Giselle is an original musical adaptation of Adolphe Adam’s 1841 romantic ballet of the same name, loosely reconfiguring the plot of the original ballet into a kaleidoscopic ghost story told through Appalachian folksong, written and composed by Cassian Grove and Rory John. Five archetypal storytellers weave together history, myth, and song to bring the story to life in an immersive show about vengeance, dancing, and death. 

Character Breakdown

Note: many characters are likely to be dual-cast (e.g the actor playing Bathilde will likely play Myrtha). Listed genders indicate how the character is to be portrayed, not necessarily the gender of the actor.

Giselle

A sickly repressed peasant girl who longs for a better life

Musical requirements: Multiple solos in a range of styles ranging from Appalachian folk to more standard musical theatre. Probably mezzo-soprano

Dance requirements: Some folk dancing, some romantic couple dancing, and an intensive experimental dance solo when she dances to death. NOTE: the actor

playing Giselle will be encouraged to work directly with the choreography team to develop her solo.

Other physical requirements: Must play dead for several minutes onstage

Maisry

Giselle’s loving but manipulative and overprotective mother

Musical requirements: Some solo singing in an avant-garde opera style. Alto-to-soprano

Dance requirements: Some folk dancing (optional)

Albrecht

The Duke of Silesia, a nobleman who disguises himself as a peasant to woo Giselle.

Musical requirements: Several solos in folk and classic musical theatre styles. Tenor

Dance requirements: Some folk dancing, some romantic couple dancing, and an intensive experimental dance solo when he almost dances to death.

Other physical requirements: Some light running

The Squire

Albrecht’s lovelorn and poetic servant

Musical requirements: Some solo singing in a Delta blues style. Baritone-to-tenor

Dance requirements: Some folk dancing

Hilarion

The town’s righteous gamekeeper and Giselle’s childhood friend

Musical requirements: Multiple solos in a range of styles ranging from blues to more standard musical theatre. Any range

Dance requirements: Some folk dancing and an intensive experimental dance solo

Bathilde

A kindly but out-of-touch noblewoman, and Albrecht’s fiancée.

Musical requirements: No solos, some minor group singing

Dance requirements: Some folk dancing, some partnered dancing

Ensemble nobles

Various nobility, vaguely fairy-tale historical

Some ensemble singing and folk dancing

A few optional ensemble noble lines

The Weaver

A narrator figure and the core of her community, symbolizing storytelling and fate

Musical requirements: Some solo singing, largely in a folk style, any range

Dance requirements: Some folk dancing

The Blacksmith

A reserved older woman, symbolizing practicality and strength in adversity

Musical requirements: One short solo in an Appalachian folk style, alto or lower

Dance requirements: Some folk dancing

The Carpenter

An older man, symbolizing wisdom, comforts of home, and creation

Musical requirements: One short solo in an Appalachian folk style, baritone to tenor

Dance requirements: Some folk dancing

The Miller — 18-40

○ A younger man, symbolizing patriarchal leadership and bounty of harvest

○ Musical requirements: One short solo in an Appalachian folk style, baritone to tenor

○ Dance requirements: Some folk dancing

The Fisherman’s Wife

A younger woman, pining for an absent husband, symbolizing both hardship and hope

Musical requirements: One short solo in an Appalachian folk style, alto to soprano

Dance requirements: Some folk dancing

The Child

An audience-insert figure, part primarily of the framing device at the beginning and end but present in group scenes throughout

Musical requirements: optional group singing

Dance requirements: Some optional folk dancing

Ensemble peasants

Various peasants, temporally ambiguous rural working class

Some ensemble singing and folk dancing

A few optional ensemble peasant lines

Myrtha

The Queen of the Wilis, equal parts maternally compassionate to her own and cut-throat to her enemies

Musical requirements: Multiple solos, largely in a theatrical or operatic style, one in a more reserved folk style. Some group singing in traditional white voice style.

Alto-to-soprano ideal, but open to actor interpretation

Dance requirements: Some narrative/expressionist dance

Peg Entwhistle

An actress, known for haunting the Hollywood sign. The first Wilis we meet, she demonstrates their comradery and friendship as she re-tells her story to her fellow ghosts.

Musical requirements: One short line of solo in theatrical or operatic style. Some

group singing in traditional white voice style. Alto-to-soprano ideal, but open to actor interpretation

Dance requirements: Some narrative/expressionist dance

Lizzie Borden

The 19th century’s notorious alleged axe murderess, who explains her side of things in a detached manner, contrasting with Giselle’s own relationship to her

mother.

Musical requirements: No solos, some group singing in traditional white voice style. Any range.

Dance requirements: Some narrative/expressionist dance

Eurydice

The mythic figure, narratively based more on the Japanese Izanami than the original Greek Eurydice, who haunts her disloyal husband for eternity.

Musical requirements: A few solos in both an Appalachian folk style and a more theatrical or operatic style, some group singing in traditional white voice style. Any range.

Dance requirements: Some narrative/expressionist dance

Mary Hamilton/La Llorona

The Hispanic American folkloric ghost, but narratively intertwined with the Scottish folkloric character of Mary Hamilton, depicted in Child Ballad 173.

Musical requirements: No solos, some group singing in traditional white voice style. Any range.

Dance requirements: Some narrative/expressionist dance

Ensemble Wilis

Various Wilis, many of whom based on specific mythic or historical women

Some ensemble singing in traditional white voice style and some narrative/expressionist dance, a few short solos for specific named ensemble Wilis

A few specific named ensemble Wilis have one or two lines

To Submit

This is a self tape audition. Follow this link: https://starhouseatc.com/auditions for more information

Fill out this audition form then send a video audition that includes: 

○ The same name you put on your audition form (which should be the name you wish to be credited as), and the names of the materials you are auditioning with.   

○ Any contemporary monologue, ideally around 2 minutes, that you feel exemplifies the skills that make you right for this show. 

○ A song in a traditional American style of singing (IE old-time, Appalachian folk, Sacred Harp, work songs, etc). NOTE: please do NOT audition with a song from a musical—we are interested in your ability to sing within the aforementioned genres. Songs from musical theatre will not be considered. 

○ For some roles (Giselle, Hilarion, Albrecht), we request some kind of dance reel or recent video of you dancing. 

○ Optionally include samples of any dialect or accent you feel you do well. to starhouseatc@gmail.com (feel free to send it as one video file, or multiple, or link to a google drive/youtube/etc) by 11:59pm, PST, March 15th 

● Callbacks will be held at the Historic Hoover Theater, on Sunday, March 22nd, at 6pm, with the opportunity for digital callbacks if you cannot attend.