Call for Auditions – The Phantom of the Opera on Sydney Harbour

Opera Australia is calling for Australia’s finest vocalists, actors and dancers to audition for its brand new production of The Phantom of the Opera, which will take place on the iconic overwater, outdoor stage at Handa Opera on Sydney Harbour in 2022.

Auditions for principal and ensemble roles will be held virtually at first and then in-person in Sydney in late November 2021. All ethnicities are encouraged to audition.

Successful applicants will have the opportunity to perform in one of the most renowned musicals of all time, featuring Andrew Lloyd Webber’s unforgettable score, timeless story and the iconic masked character, in Australia’s first outdoor production of the musical.

The Phantom of the Opera premiered on the West End in 1986 and remains Andrew Lloyd Webber’s most successful musical, now seen by more than 140 million people worldwide.

In 2022, The Phantom of the Opera will continue the tradition of the fabulous spectacles that have graced Mrs Macquaries Point since Handa Opera on Sydney Harbour opened in 2012, with world-class performances including the greatest local and international singers, musicians, dancers and creative teams.

Applicants will audition for one of Australia’s most in-demand theatrical directors Simon Phillips, Phantom musical director for three decades running, Guy Simpson, and Australian choreographer Simone Sault. Together the three will lead a creative dream team that delivers a whole new level of spectacle to the musical’s defining moments.

This production of The Phantom of the Opera is by special arrangement with the Really Useful Group. Audition submissions will be accepted via webform only – and should include a current biography (PDF) and headshot and link to a video.

SUBMISSIONS CLOSE MIDNIGHT MONDAY OCTOBER 18, 2021

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OVERVIEW

Opera Australia is seeking cast submissions for Handa Opera on Sydney Harbour 2022: a spectacular new production of Andrew Lloyd Webber’s THE PHANTOM OF THE OPERA which will make its premiere on Sydney Harbour in March 2022.

Please note that this is a different production to the previously announced (and postponed) Opera Australia tour, with a new creative team and a new design.

Please be aware that the venue is an outdoor purpose-built stage over Sydney Harbour. Given the nature of the venue, the stage will be raked and also have a gritted surface to ensure the safety of performers as performances of the production continue in inclement weather, including rain and winds.

SEASON DATES

Performers must be aged 18 or over by the commencement of rehearsals, and must be available for the

following dates:

• Rehearsals commence (on or about – Sydney): 21 February 2022
• Stage rehearsals commence: on or about 15 March 2022
• Performance season: on or about 25 March – 24 April 2022

Cast members must be available for the entire period. Cast members may be required to be local to Sydney for the rehearsal and performance period.

Please find following a casting brief detailing the roles for the production – please note the specific requirements for each role and submit accordingly.

All ethnicities are encouraged to submit for an audition.

AUDITION INFORMATION

• First and second-round auditions will be done via video submission. Instructions on first round submissions below.
• If you have previously auditioned for an Opera Australia production, we encourage you to submit a different piece. Please see notes on music choice below.

FIRST-ROUND AUDITIONS

• Vocal Auditions: Please note the specific vocal range required for each role and submit a piece of non-show material of your own choosing. We ask that you really consider your music choice – please select music that will show the creative team that you are perfect for the world of Phantom of the Opera, i.e “legit” classical or traditional musical theatre as opposed to modern or contemporary pieces.
• Dancers, please submit both dance and vocal (you will be required to sing). Please refer to the vocal instructions above. Your dance submission should be up to 1 minute in length and should demonstrate your skill and experience in the particular dance styles mentioned below.
• You will be contacted directly should you progress to the second round of auditions, where we will require you to submit show material for a specific role.
• Information including dates and locations of final round auditions (which will be in person) will be confirmed after the submissions close.

SUBMISSION PROCESS

• Submissions will be accepted via the following webform only: Handa Opera Submissions (see link below)
• Please make sure that all files attached to the submission are clearly labelled with name of performer on CV file name and Headshot file name. CVs must be in PDF format.
• Video links must be in either of two forms:

A) An Unlisted YouTube link

B) A Private Vimeo link (with the password provided) or an Unlisted Vimeo link • One link containing all the material is preferred.

One link containing all material is preferred.

THE ROLES

THE PHANTOM (30-40)

High baritone or tenor (with strong low range) with a contemporary sound. Able to sustain high A flat with ease in full voice and high C# in falsetto.

Looking for a truly dynamic actor, a leading artist, with excellent acting and singing ability. The Phantom is both frightening and irresistible.

CHRISTINE DAAÉ (18-25)

Sings G below middle C to high E.

Playing age should be as young as possible but is normally early to mid-twenties. A beautiful lyric soprano. Soprano voice that combines elements of classical and musical theatre singing.

RAOUL, VICOMTE de CHAGNY (20s-30s)

Contemporary high baritone/tenor (2 octave range from A flat to A flat). Young, dashing, handsome aristocratic man who falls in love with Christine.

MONSIEUR FIRMIN (Baritone: high E/F) & MONSIEUR ANDRÉ (Baritenor: high G with ease) (30s-50s)

The Managers of the Paris Opera House – both roles require good instincts for stylish comedy – they are elegant yet often slightly befuddled and bumbling. Firmin is the hard money man. André is charming with an artistic temperament.

CARLOTTA GIUDICELLI (30s-40s)

Coloratura soprano to high E

A middle-aged Italian coloratura soprano, the archetypal Diva – prima donna of the Paris Opera. Strong operatic singer with a good comic sense. Requires opera training.

MADAME GIRY (LATE 30s-50)

Mezzo soprano to high B flat with no discernible break between head and chest voices.

Ballet Mistress of the Opera Populaire. An ominous, stern, forbidding figure.

MEG GIRY

Should convincingly play late teens to early 20s A solid soprano and a strong mix – sings to a G

A young petite ballet dancer. Needs strong classical dance technique. Pointe experience beneficial. A member of the Corps de Ballet.

UBALDO PIANGI (30s-40s)

Range to legit high C. Requires opera training.
Archetypal middle-aged, Italian operatic tenor, companion to Carlotta.

ENSEMBLE: MALE ENSEMBLE/SWINGS (25-50s)

Strong, trained singing voices, able to contribute to an operatic choral sound.

A range of “character” players to play small roles and understudy all of the male principals.

ENSEMBLE: FEMALE ENSEMBLE/SWINGS (25-50s)
Strong, trained singing voices, able to contribute to an operatic choral sound.

A range of “character” players to understudy all of the female principals and to play small roles.

DANCERS (MEN AND WOMEN)

Experienced dancers with a strong foundation in the following techniques: classical/neo classical and contemporary – think Nederland Dans Theater/Akram Khan Giselle for English National Ballet. Throughout the Opera we will draw on a fusion of the techniques and style mentioned above. Confidence in floor work and partner work is essential, pointe work experience is a plus.

Strong vocal ability preferred.

TO SUBMIT YOUR AUDITION CLICK HERE