Non Union.

The Drowsy Chaperone

 

Book by Bob Martin and Don McKellar

Music and lyrics by Lisa Lambert and Greg Morrison

Director: Joshua רועי Kilimnik

Choreographer: Shannon Murtagh

Contract runs January 12th to March 22nd, 2026.

Shifting Ground Collective is seeking non-union performers for their upcoming Spring production of The Drowsy Chaperone.

 

Shifting Ground Collective works to support the next generation of Toronto musical theatre. We seek self-identified early-career artists for our productions.

 

 

THE STORY

“Let me read to you what it says on the back—it says “Mix-ups, mayhem and a gay wedding!” Of course the phrase gay wedding has a different meaning now, but back then it just meant fun. And that’s just what the show is—fun.”

Join a devout Broadway fan as he becomes absorbed by one of his favourite musicals of all time: the 1928 Gable and Stein classic, The Drowsy Chaperone. As his record spins, the musical comes to life in front of his eyes (and all over his home!), and he brings the audience along as he’s transported into the world of musical theatre and out of his own – which he seems all too eager to do.

In this loving send up of the classic jazz-age musical comedy, experience all of the ridiculous quirks of the bygone days in a show that celebrates the way we escape into the art that we love.

 

 

THE PROCESS

Rehearsals will begin either the week of January 12th or January 19th in downtown Toronto. Exact dates and locations are yet to be confirmed, but will rehearse on three weeknights (5:30-10:30pm) and a Sunday (10am-6pm) each week until March 1st, 2026. Starting February 9th, rehearsals will be held Mondays, Wednesdays, Thursdays, and Sundays at the St Lawrence Centre for the Arts’ Rehearsal Hall (5 Front St E) for the remainder of the rehearsal period.

Technical Rehearsals will take place March 4th through 7th, 2026 at Theatre Passe Muraille (16 Ryerson Ave).

Performances will take place from March 7th-21st. There will be evening performances each night except March 8th, 12th, and 18th, and additional matinees on March 11th, 15th, and 21st.

If you have additional questions about the specifics of the rehearsal or performance schedule, please reach out. We are more than happy to share additional information with you should you need. 

 

 

COMPENSATION

Performers will be guaranteed a $350 honorarium for participating in the production, with an additional revenue share option depending on the net ticket revenue of the production.

More details surrounding the compensation structure are available upon request.

 

 

ROLES

We are seeking proficient dancers (tap is an asset!) with excellent musical comedy skill to channel the 1920s style of performing. The common direction of the period was “fast, loud, and funny” – the ability to charm, entertain, and make laugh are key to channeling the essence of classic musical theatre.

 

Performers of any gender expression, nationality, and physical ability are encouraged to submit. Submissions will be considered for all roles.

 

PLEASE NOTE BEFORE SUBMITTING: The Drowsy Chaperone contains a musical within a musical, and throughout the show Man in Chair provides the history of its cast. With this in mind, we are looking to cast actors who will accurately embody the actors that Man in Chair describes, rather than simply the musical’s characters themselves. Rather than playing your version of the character in The Drowsy Chaperone, you will be playing both the originating actor and their version of the character. The following breakdowns are written accordingly, and the team is eager to see you embody the spirit of the actor from the inside.

 

The role of Man in Chair has been cast.

 

 

Jane Roberts gained fame in the 1920s as the Oops Girl – an actress whose characters’ sexual energy was so great, the men around her would have accidents, prompting her to simply reply: “Oops!”. With her tremendous star quality and effortless appeal, she has quickly become an emerging icon. Janet is starting to fully discover herself as a performer and has been granted the star vehicle of a lifetime to kick her career into the next level.

Jane plays JANET VAN DER GRAAF, the glamorous and talented star of Feldzieg’s Follies giving up the spotlight to marry her true love.

To play 20-35. Vocal range G3-A5. Skilled triple threat capable of pulling special skills from her sleeve without breaking a sweat. Tap an asset but not required. Think Gwen Verdon, Debbie Reynolds, Marilyn Monroe.

 

Percy Hyman is a dashing leading man and one of Broadway’s great matinee idols. Having started out as the All Bright man (whose famous smile adorned every tube of cocaine-based toothpaste), he found quick footing in the theatre as an effervescent song-and-dance star. Prolifically skilled and incredibly charming, he served as a model for many leading men to come.

Percy plays ROBERT MARTIN, the debonair, ever-cheerful groom who is deeply in love with his fiancé but wrestles with insecurities over his wedding beneath the surface.

To play 25-35. Vocal range C3-Ab4. Skilled tapper, proficient in roller skating or open to learning. Think Fred Astaire, Gene Kelly, Tommy Tune.

 

Dame Beatrice Stockwell is one of the grandest divas and most worshipped presences in the history of the musical theatre. She’s famous for her rousing anthems, which have inspired troops in every major world conflict, and demands an anthem be included in every show she does, whether or not it is appropriate. Compared to her co-star Jane Roberts, Dame Beatrice is well established and a force to contend with. Though she may not always perform exactly what’s on the page, she is an undeniable legend who knows her audience and is going to give them what they want – blocking (and writing) be damned.

Dame Beatrice plays THE CHAPERONE, Janet’s alcoholic confidante and friend. Carefree, often because she is drunk. An experienced “woman of the world” who couldn’t care less what the world thinks.

To play 35-45. Vocal range F3-D5. Think Ethel Merman, Elaine Stritch, Bette Davis, Miss Piggy, Leslie Uggams singing June is Bustin’ Out All Over.

 

Roman Bartelli is a former silent film star and world-class alcoholic. He first found fame on the silver screen after growing up in vaudeville, but after discovering an affection for booze he found himself forced out of his career in Hollywood and onto a new path playing comic lotharios in musical comedies. He is an effortlessly alluring scenery chewer and, most importantly, is just high-functioning enough to make it through a performance on two feet – though his mental presence is sometimes in question.

Roman plays ALDOLPHO, the European self-proclaimed “king of romance” on a conquest to seduce the bride. A confident, cocky, vigorous buffoon.

To play 30-45. Vocal range A#2-G4. Great comedic timing necessary, and ability to play high-functioning drunk without overdoing it. Think Robert Goulet, Gaston, an uncle that stopped being invited to Thanksgiving, Terrence Mann’s drunk performance of Stars.

 

Sadie Adler makes up one half of a successful performing duo with her real-life husband, Jack Adler. She is renowned for playing characters who appear to be behind at first, but come around to surprise everyone with an act of clever ingenuity. In real life, though she may sometimes lean on Jack to explain the jokes, anything that Sadie might lack in aptitude she makes up for in charm, excitement, and eagerness.

Sadie plays KITTY, Feldzieg’s slow-to-the-draw companion who has hopes of breaking out of the chorus and becoming a star.

To play 20-30. Vocal range Bb3-F5. Think Karen Smith, Ernie, Lina Lamont, Lily St. Regis, Chloe Veitch on The Circle.

 

Jack Adler makes up the other half of a successful performing duo with his wife, Sadie Adler. He often plays the long-suffering companion of Sadie’s one-step-behind characters (a role he sometimes plays in his marriage, too) and is, himself, a very committed performer – though some say his more intense moments may stretch into overacting. He excels in characters that are stretched thin, a type that seems to come a little too naturally to him.

Jack plays VICTOR FELDZIEG, a Broadway producer who is desperate for his star to return to his show and will do whatever it takes to make that happen.

To play 30-50. Vocal range Bb3-Bb4. Think Rodney Dangerfield, Bert, Lou Costello, Bertram from Jessie.

 

Cyril Devlin is a vaudeville comedian who has started to become a staple of musical comedies. Known for his high-strung sense of humour, he is typically associated with characters who blossom out of their neuroticism to pull off some impressive feats. He knows comedy is big and loud, and isn’t afraid to make himself a little lightheaded to get the laugh.

Cyril plays GEORGE, Robert’s anxious and easily overwhelmed best man who has Robert’s best interests always at heart. He is loyal, sincere, and nervous. Makes his best friend his top priority so the wedding will come off without a hitch.

To play 25-40. Vocal range F3-Bb4. Skilled tapper. Think Barnaby Tucker, Hysterium, a perpetually stressed Martin Short, Marlin in Finding Nemo.

 

The Tall Brothers, John and Peter Tall, are a vaudeville double act who gained their fame on (and stole their jokes from) the Orpheum Circuit. A jack-of-all-trades of a duo, they effortlessly slip into a variety of personas to fit the subject matter at hand. Their immense showmanship shines through everything they do – which can sometimes sacrifice some of their more intimidating characters. A comedic tour de force beloved for their effortless synchronization and stylized movement.

The Tall Brothers play the GANGSTERS, who sneak into the wedding disguised (poorly) as pastry chefs to collect what they’re owed from the producer Feldzieg.

To play 25-45. Vocal range Db3-Gb4. Great dancers. The audition may include a chemistry session with a partner. Think Nicholas Brothers, The Three Stooges, the gangsters in Kiss Me, Kate.

 

Ukulele Lil is a vaudeville performer who seems to have gone somewhat under-documented by history. Not much is known about her – her name implies she played the ukulele, though she does not use one in The Drowsy Chaperone. While research proves futile, recordings indicate that she was a charming novelty actress who played lovable, meek characters who may not have their feet firmly on the ground.

She plays MRS. TOTTENDALE, a wealthy widow and host of the wedding. She is delicate, eccentric, frequently forgetful, and funny. She is absolutely charming, bubbly and oblivious to the confusion her flighty behaviour generates in other people.

To play 35-60. Vocal range G3-Db5. Ukulele skills nice, but not at all required. Think Angela Lansbury as Mrs. Lovett, Sophia Petrillo, Granny from Looney Tunes.

 

Noel Fitzpatrick is, much like Ukulele Lil, another vaudeville performer who has slipped through the cracks of time. He appears to have played into the archetype of the stoic, austere, yet warm-hearted character who may appear cold but is lovably warm-hearted underneath. 

Noel plays UNDERLING, Mrs. Tottendale’s savvy butler who is thrifty and stiff yet has an understated sense of humor. He is dry-humoured and bitterly sarcastic.

To play 30-50. Vocal range Ab2-G4. Think Peter Bartlett, Max von Mayerling, Arthur Treacher, Niles the Butler.

 

Gwendoline Hall is a trailblazing triple-threat talent, and one of the most gifted members of the company. One of the strongest dancers on the stage, she will go on to become one of the first non-white actresses to make a name on Broadway and break out into the mainstream as a revered leading lady and recording artist. However, because she got to the audition late she was the very last person seen at the Equity call, and was offered the only role remaining. She is remembered for her warmth, bravado, and skill as a performer.

Gwendoline plays TRIX THE AVIATRIX, the brave and brash female aviator who, by chance, is recruited to perform the wedding. 

To play 20-45. Vocal range Ab3-Eb5. Seeking a non-white performer. A strong belter (and strong dancer, as this performer will hop into various roles throughout the show). Think Juanita Hall, Diahann Carroll, Rita Moreno.

 

SUBMISSION INFO

Please submit a cut (under 2 mins) of a jazz-age musical theatre song, or a song in the style of the show. Please include a slate stating your name, union status, and city of residence. Dance reels, while not mandatory, are encouraged. If you can’t submit a dance reel, please let us know about your dance experience as part of your slate!

Callbacks will be held in Toronto on November 16th, 2025.

Submissions can be made via the Google form linked below.

Deadline for submission: Friday, October 17th, 2025 at 5:00PM

Please reach out to su*********@**********************ve.com (or to Artistic Producer Joshua Kilimnik at jo****@**********************ve.com) with any questions, concerns, or access needs.