Audition Notice for A Gentleman’s Guide to Love and Murder

Books and Lyrics by Robert L. Freedman
Music and Lyrics by Steven Lutvak
Based on the Novel by Roy Horniman
Directed by Frank D. Shutts II
Produced by Mary Beth Smith-Toomey
Music Direction by Christopher Tomasino
Choreographed by Stefan Sittig

Auditions:  Saturday, October 26 starting at 2pm and Sunday, October 27 starting at 7pm.
Callbacks: Tuesday, October 29 (invitation only)
Performances:  January 18 – February 8, 2020

A Gentleman’s Guide to Love and Murder is a high-style, British romantic farce set in the Edwardian era. It requires trained actors who have great comic skills and sing beautifully. All roles are similar stylistically to characters in Oscar Wilde plays.  There is also an ensemble of six, all of whom play important roles throughout the play; solo singing required by all.  British accents are required for all roles, a dialect coach will be provided.  All auditionees should prepare 32 bars of music in the style of the show.

Audition Notes:  Prior to auditions, please be familiar with the original cast recording as it will greatly assist you with this show, especially if you are called back.  Audition pianist will be provided.  Please choose music that is appropriate to this show.  Ladies who sing alto, regrettably, unless you have a solid A5, this show is not for you. Questions?  Email producer Mary Beth Smith- Toomey at mbstoomey@yahoo.com.

Character Descriptions:

THE D’YSQUITH FAMILY: (late 30s – mid 50s): Must be an experienced, skilled, and transformational comedic actor who has a superb grasp on British farce. Physical comedy and stamina are a necessity. Does not necessarily need to be a phenomenal singer but must be able to carry a musical comedy without an ounce of hesitation. Plays a full range of characters from the same family, ranging from an off-kilter priest to a closeted bee enthusiast to a lowly custodian (each of them intrinsic English types).  Baritone (B2-F4)
MONTY NAVARRO: (early 30s – mid 40s): Handsome and effortlessly charming, clever and charismatic, vulnerable and endearing, with a highly developed appreciation for life’s ironies. Monty is the engine of the plot; must be able to command attention and draw the audience in. While he is intent on killing off the entire family tree, he must have a winning charm that would garner anybody’s trust. High baritone with a strong top and solid low.  (A2 to high A4)
SIBELLA: (late 20s to mid-30s): Sexy, flirtatious, narcissistic, willful, calculating, and irresistible. A social climber, yes, but also truly loves Monty, and in the end would do anything to protect him. Tremendous wit and high style. Soprano – Operatic, legit (F#/Gb3-A5) Character mezzo (low F# to high A – belting not required.)
PHOEBE: (early 20s – early 30s): Beautiful, virtuous, forthright, romantic, comically earnest, with a backbone of steel. She is not your typical ingénue. Actress must have a sense of irony and humor, in addition to a youthful innocence behind her sophistication. Operatic/ legit (B3-C#/Db6.  Coloratura soprano up to a high sustained C# with an optional high Eb. Very flexible and agile, B below middle C on the bottom. Open to performers from a strong legit vocal background.  Note:  Audition piece should show coloratura ability.
MISS SHINGLE: (late 40s – mid 60s): A Cockney housekeeper/governess who has served a wealthy, titled family for 30 years. She informs Monty that he is indeed a D’ysquith. Confident character voice with a superb ability to draw in the audience through storytelling. While she is forthright, there is a touch of mystery and cunning about her. Excellent vocal technique is not necessary. Should be comfortable with music hall style singing.  Soprano A3-A5.

ENSEMBLE:

[WOMAN #1] Late 40s – 60s, TOUR GUIDE, as well as PUB OWNER’S WIFE, MRS. PEBWORTH, 3RD NEWSBOY.  Soprano – legit (F#/Gb3-A5)

[WOMAN #2] Mid 20s – mid 30s. Plays MISS BARLEY, an alluring artist model. Also plays SIBELLA’S MAID, HYACINTH COLLEAGUE, PHOEBE’S MAID, HILDA. Covers SIBELLA and PHOEBE. G to high C.  Note:  If auditioning for this track, please choose a song that shows coloratura ability for Miss Barley.

[WOMAN #3] 30s – late 40s. Plays LADY EUGENIA, an unhappily married countess. Overbearing and mean spirited at times, but comically so. Must be highly adept at the biting quip and the withering glare. Also plays MISS HETHERINGTON, and 4TH NEWSBOY.   Soprano – Legit (F#/Gb3 – A5).

[MAN #1] 20s – mid 30s. Appealing and attractive. Plays TOM COPLEY (aka FARMER), as well as 2ND CLERK, HYACINTH COLLEAGUE, 2ND NEWSBOY, ACTOR, ANCESTRAL BUST, DR. PETTIBONE, and GUARD. High baritone with a strong top; solid low A2 to high A4.

[MAN #2] Early 30s – 40s. A versatile and appealing character man. Plays DETECTIVE PINCKEY, who has a featured number. Also plays 1ST CLERK, PUB OWNER, MR. CROSS, 1ST NEWSBOY, 1ST ACTOR, PHYSICIAN, and 2ND ANCESTRAL BUST. Baritone C2 (low C) – G#/Ab4

[MAN #3] Mid 20s – 40s. A character man. Plays THE MAGISTRATE, as well as MR. GOODSALL, ACTOR, and MR. GORBY. THE MAGISTRATE has a featured number with DETECTIVE PINCKEY. Tenor. A#/Bb3-A#/Bb4).

To download an audition form click HERE.

Audition Notice for Moonlight and Magnolias

Written by Ron Hutchinson

Directed by Juli Tarabek Blacker

Produced by Rachel Alberts and Russell Wyland

Audition Dates:

Saturday, December 14, 1:00 – 4:00 p.m.  (LTA Academy, first floor)

Sunday, December 15, 7:00 – 10:00 p.m. (LTA Green Room)

Callbacks:

Tuesday, December 17, 7:00 p.m.  (Green Room, main building)

Rehearsal Begin:

Thursday, January 2, 2020

Performance Dates:

February 29 – March 21, 2020

It’s Hollywood, 1939. Legendary film producer, David O. Selznick, is five weeks into shooting Gone with the Wind when he realizes the script is awful and the director doesn’t have a clue. He has a few short days to replace them and restart shooting or the production will shut down. Over the course of five days, three writers frantically craft (and act out all of the parts!) one of the most memorable screenplays of all time.

LTA is seeking four actors for this funny and affectionate comic romp that takes the audience behind the scenes of an iconic story. Actual ages of the men are included for information, but please refer to the age ranges for what we are looking for in casting.

The show requires 1 woman and 3 men.

David O. Selznick (male, actual 37, 30s-50s):  Selznick is a legendary Jewish Hollywood producer.  He is a larger than life personality who truly believes in the worth and potential of Gone with the Wind.  He is driven to prove his worth in an industry that isn’t always friendly to him and those like him. He is also great at manipulating those around him.

Ben Hecht (male, actual 45, 30s-50s):  A screenwriter and playwright pulled in to help recraft the screenplay (even though he hasn’t read the book).   He is no nonsense and could care less for the glamour of Hollywood.  His relationship with Fleming is antagonistic.  He has no interest in the project and has many other places he would rather be.  He is also very interested in the Jewish cause as WWII looms in Europe.

Victor Fleming (male, actual 50, mid 30s-60s):  The director that Selznick has pulled in to take over the film.  He is burly, physically imposing, and tightly wound.  He also has places he would rather be.  He has come up through the ranks and fully enjoys the glamour of Hollywood and his position in it.  He and Hecht butt heads quite often.

Miss Poppenguhl (female, 20s-30s): Selznick’s smart and efficient secretary.  She is somewhat modern but can work with her lot in life.  She can also hold her own with the more powerful men around her.  This role is open to any ethnicity.

Auditions:  Auditions are open.  No appointments are required.  Auditionees will be asked to read from the script.  Sides will be available at the audition. Monologues are not requested and will not be heard.  This show includes physical comedy.  Therefore, auditionees should dress comfortably and be prepared to move.

To save time, auditionees are strongly encouraged to print out and complete their audition forms before arriving at auditions. To download an audition form, click HERE.

If you have a headshot and acting resume, you may submit them with your audition form, but these materials are not required. Auditionees may be asked to have their pictures taken.

Auditionees will be asked for a complete list of their conflicts starting on callbacks (December 17, 2019) thru strike (March 22, 2020). Conflicts during the rehearsal period do not automatically keep one from being cast.  Conflicts that are declared after the rehearsal period begins, however, can get one removed from the show.

Rehearsals: The final rehearsal schedule will be determined by conflicts.  Conflicts during the rehearsal period will not disqualify the right actor from consideration but conflicts during the run of the show will.   Initially, rehearsals will take place two to three evenings and one weekend afternoon per week, but additional rehearsals will be added as tech week approaches.

For additional information or to volunteer for this production, please contact Russell Wyland:  RussellWyland@gmail.com

Actors cast are required to become acting or regular members of LTA within two weeks of being cast.

To download an audition form click HERE.

Future Audition Dates

Blue Stockings
February 8-9, 2020

Rumors
March 28-29, 2020

Audition notices will be posted as they become available.

Audition dates are subject to change. Check back for updates.