Character Descriptions, Vocal Ranges, Dance expectations, and

Character Descriptions, Vocal Ranges, Dance expectations, and

Character Descriptions, Vocal Ranges, Dance expectations, and Notes on the Characters in Brigadoon Character Gender Vocal range Vocal requirements...

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Character Descriptions, Vocal Ranges, Dance expectations, and Notes on the Characters in Brigadoon

Character

Gender

Vocal range

Vocal requirements

Stage age

Heavy solo and duet Several show stopping songs

22-23

Description

Director’s Notes

From the Broadway Libretto

Fiona MacLaren

female

Soprano B below middle C to A

Tommy Albright

male

Baritone Bb below middle C to F#

Charlie Dalrymple

male

Jean MacLaren

female

any

Choral work only

18- 20

Meg Brockie

female

Two strong solo numbers

20’s through 30’s

Jeff Douglas

male

Strong alto G below Middle C to F any

Choral work

30’s

Harry Beaton

male

any

Choral work

Mid 20’s

Andrew MacLaren

male

any

Choral work

50’s

Archie Beaton

male

any

Choral work

50’s

Mr. Lundie

male

any

Choral work

50’s plus

Heavy solo and duet Strong powerful voice that works well with Fiona. Beautiful ballads. Tenor Heavy D below Middle solo C to G Show stopping ballad and up tempo songs

Dance

Early 30’s

20’s

Must be able to “Graceful and altogether lovely.” move well, dance “Bright, has a gentle sense of training a plus humor, and is completely frank to the point of being … disarming.”

Female Lead This character must light the stage when on it. Her inner beauty, her belief in true love, and her openness about it, are what attracts Tommy. She must make plausible falling in love in one short day. Must be able to “Virile looking, with an Male Lead move well, dance attractive but sensitive face.” This character must show his questioning training a plus and discomfort with his 1947 surroundings and engagement; and his total attraction to, and belief, in Fiona and the miracle of Brigadoon. Must be able to “A sandy–haired youth in his Strong supporting role move well, dance twenties, he is betrothed to Jean” Charlie and Jean are the in situ young training a plus lovers. When they are together everyone in the audience should be taken back to their “first love” feelings Lead female “Attractive, shy, diffident...“ Female lead dancer. Everyone must see dancer, Solo work, “She is betrothed to Charlie why Charlie decided to “Come home across strong ballet back Dalrymple.” the green.” with her the moment she appears ground a big plus on stage. Must be able to emote true feeling through her dance. Strong supporting “With Angus, she sells milk and Strong comic supporting role for fun loving, role. Dance cream in MacConnachy Square.” woman. Eager to find love and enticing to training a plus. Jeff. A real bowl full of life, love and fun. Should be able to “…retiring and good natured” Supporting role for comic actor. Jeff is move well skeptical of the world. Loves his drink and his women, and can’t understand Tommy’s feelings that it all should matter. Strong male “Archie’s son. . . slender and Harry is deeply in love with Jean and dancer. Training extremely sensitive looking.” learning. Living in Brigadoon he knows he is a big plus will never be able to have either. This terrible despondency leads to the tragedy of the show. Being able to “Father of Fiona and Jean, a A supporting role as described in the move a plus, but hearty soul in his late fifties. He Broadway description. not necessary is a bit pompous and has a loud and gruff voice.” Being able to “A kind looking Scot about 50, A supporting role. He is Harry’s father and move a plus, but sells wool, plaids, etc.” is greatly concerned about his son’s well not necessary being. He knows Harry is troubled and longs to be able to help him. None, but “A quaint Scottish school master Very important supporting role. Mr. Lundie movement is nice . . ..” “He is kind, his manner is is the keeper of “The Miracle” and heart and entirely benign, and he speaks soul of Brigadoon.” with a trace of emotion.” “He is the “Dominie” of Brigadoon.”

any

Choral work

18 to 20’s

Maggie Anderson

female

Angus MacGuffie

male

Kate

female

Stuart Dalrynple

male

Sandy Dean

male

MacGregor

male

Sword Dancers

male

Bagpipers

male

any

Choral if desired

Singing Townsfolk of Brigadoon

both

all

chorus

Dancers of Brigadoon

both

all

chorus

Frank

male

any

chorus

adult

Jane Ashton

female

any

chorus

20’s – 30’s

Baritone Solo work within the Eb below Middle chorus C to Eb above Middle C any chorus

30’s plus

Tenor Solo work within the D below Middle chorus C to G Bass Solo work within the Bass cleft C to D chorus above Middle C Baritone Solo work within the Eb below Middle chorus C to Eb above Middle C any choral

50’s

20’s

Strong dancer, “Has a ‘yearning’ for Harry ballet training a Beaton. plus. Dances solo at the funeral. None, but “Sells eggs, milk and cream in movement is nice MacConnachy Square with Meg.”

Although a supporting role Maggie dances the very important funeral dance. Her love for Harry and her disappointment in it not being returned must be palpable. Supporting role.

Dancing a plus, strength of dance determines size of the role None, but movement is nice

“A friend of Jean’s.”

Supporting role with the possibility of expansion to “Come to Me” ballet.

“Sells woolen clothes in MacConnachy Square”

Supporting role. Charlie’s father.

30’s and up

None, but movement is nice

“Bass voice, sells candy in MacConnachy Square.”

Supporting role.

30’s and up

None, but movement is nice

“Sells salted meat in MacConnachy Square.

Supporting role

any

Solo Sword dance at wedding. Members of dance chorus. Two solo numbers

“Two men”

Chorus and dance

“Two Men”

Specialty roles that can be a part of the chorus if the Players so desire.

20 plus

We would like the chorus to be able to sing and move well. Both singers and dancers will be incorporated as Townsfolk. Some will double as New York citizens.

10 plus

There are several specific dance numbers that would look best with trained dancers. The original Broadway choreographer was Agnes DeMille which is why the dance is ballet based and integral to the story line. Choral work when not “Frank.”

adults

From 8 to ? The ability to Those below 8 move well is an considered if the asset. parents are a part of the show. Teens up Dance training is strongly desired

None, but movement is nice

“New, York, a bartender.”

None, but “New York, . . ., chick (sic), movement is nice very attractive, though perhaps a little severe; engaged to Tommy.”

Choral work when not “Jane.”