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 "FRANKENSTEIN
JUNIOR" IN MUSICAL A BROADWAY IN AUTUNNO
E' ormai ufficiale:
il nuovo musical di Mel Brooks "Young Frankestein"
(Frankenstein Junior) debutterà a Broadway il prossimo
autunno, dopo un periodo di rodaggio estivo in tour. Lo si
desume dal bando per le audizioni, che la produzione ha diramato
nei giorni scorsi. Come per "The Producers", lo show sarà
diretto da Susan Stroman ed è scritto da Mel Brooks
(musica e canzoni) con libretto di Mel Brooks e Tom Meehan.
Il casting ricerca quattro uomini e tre donne:
Frederick Frankenstein: Early 30s - 40s. A famous scientist,
dedicated to his work and innocent of the world at large. Intent
on distancing himself from his notorious grandfather, whose
scientific legacy is less than legitimate. A warm lyric baritone
who sings to E-flat, and a comic actor who combines the manic
energy of Danny Kaye with the charm and elegance of Fred Astaire.
Sings with effortless charm (“Puttin’ On the Ritz”) and requires
vocal power for a full-voice traditional Broadway ballad.
Elizabeth: 30s. Frederick’s spoiled and self-centered fiancée.
Great comic role. A lyric soprano with wide range (to high C)
who can deliver showy coloratura fireworks with complete ease.
Music has a “comic-operetta-ish” sensibility that reflects the
songs of Romberg, Herbert, Friml and early Kern.
Igor: 30 - 40s. A hunchback servant at the Frankenstein estate
in Transylvania. Great comic role. High light baritone (to F#).
Should have the nimble charm to sing English music hall style
songs and the show-biz savvy of Jimmy Durante.
Inga: 20s - 30s. A young, local Transylvanian woman who becomes
Dr. Frankenstein’s eager assistant. Oblivious to her own
sexuality and appeal. A bright, clear youthful “Broadway mezzo”
with a high, sustained belt to D-flat and a sweet mixed voice
that extends up to high E.
Frau Blucher: 40s – 60s. The housekeeper at the Frankenstein
estate. She keeps the secrets of the past. A great, slyly comic
role. Requires skilled, dark, dramatic Lotte Lenya alto with a
real sense of the Berlin Cabaret world of the 1920’s and 30’s.
Solid belt up to B-flat and a workable mix that extends up to
E-flat.
Inspector Kemp / Blind Man: 40s - 50s. Double role. Kemp: Head
of the local police with highly developed sense of his own power
and a keen desire to keep order in the town. Blind Man: A
recluse who enjoys a meal with Frankenstein’s monster. Double
role requires a great comic, transformational actor. Big legit
bass-baritone voice that can really open up and soar to high F.
Should demonstrate very dramatic singing chops in terms of
volume and the break-your-heart quality of a singer like Al
Jolson in his prime.
The Monster: The monster created when Dr. Frankenstein performs
his famous brain transplant. Bass-baritone with good legit sound
up to E-flat.
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