SPRING MUSICAL information

sister act

With music by Alan Menken, lyrics by Glenn Slater, and book by Cheri and Bill Steinkellner, Sister Act is a feel-good comedy that tells the story of Deloris Van Cartier, a nightclub singer who finds herself in witness protection at a convent after witnessing a crime. Disguised as a nun, Deloris breathes new life into the church with her larger-than-life personality and incredible voice.

Set against a backdrop of music, friendship, and a whole lot of mischief, Deloris helps the convent’s struggling choir find its true sound, all while hiding from dangerous criminals. Filled with joyous, soulful songs, big laughs, and a heartwarming message of sisterhood, Sister Act is a show-stopping experience perfect for any theater.

A powerful story about finding your voice, this musical features a dynamic cast, high-energy dance numbers, and plenty of laughs. Sister Act is a guaranteed hit that will have audiences clapping along and cheering for more!

Cast: TBA

Crew: TBA

Important Files

Cast Auditions
Monday, November 18, 2024

Dance Call
TBA

Callbacks
Tuesday, November 19, 2024

Wednesday, November 20, 2024

Crew Application Due
Tuesday, November 19 at 11:59pm

Read Through
Thursday, November 21 at 4:00pm

Character Descriptions  

Deloris Van Cartier (f): A vibrant and sassy nightclub singer who witnesses a murder and is forced to hide in a convent. Around 30-40, Deloris is bold, confident, and full of life, yet she learns humility and the power of friendship throughout the story. Despite the strict environment, she brings energy, humor, and her powerful voice to the convent, transforming the nuns into a joyous choir. (Fabulous Baby, Take Me to Heaven, Sister Act, Raise Your Voice, among others.)

Mother Superior (f): The strict but caring leader of the convent, Mother Superior is around 50-60. She is dignified, composed, and resistant to Deloris’ influence at first but eventually grows to appreciate her. She values tradition and discipline and delivers many of the show’s most heartfelt moments as she navigates her relationship with Deloris. (Here Within These Walls, I Haven’t Got a Prayer, among others.)

Sister Mary Robert (f): A shy and soft-spoken postulant (early 20s) who finds her voice and confidence with Deloris’ encouragement. Innocent and unassuming, Mary Robert longs for more from life and has one of the show’s most powerful emotional arcs as she transforms from timid to empowered. (The Life I Never Led, Raise Your Voice, among others.)

Sister Mary Patrick (f): One of the nuns at the convent, Sister Mary Patrick is cheerful, optimistic, and full of energy (30s-40s). She is always eager to spread joy and love, and her bubbly, playful personality contrasts beautifully with the more serious nuns. (Sunday Morning Fever, Raise Your Voice, among others.)

Sister Mary Lazarus (f): The elderly choir mistress (60s-70s), who initially leads the choir in a flat, off-key way. A no-nonsense, dry-humored nun, she is a comic character who eventually embraces Deloris’ new musical direction for the choir. (Sunday Morning Fever, Raise Your Voice, among others.)

Curtis Jackson (m): The villain of the story, Curtis is Deloris’ gangster ex-boyfriend who will stop at nothing to silence her after she witnesses a crime. Around 30-40, Curtis is menacing, slick, and authoritative, with a dark sense of humor. (When I Find My Baby, among others.)

Eddie Souther (m): A kind-hearted and slightly awkward cop (30s), Eddie was Deloris’ high school friend and is now responsible for keeping her safe. He is sweet, protective, and develops a romantic interest in Deloris as the story progresses. (I Could Be That Guy, among others.)

TJ (m): Curtis’ nephew and one of his bumbling henchmen, TJ is the youngest (20s-30s) and most naive of the group. He is not the brightest, but his goofy charm makes him a comedic highlight. (Lady in the Long Black Dress, among others.)

Joey (m): One of Curtis’ henchmen (30s-40s), Joey is confident, a bit sleazy, and fancies himself a ladies’ man. Though tough, he often provides comic relief with his flirtations and attempts to be suave. (Lady in the Long Black Dress, among others.)

Pablo (m): Another of Curtis’ henchmen, Pablo (30s-40s) is a smooth-talking, macho man with a Latin flair. He mostly speaks Spanish and adds to the comedic dynamics of Curtis’ gang. (Lady in the Long Black Dress, among others.)

Sister Mary Martin-of-Tours (f): An older nun (50s-60s) who is eccentric and somewhat oblivious to the seriousness around her. She provides comic relief with her offbeat and quirky remarks. (Full Company numbers.)

Monsignor O’Hara (m): The warm and charming priest of the convent (50s-60s), Monsignor O’Hara is initially concerned about the convent’s declining attendance but becomes a big supporter of Deloris and the new choir. His enthusiasm grows as the choir becomes a local sensation. (Full Company numbers.)

The ensemble in Sister Act the Musical plays a variety of lively roles, including nuns, bar patrons, choir members, and police officers, contributing to the vibrant energy of the show with dynamic group numbers, comedic moments, and uplifting musical sequences.

Audition Materials

To audition, sign up for an audition slot using the following link. Prepare ONE of the vocal selections that can be found on the Madison High School Theatre website. Those auditioning for a female identifying role should select from the selections of “Take Me to Heaven,” “The Life I Never Led,” and “Here Within These Walls.” Those auditioning for a male identifying role should select from the selection of “When I Find My Baby” and “I Could Be that Guy.” Memorizing your chosen song is not required, but strongly encouraged. You are also encouraged to read the libretto or watch the musical to get a sense of the circumstances surrounding these songs.

At the audition, you will be called into the choir room one-by-one to preform for the production team. You will slate yourself (say your name and which song you have prepared) and perform the song once. We will provide tracks (music) without words to sing the song along to. After you have finished your song, we may ask you to do it again or ask you other questions to get an idea of who you are as a person and as a performer. Remember when auditioning, take risks and don’t hold anything back!

The following are reference track that can be used for practice:

The following are backing tracks that will be used in the audition:

Crew Positions

We are looking to expand the opportunities for students participating in crew this school year. Crew positions have been divided into two categories: pre-show positions and run-of-show positions. Pre-show positions require work through the entire rehearsal process. Run-of-show positions require work only during the two weeks leading up to the show. Students are welcome to apply for BOTH a pre-show position and a run-of-show position or ONLY a run-of-show position. Please review all responsibilities and time commitments prior to applying for a crew position.  

A short crew application will be posted on Google Classroom. Positions will be announced when the cast list is announced. Every position may not be filled.

Pre-Show Positions

Production Stage Manager

Time Commitment: Heavy (Called to All Rehearsals and Crew Days)

Responsibilities:

  • Create master script that includes all blocking notes and technical cues

  • Provide actors and crew with daily sign in sheets

  • Contact actors and crew members that are late or absent from rehearsal

  • Send daily rehearsal report to all production team members

  • Serve as liaison between Director and Lighting and Scenic Designers

  • Assist in the building of the set

  • Keep daily log of scene changes and music cues

  • Assist Lighting Designer with all aspects of cue-to-cue

  • Call show during dress rehearsals and run of show

  • Close theatre during dress rehearsals and show days (Ensure all props and set pieces are ready for next run

  • Organize Strike

 Assistant Stage Manager

Time Commitment: Heavy (Called to All Rehearsals)

Responsibilities:

  • Craft contact sheet of all cast and crew members and production team

  • Set up and break down stage at the beginning and end of rehearsals

  • Keep daily logs of needed props and costume changes

  • Set up and organize prop tables; Check prop tables at the beginning and end of all rehearsals

  • Organize all quick costume and scene changes

  • Call to places during dress rehearsals and show days

  • Close theatre during dress rehearsals and show days (Ensure all props and set pieces are ready for next run)

 Assistant to the Directors

Time Commitment: Heavy (Called to All Rehearsals)

Responsibilities:

  • Run daily warms ups with cast

  • Take Notes for Directors and send out to cast

  • Run scenes as needed

  • Run fight calls

 Head of Green Room

Time Commitment: Moderate (Called to read through, and then once per week in late February . Called to all rehearsals and shows beginning in March.)

Responsibilities:

  • Attend read through of show

  • Communicate weekly with Production Stage Manager to assess hair and makeup needs for production

  • Watch rehearsals to gather knowledge of hair and makeup needs for production

  • Design a hair and make-up plot for all characters in the production

  • Purchase supplies needed to complete hair and make-up plot with director’s approval

  • Provide consultation with each actor to discuss characters hair and make-up

  • Schedule hair and make-up during technical and dress rehearsals and during the run of the show

  • Clean and organize green room at the end of each dress rehearsal and show

  • Create log of make-up supplies available at the end of the show’s run

 House Manager

Time Commitment: Minimal (Called to Tech Week rehearsals and all shows.)

Responsibilities:

  • Assist Stage Manager and Director with design of Lobby Display

  • Assist Producer with sale and distribution of show t-shirts

  • Create a schedule for concession supplies and sales

  • Create a schedule for ushers

 Technical Assistant

Time Commitment: Heavy (Called to all build dates. Potentially responsible for building on additional days when the cast is in rehearsal.)

Responsibilities:

  • Assist Scenic Designer with the creation of the set

  • Lead student crew members in building of set by delegating tasks

  • Procure and schedule scenic painters as need

 Lighting Assistant

Time Commitment: Moderate (Called to all lighting set-up dates, Tech Week rehearsals and all shows.)

Responsibilities:

  • Assist Lighting Designer with the creation of lighting plot

  • Run spotlights for the production

  • Run light board for the production.

 Build Crew

Time Commitment: Moderate (Called to all build dates.)

Responsibilities:

  • Assist Scenic Designer with the creation of the set

  • Use tools to build specific set pieces and props.

  • Paint set as needed

  • Clean and organize stage area

  • Strike set at the conclusion of the show 

Run-of-Show Positions

Stage Crew/Run Crew

Time Commitment: Moderate (Called for most rehearsals in late February and March.)

Responsibilities:

  • Assist in the building and painting of set

  • Watch rehearsals to determine scene changes

  • Run scene changes during technical and dress rehearsal and during run of show

  • Ensure that backstage area is clean and orderly after technical and dress rehearsal and during run of show

Green Room Crew

Time Commitment: Moderate (Called for most rehearsals in late February and March.)

Responsibilities:

  • Assist in the application of hair and makeup during technical and dress rehearsal and during run of show

  • Ensure that green room is clean and orderly after technical and dress rehearsal and during run of show

Front of House Staff

Time Commitment: Minimal (Called for the shows.)

  • Assist with the completion of lobby display during tech week

  • Sell concessions during run of show

  • Serve as usher during run of show