Audition Dates

Auditions for the show will be May 15 and 16 at 2 pm. Continue to watch for more info here.

The Roles: The Chorus

This is a high-utility chorus. There are a variety of atmosphere and background parts to fill in the many elegant and sophisticated folks on the Riviera, as well as bell boys, French maids, and-- well, at points in the show the chorus simply appears in order to sing some back-up. The chorus appears in about a dozen numbers to sing, in several numbers for dancing, and in many scenes to provide some local color. In other words, there will be much fun and activity, and none of the "do a scene then take a nap" that sometimes occurs for musical theater choruses.

The Roles: Jolene

Jolene is what we might call a "featured role." She has one song of her own and a couple of scenes. A much-married, rough-edged oil heiress from Oklahoma, she is the very opposite of the urbane, smooth, sophisticated Lawrence. So when she announces that they are engaged, and he's going back to the panhandle with her, steps must be taken...

The Roles: Muriel

Muriel is another thirty-something character, rich and bored and more than a little bit ditsy. She becomes one of Lawrence's satisfied marks about five minutes into the show, and then she never quite goes away, because in her heart she just knows she can help. Gullible but sweet. She has two fun numbers, and she is all alto (all the way down to E in the bass clef). She is eventually paired up with Andre, so a touch of ballroomish dancing is called for.

The Roles: Andre

Andre is Lawrence's sidekick, body guard, and confidant (He's also the local chief of police, which is convenient). Suave, smooth, and a little bit jaded, he is not a young man. But by the show's end, he may be the best proof that you're never too far gone for love to find you. This role is considerably expanded from the film versions.

Andre has two featured songs and some incidental parts in others, sticking to a comfy baritone range. No special skills are required, but he does have an outrageous French accent. A little bit of ballroom-style dancing is likely.

The Roles: Christine

Christine doesn't appear until late in the first act, but she is the crux of the story-- which one of the con men will win her? And can either of them win her before the picture of sweet midwestern innocence and beauty that she presents softens them too much to go through with their con?

She is sweet, naive, and nice, but not ditzy or dumb. She is rather dangerously clumsy. In many ways, she is the straight man for not one, but two, comics. But at the end of the day, if people come back to watch the show a second time, it will be because they want to watch her.

Christine is perhaps thirty-ish. She has six musical numbers, and her vocal parts rest comfortably in the mezzo range. No soprano warbling for her, and it wouldn't hurt if she could belt. She has a bit of dancing to do.

The Roles: Freddy

Freddy is an American con artist. He's brash, crude and obnoxious, but charming in much the same way that a five-year-old is charming. He's fun. He's in need of a mentor, but what he lacks in skill he makes up for in sheer joy in the game.

In the movie versions, he was played by Marlon Brando and Steve Martin. On Broadway he was played by Norbert Leo Butz, who won a Tony for his work.

Freddy has seven numbers, including the most ridiculous power ballad ever performed in public. He needs some good strong F's and G's. He also spends about a third of the show in a wheelchair, so some chairing skills will be needed. As a bonus, he gets to play one scene as a completely insane character.