The Drowsy Chaperone

Audition Information

Music & Lyrics by Lisa Lambert & Greg Morrison

Book by Bob Martin & Don McKellar

Directed by Ties Jansen

Auditions for our next production, The Drowsy Chaperone, are now open! Please fill in the form below to start the audition process. Audition materials for your audition self tape will be on the confirmation page after you submit the form. Your self tapes will be due Saturday, September 19th.

Callbacks will take place (by invite only) on the following days: October 3rd & October 6th 2026

Everything you need to know

About the show

Why do we enjoy problematic art?

On its surface, The Drowsy Chaperone is a lighthearted farce about a 1920s wedding between an actress and her fiancé threatened to be upended by a sleazy Broadway producer, two gangsters, and a Latin lover of no particular origin. Underneath the sheen, however, is one of the most intriguing explorations of the role of nostalgia in the performing arts.

Narrating this farcical musical is Man in Chair, an agoraphobic introvert who’s hellbound on keeping the audience entertained and convincing them why his favorite musical, “Gabel and Stein’s” The Drowsy Chaperone, is so enjoyable. As the story progresses, however, more and more problematic and mediocre aspects of the musical start to emerge, and Man in Chair discovers that his thesis on the show becomes harder and harder to defend to a modern audience. Hilarious, thought-provoking, and undeniably relatable, this 21st-century Tony-winning meta-musical continues to be performed around the world today and has, even 20 years after its release, lost none of its power and relevance.

Key Dates

Video Audition Deadline: Saturday, September 19th 2026 at 23:59

Video Audition Results: by Saturday, September 26th at 23:59

Callbacks: Saturday, October 3rd (all day) and Tuesday October 6th (evening only). Please keep both days available.

Callback Results: By Saturday, October 10th at 23:59

Rehearsals Begin: The week of November 16th, 2026

Rehearsal Days: Tuesday evenings and Saturdays (all day)

Tech Day: Sunday, March 21st, 2027

Tech and Performances: Thursday, March 25th, 2027 through Sunday, April 4th, 2027

Please make sure you are available for the entire period of performances and can commit to the rehearsal schedule before submitting a video audition.

How to Audition

Our first round of auditions will take place by video submission.

To audition, please complete the 2027 HEAP Auditions Form and indicate the role or roles for which you would like to be considered.

Complete the 2027 HEAP Auditions Form

Audition Materials

Audition materials will be available after you submit the form.

Links to all required materials — including the relevant sheet music, audition cuts, and backing/practice tracks — will be included with the confirmation of your Google Form submission.

Please use the supplied materials when preparing your video audition so that everyone is working from the same cuts and arrangements.

Video auditions must be submitted by September 19, 2026.

Rehearsals and Performances

Rehearsals

Rehearsals will begin the week of November 16, 2026 with rehearsals on Tuesday evenings and Saturdays during the day. We will take a short holiday break after Tuesday, December 22nd and return to rehearsals on Saturday, January 2nd, 2027. Not all actors will be called for every Tuesday rehearsal, but all actors will be called for every Saturday rehearsal. Rehearsals will be taking place in Amsterdam.

A rehearsal schedule will be provided in advance so you’ll know when you’ll be needed.

The Drowsy Chaperone character breakdown

A Note from the Director

While there are recordings of plenty of productions (including the OBC) of The Drowsy Chaperone online, I’ll be looking for your particular interpretation of each character while also inhibiting their archetypal (and sometimes stereotypical) nature. I’m not looking for exact copies of Sutton Foster’s, Danny Burstein’s, or Beth Leavel’s performances. I’m looking for what you, as a unique actor, will bring to the character.

Many of the characters that are not Man in Chairmay come across as stereotypes or overly generalized characters. That’s the point. Man in Chair shows us a musical from the 1920s played by actors of the 1920s. Nuanced characters in a show from that era are few and far between. 

The actors playing Aldolpho, Drowsy, The Gangsters, and Kitty will be performing a song entitled “Message From a Nightingale” about halfway through the show. This song contains depictions of overt racist stereotypes of multiple East Asian cultures, as well as yellowface. The song is meant to be a satire on orientalism on stage and screen, and calls to mind musicals like The King and I, as well as many old Hollywood films in which East Asian characters are played by white actors. Should you mention on your audition form that you’re interested in playing any of the aforementioned characters, then we will assume that you are also okay with performing this song. Should you have any questions about this song in particular, feel free to send me an email with your questions (tiesmjansen@gmail.com).

Finally, playing age is also included for each character description. This is not a requirement for how old the actor has to be, but it exists to give auditionees an idea of the age of each character.

Character Breakdown

Man in Chair (M/X)

Playing Age: 35 - 60

The show’s narrator and its emotional anchor. An agoraphobic musical theater superfan who guides the audience through his vinyl recording of his favorite musical: The Drowsy Chaperone. He spends his days living in his own imagination and nostalgia, as he finds modern life dreary and depressing. He is constantly looking to escape to a simpler, better time. He is witty, sassy, and deeply lonely, scanning the audience constantly for their approval. He is flawed, but not unlikeable. This role requires an actor with good comedic timing, strong improvisational skills, and a willingness to work with the audience as his primary scene partner.

Vocal Range: Baritone

Dialect: General or contemporary Northeastern American, British RP, or Canadian. No working class dialects.

Janet Van De Graaff (F/X)

Playing Age: 20 - 35

Janet is a famous Broadway leading lady who is giving up the stage to marry the love of her life, Robert Martin. She’s torn between giving up her “life of glamour” for love and choosing the stage. She’s charming, cunning, extremely vain, and a knock-out triple threat. This role requires an actor who is an excellent dancer and singer with great comedic timing and tongue-in-cheek humor. 

Vocal Range: Mezzo-soprano, strong belter

Dialect: General American / Transatlantic 

Robert Martin (M/X)

Playing Age: 25 - 35

Robert is the earnest, slightly oblivious groom who is set to marry Janet, his greatest love, despite some pre-wedding jitters. He’s devoted, though not immune to seduction, and very much unaware of all of the scheming behind the scenes as he prepares for his wedding day. Maybe he’s just a bit of a himbo. This role requires an actor who is a good dancer and singer with a strong sense for physical / farcical comedy. You will be required to tap dance and ride around on roller skates for this role, though experience in tap and/or roller skates is not a requirement. Please, however, indicate on your audition form if you’re experienced in tap and/or roller skates.

Vocal Range: Baritenor

Dialect: General American / Transatlantic


The Drowsy Chaperone (F/X)

Playing Age: 30 - 45

Janet’s inebriated escort, ironically present to keep the bride in line before the wedding. She’s drunk most of the time and can steal every scene she’s in while barely being able to stand. Her role as a caretaker is mostly ironic: her comic bravado and presence usually complicate situations for all of the other characters. She exudes excess, and her character is reminiscent of the slowly fading stars of the Golden Age of Hollywood, which makes her, of course, Man in Chair’s favorite character in the show. This role requires a strong singer and decent dancer with an ability to be grandiose and glamorous while also deeply endearing. 

Vocal Range: Mezzo-soprano (strong belter)

Dialect: General American / Transatlantic

Aldolpho (M/X)

Playing Age: 30 - 45

The self-infatuated Latin lover who is hired to seduce Janet in order to ruin the wedding. He’s inconceivably confident in his own abilities, though he’s also the victim of many a pratfall throughout the show. He is, above all, a parody of the “romantic hero” trope, and in his behavior and dialect there shouldn’t be a single thing that can trace him to a particular “Latin” culture. He is a walking stereotype. This role requires a strong singer with a great sense of physical / farcical comedy and strong voice and speech skills. 

Vocal Range: Baritenor

Dialect: Stereotypically “Latin,” however you may interpret that.


Mrs. Tottendale (F/X)

Playing Age: 70 - 85

The forgetful, constantly tipsy hostess of the mansion in which the wedding takes place. She floats through the plot of the musical in a merry mood but is completely oblivious to all the chaos happening around her. She has a relationship with her quietly suffering Butler Underling that is one of unspoken desires. She’s an archetype of old high society. She’s ditzy, though never without showing genuine love and warmth toward her guests. This role requires an actor with strong comedic instincts.

Vocal Range: Alto

Dialect: General American or British RP

Underling (M/X)

Playing Age: 45 - 65

Mrs. Tottendale’s overworked butler who tries to manage the absurdities happening under the roof of his boss’s mansion to no avail. He delivers many dry one-liners that cleverly cut through the melodrama of the scenes they’re in. He has a restrained desire for Mrs. Tottendale and serves as the “straight man” in many scenes with bizarre situations and characters. This role requires an actor with dry comedic timing and decent singing skills.

Vocal Range: Baritone

Dialect: General American or British RP


Feldzieg (M/X)

Playing Age: 40 - 65

The scheming Broadway producer who will stop at nothing to ruin Janet’s wedding so he can retain his biggest star and box office draw. While conjuring up a plan to get the wedding called off, Feldzieg also has to deal with Kitty, a dim actress aspiring to be Feldzieg’s new leading lady. The role is reminiscent of the classic “cigar-smoking-rough-talking-scheme-plotting-executive-in-suit” and should be played as such. The role requires a strong actor with decent dancing skills.

Vocal Range: Baritone

Dialect: New York (Queens or Long Island)

Kitty (F/X)

Playing Age: 20 - 30

A brassy chorus girl who is determined to become Feldzieg’s next leading lady. Her steadfast ambition is both endearing and absolutely played for laughs, as it sometimes manifests itself in over-the-top diva behavior. Despite her scheming to get Janet’s job, she’s ultimately just comedic relief instead of a villain who needs to be taken seriously. This role requires an actor with excellent comedic timing and very good vocal and dance skills.

Vocal Range: Soprano

Dialect: New York (Bronx or Brooklyn)


Gangsters 1 & 2 (M/X)

Playing Age: 25 - 40

Two mobsters who pose as pastry chefs in order to track how Feldzieg’s scheme is going and protect their financial investments in Janet’s stardom. They’re classic “tough guys” who threaten violence a lot, yet that violence never materializes. They’re often the subjects of broad physical and verbal comedy throughout the show and serve as archetypal depictions of “gangsters” on stage. These roles require two actors with a good sense of comedic timing and good dancing skills who will have to craft two performances that are almost identical and act in sync with one another throughout the show.

Vocal Range: 1 Tenor, 1 Baritone

Dialect: New York Italian

George (M/X)

Playing Age: 25 - 35

Robert’s best man and the person responsible for making the wedding go as smoothly as possible. He is loyal, decent, sometimes a bit clueless, and tasked with keeping Robert calm before the wedding. This role requires an actor with good comedic timing and strong singing and dancing abilities. You will be required to tap dance for this role, though experience in tap is not a requirement. Please, however, indicate on your audition form if you’re experienced in tap.

Vocal Range: Tenor 

Dialect: General American / Transatlantic


Trix the Aviatrix (F/X)

Playing Age: 25 - 35

The show’s deus-ex-machina device. Trix is a glamorous pilot who arrives by plane in the first and last scenes of the show and saves the day. She’s a confident heroine with a heart of gold who whisks the show’s characters away to a happy ending in Rio de Janeiro. This role requires an actor with very strong singing abilities.

Vocal Range: Mezzo-soprano, strong belter

Dialect: General American / Transatlantic


Ensemble (M/F/X)

Playing Age: 20+

The show will feature 4-8 ensemble members per cast who will be heavily featured throughout the show. They will be playing roles such as wedding guests, paparazzi, reporters, and featured dancers

First-Round Video Auditions

For the first round of auditions, performers will be asked to submit a video recording of their singing an audition cut from one of these four songs:

  1. “Show Off” | Timestamp for audition cut: 0:00-1:04

  2. “As We Stumble Along” | Timestamp for audition cut: 0:00-1:17

  3. “I Am Aldolpho” | Timestamp for audition cut: 0:00-1:14

  4. “Accident Waiting to Happen” | Timestamp for audition cut : 0:00-1:08

Note: You do not need to prepare the entire song. Please stick to the audition cut that’s specified in the song’s sheet music and the timestamps above (about 1 minute to 75 seconds).

Though "Show Off" and "Stumble" are traditionally sung by female voices and "Adolpho" and "Accident" by male voices, for this first round, you as the auditionee will have the freedom to choose the song that you feel best reflects your strengths as a performer. Of course, if you really want a certain role, then your choice of audition song should reflect that. For instance, if you want the role of Janet, you should probably pick "Show Off" as your audition song. 

The sheet music, audition cuts, and backing/practice tracks will be provided after you submit the audition form and will be included with the confirmation of your Google Form submission. 

And, of course, if you would like to introduce yourself briefly in your audition video, you’re highly encouraged to do so. Please, however, make your introduction no longer than 30 seconds.

Finally, please note that we’re looking for both your vocal interpretation of each song and your interpretation of the character in the specific situation of each song. 

Callbacks

You will receive the results of your video audition via email by Saturday, September 26th at 23:59. If you are not invited to callbacks, you are unfortunately no longer in running to be cast in the show. In the scenario that you’re not invited to callbacks and would like feedback on your audition video, you can do so by replying to the email detailing your audition results. 

Those invited to callbacks may be asked to sing additional material from the show, read scenes, take part in character or chemistry work, and/or complete a dance or movement call. Any additional material you will need to prepare will be sent to you by the deadline of the video audition results: Saturday, September 26th at 23:59. This will give you about a week to prepare.

Should you be called, then you will be called back for one or multiple specific roles. For callbacks, you could be assigned cuts from any of the following songs:

“I Am Aldolpho” (audition cut)

“Accident Waiting to Happen” (audition cut)

"Show Off" (audition cut or a different cut)

"As We Stumble Along" (audition cut or a different cut)

"I Do, I Do In the Sky"

"Bride's Lament"

"Toledo Surprise" (Kitty's solo only)

"Cold Feets"

"Love Is Always Lovely In the End"

Callbacks will take place on:

Saturday October 3rd (all day)

Tuesday October 6th (evening)

Note: You may be required at one or both callback dates. In case you absolutely cannot make one or both of the callback dates, please let us know via your audition form. Last-minute changes in availability for callbacks will not be accepted unless a valid reason is provided, so please keep both dates available.

Ready to Audition?

Please read through the character descriptions, audition requirements, callback dates, and rehearsal information before submitting your audition form. Once you've decided which role or roles you'd like to audition for, complete the form below. 

Complete the 2027 HEAP Auditions Form 

Remember: links to all of the materials required to prepare your audition will be included with the confirmation of your Google Form submission. 

Video Audition Deadline: September 19, 2026 at 23:59.

Should you have any questions about the audition process, feel free to send an email to tiesmjansen@gmail.com.

Break a leg and best wishes,

Ties Jansen (Director)

2027 Season Auditions Self Tape Studio

Got your audition material ready but want a second pair of eyes before you hit record? Join us at Q Factory on September 5th for a small-group coaching session where you'll perform your audition song(s), get personalized feedback, and walk away with a self tape ready to submit. Each session starts with a vocal warmup and audition tips, followed by individual feedback tailored to you — character, accent, vocal, whatever you need — and wraps up with a self tape that's yours to keep, either to submit or refer to when you film on your own. Groups are capped at six people, with three time slots to choose from: 10:00–12:00, 12:00–14:00, or 14:00–16:00, for €30 for the full two-hour session. Come prepared — you should already know your material, since this session is about polishing your take, not teaching the piece. The coach, Camille Gribbons, is an objective outside eye (not on the directing team for either Drowsy Chaperone or Legally Blonde) here purely to help you put your best foot forward. Sign up now — spots are limited

Different from previous years, we are introducing a more formal process for 2025 to ensure the success of each show without burning out volunteers. For each show, we will be asking each cast member to indicate which committees they have the skills to join, and will assign a committee to each cast member to contribute to the show’s success.

Show committees

Committees will include front of house, makeup & hair, costume assistance, flyering, props, set build up, set tear down, social media, and photography. Even if you don’t have skills in hair and makeup for example, you can easily be on the flyering committee to volunteer some extra time distributing and handing out flyers to help sell tickets for the show.

Audition FAQ’s