Directed by Ryan Vogel

Stage Managed by Stephanie Long

Preliminary Auditions:

Sunday, May 4 @ 6:30pm

Monday, May 5 @ 6:30pm

Callbacks:

Tuesday, May 6 @ 6:30pm

Invitation Only

Audition Contact: 

Any questions can be emailed to Ryan Vogel at rduckv@yahoo.com.

Audition Details:

Auditions will consist of cold readings of excerpts from the script.

Important Dates:

Rehearsals will be Monday, Tuesday, & Thursdays (6:30pm-8:30pm – Moving to 9:00pm in Late June) 

Adding Sundays – 6:00pm-8pm in late June

The first rehearsal will be on Thursday, May 8th at 6:30pm – For Read thru. 

Tech Week is Sun, July 6th – Thursday, July 11th. 

No Conflicts will be allowed for tech week. 

Performances:

Friday, July 11 @ 7:30pm

Saturday, July 12 @ 7:30pm

Sunday, July 13 @ 2pm

Friday, July 18 @ 7:30pm

Saturday, July 19 @ 7:30pm

Sunday, July 20 @ 2pm

Plot:

Called “A cross between Some Like it Hot & 12 th Night,” this hilarious comedy by the author of Lend Me A Tenor and Moon Over Buffalo, is the story of two English Shakespearean actors, Jack and Leo, who find themselves so down on their luck that they are performing "Scenes from Shakespeare" on the Moose Lodge circuit in the Amish country of 1952 Pennsylvania. When they hear that an old lady in York, PA is about to die and leave her fortune to her two long lost English nephews, they resolve to pass themselves off as her beloved relatives and get the cash. The trouble is, when they get to York, they find out that the relatives aren't nephews, but nieces! Romantic entanglements abound, especially when Leo falls head-over-petticoat in love with the old lady's vivacious niece, Meg, who's engaged to the local minister. Meg knows that there's a wide world out there, but it's not until she meets "Maxine and Stephanie" that she finally gets a taste of it.

CHARACTERS:

(3 F) (5 M) (ALL ROLES ARE OPEN)

Jack & Leo are English, everyone else is from Pennsylvania.

Actors playing Jack and Leo must be comfortable wearing women’s clothes!

Actors playing Jack, Doc, and Butch must be comfortable having a quick comedic kiss with a man.

FEMALE CHARACTERS

Meg Snider: (Early 30’s) She’s vivacious, with enormous warmth and a great sense of humor. She knows there’s a big world outside of York, PA but she hasn’t seen much of it yet.

Audrey: (20’s) She is extremely sweet and good-natured. The typical “girl-next-door;” cute but approachable.

Florence: (Elderly) Very old, extremely crusty, and her eyesight is terrible. Always on the verge of death’s door, but keeping him at bay.

MALE CHARACTERS

Leo Clark: (Early 40’s) (Accent: Possible Standard British) Typical Leading man type; tall, good looking, easy with a smile (and the ladies!) Shakespearian trained, but working the Moose Lodge circuit to make ends meet.

Jack Gable: (late 30’s to early 40’s) (Accent: Possible Standard British) Jack is Leo’s best friend and partner. They’ve been working the Moose Lodge circuit for so long, he’s ready to pack it in and settle down.

Duncan Wooley: (50’s) Local minister and substantially older than Meg (they are engaged). He’s a good man at heart, but rather fussy, set in his ways, a bit scatter-brained and lives in his own world.

Doc Myers: (50 +) Doc is a crusty, likeable curmudgeon; a country doctor who takes no gruff from anybody.

Butch Myers: (20’s) Butch is a little slow on the uptake, but earnest and sincere, with a good heart. He played football in high school – pretty much his claim to fame. (Son of Doc, in love with Audrey).



Directed by Renee Robinson

Music Directed by Lindsey Wortham

Assistant Music Directed by Royce Phillips

Preliminary Auditions:

Sunday, May 18 @ 6:30pm

Monday, May 19 @ 6:30pm

Callbacks:

Wednesday, May 21

Invitation Only, Times will be provided

Audition Contact: 

Any questions can be emailed to sweeneytoddaccc@gmail.com.

Audition Details:

• Please choose and prepare a 60-second cut from any song in Stephen Sondheim’s repertoire. Please come prepared with either track for your song or sheet music. An accompanist will be provided. You can use a cell phone, tablet, etc. We will have the appropriate cables to connect your device or via Bluetooth. 
• There will be no dance or cold readings done during auditions. 
• This show is ages 18 and up.
• If you are unable to attend callbacks, it is required that you be present at one of the two nights of in-person auditions to be considered for a leading part.
• If submitting a video, please send your audition to sweeneytoddaccc@gmail.com and fill out the above audition. We kindly ask to have your taped submissions no later than May 20th, 2025. If you have any questions, feel free to reach out!

Please fill out the audition form below this information prior to auditioning.

Important Dates:

Rehearsal schedule will be based on the majority of conflicts. You can anticipate a 4 night a week schedule.

• Weeknight rehearsals will be 630-930 
• Weekend rehearsals will be tbd 

​The first rehearsal is on Saturday, May 24th at 6:00pm – It will be an ALL CALL Read-Through. 

​Tech Week is Saturday, July 26th – Thursday, July 31st. 

NO CONFLICTS WILL BE ALLOWED AFTER JULY 18th – There are no exceptions to this. 

Performances:

Friday, August 1 @ 7:30pm

Saturday, August 2 @ 7:30pm

Sunday, August 3 @ 2pm

Friday, August 8 @ 7:30pm

Saturday, August 9 @ 7:30pm

Sunday, August 10 @ 2pm

Friday, August 15 @ 7:30pm

Friday, August 16 @ 7:30pm

Plot:

“What happens when revenge consumes a man so completely that he becomes the very monster he’s hunting?”

Stephen Sondheim’s Sweeney Todd is a dark, operatic tale of obsession, loss, and vengeance set against the grimy streets of Victorian London. The story follows Benjamin Barker, a wrongfully imprisoned barber who returns home under the name Sweeney Todd, only to find his family destroyed by the corrupt Judge Turpin. Consumed by grief and rage, Todd partners with the cunning and opportunistic Mrs. Lovett, whose failing pie shop finds new success when, together, they stumble upon a secret ingredient.

As Sweeney’s bloody quest for revenge spirals out of control, the line between justice and monstrosity blurs. Each character is driven by their own desperate hunger — for love, for power, for survival — creating a world where no one is truly innocent, and no one escapes unscathed.

Sondheim’s score weaves together haunting melodies, razor-sharp wit, and relentless rhythmic energy, underscoring a story where obsession carves deeper wounds than any blade.

CHARACTERS:

(ALL ROLES ARE OPEN)

Sweeney Todd (Benjamin Barker): (Bass-Baritone, G2-Gb4) Sweeney Todd is a tragic anti-hero driven by obsession, rage, and loss. Once a loving husband and father, his years in exile have hollowed him out, leaving behind a man consumed by vengeance. Todd is methodical, brooding, and intensely focused. His worldview has narrowed to darkness, and he sees human life as cheap and corrupted. Vocally, Sweeney is powerful and dark — his music carries weight, pain, and relentless purpose. Beneath his violence is profound grief — but it is buried deep beneath anger and cynicism. Todd is not a monster by nature — he is a man shaped by monstrous circumstances.

Mrs. Lovett: (Mezzo-Soprano, G3-E5) Mrs. Lovett is cunning, practical, and driven by her own survival instincts. She masks her desperation with humor, charm, and wit. Lovett is deeply lonely — her obsession with Sweeney is rooted in longing for connection and security. She is both comic relief and deeply tragic — a woman willing to justify horrific acts for love and prosperity. Vocally, Lovett requires agility and character — her music is quick, clever, and layered with both humor and menace. Lovett represents the darker side of pragmatism — making choices not out of malice, but out of perceived necessity.

Anthony Hope:  (Tenor, Bb2-F4) [Age: 20's] Anthony Hope is an idealist — a romantic young sailor drawn into the grim world of London’s underbelly. He is earnest, compassionate, and driven by love for Johanna. Anthony represents hope and innocence in contrast to Sweeney’s cynicism. Vocally, Anthony is bright, lyrical, and sincere. His character thrives on action fueled by emotion — he acts boldly, sometimes recklessly, in pursuit of what he believes is right.

Johanna Barker: (Soprano, Bb3-A5) [Age: 20's] Johanna is a symbol of innocence trapped in a corrupt world. Raised in isolation by Judge Turpin, she dreams of freedom but has learned to survive through obedience and quiet resilience. Her love for Anthony represents escape and agency. Vocally, Johanna is ethereal — her music soars with both beauty and tension. Beneath her fragility is emerging strength and determination to claim her own life.

Judge Turpin: (Bass, E2-Gb4) Judge Turpin is a figure of corruption, hypocrisy, and control. A respected public figure masking predatory instincts, Turpin is cold, calculated, and entitled. His love is possessive and violent — driven by ownership rather than affection. Vocally, Turpin is dark and commanding. Physically, he is rigid, authoritative, and deeply repressed. He embodies the cruelty of unchecked power.

Tobias Ragg:  (Tenor, Bb2-Ab4) [Age: 16+ only] Tobias (Toby) is the heart of innocence in the story — loyal, eager, and trusting. His journey from cheerful assistant to traumatized survivor is deeply tragic. Toby’s love for Mrs. Lovett is genuine and protective. Vocally, Toby requires transparency and vulnerability — bright and youthful, turning frantic or desperate as the story darkens. Toby’s final actions stem from fear, betrayal, and shattered innocence.

The Beggar Woman (Lucy Barker):  (Soprano, Ab3-F5) The Beggar Woman is a ghost of the past — filthy, mad, and ignored. Beneath her fragmented mind is Lucy Barker, broken by violence and neglect. She embodies the theme of invisible suffering. Vocally, she moves between vulgar comedy, haunting lullabies, and raw moments of clarity. She is unpredictable, tragic, and ultimately a victim of the very man she once loved.

Beadle Bamford: (Tenor, D3–D5) Beadle Bamford is Turpin’s enforcer — a petty, cruel figure who thrives on small power. He masks his threats with false civility, using politeness as a weapon. Vocally, Beadle is sharp, precise, and mocking. He represents the corruption of the legal system — a man who flourishes within injustice but crumbles when faced with true violence.

Adolfo Pirelli: (Tenor, B2-C5, falsetto) Adolfo Pirelli is a flamboyant conman and performer — obsessed with appearance and status. Beneath his exaggerated persona is insecurity and desperation. He is theatrical, vain, and quick-tempered when challenged. Vocally, Pirelli requires flexibility — moving between exaggerated accent work and rougher, authentic speech. He represents survival through deception — a showman undone by his own arrogance.

Ensemble Roles:

The ensemble of Sweeney Todd plays a vital role in creating the dark, gritty, and atmospheric world of Victorian London. More than background performers, the ensemble functions as a Greek chorus, townspeople, customers, lunatics, beggars, police, and other various figures that populate the streets of Fleet Street.

Vocally, the ensemble carries some of the most challenging and intricate choral work in musical theatre, with harmonies that build tension and underscore the psychological intensity of the story. Movement-wise, the ensemble often moves with stylized precision, enhancing the macabre tone of the show.

Ensemble members will likely take on multiple featured roles and character moments, requiring versatility, strong character work, and the ability to shift quickly between personas. They help create the oppressive, claustrophobic atmosphere that surrounds Sweeney's London — a city teeming with corruption, desperation, and shadowy secrets.

This is not a passive ensemble — these performers drive the story forward, embody the show's themes of isolation and obsession, and serve as both witnesses and participants in the tragedy that unfolds.

Please fill out the audition form below prior to auditioning.