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Phantom of the Opera Auditions

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Phantom of the Opera Auditions Phantom of the Opera auditions Tuesday, August 2 6 p.m.: Principals 8 p.m.: Ensemble Sarah Winnemucca Hall WNC campus Thursday, August 4 6 p.m.: Dance audition at Western Nevada Performing Arts, 2038 Edmonds Dr. Thanks for your interest in auditioning for Andrew Lloyd Webber’s The Phantom of the Opera. We are excited to take on the challenge of creating this musical theatre classic that has become the longest running show in Broadway history. Listed here is the audition material for you to prepare. Scripts with vocal scores have just been put on reserve at the WNC library, which is open Mondays and Tuesdays from 8-7 and Wednesdays through Fridays from 8-5. Unlike other auditions, performers will not sing an opening audition number of their own choosing, they will audition for a specific role and will only sing from the selections listed for it at the audition.Additional material is also listed here, should the directors need to see more. Only those specifically asked to sing the additional material will do so. If you are willing to consider more than one role, it would be wise to prepare all that you are willing to accept, but, unless requested otherwise by the casting committee, each auditioner should only select one role for his or her initial audition. We could be singing all night if every auditioner wanted to sing every selection for every character. We strongly advise that those auditioning for Christine and Carlotta also study Mme. Giry and that those auditioning for the Phantom and Raoul also study Andre and Firmin, unless you specifically want one part and that part only. Joseph Buquet and the featured soloists in Il Muto and Don Juan will be selected from those who are auditioning for the other leading roles. Remember that when casting Raoul, Christine and the Phan- tom, more than singing is involved: the personalities and ages of these three characters need to mesh. Please remember that only those who were WNC students during fall 2010 or spring 2011 are allowed to audition, per contract restriction by the licensing agency. This production is the most vocally challenging work ever attempted by the company. For that reason, we have added additional professionals to the casting committee. In addition to Stephanie Arrigotti and Gina Kaskie Davis, Stewart Peebles, WNC voice instructor, and Gary Aldrich, who has played the Phantom profes- sionally and teaches voice at UNR and TMCC, will also cast.* If you aren’t classically trained, this might not be an appropriate show for you. The vocal ranges are wide and the part singing difficult. We welcome you to audition, instead, for our spring show. Also remember that there are very few speaking lines in the show, yet acting is vitally important to the success of the production. For that reason, it is imperative that singers act at the vocal audition. Those who sing beautifully but don’t act the scene in their vocal selection will not be cast. Yes, relate to other characters while singing. In the section dealing with the ensemble audition at 8 p.m., you’ll see that chorus members are asked to prepare a few measures of the show. They will need to hold that part on their own while auditioning with others who are singing different parts, only one person to each part. If you want to audition for a small acting part, but not be part of the chorus, you don’t need to sing this selection. Please read the part of the auction- eer on page 2 of the libretto instead. (There are no speaking parts for women.) Dancers do not need to sing, although we would love it if they can. Advanced dancers on pointe will audition at 6 p.m., Thursday, August 4, at Western Nevada Performing Arts, 2038 Edmonds Dr.. Wear pointe shoes. There are 11 perfomances of the show, including two double performances on Saturdays. If you are audi- tioning for a major leading role and feel you can’t perform two shows in the same day, please indicate that on your audition form so we can cast an understudy for your role if you are selected. As before, everyone selected in the show is required to register in either MUS 176 or 276. For more infor- mation on this, Please call the Performing Arts Office: 445-4249. In closing, remember that the spirit of the company is deeply valued by WNMTC. The casting committee will not select any performer, however talented, that has created disharmony or negativity towards fellow cast members or the directing team. *Stephanie Arrigotti will withdraw from the casting committee while the part of Christine is being cast to avoid conflict of interest. For this reason, the part of Christine will be cast first so she can join the casting commit- tee to cast the remainder of the show. Anyone auditioning for Raoul and Meg also needs to be there at 6 p.m., so those auditioning for Christine have actors to perform with. Roles The material for the leads in this show is extremely demanding, requiring performers who have extensive training, stamina and experience to carry roles of this magnitude. Please be reasonable in your desires! Phantom - a composer and magician known as the Opera Ghost (baritone/tenor) Able to sustain a top G# with ease in full voice and top C# in falsetto, able to part sing Christine - a chorus girl - ingenue lead. Range from G below middle C to top E, able to part sing Raoul, Vicomte de Chagny - aristocratic, childhood sweetheart of Christine, tenor voice up to top G, able to part sing Carlotta Giudicelli - archetypal Diva - range middle C to top E, comedic abilities and fire a must!, able to part sing, Italian accent Piangi - Operatic tenor, companion to Carlotta - range to top C, Italian accent, able to part sing Monsieur Firmin - theater manager - baritone with top E/F, able to part sing Monsieur Andre - theater manager - high baritone to top G, able to part sing Madame Giry - the ballet mistress - mezzo to top Bb, able to part sing Meg Giry - Madame Giry’s daughter, petite dancer with range to high G, able to part sing and dance on pointe Joseph Buquet - flyman - bass to high E The following people are featured soloists who may also double as chorus: Don Attilo in Il Muto Confidante in Il Muto, able to part sing 1st Fop in Il Muto, able to part sing 2nd Fop in Il Muto, able to part sing Monsieur Reyer - director of the opera - needs accurate pitch, but not highly trained voice Passarino in Don Juan Triumphant Speaking roles: These roles may double as chorus if they pass the chorus audition: Monsieur Lefevre - previous owner of the opera Auctioneer Porter Marksman Stagehand Policeman Approximately 20 people will be cast in the chorus, including those doubled above. Approximately 15 dancers will be cast in the dance troupe. Please prepare the following selections. Only the first selection will be heard at the initial audition. Those who are considered for the part may be asked to perform any or all of the remaining selections. Tuesday 6:00 audition: those auditioning for principals only Phantom Music 7 Music of the Night, bars 178 through 195 Music 7 Dramatic audition: Act I, Scene 5, p. 24, bars 258-297 (“Damn you...”) Music 11 Act I, Scene 8, p. 5, bars 70-75 (in pp.) and 84-87 (in ff.) (“All I ask of you” reprise) Music 19, Act II, Scene 7, bars 20-44 Christine Music 4 Think of Me, bars 250 to end Music 7 The Phantom of the Opera, bars 12-30, bars 102-131 Music 16 Act II/Scene 4 Wishing You Were Somehow Here Again: bars 42-57, ending pp. Music 10 Act I, Scene 8 “Why Have You Brought Us Here” “Raoul I’ve Been There” sung dramatic scene: Christine and Raoul Music 5 Act I, Scene 2 bars 28 to end with Meg Raoul Music 11 All I Ask of You, bars 28-37 Music 10 “Why Have You Brought Us Here” sung dramatic scene: Christine and Raoul Music 8 Act I, Scene 6 Part-singing audition: Primadonna, measures 133-140 Carlotta Music 3 Hannibal, Music #3, bars 1-4 (cadenza) Dramatic audition: Carlotta’s outburst monologue “These things do haapen...” 1-1-8 Music 9 Il Muto: Act I, Scene 7, bars 41-46 then bars 58-67 Music 8 Act I, Scene 6 Part-singing audition: Primadonna, measures 133-140 Piangi Music 3 Act I, Scene I (Hannibal), bars 27-35, including lines Music 8 Act I, Scene 6 Part-singing audition: Primadonna, measures 133-140 Giry Music 13 Act II, Scene 1, p. 58 dialogue with singing (P. 71 music) (Starts after “Why so silent” music number) Music 8 Act I, Scene 6 Part-singing audition: Primadonna, measures 133-140 Andre/Firmin Music 8 Act I, Scene 6 bars 10-27 Music 8 Act I, Scene 6 Part-singing audition: Primadonna, measures 133-140 If more is needed, we’ll hear more of Music 8 through bar 67 Meg: Must be an advanced dancer on pointe to audition for this role Music 5 Bars 28 to end with Christine Music 8 Act I, Scene 6 Part-singing audition: Primadonna, measures 133-140 Tuesday 8:00 audition: Ensemble Music 15, Act II/Scene 3: select a vocal part, bars 1-7. You will need to be able to hold your part by yourself in a small ensemble of singers on other parts..
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