January 6, 2018
Musicals In Mufti 2018 - EPA - Singers
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Seeking:Winner of the Tony Award for Best Musical in 1968, Hallelujah, Baby! traces the history of the African-American struggle for equality from the turn of the century to the present day. It tries to make its position clear through humor and music. This presentation marks the New York premiere of a revised book by Arthur Laurents, with additional lyrics by Amanda Green. 11 performances total. [Georgina] African American Female 20s. The narrator of our story. Talented, beautiful and ambitious. Her dream is to get out of the kitchen and become a star. Triple threat. Powerhouse belter with soprano. [Momma] African American Female 50s-60s. Georgina’s mother; a maid who is content with her life. Tries to convince Georgina to be happy with her lot in life and “keep her place” in the kitchen. Mezzo belter. [Harvey] Caucasian Male, 20s-30s. A young man vying for Georgina’s affection. Likably charismatic and well-meaning. He is able to provide opportunities for Georgina, in her rise to stardom but the racial divide creates an insurmountable obstacle. Should be a proficient jazz singer. Bari-tenor. [Clem] African American Male, 20s-30s. Georgina’s finance who is also vying for her affection. He starts as a train porter, becomes a soldier and ends up a Civil Rights activist. He challenges Georgina’s life goals and the way she goes about achieving them. Charming, but strong-willed. Bari-tenor. [Tip and Tap] African American Men, 20s-30s. Two vaudevillian song-and-dance men. They perform the title song with Georgina and play various roles throughout the show. Baritone/tenor. [Mary, Et Al] Caucasian Female, 20s-30s. Plays a wide variety of characters, including the Southern belle in a play, the Mistress of an estate, a foreign countess, a debutante, and a New York socialite, among others. Strong singer. [Chloe, Et Al] African American Female, 20s-30s. Plays a wide variety of characters, including a vaudeville burlesque dancer, an activist actress in a production of Macbeth and a young prospective maid for Georgina. Strong singer. [Hutchinson, Et Al] Caucasian Male, 30s to 40s. Plays a wide variety of roles, including a bigoted theatre owner, a foreign count, a government official, a G.I., a Southern bus driver, among others. Strong singer. ______________ “Bar Mitzvah Boy” Originally produced at Her Majesty’s Theatre in the West End in 1978, Bar Mitzvah Boy is composer Jule Styne’s only musical written expressly for London, and this presentation marks the New York premiere of a new version first presented in London in 2016, with a book adapted by David Thompson and new songs with lyrics by Black, using previously unheard Styne melodies. Based on Jack Rosenthal's award-winning 1976 BBC1 teleplay of the same name, Bar Mitzvah Boy is a bittersweet musical comedy about a young Jewish boy who runs away from the Bar Mitzvah into which his parents have poured their efforts and their money. All roles have British dialects. 11 performances total. [Eliot Green] 13 year old Jewish boy. The eponymous bar mitzvah boy. Nervous about “becoming a man” and entering the adult world, Eliot gets cold feet and runs away from his bar mitzvah. Sweet but with a backbone. Tenor. [Rita Green] Female, 40s-50s. Eliot’s nervous Jewish mother. Neurotic and overbearing, but also full of heart, humor and warmth. She is overwhelmed with planning the bar mitzvah, which she considers the most important day of her life. Mezzo belter. [Victor Green] Male 40s-50s. Eliot’s father. Stubborn and aloof, but a good man and caring father at heart. Despite seeming irritable, he loves and provides for his wife and family. Baritone. [Lesley Green] Female, early 20s. Eliot’s older sister. Smart, tough and funny. She can be gossipy and superficial at times, but is surprisingly maternal and caring with Eliot. She’s found a solid boyfriend in Harold. Mezzo. [Harold] Male, early-mid 20s. Lesley’s boyfriend. A pushover. A sweet, meek, obedient accountant. Thoughtful and helpful, he is a good man, trying to keep the peace and happy to do the dishes. Tenor. [Rabbi Sherman] Male, 40s-60s. A traditional Rabbi. Old World and conservative, but not quite as strict as he seems. Must be comfortable with Hebrew prayers. High baritone/tenor. [Denise] Female, 12-14. Eliot’s frenemy from school. Spunky and funny, she likes Eliot but has no qualms going behind his back for revenge. [Grandad] Male, 60s-70s. Eliot’s grandfather. An older Jewish man with a jolly, borsht-belt sense of humor and lack of self-awareness. Loves to tell jokes and be happy. Should be comfortable with Yiddish. Character singer. _________________ “Subways Are For Sleeping” Originally produced by David Merrick, Subways Are for Sleeping tells the tale of Angie, a reporter sent to get the scoop on a segment of NYC society -- a group of well-dressed homeless people sleeping in the New York subway system -- that lives by their own rules. All roles are open to actors of any race/ethnicity. 11 performances total. The Term “Homeless” in the description has a different meaning in the show. Many of the characters in the play do not have permanent address. Some live this way by choice, because they want to be ‘off-the-Grid.’ Some are destitute but they have somehow managed to survive and take care of each other. The source material is a book by the same title from 1957. The author created a rich , ‘Runyonesque’ world of New York city. It is not a musical about Homelessness rather a story about people who have a different outlook on life. The author of the book has used the term “Twilight People.” [Angie McKay] Female, late 20s – mid 30s. Bright career girl of the Mad Men era. A reporter at Madame Magazine, she is smart, quick witted, and adventurous. Hardworking and driven, she is in need of some relaxing. She goes undercover as a homeless person and unexpectedly falls in love with Tom, seeing the beauty in his way of life. Mezzo soprano and belter. [Tom Bailey] Male, 30s to early 40s. A charismatic, well dressed leading man with a freewheeling spirit. A former Wall Street guy who had it with the establishment and went off the grid. He now lives among the homeless and operates a network, finding jobs and places to sleep for himself and his friends. He knows how to look presentable and work the system. He is resourceful, friendly and deeply caring. Baritone. [Charlie Smith] Male, early 30s to mid 30s. A former rich kid whose family lost it all. Sweet, but clumsy and inept with women. He now lives off all of his wealthy Ivy League friends and gets himself invited to swanky parties and fancy dinners in order to eat. Strong comedic actor. Bari-tenor. [Martha Vail] Female, mid 20s-mid 30s. A Southern bombshell who only wears a towel. Sweet and innocent, but despite her looks and demeanor, she is also a smart and savvy schemer. She doesn’t do anything dishonorable, but knows how to manipulate people. Has great ambitions to be a nightclub performer. Strong comedic actress. Mezzo soprano, belter. [Myra Blake] Female, 40s. The Editor of Madame Magazine. A strong career woman in the mold of Miranda Priestly in Devil Wear’s Prada. Will also play various other roles in the ensemble throughout the show. Strong singer. [Ensemble Men] Men, late 20s-50s. Four men to play a wide variety of speaking and singing roles including a quartet of homeless men that sing the opening number, as well as various New Yorkers (hotel manager, policemen, doormen, train conductors, guards, reporters and friends of Tom, Charlie and Angie’s). Strong singers. [Character Woman] Female, mid 20s to early 40s. Plays a wide variety of singing and speaking roles, including a subway rider, shopper, cop, photographer, etc. Strong singer.
Dirty Dancing - Non-Union - Dancers
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Seeking:Male Ensemble/Johnny Castle Understudy (Chorus / Ensemble): male dancer, 18-30s, fit and sexy. Especially seeking a dancer with excellent technique in classical ballet or modern dance; partnering skills are essential; training in Latin and ballroom a plus. Will cover Johnny Castle. Must be tall, extremely handsome, and masculine, with excellent physique. Intelligent, compassionate, appealing. Working-class. A prince of the city. Singing not required.