KTG announces open auditions for
Nice Work If You Can Get It
January 27 & January 28, 2019
CLICK HERE TO SIGNUP NOW
CLICK HERE FOR AUDITION FORM
Featuring songs by George & Ira Gershwin
Book by Joe DiPietro, based on material by Guy Bolton and P. G. Wodehouse
Produced with permission of Tams-Witmark: A Concord Music Company
Gershwin galore and fabulous production numbers!
Auditions will be held at the Kirkwood Community Center at 111 S Geyer Rd, Kirkwood, MO 63122, phone (314) 822-5855. They will be either on the 2nd or 3rd floor - the specific rooms will be posted near the desk in the community center lobby.
Auditions will be held on Sunday beginning at 11 am and on Monday evening beginning at 7 PM. Please sign up for one of the audition slots on the sign up sheet.
There are 20 slots for each of the four Sunday audition groupings and 25 slots for the Monday evening audition.
- Should you wish to be placed on a wait list once all slots are filled, please email This email address is being protected from spambots. You need JavaScript enabled to view it. with your contact information (email and phone) and availability according to the established slots. Wait list folks may be added (in the order names are submitted) in the event of cancellations on the day of auditions.
Callbacks are on Wednesday, Jan 30th from 7 pm until 10 pm. There may be an additional call back on January 31st.
Auditions will include vocals, dance and short cold monologues from the libretto. You are asked to come prepared with no more than 32 bars (No less than 16) of a traditional theatre song – Similar to, but not limited to, Gershwin (nothing from this show), Porter, Styne, Lerner and Loewe, Sissle and Blake, Berlin, Loesser, Rodgers and Hart, Rodgers and Hammerstein, etc. Provide sheet music clearly marked for the accompanist. (No A cappella or recorded music.) *Those who are interested ONLY in the 2 non-singing roles will read only, and not be required to sing/dance at the auditions.
Callbacks will include vocal selections from the score and scenes from the libretto, both provided that evening.
Directed by Dani Mann
Assistant Directors: Sofia Lidia, Brandon Atkins
Musical Direction by Sean Bippen
Choreography by Joe E. Alway-Baker
Performance dates: May 3, 4, 9, 10, 11, 2019 at 8:00 p.m. May 5 & 12, 2019 at 2:00 p.m.
Set in the 1920s, Nice Work If You Can Get It is the story of charming and wealthy playboy Jimmy Winter, who meets rough around the edges female bootlegger, Billie Bendix, the weekend of his wedding. Jimmy, who has been married three (or is it four?) times before, is preparing to marry Eileen Evergreen, a self-obsessed modern dancer. Thinking Jimmy and Eileen will be out of town, Billie and her gang hide cases of alcohol in the basement of Jimmy’s Long Island mansion. But when Jimmy, his wife-to-be and her prohibitionist family show up at the mansion for the wedding, Billie and her cohorts pose as servants, causing hijinks galore. Screwball Comedy.
ROLES – WOMEN – ANY ETHNICITY
(Ages based on "passes for" - much flexibility and may depend on the casting of other roles.)
BILLIE BENDIX (Any ethnicity, 20s - early 30s): A tough, clever, feisty and street-wise young woman. Partners in rum running with her best friends, Cookie and Duke; Underneath her tough veneer, she has a strong sense of vulnerability. Should be a skilled physical comedian. CHEST MIX, MUST MOVE WELL.
EILEEN EVERGREEN (Any ethnicity, 20s/30s): Lush and exotic, she is the self-proclaimed finest interpreter of modern dance in the world – as well as being spoiled rotten and completely self-involved. Comedic skills a must. STRONG BELT AND MIX, MUST MOVE WELL.
ESTONIA DULWORTH, THE DUCHESS OF WOODFORD (Any ethnicity, late 40s - 60s, flexible): An upper-class, bejeweled dowager; A fervent prohibitionist – but underneath there is a wild spirit just waiting to be freed. STRONG BELT AND MIX, LEGIT HEADVOICE IS A PLUS.
JEANNIE MULDOON (Any ethnicity, 20s/30s): Brooklyn dialect. A chorus girl who falls in love with Duke, who she thinks is the Duke of England. She’s not overly bright and a bit shallow, but winning and likeable. STRONG BELT, STRONG DANCER.
MILLICENT WINTER (Any ethnicity, late 50s/60s, flexible): Jimmy’s mother. She is ‘Auntie Mame’; full of life with absolutely no pretenses even though she is unbelievably rich. She lives life to the fullest and has sex appeal in a time when women of her age were expected to be demure. She owns any room she enters. Great NON-SINGING ROLE with ample lines.
ROLES – MEN – ANY ETHNICITY
(Ages based on "passes for" - much flexibility and may depend on the casting of other roles.)
JIMMY WINTER (Any ethnicity, 20s – early 40s, flexible) A wealthy playboy about to be married… again. Actor must have great charm as well as comedic and physical comedy skills. BARI-TENOR, MUST MOVE WELL; Any skills at all with the ukulele? Let us know? Not a requirement, but we’ll use it if we end up with it.
COOKIE MCGEE (Any ethnicity, early 30s - mid 50s, flexible): Long Island dialect. A fast-talking, wise-cracking bootlegger. He can talk anyone into or out of anything. He is mistaken for Jimmy’s butler and has to keep up the charade. Actor should understand old fashioned vaudeville style comedy à la Abbott and Costello. CHARACTER BARITONE.
DUKE MAHONEY (Any ethnicity, late 20s - mid 40s, flexible): Long Island dialect. Cookie’s sidekick. He is the dim but sweet stooge, and very shy with women. By circumstance he must pass himself off as the Duke of England (for which he is not skilled) when he falls in love with chorus girl, Jeannie Muldoon. BARITONE.
CHIEF BERRY (Any ethnicity, 40s – 60s, flexible): Long Island dialect. Chief of the Long Island Police Department. A bit gruff and fiercely dedicated to his job. Although not always catching the clues... always suspicious. BARITONE.
SENATOR MAX EVERGREEN (Any ethnicity, late 40s - 60s, flexible): Eileen’s father. A humorless career politician - stuffy, stern and pompous. Very distinguished in presentation. Great NON-SINGING ROLE with ample lines.
ENSEMBLE – ANY ETHNICITY
(lots to do, ages flexible)
Showgirls & Vice Squad doubling as speakeasy patrons, etc.
Dancers who sing well, or singers who can move.
*Tap is not required but is a plus. Show us if you’ve got it. A small tap combo will be taught at auditions for anyone listing skill in tap.
As characters develop, various NY dialects may be added as the performer wishes.
Any skills with the ukulele? Let us know.
If you have any questions, fee free to email me at This email address is being protected from spambots. You need JavaScript enabled to view it.
CLICK HERE TO SIGNUP NOW
CLICK HERE FOR AUDITION FORM
