A Chorus Line

Book by Nicolas Dante and James Kirkwood Jr.

Music By Marvin Hamlisch Lyrics by Edward Kleban

Directed by Reilly Conlon

Audition Dates:

May 4th from 7:30-9:30PM & May 5th from 2:30-4:30PM

Callbacks (if needed): May 5th from 5:00-7:00PM


Performance Dates:

August 1st-4th 2019 at the Lydia Mendelssohn Theater in Ann Arbor

Those interested should read through and complete the “A Chorus Line Audition Form” posted below , choose one of the audition dates posted above and be ready to turn in their completed form when they arrive at auditions with their Theatre resume and a head shot attached. Those auditioning should also prepare 16-32 bars of a musical theatre song of their choosing. Songs from the show are okay. Please bring a copy of your sheet music to auditions for our piano accompanist. All auditionees will be required to sing with a piano accompanist. No karaoke tracks or A Capella auditions will be accepted. Auditionees will also be asked to learn a short dance combination at auditions and may also be asked to read selections from the script. The production staff will not be able to take any requests from auditionees to read for a specific role during auditions or callbacks.

Those auditioning only need to attend one day of auditions. It does not benefit anyone to attend both days of auditions. Those who have already auditioned will not be permitted to re-audition or audition again. If the production staff needs to see anyone again they will be asked to come to Callbacks.

Horizon Performing Arts will be holding a free dance workshop prior to auditions on May 1st, 2019 from 6:30-8:30PM at Northside Community Church in Ann Arbor. this workshop is meant to give those planning to audition the opportunity to learn the dance portion of the audition prior to their audition date. Attendance at this workshop is not mandatory in order to be considered for a role but is highly encouraged.

Please Note: Due to the strenuous nature of this show, the production staff will be unable to cast those who have extensive conflicts. Cast members will need to be at most of the rehearsals they are called to in order for this show to be a success. Some conflicts are okay. The production staff will do their best to work around conflicts when possible, but only the conflicts listed on the audition form will be honored. The production staff will not discuss casting/callback choices with auditionees during or after casting.

Show Synopsis: A CHORUS LINE is a celebration of those unsung heroes of the American Musical Theatre: the chorus dancers– those valiant, over dedicated, underpaid, highly trained performers who back up the star or stars and often make them look even more talented than they are. It is also a celebration of the American Musical itself. A CHORUS LINE is also about competition, and competition might easily be the common denominator that grabs the audience and holds it by the collective heartstrings until the final, ultimate choices are made. For everyone, at one time or another, puts his life on the line. We all compete, no matter what business we’re in, for promotion, for attention, for approval and for love. Specifically, A CHORUS LINE takes the audience through the final grueling audition run by the director, Zach, for a new Broadway musical. Show Synopsis from Tams-Witmark

Character Breakdown:

Zach: Male. Any race. The director and choreographer of the show for which the dancers are auditioning. He is a stage veteran and thus can be curt and harsh, but he is revealed to be a caring and empathetic man who truly grows to care about these dancers. Non-singing, but should have movement ability, as he demonstrates a few dance moves. Should read 26-35.

Larry: Male. Tenor. Any Race. Zach’s assistant who teaches and demonstrates the audition dances. Needs to be an incredible dancer, as he is the standard to which all of the auditioning dancers are held. Should read 20-25.

Al Deluca: Male. Any race. From the Bronx. Street tough, macho, and newly married to Kristine; very protective. Seeking a strong singer, as he is the contrast to the non-singing Kristine in “Sing.” Should read 25+.

Bebe Benzenheimer: Female. Any race. Very insecure about her looks and tries to be funny to cover her insecurities. Feels a little excluded but just wants to be liked. She is quiet, vulnerable and kind. Sings the middle harmony in “At the Ballet.” Should read 18-25.

Bobby Mills: Male. Any race. Flamboyant, funny, bitchy, and witty. Very sharp tongued. Covers everything over with a joke; had a very hard childhood. From upstate New York. Should read 23-27.

Cassie Ferguson: Female. Any race. Returning to the chorus after years of being a featured performer. She is having to humble herself to audition for the chorus again with younger and less experienced dancers. Previously had a relationship with Zach and it did not end well. Seeking a true triple threat performer, as she sings the iconic “The Music and the Mirror.” Should read 30.

Connie Wong: Female. Any race. Experienced dancer. Married. Petite. A bit of a mother hen with a great sense of humor. Should believably play 4’10’’. Should read 22-30.

Diana Morales: Female. Hispanic. A streetwise Latina who is a little bit tough, and eternal optimist. A determined and athletic dancer from the Bronx. Should have a strong connection with Paul. Sings “Nothing,” in which she reveals herself to be funny, charming, and vulnerable. Should read 22-26.

Don Kerr: Male. Any race. Ladies’ man, married, and into cars, money, and women. Very sure of himself. All American guy. Cocky because he has worked with Zach before. From Kansas City. Should read 20-25.

Gregory Gardener: Male. Any race. Sassy, Jewish, gay man. Quite a smart-alec and has worked with Zach before. Very East Side New York. Should read 25+.

Judy Turner: Female. Any Race. Funny, gawky, nervous. Warm and hopeful. Very awkward except when dancing. Ideally seeking a taller dancer. Should read 20-25.

Kristine Urich: Female. Any race. Al’s scatter-brained wife who can’t sing. She is awkward, anxious and hilarious. She “speaks” the song “Sing,” but does sing in the ensemble numbers of the show. Should read 18-25.

Maggie Winslow: Female. Any race. A sweetheart, little sister type. Dreamer. Fairly experienced dancer from California. Seeking an incredibly warm singer with a mix belt up to E natural for the soaring climax of “At the Ballet.” Should read 18-23.

Mark Anthony: Male. Any race. Optimistic; first-timer; naïve but charming. Great dancer and All-American kid. Obsessed with sex. Should read 18.

Mike Costa: Male. Any race. Quite aggressive, determined, cocky, sure of himself, but likeable. Tap dancer who worked with Zach before. Experienced; flirtatious. From New Jersey. Must be able to tap. Should read 20-25.

Paul San Marco: Male. Hispanic. Introverted and slightly insecure but loves performing; only now starting to feel comfortable about being gay and accepted by his parents. From Spanish Harlem, New York. Should have a strong connection with Diana. Delivers a beautiful, raw and vulnerable monologue about coming out to his parents. Should read 23-26.

Richie Walters: Male. African-American. From Missouri. Strong high tenor and dancer, enthusiastic, cool and very funny. Likeable and laid back. Should read 25-30.

Sheila Bryant: Female. Any race. Oldest dancer on the line. Confident, brassy, sexy, bitchy, and sophisticated. One of the more popular dancers; humorous. Sings the low harmony in “At the Ballet.” Should read 30.

Val Clark: Female. Any race. Sexy, sassy, funny. A foul-mouthed but excellent dancer who couldn’t get performing jobs because of her looks until she had plastic surgery. A brazen, direct, attention-seeker from Vermont. Sings the infamous “Dance 10, Looks 3.” should read 25-28.

Male & Female Dance Ensemble: Seeking strong dancers to appear in the iconic opening and closing numbers as well as “Hello 12”. Some may understudy for the roles above. Will have a limited rehearsal schedule. Seeking all types.

Further information regarding auditions for A Chorus Line and The History of KIDS on Broadway: A Musical Revue will be posted here in Mid May 2019