Camelot - 2010 (photo: Dan Suiter)
Director & Choreography: Crystal Dawn Munkers
Music Director: David Spring
Audition Dates:
Monday, Nov. 7th – 7:00-10:00PM
Tuesday, Nov. 8 – 7:00-10:00PM
Wednesday, Nov. 9 – 7:00-10:00PM
Callbacks:
Saturday, Nov. 12th – 10:00AM-5:00PM
Rehearsal & Performance Dates:
Rehearsals begin Monday, December 12, 2011
Performances run February 10 – March 4, 2011
Scheduling an Audition:
To schedule an audition or if you have any questions please email the production office at smtoffice@seattlemusicaltheatre.org with your preferred date and available time range and “AUDTION REQUEST” in the subject line. You will receive a confirmation email with the exact timeslot assigned.
Compensation:
All actors are paid a stipend that is determined based on role size to be paid after the final performance.
About the Show:
A CHORUS LINE takes the audience through the final grueling audition run by the director, Zach, for a new Broadway musical. The show opens as twenty-four young hopefuls learn the dance routine that they will use in the final audition for a new Broadway production. Like any other audition, not everyone gets through to their dream. Instead of a normal scene reading, Zach wants to elicit deep, personal emotions from each performer auditioning. Through this, the audience is brought into the secret turmoil of all performers—and really, every one. A CHORUS LINE is a celebration of those unsung heroes of the American Musical Theatre-the chorus dancers, those valiant, over dedicated, underpaid, highly trained performers who back up the stars and often make them look even more talented than they are. It is also a celebration of the American Musical itself.
Audition Requirements:
Please come prepared with the verse/chorus of two musical theatre songs of contrasting styles and a one-minute monologue. Go with your strongest song first, as you may not be asked to sing both. It should be in your key, and your own sheet music. An accompanist will be provided. Personal accompanists are NOT accepted. CD Accompaniment or acapella are NOT accepted. You audition slot will be 5 minutes.
Call-backs will be November 12th from 10am to 5pm. Please be prepared for a strenuous dance audition followed by singing and reading from the show.
Seattle Musical Theatre (SMT) employs a policy of open and diverse casting. No casting decisions will be made until everyone participating in our audition process has been seen by the artistic team.
A CHORUS LINE: Character Breakdown
We are looking for the director and dance captain for an opening Broadway show.
Zach (30-40/NYC): Zach is the current hot, new director/choreographer on Broadway. Working with him is a boon for any performer. Though he knows what he needs, he is not so very far away from his own early days in the theatre that he has forgotten what the dancers are going through.
Larry (30’ish/NYC): Larry is making the transition from performer to production team. He is confident and efficient. This role requires advanced dance skills.
We are also looking for 17 line members and 8 understudies. Understudies will also dance in the opening number and provide off-stage vocal support. The motivation for these 25 performers is the same: get the job. Their additional life circumstances add the depth and color to the show.
Don (26/Kansas City): Don has worked in the theatre since he was a teenager. He struggles to balance his desire to be a professional dancer and his obligation to support his wife and children.
Maggie (25/California): Abandoned by her father, Maggie desperately seeks to find approval and self-worth in her career. This role requires a strong high belt.
Mike (24/New Jersey): Though he always felt “second” to his older sister, Mike is a talented, positive, “can do” performer on his way to a successful career.
Connie (32/NYC): A 25-year veteran of the Broadway stage, Connie is frustrated by being typecast as a child. She should be quite short.
Greg (32/NYC): Of Jewish upbringing, Greg is happy to live life one day at a time. Though he has done well on Broadway, he holds no illusions that it will last. This gives him an easy-going quality.
Cassie (32/NYC): Intimately acquainted with the director, Cassie left a very successful Broadway career to make her mark in TV/movies. She returns defeated and desperate for a job. Advanced dance skills are required for this role.
Sheila (30/Colorado): Though she has had a good run, Sheila is confronting the fact that her “chorus cutie” days are numbered and that she may not have what it takes to become a star. She covers this insecurity with a vixen affectation.
Bobby (25/Buffalo): The comedian, Bobby attempts to be noticed with unusual antics and covers his feelings of inadequacy with practiced, snide humor.
Bebe (26/Boston): A recent transplant to NYC, Bebe struggles to overcome her shyness and mousey looks.
Judy (28/El Paso): Judy is a hoot and everyone loves her. She covers her nerves with goofy jokes. Judy is usually cast quite tall.
Richie (27/Missouri): Good at anything physical, Richie left college sports to become a dancer. Though his resume is impressive, he feels anxious about being the only African-American at the dance call.
Al (30/the Bronx): A veteran of the Broadway stage, Al is not a star, but he is a solid, consistent dancer. He feels guilt about being more cast-able than his new wife, Kristine.
Kristine (22/St. Louis): Though an excellent dancer, Kristine has trouble with stage fright and is tone deaf. She is desperate to keep up with her husband, Al.
Val (25/Vermont): Val is a straight-talking up-and-comer who is not ashamed to do what it takes to advance her career. She is not sleazy or tawdry, she simply knows what she wants and goes out and gets it.
Mark (20/Arizona): The only freshman on the line, Mark is at his first Broadway callback. He is naïve and eager to please.
Paul (28/Spanish Harlem): Paul broke into the theatre as a cross-dresser. His family life is complex; extreme love and pride obscured by extreme conservative prejudice. He struggles with severe shame issues. He has a career-threatening knee injury.
Diana (27/the Bronx): Directors love Diana because she leads by example. She is fun, wise and is always ready with a funny or heart-warming story. This role requires a strong belt.