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Phantomof the Opera 2018

AuditionsThe South West Opera Company and Bunbury Regional Entertainment Centre are producing Andrew Lloyd-Webber’s Phantom of the Opera for presentation at BREC over the period 10th – 21st October 2018.Key members of the Artistic Team are

Director: Andy KingDesigner: Deb PrenticeMusical Director: Marguerite MonagleChoreographer: Mary-Ellen Sutherland

We warmly encourage anyone interested in performing, in what promises to be a spectacular production of a truly great piece of musical theatre, to book an audition by emailing [email protected] or telephoning Sigari or Tony on 97959949. This document provides the information you need to decide whether to audition, what to audition for, and how to prepare for your audition.Firstly, one or two general comments:

Auditions will be held on Saturday 24th and Sunday 25th February 2018. They will be at Community Home Care (3 Parade Road, Bunbury – see map on page 12) on Saturday (all day) and Sunday morning. On Sunday afternoon the auditions will be at Jazz Attack Studio (2 Armitage Rd., Bunbury – see map p13), and will be primarily for dancing roles (ballet and Meg Giry). Some auditionees will then be called back for further evaluation the following Sunday (March 4th).

If you wish to audition and cannot attend on 24th or 25th February, you can submit a video audition. You will need to record your singing, acting and dancing (as required – see below) and submit the recording to us before the audition weekend. Contact us (email / phone above) with any questions and to register your intention to submit a video audition.

The play is set in the Paris Opera House, and the characters are all members of the resident opera company and its managers, technical staff, patrons and resident Phantom. The standard of music and dance must therefore be high.

The opera excerpts presented during the show require a resident ballet company, who do not necessarily have to sing.

There are numerous ‘speaking only’ parts In addition to named characters and dancers there will be a substantial

chorus or ensemble, from which many of the smaller parts will be

Production management: for SWOC – Tony Martin & Sigari Luckwell; [email protected] BREC – Sharon Custers

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mailto:[email protected]


selected. If you would like to be considered for such a part you need to audition.

There will be an audition panel of three – Director, Musical Director and Choreographer – who will expect auditionees to demonstrate their acting, singing and movement abilities.

You do not need to audition if you wish to be a non-speaking member of the chorus and you have previously auditioned to be a member of SWOC.

There are no young children in this show. We will only audition applicants of 15 years or older.

In order to be cast in the show you will need to be available (in principle) to attend all rehearsals to which you are called. Rehearsals will commence in June 2018 and will be on Monday evenings and Sunday afternoons, with Thursday evenings also being used as the production progresses. Rehearsals specifically for the ballet dancers will initially be on Sunday afternoons.

You will also need to be available throughout the ‘production weeks’ (8 – 20 October) for evening rehearsals and performances, and for any matinées.

Understudies will be cast for the leads, and will be expected to perform the role in at least one performance.

There is a short ‘audition form’ for you to complete and bring to your audition – at the end of this document.

Non-members of SWOC who are cast in Phantom of the Opera will need to become ‘single event associate members’ of SWOC before they can rehearse or perform in this production.

Make sure you go through the checklist on page 11 as part of the preparation for your audition


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Roles to be auditionedThe Phantom [Lead]

The Phantom wears a mask and is deformed. He lives in the Paris Opera House; actually, underneath the opera house in the fifth cellar. He is a musical genius who falls in love with the young ingénue Christine. He gives her music lessons in her dressing room through a mirror, and by tormenting the diva Carlotta, as well as the rest of the company, he helps Christine get promoted to a lead in the Opera House’s productions. The Phantom is dynamic but mesmerising, sensual but ghostly.Vocal range: High Baritone or Tenor.

Christine Daae [Lead]Also known as: Elissa (her part in Hannibal); Serafimo a.k.a The Pageboy (Il Muto), Aminta (Don Juan).Character: Christine is the young ingénue. She starts out as a dancer with an amazing voice. She is taught how to sing by the Phantom, in her dressing room. She is given the chance to sing and becomes the star of the Opera. When she was a young child she met a young boy named Raoul and when they meet again at the opera they fall in love. Christine is best friends with Meg. Christine is young and highly emotional.Vocal range: Soprano (Lyric or Light Coloratura).

Raoul, Vicomte de Changy [Lead]Character: Raoul is the dashing young lover. He knew Christine from her childhood and becomes smitten with her when they meet again. He is rich and stubborn at times. He does his best to protect Christine, ending in a confrontation with the Phantom.Vocal range: High Baritone.

Carlotta Giudicelli [Supporting]Character: Carlotta is the resident Opera Diva who had been in leading roles many seasons before Christine came onto the scene. Her job becomes in jeopardy because of Christine’s rising stardom. Being the true diva that she is Carlotta quits the production of Hannibal after the Phantom nearly hits her with a backdrop. She comes back to hear the managers beg for her to do the production of Il Muto. Carlotta is a drama queen who feels threatened by Christine.Vocal range: Soprano (Coloratura).

Ubaldo Piangi [Supporting]Character: When one thinks of Piangi one should get the image of Pavarotti; same concept. Piangi is a classical opera singer with a really thick Italian accent. He is Carlotta’s counterpart and a ‘diva’ in his own right.Vocal range: Tenor.

Monsieur André [Supporting]Character: André is one of two new managers of the Paris Opera. He is the more sarcastic of the two, and is worried about putting on a show. The Phantom to him is just a nuisance and he seems bothered by the drama that happens with Carlotta, Raoul, Christine, and everyone else.Vocal range: Baritone.


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Monsieur Firmin [Supporting]Character: Firmin is the other new manager. He is more serious and more worried about money and the business of the opera. He sees the Phantom and all the drama that surrounds the opera house as publicity.Vocal range: Baritone.

Madame Giry [Supporting]Character: Madame Giry is the ballet mistress for the opera house. She has an awesome cane that she bangs on the ground a lot. Mme. Giry is very mysterious, she delivers notes from the Phantom to various people. She is very strict with her daughter Meg. Mme. Giry is wise and knows the ins and outs of the Opera House and its residents.Vocal range: Mezzo Soprano.

Meg Giry [Supporting]Character: Meg is the young lead dancer in the corps de ballet. She is Christine’s best friend and it is she who volunteers Christine to sing when Carlotta quits the production. Her mother is the ballet mistress.Vocal range: Mezzo Soprano.

Monsieur Reyer [Chorus]Character: M. Reyer is the repetiteur of the Opera Company. His main job is to run the rehearsals, despite all divas. He is sarcastic and a sort of tyrant.Vocal range: Baritone.

Company Roles – The following roles will be cast from the ensemble.

Hairdresser [Cameo]Character: The Hairdresser can be found as one of two men who gossip about the Countess’s affair with Serafimo, during the Il Muto performance.Vocal range: Tenor.

Jeweller [Cameo]Character: The Jeweller is the other gossiping man during the Il Muto scene. He is accompanied by Meg.Vocal range: Tenor.

Auctioneer [Cameo]Character: The Auctioneer is exactly what you think he is. He auctions off the pieces of the opera house, including props, posters, and the infamous chandelier. He is actually from the future, 1911, as opposed to when the rest of the story takes place. The Auctioneer is a speaking character with the longest monologue in the show.Vocal range: Speaking only.

Monsieur Lefevre [Cameo]Character: M. Lefevre is the retiring manager of the Opera House. Even though we know why he decides to retire he is very certain not to mention it to the new managers. He leaves for Frankfurt and has no intention on returning.Vocal range: Speaking only.


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Joseph Buquet [Cameo]Character: Buquet is your average dirty old stage hand. People think he’s nuts because he claims to have seen the Phantom. He sings a song describing how the Phantom looks to the ballet girls and is eventually killed by his hand.Vocal range: Tenor.

Don Attilio [Cameo]Character: Don Attilio is the Countess’s husband during the Il Muto performanceVocal range: Bass.

Passarino [Cameo]Character: Passarino is Don Juan’s sidekick. He lures Aminta to Don Juan.Vocal range: Tenor.

Confidante [Cameo]Character: The Confidante is one of the three who enter in the beginning of Il Muto who gossip about the CountessVocal range: Mezzo Soprano.

Firechief [Cameo]Vocal range: Speaking only.

Slave Master [Cameo] Vocal range: Non-Speaking.

Solo Dancer (male) [Cameo] Vocal range: Non-Speaking, but pantomimes.

Page [Cameo] Vocal range: Non-Speaking.

Porter [Cameo] Vocal range: Speaking only.

Fireman [Cameo] Vocal range: Speaking only.

Spanish Lady [Cameo] Vocal range: Non-Speaking.

Wardrobe Mistress [Cameo] Vocal range: Non-Speaking.

Princess [Cameo] Vocal range: Non-Speaking.

Madame Firmin [Cameo]Character: Madame Firmin is married to M. Firmin. She is one of those great one-word

characters. Her word: ‘Greedy’.Vocal range: Speaking only.

Innkeeper’s Wife [Cameo] Vocal range: Non-Speaking

Marksman [Cameo] Vocal range: Speaking only.

The Ballet Chorus of the Opéra Populaire [Chorus]

There are roles for 8-10 pointe ballerinas (aged 15 or over) and 1 male ballet dancer (aged 17 or over). Vocal range: Varies.


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Audition requirements

There are five different categories of audition, as follows. Identify which one you fall into and read the audition requirements which follow.

1. Those who are auditioning for singing parts;2. Those who are auditioning for ‘speaking only’ parts (highlighted in

the character list above);3. Those who are auditioning for the ballet (dancers);4. Those who are auditioning for the chorus/ensemble;5. Those who would like to be considered for the role of Meg Giry.

YOU DO NOT NEED TO READ REQUIREMENTS FOR CATEGORIES OTHER THAN YOUR OWN.1. Those auditioning for singing parts

1.1. A list of the vocal requirements for each of the relevant characters in the show follows, for your consideration.


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Phantom High baritone/tenor – range: Low A-Flat to High A-flat. Able to sustain a top A-flat with ease in full voice; able to part sing.Excerpts from the Phantom’s songs are attached (p.11) and should be prepared for the audition.

Christine Daae Lyric or light coloratura – range: G below middle C to E above High C Needs a combination of both classical and Musical Theatre.

Excerpts from Christine’s songs are attached (p.11) and should be prepared for the audition.

Raoul High baritone/tenor – range: Low A-Flat to High A-flat. Able to part sing. Song excerpt attached (p.11) and should be prepared for the audition.

Carlotta Giudicelli Coloratura soprano – range: Middle C to E above High C.A true diva – a prima donna. Comedic abilities and fire a must! Italian accent and able to part sing. The excerpt attached (p.11) should be prepared for the audition.

Piangi Operatic tenor – range to Top C.Italian accent; able to part sing.

Monsieur Firmin Baritone with top F; able to part sing.Song excerpt attached (p.11) and should be prepared for the audition.

Monsieur André High baritone to top A; able to part sing.Song excerpt attached (p.11) and should be prepared for the audition.

Madame Giry Mezzo to top B-Flat

Joseph Buquet Bass


1.2. You should prepare two songs of your own choice – one classical and one contemporary. Your songs should demonstrate your vocal capabilities, range and expressive ability. Acting is important here and you need to act the part of the character if the song is from opera, operetta or musical theatre, as well as singing it beautifully. Please bring two extra copies of the music for each song with you and, if at all possible – for best results – the accompanist’s copies should be scanned and sent to [email protected] well before the audition weekend.

1.3. You need to learn the following short monologue for presentation in the acting section of the audition. If you are asking to be considered for a particular character role, then you may wish to prepare the monologue as if it would be spoken by that character. Otherwise, prepare the monologue as a general speech of a character of passion. A knowledge of Chekhov’s play will not be necessary.

1.4. During the audition you may be asked to copy a simple

dance/movement combination by the choreographer. You do not need to prepare for this - it is just to give the auditioning panel an idea of how well you move. Some chorus members will be required to perform some choreography in the show, and this process helps us determine where successful applicants are best placed in the chorus. If you do have any specific dance training and would like to demonstrate your skills, please bring your own music (a CD player, Bluetooth/cable speaker and pianist will be supplied) and we would love to see what you can do. For some of the lead roles, the ability to move well may be considered an advantage.


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“To avoid everything petty, everything illusory, everything that prevents one from being free and happy, that is the whole meaning and purpose of our life. Forward! We march on irresistibly towards that bright star which burns far, far before us! Forward! The earth is great and beautiful; it is full of wonderful places. Fate has tossed me hither and thither; I have been everywhere, everywhere. But wherever I have been, every minute, day and night, my soul has been full of mysterious anticipations. I feel the approach of happiness; I see it coming.”

(From The Cherry Orchard by Anton Chekhov)


2. Those auditioning for ‘speaking only’ parts2.1. You will need to learn the following short monologue for presentation

in the acting section of the audition. If you are asking to be considered for a particular character role, then you may wish to prepare the monologue as if it would be spoken by that character. Otherwise, prepare the monologue as a general speech of a character of passion. A knowledge of Chekhov’s play will not be necessary.

2.2. SWOC members who have previously auditioned for singing with SWOC do not need to sing in their audition. All other auditionees in this category (i.e. those who have not auditioned for SWOC membership) will need to prepare a single song of their of their own choosing which will demonstrate their vocal range and singing ability.

2.3. During the audition you may be asked to copy a simple dance/movement combination by the choreographer. You do not need to prepare for this - it is just to give the auditioning panel an idea of how well you move. Some chorus members will be required to perform some choreography in the show, and this process helps us determine where successful applicants are best placed in the chorus. If you do have any specific dance training and would like to demonstrate your skills, please bring your own music (a CD player, Bluetooth/cable speaker and pianist will be supplied) and we would love to see what you can do.


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3. Those auditioning for the ballet (dancers)3.1. You should bring your own music (a CD player will be available, as

well as a blue-tooth/cable speaker if the applicant has the music on their phone or other device), and perform a dance of approximately 3 minutes duration, that displays your ballet ability. You may also be asked to emulate a short ballet combination by the choreographer.

3.2. If you would also like to be considered to be part of the singing ensemble, you will also need to sing a song that displays your vocal capabilities.

3.3. It will be a significant advantage if you are able to dance on pointe – if you are, bring your pointe shoes with you to the audition.

4. Those auditioning for the chorus/ensemble4.1. You will need to sing a song of your own choosing that will

demonstrate your vocal range and abilities.4.2. During the audition you may be asked to copy a simple

dance/movement combination by the choreographer. You do not need to prepare for this - it is just to give the auditioning panel an idea of how well you move. Some chorus members will be required to perform some choreography in the show, and this process helps us determine where successful applicants are best placed in the chorus. If you do have any specific dance training and would like to demonstrate your skills, please bring your own music (a CD player, Bluetooth/cable speaker and pianist will be supplied) and we would love to see what you can do.

5. Those who would like to be considered for the role of Meg GiryThis role has been singled out because you need to be able to dance, sing and act (a significant advantage if you are able to dance on pointe). Meg’s vocal range is up to High G. For your audition you will therefore need to:5.1. Prepare two songs of your own choice – one classical and one

contemporary. Acting is important here and you need to act the part of the character if the song is from opera, operetta or musical theatre, as well as singing it beautifully. Please bring two copies of the music for each song with you, and if at all possible, for best results, the accompanist’s copy should be scanned and sent to [email protected] well before the audition weekend. Your songs should demonstrate your vocal capabilities, range and expressive ability.


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5.2. Learn the following short monologue for presentation in the acting section of the audition. If you are asking to be considered for a particular character role, then you may wish to prepare the monologue as if it would be spoken by that character. Otherwise, prepare the monologue as a general speech of a character of passion. A knowledge of Chekhov’s play will not be necessary.

5.3. Perform a dance of approximately 3 minutes duration, that displays your ballet ability. You should bring your own music (a CD player will be available, as well as a blue-tooth/cable speaker if you have the music on your phone or other device). You may also be asked to emulate a short ballet combination by the choreographer.


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Audition Checklist

Have you done the following?

1. Book an audition time with the Phantom ([email protected] 97959949).

2. Inform the Phantom which part(s) you would like to be considered for.

3. Determine the specific requirements for your audition. If in any doubt contact the Phantom.

4. Learn the monologue (if required).5. Learn your song(s) (if required).6. If you are auditioning for Phantom, Christine,

Raoul, Carlotta, André or Firmin, learn the relevant extract(s) from songs in the show (see below).

7. Send a copy of the music for your song(s) (if required) to the Phantom. (Bring 2 extra copies to the audition.)

8. Fill out and sign your audition form and bring it with you.

Excerpts from songs – to be prepared by people auditioning for these roles

Double-click on the icon to open the file in your pdf reader

Phantom Christine Raoul Carlotta André & Firmin


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mailto:[email protected]

Maps showing location of Community Home Care, Parade Rd. Bunbury

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Fire Station –No through road

Map showing location of Jazz Attack Studio at 2 Armitage Street, Bunbury

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AUDITION FORM

NAME

ADDRESS

CONTACT NUMBERS Home:

Mobile:

eMail ADDRESS

VOICE TYPE (soprano / alto / tenor / bass)

What ROLE(s) would you like to play?

Will you accept a different role? Perform in the chorus?

PREVIOUS THEATRE / MUSIC EXPERIENCE:

SPECIAL SKILLS (eg. Juggling / Dancing / Playing an instrument)

REHEARSALS will be on Monday and Thursday evenings from 7 to 9pm, and Sunday afternoons. They will start in June 2018. You will not be required to attend every rehearsal, but please confirm here that you will be available to attend as required:

Phantom of the Opera Audition Form page 2


PHOTOGRAPHS Do you consent to us using photographs we may take of you for the purpose of promoting the show, including for the printed programme and in advertising media?

PERFORMANCES Participation in this production of Phantom of the Opera will require you to be available for rehearsals any evening and performances (afternoon or evening) during the weeks Monday 8th October to Sunday 21st October 2018. In signing here you agree to be available for rehearsal and performance throughout that period, as required.

Signature:

Are you interested in contributing to the show by helping in any of these areas?

Set construction Props Costumes Make-up Hair

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