The Gondoliers

Pay Rate: Principals receive $500, Comprimario roles and understudies receive $300, Chorus roles receive $150

Contact Person Email: auditions@gsocchicago.org

Material to Prepare:

Time Commitment:

Rehearsals begin January 24, 2026
Rehearsals are held in Hyde Park, near the University of Chicago campus close to the CTA #6 bus & Metra Electric; street parking is available.
In general, principals are called Monday and Wednesday evenings, and the full cast is called Tuesday and Thursday evenings, Sunday afternoons, and every other Saturday. (Subject to change.)
Tech Week:
March 1 – 5, 2026
Performance Dates:
March 6 – 8, 2026
Mandel Hall
University of Chicago
1131 E. 57th Street
Chicago IL 60637

Character Type/Restrictions:

Character Descriptions*

 

Principals:

Marco Palmieri (tenor) and Giuseppe Palmieri (baritone) - the two Palmieri brothers who are the protagonists of the story.  Naive, enthusiastic, charming, and fun-loving, they are the epitome of idyllic tranquility, and are happiest with each other, their wives, and their gondolas, with no larger aspirations to speak of.  They share all scenes, and must play off of each other with charm and chemistry.

Duke of Plaza Toro (comic baritone/contralto) - the traditional patter role.  His pomposity is inversely proportional to his diminutive size and his diminutive pocketbook.  Attempts to carry himself with impeccable dignity and overstuffed arrogance, despite the fact that he is quite likely the poorest character we meet.  May be cast as a treble voice or a lower voice; must be smaller than the Duchess of Plaza Toro

Duchess of Plaza Toro (contralto/bass-baritone) - A larger than life personality with larger than life hair in a larger than life dress.  The Duchess demands deference and is uncompromising to all who cross her - especially her husband.  May be cast as a traditional contralto or as a bass-baritone.

Casilda (soprano) - The daughter of the Plaza Toros who is wed to the unknown King of Barataria, while simultaneously carrying on a torrid secret love affair with her family’s servant, Luiz.  Though not quite as large as some other principal soprano roles, this role showcases a wide range of emotion, displaying cold arrogance, lovesick longing, and panicked desperation,  depending on her scene partner.  Speaks with a rhotic lisp.

Tessa (soprano) and Gianetta (mezzo) - Erstwhile contadine who become the wives of Marco and Giuseppe.  Like the gondoliers, they are innocent and fun-loving, with music that is boisterous when together but their staunch devotion to their husbands manifest in tender ballads whenever they sing alone.  They are more than content with their lives, but are sorely tempted  by the possibility of becoming queen.

Don Alhambra del Bolero (bass-baritone) - The Grand Inquisitor of Spain.  Despite his foreboding appearance (and title), he is not threatening; rather, he is stodgy and formal while continually perplexed by the gondoliers, who have no idea of his importance.  He is the only character who bridges the Spanish and the Italian characters, and as such tends to make everyone uncomfortable, particularly when he makes awkward, but ultimately innocent, passes at the women.

Luiz (baritone/tenor) - manservant of the Plaza-Toros and unknowingly the uncrowned King of Barataria.  Plays the hapless comic servant in public, but transforms into a brooding and romantic leading man when alone with Casilda.  Must be able to transition seamlessly  between slapstick comedy and romance.

Comprimario Roles

Fiametta (soprano) - the de facto leader of the contadine.  Overly intense and a bit obsessive.  She believes herself destined to be Marco’s bride.

Vittoria (mezzo) - confidante and seemingly second in influence among the contadine only to Fiammetta.  She is no nonsense bordering on harsh, and brokers no fools (which is unfortunate, since all of her suitors and the men she loves are quite foolish).  She believes herself destined to marry Giuseppe.

Giulia (mezzo) - youngest and most eager of the contadine.  She is quite excited to marry a gondolier, and doesn’t particularly care which one.

Antonio (baritone) - the de facto leader of the gondoliers.  Eternally cheery and optimistic, regardless of circumstance.  He ultimately pairs with Vittoria.

Giorgio (bass-baritone) - the contrarian among the gondoliers.  Though he is presumably quite happy, he never looks it, and is as disagreeable as a gondolier can get (which is not very).  He pairs with Giulia.

Francesco (tenor) - the most flirtatious of the gondoliers, he has no problem being told what to do.  He pairs with Fiametta.

Annibale (spoken) - rather quiet and reserved as a gondolier, he comes into his own when he discovers the world of mind-numbing bureaucracy, and relishes his role as a technocrat once the gondoliers take over the court of Barataria.

Inez (contralto) - nursemaid of the infant son of the King of Barataria.  Maternal but beleaguered - we see her right before a period of torture.  As with all good G&S contraltos, she must be able to clearly explain important plot points in song.

Chorus

Gondoliers - they love life, love, and beauty, and spread joy and ease every time they are on stage.  They remain unfazed by most any trouble life throws their way, and react with the enthusiasm of golden retrievers to anything novel or interesting.

Contadine - they are the “idealized rural peasants” that were so popular in the Victorian era.  They seem to love Marco and Giuseppe, but really they just love the last gondolier they saw,  and they saw Marco and Giuseppe last.