Phantom Of The Opera (Broadway) - ECC / Singers

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Audition & Casting Details

Phantom Of The Opera (Broadway) ECC / Singers

Call Type:
Equity Chorus

Production (League)

Music By: Andrew Lloyd Webber
Lyrics By: Charles Hart
Book By: Richard Stilgoe and Andrew Lloyd Webber
Dire: Harold Prince
Choreography: Gillian Lynne
Casting: Tara Rubin Casting

• Chorus rules are in effect.
• A monitor will be provided.

Performers of all ethnic and racial background are encouraged to attend.

Always bring your Equity Membership Card to auditions.

Other Dates:
Currently running on Broadway

Prod. Spvsr: Seth Sklar-Heyn
Prod. Musical Spvsrs: David Caddick & Kristen Blodgette
Prod Dance Spvsr: Denny Berry
GM: Alan Wasser Associates

For future replacements in the Broadway production, male and female singers for all vocal chorus ensemble positions (tenors, baritones, basses, lyric and coloratura sopranos, mezzos and contraltos) and to understudy principals

Seeking future replacements for “The Phantom Of The Opera” on Broadway.

Seeking male and female singers for all vocal chorus ensemble positions (tenors, baritones, basses, lyric and coloratura sopranos, mezzos and contraltos) and to understudy the following:

• 20’s: beautiful young singer.
• Soprano voice that combines elements of classical and pop singing.
• A light, floating soprano.
• She sings briefly to high E.

• 30’s – 40’s: high baritone or tenor (with a good low range) from low A flat to high A flat.
• Needs a dynamic, bravura, “star” performance, both frightening and irresistible.

• Late 20’s – early 30’s: dashing, handsome young aristocrat.
• High baritone (2 octave range from A flat to A flat).

• Late 30’s – 50ish; the managers of the Paris Opera House.
• Trying to be elegant, they are slightly befuddle and bumbling.
• Need good instincts for stylish comedy.
• Good supporting roles.
• Baritones; one sings to A, one to G.

• 30’s – EARLY 40’s; the prima donna of The Paris Opera.
• A diva in every sense of the word.
• Coloratura soprano, to high E.
• Requires opera training.

• Late 30’s – early 50’s; the Opera’s ballet mistress.
• An ominous, stern, forbidding figure.
• Mezzo soprano to high B flat.

• Late 30’s – 50’s; the opera’s leading tenor, Italian style singer, sings to high C.
• Requires opera training.

• (Chorus contract – excellent small specialty role) 30’s – 40’s.
• Bass or Bass baritone with a solid and legitimate low F.
• Should be a physically interesting character man with a good sense of comedy.

• (Chorus contract –excellent small specialty role) 30’s – 40’s.
• Contralto or low mezzo.
• Physically interesting character woman.
• Short and round or tall and thin.

• (Chorus contract-excellent small specialty role) 30’s – 40’s.
• Tenor.
• Character role.
• The repetiteur (vocal coach) of the Paris Opera.
• An agitated, finicky, meticulous fellow.
• A strict disciplinarian...always on the verge of hysteria.

• Women should be sopranos (lyric or coloratura), mezzo sopranos, or contraltos, with strong legit musical theatre or opera voices.

• Men should be strong legit musical theatre or opera tenors, baritones, or basses. Two of the basses in the chorus must sing to low F.

Union Information:

Cameron Mackintosh and The Really Useful Company

Audition Information:

Equity Chorus Call / Singers
Monday, July 13, 2015
10 AM - Equity Male Singers
2 PM - Equity Female Singers

Pearl Studios NYC "500"
500 Eighth Avenue
(35th/36th Streets)
New York, NY
12th floor

What to Prepare:
• Prepare a BRIEF song from legit musical theatre/standard opera or operetta repertoire, preferably in English.
• Do not sing pop or rock music. Bring book of music in case asked for a 2nd selection.
• Accompanist provided.
• Please bring a picture and resume, STAPLED TOGETHER.

Minors must be accompanied by an adult

* Please note that this information was accurate at the time of posting. All audition times are subject to change and or cancellation. Calltime takes no responsibility for audition time or location changes. It is best practice to confirm all audition information with the Producer holding the audition directly BEFORE attending any live audition.*


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About Cameron Mackintosh | Really Useful Group

Founded in 1977, The Really Useful Group exists to bring the work of Andrew Lloyd Webber to the world. We manage his complete catalogue including theatrical and symphonic works, a requiem mass and countless rock and pop songs.

The Really Useful Group was also key in developing the casting by television format and has licensed numerous copyrights to be exploited in this way, introducing a new, younger, generation to musical theatre. The pioneering BBC show How Do You Solve A Problem Like Maria? won an International Emmy, a Royal Television Society Award and drew nearly 8 million UK viewers. The format is now global, with theatre stars discovered through TV casting in Germany, Holland, Belgium, Canada and China.