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Casting Call

Lone Star Lyric announces auditions for 2024 Summer Festival. Submit request & materials by January 29 to secure an audition time. (*Submit head shot/resume separately in specified formats and fields provided.)

Principal & Featured

Singing Actors of all voice types.

All roles open.

Saturday February 3, 10a-3pm

Call Backs: TBD

Lone Star Lyric
1201 Hyde Park Blvd (@ Yoakum)
Houston, TX 77006

Kelli Estes, Director

Rob Hunt, Music Director

Jim Elliott, Lighting Design

Alicia Chew, Costume Design


Performances at Moody Center for the Arts at Rice University, with chamber orchestra.


Rehearsals: June 3-26 (as called)

    Mon-Fri 6p-9:30p, Sat 10a-3p, Sun 2p-8p
Performances: June 27-29
Thurs/Fri at 7:30p, Sat at 2p (reception and talkback)


All roles paid. (fee includes rehearsals, performances and promotional events)

Internship positions available.*


- 2-3 contrasting arias

- 1 in English, post WWII/Contemporary

- Actors will read from sides, provided at the   


(Pianist will be provided)


Performers of all ethnic and racial backgrounds are encouraged to attend.


Please do not apply if you cannot be available for all festival dates.  No housing provided.


Founded in 2006, Lone Star Lyric is an independent, non-profit opera and lyric theater presenting organization committed to showcasing Texas-based artists, premiering new chamber works by living American composers and exploring the untapped repertory of lyric composers of the past.

LSL Summer 2024 - Auditions
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Voice Type
10:00 AM

We look forward to hearing you!




An opera in two acts.

Music by J. Todd Frazier, Libretto by Michael Remson

Sung in English, Houston premiere.


In general, this is a story about advances in medicine meeting, in an unprecedented way, ethical and spiritual challenges, through this most dramatic and transformative procedure – a heart transplant. 

More specifically, it is a story of a man who is extremely ill, and who's only chance to live, as he sees it, is through another human’s tragic death. He has already lost a child five years before and subsequently his relationship with his wife deteriorated, so he has no one, and though sick, and afraid of death, is conflicted, and does not know if he deserves or wants a second chance.

And because this procedure impacts so many, those who receive a second chance, those who provide a second chance, and everyone supporting the process, it is also the simultaneous stories of:

  • a donor’s mother struggling to come to terms with what has just happened to her family and whether it is spiritually right as a Christian to donate her young daughter’s heart, asking the hospital priest, "what does God want me to do?" and "Father, can't you decide for me?"


  • a doctor’s training being put to the test, being brought to the point where medical skills and textbook definitions stop, where he must put his faith and experience in the art of his field.

  • a resident, who, because of her heritage from Japan and its Shinto influence, believes that taking a heart would be like taking a soul and would affect the afterlife. She struggles with what it means to put one’s heart in another, what her role should be in assisting the doctor, and how far her faith will allow her to be part of the process.


For the procedure to be successful and for life and spirit to be renewed, all the characters, reacting under the most extreme situations, are required to take a leap of faith - they are forced to confront their most personal beliefs and open themselves to new interpretations. The opera tells the story of these interdependent/interlocking leaps of faith.


  • Donor, age 13 (soprano voice)

  • Mother, age 40’s (lyric soprano)

  • Nurse 1, 2, Orderly, any age (sopranos or mezzos and tenor)

  • Wife of Patient, age 50’s (lyric soprano)

  • Resident, age late 20’s (high mezzo, preferably of Asian descent)

  • Priest, age 30’s (tenor/high baritone)

  • Doctor, age 40’s (baritone)

  • Patient, age 60’s (bass baritone)

  • *Chorus, all ages, (SATB, student internship roles)


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