The People vs. Broadway Cast & Crew Page
WELCOME AND THANK YOU FOR YOUR INTEREST!
In February of 2026, we will be launch what will hopefully become a new series. “The People vs…” It is a courtroom parody where the testimony and other action is delivered in song. The audience will vote on the guilt or innocence of the defendant just like in our murder shows and we’ll change the ending based on what they decide.
The first outing is “The People vs. Broadway!” In it, a Broadway star has been murdered and the players in an entirely different kind of drama have assembled in the courtroom. A defendent accused of a heinous crime. A prosecutor determined to put them behind bars. A defense attorney trying to prevent a miscarriage of justice. A judge overseeing the trial of the century. A bailiff trying to keep order in the court. A parade of witnesses telling their stories.
Four shows are currently planned for Thursday-Sunday, February 19-22. Rehearsals will begin the first week of February. Full Schedule is below.
If successful, we could do more of these shows with different musical genres, eras, or even singers such as “The People vs. Country” or “The People vs. The 80s” or “The People vs. Britney Spears.”
SAVANNAH CABARET GUIDING PRINCIPLES
- We will always strive to create a positive, friendly, supportive, and fun environment.
- We are not getting rich, going to Broadway, or winning any awards for these shows so if we can’t have fun, why are we doing it?
- We adhere to a strict “no assholes” policy.
- The only drama we want is the one we’re putting on the stage.
- We will always be on time for rehearsal, meetings, and shows.
- Being late is not only detrimental to the production, it’s inconsiderate of your fellow cast members and crew who did what they needed to do to be on time.
- We will always come prepared.
- The small amount of time we have to rehearse together must be supplemented by your own work on your own time working on your lines, lyrics, songs, and characters.
- We will pitch in to help wherever it is needed.
- Everyone does everything including promoting the show since the more butts in seats, the more most cast and crew gets paid.
CHARACTERS
Songs and characters are still in flux and may change.
All roles are open to all ages (actors must be 21 or older), ethnicities, and gender/gender identity, however the characters must present as male/female as indicated. Actors with disabilities are welcome, however please note that the theatre is on the second floor of a historic building and there is no elevator access.
Tough as nails, “don’t pee on my shoes and tell me it’s raining” type.
- Solo – I’m Still Here (Follies)
- Duet with Marsha – Take Me Or Leave Me (Rent)
- Women’s Number – For the Gaze (Death Becomes Her)
- Ensemble – Another Op’nin, Another Show (Kiss Me Kate)
- Ensemble – Cell Block Tango (Chicago)
- Ensemble – My Shot (Hamilton)
- Ensemble – Broadway Medley (various)
- Ensemble – You Can’t Stop the Beat (Hairspray)
- Killer – Solo chosen by actor/producer
Ambitious and cuthroat prosecutor.
- Solo – Schandenfreude (Avenue Q)
- Duet with Sue – Suddenly Seymour (Little Shop of Horrors)
- Men’s Number – Sit Down You’re Rockin’ the Boat (Guys and Dolls)
- Ensemble – Another Op’nin, Another Show (Kiss Me Kate)
- Ensemble – Cell Block Tango (Chicago)
- Ensemble – My Shot (Hamilton)
- Ensemble – Broadway Medley (various)
- Ensemble – You Can’t Stop the Beat (Hairspray)
- Killer – Solo chosen by actor/producer
Not the smartest tool in the shed.
- Solo – Sexy (Mean Girls)
- Duet with Will – Suddenly Seymour (Little Shop of Horrors)
- Women’s Number – For the Gaze (Death Becomes Her)
- Ensemble – Another Op’nin, Another Show (Kiss Me Kate)
- Ensemble – Cell Block Tango (Chicago)
- Ensemble – My Shot (Hamilton)
- Ensemble – Broadway Medley (various)
- Ensemble – You Can’t Stop the Beat (Hairspray)
- Killer – Solo chosen by actor/producer
Wants to be the center of attention.
- Solo – Don’t Rain on My Parade (Funny Girl)
- Duet with Judge Judy – Take Me or Leave Me (Rent)
- Women’s Number – For the Gaze (Death Becomes Her)
- Ensemble – Another Op’nin, Another Show (Kiss Me Kate)
- Ensemble – Cell Block Tango (Chicago)
- Ensemble – My Shot (Hamilton)
- Ensemble – Broadway Medley (various)
- Ensemble – You Can’t Stop the Beat (Hairspray)
- Killer – Solo chosen by actor/producer
Broadway actor accused of murder and not handling it well.
- Solo – What’s Gonna Happen (Tootsie)
- Duet with Glinda – For Good (Wicked)
- Women’s Number – For the Gaze (Death Becomes Her)
- Ensemble – Another Op’nin, Another Show (Kiss Me Kate)
- Ensemble – Cell Block Tango (Chicago)
- Ensemble – My Shot (Hamilton)
- Ensemble – Broadway Medley (various)
- Ensemble – You Can’t Stop the Beat (Hairspray)
- Killer – Solo chosen by actor/producer
Evita is a wealthy pitbull and Roxie is very odd duck. One actor will play both roles.
- Solo – Independently Owned (Shucked)
- Duet with Sweeney – Song That Goes Like This (Spamalot)
- Women’s Number – For the Gaze (Death Becomes Her)
- Ensemble – Another Op’nin, Another Show (Kiss Me Kate)
- Ensemble – Cell Block Tango (Chicago)
- Ensemble – My Shot (Hamilton)
- Ensemble – Broadway Medley (various)
- Ensemble – You Can’t Stop the Beat (Hairspray)
- Killer – Solo chosen by actor/producer
Tevye is a tough-as-nails cop who drinks a lot and Sweeny is a little weird. One actor will play both roles.
- Solo – I Am What I Am (La Cage aux Folles)
- Duet with Roxie – Song That Goes Like This (Spamalot)
- Men’s Number – Sit Down You’re Rockin’ the Boat (Guys and Dolls)
- Ensemble – Another Op’nin, Another Show (Kiss Me Kate)
- Ensemble – Cell Block Tango (Chicago)
- Ensemble – My Shot (Hamilton)
- Ensemble – Broadway Medley (various)
- Ensemble – You Can’t Stop the Beat (Hairspray)
- Killer – Solo chosen by actor/producer
Bobby is too emotional for his own good and Alexander is a jealous type. One actor will play both roles.
- Solo – Waving Through a Window (Dear Evan Hansen)
- Duet with Harold – For Her (Great Gatsby)
- Men’s Number – Sit Down You’re Rockin’ the Boat (Guys and Dolls)
- Ensemble – Another Op’nin, Another Show (Kiss Me Kate)
- Ensemble – Cell Block Tango (Chicago)
- Ensemble – My Shot (Hamilton)
- Ensemble – Broadway Medley (various)
- Ensemble – You Can’t Stop the Beat (Hairspray)
- Killer – Solo chosen by actor/producer
Nathan is a macho man with a soft side and Harold is a softie with a macho streak. One actor will play both roles.
- Solo – Dear Bill (Operation Mincement)
- Duet with Alexander – For Her (Great Gatsby)
- Men’s Number – Sit Down You’re Rockin’ the Boat (Guys and Dolls)
- Ensemble – Another Op’nin, Another Show (Kiss Me Kate)
- Ensemble – Cell Block Tango (Chicago)
- Ensemble – My Shot (Hamilton)
- Ensemble – Broadway Medley (various)
- Ensemble – You Can’t Stop the Beat (Hairspray)
- Killer – Solo chosen by actor/producer
Rose is tried of her thankless job and Glinda is secretly cutthroat. One actor will play both roles.
- Solo – Rose’s Turn (Gypsy)
- Duet with Daisy – For Good (Wicked)
- Women’s Number – For the Gaze (Death Becomes Her)
- Ensemble – Another Op’nin, Another Show (Kiss Me Kate)
- Ensemble – Cell Block Tango (Chicago)
- Ensemble – My Shot (Hamilton)
- Ensemble – Broadway Medley (various)
- Ensemble – You Can’t Stop the Beat (Hairspray)
- Killer – Solo chosen by actor/producer
OUTLINE
Act 1, Scene 1:
Voiceovers of reporters will establish the basics of the crime and the trial, which is starting the next day. The ensemble will “build” the set (basic tables, judge’s bench, witness chair, etc.) while singing “Another Op’nin, Another Show” from Kiss Me Kate.
Act 1, Scene 2:
We meet the defendant, Daisy Rose Lee, who is telling her attorney Sue how stressed she is about the trial starting tomorrow, comparing it to auditioning for a show while singing “What’s Gonna Happen” from Tootsie.
Act 1, Scene 3:
The trial begins and the Judge Judy Gavelstein is introduced. She’s a tough as nails, seen it all type who sings “I’m Still Here” from Follies.
Act 1, Scene 4:
The prosecutor, Willie Proveitt, gets up to make his opening argument by singing “Schadenfreude” from Avenue Q.
Act 1, Scene 5:
The defense attorney Sue Diligence shows how dumb she is as she makes her opening argument by singing “Sexy” from Mean Girls.
Act 1, Scene 6:
The police detective Tevye Javert testifies about the crime scene, except he’s a drunk who goes off on a bit of a tangent by singing “I Am What I Am” from La Cage aux Folles.
Act 1, Scene 7:
The bailiff Marsha Law is sick and tired of Judge Judy and expresses it by singing “Don’t Rain on My Parade” from Funny Girl.
Act 1, Scene 8:
The composer Bobby Hart testifies for the prosecution against his will and explains that he saw the defedant through a window as he sings “Waving Through a Window” from Dear Evan Hansen.
Act 1, Scene 9:
The leading man of the show, Nathan Brice is a macho man who shows his soft side during his testimony by telling the courtroom that he was in the theatre that night instead of at home because his “friend” Bill is off at war as he sings “Dear Bill” from Operation Mincemeat.
Act 1, Scene 10:
The producer Evita Valjean testifies about Daisy’s motive for the murder by singing “Independently Owned” from Shucked.
Act 1, Scene 11:
The stage manager Rose Doolittle testifies that she saw the murder being committed and the only reason Daisy didn’t see her is because she’s basically “invisible,” which she explains by singing “Rose’s Turn” from Gypsy.
Act 1, Scene 12:
The prosecution rests and the defendant is sent back to prison where she and the other women explain how they got there as the entire ensemble performs “Cell Block Tango” from Chicago.
INTERMISSION
Act 2, Scene 1:
I’m not sure how to set this up yet, but I want to open with the ensemble performing “My Shot” from Hamilton.
Act 2, Scene 2:
The prosecutor Willie and the defense attorney Sue will talk about their romantic past by singing “Suddenly Seymour” from Little Shop of Horrors.
Act 2, Scene 3:
Judge Judy and the bailiff Marsha will talk about their romantic past by singing “Take Me As I Am” from Rent.
Act 2, Scene 4:
The men of the ensemble will play various characters testifying for the defense by singing “Sit Down You’re Rockin’ the Boat” from Guys and Dolls. The women of the ensemble will sing on the choruses.
Act 2, Scene 5:
The ushers Roxie Todd and Sweeny Bowles will testify for the defense by singing “The Song That Goes Like This” from Spamalot.
Act 2, Scene 6:
The women of the ensemble will play various characters testifying for the defense by singing “For the Gaze” from Death Becomes Her. The men of the ensemble will sing on the choruses.
Act 2, Scene 7:
The director Alexander Higgins and the choreographer Harold Hamilton will testify for the defense and express their love for the defendent Daisy by singing a duet version of “For Her” from The Great Gatsby.
Act 2, Scene 8:
The understudy Glinda Von Trapp and the defendant Daisy will settle their feud by singing “For Good” from Wicked.
Act 2, Scene 9:
The judge will give the jury (the audience) instructions and tell them to vote on Daisy’s guilty or innocence. This will be done by a scanning a QR code and picking the killer from a list of the cast members. During the voting, the ensemble will sing a medley of Broadway songs that everyone has heard a billion times and nobody cares about anymore so they don’t have to pay attention while they’re voting. Would love to get suggestions for this.
Act 2, Scene 10:
When the medley is over, the bailiff will get a piece of paper from me that will say “Guilty” or “Not Guilty” on it. I will also tell the bailiff who the audience picked as the killer and the bailiff will let that person know (subtly). The judge will ask “Is the jury foreperson ready to read the verdict?” The bailiff will pick someone out of the audienc randomly to by the foreperson and they will read the verdict. At that point, one of two things will happen:
1. Daisy is found guilty and will deliver a short monologue confessing to the crime and will sing a predetermined song chosen by the actor and me.
2. Daisy is found not guilty and the real killer will stand up and confess that they are the real killer by delivering a short monologue and singing a predetermined song chosen by each actor and me.
So, every actor in the show will have a short monologue and their own song prepared, but only one person will get to do it and they will not know until moments before they have to do it!
Act 2, Scene 11:
I’m not sure how to set this up yet, but we will end the show with “You Can’t Stop the Beat” from Hairspray.
ROLES, REQUIREMENTS, SALARY
All roles will be paid a minimum of $75 per performance (total of $300 for 4 performances) and are eligible to participate in the bonus pool.
CREATIVE/CREW
- Light Designer – $150 flat fee
- Light Operator – $40 per performance ($160) plus profit share
- Sound Operator – $50 per performance ($200) plus profit share
- Photographer – $150 flat fee (for cast/character photos and show photos)
SHOW BONUS STRUCTURE
All cast members are eligible for being included in the show bonus pool.
IF the show makes a profit, 50% of profits from tickets sales less producer costs will be divided equally amongst the cast and crew participants in the pool (estimated to be 15 people for this show).
For illustrative purposes only:
- Gross Profits: $10,000
- Expenses: $5,000
- Producer Costs: $1,000
- Net Profits: $4,000
- 50% of Net: $2,000
- 50% of Net Divided by 12 participants: $166 each
Total compensation is therefore dependent on ticket sales, but paid cast and crew members will receive their base pay even if the show loses money.
SCHEDULE (subject to change)
Note: some things like costume fittings and set build will be added based on availability of needed cast and crew
| Various | January 26-February 6 | Various | Club One |
1:1/2/3 Music/Character Rehearsals (done in person, scheduled by appointment: Link to be posted after casting Judge 1 Hour Solo |
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| Tuesday | February 3 | 6:30-9pm | Club One | Table Read | All Cast | |
| Wednesday | February 4 | 6:30-10pm | Club One | Group Number Vocals, Staging, Choreo | All Cast | |
| Saturday | February 7 | 2-6pm | Club One | Rehearsal | All Cast | |
| Sunday | February 8 | 2pm-6pm | Club One | Entire Show, Blocking, Staging, Choreo | All Cast | |
| Monday | February 9 | 6:30-10pm | Club One | Group Numbers Review, Choreo Review | All Cast | |
| Tuesday | February 10 | 6:30-10pm | Club One | Run Through on Book | All Cast | |
| Wednesday | February 11 | 6:30-9:00pm | Club One | Run Through on Book | All Cast | |
| Saturday | February 14 | 2-5pm | Club One | HOLD FOR REHEARSAL IF NEEDED | All Cast & Crew | |
| Sunday | February 15 | 2-6pm | Club One | Run Through Off Book w/Line Calls, Lights, and Sound (no mics) | All Cast & Crew | |
| Monday | February 16 | 6:30-10pm | Club One | Run-through Off Book w/Lights, Sound, Mics | All Cast & Crew | NO CONFLICTS |
| Tuesday | February 17 | 6:30-10pm | Club One | Tech/Dress/Photos | All Cast & Crew | NO CONFLICTS |
| Wednesday | February 18 | 6:30-10pm | Club One | Final Tech/Dress | All Cast & Crew | NO CONFLICTS |
| Thursday | February 19 | 5-10pm | Club One | Call time 5pm; sound check 5:30pm; doors 6pm; show 7pm | All Cast & Crew | NO CONFLICTS |
| Friday | February 20 | 5-10pm | Club One | Call time 5pm; sound check 5:30pm; doors 6pm; show 7pm | All Cast & Crew | NO CONFLICTS |
| Saturday | February 21 | 1-6pm | Club One | Call time 1pm; sound check 1:30pm; doors 2pm; show 3pm | All Cast & Crew | NO CONFLICTS |
| Sunday | February 22 | 1-6pm | Club One | Call time 1pm; sound check 1:30pm; doors 2pm; show 3pm | All Cast & Crew | NO CONFLICTS |