Auditions for our fall production of BERLIN TO BROADWAY WITH KURT WEILL: A MUSICAL VOYAGE are NOW OPEN!

We’re currently accepting online submissions for this show. Auditions can be submitted by submitted by clicking the link below to fill out the audition form.  

Please fill out the audition form completely, attach a headshot and resume, and submit an audition video consisting of a 1-minute vocal cut from a musical theatre piece that is similar in style to Brecht/Weill – think Jacques Brel, Kander & Ebb, or even Weill songs featured in this show. Any material with strong text, irony, cabaret sensibility, emotional complexity, and actor driven storytelling. We’re looking for 5-7 performers for this show.

After submitting, you should receive an email confirmation with your submission. If you do not, your audition may not have been submitted successfully. Please check spam folders for email confirmation and feel free to reach out and confirm we’ve received your submission!

Your video audition should be uploaded to YouTube as an UNLISTED link, and NOT a private link to make sure that we will be the only folks viewing your student’s audition video. The link for this audition video will then be shared in the audition form. For more information on YouTube videos, see below. 

The deadline for submissions is July 1st and callbacks will be Tuesday, July 7th and Wednesday, July 8th – audition times and schedule will be sent with the callback notice on Sunday, July 5th. Casting will be announced to all auditionees shortly afterward.

Thank you for your interest in auditioning with us! If you have any questions, please email Producer, Jenna Bellamy (jenna.bellamy@vstbhm.org) or Director, Chris Carlisle (chriscarlisle@mac.com). 

Submit Your Audition

Character Breakdown – Berlin to Broadway

THE GUIDE — Playing 35–55. The linchpin. Not a tour guide: he's the Age itself, a shape-shifting conferencier (Weimar bartender, Mahagonny barker, immigration officer, postwar talk-show host). Charming, quick, dangerous: a born host, warm and intimate with the audience, with a trapdoor underneath. Effortless authority, never sweats; chameleon ease, belongs to no era. Must make the house love him by minute five so the betrayal lands. He's seen all of it before. 

  • Voice/type: Emcee or stand-up chops who can sing 

  • Vocal Range: E4 – Bb2 

 

MEZZO — Playing 28–50. The one who refuses, the resister and the clown in one body (true to Lenya). The comedy engine and the show's danger. Tough, funny, ungovernable; streetwise and unsentimental. Petty and physical in the comedy, genuinely menacing in the dark numbers. Pride that won't bend, survivor's instinct, sexual confidence, no self-pity. Lived-in. 

  • Voice/type: grit over polish. A Lenya, not a legit mezzo. Needs petty comedy and real menace. 

  • Vocal Range: Eb5 – F#3 

  • Carries: Jealousy Duet, Saga of Jenny, Surabaya Johnny, the silent dispossession + Pirate Jenny. 

 

TENOR — Playing 25–40. The idealist. Faith in people, repeatedly mugged, never quite extinguished. Earnest, open, hopeful; wears his heart on his sleeve, trusting to a fault. Gentle, a little naive, let down again and again but never cynical — the audience's surrogate for decency. Youngest energy of the four, the one you want to protect. 

  • Voice/type: open-faced sincerity; lyric tenor 

  • Vocal Range: Bb4 – C3 

  • Carries: Useless Song (Pt 2), Johnny's Song, Lonely House, Train to Johannesburg. 

 

SOPRANO — Playing 22–38. The believer. Salvation Army girl → exile waiting for a ship → war bride. Sincere, luminous, faithful: believes in rescue, God, a ship, a man, America. Romantic, vulnerable, quietly steadfast; innocence the show keeps testing but never quite breaks. Her sound is the hope the show keeps testing. 

  • Voice/type: the prettiest pure voice of the four. 

  • Vocal Range: A5 – Bb3 

  • Carries: Don't Be Afraid, I Wait for a Ship, My Ship, Speak Low. 
     

BARITONE — Playing 35–55. The operator, what charisma looks like before and after it costs people everything. Magnetic, commanding, predatory-then-grieving: sexy and self-assured young (Mack), weight and gravity old (Lost in the Stars). Effortless control of a room, charm as a weapon. Must age a lifetime across the evening — the hardest stretch in the cast. 

  • Voice/type: sex and authority when young, gravity when old. A credible Mack and a credible "Lost in the Stars." 

  • Vocal Range: G4 – Bb2 

  • Carries: Mack the Knife, As You Make Your Bed, September Song, Lost in the Stars.