by Brady Thomas. @cbradyt.
WASHINGTON, D.C. — In these trying times, we’re all left looking for stories of the downtrodden having their moment in the sun. Such a moment seems to have arrived for D.C. performer Janine Lancaster, as she noticed that the casting call for Arena Stage’s Untitled New Musical called for two named alto parts.
“I never thought I’d see the day that I’m represented on stage,” wept Lancaster in a low, rich tone. “I thought I’d be stuck crooning in the chorus until I was old enough to play grandmas, but there it is: two whole alto parts, both of whom have names! Oh, this must be what the high-belt mezzos feel like all the time!”
Lisa Thorton, who heard the news in between shifts at her local Silver Diner, couldn’t believe the news that was quickly spreading amongst the “sopranically challenged” community.
“Usually Janine and I are fighting for scraps with the other altos in the scene,” noted Thorton in her signature deep timbre, velvety and smooth like a fine caramel. “Every audition, there are hallways full of strong, beautiful women that can’t hit an F5, knowing that we’ll most likely be relegated to the least interesting harmonies. Well guess what: it’s our time to shine now, and there’s gonna be two of us!”
Natalie Gordon, the composer behind this revolutionary new musical, knew that her bravery would reverberate amongst a community in desperate need of visibility.
“You know, as I look out at the world these days, I see a group of people having their voices taken away,” said Gordon with a tear in her eye, empathizing with the plight of the sonorously voiced. “Well, no more! I refuse to allow myself to contribute to a culture of silence. My musical won’t just have room for the girl out that’s been told her voice is ‘husky,’ that she ‘sounds like a young man on the phone.’ No, it’s going to have room for two of them!”
At the time of publication, Gordon had no comment as to why all three of the male roles called for tenors willing to shred their vocal chords.
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