The Light in the Piazza

Music & Lyrics by Adam Guettel | Book by Craig Lucas

Directed & Choreographed by Kate Lumpkin
Musical Direction by Adam Shenk

At James Madison University

Auditions: Tuesday, April 8th from 5:00 p.m. - 9:00 p.m & Wednesday, April 9th from 6:00 p.m. - 10:00 p.m.

Callbacks: Friday, April 11th from 6:00 p.m. - 10:00 p.m.

Auditions will be held in Forbes Studio 2240

TO SIGN UP FOR AN AUDITION PLEASE CLICK HERE.

ONCE YOU HAVE SECURED A SPOT, PLEASE FILL OUT THIS FORM.

Please prepare one 32-bar cut of a musical theatre or opera selection that shows your range and strong character/acting choices. Come with sheet music in a binder and in the correct key. Please do not sing from the show. DO NOT SING A CAPELLA.

PLEASE NOTE: This production of The Light in the Piazza will feature a fully double-cast company (Florence Company & Rome Company) of 16 actors with 4 swings , with every principal role also doubled with an ensemble track. Across two long weekends of performances, the two casts will rotate, performing their principal roles one evening and their ensemble tracks the next, much like a repertory company. This structure ensures that, while the ensemble tracks are limited in scope, every performer engages fully with the work, providing a well-rounded experience that deepens their artistic growth. There will be no additional ensemble members cast. Four swings will be cast to ensure external coverage. Please find the specific doubling listed below.

If you would like to look at the CALLBACK MATERIAL prior to auditions please feel free to look at that HERE.

CAST DOUBLING:

FLORENCE COMPANY

Margaret Johnson

Clara Johnson

Fabrizio Naccarelli

Giuseppe Naccarelli

Franca Naccarelli

Signor Naccarelli

Signora Naccarelli

Roy Johnson

Priest, Ensemble (M3)

Tour Guide, Ensemble (F4)

Ensemble (F1)

Ensemble (F2)

Ensemble (F3)

Ensemble (M1)

Ensemble (M2)

Ensemble (M4)

Swing (F1, F4)

Swing (F2, F3)

Swing (M1, M2)

Swing (M3, M4)

ROME COMPANY

Ensemble (F2)

Ensemble (F1)

Ensemble (M1)

Ensemble (M2)

Tour Guide, Ensemble (F4)

Ensemble (M4)

Ensemble (F3)

Priest, Ensemble (M3)

Roy Johnson

Franca Naccarelli

Clara Johnson

Margaret Johnson

Signora Naccarelli

Fabrizio Naccarelli

Giuseppe Naccarelli

Signor Naccarelli

Swing (F1, F4)

Swing (F2, F3)

Swing (M1, M2)

Swing (M3, M4)

CHARACTER BREAKDOWN:

MARGARET JOHNSON - Soprano | Refined and intelligent Southern woman from Winston-Salem, North Carolina, who accompanies her daughter, Clara, on a trip to Florence, Italy. Carries herself with grace and dignity, even in moments of turmoil. Beneath her composed exterior, she wrestles with deep personal conflicts about love, duty, and her own past. Margaret is deeply devoted to Clara and has spent years shielding her from a world that may not understand her. Over the course of the story, Margaret transforms, ultimately making a selfless decision that prioritizes Clara’s happiness over her own fears. Southern accent. ***Must be comfortable simulating acts of intimacy including kissing and physical touch. DOUBLES WITH ENSEMBLE.

CLARA JOHNSON - Soprano | Experienced a childhood accident that resulted in brain trauma - now is perceived to be limited to the emotional and mental understanding of a 12 year old. Utterly open, charming spontaneous and always in the moment. Clara exhibits a genuine capacity and longing for deep emotion and love. Her encounter with Fabrizio Naccarelli in Florence ignites a passionate romance, showcasing her vivaciousness, curiosity, and strong-willed nature. Strong desire for independence and meaningful connection. Southern accent. ***Must be comfortable simulating acts of intimacy including kissing and physical touch. DOUBLES WITH ENSEMBLE.

FABRIZIO NACCARELLI - Tenor to a high B | Embodies the quintessential qualities of youthful Italian charm—passionate, and earnest. Fabrizio's immediate and profound affection for Clara propels much of the narrative, highlighting his sincerity and depth of emotion. Strong lyrical tenor voice capable of conveying both youthful exuberance and deep emotion. Experience with Italian a plus. ***Must be comfortable simulating acts of intimacy including kissing and physical touch. DOUBLES WITH ENSEMBLE.

GIUSEPPE NACCARELLI - Baritone | Fabrizio's older brother. Flirtatious and carefree demeanor. Giuseppe often engages in extramarital flirtations, reflecting a strained relationship with his wife, Franca. He approaches life with a laid-back attitude, seemingly unconcerned about the consequences of his actions on his family dynamics. Experience with Italian a plus. ***Must be comfortable simulating acts of intimacy including kissing and physical touch. DOUBLES WITH ENSEMBLE.

FRANCA NACCARELLI - Soprano | Passionate and strong-willed. Despite her deep love for Giuseppe, Franca experiences unhappiness in their marriage due to his flirtatious behavior and infidelity. Highlights the challenges within the Naccarelli family, contrasting the idealistic love between Clara and Fabrizio with the more complicated realities of marriage. Experience with Italian a plus. ***Must be comfortable simulating acts of intimacy including kissing and physical touch. DOUBLES WITH TOUR GUIDE & ENSEMBLE.

SIGNOR NACCARELLI - Baritone | Fabrizio's father. Signor Nacarelli is Fabrizio's father. He owns a high end clothing shop for men in Florence. Signor Naccarelli exudes warmth and charm, making others feel comfortable in his presence. Possesses a keen understanding of people and situations, allowing him to navigate complex social dynamics effectively. Experience with Italian a plus. ***Must be comfortable simulating acts of intimacy including kissing and physical touch. DOUBLES WITH ENSEMBLE.

SIGNORA NACCARELLI - Soprano | Fabrizio's mother. Embodies the warmth and elegance of an Italian matriarch and is the stabalizing force of her family. Offers a nurturing presence amidst the unfolding romantic narrative. Her demeanor exudes sophistication and kindness. Experience with Italian a plus. DOUBLES WITH ENSEMBLE.

ROY JOHNSON - Baritone | He is the husband of Margaret Johnson and father to Clara Johnson. An executive with a tobacco company based in Winston-Salem, North Carolina. Emotionally distant with a pragmatic perspective. Detached demeanor, often appearing indifferent to the emotional needs of his wife and daughter. Approaches situations with practicality, emphasizing logic over sentiment, and tends to assert his opinions decisively. Southern accent. DOUBLES WITH PRIEST & ENSEMBLE.

ENSEMBLE - Soprano, Alto, Tenor, Baritone, Bass | Vital role in shaping the world of the musical, portraying various Florentines, tourists, and members of the Naccarelli family's social circle. Establish the atmosphere of 1950s Florence, adding richness to the setting through their presence, movement, and vocal harmonies. ALL ENSEMBLE DOUBLE WITH A PRINCIPAL ROLE.

SWINGS - External understudies and coverage for Ensemble and Principals.

Intimacy Guidelines for The Light in the Piazza

As part of our commitment to fostering a safe, respectful, and professional rehearsal and performance environment, we want to ensure that all performers fully understand the levels of physical, emotional, and romantic intimacy required for each role. Below is a breakdown of the anticipated moments of intimate physical contact, romantic connection, and emotional vulnerability in The Light in the Piazza.

This show contains themes of love, desire, familial tension, and emotional transformation, and all moments of intimacy will be choreographed with consent-based practices in rehearsal. Performers will always have the opportunity to discuss boundaries and advocate for their comfort. We will be utilizing the support of Kate Arecchi, as our Intimacy Choreographer for this production.

Levels of Intimacy by Character

Clara Johnson & Fabrizio Naccarelli

  • Romantic Intimacy: These characters experience instant attraction and deepening love over the course of the show.

  • Physical Contact:

    • Holding hands, embracing, and tender touches on the face or arms.

    • Multiple closed and open-mouth (no tongue) kisses that may vary in intensity depending on the scene.

    • Simulated intention of sexual intimacy prior to a blackout.

    • A possible dip or lift in dance/movement sequences.

  • Emotional Intensity: Clara and Fabrizio share high-stakes romantic moments of longing, excitement, and devotion. Clara, in particular, experiences emotional vulnerability as she navigates her own self-worth and agency in love.

Margaret & Roy Johnson

  • Marital Intimacy (Emotional Distance):

    • No overt romantic physicality.

    • Their relationship is defined by emotional separation rather than physical closeness.

    • Margaret experiences profound internal conflict about her marriage, which manifests in tension-filled interactions.

Margaret Johnson & Signor Naccarelli

  • Emotional Intimacy:

    • Margaret and Signor Naccarelli share a moment of mutual understanding and unspoken longing as they reflect on the choices they have made in their lives. This is not a passionate romantic exchange but rather a fleeting connection between two people who recognize something in each other—a quiet acknowledgment of roads not taken and the weight of time.

  • Physical Contact:

  • A small, closed-mouth kiss that is gentle and brief, serving as an emotional punctuation rather than an overt romantic gesture.

  • Soft hand contact or a lingering touch to the arm may be included to underscore the moment’s depth.

  • The moment is not impulsive or heated but rather filled with restraint and quiet intimacy. This exchange is rooted in regret, reflection, and an unspoken “what if.”

  • Signor Naccarelli, while warm and charming, is a man who understands the boundaries of propriety, making this moment all the more poignant in its restraint.

Signor & Signora Naccarelli

  • Established Marital Intimacy:

    • Holding hands or brief affectionate touches (shoulders, arms).

    • Shared familial energy rather than overt romantic displays.

Giuseppe & Franca Naccarelli

  • Complex Marital Intimacy: Their relationship is marked by passionate tension and flirtation with others.

  • Physical Contact:

    • Some suggestive moments of flirtation between Giuseppe and others (non-verbal gestures or playful proximity).

    • Franca may initiate a kiss or moment of forced affection with Giuseppe, reinforcing her frustration in the marriage.

Ensemble (Florentine Locals & Tourists)

  • Light Social Intimacy:

    • The ensemble represents the vibrancy of Florence, engaging in casual physical interactions like linked arms, dancing, or light partner work in staged crowd scenes.

    • May include brief cheek kisses or embraces, reflecting Italian cultural norms of warmth and familiarity.

Final Considerations:

  • All intimate moments will be staged with respect for actor boundaries, and modifications can be made to accommodate individual comfort. However, the actions listed above are non-negotiable in terms of storytelling.

  • All performers will be part of discussions regarding consent, boundaries, and best practices for safe storytelling in romantic or emotionally vulnerable moments.

  • No performer will be asked to engage in intimacy beyond what is explicitly outlined here.

By participating in these auditions, you are agreeing that, if cast, you will engage in these moments with professionalism, clear communication, and respect for your scene partners. If any concerns during staging/choreography arise, they will be addressed through open dialogue and collaboration as needed.

This production will be built on collaboration, trust, and storytelling with integrity, ensuring that every cast member can fully embrace their role in a supportive and empowered environment.

Navigating Disability and Representation in The Light in the Piazza

The Light in the Piazza presents a complex and deeply human portrayal of disability, perception, and autonomy, particularly through the character of Clara Johnson. The narrative acknowledges Clara’s cognitive differences—stemming from a childhood accident—but it is framed through 1950s societal expectations and her mother’s protective lens. As a creative team, we recognize that disability representation must be approached thoughtfully, inclusively, and with respect for lived experiences. In our rehearsal process, we will engage in open, ongoing discussions about how ability is framed within the piece, ensuring that we are neither reinforcing outdated narratives nor diminishing Clara’s agency. Our goal is to center Clara’s joy, desires, and personhood, rather than reducing her to a diagnosis. Additionally, we will avoid ableist tropes, and ensure that all conversations surrounding disability are grounded in respect and authenticity. We also acknowledge that actors bring their own identities, experiences, and perspectives to the work, and we will foster a space where dialogue, education, and nuance guide our storytelling. This is a production that explores love, agency, and self-determination, and we are committed to telling it with care, accuracy, and a disability-inclusive framework.