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    • Casting Call
    • Ottawa, ON
    • Applications have closed.

    Orpheus Theatre


    MEDIA: Theatre

    STATUS:  Non-Union

    Information Meeting
    Monday, November 26th, 2018 at 7:30 PM at Orpheus

    • Tuesday – Friday, November 27th, 28th, 29th, and 30thwith group booking slots available at 6 PM, 7 PM & 8 PM
    • Please arrive on time for check in, administration, and incidentals.
    • Each audition group will be required for approximately 90 minutes.
    • Each person will need to fill out an audition form.
    • Paper copies will be available if you can’t fill one out ahead of time, but please leave yourself time to do so.

    Call backs (if needed)
    Saturday, December 1st, 2PM

    First Full Rehearsal
    Thursday December 6th, 7 PM

    March 8th– 17that 7:30 PM
    (Sunday matinees on March 10th& 17that 2:00 PM)
    There is no performance on Monday, March 11th.
    All performances are at The Meridian Theatres at 101 Centrepointe Drive

    ​Audition Booking & Inquiries
    • Orpheus members can book their auditions starting on Monday, November 12th.
    • General bookings for non-Orpheus members start on Monday, November 19th.
    • To book an appointment, call the Orpheus Office at 613.729.4318 or email us (see the SUBMISSION INSTRUCTIONS and click the APPLY link below)
    • When leaving a voicemail or emailing, if possible, please provide more than one choice of
    day/time in case your first choice is not available.

    ​General Orpheus Audition Notes
    • Auditions are by appointment only.
    • All auditionees learn a short dance routine and perform it as a group for the directing team.
    • Following the dance audition, each person sings and reads individually (The dance portion of the audition is mandatory, but non-trained dancers needn’t worry—just try your best. See notes from the choreographer below.)
    • Please arrive a few minutes before your appointed time. The Production Assistant will support all auditionees by providing forms, taking reference photos, submitting music for the accompanist, and generally keeping things organized. (The audition form will also be available on the Orpheus website to print and fill out before arrival if desired.)

    A Short Synopsis of Sister Act
    Imagine for a moment you’re a “wanna-be” headliner singing in a two bit night club in Philadelphia in the disco era. You are in with the wrong crowd and witness a murder. A high school buddy, now a police officer, places you in the Witness Protection Program dressed as a nun in a local convent. While there, you work with their feeble singers and turn them into a choir to be reckoned with and worthy of performing for the Pope himself. Your experience teaches you that fame and fortune aren’t the be-all and end-all. The support and respect of your fellow sisters is all you really need.

    Sister ActCasting Requirements & Character Descriptions or Who Gets Into This Nunnery
    The vocal ranges below, when listed, are guidelines for casting. C4 is “middle C” on an 88-key piano: it is the fourth C on the piano. The numbers always switch on C. So, one example of an octave scale is C3, D3, E3, F3, G3, A3, B3, C4. For those interested, see the diagram below.


    ​CASTING:  We will be looking to cast approximately 28 actors for this production. We will require 20 women and 8 men.  Detailed descriptions of what we are looking for are as follows. The first 7 roles listed are constant throughout and will not double.

    Deloris Van Cartier/Sister Mary Clarence: (Range: E3 – F#5)
    A somewhat feisty yet caring, no-nonsense party girl with a big heart. A headliner in the making who dreams of being the next Donna Summer but who gets in with the wrong crowd. She ends up witnessing a murder and is placed in hiding in a convent. A talented organizer, she transforms their borderline “choir” into a show choir. Stage age anywhere from 25 to 35ish. This is a very demanding rolefor a strong singer and actress. A strong diva sound with a good belt is important.

    Mother Superior: (Range: F#3 – A5)
    Superior of Queen of Angels Convent. Set in her ways and a bit cantankerous. She is not happy that the Witness Protection Program has decided that her convent is the best place to hide Deloris. She and Deloris rarely see eye to eye but end up with heartfelt mutual understanding and respect for each other. She should be able to play anywhere between 50 and 65 stage age. There are some lovely acting scenes for her as well as some great solo and ensemble numbers to sing. Looking for a pure & controlled sound, prefer more of a classical style with good vocal technique.

    Curtis Jackson: (Range:A2 – Ab4)
    Curtis is the “heavy”. Deloris’ boyfriend and gangster/night club owner. Curtis is nasty. He has no respect for anyone but himself. Don’t get in his way or, BAM! Deloris witnesses him killing one of his guys. He has no qualms about asking his other guys to kill her if necessary. Has a really nice R&B solo number to sing with male trio backup as well as a few other numbers. Stage age from 30 to 40. Confident, convincing, smooth voice. Good musical timing is particularly important for Curtis.

    Lieutenant Eddie Souther: (Range: Ab2 – B4)
    Officer of the Philadelphia Police Department. A no-nonsense kind of guy who actually went to school with Deloris. He was the nervous type and ended up with the nickname “Sweaty Eddie”. Has always had a crush on Deloris. He places her in the Witness Protection Program. 25 to 35 stage age. Has a wonderful dream sequence solo number as well as ensemble numbers. Good voice control, especially in higher register. Strong voice, with a bit of insecurity at times. Some ability to adlib would be nice!

    Monsignor O’Hara: (Range: E3 – G4)
    The Monsignor of Queen of Angels. Mainly an acting role who appears throughout but with vocals in both Act 1 and 2 finales. Stage age 50 to 75. Good comic delivery. Confident and convincing voice, and good vocal technique.

    Sister Mary Robert: (Range: F#3 – A5)
    A postulant at the convent. Innocent, naïve, shy, but quite feisty when pushed. She should hopefully look like the youngest of the sisters. She has the most challenging solos in the show and should be able to soar above the entire chorus. Sings in many ensemble numbers as well. Needs to be able to sing sheepishly and also very loudly and confidently.

    Sister Mary Patrick: (Range:A3 – B5)
    The bubbliest of the sisters. Needs a powerful voice which could lie in the soprano and/or the belter range. She can find good in anyone and anything. No specific stage age. Mary Robert’s partner in crime. Some solo lines to sing, spoken word and a lot of chorus work with the nuns.


    Many of the following may double in featured & cameo roles included at the end of this list

    Michelle (Range: F3 – B4) and Tina (Range: Ab3 – F5)
    Deloris’s backup singers who also dance in 2 numbers in the opening scene, then join the nun’s ensemble for the remainder. Good ear for harmonies and good movers. Should have strong voices and be able to blend with each other and with Deloris.

    TJ, Pablo and Joey:
    Curtis’s men. A bunch of underhanded misfits who assist Curtis.

    TJ is Curtis’ kiss-ass nephew. Good vocal control through lower and higher notes. Falsetto is beneficial.
    (Range: Db3-Eb5)

    Pablo needs a thick Spanish accent and has many legit lines in Spanish as well. Falsetto, should be able to have fun when singing. (Range: C4 – F5)

    ​Joey rounds out the misfit trio. Good vocal control through lower and higher notes. Falsetto is beneficial.
    (Range: Bb2 – Eb5)

    These three have the opportunity to steal the show with a very funny trio called Lady in the Long Black Dress. Looking for good vocalists who are comfortable with low physical comedy and who move well. They also back Curtis in an R&B ballad in Act 1 so need a good ear for harmonies. Short and stout? Tall and thin? Different ethnicity? These may be the roles for you! They will also double, disguised for other cameo roles throughout.

    Ernie: One of Curtis’s men,the stool pigeon who gets bumped off in scene 2 but will double throughout in other roles. ​

    Sister Mary Lazarus: (Range: F3 – B4)
    One of the senior nuns at the convent. The choir mistress. Matter of fact and outspoken to a fault. Wary of Mary Clarence at first but is soon won over. Sings in the ensemble, a few solo lines. Good vocal technique, as the choir director. Comfortable with a Rap.

    Sister Mary Martin-of-Tours:
    Another senior nun and the choir’s accompanist. Her mind is always somewhere else. Sings in the ensemble, a few spoken lines.

    Sister Mary Theresa:
    Described as the oldest nun at the convent. Wise and snarky. Sings in the ensemble, a few spoken lines.

    Other cameos with spoken and or solo singing lines include a police officer, drag queen, pool player, waitress, bar patrons, TV Newscaster, cab driver, a group of homeless people, altar servers, fantasy singer/dancers, Pope Paul VI and many chorus nuns. (Range for Ensemble: Various SATB)​

    The Vocal Style
    Musically, Sister Actis a show full of energy, excitement, and precision. We are looking for singers with strong voices who can sing in a variety of styles.

    The Song Choice for your Audition
    Choose 16-32 bars of a song that you know, and that you can sing with energy and/or passion. This excerpt is relatively short, so choose it carefully so it can show off everything you want us to hear!​

    If you are auditioning for a specific role, it is beneficial to choose a song with a similar style to that which your character would sing. If you are auditioning for more than one role, or ensemble, then just choose one of the styles. You may choose a song from the show if you wish. Ultimately, choose a song that you can SELL!

    The Sheet Music
    Bring proper piano-vocal sheet music in the correct key. This means the sheet music not only has the vocal line, but also the two-staff piano music. Music with vocals and only chord names is not sufficient. If you are photocopying your music, ensure that you don’t cut off the bass notes at the very bottom of the page.

    A Capella, self-accompanying, and recorded tracks are not permitted. It is helpful to clearly mark off the 16-32 bars.

    The Audition
    After your group dance audition is done, and after a short break to gather yourself, your breath, and your water, you will have a private vocal audition. Come on in and wow us! You and I will chat a bit with Mark (the pianist), set a tempo, and then away you go!

    Tips for Success at the Vocal Audition
    • Breathe! Have fun. Show us you LOVE TO SING. We are all rooting for you! ?
    • Prepare and rehearse. Get feedback from peers.
    • Work/rehearse with a pianist ahead of time! You can ensure you have the correct key, and you get used to singing with live accompaniment. This is completely optional, but beneficial!
    • Focus on your voice! No second-guessing – audition! Don’t sell yourself short and say you’re not right for the show! We really are rooting for you, hoping that you ARE right for the show.

    Sister Act Dance Audition
    Sister Act calls for a range of dance ability depending on character – not necessarily trained dance but certainly comfort with and adept at stage movement involving foot and hand movements. For instance, Deloris and her sidekicks, Michelle and Tina, have to be able to sell small-space girl group movement à la Diana Ross and the Supremes; Eddie, Curtis and “the boys” need to have fun with sexy gyrations and the nun choir needs to be able to do synchronized movement.

    The dance portion of the audition will be a short dance sequence that takes all of the styles mentioned above into consideration.

    The dance style of the show is playful and at times, crisp. Not every role or ensemble member will need strong dance abilities, but everyone will require strong performance skills. Use the dance audition to show off that skill and, more than anything, convince us that you are having a fabulous time!

    Please make sure to wear comfortable clothing and shoes. Heels or flats for the ladies are fine and please avoid clothing so loose that we can’t see your movement.

    You may want to familiarize yourself with the track “Raise Your Voice” from the show as this is the one we will be using.

    Have fun with it and shine!

    As for the reading portion of the auditions, readings will be provided once you have made an appointment. Prepared monologues will not be necessary. If we need to see people a second time for a call back, we will take care of that on Saturday, December 1stin the afternoon.

    Once casting is complete you will be advised of the outcome either by phone or email. Because casting news is confidential until complete, we would ask you to please refrain from discussing this information, especially when online on Facebook, Twitter or any other popular social media sites until after the first rehearsal on Thursday December 6th.

    The time commitment during our relatively short rehearsal period will be quite heavy at times. If you are already involved with other hobbies, sports, dance classes, music lessons, evening courses, another show, etc., you may not have the time to do our show right now. You will be asked to list your current commitments on your audition form. Please be honest about them. If we need you, we will work around those commitments. We will however ask that Orpheus become your number one priority as of Feb 15th so that we can have full attendance at those very crucial last minute rehearsals.​

    Looking forward to a heavenly week of auditions…

    Michael, Gabe and Debbie

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