Yesterday we showed you exclusive video of Gov. Chris Gregoire, and today we’ve got more video of a politician in action – here’s the opening monologue from Congressman Jim McDermott’s stint as Guest Narrator at Sunday’s (Oct. 26) “The Rocky Horror Show” at (BTB Advertiser) Burien Little Theatre.

You may notice audience members shouting as he speaks – don’t worry, he’s not being heckled – Rocky is an interactive show where audience participation is encouraged (and the Congressman’s professional performance was unaffected by it):

There are only three performances left, so be sure to order your tickets online now!

• Fri. Oct. 31 at 10:00 p.m.  Friday – HALLOWEEN!
• Sat. Nov. 1 at 8:00 p.m.
• Sun. Nov. 2 at 2:00 p.m. – CLOSING SHOW!

[EDITOR'S NOTE: The following is an exclusive behind-the-scenes story about what it's like working on "The Rocky Horror Show" from one of BTB Advertiser Burien Little Theatre's Stagehands, Melissa Malloy]

by Melissa Malloy

I have lived the theater life since I was thirteen. I love every aspect of the theater experience, from the audience to the stage. One of the most rewarding experiences is working backstage on a show. The audience gets to enjoy the show and they feed their energy to the actors. The actors create the experience for the audience. But it’s the backstage crew that glues everything together.

The backstage crews create the costumes for people, collect or create props, manipulate light, produce sounds, build sets, and move sets. Costumers have to make or find clothes from every era. Sometimes it means raiding a closet, purchasing all the contents of a thrift store or designing new items. Modern plays can be simple. Just have the actor bring clothes from their closet. Then you have Shakespeare. The costume designer must create corsets, gowns, codpieces, and whatever else someone may need to be an authentic Elizabethan Romeo or Juliet. Or you could be designing for “The Rocky Horror Show,” where you can use your imagination to make everyone look outrageous. Sewing skills come in handy.

Also working in the costume arena are the dressers. Dressers help actors change clothes during the show. I was a dresser for a production of “Hair.” Everyone takes off their clothes on stage, so the big joke was that I was an un-dresser. Hardy har har. Being a dresser takes talent. You have to get clothes off and on someone else in a matter of seconds, but make it look like they took their time changing. You really never have much light to perform these balancing acts, and sometimes clothes end up backwards or inside out. I once had an actor spend an entire act with his shoes on the wrong feet. Costume mishaps are handled by dressers as well. If a costume rips, they need to be able to stitch it closed.

A props master really needs to be a creative person. It doesn’t matter what show you are producing, some of the props are going to need to be built. If you’re putting on “Dracula,” not many hospitals have an ancient transfusion machine just lying around, and if they do, I dare you to get them to let you use it. If you’ve got a big sword fight, not many actors can pick up a real sword, so you use lighter ones that look real. Props are all about perception. It just looks like there is a brain in the jar; it’s not a real one. If it turns out to be a real brain, the director probably snapped and it’s his.

The extent of my lighting knowledge involves hitting the GO button on the lighting board. Lighting designers, however, need to know how light colors will work together. They focus lights on all of the stage or just a small section. They are responsible for bringing the sun and the moon up, for differentiating the Phantom’s crypt from Christine’s dressing room. The lighting designer tells the audience where to look, so if you’re an actor, make sure to suck up to him or your monologue will be in the dark.

Usually when you think of sounds in a play, you think of the music. Music is the easy part of a sound designer’s job. You also need to find sounds for things we take for granted, like knocking on a door. Knocking on a stage door loud enough for an audience to hear can take down the whole set, because sets aren’t always anchored or sturdy. They function to let people enter or exit. Knocking usually needs to be recorded. Doorbells, gunshots, approaching footsteps, animals: these are all examples of sounds a designer will need to come up with for a show. You also have the sounds that need to be configured for imaginary things. What sound does Riff Raff’s ray gun make? When the Ghost of Christmas Past appears, what should you hear? What do the machines sound like in “Charlie and the Chocolate Factory?”

The set of a play lets you know what kind of play you are going to see. It can be a simple set of two ladders for “Our Town.” Now you know you are going to need to use your imagination to see where the actors are. “Crimes of the Heart” takes place in a kitchen. The set designer can decide to make it simple with a table and chairs or he can build a whole kitchen. Traveling shows need to have sets that can be taken down and put up easily. “A Shaft of Light,” a play about the painter Carravagio, needed copies of his original paintings for the set. More than one set may need to be built. If act one is a different setting than act two, then changes need to be made at intermission. Maybe a different bed is rolled out. Maybe the set walls are just flipped around. The designer just needs to remember the stage crew only has fifteen minutes to transform the stage from one place to another.

The stage crew works alongside the dressers. They are the people on stage helping the actors make the transitions flawless. They make sure the props are in hand and the set is moved smoothly. The stage crew is responsible for making sure the stage is cleaned before and after a show so actors don’t end up with staples in their feet. After Dracula has successfully been dispatched they are the ones cleaning up the fake blood. A crisis during the performance of a show will most likely be handled by one or more of the stage crew. When the little wooden knobs fall off, the stage crew glues them back on. When the fake ax head flies off the handle, it is a stage crew person who duct tapes it back on. Duct tape and a glue gun are the main tools of the trade for a stagehand.

The person who brings everyone together is the stage manager. This is the big cheese. The stage manager is in charge of making sure all the changes that happen during a show run smoothly. They know what all the sound cues, light cues, costume changes, set changes, and props should be. Some stage managers delegate to the crews and stand back to let everything happen. Some stage managers jump into the ring to help everything go as it should. Once a play opens, the stage manager is god.

If everything goes right during a performance, you never know the backstage crew is there. The actors magically change costumes in the blink of an eye. The stage looks like a different place after intermission. That book appears as if from thin air. You never realize someone is there committing those tiny miracles of the theater world.

The good nights run smoothly, and the crew never breaks a sweat. The bad nights are an adventure all their own. There are the nights when the things that go wrong are easily fixed. A prop was misplaced and the stage crew must run and find it. The lead actress popped a seam and the dresser must safety pin it until it can be sewed. But then there are the nights when the cast runs into the set and it starts to fall down. You stand backstage and the life of Ed in the band flashes before your eyes. Then you end up running to the other side of the stage, quietly, yelling at everyone in a whisper to move so you can hold up the set until intermission when someone can come and screw it to the floor.

My favorite panic moment was the night all the sound cues disappeared. The first song of the show was coming up and the stage manager calls for the sound cue to go and …… SILENCE! The actors are standing around waiting for the cue, the button is hit again and … SILENCE! It was deafening. Now we’re hitting any cue to see if any of them will make noise. The actors finally realize the music isn’t coming and just start singing without it. Now if this happened to me, panic and hyperventilation would have been the chosen response. I don’t know enough about the equipment to help in this situation. I can keep a headboard from squishing the two actresses jumping on the bed, but I curl into the fetal position if I have to fix anything computer related. Luckily, I was not the sound board operator. The fine young gentleman on the computer – we’ll call him Alex – uttered a couple of choice expletives, then went to the random back-up files and prayed that the numbers matched. Of course the first sound that was used was a very loud THWAP-CHING, scaring the actors into silence for a couple of seconds before they registered the sound cues were back. After Alex found all the cues he uttered a few more expletives, a thank you prayer, and asked for alcohol.

Going to the theater is an experience. From the time the curtain goes up until it goes down, you never know what could happen. Computers glitch, clothes rip, props disappear, things fall down, people get lost, fire alarms go off. No matter what happens the backstage crews will be there to make sure it is a good time had by all, even if it means spilling blood, sweat, and tears.

Right now I am working on the stage crew for “The Rocky Horror Show” at Burien Little Theatre. We have had our stresses. The set almost fell on the band, the microphones cause me to die a little each night, fishnet stockings don’t hold up well when being taken off hairy legs at a fast pace. On the other hand, I get to do the Time Warp every night, I get to see hot guys in very little clothing, I get to travel to Frankie’s place. Every show is an adventure. Last Saturday’s audience was amazing. Everyone got up and danced, yelled at the cast, threw things. It was great. I’m just glad I don’t have to clean up all the confetti each night. If you’re looking for a good time, and want to throw your inhibitions to the wind, you should come and see the show.

And remember – we are watching, waiting, and most likely cursing because the microphones still aren’t working!

There are still tickets left for the remaining shows (BUY TICKETS ONLINE HERE), which include:

October 10 at 8:00 p.m. Friday – Guest Narrator – State Representative Sharon Nelson

October 11 at 8:00 p.m. Saturday – Guest Narrator – Burien City Councilmember Kathy Keene

October 12 at 2:00 p.m. Sunday Matinee

October 17 – NO SHOW!

October 18 at 8:00 p.m. Saturday – Guest Narrator – Mr. Stephen Lamphear

October 19 at 2:00 p.m. Sunday Matinee – Guest Narrator – United States Congressmember Jim McDermott

October 24 at 10:00 p.m. Friday

October 25 at 8:00 p.m. Saturday – Guest Narrator – State Representative Dave Upthegrove

October 26 at 2:00 p.m. Sunday

October 31 at 10:00 p.m. Friday – HALLOWEEN!

November 1 at 8:00 p.m. Saturday

November 2 at 2:00 p.m. Sunday – Your very last chance to do the Time Warp again!

And if you didn’t see it when we posted this before, here’s a sneak peek video we shot of one of the final dress rehearsals of the show:

We were invited to one of the final dress rehearsals of Burien Little Theatre’s “Rocky Horror Show” Wed. night (the show opens Fri. Sept. 26 – buy your tickets online here or see the full schedule here), and we managed to surreptitiously smuggle our little videocam in and shoot some exclusive and sexy sneak peek footage of the fine actors and crew’s corset-filled, bustier-bustin’ musical comedy based on the cult film classic, which we present to you here:

Don’t forget that BLT will be featuring some very special celebrity Guest Narrators during certain performances, including:

• Sat. Oct. 4 at 8pm: Guest Narrator – State Senator Joe McDermott
• Fri. Oct. 10 at 8pm: Guest Narrator - State Representative Sharon Nelson
• Sat. Oct. 11 at 8pm: Guest Narrator – Burien City Councilmember Kathy Keene
• Sat. Oct. 18 at 8pm: Guest Narrator – Mr. Stephen Lamphear
• Sun. Oct. 19 at 2pm (Matinee): Guest Narrator – United States Congressmember Jim McDermott
• Sat. Oct. 25 at 8pm: Guest Narrator – State Representative Dave Upthegrove

JUST BUY YOUR TICKETS ONLINE HERE BEFORE
WE FORCE YOU TO DO A PELVIC THRUST!

The Burien Little Theatre opens its 2008/2009 season with the award winning musical, The Rocky Horror Show, and in the spirit of civic pride, during its 6-week run, will showcase the narrating talents of several notable public officials.

The Rocky Horror Show is an outrageous musical comedy featuring a Transylvania transvestite, a cryogenically-preserved motor biker and Frankenstein’s monster (with a Charles Atlas twist).

This sexy send-up of horror and science fiction film genres will run at the Burien Little Theatre from Sept. 26 through Nov. 3 (opening night is Friday, Sept. 26).

Tickets are $5-$18 and can be purchased online here.

The show opens with two naive teenagers, Brad and Janet, who run into car problems in the midst of a rainstorm. To find a phone, Brad and Janet walk to a nearby residence, the Frankenstein castle.  Instead of the hoped-for phone, they find Dr. Frank ‘n’ Furter, a mad scientist from another planet who is going to help the couple by removing “the cause, but not the symptoms.” The cure involves sexual escapades, floor shows, dancing, great music, the secret to life is revealed, and the show ends in a UFO, general chaos and sexual confusion for the previously naive Brad and Janet.

The Rocky Horror Show – music, lyrics and book by Richard O’Brien – debuted on stage June 19, 1973, in London where it ran for 2,960 performances before closing in early September of 1980. Since its debut, the show has been translated into a variety of languages and produced in cities all over the world, including two runs on Broadway. In 1975, the show was also made into the popular cult movie The Rocky Horror Picture Show.

THE CAST:
The Burien Little Theatre’s production of The Rocky Horror Show is directed by veteran BLT stage director Steve Cooper and music director Ann Sager. The show features the acting talents of Steve Bucheit (Frank ‘n’  Furter), Ashley Coates (Janet), Colin Madison (Brad), Jim Oestreich (Rocky), along with Ben Cornoyer, Michelle Flowers, Jackie Graybill, John Huddlestun, Jen Makenas, Allyson Manning,  Mok Moser, Dan Posluns, and Mark Williams.

THE MUSIC:
Richard O’Brien composed the music and lyrics for The Rocky Horror Show. This revival version of the production features 20 songs including the popular “Sweet Transvestite” and the highly participative “The Time Warp.” To make this soundtrack really throb, the Burien Little Theatre band includes Ann Sager, the show’s musical director, who is also playing the keyboard, Theron Andrews on lead guitar, Eddy Fey on bass guitar and, keeping the beat, Bill Riach on drums.

ABOUT BURIEN LITTLE THEATRE:
Community-based theater has been a tradition in Burien since 1955. Incorporated in 1980, The Burien Little Theatre (BLT) has been a leading producer of quality live theater serving residents of the Seattle and south Puget Sound areas. Burien’s Little Theatre Mission is to make every audience member’s experience at BLT a welcoming, lively and fun escape from the everyday world, beginning the moment they walk in the door, by providing high-quality, accessible and exciting theater. 
BLT is a non-profit 501c3 entity and operates on revenue from ticket sales, donations and volunteers.

THE SCHEDULE:

September 26 at 8:00pm – Friday: Your first chance to do the Time Warp with us!

September 27 at 8:00pm – Saturday

September 28 at 2:00pm – Sunday Matinee

October 3 at 8:00pm – Friday: Five Buck Friday, with Guest Narrator from Burien Parks Ms. Debbie Zemke

October 4 at 8:00pm – Saturday: Guest Narrator State Senator Joe McDermott

October 5 at 2:00pm – Sunday Matinee

October 10 at 8:00pm – Friday: Guest Narrator State Representative Sharon Nelson

October 11 at 8:00pm –  Saturday: Guest Narrator Burien City Councilmember Kathy Keene

October 12 at 2:00pm – Sunday Matinee

October 17 – NO SHOW!

October 18 at 8:00pm – Saturday: Guest Narrator Mr. Stephen Lamphear

October 19 at 2:00pm – Sunday Matinee: Guest Narrator United States Congressmember Jim McDermott

October 24 at 10:00pm – Friday

October 25 at 8:00pm – Saturday: Guest Narrator State Representative Dave Upthegrove

October 26 at 2:00pm – Sunday

October 31 at 10:00pm – Friday: HALLOWEEN!

November 1 at 8:00pm – Saturday

November 2 at 2:00pm – Sunday: FINAL SHOW! Your very last chance to do the Time Warp with us again!

To get you in the mood to buy tickets, here are a couple of videos from the cult film version:

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by Eric Dickman

Have you ever wondered what happens backstage at a theatre?

Well, you won’t find that out here.

However, you will find out what happens BEFORE there is a backstage.

Burien Little Theatre is getting ready to open “The Rocky Horror Show” (September 26 through November 2 – tickets can be purchased here), and I am the Production Manager.  What that means is that I am the interface between everybody involved in the show and Burien Little Theatre, which is the producer of the show.

Before I explain what that means, let me say a little about how I got here.

Three seasons ago I was one of the people that helped revitalize Burien Little Theatre. After one of our shows from that first season, a group of us volunteers were sitting at The Mark Restaurant (from the beginning, The Mark has been a great supporter). The casts and crews can often be found in the bar there after a show (we often take over the dining room, too).

It was near closing, and we were talking about possible shows to produce in future seasons. The beer was flowing. One of our tech volunteers, a 23-year old, said, “Why don’t you do Rocky Horror?” We loved the idea.

It took a couple of seasons before we could afford the show (this is our biggest budget show, to date). In the interim, we found an actor who we loved for Frankenfurter, and a music director who loved the show. By last January, we were ready to commit to Rocky.

My job started as soon as we officially decided to do the show. That means in January I secured the rights to do the show and started to line up possible directors and designers. The director develops a vision for the show, and the designers execute that vision, with their special additions. I was also smart enough to tag Maggie Larrick, a production manager par exellence to help me out.

Quickly we found a director, Steve Cooper. Burien Little Theatre fans may remember his directorial work from “Waiting for Mr. Green,” “Dracula” and “Mrs. Bob Cratchet’s Wild Christmas Binge.” Steve is great to work with and quickly the show started to take shape, at least in Steve’s mind.

Next, certainly as important if not more so, we found a Stage Manager. Stage Managers run the cast and once the show opens, all key decisions about the running of the show are in the stage manager’s hands. Steve cornered Michelle Rodriguez. Michelle has worked with us before, and she is dream come true.

With Steve and Michelle in place, and knowing this was a big show, I immediately went to the well. In just weeks I had a set designer, Nathan Rodda. Nathan is the in-house set designer for The Gilbert and Sullivan Society. Nathan had done the set for “Dracula.” I knew he was perfect for this show.

Next, came a Lighting Designer. I designed lights for over 30 years, so I have a weak spot for lighting. I needed someone very good, or I would cringe as I watched the show (the curse of having designed lights is that a perfectly good show can be ruined by a misplaced light or bad cue).

Before long, we lined up Dave Baldwin. Dave can do more with a few lights than anyone I know. He worked for years at Intiman. More importantly, he is a gem to work with. No one is better. If you saw “Dracula” or “Lysistrata,” you have seen, and likely loved, Dave’s work.

I was on a roll. Next, the Music Director. I got the guy I wanted. Cool. We needed a Choreographer, Prop Master and a few others, but I had my core in place. We could start working on the show.

What do I do with all these talented people? As Production Manager, my job is to find these people, propose a budget to the Trustees of the theater, which hopefully is passed, and work out the logistics to make the show happen. Thank goodness I have lots of help with the logistics.

Theater at any level is about its budget. At Burien Little Theatre, everyone is a volunteer. We put in hundreds of hours of work a month. Designers, actors and the band each get a small stipend, but that does not even cover the cost of gas for six weeks of rehearsal and six weekends of performances. The rest of us don’t get a stipend. We do it for the love of the theater. Nevertheless, we spend thousands of dollars to put on a show.  Wood, paint, props, fabric for costumes, shoes, make-up, and jells for lights all cost more and more every show. That is why we look to donors, business sponsors and others to support us.

Over the next five months we worked on the show. Ideas were everywhere. Some of them were better than others and some were even possible. The show was on its way. We lined up Shari Barr as our Costumer. She costumed most of all last season, and she had just finished costuming a movie. Our timing was impeccable.

We decided to get some elected officials involved in the show. I started with a visit to the City Council. Kathy Keene was the only one to agree. But who else? The stars lined up. Before long I had City and State officials together with one U.S. Congressman to be a narrator-for-a-night.

Next came auditions. Every show needs a cast.

We had fantastic people come to audition. I sometimes wonder what I add to the audition process, but I would not miss it. It is a thrill to see so many great actors come and give us a glimpse of their talent. We had to turn away at least another full cast of excellent actors.

Steve has a gift for seeing what role each person fits the best. In my next life, I am asking for that gift.

The actor we dreamed of for Frankenfurter came to the audition. He blew us away. He had already memorized the songs. When he sang…well he was “Frank.” He also had his own wild costumes (don’t ask).

We were rolling. Then the sky opened.

First, the night before rehearsals, our Music Director had a personal emergency, and had to drop out. When it comes to a musical, a Music Director, is, well, important.

I was on the phone, as was everyone else involved with the show. The scramble was on. There is a reason why the Production Manager lines up people early. The closer to the show, the harder people are to find.

Next it was “Frank.” He got a promotion at his day job. Great. But that meant he was transferred to San Francisco. Not so great.

Again the scramble was on. If we were honest with each other, Steve, Michelle, Maggie and I would have said we were worried. But no one blinked.

Meanwhile, rehearsals were fully underway. Steve was working the cast. Without a Music Director, we turned to the cast. Luckily, this cast is amazing. They stepped up to the plate and started acting as their own music director. Many casts would not have been up to this challenge (thank you cast).

Around moving the show forward, we searched for a “Frank” and a Music Director. The cast found us a “Frank.” Wow. He fit the bill and more.

We set a date. If we did not have a Music Director by then, we were going without one.

When we could see the opening night date on the horizon, along came Ann Sager (Ann is a friend of Nathan’s). Her day job was Choral Director for a church. We held our breath. Had she seen Rocky (not exactly church music)?

She showed up on a Monday, and sight-read the score for the rehearsal. We were all in love. She was just what we needed. But what about her? After rehearsal she admitted she watched the DVD the night before. Pause. Nervous looks between all of us. Pause. Then Ann said she had costume pieces that would look great on stage.

By the time the whole band showed up to work with the cast, Ann was pounding the 88s, standing and swinging her hair.  Rocky’s devil music had her.

Now, John Flynn, our gifted Set Builder is building the set. We are locating or building props and getting sound effects together, the cast is on the verge of a full run though. Ann needs a synthesizer, but hey, the show looks and sounds great! Hopefully, there will be no more than the usual problems before we get to where we have a backstage to worry about.

“The Rocky Horror Show” opens Sept. 26th and plays through Nov. 2nd at Burien Little Theatre.

Tickets can be purchased online here.

Eric Dickman serves as Vice President of Burien Little Theatre as well as Production Manager for “The Rocky Horror Show.” In his real life, he works as a personal injury lawyer.

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Just got word from the good folks at Burien Little Theatre that they’re in need of men.

Two more men that is, for two male roles in their upcoming production of “The Rocky Horror Show” by Richard O’Brien with auditions Tuesday, July 22 from 7 to 10 p.m.:

1. Eddie/Dr. Scott (one actor plays both roles): Baritone (Top F#) – For auditions, any Meatloaf song would be fine, of course. Biker look. Age range 25-45. Playing the part of Dr. Scott will require some makeup/wig work for a younger actor.
2. Rocky (and, no, you don’t have to be a muscleman for this part): Tenor – Unlike the movie, you don’t have to be musclebound for this role; you could be, but it’s not necessary. Age range 25-35.

• Synopsis:  An outrageous musical comedy about sexual awakening and featuring a Transylvanian transvestite, a cryogenically preserved motorbiker and a version of Frankenstein’s monster. This sexual parody of horror and science fiction films premiered onstage in London in 1973, becoming the popular cult classic film “The Rocky Horror Picture Show” in 1975.
• Performances will be at the Burien Little Theatre from Sept. 26 through Nov. 2, 2008.
• Rehearsals begin Sunday, August 10.
• Stage director is Steve Cooper and music director is Tom Prince.
• $100 stipend provided.

For auditioning, please come prepared to perform a comic monologue and 32 bars of a song (see character list for suggestions), and bring with you the written music (in your key). Accompanist will be provided. There will also be a short pitch-matching test. ANY auditioner who plays Tenor Sax (rock style) would be MOST welcome; please bring it to the auditions, and be prepared to play a few bars. Please also bring resume and headshot.

While we are not trying to re-create the movie, and may go in different directions, this play ultimately deals with overt sexuality. Everyone who auditions needs to be comfortable with this and all it entails. Any questions may be sent to the director when requesting an audition slot.

Please make an audition appointment at: scoop2112@aol.com or call Burien Little Theatre at 206-242-5180.

Auditions will be at the Burien Community Center, located at the intersection of S.W. 146th St. and 4th Ave. S.W. in Burien.

For directions, go to http://www.burienlittletheatre.com, or just view this handy-dandy map:

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If you’ve ever fantasized about putting on corsets and dancing and singing your way through one of the most hilarious, outrageous and popular musical comedies ever, but didn’t want to leave your neighborhood, now’s your chance:

The Burien Little Theatre will be holding auditions for “The Rocky Horror Show” on both Monday and Tuesday July 7th-8th from 7pm-10pm (callbacks are Wednesday, July 9th from 7 to 10pm).

• “The Rocky Horror Show” is an outrageous musical comedy featuring a Transylvanian transvestite, a cryogenically preserved motorbiker and Frankenstein’s monster in Greek god form. This sexual parody of horror and science fiction films premiered onstage in London in 1973, becoming the popular cult classic film “The Rocky Horror Picture Show” in 1975.
• Performances will be at the Burien Little Theatre from Sept. 26th through Nov. 2nd, 2008.
• Rehearsals begin Saturday, August 9th.
• Stage director is Steve Cooper and the music director is Tom Prince.
• $100 stipend provided.
• We are seeking:
  • Male actors ranging in age from their 20s through 60
  • Female actors ranging in age from their 20s through 30s.
• For auditioning, please come prepared to perform a comic monologue and 32 bars of a song (see character list for suggestions), and bring with you the written music (in your key). Accompanist will be provided. There will also be a short pitch-matching test. ANY auditioner who plays Tenor Sax (rock style) would be MOST welcome; please bring it to the auditions, and be prepared to play a few bars. Please also bring resume and headshot.
• While we are not trying to re-create the movie, and may go in different directions, this play ultimately deals with overt sexuality. Everyone who auditions needs to be comfortable with this and all it entails. Any questions may be sent to the director when requesting an audition slot.
• Please make an audition appointment ASAP: scoop2112@aol.com or call Burien Little Theatre at 206-242-5180.
• Auditions and callbacks will be at the Burien Community Center, located at the intersection of S.W. 146th St. and 4th Ave. S.W. in Burien. For directions, go to www.burienlittletheatre.com.

CHARACTER LIST:

Narrator – Good “Radio” Voice. Possible non-singing role. Age range 35-60.

Brad – Tenor (written top G/Ab) – Maybe a sort of Neil Sedaka ‘60s style. Audition with either a pop song in that style or a pop/rock musical song. Straight Hero type. Age range 20s.

Janet – Soprano (Top F) – The most legit voice in the cast. Comfortable with some light belting but can also sound classical in head voice. Audition with 2 short contrasting works for this part: An easy pop/rock (“Mamma Mia,” “Aida”) and a classic Broadway soprano role (“Show Boat,” etc). Straight Heroine type. Age range 20s,

Riff Raff – Tenor (written top G/Ab) – REALLY want to find a true rock screamer.  Audition with something like an Aerosmith or The Who rocker. Not your “average” handyman. Age range 20-30s.

Magenta – Mezzo (Top C/D) – Rock belter, but looking for a contrast between Magenta and Columbia. Think Joan Jett or Janis Joplin, Ann Wilson or Grace Slick. For these roles any good belting pop/rock song would work (NO Mariah or American Idol type showoff songs … this is ROCK). Maid type on the kinky side. Riff Raff’s sister. Age range 20-30s.

Columbia – Mezzo (Top C/D) – Rock belter, but looking for a contrast between Magenta and Columbia. Think Joan Jett or Janis Joplin, Ann Wilson or Grace Slick. For these roles any good belting pop/rock song would work (NO Mariah or American Idol type showoff songs … this is ROCK). A Groupie. Age range 20s.

Dr. Frank N Furter – High Baritone (Top F or G) – Need a full-bodied voice able to do a range of “voices.” A traditional pop/rock musical song would work (“Aida,” “Chess,” etc.) Need we say more..? Age range 25-35.

Eddie – Baritone (Top F#) – For auditions, any Meatloaf song would be fine, of course. Biker look. Age range 25 – 45. Double cast with Dr. Scott.

Rocky – Tenor – Must be in good shape and comfortable with wearing little clothing. Age range 25-35.

Dr. Scott – (Talk Singing) Double cast with Eddie. Will require some makeup/wig work for a younger actor. Age range 45-55.

Phantom Male 1 – Backup singer Baritone. Will sing and dance a lot. Includes a lot of easy harmony singing so some choral experience would be helpful.

Phantom Male 2 – Backup singer Tenor. Will sing and dance a lot. Includes a lot of easy harmony singing so some choral experience would be helpful.

Phantom Female 1 – Backup singer Alto. Will sing and dance a lot. Includes a lot of easy harmony singing so some choral experience would be helpful.

Phantom Female 2 – Back up singer Soprano. Will sing and dance a lot. Includes a lot of easy harmony singing so some choral experience would be helpful.

CONTACT:  Maggie Larrick, Marketing
maggielarrick@earthlink.net
206-246-0088

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