Rave On Productions is Seeking Some Candymen (Candyladies, and Candy Boys & Girls)

Rave On Productions Announces Auditions for:

Roald Dahl’s Willy Wonka

We invite interested teen and adult actors (ages 13+) to submit video auditions for the upcoming family production of Roald Dahl’s Willy Wonka being performed at the Scottish Rite Theater in Omaha, NE. This is a paid performance opportunity.

Auditions are by video submissions only. Actors should prepare and sing 16 bars of a family friendly song.

Rehearsals will be held June 26 – July 21. Weekend rehearsals will be during the day and weekday rehearsals will be held during evenings. There will not be rehearsals scheduled July 1 – 4 due to the July 4th holiday. Rehearsals will be held at the Rave On Productions/McGuigan Arts Academy Studio in Countryside Village in Omaha, NE.

Performance dates and times:
July 22 at 7:30pm
July 23 at 7:30pm
July 24 at 2:00pm
July 29 at 7:30pm
July 30 at 7:30pm
July 31 at 2:00pm

Please send video auditions along with a headshot and resume to info@billymcguigan.com. Please note that actors aged 18 or older are required to pass a background check prior to being cast. Parents and guardians are not permitted in rehearsals or backstage during the show.

Video audition submissions will be accepted through Friday May 13, 2022.

Rave On Productions Announces Sophomore Season of ‘The Omaha Series’

Omaha, NE–After a critically acclaimed debut season that blew in with the ferocity of a hurricane and netted a jaw dropping 9 nominations at the Omaha Entertainment and Arts Awards, Rave On Productions has announced its second season of The Omaha Series and its guaranteed to have something for everybody.

The brain child of Rave On’s owner, Billy McGuigan, and Rave On’s Artistic and Education Director, Kimberly Faith Hickman, the Omaha Series presents musical productions in traditional and non-traditional venues throughout the Omaha metro area.

The Omaha Series 2022 Season

Rock of Ages
April 7-16
Venue: The Waiting Room (6212 Maple Street)

Rock Of Ages is a five-time Tony Award-nominated musical telling the story of a small-town girl, a city boy and a rock ‘n’ roll romance on the Sunset Strip. When the bar where rock reigns supreme is set to be demolished, it’s up to a group of rockers and their band of friends to save the day…and the music! Can Drew, Sherri and the gang save the strip before it’s too late? Only the 80s best rock anthems and power ballads hold the answer!

Rock Of Ages’ electric score features smash, hair band hits like Bon Jovi’s WANTED DEAD OR ALIVE, Poison’s EVERY ROSE HAS ITS THORN, Foreigner’s I WANNA KNOW WHAT LOVE IS, Whitesnake’s HERE I GO AGAIN, Journey’s DON’T STOP BELIEVIN’ and so many more! So grab your aqua net and get ready to rock and roll all night at The Waiting Room!

Don’t Stop Me Now
June 9-11
Venue: SumTur Amphitheater (11691 S 108th St in Papillion, NE)

Tonight I’m gonna have myself a real good time. I feel ali–i –i-iiiive celebrating the most popular and acclaimed rock musicals of all time! Don’t Stop Me Now delivers an energetic concert featuring favorites from musicals like Jesus Christ Superstar, Jersey Boys, Hedwig and the Angry Inch, Rock of Ages, Dreamgirls, Hair, Rent and more! Everybody cut loose – Footloose – kick off your Sunday shoes and be swept up in a rock musical journey through time. All the strange rock and rollers, you’re know you’re doing all right at Don’t Stop Me Now!

Roald Dahl’s Willy Wonka
July 22-31
Venue: The Scottish Rite (202 S 20th St)

Roald Dahl’s timeless story of the world-famous candy man and his quest to find an heir comes to life on the Scottish Rite stage July 22 – 31. Roald Dahl’s Willy Wonka features a cast of young performers as they take the audience on a fantasy ride into the land of pure imagination! Roald Dahl’s Willy Wonka includes classic songs like “Pure Imagination”, “The Candy Man”, “(I’ve Got a) Golden Ticket”, “Oompa-Loompa-Doompadee-Doo”, “I Want It Now” and more! This family-friendly scrumdidilyumptious musical is guaranteed to delight everyone’s sweet tooth!

Billy McGuigan’s Pop Rock Orchestra
August 18-20
Venue: SumTur Amphitheater (11691 S 108th St in Papillion, NE)

Like many of us out there, the feeling Billy got from watching big rock bands from the 70s was exhilarating and it’s an energy that is re-created with Billy McGuigan’s Pop Rock Orchestra. His musical influences left an incredible impact on the type of entertainer Billy was to become. Think of 1970’s Jumpsuit Elvis, the Moody Blues who put symphonic interludes in the middle of a rock song, ELO with an electric horn and string section – rock & roll was transformed! As Billy navigates the audience through decades of classic gems, he does so backed by a rock orchestra that can match his energy in force. The set list is as varied and versatile as Billy himself.

The Rocky Horror Show
Oct 21-29
Venue: The Slowdown (729 N 14th St)

One fateful night, Brad and Janet – a wholesome, well-behaved, utterly normal young couple in love – innocently set out to visit an old professor. A thunderstorm and a flat-tire force them to seek help at the castle of Dr. Frank ‘N’ Furter, an alien, transvestite scientist with a manic genius and insatiable libido played by glam rocker, Benn Sieff. Brad, Janet and Frank ‘N’ Furter’s cohorts are swept up into the scientist’s latest experiment. A loving homage to the class B sci-fi film and horror genres with an irresistible rock ‘n’ roll score is a hilarious, wild ride that no audience will soon forget.

Yesterday and Today: The Interactive Beatles Experience
Nov 25-Dec 30
Venue: The Slowdown (729 N 14th St)

Yesterday and Today: The Interactive Beatles Experience is the nation’s most innovative and unique show utilizing the works of The Beatles. This amazing band, anchored by brothers Billy, Matthew and Ryan McGuigan perform as themselves and leave the song choices completely in the hands of the audience. This is done through request cards that audience members fill out prior to the show. On those cards, the audience member only needs to fill out three things: their name, their favorite Beatles song and the reason why they chose that song. The cards are collected and two minutes before the show begins, a set list is created based upon the songs chosen by that particular audience. As an added treat, the reasons that the audience members chose those songs make up the narrative of the evening. Every show is different, every show is interactive, and every show Yesterday and Today: The Interactive Beatles Experience proves that The Beatles’ music truly is the soundtrack to our lives.

Holidays at Disney, Day 4: Woah, Oh, Oh, it’s Magic Kingdom

Cinderella Castle

And so the final day had come and I had saved the best for last for today would be Magic Kingdom day.

I was able to rest up a little bit longer as early entry would be at 8am.  Tonight the park would be open until 1am, but I also ordered Genie+ again as I didn’t want to have to wait late into the night to hit my favorite rides.  I also bought a Lightning Lane for Seven Dwarfs’ Mine Train, Magic Kingdom’s newest roller coaster.

As I expected, the place was a zoo prior to rope drop.  But I figured everyone would head to the Mine Train, leaving me free to visit Liberty Square and Frontierland where my favorite rides were located.  To my shock, only Tomorrowland and Fantasyland were opened up at early entry.  I thought that to be a poor business decision and a puzzling one.  Every other park opened in its entirety so I couldn’t understand why only part of the Kingdom would open. 

As my favorite sections wouldn’t open until 9am, I went ahead and rode one of the WDW originals:  It’s a Small World.

This is a slow-moving boat ride that takes you through the countries of the world where scads of animatronic children sing the titular song.  It’s syrupy sweet and shares a message about world peace since “it’s a small world after all”.  I was really struck by how much animatronics had evolved since this ride.  The robots are pretty primitive and seem more like oversized toys, but, at the time, this was undoubtedly cutting-edge technology and would lead to much greater advances.

Eventually, the rest of the park opened and I headed off to Frontierland to visit one of my two favorite rides:  Splash Mountain.

Splash Mountain

Splash Mountain was inspired by the Brer Rabbit sequences from the controversial 1946 movie, “Song of the South”.  It, too, will eventually be shut down so it can be overhauled into “The Princess and the Frog” so this was likely my last go round in its original incarnation.

Splash Mountain and Haunted Mansion are my two favorite rides in all of WDW and I could spend a day just flipping between the two and consider it a day well spent.  I enjoyed the leisurely float as I watched Brer Rabbit outsmart his nemeses, Brer Fox and Brer Bear, time and again before plunging down the 50 foot drop into the Briar Patch just in time to see Brer Rabbit’s neighbors welcome him home with “Zip a Dee Doo Dah”.

Seven Dwarfs’ Mine Train

From Splash Mountain it was back to Fantasyland to enjoy the Seven Dwarfs’ Mine Train.  It wasn’t that bad of a coaster, but it wasn’t spectacular.  Though it was amusing to watch the Dwarfs work their mine before heading home to dance with Snow White.

After the Dwarfs, it was off to the Hundred Acre Wood to experience The Many Adventures of Winnie the Pooh.  Hop on a honey pot and experience the stories of Winnie the Pooh and the Blustery Day and Winnie the Pooh and Tigger, Too.  It’s a quick ride, but an entertaining one for the young ones.

Under the Sean–Journey of the Little Mermaid

Then it was off to Under the Sea-Journey of the Little Mermaid which tells an abridged version of “The Little Mermaid”, but leaves out the darker moments to keep from spooking the children.

From there, I moved right along to Tomorrowland where I took a break by riding The Tomorrowland Transit Authority Peoplemover.  This is a slow moving cart ride that transports you around the Magic Kingdom, gives you a little history of the park, slips you inside Space Mountain, and is just an all around good way to people watch.

Space Mountain

Then I went to over to Space Mountain.  It’s an oldie, but a goodie as you ride a single car into space and enjoy a rollicking roller coaster ride in pitch darkness.  I’ve heard the coaster only moves at a top rate of 25mph, but feels faster due to your not being able to see anything.  It’d be interesting to ride it with the lights on and put that to the test.

I then started making my way over to Adventureland, pausing in front of Cinderella Castle (pictured at the top of this article).  If the castle looks familiar to you history buffs, it’s because it was patterned after Neuchwanstein Castle, one of the castles of King Ludwig II of Bavaria.  Fun fact:  each Disney park in the world has its own unique castle.

I wandered past Jungle Cruise, astounded at its popularity.  Waits never seemed to get lower than 90 minutes.  I imagine the new movie has something to do with it plus a friend of mine told me that some Christmas stuff was added to the ride for the holidays.  For myself, I consider it a meh ride at best and one I would have ridden only if the line were short.

Pirates of the Caribbean

Instead, I bypassed that and went to Pirates of the Caribbean.  Yes, it’s the ride that gave the world Captain Jack Sparrow and launched a lucrative franchise.  I floated around and watched a battle on the high seas and watched pirates loot a town that was going down in flames.  Captain Jack popped in from time to time and even warbled “A Pirate’s Life for Me” as you exit the ride.

Then I was off to my other favorite ride:  Haunted Mansion.

Haunted Mansion

Enter the home of Master Gracey for a chilling (albeit Disneyfied) ride through a haunted house.  I’ve always been amazed at the depth of detail in this ride.  It begins in the foyer of the mansion where a picture of Master Gracey ages from a young man to a skeleton in front of your eyes.

From there you enter the stretching room where you see the untimely ends of some of the mansion’s past residents.  After escaping you get on your doom buggy to ride through the mansion where creepy events unfold around you.  One of my favorite moments is the séance where the disembodied head of Madame Leota (voiced by Eleanor Audley, the voice of Maleficent in “Sleeping Beauty” and the stepmother in “Cinderella”) summons the spirits.

Soon you ride past a ballroom where the ghosts whoop it up in a party except for the two engaging in a duel.  Eventually you make your way through a graveyard before picking up a hitchhiking ghost as you exit.  For some extra fun be sure to ask a cast member about the legend of Master Gracey.

Eventually I made my way over to Epcot for another early dinner at the San Angel Inn in the Mexico Pavilion. 

San Angel Inn is another intime dining experience.  I started with a bowl of Sopa Azteca which was a spicy red soup with tortilla chips and followed it up with a main course of Enchiladas con Pollo.  Very satisfying meal.

Then I took a ride on the monorail over to the Grand Floridian.  This is Disney’s most luxurious hotel and the last thing on my Disney bucket list is to stay one night at this hotel.  Brenda had tipped me off that the Floridian goes all out for Christmas and indeed it does.

The decorations here are what I expected to see all over WDW and its centerpiece was an authentic gingerbread house.

After enjoying a quick blast of Christmas cheer, I returned to the Magic Kingdom to enjoy Disney at night.  The Kingdom was getting ready to do the first of two fireworks shows and I maneuvered through the crowd to enjoy Pirates and 3 straight runs on Splash Mountain (where I also enjoyed watching the fireworks).  From there it was off to Big Thunder Mountain Railroad as I roared through the mountains on a train coaster.

Disney was hosting an early New Year’s party so the crowds weren’t really dissipating much.  In terms of endurance, I had the juice to go all the way to closing, but my poor feet were throbbing.   Small surprise after being on my feet from before sunup to well after sundown and walking an estimated 60 miles over 4 days with little downtime except for sleep.

I took one final ride at Pirates and decided to call an end to the day.  I caught the bus back to Coronado Springs.  When I got back to my room, I slipped off my shoes and peeled off my socks and just knuckled my tired feet and it felt fabulous.  Soon after my lights were out.

The next morning I packed up, boarded the Magical Express, and began the trek home.

It was a grand adventure and I look forward to my next adventure in WDW.

OCP Needs Some Sleuths to Solve a Murder

Omaha Community Playhouse Announces Auditions for:

Agatha Christie’s Murder on the Orient Express
Adapted for the stage by Ken Ludwig


Directed by Anthony Clark-Kaczmarek


Production Dates: Feb. 26–March 21, 2021 | Hawks Mainstage
Rehearsals: Begin Jan. 17, 2021

In-Person, by appointment only Auditions
Sunday, Nov. 29 | 2 p.m. in Dance Studio at OCP (6915 Cass St, Omaha, NE)

To schedule an audition time and to receive paperwork, email Becky Deiber at bdeiber@omahaplayhouse.com

Enter through the Stage Door on the West side of the building. For those auditioning in person: Temperatures of auditioners will be taken upon arrival. Auditioners will be required to wear a facemask. Auditions will be held individually. Callbacks may include small groups. Provided seating will be plastic or metal chairs only, no fabric upholstery. The audition space will be appropriately sanitized. When arriving to audition, please enter through the Stage Door entrance on the West side of the building.

Virtual Auditions via Zoom
Monday, Nov. 30 | 6 p.m.
—Email Becky Deiber at bdeiber@omahaplayhouse.com to schedule a virtual audition via Zoom. Video Submission Auditions being accepted now through Nov 29. You can also submit a vocal audition video to Becky Deiber.


OCP Artistic Director Announces Departure

Omaha, NE.–After serving as artistic director for four-and-a-half years, Kimberly Faith Hickman has announced she is leaving her role at the Omaha Community Playhouse (OCP) at the end of 2020. Hickman plans to return to OCP in spring of 2021 as a guest director for the highly anticipated production of Willy Wonka and to teach for OCP’s Henry Fonda Theatre Academy.

Susan Baer Collins will serve as the interim artistic director upon Hickman’s departure until OCP completes a nation-wide search for the organization’s next artistic director. Baer Collins held various positions on staff at OCP from 1987 to 2014, most notably associate artistic director. She also served as an interim artistic director at OCP from 2015 to 2016.

“I am very proud of the programmatic, artistic and educational growth that has occurred at OCP during the last four-and-a-half years,” said Hickman. “I have collaborated with incredible people, both onstage and off, and the Omaha Community Playhouse staff is among some of the best that I have worked with in my 18 years of working in theatre. I look forward to those collaborations continuing in this new capacity.”

“Kimberly brought an enormous amount of creativity and passion to OCP over the last four years,” said Katie Broman, Executive Director. “She has contributed so much to our organization in many positive ways. We appreciate all of her hard work, and we wish her the absolute best in any and all future endeavors.”

Hickman joined the OCP staff in 2016 and quickly became a driving force in the organization. In addition to programming four seasons and directing 19 productions, Hickman established the OCP Directing Fellowship, a program that provides up-and-coming directors the opportunity to gain valuable directing experience. She worked with Autism Action Partnership to develop sensory-friendly performances, designed to create a welcoming environment for those with autism spectrum disorders, sensory sensitivities and other special needs to experience live theatre. She coordinated Spanish-translated performances, offering real-time translation services during popular productions via headset. Hickman also rebranded OCP’s existing education department as the Henry Fonda Theatre Academy.

OCP will commence a nation-wide search for the organization’s new artistic director. “We are committed to hiring an artistic director who is both exceedingly talented and passionate about leading OCP into our next 100 years of service to the Omaha community,” Broman said. “We will seek the most qualified candidates who share OCP’s values of inclusivity, artistic and educational impact, excellence, stewardship and community.”

Fleet Street Needs a Few Barbers

Opera Omaha Announces Audition for Ensemble of Sweeney Todd

Auditions will be held at the BLUEBARN located at 1106 S 10th St in Omaha, NE.  A pianist will be provided.

Audition Dates

Thursday, Oct 1 from 5:30pm-7:30pm

Friday, Oct 2 from 5:30pm-7:30pm

Saturday, Oct 3 from 2pm-4pm

A wide variety of roles will come from the ensemble.  Ensemble members must have strong, trained voices, good musicianship, and should be confident movers.  There are many important solo lines for ensemble members in the show including one trio for tenors and one quintet for 5 voices.

Our Sweeney Todd ensemble will be working together as a unified and evolving presence to create various stage pictures and emotional landscapes reflecting and amplifying the story.

Must be willing to work in a wide range of movement from pedestrian/gestural to more athletic and precise.  No formal dance experience necessary.

Ensemble must also be able to demonstrate a strong concentration, intensity, and the ability to play “characters”.

Audition Requirements

–Please prepare one song of your choosing that shows off your vocal range.  This selection should be in English.  Please bring a copy of the sheet music for the accompanist.  The panel reserves the right to only hear a portion of your selection.

–In addition to your song, please prepare the excerpt provided by Opera Omaha for your appropriate vocal part.

–Sopranos (G3-D6), NB Soprano 1s MUST have a strong, high voice to C# and D6.

–Altos (G3-G5)

–Tenors (A2-Db5)

–Baritones (F#2-Db5) NB  This can be a high baritone OR a lower tenor.

–Basses (F#2-F4)

–All ethnicities are encouraged to audition.

–Ensemble will receive the music in advance along with supplementary study tools.  You are expected to have a good working knowledge of the music BEFORE the first music rehearsal.  Reading music is required.

–Please dress for movement during the audition.

Please note the following before auditioning.

–The first music rehearsal is March 16, 2021 and the final performance is April 18, 2021.

–Ensemble will not be excused in advance from the final room run on April 6 or any rehearsal thereafter or any performance.  Last minute changes will be taken into consideration.

–Late arrivals and early departures from rehearsals must be approved in advance, but are highly discouraged.

–Each conflict will be handled on an individual basis.

–Current COVID-19 safety protocols for performers will be followed and provided to registered auditionees prior to the audition.

To schedule an audition, please contact Stephanie Shattuck at shattuck@operaomaha.org.  Reserve your audition slot by Friday, September 25.

OCP Holding Auditions for 96th Season

Omaha, NE.– The Omaha Community Playhouse will hold auditions for its 2020-21 season musicals July 11-13 for children under age 16 and July 23-26 for adults. Auditions are by appointment only. Special COVID-19 safety precautions will be observed.  Vocal auditions will be on the Playhouse’s Hawks Mainstage. Dance skills will be evaluated at callbacks.

Musicals this season include:

A Christmas Carol, Nov. 20 through Dec. 23, Hawks Mainstage. Directors: Kimberly Faith Hickman, Ablan Roblin

The Scottsboro Boys, Feb. 12 through March 14, 2021, Howard Drew Theatre. Director: Kimberly Faith Hickman

Kinky Boots, Feb. 26 through March 21, 2021, Hawks Mainstage. Director: Ablan Roblin

In the Heights, April 16 through May 9, 2021, Hawks Mainstage. Director: Kathy Tyree

Willy Wonka, May 28 through June 27, 2021, Hawks Mainstage. Director: Kimberly Faith Hickman

Music director is Jim Boggess. Choreographer is Michelle Garrity.

Audition dates and times:

Children (under age 16)

Saturday, July 11, 10:30 a.m. to 1:30 p.m. and 2 p.m. to 5 p.m.

Sunday, July 12, 1 p.m. to 4 p.m. and 4:30 p.m. to 7:30 p.m.

Monday, July 13, 6 p.m. to 9 p.m.

Adults (16 or older)

Thursday, July 23, 6 p.m. to 10 p.m.

Friday, July 24, 6 p.m. to 10 p.m.

Saturday, July 25, 10:30 a.m. to 1:30 p.m. and 2 p.m. to 5 p.m.

Sunday, July 26, 1 p.m. to 4 p.m. and 4:30 p.m. to 7:30 p.m.

Auditioners must fill out paperwork in advance, not at the audition. They can return completed paperwork by email or bring it with them. Specific dates and time slots will be set in advance for each auditioner. Auditions will be in groups of no more than 15. Temperatures of auditioners will be taken upon arrival. You may wear a facemask if you prefer. Auditioners will be allowed to sing only 16 bars of a song of their choosing, for which they should bring sheet music. Provided seating will be plastic or metal chairs only, no fabric upholstery. The audition space will be sanitized between groups. When arriving to audition, please enter through the south entrance lobby doors.

Those who cannot attend in person may submit a vocal-audition video.

 

The Omaha Community Playhouse has scheduled auditions for three Fall 2020 plays.

Auditions will be by appointment only. Special COVID-19 safety precautions will be observed.

The show titles, run dates and audition schedule:

CLYBOURNE PARK, by Bruce Norris

Show runs Aug. 21-Sept. 20 in the Howard Drew Theatre.

Director: Kimberly Faith Hickman

Hickman was assistant director of the original Tony Award-winning Broadway production   

Audition dates and times:

Monday, July 6, 6:30 p.m. to 9:30 p.m.

Tuesday, July 7, 6:30 p.m. to 9:30 p.m.

Callbacks will be Wednesday, July 8, starting at 6:30 p.m.

Agatha Christie’s MURDER ON THE ORIENT EXPRESS, adapted by Ken Ludwig

Show runs Sept. 25-Oct. 18 in the Hawks Mainstage Theatre.

Director: Anthony Clark-Kaczmarek

Audition dates and times:

Sunday, July 12, 2 p.m. to 5 p.m.

Monday, July 13, 7 p.m. to 10 p.m.

Callbacks will be Tuesday, July 14, and Wednesday, July 15, starting at 7 p.m. both evenings.

OUTSIDE MULLINGAR, by John Patrick Shanley

Show runs Oct. 16-Nov. 8 in the Howard Drew Theatre.

Director: Kaitlyn McClincy

Audition dates and times:

Saturday, Aug. 15, 2 p.m. to 5 p.m

Tuesday, Aug. 18, 7 p.m. to 10 p.m.

Callbacks will be Saturday, Aug. 22, starting at 2 p.m., and Sunday, Aug. 23, starting at 7 p.m.

Specific dates and time slots will be set in advance for each auditioner. Auditioners must fill out paperwork in advance, not at the audition. They can return completed paperwork by email or bring it with them. Tryouts will be in groups of no more than 12 per hour. COVID-19 screening questions will be asked of each auditioner upon arrival. You may wear a facemask if you prefer. Provided seating will be plastic or metal chairs only, no fabric upholstery. The audition space will be sanitized between groups. When arriving to audition, please enter through the west-entrance stage door.

To make an audition appointment, email Becky Deiber at bdeiber@omahaplayhouse.com.

Auditions for Sweeney Todd at Chanticleer

Auditions for Sweeney Todd  at  Chanticleer Theater 
January 10th & 12 7:00 PM

Location:  830 Franklin Ave, Council Bluffs, IA

Production Dates March 11-30
Rehearsals begin Sunday, January 17

Audition Material Needed (ex: cold readings, contrasting monologues, prepared song, dance, etc.)
Please prepare 16-32 bars of a song and  bring music for the accompanist – no a cappella, please , no dance audition is required

Show Summary
One of the darkest musicals ever written, Sweeney Todd: A Musical Thriller is the unsettling tale of a Victorian-era barber who returns home to London after fifteen years of exile to take revenge on the corrupt judge who ruined his life. When revenge eludes him, Sweeney swears vengeance on the entire human race, murdering as many people as he can, while his business associate, Mrs. Lovett, bakes the bodies into meat pies and sells them to the unsuspecting public. Perhaps composer/lyricist Stephen Sondheim’s most perfect score, Sweeney Todd is lush, operatic, and full of soaring beauty, pitch-black comedy and stunning terror. It’s one of the signal achievements of the American musical theater of the last fifty years, and it’s the high water mark of Sondheim’s six remarkable collaborations with director Harold Prince.

  • Contact Information:   Please email  laureen.pickle@cox.net  with questions

    Stage & Music Director: D. Laureen Pickle
    Asst. Director: Mark Reid
    Stage Manager: Jamie Jareke

    Detailed Character Descriptions:
  • Sweeney Todd/Benjamin Barker (Bass/Baritone F2 – Gb4, 30 – 50) A man consumed by revenge after his wife is kidnapped and raped, and he is wrongly convicted and sentenced to life imprisonment.
  • Mrs. Nellie Lovett (Alto/Mezzo G3 – E5, Cockney accent, moves well, 30 – 50) An amoral, pragmatic seller of meat pies. She lusts after Todd. A very high-energy role.
  • Joanna Barker (Soprano C3 – Bb5 , 15 – 25) Benjamin Barker’s daughter, a ward of Judge Turpin. Beautiful and pure-hearted.Anthony Hope (Tenor or Bari-tenor, Ab2 – F#4, 18 -30) A good-natured, optimistic& naive young sailor.
  • Beggar Woman/Lucy Barker (Soprano or Mezzo-Soprano Ab3 – F5, 25 – 40) Barker’s wife, who he believes to be dead. Schizophrenic personality ranging from pathetic to crudely suggestive.
  • Judge Turpin (Bass/Baritone E2 – F#4, 40 – 60) A lustful, immoral, power-hungry man. Twists the law to suit himself.
  • Beadle Bamford (Tenor D3 – D5, 35 – 50) Judge Turpin’s partner in crime. “A bully with a thin veneer of gentility.”
  • Adolfo Pirelli/Danny O’Higgins (Tenor B2 – C5, 30 – 50) A charlatan who claims to be “the king of the barbers, the barber of kings.” Must be able to use both rich Italian and rough Irish dialects. A very high operatic style tenor role.
  • Tobias Ragg (Tenor or unchanged voice Bb2 – A4,  looks 13-25) Pirelli’s young, simple, and kind-hearted assistant.  Will hear both younger boys aged 12 and older, or men aged 17 and older
  • Ensemble: A wide variety of roles will come from the ensemble. Ensemble members must have strong, trained voices and good musicianship. The Ensemble is the key to success for this production, and many solo opportunities are available.