LONNY BARNETT - the dual role of omnipotent narrator and being the secondary male lead character within the story, with a storyline that includes a bro-mance with Dennis. He is a charming and funny guy who gets along with everyone. Cast an unflappable, magnetic performer with a strong tenor voice who can sing, act and has a great sense of humor.
JUSTICE CHARLIER - the owner of the Venus-A-Go-Go Dance Club. She’s a smart woman who looks out for her girls. Cast a strong young lady with a warm, nurturing nature and a rockin’ singing voice.
DENNIS DUPREE - the owner of The Bourbon Room. He’s a bit older than the others and a little burnt out on the party scene. Cast someone with a big presence, strong acting skills and a good voice. Dennis should pair flawlessly with Lonny as the other half of their bro-mance.
DREW BOLEY - “just a city boy, born and raised in south Detroit” who moved to L.A. to rock. Unfortunately, every rocker has to do his time, so Drew barbacks just to make rent. While the music and setting of the show is pre-1980s, Drew is a classic musical theatre archetype – the nice guy with big dreams. The role requires an experienced performer with a solid tenor voice who can convey both a sweet, charming quality and fit the bill as a rocker.
SHERRIE CHRISTIAN - the female romantic lead and, like Drew, is a musical theatre archetype – a sweet, small-town girl moves to the city to pursue a brighter future. She hopes to get her break in the acting business despite her parents’ obvious disapproval. This is a perfect role for a performer a strong voice and solid acting skills. She should also pair well with Drew.
SHERRIE'S FATHER - the classic disapproving dad. Cast a young man who can play stern and imposing and someone who is comfortable singing a few solos.
SHERRIE'S MOTHER - more nurturing and sympathetic. Cast someone with maturity, warmth and a nice singing voice. Make sure that Sherrie’s Father and Mother pair well together.
JOEY PRIMO - a secondary character with several great stage moments, including the classic line, “I poop money.” Cast a young man who is fearlessly willing to make a total fool of himself and then sit back and enjoy his performance.
ANITA BATH - the Mayor’s assistant who refuses to compromise on what she thinks is right. She leads a protest to save The Bourbon Room and, in the process, falls in love with Franz. Cast a young lady with a strong voice and who can convey a real sense of protest and conviction.
MAYOR - chooses the money over the music and is more than willing to sell himself and his city out to the highest bidder. This role can be played by a guy or a girl; just make sure your actor has a strong speaking voice and is comfortable making bold choices.
HILDA KLINEMAN - a German real estate developer who has her eyes on turning the Sunset Strip into a strip mall. With her son Franz by her side, Hilda won’t take no for an answer. Cast a young lady with a strong speaking and singing voice who can make bold acting choices and has a great sense of comedic timing.
FRANZ KLINEMAN - the son of the overbearing Hilda, and he dreams of running a confectionary shop back in Hamburg. Cast a young man with a sweet demeanor, a good singing voice and solid acting skills.
STACEE JAXX - the comedic villain of the show, is a bona fide rock star who doesn’t quite realize through his selfish and wild antics that he’s reached the peak of his career. Cast a charismatic performer with an excellent voice who can command the stage and make a self-absorbed rock star both villainous and hilarious.
WAITRESS #1, #2 and #3 - work at The Bourbon Room and exemplify the era of 1980s rock with style and flair. Cast three young women who sing and act well as a unit.
PROTESTOR #1, #2 and #3 - a group of die-hard rockers helping Anita save the Sunset Strip. Be sure to remind your troops that these ensemble parts are the bedrock for the show. They must capture the need and desire to keep rock alive and kicking. Cast dynamic speakers.
THE BAND (Lead Guitarist, Second Guitar, Bass, Piano and Drums) - members of Arsenal, once led by Stacee Jaxx but are now separating from their front man. You can tackle this casting in two ways. If you have cast members who are proficient musicians, let them rock out! If you don’t have musicians on hand, your performers can easily act like they’re playing the instruments (these roles could be played by either guys or girls and could also perform in the ensemble). Either way works just fine as long as they can sell the spirit of the music.
CONSTANCE SACK - an inquisitive reporter who interviews Stacee Jaxx just as he’s about to part ways with his band. Cast a performer for this non-singing role who can infuse this curious reporter with energy and poise.
JA'KEITH GILL - becomes Drew’s agent and in the process, destroys Drew’s rock star dreams by forcing Drew to join a boy band. This is a nice featured role that can be played by a male or female and requires reasonable acting and singing skills.
THE LADIES OF THE VENUS-A-GO-GO CLUB - should be cast as an ensemble who can carve out their own individual personalities within a fun, unified company. Cast young ladies with nice singing voices and solid movement skills.
SLEAZY RECORD PRODUCER and a SLEAZIER RECORD PRODUCER - These roles require a bit of singing but are mainly a sight gag and can be played by boys or girls.
PRODUCER (Orion) - sees Sherrie as the next Molly Ringwald and offers her his card (which is a picture of his beach house in Malibu). This is a non-singing role.
ROCKER - a featured role who hangs at The Bourbon Room with Joey Primo. This is a great role for one of your guys who has a strong speaking voice but may not have the strongest singing voice.
RIOT POLICE, WOMAN IN A SEQUIN GOWN, GIRL and BARTENDER - cameo roles, some with few speaking lines, and all feed into the vivid world of the Sunset Strip of the 1980s. Woman in a Sequin Gown is a sight gag to punctuate Dennis’s impromptu Academy Award acceptance speech—no singing or speaking is required. The Riot Police break up the protestors physically at the top of Act 2. Cast these roles from your ensemble using a combination of both boys and girls. Furthermore, the ensemble is used throughout to support the action and build the environment of the play.