Performers Needed For Season Shows

A society matron. Mary is the center of the play; it is around her life and troubles that the action of the play revolves. She is strong and amiable—does not (as a rule) indulge in cattiness, self-pity, or materialistic greed. She simply doesn’t have to. She has it all. She’s the ideal of the period. Until, of course, everything goes wrong. "THE WOMEN"

A society matron, part of Mary’s coterie. Sylvia, though she occupies the exact same societal position as Mary, is her polar opposite. She is sleek and feline, but prone to vicious gossip and social maneuvering. She is expert at it. Requires a comedienne who excels not only at rapid-fire badinage, but physical comedy. "THE WOMEN"

A shopgirl. Crystal is Mary’s rival for the affections of her husband. She is drop-dead gorgeous (though her lack of subtlety reveals her tastes as “cheap”), truly savvy, ruthless, and tough as nails... seething with social ambition. "THE WOMEN"

A society matron, part of Mary’s coterie. Edith is perpetually pregnant and unhappy, trapped and wallowing in her own self-pity and sense of entitlement. Requires a comic actress with impeccable deadpan delivery. "THE WOMEN"

A newlywed, part of Mary’s coterie. Peggy is the youngest of Mary’s group of friends, and hasn’t yet defined a façade to present to society. She broadcasts her marital and financial struggles guilelessly. "THE WOMEN"

An authoress, part of Mary’s coterie. An acid wit and dedicated virgin, Nancy is as close as Mary’s society gets to “fighting the power.” She and Mary are really the only ones in this group of friends to see the ridiculousness of their positions. "THE WOMEN"

A performer in Musical Comedy. Though, like Crystal, Miriam is an ambitious woman who has risen into society by marriage, her no-nonsense attitude and innate sense of right and wrong set her apart from many of these characters in terms of likeability. She tells it like it is, has no illusions about herself, and pokes holes in the ridiculousness of others. (also plays PRINCESS TAMARA) "THE WOMEN"

A serial bride. The Countess is the eldest of Mary’s friends, and a figure of fun among them. She’s a bit dotty, ridiculously pampered and self-deluded, and relies completely on her faith in “l’amour” to get her through life’s more difficult moments. (also plays HAIRDRESSER) "THE WOMEN"

Mary’s maid. Jane is a young housemaid who lives vicariously and emotionally through the women she encounters in Mary’s company. "THE WOMEN"

Mary’s mother. Mrs. Morehead is a model Patrician, expert in the ways and means of Polite Society. The advice she offers Mary is always correct; she is kind and loving, but reticent to suffer fools. "THE WOMEN"

A manicurist. An inveterate gossip with machine gun delivery who unwittingly informs Mary of her husband’s affair. (also plays 1ST GIRL AT CLOTHIER’S, MISS TRIMMERBACK, CIGARETTE GIRL) "THE WOMEN"

Mary’s husband’s secretary. Miss Watts offers us a rare and candid glimpse of a 1930s woman who’s married to her job. (also plays CORSET MODEL, HELENE) "THE WOMEN"

At Elizabeth Arden. Hard as nails, the Instructress guides the more clueless matrons through their exercise rituals at a luxurious day spa. (also plays 2ND GIRL AT CLOTHIER’S, GIRL IN DISTRESS) "THE WOMEN"

Manager of a Reno Divorce Colony. Lucy is a life worn hotel proprietress whose contact with New York Society is only through her female guests who come through Reno to get divorced. She’s folksy and hilarious. (also plays SALESWOMAN AT CLOTHIER’S, MAGGIE, DOWAGER) "THE WOMEN"

In a maternity ward. In one of the most hilarious scenes in the play, the maternity nurse lambastes Edith for her pampered ways. (also plays MISS FORDYCE, SALESWOMAN AT CLOTHIER’S, SADIE) "THE WOMEN"

A charismatic nightclub singer and former evangelist, she is clever, funny, persuasive and extremely confident. Strong singing and dancing required, as well as comedic timing. VOCAL RANGE: Alto/Belt. "ANYTHING GOES"

Four (4) backup singers/dancers in Reno’s act, they are showgirls with pizzazzand personality. All roles require strong singing and dancing skills. VOCAL RANGE: Various. "ANYTHING GOES"

A beautiful heiress with a strong sense of duty, she is willing to sacrifice love and marry to satisfy her mother’s wishes. Strong singing and dancing required. VOCAL RANGE: Soprano. "ANYTHING GOES"

A young businessman who is in love with Hope, he charismatic and charming. Strong singing required and should be able to dance or move well. VOCAL RANGE: Baritone/Tenor. "ANYTHING GOES"

Hope’s energetic, quirky, and good-natured aristocratic fiancé. English accent, strong singing and the ability to move well also required. VOCAL RANGE: Baritone. "ANYTHING GOES"

Hope’s overbearing mother who is mainly concerned with money and social status. Sings with ensemble only. "ANYTHING GOES"

A loveable gangster who is also loyal and willing to go the distance for a friend. Requires strong comic timing, plus the ability to sing and move well. VOCAL RANGE: Baritone. "ANYTHING GOES"

A playful, independent, impulsive, and loveably clueless “dame” – a typical 20’s “gun moll” with a ‘Joisey’ accent. Strong singing and dancing. VOCAL RANGE: Mezzo/Belt. "ANYTHING GOES"

A successful Wall Street banker who is nearsighted and thinks he is always right. Ability to move well is a plus. VOCAL RANGE: Baritone. "ANYTHING GOES"

Captain of the S. S. American. Ability to move well is a plus. VOCAL RANGE: Baritone. "ANYTHING GOES"

ENSEMBLE. All must sing and move well. Various roles will be cast from the ensemble. "ANYTHING GOES"

ENSEMBLE. All must sing and move well. Various roles will be cast from the ensemble. "ANYTHING GOES"

ENSEMBLE. All must sing and move well. Various roles will be cast from the ensemble. "ANYTHING GOES"