Les Miserables

Audition Information

AUDITION INFORMATION

Auditions for LES MIS EXTENDED! 
DA COMPANY is seeking actors for their August 2017 production of Les Miserables.  All roles are open. We are seeking a diverse and large cast for the epic and powerful pop opera that continues to take the world by storm. Students ages 8-18 are eligible to audition. 
Auditions will take place June 6-9, 2017. Auditions are by appointment only. Please read all audition and production information before requesting an audition reservation.
Email: dacodetroit@hotmail.com

DA COMPANY is seeking actors for their upcoming production of Les Miserables.  All roles are open to audition. We are seeking a diverse and large cast for the epic and powerful pop opera that continues to take the world by storm.

The powerful final words of Les Misérables echo this ideology:

“Will you join in our crusade?/ Who will be strong and stand with me?/ Somewhere beyond the barricade/ Is there a world you long to see? Do you hear the people sing?/ Say do you hear the distant drums?/ It is the future that they bring/ When tomorrow comes."

 

We, the directors of Les Misérables, are looking for people who are willing to passionately dedicate themselves to this cause!

ABOUT THE SHOW

Book by Alain Boublil & Claude-Michel Schonberg

Music by Claude-Michel Schonberg, Lyrics by Herbert Kretzmer

This international smash hit may be the most popular musical in the world. In nineteenth century France, Jean Valjean is released from 19 years of unjust imprisonment, but finds nothing in store for him but mistrust and mistreatment. Epic, grand and uplifting, Valjean’s struggle for redemption is set against the Paris student uprising of 1832 and packs an emotional wallop that has thrilled audiences all over the world. With a lush and sweeping score, the sung-through musical is a powerful affirmation of the human spirit and has made Les Miserables a popular masterpiece.

 

DACO will present Les Miserables from August 12-13, 2017  in Birmingham, MI.

 

Auditions will take place on June 2, 2017.

 

Callbacks will be held on June 3, 2017. 

Early Morning. SEE ADDITIONAL CALLBACK 

INFO AT BOTTOM OF PAGE. 

Note: All dates are subject to change. 

 

Students ages 8-19 are eligible to audition.

Rehearsals are weeknights after 5p.m.

Projected rehearsal days are Tuesday-Thursday.

 

Students can take trips and/or attend overnight camp during the production phase. Please indicate all conflicts including trips and camps on your audition form.

 

FEE: $150 for students selected for the production. 

FINANCIAL ASSISTANCE: A fair number of need-based financial aid packages are available. The financial aid application must be submitted before the audition.

 

No fee to audition.

See additional tuition and production details below. 

This program is perfectly designed for newcomers and seasoned performers!

 

​PLEASE NOTE: Casting a show like Les Miserables can become a challenging process. We are confident we will receive a great number of talented students to audition for the musical. The directors reserve the right to change the show if the correct "mix" of singers/performers are not available for the production.
 

HELP US SPREAD THE WORD TO STUDENTS WHO

MAY HAVE AN INTEREST IN AUDITIONING!! 

If You are unable to attend Our scheduled audition dates, Please send us an email asap and we will try to make alternate arrangements!

PRODUCTION

 INFORMATION

There is tuition and additional production related fees for youth and teens who are currently in elementary, middle or high school. See details below.

Partial financial scholarships are available for teen actors currently in high-school! If assistance is needed, please indicate interest in your audition email request.

Tuition Fee: Participants in elementary, middle or high school, who are cast, will pay a $150 production fee.

 

Tuition is non-refundable/non-transferable. 100% of these fees are put towards the cost of the production. All shows and final rehearsals are mandatory. Partial financial scholarships are available for teen actors currently in high-school!

 

If assistance is needed, please indicate interest in your audition email request.

Costume Fee. Participants in elementary, middle or high school--Rented or custom made costumes are not fully covered by the production fee. Participants will pay a nominal fee to help cover the rental, creation and/or purchase of costume items. Prices will vary depending on size and number of roles.

ADDITIONAL FEES (most are optional): 

Merchandise (cast t-shirts/sweatpants/bags, etc.)

Cast Retreat (not optional)

Show tickets

Field trips

Costume accessories/shoes/wigs/leotards/tights (not optional); 

Cast Party. 

These and other ancillary costs are not included in the tuition fee.

Parent Volunteer Hours are REQUIRED for all parents with children currently in elementary, middle or high school.

After casting, you may indicate your parent work assignment preference, but assignments are made based on production needs. The strike is scheduled immediately following the final production.

Children of parents who fail to volunteer for both a pre-production duty and show duty will be dismissed from the cast. Tuition is non-refundable.

Audition & Rehearsal Location: Primarily our Bloomfield Hills studio. 

PRODUCTION

 INFORMATION

There is tuition and additional production related fees for youth and teens who are currently in elementary, middle or high school. See details below.

Partial financial scholarships are available for teen actors currently in high-school! If assistance is needed, please indicate interest in your audition email request.

Tuition Fee: Participants in elementary, middle or high school, who are cast, will pay a $150 production fee.

 

Tuition is non-refundable/non-transferable. 100% of these fees are put towards the cost of the production. All shows and final rehearsals are mandatory. Partial financial scholarships are available for teen actors currently in high-school!

 

If assistance is needed, please indicate interest in your audition email request.

Costume Fee. Participants in elementary, middle or high school--Rented or custom made costumes are not fully covered by the production fee. Participants will pay a nominal fee to help cover the rental, creation and/or purchase of costume items. Prices will vary depending on size and number of roles.

ADDITIONAL FEES (most are optional): 

Merchandise (cast t-shirts/sweatpants/bags, etc.)

Cast Retreat (not optional)

Show tickets

Field trips

Costume accessories/shoes/wigs/leotards/tights (not optional); 

Cast Party. 

These and other ancillary costs are not included in the tuition fee.

Parent Volunteer Hours are REQUIRED for all parents with children currently in elementary, middle or high school.

After casting, you may indicate your parent work assignment preference, but assignments are made based on production needs. The strike is scheduled immediately following the final production.

Children of parents who fail to volunteer for both a pre-production duty and show duty will be dismissed from the cast. Tuition is non-refundable.

Audition & Rehearsal Location: Primarily our Bloomfield Hills studio. 

AUDITION

REGISTRATION

Advance sign up for auditions is required.

 

To make an appointment please email the following details: 

name: 

age: 

current grade (16/17yr): 

school: 

phone: 

parental contact information (INCLUDING EMAIL): 

seeking the following role(s): 

willing to take any role including chorus:  YES OR NO

 

EMAIL:  dacodetroit@hotmail.com (SUBJECT: LES MIS AUDITION)

 

You will receive a confirmation email with your exact time and audition location once your request is received and processed.   Please allow a few days for a response. Our office hours are not traditional full or part-time hours. 

ACTING AUDITION

As Les Miserables is a sing-through operetta with no dialogue, there will be no readings as part of the auditions. Acting ability will be judged from the vocal audition, so performers must demonstrate acting talent through their song.

What to prepare:
1. Please prepare a one-full Broadway or Opera song that best highlights your range in the style of the show.  


2. Please have your music clearly marked and in a 3-ring binder with pages copied back to back.


3. A professional accompanist will be provided. 


4. A cappella auditions are not an option.


5. Bring a 8x10 headshot/recent photo. You DO NOT need a professional head-shot. A simple pic of yourself is fine. Make sure you are the only one in the picture. Photos are not returned to you. Please write your full name on the back of your 8x10 photo.


6. Parents can wait in our lobby during the auditions.


7. Please NO selections from, "Les Miserables”, “HAMILTON”, "WICKED”. Please, no selections from Stephen Sondheim. No POP songs!


8. VERY IMPORTANT: Please plan on performing your musical selection with the same amount of acting with which you rehearse and perform a monologue or scene.


9. Arrive NO MORE THAN 10 minutes before your audition appointment. 


10. PLEASE NOTE: The entire audition process may take approximately 1 -2.5 hours.


11. ADVICE: Please do not wait until the last minute to order your music online and/or from a local store. It often takes a couple of weeks for shipping. Also, we strongly suggest practicing/reviewing your sheet music with a pianist before your audition. Do not assume the CD/Radio version of your song is the same as your sheet music. Hearing the sheet music version of a song for the first time during an actual audition will not allow you to perform at your best!!


12. Online Sheet Music Resources: JW Pepper Music online;www.sheetmusicplus.com; www.amazon.com

 

REHEARSAL & CASTING POLICY

Projected rehearsal days: Tuesday, Wednesday and Thursday after 5:00p.m. beginning the week of June 4, 2017.

 

Rehearsals typically take place weeknights (2-3 times a week) after 5p.m. and a few Saturday’s – early morning. All cast members are not scheduled for all rehearsals.

Students can take trips and/or overnight camp during the production phase. Please indicate all conflicts including trips and camps on your audition form.

Rehearsal times will vary from one role to another as rehearsals are scheduled around scenes. Therefore, some participants will rehearse more often than other participants. Once you receive your audition form --you are asked to indicate if you have regular rehearsal conflicts during the week and on weekends.

ALL PARTICIPANTS are required to attend dress rehearsal every night of performance week. These rehearsals are vital for everyone in the company.

Technical rehearsals are scheduled for: August 4-Opening Night. 

ATTENDANCE/CONFLICT POLICY DETAILS

1. We require you to submit all conflicts during the auditions.

2. All conflicts must be handed in by the last night of callbacks.

3. Additional conflicts or new conflicts are considered unexcused absences, and may lead to being dropped from the show.

3a. If a performer is forced to withdraw because of too many conflicts, no tuition will be refunded.

4. We accept one unexcused absences and we do keep track of unexcused absence

5. We reserve the right to not cast a participant if that person has an excessive number of conflicts.

6. Participants may have NO conflicts during technical weeks (the last week of rehearsals before the show opens.)

Our casting policy reflects this goal. When we cast a show, we look deeper than the external image each performer shows us. We recognize that the way a person auditions is not always an accurate representation of his or her talent level. For that reason, what we attempt to do in the casting process is to learn a little bit about how each student is wired. We look more at the personality and raw talent in a person than we do at the perfectly prepared few minutes of audition material.

The best shows are the ones with strong talent throughout every member in the cast. Every student will receive the same hands-on, detailed instruction and opportunities to learn, whether they are a lead or a chorus member.

Will you accept any role? We plan to cast as many performers as we possibly can, but we anticipate a high turnout for auditions. Clearly, with a large turnout, only a couple of people out of dozens will get the role they want. However, the ensemble/chorus roles are just as important to the show as the leads are. This is especially true here at DACO, as we like to feature every performer as much as possible. 


Please understand that it is very difficult to cast a show, and it becomes even harder if people drop out after casting. It is very important that we know up front whether you are fully committed to doing this show and making it the spectacular success we know it can be. If you will only accept a particular role, we need to know that up front. It would not be fair to anybody if we gave you a different (but still significant) lead role, and you chose to drop out.

It is the policy of DACO that if an actor auditions for a show (agrees to take any role including ensemble) and is cast, they must accept the role they are given. If the actor chooses not to participate in the production following the cast list being announced, they may NOT audition for another show for 1 year.

That actor will also NOT be considered for a principle role in the next production they audition. In addition, this action may be considered in future casting decisions and any written references.


Not only is dropping a show unprofessional, it is disrespectful to the directors, cast members, and above all to the craft of theatre itself.

REHEARSAL & CASTING POLICY

Projected rehearsal days: Tuesday, Wednesday and Thursday after 5:00p.m. beginning the week of June 4, 2017.

 

Rehearsals typically take place weeknights (2-3 times a week) after 5p.m. and a few Saturday’s – early morning. All cast members are not scheduled for all rehearsals.

Students can take trips and/or overnight camp during the production phase. Please indicate all conflicts including trips and camps on your audition form.

Rehearsal times will vary from one role to another as rehearsals are scheduled around scenes. Therefore, some participants will rehearse more often than other participants. Once you receive your audition form --you are asked to indicate if you have regular rehearsal conflicts during the week and on weekends.

ALL PARTICIPANTS are required to attend dress rehearsal every night of performance week. These rehearsals are vital for everyone in the company.

Technical rehearsals are scheduled for: August 4-Opening Night. 

ATTENDANCE/CONFLICT POLICY DETAILS

1. We require you to submit all conflicts during the auditions.

2. All conflicts must be handed in by the last night of callbacks.

3. Additional conflicts or new conflicts are considered unexcused absences, and may lead to being dropped from the show.

3a. If a performer is forced to withdraw because of too many conflicts, no tuition will be refunded.

4. We accept one unexcused absences and we do keep track of unexcused absences. 

5. We reserve the right to not cast a participant if that person has an excessive number of conflicts.

6. Participants may have NO conflicts during technical weeks (the last week of rehearsals before the show opens.)

Our casting policy reflects this goal. When we cast a show, we look deeper than the external image each performer shows us. We recognize the way a person auditions is not always an accurate representation of his or her talent level. For that reason, what we attempt to do in the casting process is to learn a little bit about how each student is wired. We look more at the personality and raw talent in a person than we do at the perfectly prepared few minutes of audition material.

The best shows are the ones with strong talent throughout every member in the cast. Every student will receive the same hands-on, detailed instruction and opportunities to learn, whether they are a lead or a chorus member.

Will you accept any role? We plan to cast as many performers as we possibly can, but we anticipate a high turnout for auditions. Clearly, with a large turnout, only a couple of people out of dozens will get the role they want. However, the ensemble/chorus roles are just as important to the show as the leads are. This is especially true here at DACO, as we like to feature every performer as much as possible. 


Please understand that it is very difficult to cast a show, and it becomes even harder if people drop out after casting. It is important that we know up front whether you are fully committed to doing this show and making it the spectacular success we know it can be. If you will only accept a particular role, we need to know that up front. It would not be fair to anybody if we gave you a different (but still significant) lead role, and you chose to drop out.

It is the policy of DACO that if an actor auditions for a show (agrees to take any role including ensemble) and is cast, they must accept the role they are given. If the actor chooses not to participate in the production following the cast list being announced, they may NOT audition for another show for 1 year.

That actor will also NOT be considered for a principle role in the next production they audition. In addition, this action may be considered in future casting decisions and any written references.


Not only is dropping a show unprofessional, it is disrespectful to the directors, cast members, and above all to the craft of theatre itself.

About 

Les Mis 

ACT ONE

PROLOGUE: 1815, DIGNE
After 19 years on the chain gang, Jean Valjean finds that the ticket-of-leave he must display condemns him to be an outcast. Only the Bishop of Digne treats him kindly and Valjean, embittered by years of hardship, repays him by stealing some silver. Valjean is caught and brought back by the police and is astonished when the Bishop lies to the police to save him. Valjean decides to start his life anew.

 

1823, MONTREUIL-SUR-MER
Eight years have passed and Valjean, having broken his parole and changed his name to Monsieur Madeleine, has become a factory owner and Mayor. One of his workers, Fantine, has a secret illegitimate child. When the other women discover this, they demand her dismissal.

Desperate for money to pay for medicines for her daughter, Fantine sells her locket, her hair, and then joins the whores in selling herself. Utterly degraded, she gets into a fight with a prospective customer and is about to be taken to prison by Javert when ‘The Mayor’ arrives and demands she be taken to hospital instead.

The Mayor then rescues a man pinned beneath a cart. Javert is reminded of the abnormal strength of convict 24601 Jean Valjean, who, he says, has just been recaptured. Valjean, unable to see an innocent man go to prison, confesses that he is prisoner 24601.

At the hospital, Valjean promises the dying Fantine to find and look after her daughter Cosette. Javert arrives to arrest him, but Valjean escapes.

1823, MONTFERMEIL,
Cosette has been lodged with the Thénardiers, who horribly abuse her while indulging their own daughter, Eponine. Valjean pays the Thénardiers to let him take her away to Paris.

1832, PARIS
Nine years later, there is unrest in the city because of the likely demise of the popular leader General Lamarque, the only man left in the government who shows any feeling for the poor. A street-gang led by Thénardier and his wife sets upon Jean Valjean and Cosette. They are rescued by Javert, who does not recognise Valjean until he has gone.

The Thénardiers’ daughter Eponine, who is secretly in love with the student Marius, reluctantly agrees to help him find Cosette, with whom he has fallen in love.

News of General Lamarque’s death circulates in the city and a group of politically-minded students stream out into the streets to whip up support for a revolution.

Cosette is consumed by thoughts of Marius, with whom she has fallen in love. Eponine brings Marius to Cosette and then prevents an attempt by her father’s gang to rob Valjean’s house. Valjean, convinced it was Javert lurking outside his house, tells Cosette they must prepare to flee the country.

ACT TWO

The students prepare to build the barricade. Marius, noticing that Eponine has joined the insurrection, sends her away with a letter to Cosette, which is intercepted by Valjean. Eponine decides to rejoin her love at the barricade.

The barricade is built and the revolutionaries defy an army warning to give up or die. Javert is exposed as a police spy. In trying to return to the barricade, Eponine is killed.

Valjean arrives at the barricade in search of Marius. He is given the chance to kill Javert but instead lets him go. The students settle down for a night on the barricade and, in the quiet of the night, Valjean prays to God to save Marius. The next day the rebels are all killed.

Valjean escapes into the sewers with the unconscious Marius. After meeting Thénardier, who is robbing the corpses of the rebels, he comes across Javert once more. He pleads for time to deliver the young man to hospital. Javert lets Valjean go and, his unbending principles of justice having been shattered by Valjean’s own mercy, he kills himself.

Unaware of the identity of his rescuer, Marius recovers in Cosette’s care. Valjean confesses the truth of his past to Marius and insists he must go away.

At Marius and Cosette’s wedding, the Thénardiers try to blackmail Marius. Thénardier says Cosette’s ‘father’ is a murderer and as proof produces a ring which he stole from the corpse the night the barricade fell. It is Marius’s own ring and he realises it was Valjean who rescued him that night. He and Cosette go to Valjean where Cosette learns for the first time of her own history before the old man dies.

Les Misérables is now the longest running musical in the world and, in October 2010, celebrated its 25th anniversary with a theatrical first – three different productions of the same musical staged at the same time in one city – the star-studded concerts at The O2, the acclaimed new 25th Anniversary Production (which completed its sell-out UK Tour at London’s Barbican Theatre) and the original production, which continues its record breaking run at the Queen’s Theatre, London.

 Les Mis

CHARACTERS 

PRINCIPAL MALE ROLES

  • Jean Valjean: High lyric baritone or tenor with strong low notes, A to high B. A paroled convict, prisoner 24601 and the protagonist and moral center of the show. Failing to find work with his yellow parole note and redeemed by the Bishop of Digne’s mercy, he tears up the parole note and conceals his identity to live his life as an honest man. He redeems himself repeatedly with selfless acts of generosity and love. He steps in to save Fantine. He adopts Cosette and ultimately gives his blessing to her and Marius, allowing them to marry. He rescues Marius from the barricade. He confronts Javert. Jean Valjean is the only character in the show who looks within himself to find answers. Must believably be seen as a man with great physical strength. Vocal stamina, Very Strong

  • Javert: Baritone, F to F#/G, (Belt or classical, but must have a darker quality than Valjean.) Police Inspector who relentlessly pursues Valjean for breaking parole. He sees the world and its

people in shades of black and white, and believes that no one—including himself—is capable of change or redemption. He is NOT the villain, but his idea of the law is merciless and unbending: a person is either right or wrong. Javert cannot understand Jean Valjean’s--Prisoner 24601’s-- ideas of mercy and justice, and it his undoing. Must be able to believably balance against Valjean in strength, determination and power.

 

  • Thenardier: Tenor, C to G. An immoral opportunist who has survived by robbing, cheating, stealing and looking out for himself, above all. Crooked, irreverent, selfish, boorish, vulgar. He plays the “bon vivant” host because it serves him well, and later leads a gang of dangerous thieves. Comic relief along with his wife Madame Thenardier.

  • Marius: Tenor, C to High Ab. A young student who is searching for himself and his purpose through his studies and through the revolutionary ideas of his peers. He is a casual friend of Eponine, but falls in love with Cosette instantly at a chance meeting. Marius’ experiences at the barricade age and mature him.

  • Bishop of Digne: Bass. Houses Valjean after his release from jail and gives him gifts of silver and absolution. His act of kindness inspires Valjean to improve himself and escape the label of “criminal”. This is an important featured role. The actor will double in the ensemble.

  • Enjolras: Tenor, A to high G#. Charismatic leader of the student revolutionaries. He believes that “the people” will join him in the fight to make a better world. Powerful political figure and described by Hugo as “a thinker and a man of action”. Friend to Marius and the ABC students-- who are willing to follow him to the barricades and beyond.

 

 

PRINCIPAL FEMALE ROLES

  • Fantine: Alto, Gb to High Eb. Desperate, haunted, terrified, hopeful, proud and fiercely protective of Cosette, Fantine is a woman who has been abandoned by her lover and seeks to support herself and her child, first by reputable work and then by selling everything that she has, including her body. As she dies of consumption, she asks Valjean to look after Cosette. Ultimately, she appears as a spirit and escorts the dying Valjean to paradise

  • Eponine: Alto, F to High F. Daughter of the Thenardiers, she has followed in her parents’ footsteps to life on the street. Once pampered, now a ragged waif, she has learned to take what she needs and wants from anyone not strong enough to protect it. The only thing she can’t have is the love of Marius. Physically, this actor must believably be able to pass for a young boy.

  • Madame Thenardier: Alto, G# to D.Opportunistic wife of Thenardier. She is coarse, greedy, larger than life, and able to improvise in any situation. Scheming, comic and quick to see an opportunity.

  • Cosette: Soprano, Bb to high, High C. Fantine’s daughter, she has become beautiful under Valjean’s care. She is lively, personable, curious and mischievous. She challenges him, behaving with dignity and imagination when seeking information about her past. She falls instantly in love with Marius, changing her world and her priorities. A young woman on the cusp of adulthood.

 

CHILDREN’S ROLES

  • Young Cosette: soprano, A to High C. Fantine’s young daughter. Boards with The Thenardiers. She is mistreated, worked like a drudge, beaten by Madame and bullied by young Eponine. She is fearful, lonely and dreams of something better. This actor appears in one scene as young Cosette, and may appear as a street urchin in Act 2.

  • Young Eponine: The Thenardiers spoiled, pampered daughter who bullies young Cosette mercilessly. This actor will appear in this scene as well as the slums of Paris and in Act 2 as a street urchin.

  • Gavroche: Alto, unchanged voice, B to G. A child of the streets who has made his way with intelligence, honor and a cocky courage that endears him to the student revolutionaries. He sees himself as one of them.

ENSEMBLE

The ensemble is a critical part of the flow and movement of the show, and will be featured in many different ways throughout. We are looking for very strong singers, and although this isn’t a heavy “dance” show, we are looking to see a range of contrasting movement styles -- from the base, grungy and solicitous to the dainty, affected and aristocratic. We would like to see people who feel comfortable moving by themselves and with others in the background of the story: from building crowd scenes to building stage combat, from physicalizing gunshots and aristocrats to elegant waltzers and to playing more than one character believably. Much of the story is told through the atmosphere and locations set by the ensemble’s movement, so the ability to be a risk-taking, creative, receptive and flexible group member is critical. In addition to strong singing and movement skills, “plays well with others” is a great talent to have in this casting situation!

Featured Ensemble Roles-Male

ABC SOCIETY: “Abaisse”. Their name is a play on words of the French: “the abased” or “the people below”. Students and workers, part of a secret society to fight for freedom. The students are from wealthy families, the workers are a stark contrast. Doubled with other ensemble roles. They include:

  • Combeferre: a philosopher and believer in peace. He is gentle, humane, strong and brave.

  • Feuilly: a worker, self-educated and an orphan. A Believer in “nationality”. Affectionate, warm, poetic

  • Courfeyrac: a student, He is youthful, passionate and fearless.

  • Joly: a medical student. Eccentric and lighthearted, although occasionally morbid. His name is from the English “jolly”

  • Prouvaire: a student of social studies. He is kind, soft spoken and at the right moments strong and masterful. He is a poet.

  • Lesgles: a student, cheerful, laughing at life but unlucky. Close friends with Joly.

  • Grantaire: a student, the opposite of Enjolras. He believes in nothing. He admires Enjolras, but loves to mock him. Witty and often drunk, he is happy being with the group and they put up with him because of his good humor. He keeps a watchful eye on Gavroche and is most heartbroken when Gavroche is killed.

 

THENARDIER’S GANG OF THIEVES: C# to E. They include:

  • Brujon: Physically strong. The body of a bear and a pea sized brain. a gangster, stupid and evil.

  • Babet: Physically frail, but lean and cunning

  • Claquesous: “He is the night.” tough, dangerous and secretive

  • Montparnasse: a teenager, handsome and dangerous. Kills with a knife. Possessive of Eponine

 

OTHERS:

  • The Foreman: 3Eb to D, baritone. The foreman of the factory where Fantine works. He is sleazy and even a bit menacing

  • Bamatabois: D to D. The “customer “who taunts Fantine into violence. Wealthy, dissolute young man who thinks of himself as a gentleman. Drunk, sadistic and feels he can buy anything-even Fantine.

 

Other male ensemble: Chain Gang, Farmers, Laborers, Sailors, Constables, Citizens, Beggars, Wedding Guests, Waltzers

 

Featured ensemble roles-female

  • Factory girl/Woman 1: Mezzo, f to Eb. fights with Fantine. Mean, catty and threatened by Fantine’s beauty. Jealous of the attention that the foreman pays her.

 

  • Old Woman: E to high D. This is the woman who bargains with Fantine for her hair.

Other female ensemble: Farmers, Innkeeper’s Wife, Lovely Ladies, Factory Workers, Citizens, Beggars, Wedding Guests, Waltzers

About Audition Callbacks
Receiving a Callback does not guarantee a part in the show, 
nor does not being called back mean you didn't get a part.
Callbacks are usually a minimum of 3 hours and can last up to 6 hours.

Callbacks will be held the morning of June 3, 2017.

IMPORTANT: IF YOU RECEIVE A CALLBACK--YOU MUST BE ABLE TO ATTEND THE ENTIRE CALL BACK SESSION. FLEXIBILITY & PATIENCE ARE A MUST DURING OUR CALLBACK SESSION. IF YOU RECEIVE A CALLBACK AND ARE UNABLE TO ATTEND--WE WILL NOT BE ABLE TO ACCOMMODATE A SEPARATE CALL BACK TIME FOR YOU.
 

AUDITION - FREQUENTLY ASKED QUESTIONS
Are actor’s paid? No. We are an educational arts community.

Do I need to memorize a monologue? No.

Can my parents watch my audition? No. Parents are welcome to accompany you before and after the audition. There will be a place for them to wait while you are in your audition.

What should I wear? An audition is much like a job interview, except in this interview you might be asked to dance or sing! You should try to look professional and bring an extra set of more comfortable clothes and shoes if you know there will be a choreography portion of the audition.

Will I have to audition in front of anyone else who is auditioning? Sometimes, yes. If asked to do a cold reading, you may be asked to read with other people for the scene.

What is a callback? The "callback" is a second (sometimes third, fourth or fifth) audition where the selection process becomes more specific. At a callback you will be asked to read additional scenes from the show, prepare music from the score, and learn additional dance combinations. The callback is also an opportunity for the director to see and hear different combinations of actors.

What if I am not called back? Not being called back doesn't always mean that you aren't being cast in the show. Sometimes a callback is needed for a director to look at the way specific groups of people fit together.

What if I can’t make all rehearsals? When you audition we ask that you mark any date that you can't rehearse and turn it back in with your form. We are often able to work around the availability of the actors we cast. Sometimes the availability of an actor is the final deciding factor in casting. Always be honest about your availability.

How will I know if I am cast in the show? If you are cast in the show you will receive a phone call or email no later than two weeks after the audition. Please do not call, email or use social media to ask whether you have been cast or not.
 

© 2023 by THEATER COMPANY. Proudly created with Wix.com