Audition and Casting Information
Auditions for On The Town &
January 21st, 22nd & 23rd
from 6:30 to 11:00pm
ON THE TOWN AUDITIONS
Director Theresa McCarthy
Music Director Lauri Young
Choreographer Carissa Bellando
The stage version of On the Town is different from the Hollywood film version where any of Bernstein’s genius compositions were cut and replaced with inferior songs. Certainly you may watch that film for ideas about period and style. If you haven’t read or seen the original work, you will be charmed by this wild and delightful script and score. Please take a look at the materials online over break.
Once you’ve studied the breakdown and read the script, make some decisions about your preferred casting. Prepare 16 bars of a Golden Age song (1940s-1960s) that shows you at your best. Sing something that you adore performing. There will be no monologue nor reading of sides for this audition process.
For the dance call, wear proper attire and bring your ballet slippers and character shoes.
Initial auditions will take place on Tuesday January 21, 2020, 6:30-10:30.
Callbacks will be Wednesday and Thursday if needed.
On the Town Cast Breakdown
Gabey a sailor, earnest and enthusiastic – almost to a fault (he tends to be somewhat rash). After a single glance at the picture of Ivy Smith, he falls head over heels in love. baritone, Bb-high A.
Chip a sailor, energetic and determined to see every sight New York has to offer under a 24-hour time constraint – the ultimate tourist, somewhat naïve, the object of Hildy’s enthusiastic affection. baritone: Bb-high G.
Ozzie a sailor, the ultimate ladies man and well-known wise guy, loves all women, but Claire in particular: F-high G.
Ivy Smith small town girl trying to make her way in New York as an aspiring actress/lounge dancer. AKA ‘Miss Turnstiles of the Month’ Ivy is the object of Gabey’s affection. Spirited but with a certain class and elegance. Must be a superb dancer, ballet and jazz; mezzo-soprano, low C-high G.
Hildy Esterhazy a female cab-driver, confident, brash and aggressive. Rarely takes ‘no’ for an answer especially from Chip: mezzo-soprano, low A-high G.
Claire de Loone gorgeous, somewhat zany anthropologist, on the outside she is elegant, poised and intellectual but under it all she tends to be man-obsessed and wild. Ozzie brings out this ‘other’ side to her, also engaged to Judge Pitkin; soprano, low F-high C.
Madame Dilly Ivy’s vocal coach, somewhat world-weary, she poses an intimidating presence and a no-nonsense, slightly sloppy demeanor: character mezzo-soprano, low C-High Eb.
Pitkin a judge, stately but a bit gullible and dim, engaged to Claire, a trusting cuckold: bass, A-D.
Ensemble: 4 Men and 4 Women vocal ensemble (Must dance)
3 Men and 3 Women Featured Dance ensemble (Must sing)
Ensemble plays all the people of New York City
Lucy Schmeeler Supporting Spoken
Flossie Featured Spoken
Flossie’s Friend Featured Spoken
Little Old Lady Featured Spoken
Diana Dream Featured Mezzo-Soprano
Dolores Dolores Featured Mezzo-Soprano
First Workman Featured Bass
Subway Bill Poster Featured Spoken
Mr. S. Uperman Featured Spoken
Waldo Figment Featured Spoken
Master of Ceremonies Featured Spoken
Rajah Bimmy Featured Baritone
Cop (Aka Policeman 2)
Master of Ceremony
Book & Lyrics by Richard Hanson • Music by Divya Maus
Direction: Michele Pawk
Music Direction: David Sisco
Please present a 16-bar ballad or 32-bar up-tempo contemporary musical theatre or pop/rock song in the style of the show (you can listen to the show here: https://
soundcloud.com/divyamaus/sets/the-mollyhouse). Vocal call back materials and recordings will be made available in advance for perusal. Sides for callbacks will be available at initial auditions.
PLEASE NOTE: We celebrate diversity in all the ways we are made diverse. All actors who adequately meet the demands of the musical’s roles will be considered. Specifically, all genders will be considered for the Molly roles. Also, seniors not engaged during the rehearsal and performance dates are encouraged to audition.
Cast Breakdown: 7 Principals 10 Ensemble Characters
ADAM MACKINTOSH. 20s. Charming and folksy young man from Ireland. Approaches his hardships with an earnest and straightforward trust in the world. A beacon of light and warmth in the piece. Vocal Range: High, Folksy Tenor. Relaxed belt/mix to Bb4, strong falsetto to C5. Performers such as: Zack Piser, John-Michael Lyles
MARK PARTRIDGE. 30s. Handsome, with a dark edge. A realist familiar with the darker sides of the world, leading him to approach everything from an angle. Responsible for much of the safety and dealings of the mollyhouse, he tries to hide his vulnerability with a tough swagger. Vocal Range: Smoky baritone, with jazz sensibility. Low G2, belt to Gb4. Strong falsetto. Performers such as: John Yi, Michael McElroy
MAGGIE CLAP. 40s. Sharp and fiery proprietress of the Mollyhouse. Simultaneously the life of the party, commander in chief, and loving mother to all her patrons. A huge presence, but under- neath the fun and fabulous energy, lies the deep pathos of a woman who has fought very hard to make a world for herself, and will go to extremes for those she loves. Vocal Range: Rock belter, with a rich, textured sound. Low A3, belted E3. high mix/wail to G#5. Performers such as: Sara Ramirez, Keala Settle, Crystal Monee Hall, Katie Thompson
JOSEPHINE DUNCOMB/FINNICK. To play 17. Uncomfortable and out of place in her Upper Class home. In a restricted world, she longs for freedom. Perhaps sullen and awkward at the start, the character begins to explore their gender in the safety of the mollyhouse, and as Finnick discovers a boyish charm and energetic swagger. Vocal Range: A versatile Mezzo. Low G3, belt/mix to F#5 Performers such as: Barrett Wilbert Weed, Jo Lampert
JUSTICE GONSON. 50s. Stern and unforgiving. Head of the Society for the Reformation of Manners, he is leading the effort to prosecute prostitutes and sodomites, through whatever means necessary. Vocal Range: Non-Singing
THOMAS DUNCOMB. 40s. Josephine’s controlling father. A social climber, eager to better his family’s standing whatever the cost. Vocal Range: Non-Singing
JAMES WATSON. 30s. A constable in London’s police force who goes undercover into mollyhouses. Vocal Range: Non-Singing
Vocal Note: Other than the featured soloists noted below, the ensemble men should vary in range filling out the wide demands of the score. From high-belt tenors for energetic funk songs (should have a mix or strong falsetto up to high C or D; definitely doesn’t have to be belt) to basses with solid F2 (low F) for the a cappella choral numbers.
GABRIEL LAWRENCE. 30s. Thinks he’s a serious poet; target for jokes. Vocal Range: Featured Soloist. Has to have a strong falsetto, like a faux counter-tenor.
CHRISTOPHER PHILLIPS. 40s. Upperclass, reserved and polite. Vocal Range: Featured Soloist. Tenor II.
MATTHEW STEVENS. 30s. Merchant class, fun and romantic. Vocal Range: Featured Soloist. Baritenor.
PETER WRIGHT. 30s. Abrasive, upperclass and a gambler. Vocal Range: Featured Soloist. Bass/Baritone
WILLIAM HARRINGTON. 20s. A Fancy surviving off the patronage of older, wealthy men.
JOHN DERWIN. late teens/20s. A cute young thing.
PAUL. 20s. Lower class, hardworking and tough, but with a sense of humor.
BENJAMIN. 60s. Upperclass man, carefree and gets what he wants.
EDWARD. 20s. Tries to be present in the mollyhouse, but ultimately can’t connect.
EMMA DUNCOMB. 40s. Josephine’s mannered mother. Aspires to be the ideal society woman of the day. Vocal Range: Non-Singing
ADDITIONAL MOLLIES. 20s – 30s. Additional women will be cast as mollies. Vocal Range: Alto (F3 – C5).
OFFICERS, GUARDS, and LONDONERS.