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1 | ALL ROLES ARE OPEN UNLESS DENOTED | ||||||
2 | FINDING NEVERLAND Sept 11-27, 2026 | ||||||
3 | Director: Kelly Fouchi, Choreographers: Katelin Zelon & Grace Hart, Musical Director: Jessica Holl | ||||||
4 | Role Name | Role Type | Vocal Range | Character Description | Doubling / Track Info | In-Show Song Suggestions | Key Skill Focus |
5 | J.M. Barrie | Principal | Tenor (A2–A4) | A struggling playwright; imaginative and boyish, but stuck in a stifling marriage and career. | No doubling. | "Stronger", "My Imagination" | Must transition from a "stiff" adult to a boyish dreamer; requires a high-stamina pop-tenor belt and strong emotional transparency. |
6 | Sylvia Llewelyn Davies | Principal | Mezzo (G3–E5) | A widowed mother of four; warm, resilient, and ethereal. She is the heart of the show. | No doubling. | "All That Matters", "What You Mean to Me" | Needs a shimmering vocal mix and the ability to portray a mother who is physically fading but spiritually strong; deep emotional groundedness. |
7 | Charles Frohman | Principal | Baritone (F#2–G4) | Barrie’s cynical, business-minded producer. Commanding and dryly funny. | Doubles as Captain Hook (Barrie's darker subconscious). | "Live by the Hook", "The World Is Upside Down" | Masterful comedic timing as the dry, business-like Frohman vs. a physically aggressive, flamboyant "Alpha" energy as Captain Hook. |
8 | Mrs. du Maurier | Principal | Alto (F3–C5) | Sylvia’s stern, overprotective mother. High-society, sophisticated, and rigid. | No doubling. | "All That Matters (Reprise)", "Believe" | Exceptional posture and a "chilly" stage presence; must possess a controlled, traditional "legit" musical theatre alto sound. |
9 | Peter Llewelyn Davies (YOUTH) | Principal | Boy Soprano | A boy who has grown up too fast due to grief. Sensitive and guarded. | No doubling. | "When Your Feet Don't Touch the Ground" | Needs a "soulful" acting quality; must portray a child who has grown up too fast. Requires a pure, unwavering head voice. |
10 | Mary Barrie | Supporting | Mezzo/Belt | Barrie’s socialite wife. Polished, cold, and values status over imagination. | Usually doubles in Ensemble (Londoners) after her exit. | "Believe", "The World Is Upside Down" | High-status British RP accent; must embody social rigidity and a "cold" elegance through crisp, rhythmic movement. |
11 | Mr. Cromer | Supporting | Baritone | A grumpy, veteran member of Frohman’s acting troupe. | Doubles as Michael (the baby) and Nana the Dog in the play. | "The World Is Upside Down" | Must be a fearless physical actor; requires the ability to switch between a grumpy "thespian" and a comedic dog (Nana). |
12 | Mr. Henshaw | Supporting | Tenor | A vain, dramatic member of the acting troupe. | Doubles as Smee in the Peter Pan play rehearsals. | "The World Is Upside Down" | Needs high-energy "sidekick" energy; strong character vocals and the ability to play a broad, vain comedic archetype. |
13 | Mr. Turpin | Supporting | Bass-Baritone | A serious, "method" actor in the troupe. | Doubles as the "Theatrical" Hook in the play rehearsals. | "The World Is Upside Down" | Requires a "serious" actor persona with a booming, resonant bass-baritone; must be comfortable with over-the-top theatricality. |
14 | Miss Bassett | Supporting | Mezzo/Soprano | A bubbly actress in the troupe. | Doubles as Nibs (a Lost Boy) in the play. | "Play" | Needs to switch instantly between a sophisticated Londoner and a rowdy, youthful "Lost Boy" (Nibs). |
15 | Miss Jones | Supporting | Mezzo-Soprano | A reliable actress in the troupe. | Doubles as Tootles or Wendy in the play. | "Play" | Requires a bright, engaging stage presence and strong movement skills to play the "Wendy" archetype in rehearsals. |
16 | Lord Canaan | Supporting | non-singer | Uptight Board Member, pursues Mary Barrie | double in ensemble? | stong British accent | |
17 | The Llewelyn Boys (George/Jack/Michael) YOUTH | Supporting | Boy Sopranos | Sylvia’s sons. Rambunctious, playful, and tight-knit. | No doubling. | "We’re All Made of Stars" | Natural, unforced chemistry with siblings; must be high-energy movers who can sing while being physically active. |
18 | Ensemble (Men) | Ensemble | Tenor/Bari/Bass | London high society, Pirates, and Theatre Staff. | Heavy Doubling: Switch between Londoners and Pirates. | "Stronger" (Pirate Section), "Circus of Our Minds" | Needs "gritty" masculinity for Pirate sequences; requires strong contemporary/modern dance skills and powerful rock harmonies. |
19 | Ensemble (Women) | Ensemble | Sop/Mezzo/Alto | London high society, Fairies, and Theatre Staff. | Heavy Doubling: Switch between Londoners and Imaginary beings. | "Believe", "Play" | Must transition from rigid high-society posture to fluid, imaginative movement; requires tight, pop-influenced vocal blending. |
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21 | ROCKY HORROR Oct 25-31, 2026 | ||||||
22 | Director: Bryce Slocumb, Musical Director: Cassie Schmitt, Choreographer: TBA | ||||||
23 | Role Name | Role Type | Vocal Range | Character Description | Doubling / Track Info | In-Show Song Suggestions | Key Skill Focus |
24 | Dr. Frank 'N' Furter | Principal | Baritone/Tenor (D3–G4) | A "Sweet Transvestite" from Transsexual, Transylvania. Charismatic, volatile, and hedonistic. | No doubling. | "Sweet Transvestite", "I’m Going Home" | Commanding stage presence; must be comfortable in drag/corsets; rock vocals. |
25 | Janet Weiss | Principal | Mezzo/Soprano (A3–Eb5) | A quirky, "pure" ingenue who discovers her own liberation. | No doubling. | "Touch-a, Touch-a, Touch-me", "Over at the Frankenstein Place" | Transition from "legit" 50s soprano to a gritty rock-belt; comedic timing. |
26 | Brad Majors | Principal | Tenor (Bb2–G4) | An uptight, square, and "wholesome" guy. Janet’s fiancé. | No doubling. | "Once in a Wintertime", "Dammit Janet" | Crooner-style tenor; must play "awkward" and "stiff" effectively. |
27 | Riff Raff | Principal | High Tenor (D3–B4) | Frank’s creepy, skeletal handyman. Eerie and ultimately vengeful. | No doubling. | "The Time Warp", "Over at the Frankenstein Place" | Iconic "rock scream" high tenor; physical character acting (hunchback). |
28 | Magenta | Principal | Mezzo/Alto (Bb3–Eb5) | Riff Raff’s sister and a domestic in the castle. Exotic and cynical. | Often doubles as Trixie (The Usherette). | "Science Fiction/Double Feature", "The Time Warp" | Soulful, rock-belter; high-energy "weirdness"; strong harmony skills. |
29 | Columbia | Supporting | Mezzo/Belt (E4–E5) | A groupie and Frank’s former flame. High-pitched, bubbly, and manic. | No doubling. | "Time Warp" (Solo), "Eddie" | Strong Tapper; distinct "squeaky" character voice; high-stamina dancing. |
30 | Rocky Horror | Supporting | Baritone/Tenor (A2–G4) | Frank’s creation. A blonde, muscular masterpiece with the mind of a child. | No doubling. | "The Sword of Damocles" | Physical Fitness: Must be comfortable performing in minimal clothing; naive acting. |
31 | Eddie | Supporting | Baritone/Tenor (E3–G4) | A delivery boy and "greaser" rocker. Rough, wild, and loud. | Usually doubles as Dr. Scott. | "Hot Patootie – Bless My Soul" | Raspy, high-energy rock-and-roll vocal; "Elvis" style swagger. |
32 | Dr. Scott | Supporting | Baritone (D3–F4) | An aging German scientist in a wheelchair. Rival to Frank. | Usually doubles as Eddie. | "Eddie’s Teddy" | Strong German accent; character acting; seated performance. |
33 | The Narrator | Supporting | Non-Singing / Spoken | A dry, sophisticated guide who explains the plot to the audience. | No doubling. | N/A | Improv/Crowd Control: Must handle audience "call-outs" with wit and authority. |
34 | Phantoms / Transylvanians | Ensemble | SATB | The "ghoulish" residents of the castle. | Heavy Doubling (Wedding Guests, etc.) | "The Time Warp", "Rose Tint My World" | High-energy movement; strong rock harmonies; eccentric character work. |
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36 | Disney & Pixar's FINDING NEMO Jan 8-24, 2027 | ||||||
37 | Director & Choreographer: Kelly Fouchi, Musical Director: Cassie Schmitt | ||||||
38 | Role Name | Role Type | Vocal Range | Character Description | Doubling / Track Info | In- how Song Suggestions | Key Skill Focus |
39 | Dory | Principal | G3–F5 | Optimistic, bubbly, and sociable blue tang; struggles with memory loss. | Often Reef Parent. | "Just Keep Swimming" | High-energy comedic timing; needs a warm, "scattered" charm. |
40 | Gill | Principal | B3–C5 | Relentless, scarred leader of the Tank Gang; obsessed with the ocean. | Often Bruce / Professor Ray. | "Wild & Blue" | Commanding presence; stoic and inspiring mentor vibe. |
41 | Crush | Principal | D3–D5 | Laid-back, 150-year-old sea turtle; wise and "righteous." | Often Nigel / Shark. | "Go With the Flow" | Modern pop/rock belt; "chill" surfer-dude persona. |
42 | Professor Ray | Supporting | A3–Bb4 | Enthusiastic, encyclopedic stingray teacher. | Often Gill / Shark. | "Explorer's Party" (or "Sea Turtle Rock") | Fast diction; academic energy; bright stage presence. |
43 | Bruce | Principal | B2–E4 | Intimidating shark ringleader; trying to be a "vegetarian." | Often Gill / Crush. | "Fish Are Friends, Not Food" | Booming, powerful voice; menacing but lovable comedy. |
44 | Coral | Supporting | Ensemble Range | Nemo's brave, loving mother; strong and protective. | Usually Peach / Reef Parent. | "The Tank Gang" (Group Number) | Strong acting for the emotional prologue. |
45 | Peach | Supporting | B3–C5 | Mature, down-to-earth starfish; the Tank Gang's "mother" figure. | Often Coral. | "Pannerama" | Calm, reassuring energy; observational acting. |
46 | Bloat | Supporting | B3–D5 | Open-minded and supportive blowfish; proud Tank Gang member. | Often Reef Parent / Shark. | "In the Big Blue World" (School Verse) | Character acting; physically expressive (puffing up). |
47 | Gurgle | Supporting | B3–C5 | Nervous Royal Gramma fish; obsessed with cleanliness. | Often Reef Parent. | "Prologue / Big Blue World" | High-strung, fast-paced comedy; "germaphobe" energy. |
48 | Anchor | Supporting | A3–B4 | Tough shark; loyal to the "fish are friends" lifestyle. | Often Tank Gang / Parent. | "In the Big Blue World" (Finale) | Character-driven vocals; "tough guy" persona. |
49 | Chum | Supporting | B2–E4 | Determined shark; committed crony to Bruce. | Often Tank Gang / Parent. | "In the Big Blue World" (Finale) | Grit and energy; strong ensemble singing. |
50 | Nigel | Supporting | Ensemble Range | Friendly, sharp-eyed Australian pelican; a local gossip. | Often Crush / Shark. | "In the Big Blue World" (Finale) | Friendly "mate" persona; requires a distinct Aussie flair. |
51 | Pearl | Supporting | A3–Eb5 | Excitable, friendly flapjack octopus; one of the Reef Kids. | Usually Sea Chorus. | "In the Big Blue World" (Finale) | Youthful, bright vocals; "cute" but high-energy. |
52 | Sheldon | Supporting | A3–Eb5 | H2O-intolerant seahorse; prone to getting into trouble. | Usually Sea Chorus. | "In the Big Blue World" (Finale) | Comedic "sickly" kid energy; great character voice. |
53 | Tad | Supporting | A3–Eb5 | Self-admittedly obnoxious butterflyfish. | Usually Sea Chorus. | "In the Big Blue World" (Finale) | Sassy, funny, and high-energy personality. |
54 | Squirt (YOUTH) | Supporting | E4–B4 | Crush’s fearless, buoyant turtle offspring. | Often Pearl or Tad. | "In the Big Blue World" (Finale) | "Radical" turtle energy; athletic movement. |
55 | Ensemble | Ensemble | SATB | Reef Parents, Moonfish, Jellyfish, Sea Turtles, Seagulls, etc. | Heavy Doubling. | "In the Big Blue World" (Finale) | Strong movement; versatile character "voices" (e.g., Seagulls). |
56 | * The roles of Nemo & Marlin are cast | ||||||
57 | |||||||
58 | 42nd St March 5-21, 2027 | ||||||
59 | Director: Kelly Fouchi, Choreographers: Katelin Zelon & Candice Moses, Musical Director: TBA | ||||||
60 | Role Name | Role Type | Vocal Range | Character Description | Doubling / Track Info | In-Show Song Suggestions | Key Skill Focus |
61 | Julian Marsh | Principal | Baritone (D3-Ab4) | The legendary, "hard-as-nails" Broadway director. Gruff but deeply dedicated. | No doubling. | "Lullaby of Broadway", "42nd Street (Reprise)" | Strong acting; authoritative presence; booming, rich vocal. |
62 | Dorothy Brock | Principal | Alto (Eb3-B4) | The fading Broadway prima donna. Glamorous, haughty, and a bit of a diva. | No doubling. | "Shadow Waltz", "I Know Now", "About a Quarter to Nine" | Must carry "Old Hollywood" elegance; limited dancing required. |
63 | Billy Lawlor | Principal | Tenor (Bb2-B4) | The leading man and resident "juvenile." Fast-talking, charming, and confident. | No doubling. | "Young and Healthy", "Dames", "We're in the Money" | Strong Tap Dancer; classic high-tenor "crooner" vocals. |
64 | Maggie Jones | Supporting | Alto (Ab3-Bb4) | Co-writer/producer of Pretty Lady. Sharp-witted, cynical, and maternal. | No doubling. | "Shadow Waltz (Reprise)", "Shuffle Off to Buffalo" | Great comedic timing; "belter" character voice; basic tap. |
65 | Bert Barry | Supporting | Baritone (C3-D4) | Co-writer/producer of Pretty Lady. Jovial and funny. | No doubling. | "Shuffle Off to Buffalo" | Character acting; Vaudeville-style comedy; basic tap. |
66 | Anytime Annie | Supporting | Mezzo/Belt (Ab3-Ab4) | A savvy, experienced chorus girl and Peggy’s first friend in the city. | Part of the Chorus. | "Shuffle Off to Buffalo", "There's a Sunny Side to Every Situation" | Excellent Tap Dancer; big personality; sharp comedic "moxie." |
67 | Pat Denning | Supporting | Baritone (D3-Eb4) | Dorothy’s former vaudeville partner and secret romantic interest. | Often doubles in Ensemble. | "I Know Now" | Mature, grounded acting; traditional baritone. |
68 | Abner Dillon | Supporting | Bass/Baritone | The show’s wealthy (and grumpy) investor from Oklahoma. | Often doubles in Ensemble. | Ensemble numbers only. | Character actor; must play "bumbling" but powerful wealth. |
69 | Andy Lee | Supporting | Baritone | The overworked dance captain/choreographer for Pretty Lady. | Leader of the Chorus. | "Go Into Your Dance" | Elite Tap Dancer; must be able to lead and look like a pro teacher. |
70 | The Chorus (Dames/Dapper Dan's) | Ensemble | SATB | The hard-working, "hoofers" of Broadway. | Heavy Doubling (Sailors, Socialites, etc.) | "Lullaby of Broadway", "We're in the Money" | Must be proficient Tappers. Athleticism and precision are key. |
71 | * The role of Peggy has been cast | ||||||
72 | |||||||
73 | GREASE May 7-23, 2027 | ||||||
74 | Director & Choreographer: Diane Lala, Musical Director: TBA | ||||||
75 | Role Name | Role Type | Vocal Range | Character Description | Doubling / Track Info | In-Show Song Suggestions | Key Skill Focus |
76 | Danny Zuko | Principal | Tenor (D4–B5) | The leader of the Burger Palace Boys. Charming, strong, and a bit cocky. | No doubling. | "Alone at a Drive-In Movie", "Summer Nights" | 1950s leading man "cool"; falsetto skills; strong mover. |
77 | Sandy Dumbrowski | Principal | Soprano (A3–F#5) | The "new girl" in town. Sweet, wholesome, and naive, with a hidden fire. | No doubling. | "Hopelessly Devoted to You", "Summer Nights" | Clean, "innocent" soprano transitioning into a powerful rock belt. |
78 | Betty Rizzo | Principal | Mezzo/Alto (A3-C5) | Leader of the Pink Ladies. Tough, sarcastic, and world-weary. | No doubling. | "There Are Worse Things I Could Do", "Look at Me, I’m Sandra Dee" | Strong dramatic acting; gritty, soulful "character" belt. |
79 | Kenickie | Principal | Tenor/Baritone (C4–F5) | Danny’s best friend and second-in-command. Rough-and-tumble and surly. | No doubling. | "Greased Lightnin’" | High energy; "tough guy" charisma; must be an athletic dancer. |
80 | Marty | Supporting | Mezzo/Alto (C4–C5) | The "beauty" of the Pink Ladies. Considers herself more mature than the others. | No doubling. | "Freddy, My Love" | Glamorous 1950s "vixen" energy; strong solo vocal. |
81 | Jan | Supporting | Mezzo/Alto (A3–C5) | The quirky, fun-loving member of the Pink Ladies. Loves to eat. | No doubling. | "Mooning" | Great comedic timing; bubbly personality. |
82 | Frenchy | Supporting | Mezzo (A3–D5) | A dreamer who drops out of high school to go to beauty school. Kind but flighty. | No doubling. | "Beauty School Dropout" (Backup) | Distinct "character" voice; high-energy sweetness. |
83 | Doody | Supporting | Tenor (D4–A5) | The youngest of the guys. Small, boyish, and loves his guitar. | No doubling. | "Those Magic Changes" | Needs a classic 1950s "rock-and-roll" tenor sound; guitar skills a plus. |
84 | Roger | Supporting | Tenor (D4–A5) | The "anything-for-a-laugh" guy. Known as the "King of the Mooners." | No doubling. | "Mooning" | Strong comedic timing; must be comfortable with "mooning" physical comedy. |
85 | Sonny LaTierri | Supporting | Baritone (G3–A5) | A wannabe "tough guy" who is actually a bit of a coward. | No doubling. | Ensemble numbers. | High-energy physical comedy; fast-talking "wiseguy" persona. |
86 | Patty Simcox | Supporting | Mezzo (D4–A4) | The high-achieving, overly enthusiastic cheerleader. | No doubling. | "Rydell Fight Song" | High-status "annoying" comedy; must be a very strong cheerleader/dancer. |
87 | Eugene Florczyk | Supporting | Baritone (A3–E5) | The class nerd. Sincere, awkward, and easily picked on. | No doubling. | Ensemble numbers. | Physical character comedy; "nerd" archetype. |
88 | Miss Lynch | Supporting | Non-Singing / Alto | The strict, no-nonsense English teacher. | No doubling. | "Alma Mater" | Dry comedic timing; authoritative presence. |
89 | Vince Fontaine | Supporting | Non-Singing / Baritone | A smooth-talking, egocentric radio DJ. | Often doubles as Teen Angel. | "Born to Hand Jive" (Speaking) | "Slick" 1950s radio voice; high charisma. |
90 | Teen Angel | Supporting | Tenor (E3–F5) | A 1950s crooner hallucination who advises Frenchy. | Often doubles as Vince Fontaine. | "Beauty School Dropout" | Needs a "silky" high tenor/falsetto; comedic show-stopper energy. |
91 | Johnny Casion | Supporting | Tenor (G4-E5) | All American, rock star "greaser" student at Rydell, whose name is Clarence. Doesn't ahve to ba student, can also be adult lead ainger of band) | possible Ensemble double? | "Hand Jive" | lots of charisma and enthusiasm |
92 | Cha-Cha DiGregorio | Supporting | Mezzo (C4–C5) | A loud-mouthed "bad girl" from a rival school. | Often doubles in Ensemble. | "Born to Hand Jive" | Elite Dancer; must be able to win a dance competition on stage. |
93 | The Ensemble | Ensemble | SATB | Students at Rydell High. | Heavy Doubling (Dance Contestants, etc.) | "We Go Together", "Born to Hand Jive" | Strong Rock-and-Roll Dancers. High energy is a must. |
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95 | Disney's THE LITTLE MERMAID July 15-25, 2027 | ||||||
96 | Director: Scott Sauber, Choreographer: Katelin Zelon, Musical Director: Cassie Schmitt | ||||||
97 | Role Name | Role Type | Vocal Range | Character Description | Doubling / Track Info | In-Show Song Suggestions | Key Skill Focus |
98 | Ariel | Principal | Soprano/Mix (Ab3–Gb5) | A spirited, adventurous mermaid fascinated by the human world. | No doubling. | "Part of Your World", "Beyond My Wildest Dreams" | Strong ingenue "Disney" belt; must be able to act without speaking (Act II). |
99 | Prince Eric | Principal | Tenor (B2–G4) | A handsome, adventurous prince who feels out of place in his royal duties. | No doubling. | "Her Voice", "One Step Closer" | Romantic leading man; rich, lyrical tenor; must be a capable mover/dancer. |
100 | Ursula | Principal | Alto/Mezzo (Eb3–C5) | The manipulative, flamboyant Sea Witch. Calculating and larger-than-life. | No doubling. | "Poor Unfortunate Souls", "Daddy’s Little Angel" | Masterful character acting; powerful belt; commanding stage presence. |