Audition Sides

Side 1: Roxie, Fred, Ensemble WomenSide 2: Amos, Fogarty, Ensemble Member #9Side 3: Billy, Amos Side 4: Billy, Fred, RoxieSide 5: Billy, RoxieSide 6: Hunyak, Ensemble Member #1, Ensemble Member #2Side 7: Kitty, Harry, Ensemble Member #10, Ensemble Member #11, Mary Sunshine, Billy, Matron"Mama" MortonSide 8: Mary Sunshine, Billy, Judge, Juror One, ReporterSide 9: Mary Sunshine, Velma, Matron"Mama" MortonSide 10: Velma, RoxieSide 11: Velma, Matron"Mama" MortonSide 12: ReporterSide 13: VelmaSide 14: AnnieSide 15: LizSide 16: MonaSide 17: JuneSide 18: Hunyak

 

 

MUSIC SIDES:

VELMA KELLY - "ALL THAT JAZZ"

Velma_All That Jazz.pdf

Measure 104 to end

• The Edit: Start from "The name on everybody's lip..." through the end of the song.
• Why: This shows off her lower register ("And all that jazz...") and her ability to sustain high-energy belt notes at the end.
• Performance Tip: Velma is "old pro" energy. She’s confident, slightly desperate, and always performing. She should keep her eyes sharp and her movements controlled.

 

ROXIE HART - "ROXIE"

Roxie_Roxie.pdf

Measure 42-74

• The Edit: Start at "Come on babe, we’re gonna paint the town..." through the entire verse.
• Why: This section is pure character work. It shows her ability to play the "star-struck" dreamer while maintaining a bright, brassy belt.
• Performance Tip: Roxie is "new money" energy. She’s naive but manipulative. She should play to the "audience" in her head—this is her fantasy.

 

MATRON "MAMA" MORTON - "WHEN YOU'RE GOOD TO MAMA"

Matron_When Youre Good to Mama.pdf

Measures 86-end

• The Edit: Start from "If you want my gravy, pepper my ragout..." through the end.
• Why: Directors need to hear a rich, soulful "contralto" sound. This cut shows off her vocal authority and comedic timing with the double entendres.
• Performance Tip: Stand your ground. Mama doesn't need to move much; she owns the room just by breathing.

 

BILLY FLYNN - "ALL I CARE ABOUT"

Billy_All I Care About.pdf

Measures 69-end

• The Edit: Start at the bridge "I don't care for expensive things..." and go through the big high-note finish.
• Why: This shows he can handle the crooner style while still having the "legit" musical theater power for the ending.
• Performance Tip: Billy is a shark in a tuxedo. Flash a million-dollar smile, but keep your eyes calculating.

 

AMOS HART - "MR. CELLOPHANE"

Amos_Mr Cellophane.pdf

Measures 74-end

• The Edit: Start at You’re damned right – that’s what I’ll do – divorce her!  through the end of the song.
• Why: This is the ultimate "sad clown" song. It tests his ability to stay in pitch while acting through a very vulnerable, quiet moment.
• Performance Tip: He should break the fourth wall- Look at the directors like they literally can't see you. The "exit" after the song is just as important as the singing!

 

MARY SUNSHINE - "WE BOTH REACHED FOR THE GUN"

MarySunshine_We Both Reached For the Gun.pdf

Measure 144-159

·       The Edit: Start from Measure 117 ("Understandable...") through the end of the number.