Auditions for 

A Tale of Two Cities


“A Broadway must see! Everything is here to stir the soul—young love, purity, vengeance, villainy, valor—all played out against that historic revolution.” —The Connecticut Post

Two men in love with the same woman. Two cities swept up in revolution. One last chance for a man to redeem his wasted life and change the world. Based on Charles Dickens’ masterpiece, A Tale of Two Cities is a musical that focuses on the love triangle between young beauty Lucie Manette, French aristocrat Charles Darnay and drunken English cynic Sydney Carton - all caught in the clutches of the bloody French Revolution.

Typical Time Commitment

  • Rehearsals are weeknights after 6:30 pm. Rehearsal days are based on cast availability


Saturday, June 30th

4:00-9:00 pm

**By Appointment Only!**

Callbacks: July 2nd


900 Foster Ave

Important Information:

  • Auditions will take approximately 30 minutes. You must sign up for a specific time by contacting Reba Hervas

  • Prepare 32 measures of a Broadway or Opera song that best highlights your range in the style of the show
  • Bring sheet music. An accompanist will be provided.
  • A capella auditions are not an option, however, if you wish to bring a soundtrack, that is acceptable. You must bring your own speakers or way to play the track.
  • Be prepared to sing with expression, just like you would perform a monologue
Character Descriptions

DR. ALEXANDRE MANETTE -French doctor unjustly imprisoned in the Bastille for 17 years. Father of Lucie (Bari/tenor sings to a G)
LUCIE MANETTE -Manette’s young daughter. Thought orphaned as a child. Loved by Darnay and Carton (Soprano sings to Bb)
MR. JARVIS LORRY -English banker who adopts the Manettes as a surrogate family (non-singing)
MISS PROSS -Lucie Manette’s no-nonsense English nanny and friend (singing optional)
JACQUES #1 AND 2/ ENSEMBLE -2 French peasants working toward revolution
GASPARD/ENSEMBLE -French peasant whose child is run down by the Marquis St. Evremonde. (Baritone)
LITTLE GASPARD/ENSEMBLE -Gaspard’s little boy, killed by the carriage of Marquis.
MADAME THERESE DEFARGE -Patient wife of Defarge who supports his dream of revolution in France (Strong belt; must belt/mix to E)
ERNEST DEFARGE -Manette’s old servant. Wine merchant and budding revolutionary (Bari-tenor sings to G/optional A)
MARQUIS ST. EVREMONDE/ENSEMBLE -Predatory, immoral French aristocrat. Uncle to Darnay (Baritone sings to F#)
GABELLE/ENSEMBLE -Servant to the Marquis. Friend to Darney (Baritone)
CHARLES DARNAYakaEVREMONDE -Good-hearted, upstanding young French aristocrat. Marries Lucie. (Bari-tenor sing to Ab)
JOHN BARSAD -Turncoat English con-man and spy. In the pay of the Marquis. (Baritone)
JERRY CRUNCHER -English off-job man for Mr. Lorry. Moonlights as a graverobber. (Baritone)
SYDNEY CARTON -Drunken, careless English lawyer in love with Lucie Manette. (Baritone low G to G, 2 octaves)
STRYVER / ENSEMBLE -Blustering senior barrister; Carton’s employer. (Baritone)
ATTORNEY GENERAL / ENSEMBLE -Smug showman prosecutor in cahoots with Barsad against Darnay. (Bass/Baritone)
CRONIES #1 AND #2 / ENSEMBLE -Jerry Cruncher’s shovel-wielding fellow graverobbers (solo singing)
MRS. CRUNCHER / ENSEMBLE -Jerry’s prayerful, nervous spouse
LITTLE LUCIE -Charles Darnay and Lucie Manette’s little girl. (solo singing)

FRENCH PRESIDENT / ENSEMBLE -Presides over the Tribunal in Paris.
YOUNG MAN / ENSEMBLE -Early to late teens, young peasant mortally wounded by the Marquis. (Tenor sings to A)
SEAMSTRESS / ENSEMBLE -Timid, young woman unjustly condemned to die on the guillotine. (Lyric soprano sings to D)
TRUNKEY / ENSEMBLE -Guard in the Parisian prison of La Force where Darnay is kept.

In addition to the featured ensemble roles above, the following roles will be cast from the Ensemble:


The ensemble is a critical part of the flow and movement of the show, and will be featured in many different ways
throughout. We are looking for very strong singers, and although this isn’t a heavy “dance” show, we are looking to see a range of contrasting movement styles — from the base, grungy and solicitous to the dainty, affected and aristocratic. We would like to see people who feel comfortable moving by themselves and with others in the background of the story: from building crowd scenes to building stage combat, from physicalizing gunshots and aristocrats to elegant waltzers and to playing more than one
character believably. Much of the story is told through the atmosphere and locations set by the ensemble’s movement, so the ability to be a risk- taking, creative, receptive and flexible group member is critical. In addition to strong singing and movement skills, “plays well with others” is a great talent to have in this casting situation

All audition information and/or dates are subject to change without notice.


Please note that as Overshadowed Theatrical Productions produces shows exclusively on a volunteer, recreational basis, all performers are unpaid.

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