Upcoming Auditions

AUDITIONS for “DISASTER!,” a 1970s Disaster Movie…MUSICAL!, written by Seth Rudestsky and Jack Plotnick (concept created by Seth Rudetsky and Drew Geraci, with additional material by Drew Geraci), choregraphed and produced by Lauren Nicole Sherwood, with music direction by Jessica Lopa and directed by Joel Fenster, will be held at The Carriage House on Monday & Tuesday, March 5 & 6 at 7pm.

The show will run three weekends: Fridays & Saturdays, May 4, 5, 11, 12, 18, 19 at 8pm and Sundays, May 6 & 13 at 4pm. 

Auditioners should bring sheet music in the correct key and be prepared to sing up to one minute of a (fully memorized) Broadway-style or 1970s pop song musical selection that showcases your vocal range. An accompanist will be provided, so please highlight your selection. ALSO, please be prepared to read from the script.

ALL ROLES ARE OPEN: Casting up to 8 men, 8 women, and 1 child, as follows. All parts require strong singing and comedic abilities. Most parts require dance ability/willingness to learn.

PROFESSOR TED SCHEIDER – Male, 30-50, Baritone
A "disaster expert" who works to warn others of impending doom. Non-emotional. Dry. Serious.

CHAD RUBIN - Male, 25-40, Tenor
A flirtatious caterer at the casino, attempting to be a player while still mourning his broken engagement to Marianne. Rock/pop belt required.

SCOTT – Male, 25-40, Tenor
A less flirtatious caterer at the casino and Chad’s goofy guy, nerd best friend who wants to be cool. Played by the same actor who plays Jake, a no nonsense security guard.

TONY DELVECCHIO – Male, 30-60, Baritone
The unscrupulous owner of the casino and almost-charming scumbag, handsome middle-aged man a la Burt Reynolds., but a schemer.

MARIANNE WILSON – Female, 25-40, Soprano
An investigative journalist with career goals that conflict with her love life. Attractive and focused, but insecure underneath it all. High pop belt required.

SISTER MARY DOWNY – Female, 20-50, Mezzo-Soprano
An awkward, judgmental nun with a gambling addiction. Pop/rock belt.

LEVORA VERONA – Female, 30-50, Mezzo-Soprano
A flamboyant, glamorous  but faded disco diva who is pushy and sassy, and in love with her sweet pet dog. Pop/soul belt required.

JACKIE NOELLE – Female, 30-50, Mezzo-Soprano
A ditzy but honest showgirl turned lounge singer, an aging but still sexy showgirl, dumb but honest, Goldie Hawn-esque, pop belt. Mother of Ben and Lisa, she is on a quest to find them a new, better father.

BEN & LISA – Male or Female, must look 12, Tenor/Mezzo
Smart and snarky, honest and direct, Jackie’s twin son and daughter are both played by the same actor. Pop belt preferred.

SHIRLEY WINTERS – Female, 40-70, Alto/Mezzo
Maury’s lovable, jolly and dedicated Jewish wife, who suffers from a terminal illness. Tap dance experience a plus.

MAURY WINTERS – Male, 40-70, Baritone

Shirley’s lovable and jolly and dedicated Jewish husband.

ENSEMBLE – Male and Female, 20-60, all vocal ranges
4-6 glamorous party-guests/character roles. Able to play various glamorous party guests, Workmen, Casino Guests, Victims, Staff, Taxi Driver, Cotton Candy Vendor, Chef, Traci, Wealthy Husband, Wealthy Wife, Blinded Woman, etc. Great comedic chops, good dance ability and strong voices needed.

THE STORY:

Disaster! is a new musical straight from Broadway, featuring some of the most unforgettable songs of the ’70s: “Knock on Wood,” “Hooked on a Feeling,” “Sky High,” “I Am Woman” and “Hot Stuff” are just a few of the 34 scintillating hits in this hilarious musical comedy. It’s 1979, and New York’s hottest A-listers are lining up for the opening of a floating casino/discotheque. Also attending is a faded disco star, a sexy nightclub singer with her eleven-year-old twins, a disaster expert, a feminist reporter, an older couple with a secret, a pair of young guys who are looking for ladies, an untrustworthy businessman and a nun with a gambling addiction. What begins as a night of boogie fever quickly changes to panic as the ship succumbs to multiple disasters - earthquakes, tidal waves and infernos. OH MY! As the night turns into day, everyone struggles to survive and, quite possibly, repair the love that they’ve lost… or to at least escape the killer rats.

 


Audition FAQs

+ What should I prepare?

Examine what the audition notice has requested and prepare appropriately. For example, if it asks for classical musical theater, do not bring a song from RENT. You should prepare something that suits you well and with which you are comfortable. We want to see you at your best!

+ Where are auditions held?

Generally auditions are held at the Carriage House Arts Center at 390 Grumman Ave in Norwalk, CT. However, always check the audition listing to make sure.

+ What should I wear?

Wear what you feel & look best in. Don't wear anything too distracting. You will do best in neutral tones and unpatterned pieces. If there is a dance component to the auditions, bring a change of clothes in which you can move easily. If you do not have official "dancewear," don't sweat it! Any gym clothes will do.

+ What should I bring?

If you have a headshot and a resume, great! But you do not need one to be considered. A smile goes a long way inside the audition room and out.

+ Who will be watching me?

The answer to this varies by production, but expect at least 3-4 people in the room: the director, the producer(s), the stage manager, and, if it's a musical, the choreographer and the musical director.

+ What happens in the audition room?

FOR A PLAY: Generally, you will be given "sides," or a section of the script, to read from, either with another actor or with a reader selected by the production team. FOR A MUSICAL: You will enter the room and, if you have sheet music, bring it to the accompanist. At this point you can discuss tempo and feel if you wish, and then make your way to the stage. If there is an X or a marker, walk to that spot; if not, as a rule, stand in the center of the stage. Introduce yourself to the people who are watching, and introduce your piece(s). Once you have completed your audition, thank the room, grab your music from the accompanist and thank him or her as well, and then exit the room.

+ What happens after the audition?

If there is no dance component to the audition, you may leave once you have completed your song or monologue. If the production team needs to see more from you, they will bring you back for callbacks.

+ What happens at callbacks?

This varies by production, but generally you will be called back to audition for a specific part in the production. If the production is a musical, you might also be taught a section of a song from that show or a specific dance combination.

+ What does it mean if I didn't get a callback?

Not getting a callback does not necessarily mean you are not going to be cast. It simply means the production team saw enough from you at your initial audition to make a casting decision about you.

+ When will I find out if I'm cast?

This varies, depending on the calendar of the production, but generally the production will be officailly cast within a week of callbacks. We do contact everyone who auditions (whether they are cast or not) as soon as we can.

+ What does it mean if I'm not cast?

If you are not cast, it does not reflect on your talent or ability. Production teams are looking for a very specific quality and look for each character, and that is out of your control! You should not take rejection as a value judgement on you, but rather as a opportunity to audition for another show.