Understudy Joined: 3/21/18
Hello, I have been wanting to do this for a while! I will be directing a Newsies Cast Album! You guys will audition, get cast, then send in your parts and I will edit it into an album to share with you guys! Here is what you have to do to audition!
1) Comment your 1st name and 1st initial of your last name.
2) Email a 30-60 second video of you singing any musical theatre song to newsiescastalbum@gmail.com
3) Wait for the cast list!!!
Character Descriptions Below!
Understudy Joined: 3/21/18
The charismatic leader of the Manhattan newsies, is an oprhaned dreamer and artist who yearns to get out of the crowded streets of New York and make a better life for himself out West. Fiercely protective of his best friend, Crutchie, and strongly loyal, Jack isn’t afraid to use his voice to attain better conditions for the working kids of New York City. Though living on the streets has given him a tough-guy exterior, Jack has a big heart and can demonstrate a sweet vulnerability – especially when it comes to bantering with a certain female reporter. Must have a great pop tenor voice and sense of physicality.
A dedicated newsie with a bum leg that’s painful, but helps sell more papes. Though he walks with the assistance of a crutch, Crutchie doesn’t let it define him; when in a jam, Jack Kelly’s best friend relies on a goofy- sweet sense of humor and optimistic resilience. Crutchie is the heart of the resistance. Though his movement will suggest his bum leg, Crutchie should still be included in the dance numbers.
Les’s straight-laced, bright big brother starts selling newspapers to help his family earn a living, but becomes swept up in the fervor of the strike. A leader in his own right who is learning to use his voice to uplift others, Davey is the brains of the resistance.
Davey’s cheeky younger brother, is inspired by the freedom of the newsies and loves their independent lifestyle. A precocious and natural newsie, Les is an intuitive salesboy and a pint-sized charmer. He should present as younger than the other newsies.
Including Albert, Buttons, Elmer, Finch, Henry, Ike, Jo Jo, Mike, Mush, Romeo, Specs, Splasher, and Tommy Boy, are some of the hard-working kids of New York City that go on strike for a livable wage.
Three newsies who are hesitant to join the strike.
The proud leader of the Brooklyn newsies, boasts an intimidating reputation and a short singing solo in “Brooklyn’s Here.”
An ambitious young reporter, works hard to make a name for herself as a legitimate journalist in a time when women aren’t taken seriously. Quick, funny, and resourcesful, she boldy captures the voice of a new generation rising in her coverage of the newsies’ strike. While she generally has no time for cocky, streetwise young men, she makes an exception for Jack Kelly. Though she only has a brief dance solo in “King of New York,” Katherine should have a great contemporary pop voice with a high belt – diction is key.
The upper-class kid of a publisher who sides with the newsies. Can double as a newsie.
The son of William Randolph Hearst who joins the newsies' cause. Can double as a newsie.
Or “Weasel,” runs the distribution window for the World and knows most of the newsies by name. Assisted by the intimidating Delancey brothers, who keep order by any means necessary, Wiesel is Pulitzer’s disgruntled paper- pusher.
Tough brothers who work at the distribution window for the World, take the side of the publishers in the strike and are known to use their fists to make a point.
Assist the Delanceys in roughing up the newsies at the end of Act One.
A pompous businessman through and through, owns the World and is concerned solely with the bottom line. Katherine’s no-nonsense father, Pulitzer doesn’t sympathize with the strikers, but he does eventually – and grudgingly – respect Jack.
Editor, advises Pulitzer, but ultimately admires the kids’ newspaper.
Pulitzer’s bookkeeper, comes up with the ideas to raise the newsies’ price per paper.
Pulitzer’s practical and insightful secretary.
Pulitzer’s barber.
The Guard removes the newsies from Pulitzer’s building.
The crooked and sinister warden of The Refuge, a filthy and horrible orphanage, is concerned only with catching enough kids to keep his government checks coming.
Inspired by vaudeville performer Aida Overton Walker, this big-voiced saloon singer and star of the Bowery offers her theater as a safe haven for the newsies. An astute entertainer with great comic delivery, she’s a good friend to Jack and stands firmly behind the newsies in their fight for justice.
Female performers at Medda’s Theater.
Introduces Medda's act.
The three nuns offer breakfast to the hungry newsies. Feel free to cast additional nuns.
Takes the triumphant photo of the newsies at the end of “Seize the Day.”
A newspaper customer.
Allows the newsies to congregate in his restaurant to plan their strike – when he doesn’t have any paying customers, that is.
Assist Snyder and turn against the newsies in the fight that concludes Act One.
The Mayor of New York City rebuffs Pulitzer’s attempts to shut down the newsies’ strike.
A well-respected lifelong public servant, inspires Jack to stand up to Pulitzer.
In the original Broadway production, the adult (non-newsie) ensemble comprised eight actors who doubled and understudied as indicated below. All other featured roles and understudies were cast from the ensemble of newsies. Feel free to follow these tracks or expand as your resources allow.
FEMALE ENSEMBLE 1 - Nun / Hannah / Bowery Beauty / Katherine understudy
FEMALE ENSEMBLE 2 - Nun / Woman / Bowery Beauty / Medda understudy
FEMALE ENSEMBLE 3 - Nun / Medda Larkin
MALE ENSEMBLE 1 - Wiesel / Stage Manager / Mr. Jacobi / Mayor / Pulitzer understudy
MALE ENSEMBLE 2 - Seitz / Roosevelt understudy
MALE ENSEMBLE 3 - Bunsen / Male Ensemble 1 understudy
MALE ENSEMBLE 4 - Nunzio / Guard / Policeman / Roosevelt
MALE ENSEMBLE 5 - Snyder / Pulitzer understudy
Do you hold the rights to do this? (I'm only about 98% sure you need them.) Especially to record and distribute. (I know that even if I have the rights/royalties to perform the show, that does not include any sort of recording.)
And in case you don't, from a technical standpoint, you are suppose to have them before you advertise and/or audition.
(And don't get me wrong; it sounds like a fun project.)
Are you having people sign release forms? Especially if you're going to be soliciting materials from, and then distributing, re: any talent under the age of 18, I would make sure to cover myself for any and all legal possibilities there.
Chorus Member Joined: 5/14/14
Guys, calm your tits. This is no different than uploading a cover sing on YouTube. Sounds fun!!
Understudy Joined: 3/21/18
Hi, I do not need rights to create this because I am not using if for profit or recording a real show, this is kind of in the same boat as posting a cover on instagram or youtube :)
Broadway Legend Joined: 3/23/17
Hi, really sorry to burst your bubble --- but you really DO need to get the rights to do this. Not only are you holding "public" auditions --- but it sounds like you're intending to do the full score --- which is clearly something that requires a performance license. It makes no difference if you're doing it for profit or just for sh*ts and giggles". Disney WILL find out about it --- and they are a very litigious bunch. You'd best contact MTI (which controls the performance rights) about obtaining a license of some sort. Now that you've been put "on notice" --- do you REALLY want to risk being sued for damages (or more likely your parents being sued --- since I gather you are a young 'un)?
“Calm your tits.”
You absolutely would need the rights. People who post covers on YouTube need rights. You can't just use someone's work without compensating them. It also doesn't matter if you aren't charging anyone and it's just for fun. You are STILL using their work.
santeFEEE said: "Hi, I do not need rights to create this because I am not using if for profit or recording a real show, this is kind of in the same boat as posting a cover on instagram or youtube :)"
It's not the same at all ... and it has nothing to do with making money, it's about using their work to create something. I have to pay rights and royalties regardless of making a profit or not.
I'd contact them and find out...if they give you their blessing, get it in writing.
Broadway Legend Joined: 2/25/05
There is a incredible amount of misinformation in this thread. This should clear a lot of that up.
https://diymusician.cdbaby.com/youtube/posting-cover-songs-on-youtube-music-licensing-law-explained/
trpguyy said: "There is a incredible amount of misinformation in this thread."
Why should this thread be any different?!
trpguyy said: "There is a incredible amount of misinformation in this thread. This should clear a lot of that up.
https://diymusician.cdbaby.com/youtube/posting-cover-songs-on-youtube-music-licensing-law-explained/"
I don't quite understand where the misinformation is. I think most of us are definitely saying (with less detail, so thank you for the link!) that rights are required.
Broadway Legend Joined: 2/25/05
For starters:
- MTI (and a performance license) have nothing to do with it.
- Mechanical rights (audio recording) and synchronization rights (video) are different.
- YouTube videos are often a little different, as they have their own system in place for copyright holders to get their money.
- Mechanical rights are required to release a recording, not to create one.
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