Auditions -
Presented through special arrangement with: Concord Theatricals
Directed by: John Eslick
Produced by: Kristin Krause
Stage Manager: Belle Krause
Costume Designer: Beth Eslick, Elena Mills
Set Designer: John Eslick
Set Dressing: Dei Hobbs, Susan Weyant
Lighting Designer: Jim Diderrich
Sound Designers: John Eslick, Joe Krause
Prop Designers: Jaye Depew, Dona Pugh
Wig Designer: Haley Marie
Costume Assistants: Andrew (Argyle) Ceco, Betty Fuhmann, Karen Graham-Hanna, Deidre Hobbs, Susan Weyant
Dialect Coach: Dave Parmenter
Vocal Coach: Diann Alexander
Intimacy Coach: Hayley Silvers
Make-up Artist: Belle Krause
Make-up Assistant: Rylee Stafford
Sound/Mic Operator: Joe Krause
Light Operator: Arnulfo Carrillo
Script Secretary: Rita McCaffrey
Stage Crew: Lyra Eriksen, Rylee Stafford, Jaden Timms
Headshots: Refugio Lira
Publicity Photos: Ritchie Filippi
Social Media Liaison: Rylee Stafford
Production Photos: Scott Quintard
Construction Crew: Jim Diderrich, Judy Diderrich, John Holroyd, Lee Marks, Max Honigsberg, Monica Steinberg, Rick Steinberg, Mike Watrobski
PR: Ritchie Filippi
Audition Dates & Times:
November 9, 10, & 11 at 7pm
Performances:
Jan 16 – Feb 7, 2026
Fri & Sat at 8:00pm. Sun at 2:00pm. Thu Jan 22 at 8:00pm. Sat Jan 31 at 2:00pm.
Audition Requirements:
This is a very fast-paced, physical comedy. Auditioners must be able to move well. If you are auditioning for Max, Tito, or The Bellhop, prepare one minute of an aria. Bring sheet music or background tracks on your device. We suggest:
TENOR:
“La Donna e Mobile” from Verdi’s Rigoletto
Schirmer Arias for Tenor p 107
“Vesti La Giubba” from Leoncavallo’s Pagliacci
Schirmer Operatic Anthology Vol III Tenor – Kurt Adler p 191
BARITONE:
“Largo al factotum” from Rossini’s The Barber of Seville
Schirmer Arias for Baritone p 68
“Votre toast” (Toreador Song)” from Bizet’s Carmen
Schirmer Arias for Baritone p 140
An accompanist will be provided for sheet music, as well as a speaker for the tracks. (The director is looking for actors who can at least carry a tune, but he is more interested in their comedic acting ability.)
Theatre Location:
351 S. Moorpark Road, Thousand Oaks, CA
As stated in our Anti-Discrimination Policy, our theatre is welcoming to ALL, including the following: race, color, creed, religion, national origin, sex, marital status, public assistance status, disability, sexual orientation, gender identity, age, family relationship, socio-economic status, or any other status protected by law.
Non-Equity, no pay.
For more information:
Contact Kristin Krause at theatremom714@gmail.com
Show Synopsis
Winner of 3 Tony Awards and 4 Drama Desk Awards, Lend Me A Tenor is set in September 1934. Saunders, the general manager of the Cleveland Grand Opera Company, is primed to welcome world-famous singer Tito Merelli, known as Il Stupendo, the greatest tenor of his generation, to appear for one night only as the star of the opera. Tito arrives late, and through a hilarious series of mishaps, he is given a double dose of tranquilizers and passes out. His pulse is so low that Saunders and his assistant Max believe he’s dead – and in a frantic attempt to salvage the evening, Saunders persuades Max to get into Merelli’s costume and fool the audience into thinking he’s Il Stupendo. Max succeeds and lives up to his idol, but Merelli regains consciousness and gets into the identical costume, ready to perform. Now two opera singers are running around in the same costume and two women are running around in lingerie, each thinking she is with Il Stupendo. A sensation on Broadway and in London’s West End, this madcap, screwball comedy is guaranteed to leave audiences teary-eyed with laughter.
Character Descriptions
Max – (M, early 30’s) Saunders’ long-suffering assistant and Maggie’s suitor, forced to take Tito’s place in the role of Pagliacci. Singing part – tenor range, preferably. Role requires intimacy.
Maggie Saunders – (F, mid-late 20’s) Saunders’ daughter, and Max’s girlfriend. She has a GREAT admiration for Tito. Role requires intimacy.
Henry Saunders – (M, 50’s-60’s) The Cleveland Grand Opera’s general manager. Father to Maggie. A blowhard who often loses his temper at the slightest mishap.
Tito Merelli – (M, 40’s-50’s) The world’s most renowned opera tenor, and notorious ladies’ man. Singing part – tenor range, preferably. Role requires intimacy. Italian accent.
Maria – (F, late 30’s-late 40’s) Tito’s long-suffering wife, with an “Italian temper.” Think Sophia Loren. Loves Tito, despite his philandering. Italian accent.
The Bellhop – (M, 20’s-30’s) A comic relief character who has an ongoing feud with Saunders. An obnoxious opera fan, The Bellhop keeps showing up at the hotel suite at the wrong moment, trying to get an autograph and a photo of Tito Merelli. Singing part, but doesn’t necessarily have to be a good singer.
Diana – (F, mid-late 20’s) The opera’s ingenue soprano, who is “flinging her way” to the top. A seductive woman (and she knows it). NOT a singing part. Role requires intimacy.
Julia – (F, 60’s) Chairwoman of the Cleveland Opera Guild, who considers herself a “grande dame.” Elegant demeanor and very classy.