"When it comes to those casting calls, how do you guys go about convincing the skeptical that a chorus role is just as awesome and fun as a principal?"

 

You don't.  When it comes to these people (and I have been one of them at points), they will not be happy with a chorus part, and you will have a grumpy chorus. 

 

My only suggestion would be to play the music of the chorus for the auditioners to show them the differences with the movie.  Show them the fun they could have.

 

During the question/answer portion of my auditions I ask if they've (in fact) even read the script/book, what they're interested in, if they'd take a smaller role, if they'd play a male role (we're female heavy, like most CT's), etc. 

 

Now, from the opposite side... I once had a director who said she wouldn't cast someone who had been a lead in a couple shows as part of the chorus because they would steel focus. All that star power or something. I never understood that one.

What actually happened during that period was we got over all the drop out phase, normally that is inherent in comeatre production. The cast actually found their own level, like water & the roles were assigned. We had about 8 drop outs before the roles assignments. But although we needed only 17 on the Line, the 24 remained & we utilised the extras to pad out the numbers during the show. The leads realised that there was a number of others, waiting in the wings, to step up. To the point only 2 of them actually pulled the pin, because they landed paid dancing jobs. One got a call up for the follies in Paris & the other got into a National theatre tour. Two of the extras slotted into their parts very well!{one of these extras, who stepped up, actually went on to win the "Storm the stage' national competition afterwards. the other lass is now a TV show presenter in the eastern states & just completed a tour of her successful one woman show. [not saying it was anything to do with 'ACL' but I feel it was all down to their attitude!]}

The production reminded me of the times I worked backstage on Ballet productions. I was always intrigued by the those that would hang about in the wings, watching every move of the other dancers, who were further up in the pecking order. I used to think they were really interested in the dance performance. {Stupid me! when in fact they were  secretly wishing the prima ballerinas to mess up & they would get a chance to more up the totem pole.[Ballet Barre]} 

 

You are dead on about Sweeny with the movie elimininating the chorus and the stage version being chorus heavy.  Sondheim is the toughest and also the most rewarding.

 

I agree you can't ask those who said they want a lead or nothing.  You have to figure, "their loss" and try to find a chorus elsewhere.

 

One thing that will help in the long run is to give your chorus characters names for listing in the program. For Sweeny you may have "Martha the Cleaning Woman" or "Bernie the Cobbler", "One-Eye Bob", etc.  It gives each a sense of identity and helps them to build a character which is much more fun to watch.  It gives them more to do, and the costumer more ideas.

 

I think one of the turn-offs is that often in the program is "Chorus" followed by a string of a dozen or more names.  Give each chorus member an identity and their own space in the program.

I did what someone mentioned I had the chorus come up with a character. They had to have a job, and a name. There were some chorus who even decided to beomce a "Family"

This DID help the chorus become real and gave them a sense of character instead of just a body on a stage.

It also helped the costumers come up with costumes for the chorus.

Our Pirelli became Chorus in second act also (change of costume of course) which helped as he was an AWESOME tenor!

I had the opposite experience than you. I only had four people out of over 100 say they would NOT take the chorus role.

In my advertising for casting I did put emphasis on the Chorus. I even listed it before the leads and supporting cast.

I also in my speech at auditions stressed the chorus. I was actually pickier about who was in the chorus than who got Sweeney!

In the end, it was the closest cast I have ever worked with. We did the show with 18 people and it sounded like 40.

We also went away from the big rolling cube and made a static set with a rolling "Truck" that rolled under the set and could be changed to the Pie Shop and the Parlor. Pirelli didn't have a wagon, it was two chairs and a small table with his sign covering the tunnel where the truck came out.

It was based on a design from an opera house in Milwaukee. But we made it our own.

I actually would give anything to have that cast back and do it again. And that is really the first time in my 20+ year history of directing that I would ever think of doing a show again with the same cast. :)