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Monday, August 7th at 7pm-10pm

Tuesday, August 8th at 7pm-10pm

Callbacks: Wednesday, August 9th

You do not need to attend both nights of auditions.
Sign ups begin at 6:30 for auditions.

Rehearsal Dates*
Starting Monday Aug. 1
4th – Thursday Oct. 5th
Sunday-Thursday, Sundays 6-9pm
and w
eekday evenings 7-10pm.
*you will not be called to every rehearsal. Occasional Saturday afternoon rehearsals may be scheduled. 

Performance Dates
Oct. 6th-22th: Fri. & Sat. 8pm & Sundays 2pm

Audition Requirements:

Please bring a headshot and resume. Please prepare 32 bars of a musical theater song that best fits and showcases your range. Be creative! We are looking for engaging and captivating storytellers - Give your audition as much character as possible! An accompanist will be provided. Please bring clearly marked sheet music in the correct key and do not sing acapella. Dance auditions will be held at callbacks. Please bring character shoes if you have them, or something you can dance in. All roles are open to actors of all ages, gender identities, race.​ 

Please note that The Heights Players is a non-profit theater and this is a non-equity production. All cast and crew volunteer their time and talent. The Heights Players is a membership organization, there is no pay or stipend for any role or position.
There is a $20 membership fee, if cast.

The Heights Players is located at:
26 Willow Place, bet. State & 
Joralemon Streets
in Brooklyn Heights. 

Click For Directions to the John Bourne Theater


Music by Richard Rogers
Book and Lyrics by: Oscar Hammerstein II
Adapted for the Stage by Tom Briggs
From the teleplay by Robert L Freedman 
Directed by: Felisha Heng 

Synopsis: Cinderella, the beautiful and kind-hearted daughter, sees her world turn upside down when her beloved mother dies, and her pained father remarries another woman, the wicked Lady Tremaine, who has two equally cruel daughters, the jealous Grace and Joy. Things go from bad to worse, when Cinderella’s father dies too, leaving her all alone in the Lady’s clutches serving as her maid-of-all-work! Under those circumstances, a shabby and neglected Cinderella doesn’t stand much of a chance of attending the King’s royal ball - let alone, captivate the handsome Prince - unless she turns to her loving Fairy Godmother who has quite a few tricks up her sleeve. Nevertheless, will the wronged damsel ever find peace - and with it - her own Prince Charming?

The timeless enchantment of a magical fairy tale is reborn with the Rodgers & Hammerstein hallmark of originality, charm and elegance. Originally presented on television in 1957 starring Julie Andrews, Rodgers & Hammerstein's Cinderella was the most widely viewed program in the history of the medium. Its recreation in 1965 starring Lesley Ann Warren was no less successful in transporting a new generation to the miraculous kingdom of dreams-come-true, and so was a second remake in 1997, which starred Brandy as Cinderella and Whitney Houston as her Fairy Godmother. 
As adapted for the stage, with great warmth and more than a touch of hilarity, this romantic fairy tale still warms the hearts of children and adults alike. This Enchanted Edition is inspired by the 1997 teleplay.

Creative Team
Assistant Director: Morgan DeTogne
Musical Director:  Anne Rebold
Choreographer:  Cassaundra Reed
Stage Manager: Liz Ukpe 



Please note that people of all races, gender identities, and abilities are encouraged to audition for this inclusive and collaborative production. We will also be casting Understudies for Lead Roles & Ensemble Swing Roles. 

  • CINDERELLA (Soprano): A kind young woman. She is mild mannered at first glance, but burns with a fiery passion for more in her life. Although Cinderella comes from sad beginnings, she continues to make the best of every situation. Her caring, good-natured personality and strong opinions are what catches the Prince’s attention.

  • HER FAIRY GODMOTHER (Soprano): An unexpected ally for Cinderella, the Fairy Godmother is a mysterious, wise and caring mentor who delivers her advice with wit and sass. Helps Cinderella realize “it’s possible” to achieve her true potential. 

  • HER STEPMOTHER (Mezzo-Soprano): Has occasional flashes of understanding, until she remembers the main purpose of her life, to marry off her horrible daughters. She is proud of her children and resents being burdened with Cinderella. There is always vile intent behind her words.

  • GRACE (Mezzo-Soprano): Cinderella’s awkward stepsister - Goofy with a fatuous laugh and no intelligence whatsoever. Grace is a bundle of nerves, anxious for her mother's approval, and when she's nervous, she itches uncontrollably. Must have good comedic timing. 

  • JOY (Mezzo-Soprano): Cinderella’s other stepsister - Despite her name, Joy is sour and sullen, preferring to take pleasure in the continual putting-down of Cinderella. Must have good comedic timing. 

  • CHRISTOPHER (Baritone): A charming young prince. He is searching for his independence within his royal role. He is expected to marry for the good of the kingdom but wants it to be for true love. He hopes to understand the needs of his people.

  • LIONEL (Tenor): The prince’s Royal Steward; and his one true ally and friend.

  • QUEEN CONSTANTINA (Mezzo-Soprano): She wears the pants in her marriage and (silently) runs the kingdom. She is a vibrant, caring mother to her only child, Prince Christopher. She thinks her husband is daft, but loves him completely anyway. A very genuine person.

  • KING MAXIMILLIAN (Baritone): A boisterous, head-slightly-filled-with-saw-dust, naive and comical king. Blissfully unaware of his wife and son’s emotions, he means well and his heart is in the right place.

  • CHARLES: One of Cinderella’s Animal friends who will eventually be transformed into a Coachman.

  • 4 WHITE MICE Cinderella’s Animal friends who will become 4 white horses.

  • A DOVE: Cinderella’s Animal Friend who will become a Footman (puppetry experience is a plus!)

  • ENSEMBLE (Vocal ranges vary by character): Villagers, Merchants, Maidens, and Palace Guests - Please note: We will be casting understudies and swing roles from within the ensemble. 

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