By Steven Cheslik-DeMeyer, Tim Maner, and Alan Stevens Hewitt

“This is the greatest American musical since ‘Sweeney Todd.”— British Theatre

“A thrilling all-female production … a furiously performed declaration of feminist strength and survivorship.” — Chicago Tribune

Directed by Michael Glorioso and Assisted by Avery Thompson

with Musical Direction by Katelyn Leonard-White

Rage! Sex! Betrayal! Bloody murder!

In the heat of late summer 1892, Andrew Borden and his wife are found murdered in their house. The main suspect in the murders is Andrew’s youngest daughter from a previous marriage, Lizzie Borden. Using a searing rock score, and based on the historical record, LIZZIE explores the heady and heated days leading up to the murder and Lizzie’s controversial acquittal of all charges and the creation of a new American myth.

CASTING BREAKDOWN – Rock Musical / 5 Females, 1 Male – All must be 18+

LIZZIE (Female/High belt F#3-F#5 – to A5 if possible) a damaged, twisted women who can turn on a dime from fragile, broken, meek and obedient to conniving, sinister, furious and terrifying. She is a wounded animal backed into a corner, terrified but enraged. We find her at the moment she realizes she has nothing to lose. She is transformed through an act of unspeakable transgression, turning her own historical infamy into an ascension to legend. Actress must be comfortable with kissing someone of the same sex.

EMMA (Female/Alto/mezzo belt: F#3-D5) the older sister, eclipsed by the younger. She must content herself by playing a motherly Lady Macbeth to Lizzie, dripping her own haltered into Lizzie’s ear over the years, stoking the fires of Lizzie’s rage, disappearing when the deeds must be done, and suffering with guilt afterwards. Emma is a woman who has come to see that every opportunity for happiness has passed her by. She’s furious, but she’s also desperately sad.

BRIDGET (Female/Contralto/low alto: F3 w/E3 pick-up/ghost-notes in one number – Eb5 [E5 option in one ad lib]) the Borden’s Irish maid, may be a Banshee called to wail at the Borden’s door. She always seems to know what is going to happen, does things one step before anyone else. She’s put upon, angry, and as resentful of the Borden sisters as she is of the parents. Bridget is the Sex Pistols rock and roll nihilist; ready to fuck things up because she knows that’s the only way anything is ever going to get better. Actress must be able to do an Irish accent or willing to learn with dialogue coach.

ALICE (Female/High mezzo lyric/mix/belt: G3 (w/F#3 pick-up/ghost-notes in one number) – A5 [legit soprano]) is the Borden’s next-door neighbor. She is a luscious pear, the sensuous mother-sister-lover which is sorely lacking in Lizzie’s life. She appears to Lizzie in her moments of need and attempts to lead her away from a path of destruction and toward one of love, truth, and affection. Lizzie may have true feelings of affection for her, or she may be using Alice’s feelings to build an alibi. Actress must be comfortable with kissing someone of the same sex.

SHADOW 1 (Non-singing role must have a strong background in modern dance and movement) acts as Lizzie’s Id and Superego throughout parts of the show before and after the murders of her father and stepmother. She helps Lizzie think through the choices she is presented with through the course of the production.

SHADOW 2 (Non-singing role must have a strong background in modern dance and movement) is the representation of Mr. Borden and other male figures in Lizzie and Emma’s lives. He is at times violent and shows the abuse Lizzie suffered under his control.

SHADOW 3 (Non-singing role must have a strong background in modern dance and movement) represents Alice, Emma and Mrs. Borden at times throughout the show. They represent all the women around Lizzie in her mind as she sorts through choices she is presented with.

Based on the books by Jill Thompson

Adapted by Heath Corson and Jill Thompson

Directed by Dona Henry & Assisted by Arlene Hinkle

By Charles M. Schulz
Based on the television special by Bill Melendez and Lee Mendelson
Stage Adaptation by Eric Schaeffer
By Special Arrangement with Arthur Whitelaw and Ruby Persson

Directed by Lisa Formosa-Parmigiano & Assisted by Gina Zieniewicz

The classic animated television special comes to life in this faithful stage adaptation, in which Charlie Brown, Snoopy, and the rest of the Peanuts Gang discover the true meaning of Christmas. When Charlie Brown complains about the overwhelming materialism he sees among everyone during the Christmas season, Lucy suggests that he become director of the school Christmas pageant. Charlie Brown accepts, but this proves to be a frustrating endeavor. When an attempt to restore the proper holiday spirit with a forlorn little Christmas fir tree fails, he needs Linus’ help to discover the real meaning of Christmas.