In Person and Ages 18+ ONLY
Synopsis
Heathers: The Musical is a dark comedy about a high schooler named Veronica Sawyer who joins the most popular clique at Westerberg High in 1989 Sherwood, Ohio. Veronica, a smart and beautiful misfit, is torn between the glamorous lifestyle of the Heathers and her feelings for the mysterious and dangerous new kid, JD. When Veronica falls for JD and is kicked out of the Heathers, she sets off a chain of events that lead to trouble for the entire school.
Cast Breakdown
VERONICA SAWYER – (18) Burns to be both cool and kind, but doesn’t yet know how to be both at the same time. Fierce sense of right and wrong, keen sense of ironic humor. Thinks she’s an old soul, but she’s still innocent enough to be blindsided by love or shocked by cruelty. Voice: high belting required, up to A♭. Must have dynamic and stylistic range.
JASON “J.D.” DEAN – (18) Darkly charismatic, compelling, attractive. Charming on the outside, damaged on the inside. Keen smarts, savage wit. Voice: strong, confident belt to at least an A♭, A preferable; wide emotional range.
HEATHER CHANDLER – (18) The richest, hottest, cruelest girl in town. Relishes power and wields it without fear, patience, or mercy. Voice: strong belt to F or higher preferred. Mezzo for chorus. NOTE: In certain choral songs, CHANDLER can switch parts with the other HEATHERS as needed.
HEATHER MCNAMARA – (18) Beautiful, innocent, stupid. Can be mean on command if Heather Chandler orders it, but actually quite vulnerable and fearful. Voice: strong belt to D♭, D preferred. Soprano for chorus. NOTE: In certain choral songs, MCNAMARA and DUKE can switch vocal parts as needed.
HEATHER DUKE – (18) The whipped beta dog of the three Heathers. Deeply insecure. When she finally becomes Queen Bee, she wields power like a bulldozer. Voice: strong belt to C, D preferred. Alto for chorus. NOTE: In certain choral songs, DUKE and MCNAMARA can switch vocal parts as needed.
MARTHA DUNNSTOCK – (18) Nicknamed “Martha Dumptruck,” the opposite of confident and popular. Huge and beautiful soul, optimistic even in the face of rejection. Voice: strong belt to E or F, wide vocal expression.
RAM SWEENEY – (18) Linebacker. Big, insensitive to the feelings of others, ruled by appetites. Voice: strong baritone, belt to G, some falsetto useful. NOTE: In certain songs, RAM and KURT can switch choral assignments if, say, RAM sings higher than KURT.
KURT KELLY – (18) Quarterback and captain. Chiseled, rude, entitled, cocky. He’s the brains in the friendship with Ram. Voice: tenor, strong belt to A♭ or A, some falsetto. NOTE: In certain songs, KURT and RAM can switch choral assignments if, say, RAM sings higher than KURT.
RAM’S DAD / BIG BUD DEAN / COACH RIPPER – (21+)
RAM’S DAD: Former football player turned suburban dad, has never outgrown his high school glory days. Hates weakness, but capable of soul-searching when tragedy strikes.
BIG BUD DEAN: J.D.’s single dad. Big jolly personality that barely conceals the enormous rage bubbling just below the surface. Quite possibly a serial bomber.
COACH RIPPER: Stalwart, man’s man; quick to defend his players.
Voice: baritone/tenor, power Country/Gospel belt to A♭, higher welcome. NOTE: Sometimes this actor has played PRINCIPAL GOWAN instead of BIG BUD / COACH.
MS. FLEMING / VERONICA’S MOM – (21+)
MS. FLEMING: Aging hippie teacher, still yearning for the day the Age of Aquarius reaches Ohio. Resentful of today’s entitled youth, protective of the underdogs. Despite a penchant for self-promotion, genuinely cares about the students in her charge.
VERONICA’S MOM: Easygoing, distant, yet capable of laying down the law.
Voice: great belt up to C, higher always welcome.
KURT’S DAD / VERONICA’S DAD / PRINCIPAL GOWAN – (21+)
KURT’S DAD: Straight-laced, very conservative, also former football player. A simple guy, not book smart, you’d be happy to share a beer with him.
VERONICA’S DAD: Easygoing and distant.
PRINCIPAL GOWAN: Rumpled, burned out, hates conflict.
Voice: strong baritone/tenor, power Country/Gospel belt to G, even higher better. NOTE: Sometimes this actor has played BIG BUD/COACH instead of PRINCIPAL GOWAN.
BOY 1: BELEAGUERED GEEK – (18) An embittered social outcast. Voice: baritone (up to F#) or tenor (up to A).
BOY 2: PREPPY STUD – (18) Straightlaced, ambitious, blow-dried. Dreams of being even richer than his parents. Voice: bass (up to E) or baritone (up to G#).
BOY 3: HIPSTER DORK – (18) Thinks he’s Ducky from Pretty in Pink. Voice: baritone (up to F#) or tenor (up to A).
GIRL 1: NEW WAVE GIRL – (18) She wants her MTV and dresses accordingly. Voice: belt to at least C# (a soprano up to high A/B is also a plus).
GIRL 2: STONER CHICK – (18) Smokes outside with the freaks in between classes. Her future’s so bright she’s gotta wear shades to hide her bloodshot eyes. Voice: belt to at least C# (a soprano up to high A/B is also a plus).
GIRL 3: YOUNG REPUBLICANETTE – (18) A tennis-playing, perky Student Council type. Voice: belt to at least C# (soprano up to high A/B is also a plus).
Audition & Show Info
Auditions (Lake Elsinore)
104 S. Kellogg St. Lake Elsinore
February 1st 10am-2pm
February 2nd 12pm-4pm
Call Backs: February 15th-16th
Rehearsals begin March 24th
Monday-Wednesday 5:30pm-8:30pm
The Harada Center
13099 65th St. Eastvale, CA
Show Dates (4) Shows:
June13th-15th 2025
Corona Historic Civic Theater
815 W. 6th Street Corona, CA
How to Audition 101
Always Come Prepared
Your dream is to be a working actor. You’ve always been told you “have it,” but the phone doesn’t ring for callbacks.
What separates professionals from wannabe talent show prodigies isn't inspiration. It’s preparation and execution. Take control of your audition with these ten helpful tips to improve your skills.
1. Confidence
It sounds simple but it takes practice. Walk in the door with your held head high. Be wary of shuffling feet. You don’t get sympathy points if you’re nervous, not feeling well, or having a bad day. Leave it outside the door. You are being sized up the minute you walk in so practice good posture and body language before you arrive. And don’t forget to smile—that’s the lasting impression you want to leave.
2. Personality
Let it shine through. Don’t give one-word answers when having a conversation with the casting director. Ask questions! The industry is looking for smart, curious actors.
3. Connection
Make one with the reader. Memorize the material or be familiar enough with it to maintain eye contact. Knowing the dialogue is important, but making a connection with the reader is what will make the scene natural and believable.
4. Character.
Know the character. Read the entire script beforehand to pick-up as many clues as possible. We know about a character by the following:
- What he/she says about himself/herself
- What other characters say about him/her
- What the playwright or screenwriter says about him/her
5. Objective
Go underneath the dialogue. What does he/she want from the other characters? What is the character’s purpose in the scene/story?
6. Obstacle
What’s in the way of the character getting what he/she wants? Acting is what happens to you as you try to get your objective met, in spite of the obstacle.
7. Opposites
Yelling isn’t the only way to show hatred or anger. Sometimes being quiet as you make your point is a powerful display of emotion. Playing opposites is a much more interesting choice than the obvious.
8. Love
Find the love in the scene; even nasty characters should be likable on some level. Find a moment in the scene where the love can show through.
9. Act
Acting means to do, not to talk. Find your actions and play them! (A wonderful resource is the book “Actions: The Actor’s Thesaurus” by Marina Caldarone and Maggie Lloyd-Williams.)
10. Variety
Feel the levels and dynamic in the scene. Don’t play one emotion. If the character is angry or tough, when might he/she show some vulnerability?
Wannabe? Not you! Interesting, memorable auditions will start to happen for you when you dig into scripts with these thoughts in mind before and during your auditions.
FOR MUSICALS:
Interested actors should prepare 16 bars from a musical and bring a headshot. May use instrumental tracks or acapella. No original songs and often is best to audition with musical numbers from similar shows for which you are auditioning.
For the dance call of a musical, you should come warmed up, with the appropriate dance attire and shoes. No bare feet or flip-flops, no baggy clothing.
FOR PLAYS:
Interested actors will be asked to prepare a one minute monologue and may be asked to do some cold reading.
FOR ALL STAGE CREW:
Interested crew members will have opportunities in the areas of Sound, Lighting, Props, Costumes, and Stage. Closed toe shoes are required. No flip flops or sandals allowed.
FOR ALL CAST/CREW:
All cast & crew will be required to download 'REMIND 101" app and crew will also need "Voxer" App for all communications & reminders.
How to Submit A Video Audition
Save Gas and Time
We are deep in the middle of inflation and holiday season. We have made it more convenient to submit video auditions. This allows casting directors to initially audition you without you having to travel anywhere. Submitting video auditions saves time, money, gas, and the environment. We would like to give you tips on submitting a great video audition to casting directors. Following these rules will save you from looking unprofessional or having casting request that you re-tape.
1. Start out with a long head-to-toe shot. That means that ALL of you should be visible in frame, from your head to your feet. Casting is looking to see your body type in this initial part.
2. Zoom in to your face and slate. Say your name, age, agent, and the city that you live in. Sometimes you may be required to state your height and weight, if requested. Smile while slating. Be friendly and likeable.
3. Have the scenes memorized! Nothing looks less professional when submitting a video audition than relying on the script to read the lines.
4. Do not look straight into the camera! Look at the person who is reading the other lines. This person should be off-camera! Not standing next to you trying to steal the audition from you.
5. Don’t rush through your lines. This is your moment to shine and show how brilliant you are. Take the appropriate beats and be sure to react to what the other person is saying.
6. Whoever is reading the other lines should be the correct gender. If you are reading a scene with a male have a male voice off-camera doing the scenes. If you are reading with a female character have a female read the other lines.
7. Play it back and watch it before you send it to your agent, manager or casting! Have a friend or family member watch it and look for things that you could do better. Unlike when you are in the room and then leave and ten minutes later think off something great that you should have done, you actually have the opportunity to change it and make it as good as possible.
8. Lastly, relax and have fun! Stiff, uptight, deer-in-the-headlights faces do not book video auditions.
Yes, casting directors DO watch these tapes! Yes, I have had client’s book jobs from tapes.
FOR MUSICALS:
Interested actors should prepare 16 bars from a musical and bring a headshot. May use instrumental tracks or acapella. No original songs and often is best to audition with musical numbers from similar shows for which you are auditioning.
FOR ALL STAGE CREW:
Interested crew members will have opportunities in the areas of Sound, Lighting, Props, Costumes, and Stage Managing/Directing. Closed toe shoes are required. No flip flops or sandals allowed.
FOR ALL CAST/CREW:
All cast & crew will be required to download 'REMIND 101" app and crew will also need "Voxer" App for all communications & reminders.
