Download Report

Civic Theatre from 10 Feb until 06 Mar 2016
Presented by The Amici Trust
Music by Andrew Lloyd Webber
Lyrics by Charles Hart
Additional Lyrics by Richard Stilgoe
Book by Richard Stilgoe & Andrew Lloyd Webber
Based on the novel ‘Le Fantome de I’Opera’ by Gaston Leroux
Auckland Artistic Team
Director – Grant Meese
Musical Director – Penny Dodd
Choreographer – Rosanne Sims
The Phantom of the Opera is a musical by Andrew Lloyd Webber, based on the French novel Le Fantôme de l'Opéra by Gaston Leroux.
It is considered by many to be the most successful musical of all time and is also the longest running show in Broadway history. The
music is composed by Lloyd Webber, with lyrics by Charles Hart. Additional lyrics are by Richard Stilgoe. The book was written by
Lloyd Webber and Stilgoe. The central plot revolves around a beautiful soprano, Christine Daaé, who becomes the obsession of a
mysterious, disfigured musical genius.
The Phantom of the Opera opened in the West End in 1986, and on Broadway in 1988. It won the 1986 Olivier Award and the 1988
Tony Award for Best Musical, and Michael Crawford (in the title role) won the 1986 Olivier and 1988 Tony for Best Performance by an
Actor in a Musical. It is the longest-running Broadway show by a wide margin (celebrating its 10,000th performance on Broadway on
11 February. 2012), the second longest-running West End musical, and the third longest-running West End show overall. It had
been seen by over 130 million people in 145 cities in 27 countries by 2011, the most successful entertainment project in history.
Audition Information
Things you need to know
All roles available in Phantom Of The Opera are limited to Age 16 and above. The ensemble for Phantom Of The Opera is a mix of ages and while there will
be a requirement for a small group of ballet dancers the emphasis for the production numbers will be on singers. Diversity is encouraged and all ethnic
groups are welcome to audition.
Rehearsals will commence for the show at the beginning of November with an emphasis for the first two weeks on ensemble vocals. It is important to note
that while there will be a scheduled break over Christmas and New Year from 14 December until 04 January a further requirement for all cast to be
available for a full weekends rehearsal over Auckland Anniversary weekend (Saturday 30 January - Monday 01 February). You must be prepared to
commit to rehearsals as required for this 4 month period (including the season). If for any reason you may not be able to attend any of the rehearsals, you
must detail this on your audition form which must be handed in prior to auditioning and this will be considered in the audition process. Any non
attendance at rehearsals will not be tolerated unless approved prior to the rehearsal season beginning.
Rehearsals for Phantom Of The Opera will generally be Monday to Thursday evenings from 7.00pm until 10.00pm and Sundays from approximately 11.00am
until 5.00pm. Principals can expect some rehearsals on Saturday afternoons. Most rehearsals will take place at Auckland Music Theatre.
Phantom Of The Opera will be performed at Auckland’s Civic Theatre from 10th February until 6th March 2015
You need to put everything you’ve got into your audition. We want you to be able to relax on the day and enjoy learning from the audition experience. We
do, however, want you to be prepared, it shows us that you’ve put some thought and commitment into this.
Audition Booking Information
To audition for Phantom Of The Opera you must register and book an audition time with Trish McLennan (contact details below) prior to Thursday 10th
September 2015. Auditions will not be accepted after this date. Prepare a brief song from legit musical theatre/standard opera or operetta repertoire,
preferably in English. Do not sing pop or rock music. Please bring your book of music with you, in case you are asked for a second selection. An
accompanist will be provided.
We are seeking male and female singers for all positions. Women should be sopranos (lyric or coloratura), mezzo sopranos, or contraltos, with strong legit
musical theatre or opera voices. Men should be strong legit musical theatre or opera tenors, baritones, or basses. Two of the basses in the chorus must
sing to low F.
We are also seeking young female dancers with strong classical technique and excellent pointe work.
All Principal characters - bring a prepared song and be prepared to show some movement or dance, if a requirement for that character. Principal auditions
will be held in intervals of 5-10 minutes. Please bring your sheet music in the proper key and there will be an accompanist provided.
Those auditioning for either Christine or Meg will need to attend the group ballet dance class on Saturday 12 th September.
Singing Ensemble – You should prepare a song for your individual singing session in the style of the show. The Ensemble auditions will be in intervals of
5 minutes. No movement will be required at the initial auditions.
Dancers – You will be required to attend a group ballet dance class which will be followed by a group singing audition. You will be provided with music
on the day and all attending will be required to sing. Please bring appropriate dance shoes for the auditions.
All roles are on an unpaid basis.
All auditionees must bring their completed audition form with them to auditions with a recent picture attached.
Audition Dates
Thursday 10th September 2015
Principal Auditions
6.00pm to 10.00pm
Friday 11th September 2015
Principal, Ensemble and Backing Vocalists Auditions
6.00pm to 10.00pm
Saturday 12 September 2015
Ensemble and Backing Vocalist Auditions
10.00am until 3.00pm
Group Ballet Dance Class
3.00pm until 5.00pm
Sunday 13 September 2015
Principal and Ensemble recalls
9.00am until 5.00pm
Audition Venue
Auckland Music Theatre – Westpoint performing arts complex
Meola Road, Auckland
Contact for audition bookings and enquiries
Trish McLennan
Phone – 027 4873110
trish.mclennan@hotmail.co.nz
IMPORTANT: FULL COMMITMENT TO REHEARSALS REQUIRED –
Your participation in this production requires a huge commitment in both time and professionalism in order to ensure a
production of the highest possible quality, therefore please do not audition if you are not in a position to commit fully to the
rehearsal schedule. You cannot be involved in any other production during the rehearsal period. While talent is the primary
consideration when casting, level of commitment will also be a consideration and final choices for principal and ensemble roles
will be made with this in mind.
Phantom Of The Opera
Principal Roles available
Phantom of the Opera
Facially deformed since birth, the Phantom is a genius composer, musician and magician, who hides behind a white mask. Ostracised from the world, he seeks revenge
and love in equal doses. Is prone to mood swings, psychotic ramblings, bouts of passion, and all-around insane behaviour. Is desperately in love with Christine, but does
not show it in the most pleasant of ways (until the end, in which he realizes that to love someone means to let them go.) Needs a dynamic “star” performance, both
frightening and irresistible.
Vocal Range
High Baritone or Tenor - Low A-Flat 3 to High A-Flat 5 (must be able to sustain A-Flat with ease in full voice and top C# falsetto )
Age
30’s – 40’s
Musical Numbers
“The Mirror (Angel of Music)”, “The Phantom of the Opera”, “Music of the Night” (solo), “Stranger than You Dreamt it”, “Notes I/Prima Donna”,
“Poor Fool He Makes Me Laugh”, “All I Ask of You (reprise)”, “Why So Silent”, “Notes II”, “Wandering Child/ Bravo, Bravo”,
“The Point of No Return”, “Down Once More”, “Beyond the Lake”.
Christine Daae
A chorus girl at the Opera, and the orphaned daughter of a prominent violinist. Naive, but sympathetic and courageous in her own right. Although talented, she lacks
focus until the Phantom takes her under his wing and teaches her to sing. A light, floating soprano voice that combines elements of classical and pop singing. She sings
briefly to high E. Christine should also be able to blend in and dance with the ballet dancers as though she was a strong part of that group.
Vocal Range
Soprano - Low G3 to High E6
Age
20’s
Musical Numbers
“Think of Me”, “Angel of Music”, “Little Lotte/ The Mirror”, “The Phantom of the Opera”, “I Remember”, “Poor Fool, He Makes me Laugh”,
“Raoul, I’ve Been There”, “All I Ask of You”, “Masquerade”, “Notes II/ Twisted Every Way”, “Rehearsal for Don Juan Triumphant”,
“Wishing You Were Somehow Here Again” (solo), “Wandering Child”, “The Point of No Return”, “Beyond the Lake”.
Raoul, Vicomte de Chagny
A Vicomte (the French equivalent of a viscount, ie, one step below a count), the patron of the Paris Opera and a childhood sweetheart of Christines, they meet again after
he recognizes her singing at the Opera. He is rich and stubborn at times. He does his best to protect Christine, ending in a confrontation with the Phantom. Should
portray a dashing, handsome young aristocrat.
Vocal Range
High Baritone - A-Flat 3 to High A-Flat 5
Age
20’s to early 30’s
Musical Numbers
“Prologue”, “Think of Me”, “Little Lotte”, “Notes I/ Prima Donna”, “Why Have You Brought Me Here”, “All I Ask of You”, “Masquerade”,
“Backstage”, “ Twisted Every Way”, “Bravo”, “Before the Premiere”, “Track Down this Murderer”, “Beyond the Lake”.
Carlotta Giudicelli
The prima donna of The Paris Opera. A diva in every sense of the word. She becomes jealous of Christine after her great success. Carlotta should not sound as beautiful
as Christine and would have an Italian accent.
Vocal Range
Coloratura Soprano – C4 to High E6
Age
30’s to early50’s
Musical Number
“Dress Rehearsal of Hannibal”, “Think of Me” (Partially), “Notes I/ Prima Donna”, “Poor Fool, He Makes Me Laugh”, “Masquerade”,
“Notes II/ Twisted Every Way”, “Rehearsal for Don Juan”, “Don Juan Triumphant”, "Track Down This Murderer".
Madame Giry
The Opera's ballet mistress, and the Phantom's "spokeswoman", who delivers the Phantom's notes to the managers. She is the only one who knows the true story of
the Phantom. An ominous, stern, forbidding figure.
Vocal Range
Mezzo-Soprano - B-Flat 3 to High B-Flat 5
Age
late 30’s – 50’s
Musical Numbers
“Magical Lasso”, “Notes I/ Prima Donna”, “Masquerade”, “Backstage”, “Notes II”, “Rehearsal for Don Juan”, “Track Down This Murderer”.
Monsieur Richard Firmin
Firmin is one of two new managers of the Paris Opera. 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. Can be a little grouchy, albeit slightly befuddled and bumbling. Needs good instincts for stylish comedy.
Vocal Range
Baritone - Low A3 to F5
Age
late 30’s – 60’s
Musical Numbers
“Notes I/ Prima Donna”, “Masquerade”, “Notes II”, “Track Down This Murderer”.
Monsieur Gilles Andre
Andre is one of two new managers of the Paris Opera. He is more sarcastic and 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. Can be a little flighty. Needs good instincts for stylish comedy.
Vocal Range
Baritone - Low A3 to F5
Age
late 30’s – 60’s
Musical Numbers
“Notes I/ Prima Donna”, “Masquerade”, “Notes II”, “Track Down This Murderer”.
Meg Giry
Madame Giry's daughter, a member of the ballet chorus, and Christine's best friend. Meg is the young lead dancer in the corps de ballet.
Vocal Range
Mezzo Soprano - B-Flat 3 to F
Age
20’s
Musical Numbers
“The Dress Rehearsal of Hannibal”, “Angel of Music”, “Magical Lasso”, “Notes I/ Prima Donna”, “Masquerade”, “Don Juan Triumphant”,
“Track Down This Murderer”.
Ubaldo Paingi
The Opera's leading tenor, Carlotta Giudicelli's lover. When one thinks of Piangi one should get the image of Pavarotti. Piangi is a classical opera singer with a really
thick Italian accent. He is Carlotta’s counterpart and a diva in his own right. Plays the lead male roles in all the operas within the show. Sings to high C.
Vocal Range
Tenor - D4 to High C6
Age
late 30’s to 50’s
Musical Numbers:
“Dress Rehearsal of Hannibal”, “Notes I/ Prima Donna”, “Masquerade”, “Notes II”, “Rehearsal for Don Juan”, “Don Juan Triumphant”.
Ensemble and dance roles
We are looking for vocally strong and versatile ensemble of approx 25-30 people. All the ensemble will take on a variety of roles throughout the piece. A mix of ages
will be required.
Vocal Range
Soprano, Altos, Tenors, Basses
Age
Ages from 18 to 70’s
Some of the character parts include;
The Ballet Chorus of the Opera Poplaire
These are the ballet girls. They scream, they twirl, they scream and dance beautifully. Strong ballet background with pointe ability preferable.
Age
15 – 30’s
Vocal Range
Varies (do not have to be perfect singers, but must be great dancers)
Solo Male Dancer
The Solo Dancer is the male dancer during the Dance of the Country Nymphs. Will also possibly cover the whip cracking Slave master in ‘Hannibal’
Age
15 – 40’s
Joseph Buquet
Chief stagehand of the Opera, adored by the ballet girls for his colourful stories about an “Opera Ghost”. 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
Baritone
Age
late 30’s to 60’s
Musical Number
“Rehearsal for Hannibal”, “Magical Lasso”.
Monsieur Reyer (spoken role)
The repetiteur (vocal coach) of the Paris Opera. An agitated, finicky, meticulous fellow. His main job is to run the rehearsals despite all divas. A strict disciplinarian
who is always on the verge of hysteria.
Vocal Range
Tenor
Age
late 30’s to 40’s
Wardrobe Mistress/ Confidante
Physically interesting character woman. Short and round or tall and thin.
The Wardrobe Mistress runs around helping Carlotta and Christine change clothes. She is in Christine’s dressing room after the performance to help her with her robe
and costume.
The Confidante is one of the three who enter in the beginning of the opera Il Muto who gossip about the Countess.
Vocal Range
Contralto or Mezzo
Age
late 30’s to 40’s
Don Attilio/ Passarino
Should be a physically interesting character man with a good sense of comedy.
Don Attilio is the Countess’s husband during the Il Muto performance and Passarino is Don Juan’s sidekick.
Vocal Range
Bass or Bass/Baritone
Age
late 30’s to 40’s
Monsieur Lefèvre (spoken role)
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.
Age
Late 40’s to 50’s
Madame Firmin (spoken role)
Madame Firmin is married to Monsieur Firmin. She is well known as a “Greedy” woman.
Age
30’s to 40’s.
Auctioneer (spoken role)
He auctions off the pieces of the opera house, including props, posters, and the infamous chandelier. The Auctioneer is a speaking character with the longest monologue
in the show.
Age
40’s to 50’s
Hairdresser
The Hairdresser can be found as one of two Epicine men who gossip about the Countess’s affair with Serafimo, during the Il Muto performance.
Jeweller
The Jeweller is the other Epicine man during the Il Muto scene. He is accompanied by Meg.
Porters (spoken role)
The Porters are usually quite non-emotional characters who presents the props for auction during the prologue.
Fire Chief (spoken role)
He is in charge of security during the Don Juan premiere.
Plus many more
Marksman (spoken role), Flunky/Stagehand (spoken role), Policeman (spoken role), Two Fire Marshals (spoken role), Fops (in “Il Muto”), Page 1 & 2 (in “Don Juan
Triumphant”), Princess (in “Hannibal”), Innkeepers Wife (in “Don Juan Triumphant”)
The Story
ACT ONE
Prologue--1911. An auction is being held on the stage of the Paris Opera House. One of the items for sale is a musical box with the figure of a mechanical monkey. An old
man bids for it, and it seems to hold some special memory for him. This man is Raoul, Vicomte de Chagny. The next item is the remains of a great chandelier. The
auctioneer calls for a demonstration of the new wiring, and suddenly the chandelier rises to the ceiling of the theatre, transporting the stage back to the time of Raoul's
youth.
1881--The Opera company is rehearsing a new opera, Hannibal. The manager of the Opera arrives and announces his retirement. The new managers, André and Firmin are
introduced. André asks Carlotta, the company's prima donna, to perform a piece from the opera for them. As she is singing, a backdrop falls suddenly, almost killing
her. Buquet, the chief flyman, is called, but he can offer no explanation. The ballet girls whisper that it must be the work of the "opera ghost". Carlotta is furious and
storms out, vowing not to return until these strange occurrences stop happening. The new managers, who are now left without a leading lady, have their problems
added to when Madame Giry, the ballet mistress, hands them a note from the opera ghost, in which he demands a salary and the use of Box Five for the opera.
Meg Giry, Madame Giry's daughter, suggests to the managers that her friend Christine Daaé could take Carlotta's place. Christine has been taking singing lessons, but
claims she does not know from whom. At Madame Giry's insistence the managers grant her an audition. Christine's performance meets their approval and she performs
the role in the opera. Raoul, a new patron of the Opera House, watches from the managers' box and applauds her performance. These sentiments are echoed by an
unseen voice. Meg asks Christine about her teacher, but all Christine can tell her that it is the "Angel of Music" which her late father had promised he would send to her.
She has only heard him in her dressing room; she has never seen him.
Raoul goes backstage to her dressing room to congratulate Christine. They realize that they were playmates as children. Raoul insists on taking her out to dinner and
leaves to get his coat. As soon as he is gone, the strange voice is heard again, and gradually a figure appears behind the mirror. It is the Phantom, her Angel of Music.
The mirror glides open and the Phantom draws Christine inside with him. Raoul returns and hears the voice, but the door is locked. Suddenly it opens, but when Raoul
enters the room, the mirror has slid shut and it is empty.
Christine and the Phantom journey through the labyrinth beneath the Opera House, crossing a lake to arrive at the Phantom's lair. It is here that he explains to her why
he has been teaching her--so that she may sing his music. Christine falls into a trance and wakes the next morning to the sound of a musical box, the same one from the
opening scene. The Phantom is seated at his organ, absorbed in his composition. Christine quietly approaches him and unmasks him from behind. Furious, he turns on
her, and Christine recoils from the horror of his face and his anger. Once his anger is spent, he breaks down, and Christine, moved by pity, returns his mask. He takes her
back to the surface. Buquet catches sight of the pair as they return. Madame Giry also witnesses the scene, and cautions Buquet not to speak of what he has seen.
There is confusion everywhere surrounding Christine's sudden disappearance. Raoul, Carlotta, Piangi, Madame Giry and Meg all meet in the managers' offices,
brandishing notes from the Phantom. The demand that catches the attention of the managers is that Carlotta be replaced by Christine in the lead role of the upcoming
opera Il Muto. The group learns of Christine's return, and the managers reassure Carlotta that she will remain the star. The Phantom's voice is heard warning them
against that course of action. For the performance, Raoul sits in Box Five and Christine is cast in a silent role. The Phantom interrupts the show, repeating his demands,
and when these are still ignored, he magically causes Carlotta to croak like a toad instead of singing. The managers give in to the Phantom and offer a ballet sequence
while Christine changes for the performance. During the ballet, however, Buquet's body, hung with the Punjab lasso, falls from the flies. In the ensuing panic, Christine
and Raoul flee to the roof.
There she tells him of her experiences with the Phantom. Raoul is incredulous, but offers her protection. They profess their love for each other, and agree to leave
together that night. Once they leave, the Phantom emerges from where he has been listening and vows revenge. As the cast of Il Muto are taking their bows, he brings
down the chandelier, which lands at Christine's feet on the stage.
ACT TWO
Six months later--The Opera is having a masked ball to celebrate the New Year. Raoul and Christine have become engaged, but Christine wished to keep the fact a secret,
wearing the engagement ring on a chain around her neck. However, in the middle of the ball, a figure dressed as Red Death appears on the staircase. It is the Phantom.
He gives the score of his opera to André, demanding that it is be performed. He tears the engagement ring from Christine's neck and disappears.
Raoul questions Madame Giry about the Phantom, and she tells him what she knows...that he is a deformed genius who escaped from a freak show, and was presumed
dead, but that he still lives somewhere in the Opera House. André and Firmin have no wish to perform the Phantom's work. However, Raoul proposes a plan, in which
they go along with his plans, and then, when he attends the performance, they will be prepared. Christine does not want to become involved, but eventually agrees.
Christine goes to visit her father's grave. While there, the Phantom appears and attempts to regain his influence over her. However, Raoul arrives and takes Christine
away. The Phantom is furious and declares war on them both. The performance of Don Juan Triumphant, the Phantom's opera, begins. Police officers have secured all
the doors. As the opera progresses, it becomes obvious that Piangi has been replaced by another singer. Christine realizes this, and unmasks him in front of the
audience. Police rush onto the stage, but the Phantom is able to take Christine and escape. Piangi, who has also met with the Punjab lasso, is discovered behind the
scenes. Raoul attempts to follow the Phantom, and he is aided by Madame Giry. She shows him the way to the lake. They are followed by an angry mob.
Down in the Phantom's lair, Christine confronts the Phantom with the fact that his true disfigurement is that of his soul, not his face. Raoul arrives, and the Phantom lets
him in, only to trap him in a noose and offer Christine an ultimatum: either she stays with him, or Raoul dies. Christine's answer is to kiss him. Stunned by this act, the
Phantom lets them both go. Christine comes back to return his ring, and he tells her he loves her. She leaves with Raoul in the boat. As the mob draws in to the lair, the
Phantom sits in his throne, drawing his cloak around him. Meg is the first to arrive, and she approaches the throne and tears the cloak away. All that is left is the
Phantom's mask.
List of songs
Act 1
Prologue
Overture
Think of Me
Angel of Music
Little Lotte/The Mirror (Angel of Music)
Phantom of the Opera
The Music of the Night
I Remember/ Stranger than you dreamt it
Magical Lasso
Notes/ Prima Donna
Poor Fool, He Makes Me Laugh
Why Have You Bought Me Here
All I Ask Of You
Act 2
Entr'acte
Masquerade/ Why So Silent
Madame Giry's Tale/The Fairground
Journey to the Cemetery
Wishing You Were Somehow Here Again
Wandering Child
The Swordfight
We Have All Been Blind
Don Juan
The Point of No Return/Chandelier Crash
Down Once More/Track Down This Murderer