That Dallas Opera Sure Knows How To Get Your Attention

You’ve just got to love the Dallas Opera even if you don’t know La Boheme from The Music Man. To handle some of the casting requirements, the DO’s Suzanne Calvin occasionally sends out releases making the most amazing requests. She emphasizes that singing is not a requirement.

So, this afternoon the latest request hit the email box seeking “A Super Hero of the Opera!” Immediately, the MySweetCharity elves started heading to Suzanne’s office with ideas of being the Dallas Opera’s version of The Avengers or The League of Extraordinary Gentlemen.

Dallas Opera wish list supernumerary

Then one of the elves got past the top headline and read out loud to the rest,

“Warm bodies (with biceps, pecs and nimble brains) needed urgently for the Dallas Opera’s season opening production of Aïda — physically fit men, age 18-50. Paid positions available. Must be willing to appear shirtless. No singing required.”

Don’t know which part was the downer for the MSC elves, but they all headed back to their roll-top desks and quill pens.

However, if you’ve got the requirements to be a supernumerary, you need to fill out the form and send it in.

Or, if you would like a gander at one of Suzanne’s releases, follow the jump! Shoot, makes you want to go to Aïda, just to see the local hunks!

Photo provided by Dallas Opera's Suzanne Calvin




Warm Bodies (with Biceps, Pecs, and Nimble Brains)

Needed Urgently For the Dallas Opera’s Season Opening

Production of AÏDA – Physically Fit Men, Age 18-50


Paid Positions Available

Must be Willing to Appear Shirtless

No Singing Required

             DALLAS, SEPTEMBER 11, 2012 – The Dallas Opera needs quite a few good men, aged 18 to 50; especially those physically fit and willing to appear onstage without a shirt.

            Casting is already underway for the supernumerary roles in Verdi’s opera, AÏDA, slated to open the season in late October.  Staging rehearsals are tentatively scheduled to begin on October 1st and those selected must be available for all six performances (Oct. 26, 28, 31, Nov. 3, 9, and 11, 2012).  Those interested should visit, while those in need of additional information should contact the Dallas Opera’s helpful stage management staff at [email protected].

A supernumerary is a non-speaking, non-singing, modestly paid extra—particularly vital in all those spectacular opera crowd scenes.  Supernumeraries, or “Supers” as they are commonly known, are full participants in the action onstage and lend energy and power to the productions in which they appear.  They act alongside some of the finest singers in the world today and interact with some of our most famous stars, helping them to give their very best performances.

Supernumeraries are usually non-professionals with an interest in acting, whether comedy or drama, and a love of music and theater.  Becoming a super not only allows you to don wigs and costumes in a grown-up version of “playing dress-up,” it puts you onstage in the heart of the action where you bring your character to life for an audience of your family, friends, co-workers and peers.

Becoming a Super broadens your horizons by showing you the inner workings of creating onstage performances, as well as the backstage laughs.  But it’s not all fun and games.  An opera company supernumerary must be alert to the directions of stage managers and choreographers, attentive to detail, patient while waiting in the wings, and punctual for each and every rehearsal or performance call.

In short, it requires a special someone who can rise to the occasion and become a real SUPER HERO OF THE OPERA.


            Right now, the Dallas Opera is urgently seeking physically fit men, aged 18 to 50 to portray guards, torchbearers, fanbearers, and other characters from Ancient Egypt (Think The Scorpion King).  You will not be asked to sing.  You will, however, be asked to remove your shirt and appear onstage topless and possibly shoeless.  After entering your information on the application form, you will be notified once casting choices have been made.

Face it, sitting on the couch watching re-runs night after night will not impress your future grandkids or make you a 21st century stage legend.  This, on the other hand, might.  Like the now-famous Simon Deonarian, who tumbled off the set during the Metropolitan Opera’s 2002 premiere of Prokofiev’s War and Peace and into a permanent spot in opera history (please don’t try this at home).