Footlite Musicals is proud to announce open auditions for Rogers & Hammerstein’s Oklahoma!, directed by Len Mozzi and produced by Susan Bott, with choreography by Conner Becker-Chamberlin and vocal direction by Markell Pipkins.
You are required to fill out our online audition form either in person or ahead of time here: Footlite Musicals Audition Form (click here)
Please bring 16-32 bars of a song from a Rogers and Hammerstein or other Golden Age musical that shows off your vocal talent, with sheet music in the correct key for the provided accompanist.
Actors auditioning for Curly may also sing 16 to 32 bars of a country western song. If you play a guitar, please accompany yourself. If not, bring music, as above, for the provided accompanist. Guitar playing is an asset but by no means a necessity for Curly.
For the dance portion of the audition, a change of clothes is encouraged. A video will be provided to learn the audition choreography ahead of time.
Being familiar with the story and script will be beneficial. Those auditioning will be asked to read excerpts from the show. Acting ability will play as large a role in casting as singing and dancing abilities.
We are committed to inclusive casting, welcoming performers of all shapes, sizes, colors, and abilities.
This is not a youth production. Auditioners must be 18 and over.
Please list all conflicts on your audition form. You cannot have conflicts after February 14. The number of conflicts listed may impact casting decisions.
If you have any questions regarding the audition process, please contact us.
PRODUCTION STAFF:
Director – Len Mozzi
Producer – Susan Bott
Assistant Director – Isaac Becker-Chamberlin
Vocal Director – Markell Pipkins
Conductor – Kristin Cutler
Choreographer – Conner Becker-Chamberlin
Assistant Choreographer – Kerrigan McSweeney
Stage Manager – Jeremy Crouch
Technical Director– Ted Jacobs
Costume Designer – Etta Biloon
Props Designer – Shannon Rehmel
Scenic Designer – Rachael Jacobs
Lighting Designer – Maria Matters
In a modern interpretation of Rodgers & Hammerstein’s exuberant classic, Oklahoma! is a lively, tuneful musical full of cowboys, farmers, romance and fearless optimism. Just after the turn of the 20th century, a high-spirited rivalry between local farmers and cowboys provides a colorful background for Curly, a charming cowboy, and Laurey, a feisty farm girl, to play out their love story. Their romantic journey, as bumpy as a surrey ride down a country road, contrasts with the comic exploits of brazen Ado Annie and hapless Will Parker in a musical adventure embracing hope, determination and the promise of a new land. The winner of a special Pulitzer Prize in 1944.
Our production will have more contemporary costumes and a very simple, utilitarian set to put the emphasis on the acting and the story to move our audience. The songs are not just showpieces to show off singing ability but singing to get what you want from the other character.
The 2019 revival of Oklahoma! will give you an idea of the visual identity of our production—not a copy but a strong influence for our version.
Music by Richard Rodgers
Book & Lyrics by Oscar Hammerstein II
Original choreography by Agnes de Mille
Based on the play “Green Grow the Lilacs” by Lynn Riggs
Curly McLain (20s to 30s) (Baritone Db3-F4): A confident, charismatic cowboy. Curly is romantic at heart but masks vulnerability with bravado and humor. He believes the land – and Laurey – are his destiny. His journey is about growing from teasing dominance into intentional partnership. Strong stage presence and vocal talents.
Laurey Williams (18-30s) (Soprano D4-E5): Independent, intelligent, and emotionally guarded. Laurey is not a damsel in distress – she’s thoughtful and strong-willed, wary of being controlled. Beneath her pride she longs for love and stability. Requires warmth yet a fierce fighter.
Ado Annie Carnes (18-30) (Mezzo Soprano C4-E5 with belt): Joyful about living and unapologetically honest about her desires. Not just a naïve girl – she’s a liberated, sexually self-aware woman navigating a culture that expects women to be demure. Her struggle is less about morality and more about choosing emotional steadiness over novelty. Good comedic energy and timing with belt songs.
Will Parker (18-30s) (Tenor Eb3-F4): Earnest and slightly overwhelmed in a world that’s shifting under his boots. Loves Annie fiercely but doesn’t quite know how to meet her where she is. Good dancer and comic timing
Aunt Eller (45 – 70s) (Mezzo Soprano D3-A4): The Matriarch and emotional spine of the community. Feisty and clear headed. Commands the room when needs be. Tender with Laurey and Curly. Respected.
Jud Fry (20s – 40) (Bass-Baritone D3-C#4): Not just a stock villain. Jud is a tragic figure shaped by isolation and resentment in the community that never made space for him. He recognizes his loneliness and try’s to fit in and reach out to woman he loves.
Ali Hakim (20s – 40s) (Baritone): A traveling salesman who is outwardly witty, charming and smooth-talking. Beneath that charm, however he is also a skillful manipulator talking his way out of trouble. Needs good comic timing.
Andrew Carnes (45 – 60s) (Baritone): Ado Annie’s protective father. Also, a local judge who presides at Curly’s trial. Solid, commands respect yet needs good comic instincts.
Gertie Cummings: A young territory woman overly enthusiastic and socially awkward with a signature comic laugh. Sees herself as Laurey’s rival.
Ensemble Roles (Flexible Ages and Voices): The farmers, women, cowhands, and all the residents of the community are an essential to this production. More than just a chorus – they are the heartbeat of the territory with all its pride, rivalry, prejudice, and celebration for the future. Their physical staging will emphasize the community’s polarization and prejudice towards Jud.
The ensemble represents our Footlite audience, and helps them navigate their way through the triumphs and tragedies of the major character’s stories. Strong acting as well as singing and dance skills needed. Particularly strong dance skills needed for the featured dance during Laurey’s dream sequence.
For all roles we are interested in performers of all ethnicities, body types, gender identities and backgrounds. Just like the people of Oklahoma at the time but seldom seen in modern productions