Character Breakdown
'Anything Goes'
Reno
Sweeney: She/Her, 30s-40s. Any ethnicity. Evangelist turned nightclub
singer aboard the S. S. American. Old friend of Billy’s. Confident,
comedic with a bold personality. Mezzo-soprano with strong Broadway
belt. Strong dancer, especially tap a plus.
Moonface Martin:
he/him, 40s-50s. Any ethnicity. “Public Enemy #13;” a hapless, lovable
gangster fleeing the law by pretending to be a priest. Character actor
with strong comedic timing. Character tenor.
Billy Crocker:
he/him, 30s. Any ethnicity. An attractive, charming and charismatic
leading man with great comedic timing. A young stockbroker who works
for Elisha Whitney, he's in love with Hope and stows away to be with
her. To avoid being caught he dons a variety of disguises and tries to
keep everyone distracted. Tenor.
Hope Harcourt: she/her, 20s-30s.
Any ethnicity. Beautiful American debutante in love with Billy even
though she is engaged to the wealthy Sir Evelyn Oakleigh. Elegant but
headstrong. Daughter of Evangeline Harcourt. Soprano. Strong
mover/dancer.
Evangeline Harcourt: she/her, 50s-60s. Any
ethnicity. Hope’s mother; a wealthy and overbearing widow. Concerned
with money and social status; wants Hope to marry well to keep their
place in high society. Comedic and a strong singer.
Erma:
she/her, 30s. Any ethnicity. Moonface's attractive but not too bright
girlfriend. A fun, brassy and innately likable gun moll, who can seduce a
fleet of sailors and toss off one-liners without breaking a sweat. A
good time gal. Comedic and a strong dancer. Mezzo belter. A triple
threat.
Mrs. Evangeline Harcourt: she/her, 50s-60s. Any
ethnicity. Hope’s mother; a wealthy and overbearing widow. Concerned
with money and social status; she wants Hope to marry well to keep their
place in high society. Comedic and strong singer.
Evelyn
Oakleigh: he/him, 30s to early 40s. Any ethnicity. A bumbling English
aristocrat who is engaged to Hope. Good natured and enamored with all
things ‘American’, easily persuaded, confused, and duped. Proper and
pretentious. Comedic, a good physical comedian. Baritone/tenor.
Luke
and John: he/him, 20s - 30s, Asian. Luke and John are presumably
reformed but mischievous gamblers, traveling with Reverend Henry T.
Dobson aboard the ship. Strong comedic skills. Sings well.
Elijah
Whitney: he/him, 50s-60s. Any ethnicity. Billy's boss. A rich Wall
Street tycoon; an Upperclass blowhard, who's not as savvy as he thinks
he is. Comedic who can sing.
Captain: he/him, 40s-60s. Any
ethnicity. Captain of the ship. Officious and authoritative. He operates
with order and formality. Sings.
Purser: he/him, 20s-30s. Any ethnicity. The captain’s nervous lackey. Sings/dances well.
'Into The Woods'
Baker:
(CAST) he/him, 30s—40s, any ethnicity. Baritone/Bari-tenor.
Well-meaning and neurotic, with a big heart. He loves his family but
doesn’t know how to show it. He was abandoned as a child and struggles
to connect with his community. He thinks he is alone in his battles but
always has good intentions.
Witch: she/her, 40s—50s, any
ethnicity. Mezzo/Belter. She has her own moral code and will do what it
takes to get what she wants. She is unbothered by how society views her
actions. She’s powerful but cannot accept the limitations of that power.
More compassionate than she’ll ever let on.
Baker's Wife:
she/her, 30s—40s, any ethnicity. Mezzo with a strong mix/belt. She often
puts the needs (and egos) of those around her before her own and is
afraid her opportunities for excitement and adventure are long past.
Struggles to balance the love she has for her family with that desire
for something more. She’s hardworking and very perceptive.
Cinderella:
she/her, 20s, any ethnicity. Soprano. Nerdy and awkward but earnest and
vulnerable. She’s been taken for granted long enough and is ready to
stand up for herself. She longs for safety and a community of her own.
Extremely capable and ultimately an adaptable survivor.
Narrator/Mysterious
Man: he/him, 50s—60s, any ethnicity. Baritone. The NARRATOR is
objective and impartial to the fairytale antics that surround him.
Intellectual and good-natured. The Mysterious Man has spent a lifetime
running away from his mistakes. He’s whimsical and untouchable but hides
a deep pain and many regrets.
Cinderella's Prince/Wolf: he/him,
30s—40s, any ethnicity. Baritone. Cinderella's Prince is in love with
love...and himself. He only wants what he can’t have. He’s used his
looks and wealth to coast through life and is terrible in a crisis. The
Wolf is a predator. He beguiles his victims with his charm until it’s
too late. Thinks he’s a rockstar.
Little Red Riding Hood:
she/her, 18+ to play younger, any ethnicity. Mezzo/Soprano. A curious
and naive young girl. She ’s often too trusting of strangers and is
quite fearless. Thinks she knows what she wants but has to grow up
quicker than expected. Has strong comedic timing.
Jack: (Offer
out he/him, 18+ to play younger, any ethnicity. Tenor. A passionate
dreamer with his head in the clouds whose only friend is a sickly cow.
Eager to please he often misreads social situations. Forced to suddenly
grow up quickly.
Jack's Mother: she/her, 40s—60s, any ethnicity.
Soprano. A single mother left by her husband. She loves her son but is
run ragged by the realities of life. She will defend him in the face of
incredible odds. An excellent comedienne, capable of pathos in the face
of adversity.
Rapunzel's Prince: he/him, 30s—40s, any ethnicity.
Baritone. The younger prince, constantly in competition with his elder. A
hopeless romantic who’s in love with love. The women in his life are
ultimately interchangeable and he is never content with what he has.
Rapunzel:
she/her, 20s, any ethnicity. Soprano. She’s spent her entire life being
protected from the world. Restless and sheltered, until she loses the
only family she’s ever known. Her newfound independence is unkind to
her.
Grandmother/Cinderella's Mother: she/her, 40s—60s, any
ethnicity. Soprano. Grandmother is the salt of the earth and deeply
passionate about life. A surprisingly well-equipped survivalist.
Cinderella's Mother is the ghostly figure of the kind mother that
Cinderella knew when she was a child. Her spirit looks after her
daughter.
Cinderella's Stepmother: she/her, 40s—50s, any
ethnicity. Mezzo/Soprano. The ultimate social climber, she views her
children as extensions of herself. Cruel and materialistic. Tragically
knowledgeable of her selfishness in the end.
Lucinda: she/her, 20s, any ethnicity. Mezzo. Cinderella’s stepsister. Shallow and a bully. The world revolves around her.
Florinda: she/her, 20s, any ethnicity. Mezzo. Cinderella’s stepsister. Shallow and a bully. Oblivious to her flaws.
Steward:
he/him, 30s-40s, any ethnicity. Loyal to a fault and has lofty
aspirations of status. Loves order and wants to maintain it, even in
absurd circumstances. Has strong comedic timing. No solo singing.
Cinderella's
Father: he/him, 40s—50s, any ethnicity. Willfully ignorant. Prioritizes
his new family over his first daughter. Strong comedian with an
underlying sadness. No solo singing.
Milky White: Any gender,
20s—60s, any ethnicity. An expressive physical performer and/or
puppeteer to help embody Jack’s beloved cow. Loyal, naive and
open-hearted.
'The Sound Of Music'
Captain Von Trapp: he/him,
Caucasian, late 30s - 50; commanding presence – retired naval officer
and proud Austrian; some guitar ability a plus. Baritone.
Maria:
she/her, Caucasian, early 20s – early 30s; filled with self-doubt, yet
spirited, caring and committed. Chest mix with strong head voice.
Elsa Schrader: she/her, Caucasian, mid 30s – early 40s wealthy, sophisticated, charming Legit-Mezzo.
Max Detweiler: he/him, Caucasian 40s – 50s; witty and rascally impresario, Strong character with good sense of comedy, Baritone.
Mother Abbess: she/her, mid 40s – 50, Wise, kind and strong. Powerful Mezzo.
Herr Zeller: he/him, Caucasian, late 20s – 40s; A staunch Nazi sympathizer and eventually a leader in the Nazi regime.
Frau Schmidt: she/her, Caucasian, mid 30s to 50s; Efficient yet caring housekeeper, Legit voice.
Franz: he/him, Caucasian, mid 30s to 50s; Distant and efficient butler.
Admiral Von Schrieber: he/him, Caucasian, 40s – 50s, A retired Admiral in the Austrian Navy and neighbor of Captain Von Trapp.
Liesl Von Trapp: she/her; Caucasian; 18+ to play 16; girl on the verge of womanhood. Chest mix with a head voice - moves well.
Rolf
Gruber: he/him; Caucasian; 18+ to play 17-years old; the epitome of
clean-cut, athletic German youth – Lyric Baritone - moves well.
Kurt:
he/him, Kurt is 10. He wants to be 11 and introduces himself as
“11-almost.” He is the second boy and the middle of the children. He
often tries to act manly and is outspoken against the previous
governesses. He is gentle and a peacemaker. Countertenor. Yodeling.
Moderate dance.
Louisa: she/her, Louisa is 13, clever, and full
of mischief. She is the master of pranks and enjoys pulling them on
others. She is quite a tomboy, has a rebellious attitude, and misses her
mother a great deal. Mezzo-soprano. Moderate dance.
Brigitta:
She/her, Brigitta is 9. She is smart as a whip, very perceptive and
always tells the truth whether you like it or not. She’s an avid reader
and suspicious of “Uncle Max”. Mezzo-soprano. Moderate dance.
Marta:
she/her, Marta is 7. She is one of the quietest Von Trapps. She loves
the color pink, is very inquisitive, smart, and gentle. Mezzo-soprano.
Moderate dance.
Gretl: she/her, Gretl is 5. She is the youngest
Von Trapp. She is very quiet when first introduced by her father. She is
sweet, loving and wants attention. She has the cute, adorable and
endearing factor. Mezzo-soprano. Moderate dance.
Fredrick:
he/him, Frederich, is 14 and is proud to be a boy. He has a tough
exterior and is very much trying to be “the man” of the family;
desperately needs his father. Tenor. Moderate dance.
'Once On This Island'
Note
From Director: "'Once On This Island' takes place on islands in the
Caribbean Sea known as the French Antilles. The cast should represent
the diverse population of that region. We are specifically interested in
seeing performers who are Black / African Descent, Mixed, Ethnically
Ambiguous / Multiracial, Indigenous Peoples, Latinx / Hispanic,
Afro-latinx Middle Eastern, Pacific Islander. All characters must dance.
Ti
Moune: She/her. 18-25. A beautifully spirited peasant girl full of
restless energy and optimism. Tries to break social barriers to be with
her love, Daniel. Moves well. High belt.
Daniel: He/him. 18–25.
Ti Moune's love interest. A handsome, aristocratic young man who
struggles with crossing social barriers. Sensitive and poetic. Struggles
with the privilege and burdens that his lighter skin and wealth afford
him. Tenor.
Mama Euralie: She/her. 30s – 50s. Ti Moune's adoptive
mother. Caring, over-protective, superstitious, fiercely loving, and
strong-willed, her similarities often lead to clashes with Ti Moune.
Alto.
Asaka: She/her. 30s – 50s. Mother Earth. A mentor to Ti
Moune. She is generous and goodhumored on the surface, but like all the
gods, feared by the islanders; her motherly facade is not to be trusted.
She is powerful, funny, and ironic. Mezzo/Soprano.
Erzulie:
She/her. late 20s – 50s. Goddess of Love. A mentor to Ti Moune and foil
to Papa Ge. Loved by the people. Set out to prove that love is stronger
than the fear of death—by love, she means the power of the human heart.
Soprano.
Tonton Julian: He/him. 30s – 50s. Ti Moune's adoptive
father. He teaches Ti Moune that love has no limits and he goes to great
lengths to support her wishes. Caring, loving, and practical. Baritone.
Agwe:
He/him. late 20s – 50s. God of Water. A mentor to Ti Moune. Larger than
life, mysterious. Commanding voice and presence. Baritone.
Papa
Ge: He/his. 30s – 50s. God of Death. Antagonist to the other gods.
Cunning, sly, manipulative, seductive, cynical, and teasing, he is
feared by the people because of what he represents: the unknown which is
death. The other main instigator of the drama. Tenor.
'Natasha, Pierre and The Great Comet of 1812'
Pierre:
He/Him, 30-40, Bari-tenor. The illegitimate son of a Russian
aristocratic family. Socially awkward with a melancholy streak, he is an
outsider in society despite his wealth. He is a good friend of Andrey
and keeps an eye on Natasha for him while he is away at war.
Natasha:
She/Her, 18-25, Belt/Soprano. A young ingenue who is innocent,
precocious, doe-eyed, joyfilled, romantic, head-strong, and
strong-willed. Natasha is very opinionated and is expanding her
awareness of the world. She is betrothed to Andrey and loves him dearly.
Princess
Mary: she/her, Mezzo-Soprano. Lonely, plain, spinster daughter of a
wealthy price. She is cut off from the world in her father's grand old
house and resigned to his cruelty. 20's to 30s. Has command of extended
vocal techniques (e.g. glottal yodeling, ululation).
Prince
Andrey/Old Prince Bolkonsky: he/him, Bari-tenor. Early 30s to 40s.
Doubles as father and son. Son, Prince Andrey, is the finest catch in
all of Russia. A handsome, noble officer who carries a weight on his
heart and mind. Left very serious after his years at war, a touch of
bitterness undercuts his nobility. Father, Old Prince Bolkonsky, is a
conservative, old-fashioned aristocrat whose dementia has caused him to
be alternately nasty and incapacitated. Lives with his still unmarried
daughter, whom he torments but also relies on to take care of him.
Balaga:
he/him, Baritone, Late 20s-40s. An absolutely mad Russian troika
driver. Lower class. Bold. Dripping with energy and can drink incredible
amounts. Ragged and raw but warm.
Sonya: She/Her, 20-30,
Mezzo-Soprano. She is fiercely dedicated to her cousin Natasha and will
do anything and everything to keep her safe.
Helene: She/Her,
30-40, Alto. Anatole's sister who married Pierre for money. She is
highly sexualized, fiercely intelligent, and calculated. Devoted and
dedicated to her brother.
Dolokhov: He/Him, 20-30, Baritone. An
extremely talented marksman. He is Anatole's closest friend and
participates in his pleasure-loving lifestyle. He is having an alleged
affair with Hélène.
Marya D: She/Her, 45-55, Alto. Natasha's godmother, an old friend of Pierre, and a very strict, but kind woman.
Anatole:
He/Him, 20-30, High Tenor. An aristocratic, seductive hedonist, who
"spends his money on women and wine," and sees no needs except his own.
He is the brother of Hélène and friend of Dolokhov.
'Guys and Dolls'
Nathan
Detroit: he/him, age 35-55. A charming, good-hearted gambler and
organizer of floating craps game in New York City, who could never hit
the big time. Engaged to Adelaide for 14 years, he is a neurotic but
highly lovable friend to everyone - who is always just one step ahead of
his debts – and promises to his longtime fiancé. His heart is torn
between his gambling cronies and the woman he loves. Excellent comic who
can carry a tune and sell a song.
Adelaide: she/her, age 30s to
40s. Nathan's fiance and lead performer at the ‘Hot Box’ – a midlevel
cabaret burlesque house. Pretty, outspoken, stubborn and not always the
brightest bulb, but she has a huge heart. Deeply in love with Nathan,
she has held onto the prospect of their engagement for 14 years and she
still believes it will happen. Has developed a stress-induced cold,
which emerges at select moments. Excellent comic with very strong high
belt voice to A.
Sky Masterson: he/him, age 30s to 40s. The suave
‘Rat Pack’-like leading man, he is handsome, confident, cool,
charismatic, smart, and charming. A high-stakes gambler whose luck never
seems to run out, he naturally commands others’ respect and attention.
Accustomed to getting what he wants; women love him and men want to be
him. A wild card who surprises himself when he falls in love with the
unlikeliest of women. Tremendous presence and power – and strong singing
voice. Baritone to E.
Sarah Brown: she/her, age 20s to 30s. The
pretty, bright-eyed, highly conservative and staid missionary in charge
of the Salvation Army Times Square branch. Sarah is strong in her
convictions – and hopeful that she can make a difference in converting
gamblers and gangsters of the area from sinners into saints. Her cool
response to Sky’s advances reveal the protective wall she has built
around her heart. Excellent with humor, physicality, and an excellent
legit soprano singing voice to high A.
Nicely Nicely Johnson:
he/him, age 30s to early 50s. Nathan’s close friend, Nicely is
everybody’s pal. A good-natured optimist who likes to be liked, he likes
food even more. Always upbeat and enthusiastic, he sings the
showstopper ‘Sit Down You’re Rocking The Boat.’ Excellent spirit and
comic timing – and a big rousing Broadway tenor voice – sings to high B
flat.
Big Julie: Any Gender, 30s-60s. An imposing, tough gangster
from Chicago. He is intimidating, temperamental, and a very sore loser.
A powerful, vivid personality and/or physical type (either large or
small). Non-singing role.
Harry The Horse: he/him, Late 20s-late
30s. Vocal part: Can be baritone or tenor. Gambler; all talk and little
action. Mouthpiece for Big Jule. May double in the Ensemble.
Arvide
Abernathy: he/him, 60s-70s. Sarah’s grandfather-kind, loving, honest,
nobody’s fool, wise to the ways of the world and the streets of New
York, sings the ballad “More I Cannot Wish You” sweetly and simply.
Lt.
Brannigan: he/him, 40s-50s. A hard-nosed detective working hard to stop
the floating crap games. Wise to the gangsters' exploits and demands
order and respect. Non-singing role, but both physically and vocally
imposing.
General Cartwright: she/her, 40-60. The battle ax, “by
the book”, no-nonsense spinster who is in total charge of the Sav-a-Soul
mission, a religious zealot and prude who makes an unexpected
turnaround and surprises us with a powerful and rangy singing voice.
Benny
Southstreet: he/him, late 20’s-30’s. Loyal to a fault, a bulldog on
guard, comic gambler with his heart on his sleeve, terrific singer,
dance a plus.
Angie The Ox: he/him, 20s-40s. Baritone or tenor. A
gambler. A bit of a bruiser. Likes a good dice game. May double in the
Ensemble. An excellent dancer.
