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We will be holding mega-auditions on Saturday, October 27, for the shows listed below.
THE AUDITION FORM PAGE AND SIGN-UP PAGES ARE CLOSED SO WE CAN PROCESS IT ALL IN PREPARATION FOR AUDITIONS.
BUT COME TO THE MEGA-AUDITIONS ANYWAY. YOU CAN FILL OUT OR CHANGE YOUR AUDITION FORM THERE.
PLEASE READ ALL OF THE FOLLOWING:
MEGA AUDITIONS will be held October 27 2018 from 8 AM to whenever at Theatre Alliance. Please try to arrive no later than 9 am (earlier if you have a reading before then) so that we can sign you in by the time you learn the dance combo at 9:20 am
IF YOU ARE OUT OF TOWN ON THE DAY OF AUDITIONS, PLEASE COMPLETE AN AUDITION FORM ANYWAY AND NOTE IN THE COMMENTS SECTION THAT YOU WILL NOT BE PRESENT AT AUDITIONS. Out of fairness, first preference is given to those who are present at auditions.
If you are submitting a video audition, please send it by October 26 2018 to Jamie at email@example.com
Please do not audition if you anticipate auditioning for ANY other community theatre shows or professional theatrical jobs that will require you to drop out of a TA show while it is in rehearsal or miss an abundance of rehearsals. If this happens, you will likely not be cast in another TA production for one calendar year. We hold auditions well in advance so that you may plan accordingly. We ask that you not waste our time or yours. “Life Emergencies” are different and will be treated as such.
• We typically rehearse Mondays through Thursdays, from 7-10 PM. Sometimes we deviate, circumstantially, which may often include weekends, especially with several shows ongoing at once.
• Please keep dates around performance weekends open, as we often extend the run of popular shows. Please keep this in mind if you are cast in ANY of our productions!
• If you are cast in any show and anticipate needing to drop-out, it is crucial that you notify Jamie immediately, no matter how far into the future the show you are cast in is scheduled.
• Closer to rehearsal time, Jamie will ask you to solidify any additional conflicts. If there are an abundance of conflicts, you may be asked to relinquish your role. Please try to keep your calendar free, as you know well in advance of your commitment.
• Only two absences beyond scheduled and non-Theatre Alliance-related conflicts listed today will be allowed. After two unscheduled, non-Theatre Alliance-related absences, you will likely be dismissed from the show. We are experiencing a waning lack of commitment from some volunteers, and that hinders the quality of our performances, affecting the product our audiences expect from us. We are in hopes this rule will help everyone understand our need for dedication to our craft.
Casting decisions will be posted on the Theatre Alliance website: www.wstheatrealliance.org. Follow the directions there to accept or to decline your role(s) offered. This will entail sending Jamie an e-mail at firstname.lastname@example.org.
If you have not accepted your role within three days of notification, it will be assumed you declined the role(s) offered. Theatre Alliance is a volunteer entity, so no roles receive compensation.
SOCIAL MEDIA POLICY
By checking below, you agree to portray Theatre Alliance in a positive light with any posts to social media sites, such as Facebook and Twitter, while engaged in our productions. Consider how what you are communicating could affect our image before you post, please! All rehearsals are CLOSED to others not involved with a production. Jamie must be consulted before inviting anyone other than a cast or crew member. No exceptions.
Many productions have scheduled performances or the potential for performances at 4 PM and at 8 PM on Saturdays. When cast in a Theatre Alliance production, the performer is expected to assist with set construction, Load-In, and Strike, in addition to attending all scheduled rehearsals/publicity events. Theatre Alliance gives first preference to auditionees who support our existence, whether working backstage, working behind the scenes, or sitting in our audiences. We also welcome new faces and encourage non-discriminatory casting, regardless of race, creed, religion, gender, orientation, or physical/mental challenges.
WE WILL BE AUDITIONING FOR:
|FLASHDANCE: THE MUSICAL
Music & Lyrics by Robbie Roth
Wednesday, February 13 2019 at 8 pm
Performance extensions or snow dates: February 21, 22, 23 at 8 pm, February 24 at 2 pm
Dance like you’ve never danced before! Flashdance the Musical tells the inspiring and unforgettable story of 18 year old Alex, a welder by day and ‘flashdancer’ by night, who dreams of going to the prestigious Shipley Dance Academy and becoming a professional dancer. When a romance complicates her ambitions, she harnesses it to drive her dream.
Based on the Paramount Pictures film (Screenplay by Tom Hedley and Joe Eszterhas, story by Tom Hedley) Flashdance is an inspiring musical about the power of holding onto your dreams and love against all the odds.
Prepare to be blown away with an astonishing musical spectacle and phenomenal choreography to this iconic score including the smash hit “Maniac,” “Manhunt,” “Gloria,” “I Love Rock & Roll” and the sensational title track “Flashdance…What a Feeling”.
ALEXANDRA “ALEX” OWENS – 19, steel worker by day, flashdancer by night. Alex is a strong willed young woman who is also witty, energetic, loyal and loveable. She is ambitious and a little rebellious but sensible and possibly even cautious and sometimes mistrusting of people in power; Mid range voice – lowest note is G, below middle C. Needs to be able to sing a separate melody when singing with a full chorus. Strong dancer – has solo dances.
NICK HURLEY – Late 20’s, nephew of the owner of Hurley Steel. Nick is the lead male in the show and pursues Alex romantically. He is his ‘own man’ and well meaning – always wanting to do the best for his business and those who work for him (who he gets on well with). He is always charming and confident and playful when flirting with Alex; Tenor – needs to be able to sing a top F and top G.
GLORIA – Dancer at the Steel Bar – daring character. One of the team of four dancers who are full of attitude, back-chat and banter. Gloria gets herself more involved with other elements of the plot, puts herself in danger and shows her vulnerable side. Mezzo/Soprano – needs to be able to harmonize. Sings top line when singing with Keisha and Jazmin. Strong dancer – has solo dances.
KIKI – African American woman, 20s-30s. Funny, quick-witted, sexy and confident dancer at Harry’s and a close friend to Alex. Must be excellent dancer (Jazz, Contemporary Jazz, Hip-Hop a plus). Strong belt with good pop/R&B instincts; must be able to riff; must belt to high D. Range: Bb below middle C to belted high D.
TESS – 30s-40s. Sexy dancer at Harry’s who has a long and unhappy history trying to find a man who will take care of her (and support her champagne tastes). Coming to an age where gold-digging is increasingly hard to pull off. She is wry, with a tough veneer, but there is a clear wistfulness and sadness beneath. Must be excellent dancer (Jazz and hip-hop a plus) and strong belt singer – more of a rock sensibility. Range: Bb below middle C to C above middle C.
HARRY – 40s to early 60s. Worn-down, gruff, curmudgeonly (but truly warm-hearted) owner of the bar in which Alex and her friends dance. Working-class Pittsburgh man trying to stay afloat in a tough economy. Baritone (ensemble singing only)
JIMMY – Early 20’s. Always talking of making it big as a stand-up comedian but a loser who hangs about on the streets living on his wits and nervous energy, blagging, sofa surfing, stealing. Upbeat and friendly to Alex but ultimately unreliable; Strong singer – think a young Billy Joel. High baritenor; must have solid pop Gs, but also strong low register (low Bb).
HANNAH – Alex’s mum. Worn out by life but ambitious for Alex. Tries to be fun and chirpy for her daughter’s sake for whom she is a friend as well as a loving mum; Should have a background in dance or be a very strong mover. Traditional music theatre character belt, B below middle to C.
LOUISE – Dancer at the Steel Bar – One of the team of four dancers who are full of attitude, back-chat and banter; Alto-Mezzo. Dancer
JOE – Steel Mill worker, 50’s, foreman. Gets on well with Nick his boss and offers a wise
word here and there; Tenor
ANDY – Steel Mill worker, 30’s, family man.
MS. WILDE – 40 years old, works at the “Shipley” dance Academy, arrogant with a bureaucrat air.
C.C. – Late 30s-40s. Slick, morally bankrupt businessman and bar owner with a talent for exploiting vulnerable young women. Also from a working-class background, but happy to use his growing (but corrupt) success to present a slicker, quicker version of himself to the world. Strong baritone with attitude – good pop sensibility, Bb below low C to strong high F.
HURLEY STEEL WORKERS, HARRY’S BAR PATRONS, CHAMELEON DANCERS, ACADEMY STUDENTS, CITIZENS OF PITTSBURGH
Music and Lyrics by Björn Ulvaeus and Benny Andersson
Thursday, March 14 2019 at 8 pm
Wednesday, March 20 2019 at 8 pm
This show has the potential to run or extend to any date from March 8 to March 31, so all cast members must have all those dates available.
On a small Greek island, Sophie dreams of a perfect wedding — one which includes her father giving her away. The problem? Sophie doesn’t know who he is! Her mother Donna, the former lead singer of the 1970s pop group Donna and the Dynamos, refuses to talk about the past, so Sophie decides to take matters into her own hands. Sneaking a peek in her mother’s old diaries, she discovers three possible fathers: Sam, Bill, and Harry. She secretly invites all three to the wedding, convinced that she’ll know her father when she sees him. But when all three turn up, it may not be as clear as she thought! Told through the legendary music of ABBA, Mamma Mia! has become a worldwide sensation that has audiences everywhere dancing.
Donna Sheridan, Belting Mezzo-Soprano, Late 30s to early 40s. Donna is a free-spirited, beautiful, passionate woman. Twenty years prior, she was the lead singer in the popular musical group “Donna and the Dynamos.” The band was comprised of Donna and her two best friends, Rosie and Tanya. The girls toured and performed their pop music all over, having many adventures and romantic liaisons along the way. Must be able to move well. Lead role.
Sophie Sheridan, Pop Soprano, 18-25. Donna’s daughter. A very special young woman who is determined to find the romance and happiness she feels eluded her mother. Has an adventurous spirit even though she pursues a conventional marriage. Must be able to move extremely well. Lead role.
Tanya Cresham-Leigh, Mezzo Soprano/Alto, 35-45: A former singer in the “Dynamos.” Rich, sophisticated, acerbic, funny, and witty. Actress who sings. Must be able to move extremely well. Supporting principal role.
Rosie Mulligan, Alto, 35-45: Also a former singer in the “Dynamos” who now writes for and runs a feminist press. She’s confident, strong, and funny on the outside but shy underneath. Kooky and fun, good comic actress, a bit of a clown. Actress who sings. Must be able to move extremely well. Supporting principal role.
Lisa, Mezzo-Soprano, 18-25: Sophie’s friend who arrives to be a bridesmaid. Very energetic and kooky. Must be able to dance. Featured ensemble role.
Ali, Mezzo-Soprano, 18-25: Sophie’s friend. Impulsive and fun. Should contrast to Lisa and Sophie. Must be able to dance. Featured ensemble role.
Sam Carmichael, Baritone, 35-45: May be Sophie’s father. Left Donna 20 years ago because he was engaged to another woman. Charming, successful architect. Actor who sings. Should be able to move well. Supporting principal role.
Harry Bright, High Baritone/Tenor, 35-45: May be Sophie’s father. British financier, wealthy, buttoned-up, and conservative but trying to reconnect with his freer, youthful self. Must do a very convincing English accent. Also an actor who sings. Should be able to move well. Supporting principal role.
Bill Austin, Baritone, 35-45: May be Sophie’s father. A travel writer with no possessions or strings. Good-natured, always ready for adventure. Funny, comedic actor. Should be able to move well. Supporting principal role.
Sky, Baritone/Tenor, 24-30: Sophie’s fiance. Athletic, attractive – was a successful businessman. Left to help Donna with her taverna and marry Sophie. Featured ensemble role.
Pepper, Baritone/Tenor, 20-29: Sky’s friend. Helps run the hotel. Charming, loves women, always flirting. Must be able to dance. Acrobatic skills a plus. Featured ensemble role.
Eddie, Baritone/Tenor, 20-29: Another friend of Sky and hotel worker. Laid-back, easygoing. Must be able to dance. Featured ensemble role.
Ensemble: Males & Females, 18+: Dynamic dancers with vocal range and comedic chops.
- “Prologue: I Have a Dream” – Sophie
- “Honey, Honey” – Sophie, Ali, Lisa, Ensemble
- “Money, Money, Money” – Donna, Tanya, Rosie, Company
- “Thank You for the Music” – Sophie, Sam, Harry, Bill
- “Mamma Mia!” – Donna, Company
- “Chiquitita” – Tanya, Rosie, Donna, Ensemble
- *“Dancing Queen” – Tanya, Rosie, Donna, Company
- *“Lay All Your Love on Me” – Sky, Sophie, Men
- “Super Trouper” – Donna and the Dynamos
- *“Gimme! Gimme! Gimme!” – Sophie, Ali, Lisa, Company
- “The Name of the Game” – Sophie, Bill, Ensemble
- *“Voulez Vous” – Company
- “Entr’acte” – Company
- “Under Attack” – Sophie, Ensemble
- “One of Us” – Donna
- “S.O.S.” – Sam, Donna, Ensemble
- *“Does Your Mother Know” – Tanya, Pepper, Ensemble
- “Knowing Me, Knowing You” – Sam, Ensemble
- “Our Last Summer” – Harry, Donna, Ensemble
- “Slipping Through My Fingers” – Donna, Sophie
- “The Winner Takes It All” – Donna
- “Take a Chance on Me” – Rosie, Bill
- “I Do, I Do, I Do, I Do, I Do” – Sam, Donna, Company
- “I Have a Dream (Reprise)” – Sophie, Company
- “Bows” – Company
- “Mamma Mia (Bows)” – Company
- “Dancing Queen (Bows)” – Donna, Tanya, Rosie, Company
- “Waterloo” – Donna, Tanya, Rosie, Sam, Harry, Bill, Company
A song with an asterisk (*) before the title indicates a dance number; a character listed in a song with an asterisk (*) by the character’s name indicates that the character exclusively serves as a dancer in this song, which is sung by other characters.
Book and Lyrics by DAVID BRYAN
Friday, April 5 2019 at 8 pm
Thursday, April 11 2019 at 8 pm
Performance extensions: April 13 at 4 pm; April 17, 18, 19, 20 at 8 pm
Hockadoo! Memphis is the story of Huey Calhoun (loosely based on real-life 1950s disc jockey Dewey Phillips) and his mission to bring blues and soul music to a white southern audience. In a time of segregation, Huey optimistically believes that music can transcend race, and with him on his journey is aspiring singer Felicia Farrell. The two fall in love, but must contend with social barriers, a prejudiced mother, and an overprotective brother. With a soulful score and vibrant dance numbers, Memphis is a crowd-pleasing adventure of music and love in the 1950s South.
Huey Calhoun (Lead)
Caucasian, 20s-30s. Motor-mouthed hero, who talks his way into becoming a DJ at a local white radio station. Ignores race barriers and eventually falls in love with Felicia, a black singer, which causes a whole new set of problems for Huey in a segregated 1950s Memphis. Tenor with a great feel for pop/rock/R&B.
Felicia Farrell (Lead)
African American, 20s-30s. Beautiful, wide-eyed. Fiercely gifted singer. Follows her heart and falls in love with Huey, despite knowing that a relationship between a white man and a black woman in prejudiced Memphis is doomed. High R&B Belt.
Delray Jones (Lead)
African American, 30s-40s. Felicia’s older brother. Owns the club where she sings. Realistic, protective and aware of the realities of the segregation that exists in Memphis. Baritone with great pop/rock/R&B voice.
Gladys Calhoun (Supporting)
Caucasian, 40s-60s. Huey’s Southern blue-collar mother. She loves her son but constantly worries. Strong singer with alto-belt mix; excellent actor with comic skills.
African American Male, 20s-30s. Bartender at Delray’s. Hasn’t spoken since age five, when he saw his father killed. As the story progresses, Gator finds his voice. Requires an excellent actor. Comic timing a plus. Great R&B Baritone.
African American male 20s-30s. Janitor at the radio station. Full of personality and heart. Great gospel voice. Role requires an actor who is comfortable with physicality, as he has a dance break in his show-stopping number. Comic skills a plus.
Mr. Simmons (Supporting)
Caucasian, 40s-60s. Conservative owner of the radio station. Strong, Southern businessman. Great actor who is comfortable singing.
All ethnicities, 20s-40s. Dancers who sing very well, to play various ensemble characters. Excellent athletic dancers who sing.
|THE HUNCHBACK OF NOTRE DAME
Music by Alan Menken
Friday, May 10 2019 at 8 pm
Thursday, May 16 2019 at 8 pm
Performance extensions: May 23, 24, 25 at 8 pm, May 26 at 2 pm
What makes a monster and what makes a man? This is the central theme of The Hunchback of Notre Dame, a sweeping, grand-scale musical from Disney Theatrical. Based on the 1996 Disney film and Victor Hugo’s 1831 novel, The Hunchback of Notre Dame tells the story of Quasimodo, the hunchbacked bell-ringer of Notre Dame, and his desire to one day be a part of the outside world. When he summons the courage to attend the Feast of Fools, he meets Esmeralda, a compassionate gypsy who protects him from an angry mob. But at the same time, Quasimodo’s master, the archdeacon Dom Claude Frollo, and the new captain of the guard, Phoebus de Martin, fall in love with the beautiful girl. Adding to Quasimodo’s struggle is his punishment and derision from Frollo, following years of psychological abuse, and the danger posed by the gypsies, who are willing to kill any outsiders who venture into their secret hideout. But before Paris is burned to the ground, will Quasimodo be able to save Esmeralda from Frollo’s lust and anger? Will she return Quasimodo’s affection? Who is the true monster of Notre Dame?
Archdeacon of Notre Dame Cathedral and the most powerful cleric in Paris, he is the reluctant caretaker of Quasimodo. He will do whatever it takes to rid the city of the gypsy “vermin,” even as he lusts after Esmeralda. Calculating, manipulative, and obsessive.
Vocal range bottom: E2
Claude’s reckless younger brother. With the gypsy Florika, he fathers Quasimodo, who he leaves in his brother’s care. Wild, passionate, and strong-willed.
A gypsy and Quasimodo’s mother.
The clever and charismatic King of the Gypsies. An air of mystery surrounds Clopin, who often leaves the scene in a puff of smoke. As the master of ceremonies for the Feast of Fools, he is witty and playful, but he boasts a darker, serious nature when not performing for the crowd.
Returning to Paris after serving in the war, Phoebus takes up his new position as Captain of the Cathedral Guard. Overconfident yet charming, this handsome, strong soldier makes the ladies swoon, yet his moral compass is also strong, and he openly defies the corrupted Frollo.
Lieutenant of the Cathedral Guard and loyal friend to Phoebus.
A judicial officer.
Owner of a brothel and safe haven for gypsies.
Gypsies, gargoyles, soldiers, and citizens of Paris.