MEET ME IN ST. LOUIS is the story of a happy family’s life, as they anticipate the wonders of the 1904 World’s Fair. The play includes seven of the best loved songs from the film and ten other wonderful numbers, also by Martin and Blane, written specially for the stage.
The Overture segues directly into the Opening Number – Meet Me In St. Louis, where we find ourselves in front of the Smith family home. The principals sing the title song introducing themselves (the Smith family octet): Tootie, the youngest girl; Agnes, her closest sister; Lon, the son ready for college; Mrs. Anna Smith, mother; Katie, the family’s Irish maid; Grandpa Prophater; Rose, the eldest daughter; and Esther, the second oldest daughter. We learn of their excitement about the fair, of Esther’s crush on The Boy Next Door, and Mrs. Smith’s advice to her daughter in You’ll Hear a Bell.
Esther attempts to hold the family dinner an hour earlier than usual, in order to give Rose some privacy to receive a long distance phone call from a wealthy suitor, Warren Sheffield, who is vacationing in New York. Mr. Smith insists on dinner at the usual time, and despite Katie’s quick pace the plan fails. The whole family overhears Rose’s disappointing call. The tone picks up quickly, and we find ourselves at Lon’s going away to college party. Warren has returned from New York by now, and he and Rose sing the delightful duet A Raving Beauty. In Warren’s refrain, she is “winsome, wise and easy on the eyes”, and in Rose’s tongue-in-cheek refrain he is “wayward, bad and all kinds of a cad.”
With the party in full swing, Lon leads Warren, Rose and the Chorus in the rousing square-dance production number Skip to My Lou. Caught after bedtime watching Lon’s party from the stair landing above, Tootie and Agnes are invited down to perform Under the Bamboo Tree as a vaudeville turn for the guests. When the guests go home, Esther and John are left alone. Although he is shy and a bit awkward, he manages to sing the touching waltz, Over the Bannister, to Esther as he helps her turn down the room gaslights. He then shakes her hand good night. She is disappointed by the handshake as any teenage girl would be, but shrugs it off with a reprise of The Boy Next Door and then The Trolley Song.
The Second Act opens on Halloween night in the kitchen, as Tootie and Agnes prepare to go out trick-or-treating. When Katie is left alone with Esther and Rose, she instructs them in the song and horn-pipe dance A Touch of the Irish on how best to handle romantic situations from a woman’s perspective. Tootie and Agnes return unexpectedly, and Tootie mischievously places the blame for their early return on John Truitt. This, of course, complicates matters between John and Esther causing a misunderstanding and then an apology. John sings a reprise of The Girl Next Door.
Mr. Smith is offered a promotion at work, but it will require the family to move to New York City. Everyone is upset by this news and has compelling reasons for not wanting to leave St. Louis. Mr. Smith explains the benefits of the big city in A Day in New York, but Mrs. Smith is the only one willing to make the move. She explains her love for her husband in a reprise of You’ll Hear a Bell, and he responds in their duet Wasn’t It Fun?
The last big social event before the family leaves St. Louis is the Christmas Ball, a very formal party. Rose goes with Lon, but Esther is left without an escort; John did not get to the tailor in time to pick up his father’s tuxedo. Grandpa Prophater saves Esther’s evening by wearing his tuxedo and escorting her to the Ball. A prank Esther plans for Lucille, whom Lon admires, backfires on her, and Esther is forced to dance with three less-than-attractive men herself.
Everything works out well for the three young couples. John manages to get his tuxedo and unexpectedly arrives at the Ball. Later that evening, he and Esther decide they should wait some time before marrying since they are only “practically of age.” They reaffirm their love in the beautiful duet You Are for Loving. Rose and Warren, and Lucille and Lon pair off for the duration of the Ball.
Back in the living room at home, Tootie is upset by the move away from St. Louis. Esther tries to comfort her with Have Yourself a Merry Little Christmas, but it is not until Mr. Smith announces that the move is off that everyone is truly happy again.
The scene and time change to spring, and the chorus sings a reprise of The Trolley Song as everyone prepares to go to the World’s Fair. The chorus is interrupted by the Smith family gathering and singing a reprise of Meet Me in St. Louis. There is a blackout. Suddenly lights come up and we are with the Smith family observing the spectacular panorama of the 1904 World’s Fair.
Meet Me In St. Louis Cast:
*Please note specific on items such as Trolley Passengers, Assembled Guests at Lon’s Party, Ballroom Couples, additional Carolers, Buttermilk Trio, Postman, Clinton Badger, Peewee Drummond, Sidney Purvis, Various Townspeople Lines, etc. have yet to be assigned. These will be allocated at the read-through and following week.
Esther Smith — Taylor Priday
Mrs. Anna Smith — Leslie Harrison
Tootie Smith — Maddie Lane
Rose Smith — Emma Riley
Katie —Julie Resh
Agnes Smith — Ava Findley
John Truitt — Weston Slaton
Lon Smith — Richard Puscas
Mr. Alonso Smith — Jeff Denner
Warren Sheffield — Patrick Lundy
Lucille Ballard – Virginia Clark
Grandpa Prophater — John Murillo
Eve - Abigail Ellis
Peewee Drummond — Mac Graem
Clinton Purvis - Noah Schuette
Trolley Driver — Micki Ferguson
Postman - Mark Taylor
Carolers/Townspeople: Pam Barton & TBA
There are so many variables that play a part in how the Production Team selects a particular cast. PLEASE understand that this cast list was put together after MUCH thought- we do not take casting lightly! This show has roles that have specific skill sets and we try very hard to match each role with the actor skill sets. Our goal is to match each character and actor so that everyone excels. It’s not “who do we like better” or “who wants a lead”—it’s simply a matter of matching the best character to the actor with the closest skill set so that God and the whole Acting UP family can shine. We had so many talented people audition, but it literally came down to “great singer but character is too far of a stretch”, "great singer and actor but hair color doesn’t match rest of family”, “beautiful singer and fluid actor but not ultimate blend with actor counterpart”, etc. "Big talent" does not always equate to a “big role”- very often some of the best talent is needed in the ensemble or supporting roles to benefit the show as a whole. We hope you all know how much time and thought transpired as we cast this show. We are so proud of and thankful for each and every one of you! Blessings to you all for sharing your God-given gifts in service!
Auditions TBA in April, 2108
A street-wise orphan; she is eventually taken in by Oliver Warbucks. Spunky, friendly, big-voiced.
Age: 10 to 12
Vocal range top: G5
Vocal range bottom: A3
A successful businessman with a warm heart. Rich, stiff-collared, bullish.
Age: 40 to 55
Vocal range top: Gb5
Vocal range bottom: B3
Faithful secretary to Mr. Warbucks. Poised, sweet, gentle.
Age: 20 to 35
Vocal range top: G5
Vocal range bottom: Bb3
Molly (solo singing)
July (solo singing)
Duffy (solo singing)
The other girls in the orphanage with Annie. These girls are gritty, neglected and vulnerable, yet basically honest and potentially lovable.
Age: 6 to 13
Servant/Head Butler at the Warbucks mansion. Solo singing.
Age: 20 to 50
Servant/Cook at the Warbucks mansion.
Age: 20 to 50
Servant at the Warbucks mansion.
Age: 20 to 50
Servant/Clothing Maid at the Warbucks mansion.
Age: 20 to 50
Servant/Housecleaning maid at the Warbucks mansion.
Age: 20 to 50
Chauffeur (no lines)
Other servants (no lines)
Star-to-Be (no lines, has short solo song)
Ethel Merman type girl who sings at the Roxy.
The orphanage matron who hates children but is fond of liquor. Very disillusioned, bitter, and cold.
Age: 30 to 45
Vocal range top: F5
Vocal range bottom: A3
Miss Hannigan's no-good brother looking for a quick buck. A sleazy, slick con man.
Age: 25 to 35
Vocal range top: G5
Vocal range bottom: B3
Rooster's girlfriend, who is also out for a quick buck. She is considered to be a floozy and bimbo.
Age: 20 to 30
Vocal range top: G5
Vocal range bottom: B3
The ultimate radio personality. He helps Annie by broadcasting about the search for her birth parents.
Age: 30 to 45
Vocal range top: G5
Vocal range bottom: E4
Announcer (Jimmy Johnson)
Masked NBC announcer for Radio Hour.
The 32nd President of the United States. A Democrat and friend of Warbucks.
Age: 40 to 60
Vocal range top: F4
Vocal range bottom: Eb3
The lovable dog. Will wear dog costume and crawl on floor.
Boylan Sisters (sing as trio)
Connie -Soprano 1 (E4-F#5)
Bonnie -Soprano 2 (C#4-D5)
Ronnie -Alto (A3-B4)
The laundry man.
Assistant Dog Catcher
Policeman (Ward/Lt. Ward/Officer Ward/Cop)
Supreme Court Justice Brandeis
Works at the Roxy.
Kid 1(of 2) kid 1 has line, kid 2 no line
Sibling in Square outside of Roxy.
Sound Effects Man (no lines)
Directs radio audience with “Applause” signs, etc.
Fred McCracken and his dummy, Wacky
Wacky is a dummy’s voice, ala Charlie McCarthy.
Producer (no lines)
NBC Radio Hour producer
Kaltenborn (pre-recorded announcement)
Radio announcer (different from up above).
Harold Ickes (solo singing)
Perkins (duet singing)
Marine Guard working in White House.
Man with paper (sings):
Roxy Dancers/Group Singers
Assist Star-to-Be in Roxy show
-We are an open group. You do not need to be a member of RUMC to become a part of Acting UP. We actually encourage non-church members to join us as part of our mission. ALL ARE WELCOME!
-These above audition slots are for primarily singing and reading roles. If you are interested in a role that would highlight dancing please contact us directly.
-To be considered for any role, auditioners must be willing to commit to our rehearsal schedule and performance dates. Rehearsals are very important, and everyone in the scene being rehearsed is expected to be present (unless arrangements have been previously made). We are dedicated to giving our audiences the very best in theatre entertainment which requires commitment of time and talent of every performer. Everyone will not need to be at every rehearsal, just those rehearsals in which they are involved.
-Unless, you fill out the online audition form and submit your information ahead of time, please bring your personal calendar with you as you will need to indicate your rehearsal conflicts on your paperwork. We already have a tentative rehearsal schedule and will need you to be very specific (dates and times) regarding any conflicts you may have to that schedule.
-Please note that availability for rehearsals is a huge consideration in being cast. We will be monitoring the number of unapproved absences so it is extremely important that you put all your conflicts down on the audition calendar pages prior to your audition. We do this so that you and your fellow actors do not waste each other's time. Each cast member is an important part of the plan and every absence creates flow issues for the entire team.
-For private auditions, please prepare a solo piece from musical theater. You need to be prepared to sing the entire song but you will be asked to only sing approximately 16 bars of your song. Please be prepared to instruct the accompanist where you would like to start in the music. It is ok to sing something from the show for which your are auditioning or it is suggested that you sing something in a very similar style.
-You will need to bring a copy of the music for the pianist as an accompanist will be provided for you. You will not have any time to practice with the accompanist prior to your audition.
-Solo auditions must be accompanied by the pianist we provide (no recordings, personal accompanist [including the auditioner], or a cappella).
-Everyone auditioning needs to sing for us even if you are auditioning for just the speaking roles.
-For the private auditions you will need to schedule a time block in order to participate without a delayed wait. Sign up blocks are available every 5 minutes. Please see the link above to select your time slot.
-Your private solo audition will include a cold reading audition.
-When it is your time to audition, stand in front of the casting directors, not beside the accompanist, to sing your song. You will probably not sing the entire song. Be prepared for anything. We may have you sing approximately 16 bars, one minute or the song, or just the beginning and the end, etc. Your reading audition will follow your song, and once you are done you are free to go.
-If you have a conflict with these dates please contact us and we will discuss your options. All "make-up" auditions will occur PRIOR to the official audition date.
-If you are aware of anyone that would be interested in volunteering for the orchestra, backstage, costuming, & painting aspects please have them contact [email protected].
The audition process can be stressful, and some people can be downright terrified at an audition. Some have sweaty palms, shortness of breath, shaking knees, or an upset stomach before and during the audition. Sorry, but there is no better way to cast a show and determine individual talents and abilities than the audition process. It is by far the best method for the casting staff to determine who is the most suited and appropriate for a certain role and how each one will fit in with others on stage.
Although there may be some anxiety when auditioning, the best way to overcome fear is preparation in all aspects of the audition process. Be ready. Remember, go into an audition and perform your best as you would be performing on stage for an audience, not for the casting staff. Enjoy the audition! Have fun! We will consider not only each individual’s voice, stature, acting, and reading, but also how all the auditioners look and interact with one another in determining the best ensemble of performers for the production. Do your best, and leave the results to God.
Please keep this in mind: The casting staff is not made up of mean, evil, sadistic people who are hoping you will “mess up.” We really want you to do well. We want you to walk in the door and be exactly what we are looking for. We are rooting for you.
Arrive at the audition 15-30 minutes early in order to fill out the audition forms and to warm up physically, vocally, and mentally to prepare for the audition. This way, the auditions can begin on time.
Your audition begins the moment you step into the room. Be pleasant, confident, and have a sweet, positive attitude with everyone.
It is important to fill out the audition form completely, and please be honest. You are given an opportunity to indicate your role preferences, but if you will only accept a certain role or roles, let us know. However, limiting the casting staff will not improve your chances of being cast in that role. Be sure to list all the dates you cannot be at rehearsals. This is also very important in the casting process.
Know yourself and the types of characters for which you are best suited. It is important to audition for roles that fit you musically and dramatically. For example, a young woman auditioning for The Sound of Music shouldn’t audition for Mother Abbess but should read for Liesl instead. Also, it is not advisable for a bass to audition for a high tenor role. Play to your strengths.
What song to sing:
-You are asked to be prepared with a “traditional musical theatre” song that shows your vocal range and ability. If you don’t have that type song, choose another song that will show your ability. Hymns, contemporary Christian songs, simple choruses, and Pop songs are usually not a wise choice.
-Any musical theater song will be accepted however, a song in the same style and/or era of the production could work to your advantage. You may perform a song from the show for which you are auditioning.
-Choose a song that fits your voice, not necessarily one that is popular or that you like. Many of today’s pop songs are designed to be sung in a microphone and, therefore, are not a particularly good choice. The song you pick should allow your voice to project without a microphone. Most show tunes are good audition pieces because they are dramatic (i.e., have built-in “actability”) and voices can be projected well.
-You will need to provide the accompanist a copy of the music in the key in which you wish to sing. If you do not know the song from memory, you will also need a copy for yourself. It would be to your benefit to memorize the song.
-Auditioners must sing with piano accompaniment only. You may not use recorded accompaniment tapes, CDs, or other instruments, and you may not sing a cappella (without accompaniment.) A professional accompanist will be provided to play for you. In the interest of time, personal accompanists may not be used.
When you sing, the casting staff will look for:
-Vocal quality. (We are looking for a “legit” clean quality, not a “pop,” breathy sound. We want to hear your vocal skills.)
-Pitch. (Does the person sing on pitch, flat, or sharp?)
-Preparation. (Does the person know the song, or is he struggling musically?)
-Appropriate song. (Does the song fit the voice musically and textually?)
-Enunciation and articulation. (Can the words be understood? Are the consonants clean and crisp?)
-Dramatic presentation. (Does the person sing with expression and communicate the text? Are the lyrics interpreted with the voice, and do they come alive?)
For most productions, basic movement and/or dance auditions are required for everyone unless you are auditioning for a role that will not require it. Bring or wear appropriate and comfortable clothing and shoes for the movement auditions. Each person will be asked to learn a few steps in combination from a choreographer and then perform them in small groups (not alone.)
Don’t get cold feet about dancing/movement auditions. Most of the time, the steps are very easy, and the casting staff just wants to see how gracefully the auditioners move, or if they move in rhythm on the beat, or even if they can know their right foot from their left foot. Look energized and exciting while moving in time with the music. When/If you miss something, keep going and keep smiling. A look of confidence and a big smile can “hide” mistakes with the feet. Even if you do the steps perfectly but are not doing something interesting with your face, or if you look like you are concentrating hard or mad at someone, instead of enjoying it, the casting staff may pick someone else with less dancing ability who looks like he or she is having fun. Make sure when the choreographer is teaching the steps that you are standing in a place where you can see. And, yes, the casting staff is watching your feet.
Don’t panic with a “cold” reading. You will have a minute to read over the scene(s) you will be reading. It is not supposed to be memorized, and others are just as unfamiliar with the material as you are. Focus on listening to what is being said and reacting appropriately, even when you are not the person speaking. Try to understand what the scene is about, who your character is, what your character is trying to accomplish, and how he or she would do it.
The casting staff wants to hear the quality of your voice, how your project, how you look on stage with other actors, how you interact with other actors, and how you portray the character. If you are given advice or direction on how to read, move, or present a certain line or scene, incorporate the suggestions to the best of your ability. The casting staff wants to see how well you take direction.
Do not apologize for your audition. Just in case the casting staff thought the audition was brilliant, don’t telegraph that you think you blew it.
If your name is not on the callback list, or if you have not been contacted to come to callbacks, you may still be cast. Not everyone who is cast is involved in callbacks. Sometimes the casting staff will not see everything they need to see at a first audition. If you are not called back, it just means we saw everything from you that we needed to see. We are doing our best to not even have to do callbacks. If you are called back you will be given a specific section of dialogue and song(s) that you will need to learn from the show. It does not have to be memorized but we will be looking closely at how you portray the character.
Please understand this, if you are not cast, it does not mean you are not good or that the casting staff has rejected you as a person. We are looking for certain characteristics and qualities for each role cast. Even the best singers, actors, or dancers may not be the “best fit” for a particular role or show. If you are not cast, gracefully accept that you are not on the list and audition for the next show, and even offer to help with the show in some other way.