker, Mark, the high-octane Maureen and her lawyer/lover Joanne are the primary players. Roger is an HIV-positive musician along with his junkie girlfriend, Mimi. Others include the yuppie landlord Benny and Angel's lover, Tom Collins. Music includes: "Today 4 You", "Tango:Maureen", "I'll Cover You", "Without You", "What You Own", and "Seasons of Love".
ROCKY HORROR PICTURE SHOW ...coming soon. SATURDAY NIGHT FEVER ...coming soon. SECRET GARDEN...coming soon. SEVEN BRIDES FOR SEVEN BROTHERS ...coming soon. SHOWBOAT ...coming soon. SINGIN' IN THE RAIN ...coming soon. SOUND OF MUSIC ...coming soon. SUGAR BABIES ...coming soon. SOUTH PACIFIC ...more coming soon. BREAKDOWN Nellie Forbush:20's-early 30's, vibrant, attractive, leading actress, sing and moves very well, mezzo, short and easy-wash hair is easiest for onstage shampooing. Must be so charming and lovable that the audience forgives her racist views and delights when she relinquishes them. SWEENEY TODD ...coming soon. TOMMY ...coming soon. WEST SIDE STORY BREAKDOWNTony: charming, pleasant, likable romantic, lyric tenor to B-flat; Riff: glowing, driving, intelligent, slightly wacky, must dance well, tenor to F; Bernardo: handsome, proud, fluid, chip on his shoulder, must dance well, baritone to E; Maria: excited, enthusiastic, beautiful lyric soprano to high C; Anita: exciting spitfire, intense, sharp, knowing, sexual, show belter; The Jets: all should sing and dance extremely well. Jets include Action: catlike ball of fury; A-rab: explosive, enjoys everything; Baby John, awed at everything; Big Deal: bespectacled, self-styled expert; Diesel: big, slow, steady, nice. Six Jet girls: all sing and dance extremely well, includes Anybodys: a scrawny tomboy, Velma, Graziela; Six Sharks: Puerto Rican or dark look that could be Latin, all sing and dance extremely well. Includes Chino: shy, gentle with explosive side; Six Shark girls: Puerto Rican or dark look that could be Latin. All sing and dance extremely well. Includes Rosalia (not too bright) and Consuela (bleached blonde beauty); Doc: middle aged to older, warmth, integrity, good comic timing; Lt. Schrank 35-55, plainclothes cop, strong, always in command, charming; Officer Krupke: 30-50, big thug-like cop; Glad Hand: 30-40, smiley, overly cheerful "square". WILL ROGERS FOLLIES BREAKDOWN: Ziegfeld's Favorite: beautiful chorus girl with strong comedic timing; Betty Blake: Will's wife, strong belt soprano; Clem Rogers: 50+, Wills father, strong Vaudeville song-and-dance skills; Male quartet: four strong singers (high baritone) who move well; Ziegfeld's girls: women's dance ensemble, some singing; Will's children: three males and one female, 8-13.
1776: ...coming soon. 1940's RADIO HOUR ...coming soon.