Can Can play, HBPH

Huntington Beach Playhouse
7111 Talbert Avenue
Huntington Beach, CA 92648
(714)375-0696 - Box Office
(714) 375-0698 fax

HBPH Annex
18411 “F” Gothard Street
Huntington Beach, CA 92648
(714)847-4357 Office
(714) 847-0457 fax

Run Date
Run Dates: January 6, 2012 - Janurary 29, 2012

Auditions
Nov. 7 and 8 @ 7:00 p.m.

Callbacks
Nov. 9 @ 7:00 p.m.

Location
HBPH Rehearsal Annex
18411 “F” Gothard Street
Huntington Beach, CA 92648

Preparation
Please bring your resume and head shot (or current photo) Cold readings from the script

Huntington Beach Playhouse is non-profit amateur theater.
There is no pay .

Rehearsals
TBD

Performances
January 6 - Janurary 29, 2012
Thursday-Saturday evenings at 8:00 PM, Sundays at 2:00 PM

Director – Larry Watts

Character Breakdown (all roles open):

Pistache: Female 30-45-Mezzo-Owner of the Bal du Paradis
Aristide: Male 30-45-Baritone-Judge Paul Barriere: Male-30-50-Baritone-Judge
Henri Marceaux: Male-30-50-Baritone-Judge
Claudine: Female-20-30-2nd Soprano-Laundress/Can Can Dancer
Gabrielle: Female-20-30-Alto-Laundress/Can Can Dancer
Marie: Female-20-30-Alto-Laundress/Can Can Dancer
Celestine: Female-20-30-Soprano-Laundress/Can Can Dancer
Hilaire Jussac: Male-30-50-Baritone-Art Critic
Boris Adzinidzinadze:Male-20-35-Baritone-Sculptor
Hercule: Male-20-45-Baritone-Architect
Theophile: Male-20-45-Tenor-Painter
Etienne: Male-20-45-Tenor-Poet
Ensemble: Males and Females-20-50-All Vocal Ranges-Police/Customers/Waiters/ Models

Please bring sheet music in proper key.
Be prepared to dance
Non Equity
No Pay

For Information contact: Jolyn Turner at jolynaturner@gmail.com

Production: Can-Can, Music by Cole Porter Book by Abe Burrows
Producer: Huntington Beach Playhouse
Director / Choreographer: Larry Watts
Musical Director: Scott Camden

CAN-CAN is a songfest about Paris in 1893 and some of its more Bohemian citizens. Aristide Forestier, a young, newly-appointed and over-zealous magistrate, decides to undertake a reform movement. The first case before him is a charge against some young women that their dance, the cancan, has violated the Paris morals code. Acting with the unique wisdom of the French, the chief judge dismisses the case because all of the witnesses seem suddenly to have had cinders in their eyes when the crime was committed and so cannot testify. Aristide goes to Montmartre to investigate the matter personally.
He gets his evidence but in the process falls in love with La Môme Pistache, the cafe proprietress. In the Montmartre we meet, Claudine, the principal dancer of the cancan palaces, Boris Adzinidzinadze, the temperamental artist whom she supports, and Hilaire Jussac, the art critic with whom Boris fights an uproariously funny duel. Aristide ends up in a police scandal which gets him disbarred. He confesses his love for Pistache, leaves the law to the courts, and joins her in teaching others how to do the CAN-CAN.
The show contains entrancing Cole Porter songs such as C'est Magnifique, I Love Paris, Allez-Vous-En, and Can-Can flow logically from the context of the story