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We are a couple of weeks out! Specifically, we are looking for some talented guys to come out and audition for the role of SYLVIA (see character description below)! 🙂
AUDITION NOTICE: RUTHLESS! THE MUSICAL
Heritage Players Presents RUTHLESS! THE MUSICAL, Fall 2019
Book/Lyrics by Joel Paley, Music by Marvin Laird
All roles NON-UNION/NON-PAID.
Director: Ashley Gerhardt
Asst. Director: Jim Gerhardt
Music Direction & Coaching: Michael Clark
Stage Manager: Atticus Cooper-Boidy
Producer: Lenny Taube
Audition Dates, Location, and Info:
Sunday, June 9th @5pm – 9pm
Monday, June 10th @ 7pm – 10pm
Callbacks (if needed): Tuesday, June 11th
Please use the below link to sign up! We will find room for walk-ins, but an appointment helps us plan in advance, so please take the time to sign up.
Location: Thomas Rice Auditorium @ Spring Grove Hospital Center Campus in Catonsville, 21228.
Address: 55 Wade Ave, Catonsville, MD 21228.
For auditions, please prepare 16 – 32 bars of a Broadway-style song that showcases your voice, preferably in the style of the show or character(s) for which you are auditioning. An accompanist will be available at the audition; please provide sheet music for your song choice. Please do not bring a device or CD to play a track for your audition, and do not plan to sing a cappella.
This show is an all-female cast, with one female character played by a man in drag (SYLVIA). Please see character descriptions below for more information. All races and ethnicities are encouraged to audition.
A small movement/tap combination will be taught and required for anyone auditioning for the role of TINA. Please bring tap shoes to wear for the combination. For more details on TINA, please see character descriptions below. Other roles need to be able to move, however a combination will not be taught or needed at auditions. Please indicate your dance experience on the audition form if you are able; we may ask about dance experience if the need arises.
Auditioners may be asked to do a cold reading of a side from the show. It is not necessary to prepare a monologue, and it would be preferred for auditioners to read from the show regardless. We will not be accepting video auditions.
It would be preferred that auditioners are available for callbacks, however we may or may not need to include callbacks in the process.
If you are interested in auditioning and any of the guidelines above are an issue, or if additional considerations are needed, we will do our best to work with you; please reach out to the Director and Asst. Director in this case. We cannot promise that every situation will be accommodated, but please reach out if you have any concerns!
Production Dates (Three Weekends):
Tech: Sunday, Oct. 20th – Thursday, Oct. 24th
Friday, Oct. 25th @8pm
Saturday, Oct. 26th @8pm
Friday, Nov. 1st @8pm
Saturday Nov. 2nd @8pm
Sunday, Nov. 3rd @2pm
Friday. Nov. 8th @8pm
Please note that “Tech Week” (dates above) is mandatory, and conflicts for those dates, as well as performance dates, will not be accepted. It would also be greatly preferred for auditioners to not be involved in any other overlapping productions during the rehearsal process; we will do our best to work around schedules and conflicts during the process, but be aware that availability may be crucial in casting. Please be prepared to provide all known conflicts on your audition form, or fill it out on the audition form prior to arrival.
We encourage you to fill out an audition form prior to arrival. To obtain a copy, please email RuthlessHP@protonmail.com and we will reply with a copy. If you have a resume and/or headshot, please feel free to bring those as well.
Rehearsals will begin mid-August and will rehearse three to four days a week. Specific days of the week have not been planned yet, however it will likely be two weeknights and a weekend morning/afternoon. Other rehearsal specifics will be communicated and planned after casting.
From Samuel French: “Eight-year-old Tina Denmark knows she was born to play Pippi Longstocking, and she will do anything to win the part in her school musical. Anything includes murdering the leading lady! This aggressively outrageous musical hit garnered rave reviews during its long Off-Broadway run.”
Set in the era of the 1950’s, this is a dark musical comedy, full of quick-witted tongue-in-cheek humor and over-the-top characters. The music has a very classic Broadway sound, and is mainly performed by soloists. Each character needs to be a powerhouse in their own right. It is a small cast of actors, 6 total, with several actors playing multiple roles. The plot is full of twists, turns, and reveals, and there are no happy endings!
TINA: Age 8 – 12. Can be played by an older child actress (younger than 16 at the max), but should still be capable of portraying 8 – 12 on stage. Tina is a triple-threat young girl, sugary sweet and full of raw talent on the surface, but manipulative and almost demonic underneath. Her demonic nature pops out occasionally, and flips back to sugar on a dime. She has no empathy and will do literally anything to get what she wants. The character of Tina is strongly influenced by the movie The Bad Seed. This is a very demanding role for a young actress, and we are looking for a girl who can belt, preferably has tap experience, and more importantly, takes direction well. Tina needs to be larger than life on stage and very comfortable in the limelight! If you do not have tap experience, please do not let that deter you from auditioning.
Vocal Range: F3 – Bb4, belty, Shirley Temple-ish.
JUDY DENMARK/GINGER DELMARCO: Age 30 – 40. Tina’s mother. While always Tina’s mother, this is a dual role, and the actress must be capable of playing both. The show begins with Judy, a meek, demure, and over-the-top June Cleaver-ish housewife. She is always polite, smiling, and saccharine-sweet. Through the first act, the façade begins to crack in small ways. Ginger Delmarco, seen in the second Act, is a true diva in every sense of the word. A big, broadway star, full of ego, money, power, attitude, and used to getting her way. The complete opposite of Judy. We need an actress with a big belt, a pretty soprano, and capable of making Judy and Ginger stand apart vocally and through character. A very heavy role; Judy and Ginger are almost always on stage.
Vocal Range: F3 – Bb4 belt, G5 soprano. Judy sounds pretty while Ginger is belty broadway.
SYLVIA ST. CROIX: Age 45+. We are looking to cast a man in drag for this role, however we are open to casting a woman. The challenge of casting a woman as Sylvia is the vocal range, which would be very Bea Arthur-sounding in range. Sylvia is a stereotypical talent manager/agent, with a flair for the dramatic. Her only goal is to make Tina a star at any cost, and encourages Tina’s ruthless nature. Sylvia is ruthless in nature herself. Sylvia’s comedy does not draw from the “man-in-drag”, and the actor is expected to deliver the role as the character written demands.
Vocal Range: C3 – E4. Classic broadway sound, with a bari-tenor range.
MISS THORN: Age 45+. Miss Thorn is Tina’s 3rd Grade teacher, and also a washed-up actress wannabe. She harbors a not-so-well concealed bitterness of settling to teach over being an actress. She is directing the school production of Pippi Longstocking as if it were professional theatre. We are looking for a great character actress with a strong voice.
Vocal Range: Alto (E3 – B4), think Elaine Stritch.
LITA ENCORE: Age 50+. Tina’s grandmother/Judy’s adoptive mother, and a theatre critic with a poison pen. She might be a little (or maybe a lot) sloshed most of the time. She has a huge personality and hates musicals with a passion. We are looking for an older actress with a big personality and a big belt.
Vocal Range: Alto E3 – D5, think Mama Rose.
EVE/LOUISE LERMAN: Age 30 – 40; should be of an age with Judy/Ginger. The actress will be playing Louise, the child who beats out Tina for the lead in the school production of Pippi Longstocking during the first act, as well as Eve, Ginger Delmarco’s quirky and stalker-ish “assistant” during the second act. We are looking for a strong character actress with some great vocal chops.
Vocal Range: F#3 – C5, classic belty broadway, but capable of sounding like/mocking a child’s singing voice as well for Louise.