UPCOMING AUDITIONS: 1776 the Musical

ACT celebrates America's 250th Birthday with the Tony Award winning musical, 1776!

We are holding open casting calls Sunday June 28th 1-5PM and Monday June 29th 6-9PM at the ACT Studio, 1133 E 70th Ave.

Sign up HERE: https://docs.google.com/forms/d/1x5d-80QCW6n0zfonOWIhPgxluJakcPXXrXAsZQxIcVE/viewform?ts=6a221497&edit_requested=true

**Walk-ins always welcome as well!

Director Dean Brady is looking to cast 25 male, and 2 female roles, but is open to non-traditional casting and pants roles. POC actors are strongly encouraged. Watching the movie musical (1972) is also encouraged!

WHAT TO PREPARE:
Please bring a 16-32 bar cut (1 to 2 minutes) of a song from a Broadway musical or an art song, that will show your range and style. A pianist will be provided.
3 side options are available below, under the character descriptions. We are NOT expecting them to be memorized, but they are there for you to be familiar with.
We will be taking polaroids at auditions, so no need for a headshot.
Also, please have a list of conflicts for all rehearsal dates below. You must be available for all tech/dress rehearsals (Sept 11-17) and performances (Sept 18-October 11). Conflicts can be worked around if we know about them in advance :)

Please Note: Rehearsals will be 9 weeks, starting July 13th.  (Not everyone will be called to every rehearsal until run throughs starting in Sept)

CHARACTER DESCRIPTIONS:
Below is a breakdown of characters; age and vocal ranges are listed, if they have solo lines in the score, as well as the song the character sings. If no vocal range is specified, all vocal ranges will be considered.
**Any females auditioning for pants roles (male roles) will need to sing Alto or Tenor. Some roles will be considered for pants roles. Hot tip: Characters' regional accents are encouraged!

NEW HAMPSHIRE DR. JOSIAH BARTLETT: (plays 47). Small amount of dialogue. He is present throughout the show in Congress. He sides in favor of independence. Sings with the ensemble.  • Sit Down, John.

MASSACHUSETTS JOHN HANCOCK: President of Congress (plays 40). Sings 2 songs. Baritone. Has quite a lot of dialogue, sings with the ensemble opening number, and has a short solo in “Cool, Cool, Considerate Men.” Must be able to command attention and keep The Congress in order. • Sit Down, John • Cool, Cool, Considerate Men.

MASSACHUSETTS JOHN ADAMS: (plays 41). Sings 9 songs, 1 solo, 2 duets +reprises. Vocal range High Baritone/Tenor. Top: F#4, bottom: C3. This is a featured singing role. 5”7’. A Massachusetts delegate from Boston, John Adams is the leading voice for separation from England and the Declaration of Independence. Strong oratory skills, brilliant mind, bold and brash personality. The running joke throughout the show is that he is “obnoxious and disliked,” but he must have a magnetic quality that commands respect from his fellow members of Congress. Harvard graduate, experienced lawyer. Large amounts of dialogue. • Sit Down, John • Piddle-Twiddle • Till Then • Lees of Old Virginia • But, Mr. Adams • Yours, Yours, Yours • He Plays the Violin • The Egg • Is Anybody There?

RHODE ISLAND STEPHEN HOPKINS: (Plays late 60s) Crusty old geezer who loves his rum. Supporter of Independence. Has a moderate amount of dialogue. Sings with the ensemble in the opening number. Has an active part in the show and is always one of the most memorable characters. Usually portrayed in black Quaker hat and coat, and with long silver hair. Sings with the ensemble. • Sit Down, John.

CONNECTICUT ROGER SHERMAN: (plays 55): Sings solo lines. Tenor. Top: Bb4, bottom: C. This is a featured singing role. A Connecticut delegate, Roger Sherman sides in favor of independence and is on the committee to write the Declaration. Few lines of dialogue. • Sit Down, John • But, Mr. Adams.

NEW YORK LEWIS MORRIS: (plays 50): Lead delegate of New York, who abstains from every vote . . . courteously. Some dialogue throughout the show. Sings with the ensemble. • Sit Down, John • Cool, Cool, Considerate Men

NEW YORK ROBERT LIVINGTON: (plays 30): Sings Solo lines. Vocal range Tenor. Top: F4, bottom: Bb2. This is a featured singing role. Livingston has short solos in the opening number, and is on the committee to write the Declaration. • Sit Down, John • But, Mr. Adams

NEW JERSEY REVEREND JOHN WITHERSPOON: (plays 30s-50s): NON-SINGING ROLE. A New Jersey delegate. He appears mid-way through Act One. He argues for, and wins, the inclusion of the Supreme Being in the Declaration. Has a moderate amount of dialogue. No major solos. Supporter of Independence. Congressional Chaplain. This role may be a doubled role with PAINTER.

PENNSYLVANIA BENJAMIN FRANKLIN: (plays Late 60s) Sings 5 songs. Vocal Range Baritone. Top: Eb4, bottom: Ab2. This is a featured singing role. He is an energetic, older man, but often acts much younger. Franklin is pleasant, philosophical, boyish, often funny, but he does show his anger and seriousness in a couple scenes. Can be played by a rich bass voice or a slightly raspy baritone-tenor. Must have excellent acting skills, this man is a highly experienced statesman, diplomat, inventor, writer, humorist, and philosopher. Large amounts of dialogue. He and Adams lead the charge for independence. • Lees of Old Virginia • But, Mr. Adams • He Plays the Violin • The Egg • Is Anybody There?

PENNSYLVANIA JOHN DICKINSON: (plays 44): Vocal range Baritone/Bass. Top: E4, bottom: A2. Dickinson is the primary adversary of the show, portrayed as opposing Independence. He has lots of dialogue but only one major solo. He represents the conservative side of Congress, the wealthy landowners who do not want to break from Great Britain. • Sit Down, John • Cool, Cool Considerate Men.

PENNSYLVANIA JAMES WILSON: (plays 33): James Wilson casts the final vote to approve the Declaration, not because of his own belief in the cause, but because he does not want to be remembered in history as “the man who prevented American independence.” Small amount of dialogue and no major solos. Sings with the ensemble. • Sit Down, John • Cool, Cool Considerate Men.

DELAWARE CAESAR RODNEY: (plays 48): Caesar Rodney wears a type of chin strap or head scarf that covers skin cancer. He is a supporter of Independence, but he has a dramatic collapse in the middle of the show, and doesn’t reappear until the end after his long ride from Delaware. Moderate amount of dialogue. Sings with the ensemble. This could be a pants role. • Sit Down, John.

DELAWARE COLONEL THOMAS McKEAN: (plays 42): Vocal range Baritone. Top: Eb4, bottom: C3. Colonel Thomas McKean is Scottish and is very loud and vocal with his thick accent. Some dialogue and sings with the ensemble in the opening number. • Sit Down, John.

DELAWARE GEORGE READ: (plays 43): George Read is opposed to independence and sides with Dickinson. He argues with members of his own delegation. Usually portrayed as a rather fussy and weaselly who always seconds the motions of the opposition (those against Independence). A few lines of dialogue and sings with the ensemble.. • Sit Down, John • Cool, Cool Considerate Men.

MARYLAND SAMUEL CHASE: (plays 35): Samuel Chase always seems to be eating and is portly. He initially sides with Dickinson. A few lines of dialogue and sings with the ensemble. • Sit Down, John.

VIRGINIA RICHARD HENRY LEE: (plays 45): Sings 3 songs, solo lines in songs. Vocal range Baritone/Tenor.Top: Eb4, bottom: C3. This is a featured singing role. Richard Henry Lee is selected to make the argument for independence to the Congress, as Adams is having little luck. A comedic role that really only appears in Act One. Possibly doubled. Although he appears in several scenes with the rest of Congress, his one solo song often steals the show. Speaks and sings with a noticeable Virginian accent. His song is a bragging song about all the famous Lees in his family tree. Some dialogue. • Sit Down John • Lees of Old Virginia

VIRGINIA THOMAS JEFFERSON: (plays 33): Sings 4 songs. Sings solo lines in all 4 songs. Vocal range Baritone. Top: Eb4, bottom: C3, 6’2”. This is a featured singing role. Thomas Jefferson, in spite of his many protests, is selected to pen the Declaration of Independence. Jefferson is a man of few words, but when he speaks, he commands attention. Pensive, quiet, strong silent type. Sense of humor. Architect, writer, farmer, scientist, statesman, lawyer, violin player. • Sit Down John • But, Mr. Adams • The Egg • Is Anybody There?

NORTH CAROLINA JOSEPH HEWES: (plays 46): A North Carolina delegate, his main characteristic is that he is always deferring to Edward Rutledge of South Carolina, and does not seem to have much independent thought for himself. He is against Independence. Small amount of dialogue and sings with the ensemble. • Sit Down John • Cool, Cool Considerate Men.

SOUTH CAROLINA EDWARD RUTLEDGE: (plays 26): Sings 3 songs, 1 solo. Vocal range Strong Baritone/Tenor. Top: Eb4, bottom: C3. This is a featured singing role. Rutledge serves as a strong antagonist to John Adams, representing the Southern delegation’s perspective. While not a villain, his views and arguments highlight the conflict over slavery, a divisive issue that deeply impacts the debates leading to independence. Must be a commanding actor, with excellent oratory skills. Speaks with an elegant, educated South Carolina accent. Has the most dramatic song in the show, the sarcastic and riveting “Molasses to Rum” which showcases the hypocrisy of the North regarding slavery and the triangle trade. Statesman, lawyer. • Sit Down, John • Cool, Cool Considerate Men • Molasses To Rum.

SECRETARY CHARLES THOMPSON: (Plays 16-40): Sings 2 songs, sings solo lines in a song. He reads all the letters from General George Washington, introduces each item up for a vote, gives minutes from previous sessions of Congress, and has one short solo when he reads a final letter from General George Washington. He has quite a bit of dialogue. Actor must be able to sound very efficient in reading letters and in rattling off long lists of congressional duties and committees. The secretary of the Congress. • Sit Down John • Is Anybody There?

GEORGIA DR. LYMAN HALL: (plays 52): Physician and pastor. Moderate amount of dialogue. Has an important dramatic scene toward the end of the show. NON-SINGING ROLE

CUSTODIAN ANDREW McNAIR: (plays 18-50s): Sings 2 songs, sings harmony in 1 song. Vocal range Baritone. Top: Db3, bottom: Bb2, he is portrayed as a quirky, exasperated man who lives to serve the Congress, but is NOT servile. Opens and closes the windows, fills the inkwells, and keeps the Continental Congress meeting room clean. He is supervisor to the young boy known as the Leather Apron apprentice, who is learning McNair’s job. McNair’s additional job is to fetch mugs of rum, mostly for Stephen Hopkins of Rhode Island. He has a lot of dialogue in the show. • Sit Down, John • Momma Look Sharp.

THE LEATHER APRON: (plays 15-17): Vocal range Tenor, sings harmony line. Top: Db3, bottom: E2. Young apprentice in training to learn MacNair’s custodial trade. This could be a pants role. • Momma Look Sharp.

THE COURIER: (plays 15-20): Sings 1 solo. Vocal range Tenor. Top: Db4, bottom: C3. A young messenger for Congress. Has a bit of dialogue, sings one solo song. Mostly known for his clomping entrances several times during the show to deliver letters from General George Washington. This could be a pants role. • Momma Look Sharp.

PAINTER: The Painter has been commissioned by philosopher, inventor, and statesman Benjamin Franklin, to paint his portrait. The Painter is a committed artist, who works with silent focus, yet Franklin’s friend John Adams, upon viewing the portrait, finds the Painter’s work stinks. Gender: Male non-speaking, non-singing role Age: 20’s-60’s. This may be a doubled role with WITHERSPOON or as a pants role doubled with MARTHA.

ABIGAIL ADAMS: (late 30s): Sings 3 song +Reprise. Vocal range Soprano. Top: F5, bottom: Db4. This is a featured singing role. Wife of John Adams, her communications with John tell some of the story of the Declaration and much of the story of her and John’s love and life. Abigail’s tone is one of maturity, intellectual support, and strong encouragement to her husband John Adams. She is quieter and calmer than Martha Jefferson, and less flirtatious, but with a subtle sense of humor. She appears in three songs, all duets with John Adams. She cannot touch him, since they are communicating via letters, but she sits onstage with him, and converses with him naturally. • ’Til Then • Yours, Yours, Yours • Compliments

MARTHA JEFFERSON: (27): Sings 1 song +Reprise. Vocal range Mezzo-Soprano. Top: D5, bottom: Bb3. This is a featured singing role. The young and beautiful wife of Thomas Jefferson, Martha Jefferson is brought to Philadelphia to help dispel Jefferson’s writer’s block. Martha is flirtatious, young, and attractive. Some dialogue, but only in one scene. This role may be doubled with PAINTER as a pants role. • He Plays the Violin.

THANK YOU and we'll see you at auditions!

AUDITION SIDES:

OPTION #1 (Adams, Scene 1)

“I have come to the conclusion that one useless man is called a disgrace, that two are called a law firm, and that three or more become a congress. And by God, I have had this Congress! For ten years King George and his Parliament have gulled, cullied, and diddled these Colonies with their illegal taxes - Stamp Acts, Townshend Acts, Sugar Acts, Tea Acts - and when we dared stand up like men they stopped our trade, seized our ships, blockaded our ports, burned our towns, and spilled our blood - and still this Congress won’t grant any of my proposals on this Independence even so much as the courtesy of open debate! Good God, what in hell are they waiting for?”

OPTION #2 (Dickinson, Scene 3) 

“Is that all England means to you, sir? Is that all the affection and pride you can muster for the nation that bore you - for the noblest, most civilized nation on the face of this planet? Would you have us forsake Hastings and Magna Carta, Strongbow and Lionhearted, Drake and Marlborough, Tudors, Stuarts, and Plantagenets? For what, sir? Tell me, for what? For you? Some men are patriots, like General Washington - some are anarchists, like Mr. Paine - some even are internationalists, like Dr. Franklin. But you, sir, you are merely an a-gi-ta-tor, disturbing the peace, creating disorder, endangering the public welfare - and for what? Your petty little personal complaints.”

OPTION #3 (Rutledge, Scene 7)

“I don’t like it at all, Mr. Jefferson. To us in South Carolina, black slavery is our peculiar institution and a cherished way of life…I am more concerned with what’s written in your little paper there…Mr. Adams is now callin’ our black slaves Americans. Are-they-now? They are here, yes, but they are not people, sir, they are property…See to your own wounds, Mr. Jefferson, for you are a - practitioner, are you not?...You have also resolved the ruination of your personal economy…[and] what’s that I smell floatin’ down from the North - could it be the aroma of hypocrisy, Mr. Adams? Our northern brethren are feelin’ a bit tender toward our slaves. They don’t keep slaves, no-o, but they’re willin’ to be considerable carriers of slaves - to others!”

Auditioning FAQ's

What’s an audition at ACT like?

At ACT we do what is called a cold read. That means no memorization is required! You'll be given a small section of the script (a side) and the director will ask you to read for a character by yourself or with another actor who is auditioning. Every director is different — some will give you instruction in the audition to see how you respond to direction, and some will just want to see your first instincts. The director will contact you soon after an audition if they want to offer you a role.

Can I read the script before auditions?

Reading a play before you audition for it is always a good idea — you want to make sure you like the play, and it will help you feel prepared in the audition. If you’d like to read the script ahead of time, you can check one out from the ACT office. A $20 deposit is required and will be returned to you when you bring back the script.

Will I get cast?

Maybe! If you don't get cast after your first audition, don't worry! Feel free to give us a call, and the director may be able to provide feedback to help improve your next audition. If you want to learn more, keep an eye out for upcoming classes.

When are auditions helD?

Generally, auditions happen 6 to 8 weeks before a show opens, allowing for at least 5 weeks of rehearsals.