"Find out what they like, and how they like it, and let 'em have it just that way," sing the ladies of "Ain't Misbehavin'," and that's exactly what Back Stage tries to help you do this week by speaking with numerous casting directors, musical directors, composers, lyricists, and even a general manager from 24 long-running, recently arrived, or soon-to-be musicals both on and off the Great White Way. What does it take to get cast in one of these shows? Read on, Macduff, about vocal ranges, physical types, age requirements, musical sensibilities, the dos and don'ts of audition conduct, and many more helpful hints that just might make the difference in landing you that great gig you're damn right you deserve. And don't forget to check Back Stage every week to find out who is casting what when.
Long Runs
42nd Street
Broadway Opening: May 2, 2001.
Auditions/casting for replacements held periodically. Casting director Jay Binder accepts resumes on an ongoing basis. There is currently no touring company out.
Top Tappers with Plush Pipes
Hearing the beat of dancing feet is one of the key things the audience turns out for at "42nd Street," so dance skills, particularly tap, are obviously a must for this one. Sarah Prosser, an associate at Jay Binder Casting who works with the show, says that right now no auditions are scheduled. But with a large cast like this, "We do look to our files. And we also look at unsolicited pictures and resumes."
Performers in this show have to be strong singers, too. "Basically, we look for strong tap dancers who can sing," she says. "We cast all ethnicities in this show. The one thing the women we look for have in common in terms of type is that they are tall and beautiful. The men should be able to convey a 1930s style and look. Both men and women should know the 1930s style of tap."
That said, musical director Todd Ellison makes a distinction in skills needed between principals and chorus: "For the principals, the acting and the singing are absolutely more important than the dancing. And the character people, who are either comic relief or great actors, must also sing as well. There are the Billy Lawlor and Peggy Sawyer roles—the juvenile parts—who have to be triple threats: great dancers, singers, and actors! But for the rest of the featured roles, they really don't dance.
"There is no chorus that doesn't dance. There are 12 boys in the chorus, and 24 girls, and there are four 'swings,' and they carry the bulk of the show. They have to be able to tap, and sing, and move really well—but tapping is ultimate. Some people do tricks and acrobatics.
"There are four boys who have to be high tenors, to sing the song 'Dames'; it's very rangy, and very high in the tenor's voice range. So we have to find some nice, pingy, bright tenor sounds from four of the boys, and those are in the ensemble."
How much of a musical number an auditionee will get to sing "depends on the turnout," says Prosser. "In an open call where there are a lot of people, we may listen to just a few bars. I do urge performers to have done their homework, to know the show, to know the kind of numbers they should sing. And I strongly believe that they should always have a few things prepared that they can perform if we want to hear something a little different. If they've prepared a ballad, they should also have something more up-tempo on hand."
As with most shows, auditions for principal roles are most likely to be set up by appointment, through agent submissions, and often word-of-mouth. Sides are sent out in advance of such appointments.
"I think performers should have a clear idea of what part they are auditioning for. They should do their homework—see the show, study the roles. We are pretty specific about what we want when we hold auditions. Performers should pay attention and prepare accordingly."
Will she consider performers who've auditioned before and been turned down? "Absolutely," says Prosser. There could be any number of reasons a role wasn't landed the first time around. "I'd say definitely try again."
Esther Tolkoff
The Producers
Broadway Opening: April 19, 2001.
Auditions/casting for Broadway replacements held periodically. Auditions for first national tour scheduled for March 2002.
Legit Voices and a Sense of Comedy
"We're looking for performers who can do modern musical comedy, not rock, not Rodgers and Hammerstein," says casting director Geoff Johnson. "Of course, the most important quality for actors in 'The Producers' is a sense of comedy. Acrobatics and vaudeville are a plus. They have to be good dancers, and they have to have a real sense of comedy and the absurd—the whole cast, not just the principals."
Nonetheless, a legit voice is essential, he continues. And the audition songs actors choose should bring together the two skills—the vocal and comic flair. Again, he reiterates, songs from modern musical comedy are the best bet.
Actor-singers who are called back—either for principal roles or the ensemble, many of whom do smaller parts in the production—will be asked to read from the script. For this group, no monologues are called for.
However, at the Equity Principal Auditions, actors should be prepared to do a comic contemporary short monologue. "We'd really prefer a monologue from an American work, not a British piece," says Johnson.
Casting is non-traditional and all sizes and shapes are welcome.
Outside of the two leads (Nathan Lane and Matthew Broderick), who will be replaced, no one else is leaving the show, at least not at this time. Auditions for the national tour will start in March, at which time announcements for casting will be made.
Johnson offers a caveat to anyone thinking of auditioning for "The Producers." "Be prepared and read the requirements carefully. If we say we don't want to hear rock songs, don't come with a rock song!"
Simi Horwitz
The Full Monty
Broadway Opening: Oct. 26, 2000.
Auditions/casting for replacements held periodically. Casting director Liz Woodman also accepts resumes on an ongoing basis. Actors who feel they might be right for the roles of Dave and Horse are especially welcome to submit. Begins rehearsing its reconstituted national tour in mid-March, looking toward a Los Angeles opening in mid-April.
Looking for Less Vibrato
Liz Woodman explains that because "The Full Monty" is "book-oriented," she's really looking for performers who both act and sing expertly. They must be accomplished dancers as well.
"Everybody on that stage is a definite character, a definite personality," she says. Still, there is some wiggle room with casting, in terms of age range and appearance. Woodman notes that the character of Vicki was played by Emily Skinner in New York and by Andrea Burns in the first tour. Though the two are dissimilar physically, they are both very funny women. "If you have the essence of the character, the physical type doesn't matter so much."
Actually, this is true of some, but not all, of the roles. The tour's conductor, Ben Whitely, notes that the script dictates that the character of Dave be played by a hefty fellow. "He's supposed to be an ex-football player who's gotten older and eaten too many chips and gotten a gut. That's a hard part to cast. He's also got to sing pretty well and be funny and lovable and be a tenor."
Whitely advises that before they audition for the show, performers see a performance of it on Broadway. Then, they should select a song to sing that has a pop-rock flavor. "The composer, David Yazbek, has certain voices that he hears in his head," Whitely explains. "There's 'straighter' singing than there is in a lot of musicals—less vibrato. Kind of a pop style." Woodman says that performers should choose material from Bruce Springsteen or Billy Joel over Cole Porter or Richard Rodgers. But Whitely warns against 1950s-style pop, which is not quite the right genre. "Rockin' Robin," for instance, would not be appropriate, he says.
Musically, the most important feature of the show is the way the singing and spoken vocals weave together seamlessly, according to Whitely. Operatic training is not required to play these working-class Joes. On the other hand, it's vital that the words of the songs be heard completely and clearly by the audience.
As for errors that actors make in auditions, Woodman says the biggest one is that they don't "make choices" acting-wise. The second-biggest mistake is not having the music ready for the accompanist.
"We had somebody last time around who spent at least five of the 10 minutes with the accompanist, going over what he wanted done. We might have asked him to sing a second song. Instead, he used all his time telling the accompanist where to turn what page."
Mark Dundas Wood
Aida
Broadway Opening: March 23, 2000.
Auditions/casting for replacements held periodically. Casting director Bernard Telsey also accepts resumes on an ongoing basis. There is currently one touring company out.
Be Comfortable with Rock 'n' Roll
"We don't want a theatre person who sort of sings rock 'n' roll. Everyone should be very comfortable singing rock 'n' roll, singing Elton John's music," says Yolanda Segovia, musical director for "Aida." "It's really different, and you can tell it by the rhythm you see in a singer's body—whether they're comfortable doing it. You just can't disguise the pitch and the rhythm. It's so obvious in the first four or eight bars!"
Casting director Bernard Telsey also emphasizes the sounds. "It's really a pop-rock score, with really big pop sounds. And there's a lot of dialogue in the show, so they really need to be strong actors. And whoever is going to play Aida has to be able to project a sense of authority. She has to have the stature and bearing of a princess who can rule her people."
Segovia delineated the vocal demands of the major roles in great detail. "Aida has to be the most versatile, because she sings gospel, ballads, and in some places sings quasi-legit pieces. She has to have a warmth to her voice, very much like an alto coloring, but needs a wide range with a high belt, preferably an F. I would characterize Amneris as a second soprano-alto, with a warmth to her voice, too, but also a high belt, and must be able to sing high harmony."
The vocal needs of the male principals are also defined by Segovia. "We want the men to have the warmth of a baritone, but the range of a tenor. Zoser is more of a high baritone, but Radames might be termed a 'buried' tenor because he also is very wide-ranging. They both sing very Elton John rock 'n' roll. Radames also has some beautiful ballads with Aida, but very much in contemporary style."
The ensemble must be really good dancers, says Telsey. "Big dancers as well as big singers. It's such a small ensemble, but they're all dancers who sing. And non-traditional casting in this show goes way beyond just the white and black—we have everything."
Not everyone reads. "Only performers who audition for the leads, or are potential understudies, are asked to read," says Telsey. "They are given sides from the show, and prepare a scene."
For open calls, Segovia reports, "They dance them first. And then we sing them. Basically, we're still looking for people who are comfortable singing this music. There's a lot of harmony in the chorus, and they should have the rock 'n' roll sensibility about them. And even though they have to sing within the rock format, they still have to know how to take care of their voices. I want to make sure they can do eight performances a week—they have to have enough technique and enough power to endure."
There are some common problems that arise at all musical auditions that disturb Segovia. "If performers are asked to prepare one or two songs from the show, they'll do that. But when I ask if they have something else, many people are not prepared. Being prepared means having other songs with sheet music, knowing their right key, and having a long and short version. They lack a repertoire. If I ask them to sing something else, they should be able to pull out the music and start."
And going along with being prepared, Segovia feels a lot of people do not choose the right material for their vocal range, or don't have the right key to show off their voices properly. "And some people move too much during a song. I want to see if they have a voice, not if they move well. That's not what a singing audition is about."
Telsey is also upset by people who are not prepared, who do not have any sheet music. "So many performers have a repertoire of songs, but for some reason, don't bring the sheet music to auditions, and sometimes want to sing a cappella. Bring sheet music, even if it's 'Jingle Bells,' because we need to hear you sing in rhythm to a piano."
Ira J. Bilowit
Cabaret
Broadway Opening: March 19, 1998.
Auditions/casting for replacements held periodically. There is currently no touring company.
You Must Play an Instrument
For Jeremy Rich, the casting associate for busy-as-a-bee casting director Jim Carnahan, filling all the roles for the long-running revival of "Cabaret" is "a monster unto itself." Among other things, "you need performers who can play instruments, performers who can sing, and performers who can dance—and then, hopefully, performers who also may be able to talk in the process."
Rich acknowledges that while he and Carnahan must continually cast high and low for such qualified "quadruple" threats, filling all the roles in the show isn't necessarily a bedeviling challenge that gets more difficult with time. Instead, for Rich, the continual search for appropriate performers has revealed to him the bottomless diversity of the Broadway-level talent pool.
And anyway, Rich says, finding performers who are instantly able to conquer all four hurdles is not the initial goal. When they begin searching for replacements for "Cabaret," first and foremost comes the ability to play a musical instrument. All other considerations derive from possessing that skill and proving it.
"Playing the instrument is for us, really, the starting point, as opposed to the ending point," he says. "But then, casting 'Cabaret' has always been a process—kind of a complicated one. Fortunately, it hasn't gotten more complicated with time because we've seen so many people and we know so many people who can do this show, have done this show, and are out there. Also, now that the national tour is done, we actually have a little bit of a pool available for us to draw upon, which helps us greatly. And on top of that, we're always constantly searching for new talent anyway, which is why the required calls [by Equity] we do every six months is great."
So back to that first moment when you walk in, musical instrument at hand. First, Rich says, "You come in and play your own piece." If you pass muster—you'll know it and they'll know it in a jiffy—then comes a test of your vocal chops. "It's simple, at that point, what we want," Rich says. "We want to hear what sounds best in your range, so don't sing something you wouldn't ordinarily sing. Sing what you know; be who you are."
Also, says Rich, definitely think twice before strutting in and delivering what you believe to be your supremely masterful rendition of something from the good ol' Kander and Ebb songbook. In particular, don't sing anything from "Cabaret" itself. "Musical directors are always at one of the auditions," Rich says, "and I really think the musical director would honestly prefer not to hear anything from 'Cabaret,' since they've heard all the numbers so many times, over and over and over. Also, remember, the men don't have as much to sing in this show, so for them in particular, just come in with something standard."
Leonard Jacobs
The Lion King
Broadway Opening: Nov. 13, 1997.
Auditions/casting for replacements held periodically. Casting director Jay Binder also accepts resumes on an ongoing basis. There is currently one touring company out, with a second scheduled to open in Denver in April.
Know How to Act a Song
"This is a very rainbow show, so 'type' is not as much of an issue as in many other shows," offers musical director Joe Church. Both Church and Sarah Prosser of Jay Binder Casting say performers should prepare a contemporary or rock number for their initial audition. Potential principals should sing something from the show, and both feel that it is very important for anyone auditioning to have seen this particular show, because it is so unique. Non-principals are always watched with an eye towards whether or not they can understudy, so they should be prepared to sing anything a principal might.
"There's a lot of South African music in the show," says Church, "and there is a network of South African performers that seek us out or are recommended to us. There are master classes given in South African music, so other people can certainly study that as well."
Because the show is, as Church puts it, "very complex," there are many skills called for. "Performers need to be able to manipulate puppets. We ask them to do so during callbacks. We usually have several callbacks before making a choice." Potential cast members also have to be able to perform while wearing masks.
Movement skills are important, too. Those auditioning will be shown African dance steps they are expected to be able to master. Prosser and Church agree that a common mistake performers make during auditions is choosing the wrong material. "We describe what we'd like to hear and people should pay attention to that," says Prosser.
Church observes, "We like to see people who can really act a song. I often see people who are too presentational with their material. The music you select presents you in a certain light and so you have to choose carefully and make sure that it not only matches the show, but presents both your acting and singing talent to your best advantage." He notes that "Lion King" director Julie Taymor has often asked performers to sing "Amazing Grace," to see whether a given singer-actor comes up with an interpretation that stands out in some way.
Prosser adds that acrobatic skills are also important for "The Lion King." As with all shows, she emphasizes, "We do look at unsolicited headshots sent in and we do keep files." Which is a good thing since, as Joe Church points out, there are many other productions beside the American ones, including companies in London, Toronto, Germany, and two in Japan.
E. T.
Chicago
Broadway Opening: Nov. 14, 1996.
The next casting call will take place in April or May 2002. Casting director Howie Cherpakov also accepts resumes on an ongoing basis. There is currently no touring company.
Triple Threats Wanted
Howie Cherpakov stresses what may seem obvious: performers in the long-running John Kander/Fred Ebb musical must, first and foremost, be dancers. "They have to be able to dance the style of the show, which not everybody can," he says.
So, if you're a finely tuned coloratura soprano with minimal movement training and rudimentary acting skills, "Chicago" is definitely not the show for you. The thrustingly sexy Bob Fosse-inspired choreography that makes the show so distinctive requires not only highly trained dancers, but also ones who will be able to project sharply defined personalities.
Cherpakov notes that the original director, Walter Bobbie, wanted to provide "something for everyone" in the ensemble, from pouty blonde ingénue to swarthy bulging-muscled stud. However, when it comes to replacing departing cast members, Cherpakov isn't necessarily looking for carbon copies. A slight, boyish white male might well be replaced by a tall, mature black man. What's important is that you have your own essence and that it registers confidently on stage. "You have to be able to stand in the spotlight and hold the stage," he says. "We don't want people who blend in a homogenous way...in a 'wash.' "
Of course, that peculiar ability to shine is not something that's easy to hone. "I don't know that you can necessarily prepare to 'be interesting,' " Cherpakov says.
Performers who make it through the dance auditions will be asked to sing one number and read a selection from the show (for women, it's usually one of the "Cellblock Tango" monologues; for men, it varies). The show's music director, Robert Billig, finds it helpful when auditionees choose a musical-comedy-style song that "tells a story." That way, they can simultaneously display their vocal skills and acting range.
Billig cautions performers against using rock music for "Chicago" auditions—though it may be tempting, especially if you're more a dancer-actor than a singer: "Sometimes people whose ear isn't that great will sing something that...has a little more yelling or shouting or is a little more energetic. That's fine for that particular piece, but it doesn't necessarily show that they can sing a legato line."
Songs from other Kander and Ebb shows are ideal for "Chicago" auditionees, Cherpakov says. And Billig claims that he has no problem with people using songs from "Chicago" itself—especially since ensemble members may be asked to cover one or more of the principal roles.
So, if you are a fine and slinky Fosse-esque dancer, but one with weak pipes, you should find yourself a good vocal instructor.
Says Billig: "People coming into town just off the bus—who've studied tap or ballet or whatever—need to know that voice is equally important...'A Chorus Line' has taught us that people really do need to be 'triple threats.' "
M. D. W.
Rent
Broadway Opening: April 29, 1996.
Auditions/casting replacements held periodically. Currently auditioning for a leading role by appointment only via agent submission. Casting director Bernard Telsey also accepts resumes on an ongoing basis. There is currently no touring company.
Show Us Who You Are
"Rent" has been a vehicle for many young performers to make their Broadway debuts. Says casting director Bernard Telsey, "We're really looking for people with pop-rock voices, and there's a little bit of a 'look'—a young, groovy kind of look, that Lower East Side kind of thing." But if the vocal ability is right, Telsey adds, the look can easily be made over.
Henry Aronson, the musical director for the show, offers some requirements other than the rock sound that everyone needs. "Most of the women's parts are belt parts, with some very specific vocal qualities. For example, the 'Seasons of Love' soloist in the second act has to be very versed in gospel, and have a good range. And some of the men's parts go pretty high—sort of in a tenor range, or a lyric baritone at least—but the phrasing and attack are all rock style. It has to be a rock voice," stresses Aronson.
Casting is totally color-blind. "They can be any nationality, any size, as long as they have big rock 'n' roll pop pipes," says Telsey.
What should you prepare for an audition? Telsey has some advice for first-time auditionees for the ensemble. "Sing something that really shows your range and personality, that allows us to get a sense of who you might be—rather than just giving us a vocal exhibit. Too many times young people come in and show off their voices, but I don't know who they are. They need to choose songs that show off their range and show off who they are!"
Aronson wholly agrees. "Make sure that it projects something of yourself and something of your character. It can't just be a rock song performance, like a concert. It's got to be an acting thing as well."
Both Telsey and Aronson point out the importance of being prepared for the audition. "Have the sheet music, know the right key for your voice, and if you do repeats or cuts, make sure it's clear for the pianist," says Aronson. Telsey stresses the same thing: "Never come in without your sheet music. No matter what we say going in, once you're in the room, the director or musical director may want to hear something in a different style. Have your favorite selection of every style in your repertoire, and bring it in! I see too many people not get hired because someone in the creative team didn't think the performer could sing in a different style," Telsey points out. "The audition, unfortunately, is the only way for someone to show themselves."
Open auditions for the ensemble can often lead to being cast in actual roles. "We've cast people in principal roles many times as a result of seeing someone at an ensemble call," says Telsey. "And sometimes, people who didn't make it for a particular show go into what we call a farm list—when we need to see people again, we bring them in. There are many people whom we've hired who had been rejected on round one or round two or round seven," Telsey adds. "It does not mean the end of the road for performers who have been rejected at a particular audition."
I. J. B.
Beauty and the Beast
Broadway Opening: April 18, 1994.
Auditions/casting for replacements held periodically. Casting director Jay Binder also accepts resumes on an ongoing basis. There is currently one touring company out.
The Company Way
"Auditions are kind of as needed," says Sarah Prosser of Jay Binder Casting, who points out that, as with other long-running musicals, there are semi-annual Equity-required calls for chorus roles, annual calls for principals, and files are kept and consulted when the need for a replacement arises, both for the Broadway production and for the national tour.
"In auditioning singers for 'Beauty and the Beast,' we look for a legitimate Broadway musical sound," says Prosser. "In general, we initially prefer to hear numbers that are not from the show, something that gives us an idea of what you can do." But performers should always have additional pieces ready that highlight their full range. "And, as with most shows, I think it helps a great deal to see a performance before auditioning, to have an idea of the style of acting, singing, and movement the show calls for."
And, again, as with most major Broadway musical hits, performers need to be triple threats. They will most likely read sides—for auditions by appointment they will have received these in advance—as well as sing, and are expected to move well, showing an ability to catch on quickly to what they are taught.
"I look at resumes closely," Prosser says, "and keep an eye open for training—what teachers a performer has worked with. I also look for Broadway and for regional credits." There are usually several callbacks. "As those go along, we will probably ask for specific songs from the show."
Performers who've tried out before are welcome to try out again. In fact, Prosser's colleague, Laura Stamczyk, notes that since Binder Casting works with several major Broadway musical hits, at times a child performer from "Beauty and the Beast" or "The Lion King" may outgrow his or her role and be considered for a somewhat older role in another show requiring a replacement. Performers may also sometimes leave a role and then return after a hiatus. "If we've worked with them before and know what they can do, we will certainly be happy to look into working with them again," says Prosser.
As to mistakes performers make that might ruin their chances, she points out, "Being unprepared, not being familiar with the show, not following the rather specific requirements we lay out as to the style we're looking for, and not coming across as being able to work well within a company setting." Of course, the exact opposite of each of these traits—being prepared, knowing the show, tailoring one's musical selections and style to what was asked for, and being cooperative—all heighten one's chances of landing the role or of being remembered the next time around.
E. T.
Les Misérables
Broadway Opening: March 12, 1987.
Next set of auditions scheduled for fall of 2002. Send picture and resume with cover letter to casting director Jamibeth Margolis at Johnson/Liff Casting. There is currently one touring company out.
Use Your Voice to Tell a Story
Dale Reiling, musical supervisor of "Les Misérables," says he wants those singers who audition for him to treat their songs like scenes, with a beginning, middle, and end. "I want them to tell a story with their songs and be personally connected to that story. I want to be moved.
"Of course, wonderful voices are important," he continues, "but what differentiates those who get callbacks from those who don't is how they use their voice to tell the story. That's far more important than the big voice or high note."
To audition for "Les Miz," actor-singers should come prepared to sing two songs that they love and that have meaning to them, Reiling continues. "Ideally, each song has a resolution, meaning something has been accomplished during the song." He offers two examples: "Anthem" from "Chess" or "If I Can't Love Her" from "Beauty and the Beast."
Although the two songs should demonstrate vocal contrasts, Reiling points out that it's even more important for the songs to show different personas of the singer. In short, acting ability is essential.
Casting director Jamibeth Margolis of Johnson and Liff drives home the point: "Many singers worry far too much about what their voice sounds like. They try to impress us with their head voice or chest voice and, in their attempt to be the best singer of the day, their personalities become eclipsed. It's a very big mistake for singers to come in with those songs that are faster, funnier, louder. We want to see who the singer is as a person."
Nonetheless, a true contemporary musical style is what they're looking for, she adds, and urges singers to choose songs from recent musical theatre pieces. No one has to prepare monologues—"Les Miz" is a sung-through musical, after all—and if actors get to that point in the call back (it may be the first or the seventh) they will be asked to sing something from the show.
"They will be given time to prepare the material and they should have it memorized," notes Reiling.
Casting is non-traditional and actors who have been turned down in the past are encouraged to try again, especially now. "Les Miz" has run a long time and there's plenty of turnover.
S. H.
New This Season
Urinetown
Broadway Opening: Sept. 20, 2001.
Open calls and EPAs possible if replacements are needed. A touring company has just been announced.
Paging Character Actors
"Big" singing and strong comedic ability are both musts for any performer interested in performing in "Urinetown," according both to its casting associate, Laura Stamczyk, and its musical director, Edward Strauss. While a couple of the lead parts call for good looks, in general, "This show is made for character actors," says Strauss. "Each role is very distinctive. Color doesn't matter. Almost no characteristics matter if a performer can make it his or her own and be funny. It's easier to cast a replacement than for most shows because, for most of the characters, it wouldn't have to be exactly like the previous performer."
No auditions are planned now, says Stamczyk, who is with Jay Binder Casting. But when the twice-yearly required Equity replacement calls are held for chorus members (once for principals), "We build up files in advance of any cast member leaving," advises Stamczyk, "and we use those files." The show currently employs only three swings. She notes she is always alert for backups.
Strauss emphasizes that the show is "quirky," and he and Stamczyk both urge an actor to see the show before trying out. Stamczyk remarks, "It takes more than one audition to know what a performer can do. It can take several calls." In looking at resumes, she keeps an eye peeled for Broadway and regional credits and for the names of directors and musical directors she's worked with and whom she can ask, "What about this person?"
"There's an enormous amount of group and choral singing," says Strauss. "Everyone assumes they should sing something outrageously funny. That's wise, as comedic abilities are so important here. But performers shouldn't pick something that is clever at the expense of showing off vocal range. Most of all, I want to hear something that tells me what you can do as a singer." He notes that even chorus people are expected to read dialogue at an audition for "Urinetown." Performers are put through dance paces at tryouts, "but they don't have to be major dancers," he says.
Strauss feels many a performer errs in trying too hard to tailor an audition to what he or she thinks "they" want rather than doing what he or she does best. "There should be something an actor wants to show off—being funny, being loud, being a great singer."
Stamczyk and Strauss said they would gladly see performers they may have turned down before. "The only exception," says Strauss, "is if the reason the performer wasn't called back before was because of a bad attitude. It is important to work well with other people.
"An audition can make the creative team rethink a character. Because Stubby Kaye, who was heavy, first played Nicely Nicely Johnson in 'Guys and Dolls,' the notion stuck that that character had to be heavy," says Strauss. "When I worked with the Broadway revival a few years ago, the performer who was cast made an impression and everyone realized that there's no reason Nicely Nicely has to be heavy. I've seen that kind of change in thinking take place many times."
E. T.
Mamma Mia!
Broadway Opening: October 18, 2001
Auditions/casting for replacements held periodically. See the open call casting notice scheduled for Jan. 26 in this week's issue under "Chorus Calls." Casting director Tara Rubin also accepts resumes on an ongoing basis. There are currently four touring companies.
Know How to Sing Pop and Move
"Actor-singers who are auditioning for 'Mamma Mia!' should have a good grasp of the pop genre as opposed to traditional musical theatre," says "Mamma Mia" 's musical director, David Holcenberg. "The actor should come prepared to audition with two songs that demonstrate his range—an up-tempo piece and a ballad would be fine. We do not need to hear 15 verses."
Still, vocal ability is the number one criteria, he continues. The women sing every song and the men sing 20 out of a possible 23 songs. Even the dancers have to sing very well. The ensemble members, who usually cover for various actors, should be prepared to do a monologue if they are called back. Actors who are up for principal roles audition (at some point in the process, depending on any number of variables) by reading from the show.
The most significant advice Holcenberg offers actors is to be prepared. "A singer should know what's on the page of music that he brings in, what it sounds like. The music should be in his key, and the pages should be accordion-bound." But, most important, he stresses, "Singers should come in with confidence and remember we want them to be terrific."
In addition to the performer's vocal skills and style, actors in this show have got to be able to dance. That does not mean they must have had formal training (although that can't hurt); there are no formal dances in this show, although everyone has to move, Holcenberg says.
Tara Rubin, the casting director, adds that a performer who has a handle on a contemporary dance style—along with, as noted, a pop music sound—might be well served. For the men, a flair for acrobatics and tumbling is a plus.
"We are also looking for bright, vivid personalities," Rubin points out. "For 'Mamma Mia!' we like quirky, funky, offbeat types. The casting is totally non-traditional. The story takes place on a Greek island where we would see ethnic and racial diversity. And people on a beach come in all shapes and sizes."
Nevertheless, the show is age-specific. Performers have to be either younger than 25 or in their late 30s and above. A summery look is a plus, as is a sense of fun. Rubin puts it this way: "Be good company and put your best foot forward."
So why does one person get a callback and not another?
Often it's just an intangible or what Holcenberg calls "the 'Mamma Mia!' factor: that combination of vividness plus vocal and dance abilities."
Adds Rubin: "And the ability to fit in. And, sometimes, they're the actors you might least expect."
Performers who have auditioned in the past (and been turned down by either Rubin or Holcenberg) are still encouraged to try again. Right now there are four "Mamma Mia!" companies in North America. For those who are interested, but don't have agents, a picture and resume with an appropriate covering note should be sent to Rubin.
S. H.
Summer of '42
Off-Broadway Opening: December 18, 2001.
As Back Stage went to press, "Summer of '42" announced a closing date of Jan. 27. But there will undoubtedly be regional theatre productions across the country (one has already been announced at Mill Mountain Theatre in Virginia), for which the information gathered below should still be relevant.
Age Is Crucial
In casting the new Off-Broadway musical, "Summer of '42," about the coming-of-age of three World War II-era teenage boys, "we took an existing cast and added to it," recalls Jeremy Rich, associate to casting director Jim Carnahan. "Our challenge was finding people who could mesh with those already in the group."
That included Ryan Driscoll, who plays 15-year-old Hermie, the alter-ego of Herman Raucher, who wrote the novel upon which the 1971 film and this stage version is based. Not only must Hermie project a callow quality—one that changes when he loses his virginity to Dorothy, a war bride—but he must embody the author's idealized memory of himself.
Musical director Lynne Shankel recalls that the director, Gabriel Barre, "was intent on getting actors as close to the actual ages of the characters as possible. We found Ryan—who is 18—out of a day of auditions for our production at Goodspeed. Auditions are a huge part of the community there.
"As you might expect, we saw lots of average high school kids," Shankel says. "Then Ryan came in, and the only thing he'd ever done was play 'Pippin' for three performances. He was a natural: he looked right, sang beautifully, and we asked him to the city for callbacks. He was very excited, naturally, but when we got to callbacks, we thought maybe we had an idealized remembrance of him. Then he was fantastic again. He never cracked. He was the part."
According to Shankel, the show's complex vocal aspects were crucial to the casting process. For example, "There are three girls in the show who sing in these tight Andrews Sisters harmonies. So we had them harmonize in groups to mix-and-match blends of people."
Shankel and Rich agree on the subject of audition material. "We asked for contemporary musical theatre style, but not pop-opera style—no 'Rent,' no Lloyd Webber, no LaChiusa," Shankel says. "Jason Robert Brown would be appropriate because his work has a contemporary feel."
Rich adds, "The ability to project a kind of acting quality is a must in an audition as well. There's a lot of pressure on whoever plays Dorothy because you're the pinnacle of Hermie's desires."
When auditioning for any of the three boys, Shankel says, "a piece of comic material is great." Yet for Hermie, "we really need to see both sides—first a classical ballad, then take a comic turn and do something funny." As for the acting chops required by the actress playing Dorothy—played by Kate Jennings Grant—"that's tricky because the actress has to have vocal confidence and maturity…but she can't be so close in age to Hermie that it appears they could actually be a couple. Still, she can't appear like Mrs. Robinson, either. She has to step on stage and look like a movie star—someone Hermie could fall in love with on first sight."
Shankel has some smart advice about other aspects of the auditioning process. "Look good: If you're auditioning for Dorothy, don't come in jeans. Also, be prepared—we watch to see if you've got your act together, if you're professional, if you're kind to the pianist. If you screw up, just say, 'Excuse me, do you mind if I start over?' and let it go. Don't roll your eyes at the pianist and try blaming it on somebody else. Your audition begins the second you walk in the door and doesn't end until the door closes behind you when you leave."
L. J.
The Last Five Years
Off-Broadway Opening: Scheduled for March 3, 2002.
Open calls and EPAs possible if replacements are needed.
You Have to Take the Room
While Jason Robert Brown has toiled on "The Last Five Years" for the last few years, he knows what performers he prefers. His two-character musical traces the disintegration of the relationship between an actress of Irish descent and a novelist of Jewish descent over half a decade. Directed by Daisy Prince, the piece's unusual structure has Kathleen, the actress, commencing at the end of the relationship and working backward, while Jamie, the novelist, is working chronologically.
"It's complicated because you're on stage for 85 minutes and singing constantly," Brown says. "So I look for three things: a specific understanding of text—someone with the ability to break something down, beat by beat, and interpret what I'm trying to accomplish. Then acting ability. There's nothing declamatory about this show, but there are lots of declamatory musical theatre actors. Then a voice that's very versatile and loose. Plenty of people have great voices, but are lousy singers. They can hit these high notes, belt their brains out, but can't phrase; they can't get from one end of a song to the other with a real build."
This is where casting director Mark Simon has been vital to the show's development. When auditioning for Brown, Simon prefers "hearing contemporary Broadway—LaChiusa, Sondheim [and] avoiding Jason's material because unless you've been coached by, say, Jason, you won't approach it the way he wants to hear it."
Brown is more specific. "I prefer people to come in with 'All the Things You Are.' I can hear within that what the voice is. What I want to know is: Are they musical? Can they phrase? Can they make it work?
"A lot of people pick the wrong songs for me," says Brown. "Songs that don't build, don't have good text. People do a lot of self-indulgent, dishonest, too-screamy material."
For this show, Simon also had to be mindful of ethnicity—Jamie (Norbert Leo Butz) must seem Jewish, and Kathleen (Sherie René Scott), must seem Irish. For Brown, it's more than just physical.
"We're dealing with a strong, neurotic, very straight Jewish guy, and a very strong, very talented Irish-Catholic girl," he says. "They're in their late 20s, early 30s—that's as broad as we can be. So, if you're the most talented Polish girl, we're going to have trouble shoehorning you. If you're Richard Chamberlain, I can't cast you."
For "The Last Five Years," Simon thought "the man would be harder to cast. It's instinctual; we have stronger young female than male performers. Norbert auditioned for us for 'Parade,' and he stuck in our minds since that day."
Another Simon priority is creating a "warm, quiet atmosphere" for those auditioning.
"Hal Prince told me something when I was casting the revival of 'Showboat.' I was very aware his presence in a room would often throw an actor's audition, so I mentioned it to him. He said, 'And she'll be nervous opening night, too.' It's your job to hide your nervousness. Ideally, someone would have a good time. An audition doesn't have to be perfect to land a job."
"None of my shows are easy to cast," Brown says. "The men are difficult to cast because most musical theatre men lack things—they fall into big traps. The two things I get [are] guys with these huge voices and machismo so strong it knocks you across the room; and then the extremely sweet, very nice guys—they sing "I Chose Right"—and that also feels dishonest, because men have more edge than that. What I really want you to do is take the room."
L. J.
One Mo' Time
Broadway Opening: Scheduled for March 6.
Open calls and EPAs possible if replacements are needed.
New Orleans Jazz
"One Mo' Time" calls for African-American actor-singer-dancers, plus one white male actor who portrays the theatre owner. "He doesn't sing or dance," says Albert Poland, the show's general manager (pinch-hitting for casting director Amy Christopher, who failed to return Back Stage's phone calls by press time), "but—hopefully—he acts." The age range for the roles is flexible. A detailed breakdown of the characters is included in the casting call printed in the Jan. 4-10 issue of Back Stage (page 25).
The musical—which originally enjoyed a smash-hit, long-run Off-Broadway production in 1979 at the late, lamented Village Gate—deals with the early days of New Orleans-style jazz. Poland suggests that actors prepare a number from the repertoire of Bessie Smith or other performers of her era. He feels that it's appropriate to audition using a number from the show itself.
Poland also offers some general advice for singers auditioning for the show—or, for that matter, any show. They should be prepared and punctual, and they should stick to business. "I think, other than their talents, one thing that is striking to people who are auditioning performers is the concentration of the performer. The more concentration, the more focus—the stronger the audition is going to be."
He cites several mistakes that auditioning singers make. Arriving without sheet music for the audition piece is a big blunder. So is asking the house pianist to transpose the music into a different key on the spot. Singers should avoid bringing canned accompaniment on a tinny, battery-operated tape recorder. And they should never make excuses when their performance in the audition has been below par.
Singers who audition should be cordial, says Poland, but not overly friendly. "You know, we're there to do business. So trying to feign some kind of cheerful friendliness is, in my view, a waste of time."
Poland, who himself was an actor in years past, also offers a key point of information that should serve as an encouraging word for auditionees.
"Each person who comes in, we're hoping will be the one. We, on the other side, are rooting for them. When I was an actor, I didn't know that. I thought people on the other side were waiting to criticize people. We really would like for each of them to be 'it.' "
This edition of "One Mo' Time" originated last summer at the Williamstown Theatre Festival, and will feature the cast from that production. EPAs for understudies were held Jan. 9, but, according to Poland, performers are still welcome to submit resumes. He suggests that interested Equity members leave headshots/resumes at the Longacre Theatre stage door (where the show is slated to play) for the attention of the production stage manager: "That's a very efficient way of getting seen."
M. D. W.
Sweet Smell of Success
Broadway Opening: Scheduled for March 14, 2002.
Open calls and EPAs possible if replacements are needed.
Seeking Presence
Craig Carnelia is known in cabaret and theatre for his musicianship as well as craftsmanship. Soon, however, he'll be known as the lyricist for Broadway's "Sweet Smell of Success," setting his words to Marvin Hamlisch's music and taking his cues, perhaps, from John Guare's book. For Carnelia, casting 16 ensemble roles as well as leads "was interesting in that we saw a number of people audition in different roles and, by doing so, it helped us all define those roles."
From the start for this Nicholas Hytner-directed production, "all of us saw it as a large show with a small cast—five principals, and the ensemble," Carnelia says. Of those, "eight are very serious dancers, and eight are people who are very much dancers, but truly fine singers as well. Because everyone plays a role, we needed 16 people who either move primarily well or sing primarily well, but all of whom are actors. People who could do everything."
"You start," he says, "with a fine casting director"—a role filled by Mark Simon (on double duty with the upcoming Off-Broadway musical, "The Last Five Years").
For Simon, casting is a "journey of exploration…we start off seeing lots of people and then just keep calling back until it's time to teach music from the show." Through a work session, "I can be assured we can present the material to the creative team," after which "management is allowed to join the process."
Casting a show set in the 1950s—based on the 1957 film darkly depicting the world of gossip columnists and public relations—meant questioning the show's demographics: specifically, would people of color be cast? "Those questions are posed to the creative team," Simon says. "While I'm totally for non-traditional casting and we have a racially-mixed cast, you have to question whether you're telling a different story than you were meaning to tell."
As for what happens in the audition room, Simon recalls Carnelia and Hamlisch having similar outlooks but different priorities. "Craig was looking for a song that had drive in it, some acting chops," he says. "Marvin concentrated on the voice. He'd tune in and say, 'I like this singer' or 'I don't like this singer,' which is why, as songwriters, they provide the total picture."
Yet it's not, Carnelia says, "an ineffable quality" that determines whether someone's voice works or not. "It's presence—whether they're alive in the room and belong on a stage. As the lyricist—and a lover of good theatre singing—people who make sense while they're singing, who are alive to what's going on in the song, interest me. So many people either are not taught to sing the words as well as the music, or put so much attention to making sound their whole sense of what's being said takes a back seat. Also, Marvin and I looked for the ranges we needed—since we have 16 in the ensemble, we're not dealing with soprano, alto, bass, and tenor."
Carnelia adds, "What I look for can vary from show to show. I've come to feel that I like to hear an actor sing anything they want to in their first audition because it tells you a lot about the actor, and it's an extra chance to see them comfortable. As far as material I don't want to hear," he says, "there's no style, no composer, no period of music I find negative or objectionable, but any material where the approach was hardened and not alive and only about the voice would be less interesting to me than material that evidences a bloodier, more visceral, more vulnerable view of the person. That can be anything—a rock song might show me more than a Rodgers and Hammerstein song."
To illustrate his point, Carnelia says he particularly welcomes hearing so-called "non-traditional" musical theatre material. "Think about it: So much now isn't traditional; so many shows are rock or a particular style. When a 'Footloose' or 'Rent' or 'Smokey Joe's' comes along, you suddenly see songs entering people's audition folders that they like and keep and use."
Whatever the approach, Simon firmly believes that "talent rises to the top. In a day of preliminary auditions, it becomes obvious who the standouts are, and many times the best performers are just not right for what you're working on that day." But, he adds, "if any of your readers feel they're right for 'Sweet Smell' and haven't been seen, have them send me their picture and resume in advance of auditions for the national tour of this show." Such an expression of confidence can only be a good sign that "Sweet Smell" may indeed help the new season flower.
L. J.
Oklahoma!
Broadway Opening: Scheduled for March 21, 2002.
Replacement auditions will take place in September 2002. Casting director Tara Rubin accepts pictures and resumes with cover letter on an ongoing basis.
Captivate and Intrigue Us
Being able to serve the score and sing well within the parameters of traditional musical theatre is essential for anyone auditioning for "Oklahoma!" So asserts casting director Tara Rubin as well as musical director Kevin Stites. But a solid professional voice is only the first step.
"The level of singing at auditions is very high and it's no longer uncommon," says Stites. "That's not to say a good voice is unimportant, but for any one person to stand out, he has to reveal something unique about himself. We want to see his soul. We want to see someone who is deeply and personally connected to the material he is singing."
With that in mind, Stites wants all actors to come prepared to sing two songs of their (the actor's) choice that have genuine resonance for the actor singing them. Ideally, the songs will be from the traditional musical theatre repertoire—although they don't have to be—and demonstrate contrast and range, e.g., the classic up-tempo piece and ballad.
"The simpler and more concise the song the better," Stites adds. "The goal is to captivate and intrigue us. So while a singer might want to avoid the old chestnuts because we've heard them a hundred times, he is also doing himself a disservice by performing a totally unknown song that leaves the listener thinking about the song and wondering where it came from, as opposed to focusing on the performer."
Stites makes the point that not every actor will be asked to sing both songs; and there is always the possibility that the casters will want to hear some other song. Arriving at the audition with a book of songs that he is prepared to sing will serve the actor well.
Stites offers an unexpected caveat: "Whatever an actor does, he should not come in as Laurie or Will Parker [characters in 'Oklahoma!']. He shouldn't dress as one of the characters, act like him, or sing one of his songs. Actors should realize that their interpretations of the characters might not be ours and so they could be inadvertently harming themselves. We get our own ideas about casting on the basis of what the actor personally evokes."
Clearly, the specifics of each audition—what an actor is asked to do—depends on his status (is he a star, middle-level, or an unknown?), how he got there (was he sent by an agent or did he come to an open call?), and for what role he is being considered; although at some point in the process he may be asked to do a monologue for director Trevor Nunn. Again, Stites stresses it's important for the actor to pick a monologue with which the actor has a genuine connection.
Casting director Tara Rubin agrees; nonetheless, she feels it makes more sense for an actor to be prepared to do a monologue from an American play than, say, a Restoration comedy, if he is auditioning for "Oklahoma!"
Casting is non-traditional, she continues; although the men should be young, strapping, rugged, and look like they could work on a farm ("acrobatic abilities is a plus for the men"), and the women should look like farmwomen who wear bonnets to church.
Both Rubin and Stites say actors should come to the "Oklahoma!" audition looking well. "You don't have to wear a suit, but actors should be mindful of the fact that it's a first impression, and if it's not a good first impression, it may be the last," Stites stresses. "Actors should be dressed as if they were going to a nice lunch."
He adds, "We try to provide a pleasant atmosphere. We want people to be good. And, yes, we absolutely see people we have turned down in the past."
S. H.
Thoroughly Modern Millie
Broadway Opening: Scheduled for April 18, 2002.
Open calls and EPAs possible if replacements are needed.
Know How to Play the Period
The myriad challenges in casting "Thoroughly Modern Millie" differ little from those facing any Broadway show based on a hit movie musical. One can imagine the casting dilemmas when "Footloose," "Saturday Night Fever," or, back in the '80s, "Singin' in the Rain" transitioned from the screen to the stage: Would the performers try to channel or recreate the performances we're all so familiar with, or would they go headlong in the opposite direction? Would they come in belting out songs from the film or go toward some other style?
For Jeremy Rich, associate to casting director Jim Carnahan, slotting the right actors into the right roles was "particularly weird to think of with 'Thoroughly Modern Millie,' because the show has evolved so much over the four years our office has been working on it."
The fact that the production has had such a long gestation period, however, isn't what makes it so challenging to cast. "It's the fact that it's so much, so completely, a period show, and vocally, these roles are all very challenging. There's the role of Miss Dorothy, and for it you need someone beautiful who is also funny and has a high soprano. With Millie, it's most of all a really high belt. With Jimmy, he's got to be charming, a great singer, and a great actor, all in one package. Then you have to have an ensemble that can pull off beautiful choral parts and choreography. You need a lot of triple threats in that show."
One of the accomplishment of the "Millie" casting process, Rich says, has not only been in finding genuine "triple threats," but in bringing back to the musical theatre some "great veteran performers, like Sheryl Lee Ralph, Harriet Harris, and Mark Kudisch." Each of those performers, moreover, brings a certain style that dovetails with what "Millie" is all about.
Beyond tap dancing, which abounds in the production, what does "style" really mean for this show? "I'll put it this way," Rich says. "This show is musical comedy at its best, and finding those traditional musical theatre comedy performers is the real test for us, mostly because the genre has changed so much over the years—the last 20 years, more or less. 'Millie' is so 'classic' musical comedy that you've got to get the rhythms of the show—dialogue, too—instinctually. It's got to be the performer's forte, and it can't be learned."
What the performer can do, Rich says, is audition with material that roughly accesses the music of the era in which "Millie" takes place—the 1920s. "We heard a lot of Kern," Rich says, "but that may be because a lot of people don't know anyone else. A lot of people, though, came in with more up-tempo material because just the title—'Thoroughly Modern Millie'—just sounds fun.
L. J.
Into the Woods
Broadway Opening: Scheduled for April 25, 2002.
Open calls and EPAs possible if replacements are needed.
Understand What You're Singing
The upcoming Broadway production of "Into the Woods" is less a revival than a revisitation for composer-lyricist Stephen Sondheim and librettist James Lapine. They've substantially increased the role of choreography in the show (the original had virtually none), added a song, and endeavored to tackle some of the show's well-known flaws anew. Some changes may or may not be detectable: Who remembers how many wolves pursued Little Red Riding Hood? (The answer: One in the original production, two now.)
In casting "Into the Woods," says Jeremy Rich, associate to casting director Jim Carnahan, "one of the big things we look for is not only great singers, but people who can be funny without overdoing it and making it hammy, which is very easy to do." For example, "with the stepsisters, a lot of people somehow confused them with Cinderella, and we saw a lot of people really hamming it up. If you know the show, you know it's so not the world they live in."
"Into the Woods" not only shuffles the deck on many well-known fairy tale characters, dealing them new situations, but also, as in the case of the Baker and his wife, creates entirely new characters. That also poses special problems in casting because, unlike many musicals, "this show tackles real problems—we have to watch them deal with 'fantasy' problems. So the trick in casting is in finding amazing singers who are also great actors and who are also able to deal with human emotion while pulling off Sondheim's tricky music."
"Believe it or not," Rich says, "we told people to audition with traditional musical theatre pieces, not necessarily Sondheim. At the point at which Steve actually enters the audition process, they're usually singing something from the show that they've learned. Before reaching that point, Rich reports that many more actors auditioned with an up-tempo comedic number for "Into the Woods" than with a ballad, with the exception being those auditioning for roles like Rapunzel.
The two hardest roles to cast in this revival, he says, were Jack and Little Red Riding Hood. "It's not a question of people getting all the notes right, but understanding what they're singing," he says. "They wanted real children, and these kids are singing about very adult issues, so it's altogether a very complicated thing to find. If the kid knows too much, there's no sense of discovery. If the kid knows too little, there's too much to discover in a song. So being a really great actor when you sing is just key to this show."
L. J.
Coming Next Season
The Boys from Syracuse
Broadway Opening: Announced for July 2002.
Principal casting is currently ongoing; casting for the ensemble is upcoming.
You've Got to Get the Humor
The 1937 musical, "The Boys From Syracuse," based on Shakespeare's "The Comedy of Errors" and set in Rome, tells the tale of two sets of identical twins and the women who can't tell them apart. The original production featured a panoply of memorable songs from the Rodgers and Hart songbook, from "Falling in Love with Love" to "This Can't Be Love" to "You Have Cast Your Shadow on the Sea."
In casting actors for the upcoming Roundabout Theatre Company revival of the show, however, Jeremy Rich, associate to casting director Jim Carnahan, doesn't see mastering the score as the key to getting hired. Rather, "it's getting the humor in Nicky Silver's [new] book." Although based on the original script penned by the legendary George Abbott, Silver has scaled the tale in thoroughly modern ways, crafting what Rich calls "an amazingly brilliant, very funny work."
To be directed by Scott Ellis, everyone connected to the upcoming production is dedicated to finding actors able to effortlessly slip into Silver's quick, snappy dialogue. "You really need intelligent actors," Rich says. "We've seen many wonderful musical theatre people so far for the principal roles"—casting for the ensemble is coming up soon—"but many people haven't clicked with Nicky's way of looking at things." Final callbacks for the eight leads, he says, will be held at the end of the month.
Back to the musical front for a moment, Rich notes that performers "are asked to sing something in the style of the '40s and '50s, which doesn't necessarily mean Rodgers and Hart, but we're hearing a lot of that anyway because there's so much to pull from their library. Not too many performers have sung songs from the show, though, which is good, because as we get closer to the final auditions, we're going to start hearing those songs a lot more often."
Talking to Rich so early in casting process for "The Boys of Syracuse" yields some interesting insights. Tentatively slotted for a July opening—rehearsals begin in June—Rich suggests that there are endless opportunities to avoid the mistakes many performers make.
For example, "Most mistakes I've seen are a lack of confidence when one walks into the room. We want you to be good; we don't want to see you fail. Remember, your audition is your time, not anything else. So as long as you're yourself in a natural state and not putting on an act, you will succeed."
It also pays to notice, Rich says, how casting directors position themselves in the audition room—it can tell you a lot about who you're auditioning for and what they derive from the process. "When we audition people, we like to have the tables turned to the side so no one is actually behind anything, like some barrier between an actor and casting." An audition, Rich avers, "doesn't ever have to be scary."
L. J.
Hairspray
Broadway Opening: Announced for August 2002.
Casting is currently ongoing for principals and ensemble. For appointment auditions, either have your agent submit you, or send photo and resume to Bernard Telsey Casting at 145 West 28th St., NYC 10001 marked for "Hairspray." Every submission is gone over by the staff. If there are more ensemble calls, they will be announced in the near future.
Singers Who Dance
The musical version of the cult John Waters film is coming to Broadway next season, created by the various talents behind such musical comedy hits as "Annie," "The Producers," "South Park: Bigger, Longer & Uncut," and "The Full Monty." Which means that the book is by Thomas Meehan (and Mark O'Donnell), the songs are by Marc Shaiman (and Scott Wittman), and Jack O'Brien is directing. After several readings and a workshop, it is tentatively scheduled for the Neil Simon Theatre in August of this year, after a late May out-of-town tryout at Seattle's 5th Avenue Theatre.
The show, briefly, is set in 1982 and tells the story of an obese, pretty dance addict who dreams of becoming a star through a TV show. "We're in the middle of casting," reports casting director Bernard Telsey, "and there's everything in that show. The ensemble is all young, any nationality. They all have to sing, primarily, and dance—but it's real singers who dance rather than dancers who sing.
"And there's a whole slew of principals that are all different ages. The girl [played by Ricki Lake in the film] has to be someone who's heavy, since she's playing a fat girl. The other principals—other parents, other kids—all have their requirements, in a sense, but all from an acting standpoint."
Telsey explained some of the "types" needed. "There's the snotty rich girl, there's the nerdy girl, there's the studly, handsome man. They all have requirements that fit their characters. And then there's a number of adult principals, in addition to the part played by Divine in the film—the mother, a man in drag—that Harvey Fierstein is playing."
Many audition calls have already taken place. "We're in the middle of auditions right now. We did our open calls already—for Equity and for non-Equity. Open Equity dance auditions for the ensemble took place last week, as well as appointment dance auditions. Now," says Telsey, "we're doing appointments for the principals, through agents or through submissions that we know, or from people mailing their pictures and resumes to us.
"When we set up appointment auditions for principals, everyone has scenes to read—we give them sides ahead of time. We don't have the music from the show to give out yet, so people are doing their own pop stuff."
Telsey also reminded us that open auditions often lead to better things for some performers. "Some of the people that did ensemble auditions for 'Hairspray' are now being offered a principal role. For us, with young talent that we don't know, the more we get to know them, the more we can see what really is there. They can move on and grow into bigger parts."
I. J. B.
Dance of the Vampires
Never Gonna Dance
Urban Cowboy
All announced to open on Broadway in the 2002-2003 season.
"Vampires" casts this winter; " Dance" casts this spring; and there is no word yet on a timetable for "Cowboy." Submissions can be made for appointment auditions through agents, or by sending or dropping off photos and resumes to Bernard Telsey Casting at 145 West 28th St., NYC 10001. When Equity and non-Equity open calls are announced, they will be listed in Back Stage's regular casting pages.
Three to Get Ready
Three big new Broadway musicals derived from films of three different eras have already been announced for the 2002-2003 season, and Bernard Telsey Casting will handle all three.
"Dance of the Vampires" is a new musical adapted from Roman Polanski's 1967 film, "The Fearless Vampire Killers." This film spoof—which Polanski wrote, directed, and starred in with his wife, Sharon Tate—features the Count as a Jewish vampire with a gay vampire son.
With a book and lyrics by Michael Kunze and music by Jim Steinman, "Vampires" was already a hit in Vienna directed by Polanski, with the late Steve Barton receiving acclaim for creating the leading role that his "Phantom of the Opera" co-star, Michael Crawford, will now take on Broadway. David Ives has been brought aboard to write the English-language version, and it has been reported that Steinman will co-direct with John Rando (after John Caird ankled the project).
According to casting director Telsey, "We start that whole process this winter. We're looking for young people as well as older people for the leads. It's a big show, with a dance ensemble that's really big on dance movement. There are some specialties—dancers with acrobatic ability and flying ability. It's a really heavy dance show."
In describing the music, Telsey said, "It's a pop opera with a huge score. There's a big vocal range for the young parts and for the musical ensemble."
"Never Gonna Dance" is based on the 1936 film, "Swing Time," which starred Fred Astaire and Ginger Rogers, and also featured Victor Moore. It won an Oscar for best song for "The Way You Look Tonight," written by composer Jerome Kern and lyricist Dorothy Fields. The film, directed by the legendary George Stevens, tells the story of a dancer (Astaire) with a gambling addiction and a girl back home, who falls in love with his dance partner (Rogers).
The book of the new musical is by Jeffrey Hatcher, with the original Kern-Fields score augmented by other Kern songs featuring lyrics by an illustrious roster: Ira Gershwin, Otto Harbach, Johnny Mercer, Oscar Hammerstein II, and P. G. Wodehouse. A workshop was held last month in New York.
"The workshop went well with a cast of non-stars," said Telsey, "and everyone was thrilled. But it's still too early for anyone to talk about what the next step will be. It's a big dance show, and, of course, singing. There are a bunch of character parts. The leads are like those old 1940s triple threats—they dance, they sing, they act! We need people who can really do that kind of specific dance style—like Fred and Ginger—and sing. I haven't been told yet whether they're looking for stars for those roles. Casting will probably start in late spring, for a fall opening on Broadway."
"Urban Cowboy" is based on the 1980 film written by Aaron Latham and James Bridges that made a star of Debra Winger and greatly boosted John Travolta's seesaw career. It's a story about the people who hang out at Gilley's, a renowned Houston bar where the wannabe cowboys try to prove their manhood by riding a mechanical bull in their fancy cowboy outfits. Travolta played a young Texas farmer who comes to Houston to work at an oil refinery. After work, he frequents Gilley's with his buddies—to drink and fight and ride the bull.
A workshop production of the show was held at Westbeth Theater Center last month starring the red-hot Raúl Esparza in the Travolta role. It featured a top cast singing a score made up of country western standards set into a book by director Philip Oesterman and Latham. A tentative March Broadway opening at the Ambassador Theatre was announced but soon rescinded in favor of a Broadway arrival next season, and Esparza has since accepted two starring roles in the spring Sondheim celebration at the Kennedy Center. Telsey informed Back Stage: "I haven't been told anything about what the future plans are." But when definite calls are announced, you can be sure they will be reported in our regular casting pages.
I. J. B.