Male-presenting, baritone/tenor. Ambitious, stressed, and chronically fed up. The driving force behind creating the “first musical.” Requires strong comedic chops, stamina, and confidence.
Range: A2–G4
Male-presenting, tenor. Sensitive, poetic, and earnest. The “heart” of the show and a reluctant participant in Nick’s chaos.
Range: C3–A4
Male-presenting, rock tenor. The iconic celebrity of Renaissance England: charming, arrogant, and ridiculous. Needs charisma and comic swagger.
Range: B2–Ab4
Female-presenting, mezzo-soprano with belt. Nick’s wife, independent and fearless. She disguises herself as a male to work and support the family.
Range: D3–D5
Female-presenting, soprano. Nigel’s love interest. Sweet, innocent, optimistic, and unexpectedly rebellious.
Range: G3–F#5
Any gender, high character tenor or alto. A quirky soothsayer who “foresees” the invention of the musical… kinda. Needs physical comedy and bold choices.
Range: G2–F4 (varies)
Male-presenting, baritone. Portia’s intensely Puritan father. Over-the-top righteous with repressed chaos underneath.
Range: C3–G4
Any gender. A financially savvy, well-meaning Jewish businessperson who supports the Bottom brothers. Great comedic timing is needed.
Male-presenting, upper-class comedic baritone (non-singing or light singing depending on production). A patron of the arts with a very sensitive palate… especially when it comes to “vulgarity.” He funds the Bottom Brothers’ troupe, but complains constantly and faints at anything remotely inappropriate. Requires a strong comedic actor with crisp diction and a flair for melodramatic indignation.
Any gender, strong singer/dancer. Opens the show and Act II. Sets the tone. Needs charisma and precision.
The Troupe
These roles are ideal for strong character actors, comedians, and physical performers. Each is part of the Bottom Brothers’ scrappy acting company, and each offers opportunities for standout personality, bits, and small solos.
Tom Snout Earnest, literal, and generally confused … but trying very hard. Often stuck with roles that require props, awkward costumes, or questionable stage mechanics. Needs strong physical comedy and a willingness to commit to silly bits.
Robin Frequently cast in “female” roles within the troupe. Loves the stage and is hilariously committed to playing women even when it’s wildly unconvincing. A great track for a bold comedic actor who isn’t afraid to go for weird and wonderful.
Peter Quince The troupe’s unofficial stage manager / production supervisor. Overwhelmed, tightly wound, and constantly trying to keep the troupe from self-destructing. Deadpan humor mixed with bursts of exasperation.
Snug Sweet, soft-spoken, and comically timid. Often gets cast in “scary” roles despite wanting absolutely nothing to do with them. Excellent role for someone with subtle comedic timing.
Francis Flute Youngest or most innocent of the troupe, thrown into performing despite having no real desire to act. Gets stuck with romantic or “pretty” roles and is both embarrassed and flustered about it. Great for a physically expressive actor with strong comedic instincts.
Horatio A loyal member of the troupe with a slightly more grounded presence. Often serves as a reaction character responding to the absurd chaos around them with confusion, judgment, or dry humor. Perfect for someone with strong facial expressions and subtle timing.
Pit Singers
For this production, we may select auditionees to join the company as a Pit Singer. A "pit singer" performs in the orchestra pit. They provide live musical accompaniment for musicals, are typically unseen or only partially visible, focusing on supporting the actors, dancers, and singers on stage. They must be adept at sight-reading and able to adapt quickly to changes in tempo or cues. Individuals who audition for and are not selected for the cast may be considered to be a Pit Singer.
Swings and Understudies
This year, we may be casting swings to learn the ensemble tracks. Swings may also serve as our dance captains for the production and assist with all choreography rehearsals. This is a leadership position, and if a member of the ensemble is sick, hurt, or goes out, the swing will cover their track.
We are also going to consider having understudies. Understudies will be members of the ensemble who will be assigned to rehearse and memorize a leading role. If a lead is sick, hurt, or goes out, the understudy will cover their track. Please note: understudies are NOT GUARANTEED a performance.