Casting Equity Actors for Upcoming Shows

Mezzo G3-Eb5. A charismatic nightclub singer who has forsaken her former calling as an evangelist. Fun-loving and basks in being the center of attention. Confident, sassy, and sexy. Fast-talking and unapologetic. She puts on a brave face but is tenderhearted and lovelorn beneath her bravado. Dances (jazz and tap) well. "ANYTHING GOES"

Tenor B3-G4. A love-struck would-be suitor to Hope Harcourt. Billy is optimistic, good-natured, and quick-thinking, sometimes to a fault, when he finds himself in a fix. Strong dancer (including tap). "ANYTHING GOES"

A debutante who is set to marry Lord Evelyn out of financial necessity rather than love. Hope is sweet with a strong sense of morals and duty. Strong dancer. "ANYTHING GOES"

Tenor Bb-Gb2. “Public Enemy Number 13” - Moonface is a second-rate gangster disguised as a reverend to escape police notice. Wily, quick- witted, and loveable, he’s not nearly as intimidating as he thinks he is. Strong comedic timing and movement required. "ANYTHING GOES"

Baritone C3-G4. 30s-40s. Hope’s aristocratic fiancé. Evelyn is good-natured, earnest, gullible, and often oblivious. Excellent comedic timing. RP accent. "ANYTHING GOES"

Mezzo A4-C#5. An independent, modern, impulsive, and lovably clueless moll to Moonface. Strong dancer. Razor-sharp comedic timing. Speaks with a “Joisey” accent. "ANYTHING GOES"

Baritone. An extremely near-sighted business tycoon. "ANYTHING GOES"

Hope’s overbearing mother. "ANYTHING GOES"

Baritone. The captain of the S.S. American. Dignified and deeply concerned with the ship’s prestige. Excellent comedic timing. "ANYTHING GOES"

Reliable, alert, and by the book. Strong mover. "ANYTHING GOES"

A rascally New York street-tough who has allegedly been converted by Reverend Henry T. Dobson. "ANYTHING GOES"

A rascally New York street-tough who has allegedly been converted by Reverend Henry T. Dobson. "ANYTHING GOES"

Strong tap dancers who sing well to play various characters in the ensemble. "ANYTHING GOES"

Strong tap dancers who sing well to play various characters in the ensemble. "ANYTHING GOES"

English accent required. A wealthy socialite who previously had an affair with Maxine and is now being blackmailed. She moves from an optimistic outlook on life to being frightened for her actual life. "DIAL “M” FOR MURDER"

An American thriller writer. She is Tony’s client and former flame and had an affair with Margot. Successful, strong and devoted to Margot. "DIAL “M” FOR MURDER"

A publishing PR agent and failed writer, married to Margot. Vain, witty, and charming. Calculating. "DIAL “M” FOR MURDER"

English accent required. A shady character with multiple aliases and a mysterious connection to Tony. Ruthless and self-serving. "DIAL “M” FOR MURDER"

English accent required. The lead detective in the case. Intelligent, observant. Witty with high moral standards. Determined to find the truth. "DIAL “M” FOR MURDER"

British dialect. A seasoned actress who has played older women for her entire career. She is forgetful, caring, and spiteful when spurned. She is engaged in an affair with her much younger castmate, Garry. In “Noises On” she plays Mrs. Clackett, a Cockney housekeeper. Strong physical comedy and language skills. "NOISES OFF"

British dialect required. An idealistic and inexperienced young actress. She’s a bit spacey and cannot see without her contacts. She is sleeping with Lloyd Dallas, the director. In “Nothing On” she plays Vicki, a secret tax authority worker, trying to woo Roger. Strong physical comedy and language skills. "NOISES OFF"

British dialect required. A talented, veteran actress who is charming, reliable, and positive as she tries to keep the production going. She’s a busybody. In “Nothing On” she plays Flavia, who is trying to secretly use the play’s house with her husband. Strong physical comedy and language skills. "NOISES OFF"

British dialect. The overworked assistant stage manager grappling with emotional overwhelm. She is secretly having an affair with Lloyd Dallas, the director. She understudies Brooke. Strong physical comedy and language skills. "NOISES OFF"

British dialect. The director of the play “Nothing On.” He doesn’t seem to care much for the play, but he’s passionate and temperamental. Suave, charming, and frequently sarcastic. Strong physical comedy and language skills. "NOISES OFF"

British dialect. Acts as if he’s the show’s lead. He is prone to jealousy and rarely finishes his sentences. He is having an affair with his castmate, Dotty. In “Nothing On” he plays Roger Tramplemain, a real estate agent who is attempting to rent the house to a Sheikh and also use it as a place to secretly cavort with Vicki. Strong physical comedy and language skills. "NOISES OFF"

Middle Eastern/North African. British dialect. Sweet, neurotic, and bumbling. He asks many questions and faints at the sight of blood. A bit emotionally unstable as his wife left him during the rehearsal process. In Nothing On, he plays Philip Brent and the Sheikh. Brent owns the house, but is living in Spain to evade taxes. The Sheikh is a wealthy man interested in renting the house. Strong physical comedy and language skills. "NOISES OFF"

British dialect required. An aging actor with an alcohol problem. He frequently falls asleep and is selectively hard of hearing. In Nothing On, he plays a Cockney Burglar. Strong physical comedy and language skills. "NOISES OFF"

The stage and company manager. Beleaguered, overworked, and sleep deprived. Earnest and frantic. He understudies Selsdon and Frederick. Strong physical comedy and language skills. "NOISES OFF"

Alto/Mezzo E3-C#5. Down-on-her-luck, but always hopeful. An optimistic dreamer with a heart of gold, often to her detriment. Charity is a dance hall hostess who dreams of finding true love. Strong physical comedy and excellent dancer. "SWEET CHARITY"

B2-Gb4. A repressed, neurotic actuary. He is claustrophobic, educated, shy, and reluctantly romantic. Strong physical comedy. Will double as various ensemble roles. "SWEET CHARITY"

BIPOC/African American/Indigenous/Person of Color. Mezzo with a strong belt (F3-C#5). A sultry dancer at the Fandango Ballroom and one of Charity’s best friends. A confident straight-talker. Strong dancer. Will double as various ensemble roles. "SWEET CHARITY"

BIPOC/African American/Indigenous/Person of Color. Strong bari-tenor. Strong movement/dance. Herman is the grizzled, yet sensitive, owner of the Fandango Ballroom. Vittorio Vidal is a handsome, international film star with an Italian accent. Daddy Brubeck is the charismatic, hippie leader of the Rhythm of Life Church. Will double as various ensemble roles. "SWEET CHARITY"

Mezzo with a strong belt (F3-C#5). A brassy New Yorker and dancer at the Fandango Ballroom. She is the mother hen of the hostesses and one of Charity’s closest friends. Strong dancer. Will double as various ensemble roles. "SWEET CHARITY"

Ursula is the hot-headed and jealous significant other of Italian movie star, Vittorio Vidal. Strong comedic timing and strong dancer. Will double as various ensemble roles. "SWEET CHARITY"

Strong singers who dance extremely well. "SWEET CHARITY"

[AN OFFER IS OUT FOR THIS ROLE] The eldest brother. German Jewish immigrant from Bavaria; intelligent, resourceful, tenacious and proud of the business he is building; doubles as Philip Lehman, Pete Peterson, and others. "THE LEHMAN TRILOGY"

[AN OFFER IS OUT FOR THIS ROLE] German Jewish immigrant from Bavaria; the middle brother; hot-headed, intelligent, takes pride in whichever business venture it is that he is doing; he enjoys the finer things in life –‘always more, always better’; doubles as Herbert Lehman, Lewis Glucksman, and others. "THE LEHMAN TRILOGY"

[AN OFFER IS OUT FOR THIS ROLE] German Jewish immigrant from Bavaria; the youngest brother; a level-headed and steady thinker; the mediator between his two elder brothers; charming, warm and ambitious; doubles as Bobby Lehman and others. "THE LEHMAN TRILOGY"

Sultry, defiant, vulnerable. Her tortured past is apparent in her musical interpretation and phrasing. "LADY DAY AT EMERSON’S BAR AND GRILL"

(Must be a professional-level pianist/accompanist.) Billie’s accompanist who is very caring and supportive towards her. He is often required to think on his feet and musically improvise on the piano around her spontaneous performance decisions. "LADY DAY AT EMERSON’S BAR AND GRILL"

An actor working in the 1950s London Theatre. He is well-spoken, well-trained, and technically proficient in the handling of verse. A dashing leading man, he has great confidence in his abilities and in his prospects. Not mannered or affected, but not an overly naturalistic actor. Charming, charismatic, a brilliant storyteller, with a strong sense of humor. "THE WOMAN IN BLACK"

A man in tremendous pain, very close to an emotional and nervous collapse, and yet utterly without self-pity. Quiet, self-effacing, well-educated with very little self-confidence. A lawyer, working for an established London firm, in this moment he carries little of the skill he doubtless possesses. A true character actor who will portray very distinctly different people sharply and with a minimum of props, costume, etc. "THE WOMAN IN BLACK"

A good mover - perhaps from the dance world. Otherworldly, haunting, impacts the story through movement and presence. Nonspeaking. "THE WOMAN IN BLACK"