Auditions
Audition Package
Blood Brothers the Muscial
Musical Details:
| Director: | Kristy Tait-Angel |
| Musical Director: | Kevin McHale |
| Vocal Director | Leah Williams |
| Producer | Marilyn Bird |
| Choreographer | Dani Corbishley |
| About the Show | Blood Brothers is a gripping, heart-wrenching musical by Willy Russell that follows the lives of Mickey and Eddie — twin brothers separated at birth and raised on opposite sides of class, opportunity, and circumstance. One grows up in poverty, the other in privilege, and though unaware of their connection, their paths continue to cross as children, teenagers, and finally as men. With humour, innocence, and tragedy intertwined, the show explores fate, family, identity, and the cost of social inequality. We chose Blood Brothers because it offers powerful, emotionally resonant storytelling that invites both performers and audiences into a journey filled with laughter, heartache, innocence, and tragedy. The music is raw and unforgettable, blending driving narrative with deeply human ballads that leave a lasting impact. The show provides rich character development, allowing actors to grow from childhood to adulthood in roles that demand honesty, vulnerability, and nuance. Its themes of class, identity, and the circumstances that shape us remain strikingly relevant today, sparking conversation and reflection long after the curtain falls. This production celebrates ensemble performance, shared storytelling, and theatre that dares to ask difficult questions — all reasons we feel it is the perfect choice for this collaboration. Blood Brothers is a show that stays with people — performed once, remembered forever. A rewarding challenge for cast and creatives, and an unforgettable experience for an audience. |
| Rehearsals | Rehearsals will take place Sunday afternoons and Wednesday evenings beginning in January. Dress rehearsals will take place March 14-16 and the show will open March 18 with evening performances March 19, 20, 26 and 27 and matinees on March 21, 22, 28 and 29. |
Audition Details:
| Audition Dates | December 9 & 10 — Evenings |
| Location | Stewart School Library — Perth, Ontario |
| How to Audition |
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| How to Register | Audition booking is first-come-first-served. Sign up online: volunteersignup.org/D4LF3 |
| Audition Song Options |
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| What to Expect at Auditions | 1. Perform one prepared song using tracks from the audition Google Drive a. additional vocals Callbacks are not required to be cast. |
Character Breakdown & Vocal Ranges :
| Character | Vocal Range | Notes |
| Mrs. Johnstone | Mezzo-Belter G3–E5 | Resilient, warm, emotional centre of the musical |
| Mrs. Lyons | Mezzo/Soprano A3–D5 | Middle-upper class, fragile beneath perfection |
| Mickey Eddie | Baritone B2–G4 Tenor Bb2–A4 | Street-smart, funny, volatile — ages dramatically Bright, confident, kind; raised in privilege |
| Linda | Mezzo A3–C5 | Loyal, torn between worlds, grows from child to adult |
| Narrator | Baritone Gb2–G4 | Ominous, powerful — drives atmosphere of the show |
| Sammy | Baritone/Tenor A2–G4 | Mischief → chaos, comedic edge with danger |
| Mr. Lyons Ensemble | Baritone B2–F4 Mixed SATB | Emotionally distant, structured, controlling Flexible casting, multiple roles and doubling |
Side — "Pals"
MICKEY runs in with a toy gun, breathless.
MICKEY:
Sammy nicked these from the shop — we’re gangsters now. Proper ones.
(shows imaginary sweets)
Got a gun, too!
EDDIE enters with a neat schoolbook.
EDDIE:
Gangsters do homework… don’t they?
MICKEY stares at him like he’s an alien.
MICKEY:
You don’t need homework. You need courage — and this! Bang!
LINDA bursts in, hands on hips.
LINDA:
You two are daft. Give us the gun — I’ll show him how it’s done.
She grabs it, aims dramatically.
LINDA:
Hands up or I’ll shoot your kneecaps!
EDDIE throws his hands up, giggling.
EDDIE:
Do girls shoot kneecaps?
LINDA:
Girls shoot better.
MICKEY circles Eddie, curious.
MICKEY:
Say something fancy.
EDDIE stands tall.
EDDIE:
Excuse me — would anyone care for a biscuit and a stroll?
MICKEY & LINDA collapse laughing.
LINDA:
He sounds like a dictionary.
EDDIE smiles, proud — doesn’t know he’s being teased.
LINDA suddenly grows serious.
LINDA:
If you’re gonna hang with us, you’ve got to be blood brothers.
EDDIE hesitates — it sounds big.
EDDIE:
What does that mean?
MICKEY:
No snitching.
Always share sweets.
No being scared. Not even of policemen.
EDDIE squares up, brave as he can.
EDDIE:
Alright. I’m not scared.
Mostly.
They join thumbs — solemn as children get.
ALL THREE:
We swear to stick together.
Blood brothers. Forever.
A moment of perfect, innocent certainty.
EDDIE (softly):
We’ll always be friends, won’t we?
LINDA & MICKEY grin, absolutely sure.
MICKEY & LINDA:
‘Course we will.
Forever.
They laugh, run off — the world still simple.
Side — "Just Friends...?"
EDDIE sits on a bench with a textbook. LINDA wanders in, pretending she isn’t looking for him.
LINDA:
There you are. Thought you’d gone posh and left us behind.
EDDIE (smiles):
Haven’t left. Just — studying. They said I might get into university one day.
LINDA (half teasing, half admiring):
University. Sounds fancy.
Bet you’ll forget us when you’re rich and clever.
EDDIE looks up — surprised by the sting in her voice.
EDDIE:
I could never forget you.
Or Mickey. You’re my best friends.
LINDA sits beside him, close enough to notice their knees nearly touch.
LINDA:
Still feels like you’re getting further away.
Books and ties and teachers who think you’re brilliant.
EDDIE:
Don’t you think I’m brilliant?
LINDA pauses — suddenly shy.
LINDA:
Course I do.
Always have.
EDDIE watches her — really sees her.
EDDIE:
You’ve changed too.
You’re different — in a good way.
Not just the loud girl who punches Mickey in the shoulder.
LINDA grins.
LINDA:
I still punch him. Just more politely.
They laugh — comfortable, warm.
EDDIE:
I like being with you.
It’s easy. Even when nothing’s easy.
LINDA’s smile softens — she wasn’t expecting honesty.
LINDA:
You make things feel lighter.
Even when everything’s heavy.
A beat — something unspoken hangs between them.
EDDIE (careful, hopeful):
Do you ever think… things might be different?
Not just playing in the street — but… us?
LINDA’s breath catches.
LINDA:
Sometimes.
Then I get scared I’ll wreck it by saying anything.
EDDIE:
Maybe saying something is how things begin.
He almost reaches for her hand — stops, unsure.
LINDA:
Eddie…
EDDIE (softly):
I think about you. More than I should.
LINDA lets the words settle — warm and terrifying.
LINDA:
I think about you too.
More than I meant to.
They sit in fragile silence — growing up and not knowing how to do it.
EDDIE (whispers):
We’ll still be us, right?
LINDA (half hope, half plea):
I want us to be.
I just hope the world lets us.
They hold that moment — almost touching, almost speaking everything — then let it breathe.
Side — "You Don't Know"
Mickey stands unsteady — anxious, angry, broken. He holds a gun. Eddie enters carefully, trying not to startle him.
EDDIE (gentle, afraid):
Mickey… please. Put it down.
No one wants this — not you, not Linda.
MICKEY (shaking):
Linda. Always Linda.
You got the house, the job, the suit — and now her.
You get everything, don’t you?
EDDIE:
It isn’t like that. We never meant to hurt you.
MICKEY (erupts):
Didn’t mean it?
That makes it worse!
You had choices — I never did.
You got a pen and a desk — I got pills to keep me quiet.
EDDIE (voice cracking):
I would have shared it all — you know I would have.
We were brothers once. Blood brothers.
MICKEY (laugh-laughs, then breaks):
Brothers?
A brother doesn’t get fed while the other goes hungry.
A brother doesn’t climb while the other sinks.
Eddie steps closer — slow, hands open.
EDDIE:
We can fix this.
Come with me — we’ll talk, we’ll work it out.
I don’t care about money, I don’t care who has what — I care about you.
MICKEY (voice shatters):
You care because you win.
Because you’re the one they choose.
(He’s falling apart — the gun wavers.)
MICKEY (softer, devastating):
I’m tired, Eddie.
Tired of fighting air. Tired of being the disappointment in every room.
EDDIE (heartbreaking honesty):
You were never a disappointment to me.
You were my best mate.
I loved you like my own brother.
Mickey stops — those words land like a blade and a balm at once.
MICKEY (bare, wounded):
I loved you too.
That’s the worst of it.
A long, trembling silence — two boys trapped in men’s lives.
EDDIE (barely breathing):
Then let this end another way.
Please.
Mickey looks at him — pain, jealousy, love, regret — all tangled.
MICKEY (final whisper):
Sometimes things break and never heal.
He lowers the gun — or lifts it — depending on staging.
Both men stand still, the moment heavy, irreversible, tragic.
Side — "The Devil's Got His Hand..."
NARRATOR (slow, rhythmic):
So — there were two.
Born side by side, breathing the same first air,
One to a mother of hunger and heartache,
The other to a home of polished silver and empty arms.
And who among us would dare choose which life is fair?
Which child deserves what fate?
(A step forward — unhurried, inevitable.)
The boys grow, unaware of the tie between them.
One on streets of mud and mischief,
The other in rooms of books and careful manners.
Same blood — different worlds.
A joke the universe tells with a straight face.
(Voice deepens just slightly.)
You can hide truth behind money and lace,
Lock it up with polished names and perfect lawns —
But secrets rot.
And blood remembers what the mind forgets.
(A still, chilling pause.)
They meet — and laugh — and swear forever.
Two boys, innocent as sunrise,
Never knowing the shadow that walks behind them.
If we could stop the story there,
Freeze them in childhood’s glow —
We might call it mercy.
(Final line softer, darker.)
But fate waits patient, and the clock runs on.
Pray for the twins — if prayers can change what’s written.
Side — "Promise Me"
MRS. LYONS stands stiffly, elegant but strained. MRS. JOHNSTONE arrives, warm but cautious.
MRS. LYONS:
You must remember — this was the only way. For both of us.
He’ll have a good life. Opportunity. Things you couldn’t give him.
MRS. JOHNSTONE:
(quiet, honest)
Aye. I know that. And I’m glad, truly.
But I still think of him. Every night I wonder who he laughs like…
If he’s scared of thunderstorms.
If he calls you “Mam.”
MRS. LYONS (sharper than intended):
He does.
And he must. That’s how it has to be.
MRS. JOHNSTONE:
I’m not tryin’ to take him back. God, I wouldn’t hurt him like that.
Only… a mother don’t stop bein’ a mother. Even when her baby’s gone.
MRS. LYONS:
Not gone. Just— elsewhere.
(She tries to soften, but fear remains in her eyes.)
MRS. JOHNSTONE:
Elsewhere don’t make the heart forget.
Elsewhere still keeps me awake.
MRS. LYONS (fragile tone cracking):
You must stop thinking about him.
Stop coming ’round here, asking after him.
People talk — children notice. He must never know the truth.
MRS. JOHNSTONE (hurt, grounding herself):
I only said hello.
Can’t a woman say hello?
MRS. LYONS:
Not to him.
Not again.
(Silence. Weight.)
MRS. JOHNSTONE:
You’re frightened.
But it’s not me you’re frightened of — it’s the truth.
MRS. LYONS (quickly):
No — it’s you.
You and your other children and your loud, busy life — you’re a reminder.
You could ruin everything with one word.
MRS. JOHNSTONE:
I said I’d never speak it. I swore it.
MRS. LYONS (commanding, trembling):
Then swear again.
Swear you’ll keep your distance. That you’ll stay away from my house.
Our house.
MRS. JOHNSTONE (pain thickens, voice still soft):
Your house… aye.
But he’s still my son in my heart, and you’ll never lock that out.
(beat — her voice breaks slightly but holds dignity)
I’ll go.
But you remember — even secrets wither when the truth wants out.
MRS. LYONS flinches — as if struck — fear shifting toward anger.
MRS. LYONS:
Leave. Now.
MRS. JOHNSTONE (gentle, devastating):
God keep him safe.
Both of them.
She exits. MRS. LYONS remains — shaken, victorious, terrified.