AUDITIONS

THREE RIVERS MUSIC THEATRE
CASTING PHILOSOPHY

TRMT is intensely and intentionally committed to the IDEAA principles — Inclusion, Diversity, Equity, Access, and Anti-Racism.

GENDER IDENTITY
Most characters encountered in theatrical works are on the binary and are written with he/him or she/her pronouns, and you may see that in the character descriptions for our full musical productions. Limiting as the descriptions may be, our casting seeks to be inclusive as possible. We invite gender non-conforming, genderqueer, transgender, and non-binary artists to submit for the roles with which they most identify.

RACE/ETHNICITY
We will list race/ethnicity when specific and necessary to the character. When race/ethnicity is non-specific, we are committed to welcoming and considering all races and ethnicities in our casting. We are painfully aware that most theatrical productions of the last 100+ years have been whitewashed, and artists of color often disengaged or excluded unless necessary to the story. TRMT seeks to correct that narrative in our community. Artists of color will be considered for ALL roles, unless race/ethnicity is specific and necessary to the character/plot.

BODY TYPE
Artists of all body types are encouraged to audition. Unless a role demands a specific body type (ex: Tracy in HAIRSPRAY), all body types will be considered for all roles. GONE ARE THE DAYS of antiquated and archaic (unachievable/unsustainable) beauty standards pressuring creators to produce bland, homogenous, uninspired, unrelatable, sterile, cookie cutter stories. Every body is a theatre body. Everybody is the lead role in their own story. All body types have occupied spaces power, achievement, and romance since time began. It’s time for our stories to reflect that. Period.

ACCESSIBILITY
Three Rivers Music Theatre is committed to considering and welcoming disabled and neurodivergent artists. As such, TRMT is committed to occupying accessible ADA compliant spaces whenever possible. Human experiences curated in theatrical works are universal— that’s what makes theatre and stories accessible and broadly appealing. It’s time that our stories reflected all points of view and perspectives.

Please let us know if you have any questions, concerns, or if there are any accommodations we can provide.

AUDITIONS

BAT BOY: THE MUSICAL!

Seeking local artists for our upcoming production of BAT BOY: THE MUSICAL!

WHEN:
Sunday, June 23rd
2:00 - 5:00 PM • Vocal Auditions
7:30 - 9:30 PM • Callbacks

Please register for a vocal audition time below.

WHERE:
Three Rivers Music Theatre
416 W 4th Street
Fort Wayne, IN 46808

If selected, Artists must be available for the following rehearsal and performance dates:

REHEARSALS:
Monday, August 5th - Thursday, September 5th
Mondays-Thursdays • 7-10 PM

*TECH REHEARSALS:
Sunday, September 8 • 12-10 PM
Monday, September 9 • 6-10 PM
Tuesday, September 10 • 6-10 PM
Wednesday, September 11 • Dress 6-10
Thursday, September 12 • Final Dress 6-10

*PERFORMANCES:
Calls 1 hour prior to curtain
Friday, September 13 - 8PM
Saturday, September 14 - 8PM
Sunday, September 15 - 6PM
Friday, September 20 - 8PM
Saturday, September 21 - 8PM
Sunday, September 22 - 6PM
Friday, September 27 - 8PM
Saturday, September 28 - 8PM
Sunday, September 29 - 6PM
*STRIKE - Monday, September 30 - 6-10PM.

*No conflicts accepted on dates asterisked above.

CHARACTER BREAKDOWN
& AUDITION MATERIAL

Audition and Callback Material will be posted as soon as possible.

Bat Boy (Edgar)
Stage Age: Late Teens - Early 20s. Male Identifying. Tenor - B2 - A4. Falsetto to E5.
Edgar is half boy/half bat and his journey from a primitive/unrefined being to a well-rounded and civilized human (and the difficulties he encounters along the way) is the heart of our story. "Bat Boy" is very raw and unsophisticated at the beginning of the play (after all, he has lived in a cave his entire life and never been exposed to civilization) and can't even speak. However, with the Parker's help, he grows into "Edgar" (the name lovingly given to him by Meredith) an intelligent and enthusiastic individual with a strong desire to be accepted and to fit in. He struggles with his identity (is he man or beast?) and the prejudice and hatred of the town. The actor playing Bat Boy/Edgar will have to be able to portray both sides of his personality and be able to tap into the confusion and anger that often boils up, all the while maintaining the innocent and loving essence of the character. The audience needs to sympathize with him or the musical will not work—the artist playing this role must not only be a strong singer, but also a very strong actor in order to achieve this.

Dr. Thomas Parker
Stage Age: 30's - 50's. Male Identifying. Baritone/Tenor - Ab2 - A4.
The town veterinarian, Dr. Parker is asked to "take care" of the creature but is convinced to spare his life by his wife and daughter. He is a desperate man in a loveless marriage (due to the troubled past of the couple). As he sees the attachment growing between Bat Boy and Meredith, Dr. Parker grows to secretly despise the boy. Driven mad by this hatred and jealousy, he manipulates the situation using his veterinarian skills to his advantage—even at the price of human life. The actor playing this role must be a strong singer and actor and believably portray his decline into diabolical madness.

Meredith Parker
Stage Age: 30's - 50's. Female Identifying. Mezzo Soprano With Strong Belt - F3 - F5.
Dr. Parker's wife, Shelley's mother. Meredith is the epitome of the perfect housewife. She helps convince her husband to keep Bat Boy. She picks out a name for him, teaches him manners, and educates him; she does everything that the mother he never had would do—but in the process, a deeply kept secret is disturbed and her world starts to crumble around her. Can she save the ones she loves? Meredith starts out relatively two-dimensional; but as things start to go wrong she must make difficult decisions, step out of her comfort zone, and confront long-hidden emotions. There must be a strong connection between Meredith and Edgar.

Shelley Parker
Stage Age: Late Teens - Early 20's. Female Identifying. Soprano with Strong Belt - G3 - Ab5
The Parker's rebellious daughter. Shelley and her mother convince her father to spare Bat Boy. Shelley transforms from a spoiled brat who taunts Bat Boy into a young woman who falls in love with him and protects him from the town's wrath. The actress playing this role must have charisma, good comic timing, a strong voice, and a presence that endears not only Edgar but the audience as well.

Sheriff Reynolds
Stage Age: 30s - 60s. Male Identifying. Baritone.
The Sheriff brings Bat Boy to Dr. Parker's house to be "taken care of". He is called upon by the town folks to deal with the situation whenever the situation goes awry. He is always the mediator and tries to do the right thing ... long as its good for his career!

Rick Taylor
Stage Age: Late Teens - Early 20's. Male Identifying. Baritone
One of the adventurous Taylor siblings who discovers Bat Boy in a cave. A bully and Shelley's boyfriend. This artist will play other roles in the ensemble.

Ron Taylor
Stage Age: Teenager. Male Identifying. Baritone
One of the adventurous Taylor siblings who discovers Bat Boy in a cave. This artist will play other roles in the ensemble.

Ruthie Taylor
Stage Age: Teenager. Female Identifying. Mezzo Soprano.
One of the adventurous siblings who discovers Bat Boy in a cave. This artist will play other roles in the ensemble.

Mrs. Taylor
Stage Age: 30's - 50's. Female Identifying. Could be played in drag. Mezzo Soprano/Alto.
Protective mother of Rick, Ron, Ruthie. This artist will play other roles in the ensemble.

Reverend Billy Hightower
Stage Age: 30-60. Male Identifying. Could be played in drag. Seeking artist of color. Tenor/Alto
A small but memorable character, the Reverend is an over-the-top caricature of typical religious figures and provides many laughs during his spirited performance of the song "A Joyful Noise" at the town's revival ceremony. The actor playing this part must have good comedic timing and must be a strong singer who is comfortable singing in the gospel style. This artist will play other roles in the ensemble.

Pan, God of the Forest
Stage Age: 25-40. Could be played by artist of any gender identity.
A forest god who sings "Children, Children" and presides over an interpretive marriage ceremony for Shelley and Bat Boy. Must be a strong singer. Strong dancing ability a plus. This artist will play other roles in the ensemble.

Ensemble (Mayor Maggie, Townsfolk, Animals, Voices, Etc)
Stage Age: All. All gender identities. All vocal ranges.
Simple and superstitious, the townspeople are over-the-top representations of rural farmers. Think plaid shirts and cheesy southern accents! Most ensemble members have solo speaking and singing lines and all have lots of opportunities to shine. In addition to playing the townsfolk and getting to sing great songs like “Hold Me Bat Boy," Another Dead Cow," and "A Joyful Noise", the ensemble members also play animals in the forest scene ("Children, Children") and the voices in Dr. Parkers head as he goes crazy. Actors playing these roles must be strong singers and good comedic actors and movers.

AUDITION REGISTRATION

THREE RIVERS MUSIC THEATRE
Where brave and innovative entertainment awakens, challenges, and inspires.