PIPPIN Auditions

with music by WICKED composer Stephen Schwartz

PIPPIN

Music and Lyrics by Stephen Schwartz

Directed by Larissa Kelloway

Sign up for an audition slot here! 

Book an audition on Monday, Feb. 2, or Tuesday, Feb. 3, between 6pm and 10pm. Callbacks are also in LeFevre Theatre Feb. 6 between 6pm and 10pm, by invitation only.

All students are welcome to audition, including first years, transfer students, graduate students, beginners, etc. No experience necessary.

We practice race, gender, and ability-conscious casting.

Fill out the Audition Form here! This should be completed prior to arriving for your audition.  

Contact Prof. Deanna Zibello at dlz2@stmarys-ca.edu if you would like to help out with crew (ushering, marketing, backstage, props, wardrobe, etc.).

Audition Materials:

Please prepare all of the following materials: 

1. A 60-90 second cut of song in the style of Pippin. Key words to consider when selecting: melodic, joyous, vibrant, a little silly! Please provide sheet music for our accompanist with your cut clearly marked with the starting and stopping measures, as well as any dynamics or tempo requests..
2. A 60-90 second monologue. Comedic monologues are encouraged! 

Please wear clothing that will allow you to move and dance freely. Closed toe shoes are required.

Synopsis:

Pippin is about the human desire to find identity, meaning and life’s purpose. Born into a family of privilege and wealth, the musical of Pippin starts as they return home from completing their university education, full of knowledge and passion, ready to take on the world. The problem is they don’t know how or what they want. Add to the mix a domineering, detached, and destructive parent; a manipulative, ambitious step-parent with an ulterior motive; a conniving and dumb sibling with an agenda; and a besotted grandmother who can’t quite fathom she’s old–and what results is deception, deceit and despair. Pippin needs salvation. Follow Pippin as they seek approval, try things out, trip up, succeed, fail, and give up but eventually find their way to happiness and contentment.

Composed by Broadway luminaire, Stephen Schwartz, Pippin was inspired by the fictional story of “Pippin the Hunchback,” the son of a Middle-ages king, Charlemagne, who launched a revolution against his father. Our version of Pippin will use a contemporary real-life story to explore the recurrent themes of family dynasties and successions, exploring a media mogul who was known for pitting sibling against sibling, succumbing to the machinations of a manipulative spouse, and whose resistance to passing on his legacy ultimately divides the family.

Character Breakdown:

Cast Size: 12 actors, plus dance ensemble

Leading Player
This character was originally described as a ‘ring master.’ Simultaneously charming and manipulative, the Leading Player is a chameleon that switches and changes sides to suit their own ambitions and needs. They steer Pippin through their own story and try to intervene at the end. This actor will need very strong vocal skills as they sing a bulk of the show and be an excellent mover with an ability to demonstrate intention through physicalizations. They are the greatest showman in this musical.

Pippin
Our story's protagonist, introduced to us as a young adult at the start who matures into a grounded adult. They are longing for a meaningful and purposeful life. Initially naive, innocent, and discontent, Pippin will try their hand at anything to win approval and recognition from their domineering, absent parent. They eventually work out that love and meaning in life is not derived from things, but comes from within through their relationship with Catherine and Theo. This actor will need very strong vocal skills as they sing through most of the show with several solo numbers, move well and be able to deliver a strong sense of morality.

Charles (Charlemagne)
Pippin's domineering, destructive, distant yet demanding parent. As the Monarch of the Empire, Charlemagne is more comfortable making a killing deal than offering mentorship to their offspring. They wear their years with great pride. This actor will require gravitas and presence, and have strong physical movements and good vocal skills.

Lewis
Pippin's sibling. They are not too savvy, and have made some very bad choices along the way. Hungry for their own recognition and power, but have shunned the family on more than one occasion when their pride got in the way. Easily led and manipulated by Fastrada. This actor will be a looker and have the poses to go with it. Think runway model. This role requires much less solo singing but needs someone who moves/dances well.

Fastrada
Pippin's conniving step-parent. A seductive, conniving and self-serving human who will stop at nothing to take a piece of the proverbial inheritance pile. Using their sexuality, they will bewitch anyone to action their game plan. This role has a very demanding solo song - the original version featured singing accompanying contortionist dance moves. This production is seeking an artist who is not afraid to push physical limits but will not be expected to bend themselves in two, and has good vocal skills.

Berthe
Pippin's saucy grandmother. A brassy broad full of wisdom, grace, and sass. She tries to help Pippin and encourages him to live his life to the fullest. NOTE: this role is precast.

Catherine
Catherine is a beautiful, elegant widow, living a simple existence and raising a child without support. Catherine emanates grace and elegance and possesses a strong moral compass, but can be pushed aside due to a gentle demeanor and preference to avoid conflict. Catherine encounters Pippin at their lowest point and eventually falls in love with them. This actor will need to demonstrate strength and poise alongside insecurity. The role requires a strong vocalist with good movement skills.

Theo
Theo is a youth who lacks a strong role-model who can provide guidance and set boundaries. Their surviving parent, Catherine, provides love and nurture but struggles to find the time for much else. The result leads to frequent petulant and surly behavior that hides a well-mannered, lovely kid looking for a strong guiding light. This actor plays in the ensemble in Act 1 before taking up the featured role. The role requires good vocal and movement skills, and a youthful presence.

Ensemble
Charlemagne's Underlings, C-Suite Executives & Legal Consultants, Upper-class wealthy, Lower-class survivors, The Corporate Players

Notes on Casting: 

• We will be considering a non-traditional casting for this production of Pippin. However, ensuring the vocal safety of our artists is of utmost importance to the director. Performers can expect to be cast in roles that are vocally suitable for them in order to avoid long term vocal injury or harm. While this might limit some performers from certain roles, it is for the safety and wellbeing of our cast to prioritize this standard while casting.
• Excessive conflicts will make it more challenging to be cast in this production, as many roles will require extensive rehearsal presence. Please be upfront about your conflicts while filling out your audition form, as they will be considered when casting. Conflicts presented to the production team after casting may not be considered.  

Read the script here!

Rehearsal Schedule:

NOTE: This schedule is subject to change. You might not be called to every rehearsal listed here, but should imagine that you will be when listing conflicts on your audition form. Mandatory rehearsals for all performers will start after the off book date. A full master calendar will be issued at casting. Should tasks not be completed on the date in the master calendar, add-on rehearsals may be scheduled on a Thursday evening to catch up. Every effort will be made to avoid this need, and your commitment to this process will help with avoiding this need.