Auditioning At CTL
The Community Theatre League is holding open auditions for
THE PROM for ACTORS AGE 16 AND UP
Audition Information:
Audition Dates: April 14 @ 7PM & April 15 @7PM
Performance Dates: June 14-16 & 20-23, 2024
Those that can not make these auditions should reach out to CTL@CTLshows.com to make different audition plans.
Director: Marie Fox
Music Director: Amanda Haney
Choreographer: Maia Cenimo
Four eccentric Broadway stars are in desperate need of a new stage. So when they hear that trouble is brewing around a small-town prom, they know that it’s time to put a spotlight on the issue…and themselves. The town’s parents want to keep the high school dance on the straight and narrow—but when one student just wants to bring her girlfriend to prom, the entire town has a date with destiny. On a mission to transform lives, Broadway’s brassiest join forces with a courageous girl and the town’s citizens and the result is love that brings them all together. Winner of the Drama Desk Award for Best Musical, THE PROM expertly captures all the humor and heart of a classic musical comedy with a message that resonates with audiences now more than ever.
What to Prepare For Your Audition:
- Please prepare 24-32 bars (less than a minute of music) in the same style of the show. Please bring a track to sing along with for your audition.
- Cold-readings (pages from the script) will be given out for auditionees to read from.
- Please come dressed ready to dance and move as there will be a dance audition for all attending.
****Please Note: Most characters we encounter currently are written with he/him or she/her pronouns. However limiting the descriptions are, our casting seeks to be inclusive as possible and we invite gender non-conforming, genderqueer, transgender, and non-binary actors to submit for the roles they most identify with. We will also list race/ethnicity when specific to the character but are otherwise seeking all races and ethnicities.****
Emma Nolan – late teen/young adult
student, shy, in love with Alyssa, warm-hearted, quiet, reluctant, smart, kind, intelligent, strong actor/singer, ability to play guitar is an asset but not required.
Vocal Range: F3 – E5
Dee Dee Allen – mature adult
diva, narcissistic, egotistical Broadway star, comical, self-involved, domineering, big stage presence, strong actor/singer
Vocal Range: E3 – E5
Barry Glickman – adult/mature adult
campy, over-the-top, politically incorrect, flamboyant Broadway star, self-involved, impulsive, kind-hearted, strong singer
Vocal range: Bb3 – F#4 (Ab5, if possible)
Alyssa Greene – late teen/young adult
top student, cheerleader, closeted girlfriend, in love with Emma, fearful, strong actor/singer/mover
Vocal Range: Ab4 – Eb5
Mr. Hawkins – adult/mature adult
African-American high school principal, concerned, star-struck fan of Dee Dee’s, kind, honest, ally to Emma, reprimanding
Vocal range: G2 – F4
Angie Dickinson – adult/mature adult – actress, dancer, frustrated Broadway veteran, heart of gold, experienced, kind hearted, flamboyant, jaded “Fosse” girl, strong actor/singer/dancer
Vocal Range: Ab4 – E5
Mrs. Greene – adult
Alyssa’s mother, strict, controlling, intimidating, traditional, straight-laced, school PTA President, conservative, shocked, tough, strong actor
Vocal Range: A4 – C5
Trent Oliver – adult
pretentious Juilliard graduate, struggling Broadway actor, pompous, enthusiastic, funny, strong actor/singer/mover
Vocal range: C3 – Ab5
Sheldon Saperstein – adult/mature adult
Broadway publicist, straight-talking, hard-working, charismatic agent
Open vocal range. Ensemble range as appropriate
Shelby, Kaylee, Nick, Kevin – teens/young adults
students who bully Emma (but eventually learn to accept her), the popular kids (cheerleaders and jocks), strong singers/dancers
Shelby
Solo Vocal range: Ab4 – Bb5
Kayley
Solo Vocal range: Ab4 – C5
Nick
Solo Vocal range: C3 – F4
Kevin
Solo Vocal range: D3 – G4
Ensemble:
Student Ensemble – late teens/young adults –(anyone who passes for 16-22) of all genders
prejudiced, mean, bullying, small town, bigoted (but have a change of heart), excitable, strong singers/movers. Will be playing the students at the high school.
Adult Ensemble – adults/mature adults – (anyone who passes for 22 and above) both genders,
bigoted, homophobic, small town, prejudiced, worried, afraid, strong singers/movers.
****Will consist of the following roles: Olivia Keating, opening night party attendees, reporters, PTA members, motel clerk, cast of the non-Equity tour of Godspell, Monster Truck rally attendees, Mrs. Greene’s friend
All roles, unless otherwise announced, are open. CTL encourages anyone who is interested to audition and is always eager to welcome new faces and fresh talent to its stage. Except as specifically required by the author for certain roles, The Community Theatre League has a non-discrimination casting policy, open to members of all races, sexes, creeds, orientations, and abilities. We encourage members of diverse backgrounds and abilities to audition for our productions.
The Community Theatre League is accepting audition submissions
Corner of Broadway & Third presents “Broadway to Big Screen”
Audition Information:
Audition Submissions are due by April 12th
Performance Dates: April 26 & 27, 2024
Director: SETH SPONHOUSE
How to be involved:
AUDITION:
Send in an audition video to ctl@ctlshows.com (by Apr. 12), singing one of the following numbers from the nights setlist…
1. “Singin’ in the Rain” from Singin’ in the Rain (1952)
2. “Somewhere Over the Rainbow” from The Wizard of Oz (1939)
3. “My Favorite Things” from The Sound of Music (1965)
4. “Beauty and the Beast” from Beauty and the Beast (1991)
5. “My Heart will Go On from Titanic (1997)
6. “Let It Go” from Frozen (2013)
7. “I Dreamed a Dream” from Les Misérables (2012)
8. “The Sound of Silence” from The Graduate (1967)
9. “Come What May” from Moulin Rouge! (2001)
10. “Moon River” from Breakfast at Tiffany’s (1961)
11. “City of Stars” from La La Land (2016)
12. “I Will Always Love You” from The Bodyguard (1992)
13. “Shallow” from A Star is Born (2018)
14. “The Circle of Life” from The Lion King (1994)
15. “The Phantom of the Opera” from The Phantom of the Opera (2004)
16. “All That Jazz” from Chicago (2002)
17. “A Whole New World” from Aladdin (1992)
18. “I Got Rhythm” from An American in Paris (1951)
19. “The Schuyler Sisters” from Hamilton (2020)
20. “Stayin’ Alive” from Saturday Night Fever (1977)
21. “Don’t Stop Believin'” from Rock of Ages (2012)
22. “Everything’s Coming Up Roses” from Gypsy (1962)
23. “We Belong Together” from Toy Story 3 (2010)
24. “I Feel Pretty” from West Side Story (1961)
25. “Summer Nights” from Grease (1978)
26. “A Million Dreams” from The Greatest Showman (2017)
27. “Hakuna Matata” from The Lion King (1994)
28. “The Time of My Life” from Dirty Dancing (1987)
29. “You Can’t Stop the Beat” from Hairspray (2007)
30. “The Man Ghat Got Away” from A Star is Born (1954)
31. “Paciencia Y Fe” from In The Heights (2021)
All roles, unless otherwise announced, are open. CTL encourages anyone who is interested to audition and is always eager to welcome new faces and fresh talent to its stage. Except as specifically required by the author for certain roles, The Community Theatre League has a non-discrimination casting policy, open to members of all races, sexes, creeds, orientations, and abilities. We encourage members of diverse backgrounds and abilities to audition for our productions.
ELLA (Cinderella)
(Female, 20s, Soprano, Any Ethnicity)
Kind-hearted beauty with an infectious generosity of spirit. Though she has been flying under the radar she comes fully into herself as an articulate dynamic woman with a great deal to say Traditional musical theatre soprano.
TOPHER
(Male, 20s – early 30s, Baritone, Any Ethnicity)
The prince of the kingdom leads with heroic bravado but is deeply naïve and not always quick on the draw. In search of his purpose. His kindhearted nature spills into an endearing goofiness at times. Light comedic touch is essential. Soaring, rich musical theatre baritone to G.
MADAME
(Female, Late 40s – 50s, Mezzo-Soprano, Any Ethnicity)
Ella’s selfish stepmother. A vain and tyrannical climber. Deeply concerned with status and image and entirely dismissive of her stepdaughter. Comic timing essential. Traditional musical theatre character voice.
GABRIELLE
(Female, 20s – 30s, Mezzo-Soprano, Any Ethnicity)
Ella’s stepsister and daughter of Madame. Begins aligned with her materialistic mother and sister but her kindness and thoughtful nature emerge as she is effected by Ella and love interest John-Michel. Perhaps a bit quirky and cut from a different mold than the social climbers around her. Comic timing is essential. Strong and expressive traditional musical theatre voice.
CHARLOTTE
(Female, Late 20s – 30s, Mezzo-Soprano, Any Ethnicity)
Ella’s stepsister and daughter of Madame. Deeply self-involved, attention seeker. Loud, brash and delights in being cocky. Lacks self-awareness and often the last one in on the joke. Excellent comic timing required. Traditional musical theatre character belt to F.
MARIE
(Female, 40s – 60s, Soprano, Any Ethnicity)
First presents as a bag lady but is revealed as Ella’s fairy godmother in disguise. Warm with a spark of wackiness she lifts the magic in the show and highlights what is possible! Soaring traditional musical theatre soprano to G.
JEAN MICHEL
(Male, 20s – 30s, Any Ethnicity)
An enthusiastic revolutionary determined to make a difference. Energized and on his way to becoming a leader. Great comic timing. Traditional musical theatre voice.
SEBASTIAN
(Male, 40s – 60s, Any Ethnicity)
Topher’s Lord Chancellor. He actively shields the Prince from what is occurring in his kingdom and revels in maintaining his own power. Disregarding villagers in need he is primarily concerned with preserving the wealthy and the reach of his power. Fantastic comic timing essential. Traditional musical theatre character voice.
LORD PINKELTON
(Male, 30s – 50s, Tenor, Any Ethnicity)
Sebastian’s second-in- command and the herald for all balls and events. Announces royal balls, banquets and even the weather. Excellent comic timing is essential. Traditional musical theatre tenor.
Ensemble of villagers, knights and ball guests.
All roles, unless otherwise announced, are open. CTL encourages anyone who is interested to audition and is always eager to welcome new faces and fresh talent to its stage. Except as specifically required by the author for certain roles, The Community Theatre League has a non-discrimination casting policy, open to members of all races, sexes, creeds, orientations, and abilities. We encourage members of diverse backgrounds and abilities to audition for our productions.
Dates for 2023-2024 Auditions!
KEEP A LOOK OUT HERE FOR AUDITION DATES FOR THESE EXCITING SHOWS AND MORE!
THE PROM
April 14 & 15
THE LIGHTNING THIEF: THE PERCY JACKSON MUSICAL
May 19 & 20
All auditions will be held at 7pm, unless otherwise advertised.
Information on what to prepare will be put out 2-3 weeks in advance of auditions.
Audition Calendar
Community Theatre League Audition Policy
All roles, unless otherwise announced, are open. CTL encourages anyone who is interested to audition and is always eager to welcome new faces and fresh talent to its stage. Except as specifically required by the author for certain roles, The Community Theatre League has a non-discrimination casting policy, open to members of all races, sexes, creeds, orientations, and abilities. We encourage members of diverse backgrounds and abilities to audition for our productions.
If, after open auditions, the director believes that a particular role or roles cannot be cast, additional actors may be contacted and further auditions may be held as required. Being invited to audition, either directly or indirectly, does not guarantee a role.
In the event an actor cannot attend regular auditions, s/he may audition at a pre-arranged time at the director’s discretion. Callbacks will be held if necessary. Not being called back does not mean that auditionees are not cast in the show. Likewise, being called back does not guarantee casting.
Please note that by auditioning, you are obligating yourself to a considerable rehearsal and performance process. Please be certain that you are willing and able to make this commitment.
Audition / Rehearsal Facts and FAQs
CTL strives to make the audition process a positive and comfortable experience for everyone. Our goal is to put on a wonderful show for the audience and an enjoyable and fulfilling process for local performers.
Anyone may audition, depending on the age groups required for the selected play or musical. Some people come to auditions who are long-time, experienced performers, while some have never been on stage before. No experience is necessary for tryouts. Frequently, auditionees who may not be cast in a particular show choose to participate in the production, through backstage, costuming or technical support.
Play auditions generally do not require advance preparation. Actors may be asked to perform monologues, or may be asked to read from the selected script and to interact with other performers during the audition process, at the discretion of the director. For musicals, you will be asked to bring your own piece of prepared music. Unless stated otherwise in the audition notice, you may bring a CD with pre-recorded background instrumentals (i.e., karaoke tracks). Most singers use sheet music, and an accompanist will be provided for you.
Most directors post information on the CTL website regarding character outlines and a synopsis of the show. Reviewing this information before auditions should provide an idea of what parts might be available and suitable for a specific performer. Please be advised that stage productions of stories which may have also been produced as books or movies might have differences in cast and content.
Rehearsal times vary depending on the director. Most rehearsals will run 2-3 hours. Starting times vary. Shows with children in the cast usually start earlier in the evening than those with adults. Starting times are usually 6:30 PM or 7:00 PM. An effort is made early in the rehearsal process to target specific performers at specific times, to minimize “down time” for performers at rehearsals.
All those who audition are contacted via phone or email. An announcement is made at auditions, to advise when auditionees should expect to hear from a member of the production team. A cast list is posted on the CTL website once it is final.
Casting decisions are ultimately made by the Director, with input from the show’s production staff, which includes the Production Manager, Music Director and Choreographer (if applicable), Stage Manager, and at least one member of CTL’s Production Planning Committee.
The Community Theatre League reserves the right to recast a part if a performer behaves in a manner that is deemed detrimental to the production.
Tips for Auditioning
CTL is a volunteer-run non-profit and, as such, is always looking for more people to audition, organize and just help out in general. To keep up with the details of each audition, check this website often, listen to the radio stations of Clear Channel Williamsport, check your local newspaper’s arts and entertainment section, email, or call the theatre at 327-1777, weekdays 11-4.
Before auditioning
Check the rehearsal and performance schedules before you audition. Probably one of the worst things is to audition, get a great part and then find out that rehearsals interfere with classes or that you’ll be out of town during the 2 weeks the play goes on. Always err on the side of asking too many questions to make sure you can fulfill your obligations.
Read up on the play you’ll be auditioning for. This goes not only for the actual audition piece (if provided), but it’s good to check, especially in newer or independent works, for any subject matter that you may be uncomfortable with. Very little is sacred to some playwrights, so do your homework.
Practice the required audition piece (if available) until you know it by heart. Called “off book” in theater lingo, being able to speak the part freely shows professionalism and allows you to use your hands and body language during your scene. Practice alone in front of a mirror, as well as with others either as an audience or someone feeding you responses if the audition piece is interactive.
If the show is a musical, you will be required to sing a short song. The standard length of an audition piece is 16 measures, which would be roughly a verse or chorus of a tune. Each director is different and some may allow you to sing more than 16 bars or even all of the song so you should bring sheet music (in the correct key) for the accompanist. Unless specifically stated in the audition notice, CD’s and background tracks (karoke CDs) are allowed. The piece should be memorized, but if not, a second copy for yourself is best. Most auditions at CTL happen in large groups, which means you will likely be requested to sing in front of the group.
Be prepared to commit time to building sets and sewing costumes if necessary. Remember, many community theaters are volunteer run and funding comes either from grants or the success of the last performance. Pitching in may be expected, and even if it isn’t, if you have the time consider contributing anyway since it’ll only make the total experience that much better.
F.Y.I.
It may take up to two weeks for the directors to cast the show. Be patient. The directors are always looking for just the right combination of people to have a great show.
Best of luck!