Chrono Trigger the Musical

Crono is the main character, and yes, he talks in this adaptation. The gimmick of silent protagonist on stage worked once with Frisk, but wouldn’t work here. A pretty typical Shonen protagonist, determined to accomplish great things in life despite his lack of social standing. Preferred Range: Tenor. Must be able to belt.

The princess of Guardia, off on an adventure to get away from her overbearing father and see the world. Full of hope, energy, and optimism, Marle may not be the brains of the adventure but she is most certainly the heart. Basically a Disney princess (because Disney princesses actually do shit). This role also doubles as Queen Leene, because the two of them are the spitting image of one another (due to being in the same family line.) Preferred Range: Mezzo-soprano.

A brilliant inventor from the modern day. She and Crono have known each other for a while, and have a brother-sister relationship (that could be more - Crono’s more interested in Marle to be fair). Witty and flippant, Lucca is easily the brains of the party, inventing or figuring out ways to travel through time and save the world. My scratch tracks give Lucca a German accent, but an accent is optional when auditioning for the character. Preferred Range: Soprano. NOTE: Lucca’s Theme, because it goes so fast, is one of the most challenging songs in the musical.

A loyal knight from the middle ages, cursed to have the head of… well, a frog. Wants to be a hero, but ultimately his heart is against violence for violence’s sake. Comically serious, and a general badass. Preferred Range: Baritone.

A robot from the future, his memory banks are damaged. Nevertheless, ever grateful to Lucca, Marle, and Crono for repairing him, he seeks to provide assistance any way he can, even in the darkest hours. Humans, to him, are more of a family than machines. Preferred Range: Tenor/Countertenor

Ayla is a high-energy cavewoman from prehistory, the leader of the Ioka tribe through virtue of strength alone. A hard hitter and hard partier, she takes an immediate shine to Crono and his friends due to their strength. As such, she’s willing to beat the hell out of anyone in their way to help them save the future - just as soon as her world is saved from the Reptites. Preferred Range: Alto-mezzo.

Magus, the Fiendlord of the middle ages, is a powerful wizard. Dark and melancholic in temperament, he refuses to let anything stand between him and avenging his lost happiness. To this end he has assembled an army of monsters known as Fiends (or Mystics) to wipe out mankind. Recommended Range: Bass-Baritone.

Lavos is a parasitic alien life form that landed on earth millions of years ago, and in the year 1999, destroyed the planet as we know it. In the game it doesn’t talk, but in the musical, it has three voices. This one is an airy, higher voice, likely to be the one with the most diction (as the others are bass or just plain weird.) Preferred Range: Soprano-mezzo.

This role will double as Schala.

The daughter of Queen Zeal, and princess of the Kingdom of Zeal, Schala possesses intense magical power. She is, however, filled with remorse and doubt, caught between the need to serve her mother and the desire to protect the people she cares about… or even bystanders. She’s nice like that.

NOTE: Lavos’ battle themes involve singing really fast, and belting, and as such are among the most difficult in the musical.

An accomplished blacksmith in the modern day. Melchior is secretly a guru from the Days of Antiquity, more specifically, the Guru of Life. Basically everyone’s cool grandpa, his only enemies are the corrupt nobility of Zeal - everyone else, even the fiends, respect his talent. Recommended Range: Baritone-tenor.

The Chancellor is a kind and just man, if a bit overmatched by his duties to Guardia. He spends most of the musical locked in a chest by Yakra, who impersonates him to try and destroy the royal Guardia line. Basically, think Disney villain (along the lines of Jafar). Preferred Range: Tenor/Baritone

An old man at the End of Time, secretly one of the ancient gurus of Antiquity - the Guru of Time. Content now to sit back, knowing more than he is willing to share, but always willing to point Crono and his friends in the right direction, knowing he’s well past the years of doing anything himself. Recommended Range: Baritone-tenor.

Lavos is a parasitic alien life form that landed on earth millions of years ago, and in the year 1999, destroyed the planet as we know it. In the game it doesn’t talk, but in the musical, it has three voices. This one is really, really deep. (For reference, when testing out for this, one person lowered their voice by 12 semitones to get that deep.) Preferred Range: Bass. NOTE: Lavos’ battle themes involve singing really fast, and belting, and as such are among the most difficult in the musical.

Lavos is a parasitic alien life form that landed on earth millions of years ago, and in the year 1999, destroyed the planet as we know it. In the game it doesn’t talk, but in the musical, it has three voices. This one is basically mad, alien screeching, along the lines of Mike Patton in The Darkness. This role will also double as the Mammon Machine’s noises. Preferred Range: Baritone

NOTE: Lavos’ battle themes involve singing really fast, and belting, and as such are among the most difficult in the musical.

Magus’ second in command, Ozzie is an overweight, loudmouthed, and frankly, overmatched general. While he does have some skill animating the dead and creating an impenetrable barrier, he’s not especially smart. What he lacks in brains, however, he makes up for in devotion to Fiend supremacy. Recommended Range: Tenor-baritone, more of a character actor than a singer.

A knight of Guardia, devoted to the cause. Also Glenn/Frog’s mentor, who sees potential that not even Glenn does. Unfortunately, he is deceased - slain by Magus for opposing him. Preferred Range: Baritone.

An old man left alone with his own mind in the distant future, secretly one of the Gurus of Antiquity - the Guru of Reason. Brilliant, albeit not immediately apparent in life, and devoted to stopping Lavos, Belthasar is wise, yet more than a little kooky. Preferred Range: Tenor-baritone

This role doubles as the voice of Nu.

A general of the kingdom of Zeal, Dalton is proud, arrogant, and crass. Seeing himself as superior to any “lesser people” (read: Not Dalton), Dalton is power hungry, but tends to cling to the plans of others and mooch off them. Currently he intends to seize immortality by hanging around Queen Zeal’s plan to use the power of the Mammon Machine. Preferred Range: Baritone.

Queen of the Reptites, fiendishly smart and clever. Renowned for her psychokinetic abilities, she aims to completely wipe out the human race and let Reptites rule the world. Preferred Range: Mezzo-alto, character voice. NOTE: Azala’s song contains many tricky octave jumps, and is one of the more difficult songs in the musical.

The queen of her self-named kingdom, Zeal has become mad with power, casting aside all empathy, even for her children, in a bid for immortality. She eventually goes even further off the deep end, acting as Lavos’ mouthpiece. Preferred Range: Alto

They call him Gato. He's a robot creation of Lucca's that sings. And punches people from his belly.

Taban is Lucca’s father, an inventor of some skill. It pales in comparison to Lucca, but he couldn’t be a prouder father. At home, though, his relationship with his wife isn’t nearly as sunshine and rainbows - one of his inventions left her crippled, quiet, and reclusive. NOTE - German accent technically optional, but I imagine that’s where Lucca’s came from (if she has one.) Recommended Range: Baritone-bass.

The king of Guardia, in the modern day he is a stern ruler and father. Overprotective and quick to anger due to the death of his wife, he and his daughter Nadia/Marle clash often. The King Guardia in the middle ages is much kinder, however, as his wife, Leene, is still alive. King Guardia is the one exception to the “cannot play another character while on stage” rule, as at the end, the King Guardias of the Modern and Medieval ages are on stage together. Preferred Range: Baritone-bass.

An adventurer who spends most of his days hanging around taverns and drinking soda. While capable, his laziness and love of good drink keep him from doing as much as Crono and company. Preferred Range: Baritone.

The elder/impromptu leader of humans from the future. Though his duty is to keep his people alive, with the human race dying out and technology slowly failing, he’s slowly losing his hope. This role doubles as all the village elders through history. Preferred Range: Baritone

Kino is a young man from prehistory who lives alongside Ayla, and is very close to her. So close, in fact, he gets jealous when Crono and his party show up. Eager to prove himself, yet often lacking in the physical might to do so. Preferred Range: Tenor-Baritone

A big, dumb, triceratops dinosaur who acts as Azala’s bodyguard. And is… okay at it. Recommended Range: Bass-baritone.

A general in Magus’ army, unmatched with the sword. A nice mix of bloodthirsty and honorable, Slash enjoys a good fight more than anything, but few in the Middle Ages can hope to match him. Preferred Range: Baritone.

Crono’s mom. Not given a name in game. What a sad state of affairs. Wakes up Crono and tells him to go have fun at the fair. Preferred Range: Mezzo-alto.

Lucca’s mother. Once a lovely, exuberant woman, she was crippled in an accident ten years prior to the modern day. This turned her quiet and withdrawn, loving yet distant to her family. Preferred Range: Mezzo-alto.

The computer in charge of the robots in the far future. She has determined that the ruined planet can eventually live again, only if organic/human life is completely destroyed. Preferred Range: Alto-mezzo. NOTE: Mother Brain shares a battle theme backing track with Azala, and thus shares the octave jumps.

A robot from the same model series as Robo. More advanced, and “upgraded” by Mother Brain, her primary directive is now the extermination of human life. She and Robo had the closest thing to robot love that robots can have. Recommended Range: Mezzo-soprano.

Spekkio is Spekkio. Spekkio is the master of war, teaches magic, and changes form based on how strong or weak you are. Spekkio needs no explanation for this, Spekkio just is, and is gonna hang out at the end of time for a bit. Preferred Range: Any not Soprano and not Bass - Spekkio’s number is jazzy and bouncy, so someone who can do jazz is preferred.

Zombor is the corpses of two soldiers stacked on top of each other, plus whatever bones Ozzie had lying around. They pop up during the battle with Ozzie and are destroyed soon afterwards. Preferred Range: Generally lower.

Twin spirits of the Masamune blade. They’ve been waiting throughout history for one worthy enough to wield their power. They take the form and mannerisms of young boys, and when not “on duty” tend to be flippant and lackadaisical. Because they’re twins, the voices should sound very similar, so sessions to learn/match voices will be done if two separate actors end up cast. Recommended Range: Mezzo-tenor.

A sorcerer and general of the Fiendlord’s army. Though Flea is male, he appears feminine enough that he could be played by either gender. In fact, he’s not above using trickery and sexuality to make people uncomfortable before trying to kill them. Preferred Range: Mezzo-Tenor.

A young boy from Antiquity, Schala’s brother and Zeal’s son. Sullen and melancholy, he has a deep connection to magic, and is able to sense when people will die. He wants to get away from the tyranny of his mother, but lacks the power to. Preferred Range: Mezzo-Tenor.

Just want to show off your singing skills/don’t think you can do a main part? Here you go!