See current & upcoming show audition information here!
THE SEARCH IS ON FOR OUR NEXT PRODUCTIONS!
GENESIUS THEATRE – THIS 2023
"Head Over Heels" "Funny Girl" "Clue" "Disenchanted" "School of Rock"
AUDITIONS – January 5th-8th, 2023 at Genesius Theatre
Head Over Heels
SHOW DATES: June 16, 17, 18, 21, 22, 23, 24, 25
Rehearsal Period begins April/May
HEAD OVER HEELS is the bold new musical comedy from the visionaries that rocked Broadway with Hedwig and the Angry Inch, Avenue Q and Spring Awakening. This laugh-out-loud love story is set to the music of the iconic 1980’s all-female rock band The Go-Go’s, including the hit songs, “We Got the Beat,” “Our Lips Are Sealed,” “Vacation,” Belinda Carlisle’s “Heaven is a Place on Earth” and “Mad About You.”
A hilarious, exuberant celebration of love, HEAD OVER HEELS follows the escapades of a royal family on an outrageous journey to save their beloved kingdom from extinction—only to discover the key to their realm’s survival lies within each of their own hearts
What do medieval prose and the music of the Go-Go’s have in common? Not much , but Head Over Heels is one of them! Conceived by Head Over Heels is an out and loud celebration of love, identity, acceptance, and the journey of self discovery that is sure to delight anyone who takes part in this joyous show. Genesius is seeking performers of all ages, races, gender identities, body types, and experience levels for what’s sure to be a great time by all. The show does contain adult themes and parental/guardian consent forms must be completed for any performer under the age of 18 wanting to take part
BASILIUS – King of Arcadia. A sexy, good ol’ boy. A hothead, but not a despot. Blindly thinks Arcadia is doing great under his masculine rule, which will be sorely tested during the course of the show.
GYNECIA – Queen of Arcadia. Sexy, wise, beautiful. Like any longstanding spouse, knows how to get her way with her husband when push comes to shove.
PAMELA – Basilius and Gynecia’s older daughter. Confident and obsessed with her appearance. Known to be the most beautiful bachelorette throughout Arcadia.
PHILOCLEA – Basilius and Gynecia’s younger daughter. Shy and a “good girl”, she yearns to follow her heart rather than obey her father’s orders.
DAMETAS – The King’s viceroy; father to Mopsa.
MOPSA – Handmaiden to Pamela. Warm, skeptical. Growing up without a mother has made her wise beyond her years about everyone and everything, which is why she is the (sometime) narrator to the show.
MUSIDORUS – A young shepherd who courts after Philoclea.
PYTHIO – (non-binary/ any gender identity) – The Oracle; powerful, mysterious. Demanding. Great sense of humor–can see through everyone–they are the Oracle of Delphi, after all.
ENSEMBLE – Unique, charismatic individuals to inhabit the kingdom of Arcadia.
Show Dates – December 8, 9, 10, 13, 14, 15, 16, 17 (Sunday at 3 PM, all other performances 7:30 PM)
“Stunning…dazzles from start to finish…it’s easy to see its allure; Jule Styne and Bob Merill’s music and lyrics and Isobel Lennart’s award-winning book…still standing up all these years on.” – Paul Heath, The Hollywood News
- Directed by Christopher Sperat
- Music Directed by Kevin Cooper
- Choreographed by Rosanna “Sani” Brosnan
- Stage Managed by Bill Eschbach
“Funny Girl … is a real stage animal, revisiting a classic era of American Theatre …” – Neal Newman, DC Metro Theater Arts
A NOTE FROM DIRECTOR CHRISTOPHER SPERAT
For the first time in several decades, Funny Girl returns to the stages of Berks County! I am thrilled to be the Director of this upcoming production! Funny Girl is a prime example of what defined “The Golden Age of Broadway”. Lavish sets and costumes, a soaring and stunning score, a strong dramatic book, numerous supporting and featured roles, large singing/dancing ensemble, and a career-defining opportunity for a Leading Lady. Recipient of 8 Tony Award nominations, and an Academy Award! I cannot wait to meet Genesius’ “Fanny”, and have her join the ranks of Barbra Streisand, Beanie Feldstein and Lea Michele.
“This show has one of the finest scores of songs in the lexicon of American musicals.” – J. Peter Bergman, The Berkshire Edge
Music by Jule Styne
Lyrics by Bob Merrill
Book by Isobel Lennart, after an original story by Miss Lennart
In the Ziegfeld Follies, in Hollywood films, and on the radio, Fanny Brice was one of the most celebrated entertainers of her time. With humor, talent and chutzpah, young Fanny, an awkward Jewish girl who “isn’t pretty,” defies the odds and becomes one of the greatest stars of her generation. Fanny’s rise to super-stardom and her turbulent romance with gambler Nick Arnstein are explored through Bob Merrill and Jule Styne’s unforgettable score, which includes “People,” “Don’t Rain On My Parade,” “I’m the Greatest Star,” “The Music That Makes Me Dance,” and “You Are Woman, I Am Man.”
“It’s the authentic aura of show business arising out of Fanny Brice’s luminous career that lights up Funny Girl.” – Howard Taubman, The New York Times
THE LEADING ROLES
FANNY BRICE – 20s – early 30s, New York accent. Fanny Brice is a vibrant, stage-struck, multi-talented singer-comedienne living in New York City in the early 1900s. Fanny’s mother keeps a saloon on Henry Street, a boisterous immigrant community on the Lower East Side, and Fanny’s youth there has been safe and supported by the strong Mrs. Brice. Fanny is incredibly charismatic, energetic, and determined. Her talent is immense, her voice phenomenal, and her comic timing perfection. Fanny is certain that she is meant for stardom. Her bravery and drive as she pursues and lives her dreams, however, contrast with a deeply vulnerable, emotional core, a self-esteem weakened by the belief that she is not “pretty enough”, and the uncertain love of the man she adores. In response to her friends and neighbors constantly making fun of her theatrical ambitions in light of her plain face and figure, Fanny has developed a sharp repertoire of self-deprecating jokes, which she uses to great effect; in particular, her caricature of a Yiddish immigrant, a kind of ethnic humor wildly popular at the time. With Fanny’s inner certainty comes lots of pushy, bossy behavior, especially with her nearest and dearest. While Fanny has no fear of authority figures, such as the great Florenz Ziegfeld, she is also friendly and loving, and her charisma and sense of humor lead her to be widely beloved on Henry Street, in the Ziegfeld Follies, and all over the United States.
Fanny’s theatrical beginnings are humble, and she has to fight for her special brand of featured comedy amongst directors and producers who tell her that she doesn’t have the right look., After being featured in Keeney’s Music Hall, though, Fanny’s rise is rapid– all the way to the Ziegfeld Follies. Contrasting with her stage success is her uncertain relationship with Nick Arnstein, a handsome and charming gambler who congratulates her after she steals the show at Keeney’s. Fanny’s adoration of kind, worldly Nick is immediate and complete, but Nick sees Fanny at first as a funny little girl and in any case, as a wandering opportunist, Nick is always leaving town. When, some years later, Fanny, now a successful star of the Ziegfeld Follies, runs into Nick in Baltimore, they enter into an adult relationship, with romantically naive Fanny willingly seduced, and casual Nick unusually fascinated. Fanny, wholeheartedly in love, leaves the Follies to follow her traveling gambler, and the two marry. But Fanny’s continued lucrative stardom starts to grate on Nick after a series of business failures, and his hurt pride drives him to seek money through fraudulent schemes, eventually landing him in prison. Fanny’s enthusiastic, short-sighted love for her husband never wavers, , and her heartbreak is complete when he tells her, upon returning to society, that they are better off apart. Fanny’s professional poise and instinct fail her when it comes to matters of the heart, and she is always a lovesick little girl where Nick Arnstein is concerned.
The character of Fanny Brice requires an actor with charisma, energy, and the ability to command the stage. She must also age from enthusiastic 19 to a sadder and wiser early 30s. A stand-out mezzo belt and strong dance and movement skills are a must. New York-born Fanny does not talk with a Yiddish accent, but she uses one on stage, and in other moments to create an emphasis or tell a joke. The character of Fanny Brice is based on the historical figure Fanny Brice, a wildly popular entertainer who found success on stage, film, and radio, from the 1910s through the 1930s.
NICK ARNSTEIN – Late 20s – 40s, Standard American accent. Nick Arnstein is a charming, sophisticated gambling man, making his living through poker skills and race horse interests in Europe and the East Coast of the United States. Nick is extremely attractive, with a cool, calm charisma which charms the ladies and serves him well at the poker table. He has a polite, easy and friendly manner, and is equally at home in the classy hotels of Monte Carlo as the saloons of the Lower East Side. He is a people person. A professional wanderer, Nick does not generally like to commit to anyone or make plans, as he is always dashing off to Kentucky to look at a horse, or sailing to Europe in order to play cards aboard ship. He has the ability to be a loving husband and father, for a little while. The character of Nick Arnstein is basically a good-hearted, well-intentioned man, who fails to live up to these qualities.
Nick is charmed by Fanny Brice, an ambitious and energetic young comedienne and singer, when he sees her steal the show at Keeney’s Music Hall on the Lower East Side of Manhattan. Although Fanny falls for Nick immediately, and he is definitely drawn to her vibrant personality and unconventional looks, he is probably not attracted at first, and rather treats her with the kindness of an older brother figure. After Fanny’s success with the Ziegfeld Follies and her acquisition of a little polish, Nick starts to see her as a romantic prospect, but as he is always leaving town, he doesn’t consider a serious pursuit. Meeting Fanny by chance in Baltimore after some time has passed, Nick decides to seduce the worldly, but romantically naive, Follies star, and falls in love with her in the process, insisting that he has never felt this way about a woman before. Fanny’s determined, overwhelming love appears to break Nick of his wandering habit, and after a big win at poker and the racetrack, the two marry and settle down on Long Island, complete with a new baby. But as Fanny’s star continues to rise, Nick’s own schemes fail, and his pride takes a blow when he finds Fanny supporting his ventures, and going behind his back to finance business partnerships. Nick’s pride is his downfall, and the shame of being “kept” by his wife, and known as “Mr. Brice”, eventually drives him to participate in a fraudulent bond deal, the discovery of which lands him in prison for 18 months. Upon his release, Nick leaves Fanny, telling her that they are no good for each other. The love between Nick and Fanny is true, but Nick’s love is nowhere near as strong, and cannot outweigh his need for independence.
The character of Nick Arnstein is based on the historical figure Julius W. “Nicky” Arnstein, the real-life husband of the historical Fanny Brice. Julius W. Arnstein was a much less savory figure than the idealized stage version, being an unrepentant con artist who served multiple prison sentences, had no problem living off of Fanny’s money, and used that money on other women.. He may have been sophisticated, but he was no gentleman. How much of the real man should be included in a portrayal of Nick Arnstein can be decided by an actor, in collaboration with his director. Whether true or false-hearted, the actor playing Nick Arnstein should project charisma, charm, and likeability. The real Nick Arnstein was 12 years Fanny’s senior; this age difference does not have to be observed, but Nick should definitely read as older and more experienced than Fanny. A strong, warm baritone, but no dance skills necessary.
MRS. BRICE – 50s – 60s, Yiddish accent. Mrs. Rose Brice is a Jewish immigrant from Hungary, living on Henry Street in New York City’s Lower East Side in the early 1900s. She is a strong woman, independent and capable, who runs the neighborhood saloon and does very well for herself. She is smart and funny, with a great gift for comedy and true intelligence behind her wry observations. Mrs, Brice spends much of her time playing poker with Mrs. Strakosh, Mrs. Meeker, and Mrs. O’Malley, her cronies from the neighborhood. She is a firm supporter of her daughter, Fanny, who has inherited her talent for comedy. Mrs. Brice defends Fanny when her friends say that she isn’t pretty enough for the stage, and believes that she should follow her dreams. Mrs. Brice is also the one to give Fanny sensible advice, and she tries her best to keep her daughter’s head out of the clouds. Fanny’s father is long gone, and Mrs. Brice hints that her husband isn’t dead, but in fact a charming scoundrel who left his family behind. After Fanny has her own husband and child, Mrs. Brice’s friends try to convince her that she should find herself a man in order to stave off the loneliness, but Mrs. Brice, with her heartbroken past, is dubious.
Mrs. Brice’s opinion of Nick Arnstein, Fanny’s beloved husband, is tinged with mistrust: she recognizes her own romantic mistakes in handsome, gambling Nick, and observes that he is too friendly, or too much at home — “A stranger should be a little strange,” she explains to Fanny. She warms to Nick in the end, but as Fanny’s marriage falls apart, Mrs. Brice takes it upon herself to give Fanny some harsh truths about men and power. When Nick ends up in prison for embezzlement, Mrs. Brice scolds Fanny for giving Nick money and trying to buy him partnerships in business ventures, hurting his pride and “making him feel small” with her own success. Mrs. Brice’s views are traditional, and in keeping with opinions at the time; they also may be colored by her own past. Mrs. Brice does love her daughter very much, and wants what is best for her. The role of Mrs. Brice requires an actor with a strong personality, good comic timing, and a warm mezzo voice, strong in the upper range.
EDDIE RYAN – 20s – 30s, New York accent. Eddie Ryan is a song-and-dance man, an all-around vaudeville performer, working as a dance director or choreographer in New York City. Eddie is a cheerful, kind, reasonable man. He has a warm, friendly nature, but can be blunt when the situation calls for it. While Eddie perfectly inhabits the role of “nice guy”– the endlessly supportive and helpful friend who never gets the girl–he has a clever and sharp-edged side, with a facility for sarcasm and wisecracks. He is not a meek man, but his helpful side gets the best of him, and his nearest and dearest can boss him around with impunity.
Eddie’s long association with singer and comedienne Fanny Brice begins at Keeney’s Dance Hall, when he has the thankless task of firing Fanny for “not dancing well enough,” or rather, being too plain for a chorus girl. During the ensuing argument, Fanny completely hypnotizes Eddie with her amazing vocal prowess, and the stupefied dancer agrees to give her a specialty number, and works endlessly to help her practice the dance. From this point onwards their friendship is set: Fanny the wildly talented, bossy, inspirational star, and Eddie the ever-supportive, exasperated, loving brother / mentor. Eddie’s star rises along with Fanny’s, and he ends up as dance director for the wildly popular Ziegfeld Follies. Eddie also develops a close relationship with Fanny’s mother, Mrs. Brice, and the two remind each other that they taught Fanny “Everything She Knows.” Eddie’s feelings for Fanny are just a little bit romantic, to begin with, but Fanny rejects his offer of a date — with a brusque sense of humor, saving both their feelings — having already fallen for handsome gambler Nick Arnstein. Their friendship is unharmed, but Eddie never trusts Nick, and his various dark hints over time turn out to be prophetic. The role of Eddie requires a likable, energetic actor with a tuneful tenor voice and strong dance skills, including tap.
SUPPORTING AND FEATURED ROLES
(information available upon request)
- Florenz Ziegfeld, Jr.
- Mrs. Strakosh
- Mrs. Meeker
- Mrs. O’Malley
- Mrs. Nadler
- Tom Keeney
- Mr. Rinaldi
- Various Ziegfeld Performers
“A joyous romp through New York’s golden years…this story feels so young and vital it could have been made yesterday.” – Natalie Salvo, The AU Review
Rehearsals will potentially begin in October 2023. A schedule will be created based on availability of the production team and the chosen cast. Typically, 2-3 evenings a week (7:30-9:30 PM), and Sunday (a chunked schedule 1:00-9:00 PM). Tech Week (Saturday through Thursday prior to Opening) rehearsals have gone as late as 11:00 PM.
Directed by Bill Eschbach and Chris Sperat
Show Dates: October 6,7,8,11,12,13,14,15
Based on the iconic 1985 Paramount movie which was inspired by the classic Hasbro board game, Clue is a hilarious farce-meets-murder mystery. The tale begins at a remote mansion, where six mysterious guests assemble for an unusual dinner party where murder and blackmail are on the menu. When their host turns up dead, they all become suspects. Led by Wadsworth – the butler, Miss Scarlett, Professor Plum, Mrs. White, Mr. Green, Mrs. Peacock and Colonel Mustard race to find the killer as the body count stacks up. Clue is the comedy whodunit that will leave both cult-fans and newcomers in stitches as they try to figure out…WHO did it, WHERE, and with WHAT!
Director note: Chris and I are very excited to bringing this very funny farce to the Genesius stage this season. We are looking for a talented cast of 11 actors to bring this ensemble piece to life and death (so to speak). We will need 6 Male roles and 5 Female roles to fill the roles. 2 males and 1 female will play ensemble roles.
The rehearsal schedule will be determined next year, but looking to start late summer.
From the review of the Papermill Playhouse production by Juan A. Ramírez:
“The show is a very fun, very silly 1950s-set whodunit that strikes some contemporary parallels on the way to its grand reveal.”
A traditional British butler in every sense: uptight, formal and “by the book.” He is the driving force in the play.
A sexy, French Maid, with her own secret aspirations. (Also plays THE REPORTER in the final scene).
A dry, sardonic D.C. Madam who is more interested in secrets than sex.
The church-going wife of a Senator. A bit batty, neurotic, and quick to hysteria.
A pale, morbid, and tragic woman. Mrs. White may or may not be the murderer of her five ex-husbands.
A puffy, pompous, dense, blow-hard of a military man.
An academic Casanova who woos women with his big … brain.
A timid, yet officious, rule follower. He’s a bit of a klutz and awfully anxious.
ENSEMBLE WOMAN :
THE COOK – A threatening presence.
SINGING TELEGRAM GIRL– a dancer with a heart of gold
AUXILIARY SCARLET – The back of Miss Scarlet during a scene of theatrical trickery.
BACKUP COP-backup for the Chief
ENSEMBLE MAN 1:
MR. BODDY – A mobster type fella. A dark cloud follows this guy wherever he goes.
CHIEF OF POLICE– a cop who helps save the day
THE MOTORIST – A benign gentleman who rings the wrong doorbell.
ENSEMBLE MAN 2:
THE UNEXPECTED COP-a regular joe
BACKUP COP: backup for the Chief
AUXILIARY MUSTARD – The back of Colonel Mustard during a scene of theatrical trickery
Directed by L J Fecho & Dara Tatarowicz
Music Directed by Dara Tatarowicz
SHOW DATES – APRIL – 28, 29, 30, MAY 3, 4, 5, 6, 7, (Sundays at 3:00 PM – All other performances 7:30 PM)
“Laugh out loud . . . tickled my funny bone so hard I had tears running down my face. I honestly have not had this much fun or laughed so much at a show in a very long time. Check out this show . . . you will have a magical time!” – InNY
A NOTE FROM L J FECHO – ARTISTIC DIRECTOR
Dara Tatarowicz and I are super excited to bring DISENCHANTED to the Genesius stage. My intention in selecting shows for 2023 was to offer our extremely talented female actors more opportunity to shine. This musical revue most certainly offers that and more! WE NEED 6 to 10-A-TEAM FEMALE SINGERS & COMEDIANS, and we always welcome diversity in our casts. Our wish is for everyone to fit perfectly in concert with each other assembling a full-lead ensemble company working together to create another wonderful Genesius theatrical experience. This show looks like so much fun and we are sure you will LOVE being in this upbeat, slightly naughty, very funny, wild musical. The males in our theater will definitely be jealous of you! We hope to see you at auditions! – Best – Larry Fecho & Dara Tatarowics
Poisoned apples. Glass slippers. Who needs ’em?! – Not Snow White and her posse of disenchanted princesses in the hilarious hit musical that’s anything but Grimm. The original storybook heroines are none-too-happy with the way they’ve been portrayed in today’s pop-culture, so they’ve tossed their tiaras and have come to life to set the record straight. Forget the princesses you think you know – these royal renegades are here to comically belt out the truth. ‘Outstanding Off-Broadway Musical’ nomination (Outer Critics Circle Awards) and ‘Best New Off-Broadway Musical” nomination (Off Broadway Alliance). Contains adult language and content.
Book, Music & Lyrics by Dennis T. Giancino
***DIS-Claimer for DIS-Show – DISENCHANTED!
DIS IS A FUNNY, BAWDY, RAUCOUS, A TAD NAUGHTY MUSICAL ENTERTAINMENT! It’s not associated with the Disney film which, BTW, just got crappy reviews! Female actor/singers 16 on up are best suited to audition! The show will be rated PG-13 when presented!
“Disenchanted! is undoubtedly a feel good show full of laugh out loud moments . . . brilliant songs and witty dialogue . . . absolutely hilarious . . . Disenchanted! Is an all-empowering celebration of women, not just princesses – but real women as well. 4 stars.” All That Dazzles – London, England, UK
6 TO 10 FEMALES IN CAST – 3 MUSICIANS – DIVERSITY –
For more on Disenchanted! visit https://www.officialdisenchantedmusical.com
Snow White – Female
Brassy and self-assured. The leader of the princess pack who likes to be in control. Also has a loving, maternal instinct. Aspires to be perfect, but she soon realizes that being perfectly ‘you’ is more important. Inclusive and diverse casting encouraged.
Cinderella – Female
Perky, quirky, and impish. She’s always enthusiastic, especially when it comes to being a real life princess, but is about to discover that there’s more to being a princess than pretty gowns and shiny glass slippers. Inclusive and diverse casting encouraged.
Sleeping Beauty – Female
The perfect comic foil to Snow White. Always the flippant and unpredictable cut-up. She loves to dance (sometimes uncontrollably) and is a fantastic physical comedienne. She enjoys being perfectly and uniquely
Belle – Female
A smart and witty bookworm from classic French lit who inexplicably speaks and sings with an American accent. She chats with inanimate objects, cleans up after her beast of a husband … and it’s slowly driving her insane. Inclusive and diverse casting encouraged.
Hua Mulan – Female
A legendary folk hero of Asian descent from the poem The Ballad of Mulan. She has a goodnatured sense of humor while maintaining a respect for her culture. She is excited to come out onstage and, through her heartfelt story, reveal her true self.
The Little Mermaid – Female
Once innocent and obedient, she’s now rowdy and rebellious. Having regretfully given up her seemingly idyllic life under the sea, she copes with her new reality through inappropriate yet hilarious comedy. She is the life of the party! Inclusive and diverse casting encouraged.
Pocahontas – Female
Plucky, valiant. She has been homogenized by an entertainment industry willing to distort her true Native-American story just to sell cinema tickets. As she comically mocks her glammed up portrayal in Hollywood cartoons, she is on a journey to restore her authentic, historical self.
The Princess Who Kissed The Frog – Female
Having been left out of the kingdom for decades, this Black princess is here to claim her throne and celebrate inclusivity and diversity in fairy tales. Confident; clever with a turn of phrase, loves a funny pop culture reference. Wonderfully witty; joyous.
Rapunzel – Female
American capitalism won’t turn this campy, Mel Brooksian songstress into a damsel in distress. Nein! Brunehildesque, strong, and fun-loving, she’s bent on getting her fair share from those who make bank off fairy tale princesses. Inclusive and diverse casting encouraged.
Princess Badroulbadour – Female
Originally from the South-Asian-turned-Middle-Eastern Aladdin sagas, this sultan’s daughter has had enough of being secondary in her own tale. Misogyny begone! It’s a whole new world and this independent and puckish princess is taking her story back!
“Very amusing . . . The tunes are peppy and the lyrics are exceptionally witty – “comparable, really, to the best of ‘Forbidden Broadway.’ A good laugh with a right-on feminist twist . . . hilarious . . . this one is very funny.” –Chicago Tribune
Rehearsals will start after March 12th. Typically, we rehearse ALL DAY SUNDAY – between 1:00 & 9:00 PM with dinner-breaks, and we rehearse weeknights Monday, Tuesday, Wednesday & Thursday from 7 to 9:30 PM. Tech week we can go as late at 12:30 AM, but normally we are done by the latest,11:00 PM. Occasionally we may have a Friday or Saturday rehearsal but that usually doesn’t happen unless the cast conflicts dictate adding those days and times, and taking away days and times from our traditional schedule.
Being that the nature of this musical is a revue-style we may not need everyone at every rehearsal to start out and depending how well everyone learns everything we don’t need to rehearse as extensively as a full musical. HOWEVER, a leading ensemble cast like this must be a well-oiled theatrical machine and consistency between everyone is key.
Please prepare at least 2 of these scenes portraying a different character in the scenes you choose. Be familiar with all. (*Note – you may be asked to read a scene cold as well)
Below are the music selections for Disenchanted. Please prepare all selections for the character you are interested in (some characters have more than one selection). If the character you are interested in does not have a selection, please prepare whichever you feel showcases your voice the best!
School of Rock
Show Dates – August 11, 12, 13, 16, 17, 18, 19, 20
Rehearsal period starts end of June
About the show
Welcome to the School of Rock! Based on the hit film, School of Rock the Musical follows failed rock star wannabe, Dewey Finn. Forced to come up with some rent money or be kicked to the street, Dewey poses as a substitute teacher at a prestigious prep school to earn some quick cash. But when he discovers the students are also highly talented musicians, Dewey hatches a plan to turn the uptight students into guitar-thrashing, bass-thumping, drum-smashing rockers and enter them in the Battle of the Bands! But can he do it without the school, parents or his housemates finding out?
Dewey Finn, a guitarist for the band No Vacancy, is all rock and roll, except for a couple of key ingredients: fame and glory. In fact, he’s a mess! As the band plays a set at the Olympic Powerhouse, Dewey gets carried away with an improvised solo (“I’m Too Hot for You”). The next day as Dewey lies asleep, Patty pressures Ned, her boyfriend and Dewey’s former rocker friend, to demand the rent from their roommate and encourage Dewey to get a real adult job. Dewey claims he’s going to pay up by winning Battle of the Bands (“When I Climb to the Top of Mount Rock”). Dewey heads to rehearsal only to find he’s been replaced. He heads to work at a record store but is promptly fired for being late. Dewey, beaten down, answers a phone call from Rosalie Mullins, principal of the most esteemed Horace Green Prep School. She is calling to offer Ned a substitute teaching position. There’s only one reasonable solution for Dewey—pose as Ned, accept the job, and make a little change.
It’s Dewey’s first day at school… and he’s late. Rosalie welcomes Dewey to campus after the school sings the “Horace Green Alma Mater,” and she informs him of their elite expectations (“Here at Horace Green”). Dewey meets his pupils, who have a lot of questions for their curious new teacher. Unfortunately, Dewey has only one item on his curriculum: recess. Dewey returns home to find Ned discreetly playing Guitar Hero, and while they play, Dewey tries to convince Ned to join Battle of Bands with him, just like the good old days (“Children of Rock”). Their daydream is abruptly ruined when Patty, returning home from shopping, gives Dewey a reality check. Dewey has thirty days to pay his rent, or he has to leave (“Mount Rock – Reprise”).
Dewey returns to school the next day (after missing first period), and he overhears Rosalie and his students singing “Queen of the Night.” Dewey suddenly understands he must start a band with the students to win the Battle of the Bands. He begins to assign instruments and roles to each of the students (“You’re in the Band”). He puts Zack on electric guitar, Katie on bass, Lawrence on keyboard, Freddie on drums, Marcy and Shonelle on backup vocals, Sophie and Madison as roadies, Mason on tech, James on security, Billy on style, and Summer as manager (“You’re in the Band – Reprise”). The band is complete… almost. Tomika still hasn’t peeped a word, and Lawrence is certain he’s not cool enough to be in the band. Each student has his or her own set of problems to reckon with at home (“If Only You Would Listen”), but as they say, there’s no crying in rock and roll.
The next day, Dewey plays the students a song he wrote (“In the End of Time”) while the teachers, including Gabe Brown, begin to speculate about the new music teacher (Faculty Quadrille). Dewey asks permission from Rosalie to take the students on a field trip, but the prospects look grim. He returns to practice (“In the End of Time -Band Practice”) and encourages the band (“Stick It to the Man”). Rosalie interrupts, explaining that the school administration denied permission for the field trip. Dewey shows the kids how to truly stick it to the man, and the band leaves for the first round of competition. The kids arrive onsite and play their first public performance. Cue drumroll! The kids rock it out and qualify for Battle of the Bands (“In the End of Time –The Audition/Stick It to the Man – Reprise”).
The band is in full rehearsal mode (“Time to Play”), but there’s one problem: parents’ meetings fall right before the competition. In a moment of inspiration, Tomika rallies enough courage and surprises everyone with a soulful rendition of “Amazing Grace.”
The band has a new front woman! Unexpectedly, Rosalie pops into the classroom to observe their work, and Dewey pretends to use his so-called ‘sing-song’ method with the students (“Math Is a Wonderful Thing”). The pressure’s on.Dewey asks Rosalie on a date to the Roadhouse where Rosalie reveals that despite her conservative presence, she loves to rock out to Stevie Nicks (“Where Did the Rock Go?”). She then opens up about wanting to be free despite her position as principle.
She finally comes around and permits the field trip, and Dewey seals it with a kiss. The next day at breakfast, Patty excitedly relays a letter to Ned from Horace Greene and quickly leaves for work. Ned discovers it is a payment from the school and is just about to call the school to clear up the mistake when Dewey realizes it is time to face the music.
Parents’ meetings are about to begin while the band learns a new song Zack has been playing around with (“School of Rock – Band Practice”). Their parents stumble upon them just as the kids find their groove, and are shocked that their kids have traded in their books for music. Dewey reminds the parents how incredible their kids actually are. At that very moment, Patty (who learned about Dewey’s substitute teaching from Ned) breaks through the door to reveal Dewey’s true identity. The parents confront Dewey (“Dewey’s Confession”), but the kids won’t be stopped—they secretly head over to compete at Battle of the Bands. Mason informs Rosalie that the kids don’t care about Dewey’s real identity. All they care about is that he taught them that rock could set them free. Meanwhile, a bus full of kids arrive at the apartment to convince Dewey that he’s changed their lives (“If Only You Would Listen – Reprise”). Dewey knows he has to follow through and leaves to watch the kids rock it out with Ned.
The school band arrives late (“I’m Too Hot for You – Reprise”), and Dewey decides that they should play the song that Zack wrote, even though the band hasn’t practiced it. Dewey reminds them performing’s not about playing perfectly, it is about rocking out with all your heart. The parents arrive and watch the concert from the back of the venue (“School of Rock”). The stage is set, the volume is cranked up high, and the kids are ready. With every bit of heart and soul, the School of Rock delivers a performance that wins over the crowd. And the winner of Battle of the Bands is… No Vacancy. A rowdy crowd erupts in support of the kids, calling them back to the stage for one last encore (“Stick It to the Man – Encore”). The School of Rock passes with flying colours. Class dismissed (“Finale”)!
DEWEY FINN – Rock Tenor (B2-A5) 25-40
An overly ambitious, rock-obsessed, under achiever. A highly energetic and comedic role. Improvisation skills desirable. Must be able to play guitar competently.
An uptight and highly strung headmistress of an elite school. Driven by success and prestige. However, inside lives a caged, rock and roll lover. Strong belt required.
Substitute teacher and former bandmember of Dewey’s, Ned has decided to take the ‘responsible’ road in life and has given up on his dreams of becoming a rock legend. Desperate for the approval of his partner, Patty, even if it goes against his core beliefs. Rock voice preferred.
The loving but dominating partner of Ned, Patty is constantly trying to mould Ned into the person she thinks he should be. Hate’s Dewey and wants him out of her and Ned’s life. Strong belt required.
MRS. SHEINKOPF 35-50
Ms. Sheinkopf has been at Horace Green for as long as anyone can remember. Her years of service have not softened her. Pop/Rock singer who moves well.
All children must be between 10-15 Performance age between 10-13
Children of all ethnicities and cultural backgrounds are welcome to apply. All roles are open to everyone, regardless of gender.
Highly intelligent, over achieving and overly controlling Horace Green student with a demanding presence. Holds high expectations and standards for herself and everyone around her. Suspicious of Dewey and his unorthodox teaching ways. Pop singer with the ability to move well.
A new student at Horace Green, her fathers are failing to see that she is struggling to fit in. Withdrawn and shy but with an underlying enthusiasm and desire to be part of the band. Blows everyone away when she sings. Must have a strong singing voice.
A highly gifted musician and songwriter but struggles to connect with his overbearing, workaholic father. Must be able to move well and seriously rock at guitar with some serious solo skills. Pop/rock vocals.
A boy who is happy to be released. This is the kid who comes from a working-class background and unlike many of his classmates – was not born with a silver spoon in his mouth. His father (who is not happy about Freddie’s obsession with music) never lets him forget it. Pop/rock singer with exceptional drum skills and personality.
KATIE (bass) – (A3-D#5)
Distinguished by her talent for the bass, Katie takes to being in the band like a fish to water. Energetic, enthusiastic with a lot of rhythm and attitude. Pop/Rock vocals with the ability to move well.
A shy, awkward boy, unconfident and gauche, but a genius on the keyboard who needs a free spirit like Dewey to lead him out of the darkness. Pop/Rock vocals and good mover. Epic piano skills a must.
MARCY – (A3-G5)
Back-up singer with style. Pop/Rock vocals and great mover.
SHONELLE – (A3-G5)
Back-up singer with style. Pop/Rock vocals and great mover
A boy with a marked artistic flair, and other problems. Pop/Rock singer and confident mover.
SOPHIE – (A3-D5)
Pop/Rock singing voice and with the ability to move well.
MASON WARD – (A3-D5)
Pop/Rock singing voice and with the ability to move well.
JAMES – (A3-D5)
Pop/Rock singing voice and with the ability to move well.
MADISON – (A3-D5)
Pop/Rock singing voice and with the ability to move well.
All Children If Only You Would Listen
Genesius is a 501-C-3 Non-Profit organization. Genesius is handicapped accessible and there is some PARKING aside of Genesius, otherwise there is street parking!
L J Fecho
Artistic Director – Genesius Theatre