Great Lakes Operetta is proud to announce auditions for its first full-length, fully-staged production, Jacques Offenbach's "Orpheus in the Underworld," in a new English translation by Francis Lynch. This version will be based on the original two-act, 1858 version and will be performed with live piano accompaniment. The production will be directed by Great Lakes Operetta Artistic Director SarahAnn Sutter, music directed by Lindsey Baer, assistant music directed by Anna Therese George, and produced by Kristin Weed.

Stipend Information:
Performers will receive a profit-sharing stipend, calculated after production concludes and based on the total production profit (after expenses) as applicable, and the final number of participating performers (see the Casting Notes below). This means that a stipend is not guaranteed, and we do understand and respect that this arrangement may not be acceptable to some performers. The profit-sharing model is our attempt at a gradual transition from amateur ("community theater") company to a professional non-Equity company that we hope can provide fixed stipends in the future. We cannot provide housing or travel stipends.

Please carefully review the below audition requirements, casting notes, and casting breakdown before applying:

Audition Requirements: For your audition, please fill out the audition form, upload your resume and headshot, and submit a video recording that best shows your singing and performing abilities. We strongly recommend that you submit a piece from the light opera repertoire, but you can also submit an opera/oratorio piece if it effectively demonstrates performing/acting ability, or a musical theater piece if it effectively demonstrates classical vocal technique, especially as we will be performing without microphones. Please submit before midnight CST on Monday, January 26th, 2026.

Invitation-only, in-person callbacks will be held on Sunday, February 8th from 2:30-5:30pm at the Park Plaza Retirement Center at 6840 N. Sacramento Ave, Chicago IL 60645 and will consist of singing and reading from the score/libretto. Callback materials will be provided at least 7 days in advance to allow for preparation. If you are unavailable on the callback date, please let us know this in your audition form, as we may be able to allow for a virtual callback submission.

Audition Form: https://forms.gle/WKpoywTf44wuiAFA9

Casting Notes: This production will feature an ensemble cast of 13 singers, who will also make up the chorus. Most or all roles will likely be double-cast. For roles that are double cast, each singer will get 3 performances of the role. We are seeking performers with strong musicianship, physical comedy, acting and dancing skills. All performers will be expected to attend the first rehearsal with music and dialogue largely learned and partially-to-fully memorized.

Casting Breakdown:
NOTE: Indicated genders are the character's gender, not the performer's gender identity. Therefore, when completing your audition form, please select whatever role(s) interest(s) you most regardless of gender; we are potentially open to having vocal lines sung up or down the octave as needed, or swapping out assigned lines in ensemble numbers, although we will not be changing any keys.

Eurydice: Coloratura soprano. B3-E6. One of only two mortals in this story, she is married to Orpheus, but is having an affair with her neighbor, Aristaeus (who is the god Pluto/Hades in disguise). A vocally demanding role that requires considerable vocal agility, stamina, and high notes, plus the ability to act annoyed throughout many of her scenes without becoming unlikeable.

Pluto (a.k.a. Hades): Tenor. D4-A5, falsetto G6. The god of the Underworld. In Act I, he is living in disguise in the countryside as a mortal beekeeper named Aristaeus. He conspires to cause Eurydice's death by snakebite in order to bring her to the Underworld. Needs to be able to utilize falsetto (for his Act 1 aria) and be a strong comedic actor.

Jupiter (a.k.a. Zeus): Baritone. A3-A5. The king of the gods who is serially unfaithful to his wife, but who is eventually persuaded by his pantheon and Public Opinion to travel to the Underworld to resolve the scandal of Pluto's abduction of Eurydice...where, of course, he promptly attempts to seduce her himself. Strong stage presence and comedic ability required (especially in Act 2 when he turns himself into a fly - as one does - to gain entrance to Eurydice's chamber).

Orpheus: Tenor. Eb4-C6. The only other mortal in this story; in this version, he is not a demi-god but an ordinary music teacher. He is married to Eurydice but is having an affair with a local shepherdess. He isn't at all sad when Eurydice dies and must be bullied by Public Opinion into following Eurydice into the Underworld for the sake of appearances. Proficiency on an instrument (such as a violin, guitar, or wind instrument) is highly desirable for this role, as the script stipulates that Orpheus plays an instrument onstage.

Public Opinion: Mezzo-soprano or contralto. G#3-A5. A cross between a demi-god and an entire Greek Chorus, this character is the Personification of Public Opinion, dedicated to upholding public morality. She is instrumental in persuading a reluctant Orpheus to follow Eurydice to the Underworld but is constantly frustrated by the total lack of morality or accountability from either mortals or gods. She functions as the de facto MC for the show. Strong, noble stage presence coupled with comedic ability needed.

John Styx/Morpheus: Baritone. B4-A5. John Styx, a character introduced in Act 2, was once the mortal King of Boeotia, a provincial town in ancient Greece synonymous with country bumpkins. After death, he has become a Servant to Pluto in the Underworld. In this production, he will be depicted similarly to Charon, the Boatman of the River Styx. Comic timing needed. This performer will likely double as another god in chorus scenes when not playing John Styx.

Mercury (a.k.a Hermes): Soprano or mezzo-soprano. A4-A5. The messenger god, depicted with winged helmet and shoes. [Note: we are hoping to insert Mercury's aria from the 1874 version into our production, although this is still TBD.] This character will likely sing the tenor line in chorus numbers (sung in whatever octave is most comfortable). Dancer or strong mover strongly preferred.

Diane (a.k.a. Artemis): Soprano. D4-B5. The supposedly chaste goddess of the hunt and of the moon. Sings an aria in which she laments the disappearance of her current lover, Actaeon, and is later justifiably incensed when her father, the hypocritical Jupiter, tells her he has turned Actaeon into a deer to avoid tarnishing Diana's reputation for chastity. Perhaps because of this, she later leads the revolt against Jupiter, ultimately persuading him to take the entire pantheon with him to the Underworld. Requires some vocal agility. Has numerous solo verses and/or featured vocal lines in numbers throughout the show. Generally sings the top line in ensemble numbers.

Cupid (a.k.a. Eros): Mezzo-soprano. Bb3-B5. The famous god of love, depicted as a young man with wings, technically the son of Venus and Mars. He usually spends his nights philandering, only to sneak back to Mount Olympus in the wee hours of the morning. He supports Diana in her revolt against Jupiter. Has a solo verse introducing himself, and several other solo verses/vocal lines in other numbers. Generally sings alto in group numbers. Dancer or strong mover preferred.

Venus (a.k.a. Aphrodite): Soprano or mezzo-soprano. G3-B5. The goddess of beauty, famous for emerging from seashells; like her son Cupid, she also sneaks out at night to party. She supports Diana in uprising against Jupiter. Has a solo verse introducing herself, and several other solo verses/vocal lines in other numbers. Generally sings second soprano or alto lines in ensemble numbers.

Minerva (a.k.a. Athena): Soprano or mezzo-soprano. Bb3-B5. The intimidating goddess of Wisdom, Crafts, and Strategic Warfare. Has some solo verses/vocal lines and contributes to calling out Jupiter for his hypocrisy.

Mars (a.k.a Ares): Bass. F#3-A4. The all-brawn-no-brains god of war and son of Zeus and Juno, he also frequently sneaks off in the night to philander, sometimes with Venus (whose on-again, off-again relationship produced Cupid). Sings a solo verse introducing himself (insertion from the 1874 version) and sings bass line in all chorus numbers.

Juno (a.k.a. Hera): Soprano or mezzo-soprano. Bb3-A5. The long-suffering wife of Jupiter and mother of Mars. Majestic and justifiably annoyed with Jupiter. [Note that if we are able to insert Mercury's aria into our production, Juno sings in part of this aria.] Dancer or strong mover preferred.