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August 7, 2018

Cats - EDPA - Dancers
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Region: Eastern

Seeking:Munkustrap: Male, 25-35, the son of Old Deuteronomy, who takes the lead in his absence. Sings 'Old Deuteronomy' and 'The Pekes and the Pollicles'. This role requires an excellent baritone singer with a commanding presence. Very good movement skills required. 
Ideally over 6' tall. Rum Tum Tugger: Male, 18-35, A charismatic and anarchic character. He is notoriously hard to please and sets himself apart from others by trying to be different. He always does the opposite of what is expected of him. Rum Tum Tugger is deviously self-centered and relishes in being so. Must have strong dance skills. Funk and street styles a plus. Mr. Mistoffelees: Male, 20-32, Mr Mistoffelees is the magician - impish, with an expansive personality. Must be a phenomenal and exciting principal dancer with outstanding classical technique as well as contemporary and hip hop familiarity. Gymnastic skills and tricks a plus. Good high baritone vocals. Ideally under 5' 8.


Savannah Repertory Theatre 2018-19 Season - EPA - Actors, Singers
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Region: Eastern

Seeking:DIARY OF ANNE FRANK Performances are Thursday, Friday, Saturdays at 8:00 pm and Sundays at 3:00 pm Anne Frank (Female) 13 -15; Otto and Edith’s youngest daughter; lively, curious, intelligent, with an innate sense of cheeky humor; able to remain optimistic in the face of extreme challenges, yet clear-eyed about the situation when required or when nightmares strike in the middle of the night; a budding sexuality feeds her curiosity and yearning; she has the vivid imagination of a born writer. Otto Frank (Male, 40-60) Cultured, contemplative, practical and sensitive; head of the Frank family and of the ‘annex family’; comfortable with being in charge and blessed with great patience; Anne is very close to him; he is never quite sure that he has done the right thing by hiding his family rather than emigrating, but he never shows that to the others; a natural leader. Edith Frank (Female, 35-60) Kind, caring and dedicated; she loves her children, but because of her natural reserve and fears, is not as close to her daughters as is her husband; this hurts her deeply; along with her husband, she often serves as peacemaker within the attic; keeps busy with chores, as if to fend off the truth of their situation with activity. Margot Frank (Female) 16-18; takes after her mother with a humility, reserve, and studiousness, that makes her quite different from her younger sister; in Anne’s eyes she is the more beautiful, smart and grown-up of the siblings; while she is envious of Anne’s relationship with Peter, she is not ‘jealous’ in any conventional sense; perhaps the most innately generous person in the Annex. Miep Gies (Female, mid 30's) A very well-liked, generous secretary in Mr. Frank's office, Miep helps to protect the families in hiding. Along with Mr. Kraler, she brings to the refugees food, supplies, and news from the outside world. Peter VanDaan (Male) 16-18; a shy, reserved teenager who, at first, doesn’t know how to deal with two young women in such close proximity; he’s honest and sweet, with a good heart, if awkward social skills; his disdain for Anne’s flighty nature develops into a close relationship over the course of the play. Mr. Kraler (Male, 40's) A businessman who works with Miep to help protect the people in hiding, Mr. Kraler risks his life to help his friends. Mrs. Petronella VanDaan (Female, 40-60) Vanity, pride and ego drive her, and she is often the cause of friction in the attic; she seems to value ‘things’, especially her fur coat, above her family and friends; yet she is a smart, sometimes vivacious and cultured presence as well; the psychic and physical toll of the long confinement in the attic is probably most evident in her deteriorating mental state. Mr. Hermann VanDaan (Male, 40-60) opinionated, egotistical, a domineering husband and father; he is a former business partner of Mr. Frank, who helped the Franks immigrate from Holland; the debt has been repaid many times over, but neither Mr. Van Daan nor Mr. Frank acknowledge that; fleshy, if not portly, his appearance is an outward reflection of the gluttony, both physical and emotional, that rules his nature. Mr. Dussel (early 50's) Difficult to get along with, Mr. Dussell joins the Franks and the Van Daans after they have been in hiding about two months. SYNOPSIS: In this transcendently powerful new adaptation by Wendy Kesselman, Anne Frank emerges from history a living, lyrical, intensely gifted young girl, who confronts her rapidly changing life and the increasing horror of her time with astonishing honesty, wit, and determination. An impassioned drama about the lives of eight people hiding from the Nazis in a concealed storage attic, THE DIARY OF ANNE FRANK captures the claustrophobic realities of their daily existence—their fear, their hope, their laughter, their grief. Each day of these two dark years, Anne's voice shines through. ______________________ LITTLE WOMEN Performances are Thursday, Friday, Saturdays at 8:00 pm and Sundays at 3:00 pm Jo (Female, 18-25) Ages 16 - 24 within the show. The story’s protagonist, a tomboy. Independent, passionate, adventurous, and brave with a fiery spirit. Jo is an aspiring writer with a temper and a quick tongue. She wants nothing more than to hold her family together. Vocal range top: A5. Vocal range bottom: E3. Belt with good head mix. Marmee (Female, 35-45) The girls’ mother. She is the strong backbone of the family. She shows spirit and courage despite the difficult odds she faces. Doubles as The Hag. Vocal range top: Eb5 Vocal range bottom: Eb3 Mezzo-Soprano. Meg (Female, 18 to 30) Ages 17 to 25 within the show. The oldest March sister. Responsible and kind, Meg mothers her younger sisters. She has a small weakness for luxury and leisure, but the greater part of her is gentle, loving, and morally vigorous. Doubles as Clarissa. Vocal range top: Gb5 Vocal range bottom: Bb3 Soprano. Amy (Female, 18+) Ages 12 to 19 within the show. The youngest, most energetic sister with a rather pompous air about her, very concerned about acting as a perfect lady. Vain and fiery tempered. She becomes an artist who adores visual beauty and has a weakness for pretty possessions. She aspires of being worldly and is very romantic. Beautiful with a touch of being spoiled. Doubles as The Troll. Must be 18 or older. Vocal range top: Gb5 Vocal range bottom: C4. Soprano. Beth (Female, 18-22) Ages 15 to 22 within the show. Second youngest March sister who tragically dies of Scarlet Fever. Pure goodness. Sweet and generous to a fault, she is a peace-maker, lover, and an optimist who is always encouraging her sisters to dream. Doubles as Rodrigo 2. Vocal range top: G5 Vocal range bottom: A3 Mezzo-Soprano. Aunt March (Female, 55 to 70) A rich widow and one of the March girls’ aunts. Although crotchety and difficult, Aunt March loves her nieces and wants the best for them. Will double as Mrs. Kirke. Vocal range top: F5 Vocal range bottom: E3 Soprano. Professor Bhaer (Male, 35-45) German Professor who exemplifies proper manners. Kind, thoughtful and restrained. Vocal range top: Gb4 Vocal range bottom: G2 Baritone. Laurie (Male, 18-25) Ages 17 to 25 within the show. Mr. Laurence’s grandson. The bright-eyed boy-next-door with considerable charm. Becomes best friends with the sisters. Lonely. Vivacious. Desperate for friends. Doubles as Rodrigo. Vocal range top: B4 Vocal range bottom: Bb2 Tenor. Mr. Brooke (Male, 20-28) Laurie’s tutor, tightly wound, strong, both outwardly and inwardly, but also a romantic. Kind and generous. Doubles as Braxton. Vocal range top: Gb4 Vocal range bottom: Db3 Tenor. Mr. Lawrence (40 to 65) Laurie’s grandfather and the Marches’ next-door neighbor. Mr. Laurence seems gruff, but he is loving and kind. Doubles as The Knight. Vocal range top: D4 Vocal range bottom: D3 Baritone. Synopsis "Little Women - The Broadway musical," a musical. Synopsis: From the novel that holds a special place in the heart of American literature, comes a new musical which proves this timeless story is still relevant, funny, and heartbreaking today. Join rambunctious Jo, practical Meg, sweet Beth, and romantic Amy as they embark on a coming-of-age tale filled with drama, romance, humor (and song!), all under the watchful eye of their beloved Marmee while father is away during the Civil War. ______________________ LOMBARDI Performances are Thursday, Friday, Saturdays at 8:00 pm and Sundays at 3:00 pm Vince Lombardi: (Male, 50’s) Height: 5' 8". Inspirational coach who led the Green Bay Packers to 5 NFL championships and 2 Super Bowls and became a legendary figure in football history. Difficult coach, husband and father who attended daily mass. Marie Lombardi. (Female, 40-55) His wife; strong, intelligent Jersey Italian woman of a certain time that loved and supported her husband above all else. Feisty and opinionated and loved her cocktails and cigarettes. The only person who can challenge him and can do so without ever raising her voice. Must be comfortable with herbal cigarette smoke. Michael McCormick (Male: 29) Slight Jersey accent. He is the one fictional character in the play and our guide. A "Look Magazine" reporter on his first major assignment. Michael wants to "find out what makes Lombardi win". He is the son of a domineering father who was also a writer. Must be a dynamic story-teller and comfortable with direct communication with the audience. Dave Robinson (African American Male, late 20’s-early 30’s) Height: 6' 3". He is the Packers’ powerful outside linebacker and team representative for the Players’ Association. Paul Hornung (Male, late 20’s-early 30’s) Height: Height: 6' 0" Height, 215 lbs. “The Golden Boy.” Lombardi’s versatile running back who was often injured and got into off-field troubles. A vital piece of the Power Sweep and half of the “Thunder & Lightning” pair with Jim Taylor. Jim Taylor (Male, 30’s) Height: 6' 0”, 215 lbs. Packers’ soft spoken, dominant full-back with a knack for making hits and taking injuries in stride. Half of the “Thunder & Lightning” pair. Very business conscious professional athlete. Synopsis Based on the book When Pride Still Mattered: A Life of Vince Lombardi by Pulitzer Prize-winning author David Maraniss. The play looks at the ideas and people who made the great Packers football coach Vince Lombardi the complex, charismatic and extraordinary icon he was. _____________________ THE LEGEND OF GEORGIA McBRIDE Performances are Thursday, Friday, Saturdays at 8:00 pm and Sundays at 3:00 pm Casey (Caucasian Male, mid-20s, southern.) Charismatic and good-looking small-town high school football star turned Elvis impersonator; has the biggest of hearts and loves his wife ferociously; dreams big, if not always practically; his charm and optimism are infectious; hasn’t had to grow up and take real responsibility for his life/family just yet; an artist who hasn’t yet found his voice, takes on the “role” of Georgia: A wholly original drag queen with Elvis, country and rock 'n' roll roots; gritty, edgy, sexy, a force of nature; a transcendent artist who inspires her audiences to dream of a better life; vulnerable, driven, responsible, and completely self- possessed; joyous and thrilling. Note: Role requires dancing in heels, lip syncing, singing and playing guitar. Jo (African American Female, mid-20s southern.) Casey’s wife; a hard-headed woman married to a soft- hearted man; a realist who’s prone to being fatalistic, she grounds him, while he enables her to breathe and dream; tough without being bitchy, firm without being brittle; a steel rod for a spine; she loves him deeply and he’s the only person she feels safe showing her vulnerability to; works multiple service jobs struggling to keep them afloat and it’s taken a toll. Miss Tracy Mills (Male, any ethnicity, mid- to late 40s, southern.) Sweet-natured drag queen, and drag mother to Casey; her impeccable timing, wit, and charm can disarm anyone; deeply nurturing by nature, she thrives on being a mentor, but is ruthlessly pragmatic when she needs to be; ready to find a home and build something meaningful and lasting; equal parts inspiration and desperation. Role requires dancing in heels and lip syncing. Rexy/Jason (Male, any ethnicity, mid-20s to early 30s). GREAT double role. Actor will play: Rexy: fabulously fierce and feisty sharptongued queen with a dark past; a trashy gal who fancies herself the most sophisticated in the room; loves boys and booze and thrives on conflict; a bit of a hot mess; can cut to the bone with her words; an unlikely moral compass with great respect for the history and art of drag. Jason: Casey & Jo’s best friend and landlord; a sweet-natured working-class guy; became a father young, henpecked at home, can sometimes be a bit spineless-- but loves his friends dearly; capable of surprising insight and warmth. Note: Role requires dancing in heels and lip syncing. Eddie (Male, any ethnicity, 50s/60s, male, southern.) Easily flustered and financially-desperate owner of a struggling dive bar; rough around the edges, a bit of a walking ulcer, but a huge heart; ferociously loyal and loving to his makeshift family; a man of simple tastes and simple needs, he doesn’t take naturally to the stage as an emcee--but eventually becomes an amateur showman who loves the spotlight.


A Chorus Line - EPA - Dancers, Singers
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Region: Eastern

Seeking:Cassie: Female, 18+, 31, A gifted star, stand-out dancer who had acquired a reputation in featured roles in two Broadway shows, Cassie now needs a job; she went out to California, did bit roles, and nothing happened for her; she now wants to start over again and be given the chance to do the only thing that means anything to her; Zach tells her she is incapable of dancing like everybody else, but she insists on putting herself on his line; despite her past relationship with him. Must sing extremely well. Diana: Female, 18+, 27, Diana is Puerto Rican; she attended the High School of Performing Arts, where she encountered a teacher who advised her that she would never make it in show business; near the end, she stands up for the excitement and glory of dancing on Broadway despite all the hardships. Must sing extremely well. Sheila: Female, 18+, 29; Sheila's mother wanted to be a ballerina, and when she was thwarted in her ambitions by her husband, she took it upon herself to make her daughter what she had wanted to be; Sheila saw "The Red Shoes" and wanted to dance, but she also used dance as a means to escape her unpleasant family situation; strong, aggressive but not mean spirited, she is nearing thirty, and is full of sharp ripostes that mask awareness that she may not be able to continue dancing in the chorus much longer; Sheila is surprised that Zach does not allow her to get away with her usual tough, passive aggressive attitude when auditioning for this production. Val: Female, 18+, 25; cute, adorable, pert; she dreamed of becoming a Rockette, but when she came to New York, her looks prevented her from getting work in spite of considerable dance skills; she then purchased that which her Creator had failed to provide. Must sing extremely well. Kristine: Female, 18+, 22; she danced as a child whenever the radio was on at home; her one career obstacle is her inability to sing well, and she tends toward hysteria. Bebe: Female, 18+, 26; from Boston, Bebe was told by her mother that she was "different" looking, and she looked to ballet to make her beautiful. Must sing extremely well. Judy: Female, 18+, 28; Judy made her father laugh when she danced around the living room, and she is now ready for Broadway; tall and thin. Connie: Female, 18+, 32; an Asian actress, Connie never grew tall enough to be a ballerina, but she has no problem getting work in shows because of her ability to play parts several years her junior. Must be no taller than 5’3”. Maggie: Female, 18+, 25; like Sheila, Maggie hails from a troubled home, and fantasized about a father figure, an Indian chief with whom she danced around the house. Must have an incredibly strong, high belt. Zach: Male, 18+, 29-35; a charismatic, controlling, manipulative, calculated but brilliant Broadway director/choreographer. Strong, intuitive, and powerful. He seems always to be in complete control, even when facing his personal relationship with Cassie, or the emotional needs and responses of his dancers. Paul: Male, 18+, 28, Puerto Rican. After early sexual experiences with strangers in 42nd street movie palaces, Paul quit school because his effeminacy caused others to mock him. He found work in a cheap drag revue, concealing the nature of his job from his parents. When they discovered the truth, they were somehow able to accept him for what he was. Paul is shy, suffers from the indignities of his past. Mike: Male, 18+, 24, Mike is Italian, and was first exposed to dance when he tagged along to his sister's dance class. He soon realized he could do what he saw his sister doing, and do it even better. Must sing extremely well. Bobby: Male, 18+, 25, As a child, Bobby gave strange recitals in his garage and broke into people's homes to rearrange the furniture. He was unable to live up to his father's expectations that he would be an athlete. He is zestful, funny, attractive. Al: Male, 18+, 30, Al is Kristine's husband, far more relaxed than his wife is. From a working class background. A masculine presence and strong singing voice. Richie: Male, 18+, 27, Is African American. He won a basketball scholarship to college, almost became a kindergarten teacher, but decided to channel his obvious energies into dance. Mark: Male, 18+, 20, Mark shares his memories of adolescent sexual awakening, in particular his recollection of misinterpreting a wet dream as gonorrhea. An innocent kid. Greg: Male, 18+, 32, Describes himself as "very East Side", realized as a teenager that he was a homosexual. Very droll and witty. Don: Male, 18+, 26, He worked in strip joints before dancing in shows, and he tells of an affair he had with an older stripper. Larry: Male, 18+, 27, Zack’s long time assistant. Bright, helpful, confident and superb dancer.


Casa Manana 2018-19 Season - EPA - Singers
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Region: Eastern

Seeking:HELLO DOLLY Rehearsals start August 27, 2018, show runs September 8-16, 2018 Dolly Gallagher Levi: Mezzo-Soprano. A matchmaker, meddler, opportunist, and life-loving woman. Horace Vandergelder: Baritone. A well-known half-a-millionaire, he is a widower, gruff, authoritative, and set in his ways. Cornelius Hackl: Baritone. Energetic, enthusiastic, and adventurous young man who has a sweet innocence about him. Barnably Tucker: Baritone. Sweet, naïve, energetic, and a follower. Irene Molloy: Soprano. A widow and a beautiful, smart, fun-loving milliner with a hat shop in New York. Minnie Fay: Mezzo-Soprano. Irene's assistant, she is naïve, strait-laced, fresh and a follower. Ambrose Kemper- Tenor. A young and explosive struggling artist seeking to marry Ermengarde. Ermengarde: Mezzo-Soprano. She cries often and wants her independence and wants to marry Ambrose. Ernestina Money: An eccentric-looking girl in need of Dolly's matchmaker services. _________________ NEXT TO NORMAL Rehearsals start October 22, 2018, show runs November 3, 2018, show runs November 3-11, 2018 Diana: (40-45, vocal range G3 to F#5) Delusional, bipolar, and depressed. The sexiness of her yesterdays has only recently begun to soften. She is determined to make her family perfect but is tortured by a death in the family. Gabe: (18-21, vocal range top C5) Diana & Dan's son. Dashing, athletic, and bright. He is a playful man and everything a mother could imagine. Dan: (40-45, vocal range Ab2 to B4) Diana's Husband. He is handsome and genuine. Though a constant in Diana's tumultuous life, he has grown tired and weary of her antics. Natalie: (16, vocal range G3 to G5) Diana & Dan's troubled daughter. An accomplished pianist and hardworking student, her struggles are exacerbated by her mother's behavior. She greatly admires Henry. Henry: (17, vocal range G#2 to B4) Natalie's classmate. The all-around musician, philosopher, and slacker. He has an intoxicating capacity for sympathy and romance. Doctor Madden: (30-40, vocal range A2 to A4) Diana's handsome psychiatrist. Quite assured in his practice and considered somewhat of a rock star. __________________ GREASE Rehearsals start February 18, 2019, show runs March 2-10, 2019 Danny: (Tenor, vocal range D4-B5) leader of the "Burger Palace Boys." Well-built, nice-looking, with an air of cool easy-going charm. Strong and confident. Sandy: (Soprano, vocal range A3-F#5) Danny's love interest. Sweet, wholesome, naïve, cute. Rizzo: (Alto, vocal range A3-C5) Leader of the Pink Ladies. She is tough, sarcastic and outspoken but vulnerable. Thin, Italian, with unconventional good looks. Frenchy: (Alto, vocal range A3-D5) A dreamer. Good-natured and dumb. Heavily made-up, fussy about her appearance-particularly her hair. Marty: (Alto, vocal range C4-C5)The "beauty" of the Pink Ladies. Pretty, looks older than the other girls, but betrays her real age when she opens her mouth. Tries to act sophisticated. Jan: (Alto, vocal range A3-C5) Chubby, compulsive eater. Loud and pushy with the girls, but shy with boys. Kenickie: (Tenor, vocal range C4-F5) Second-in-command of the Burger Palace Boys. Tough-looking, tattooed, surly, avoids any show of softness. Has an off-beat sense of humor. Doody: (Tenor, vocal range D4-A5) Youngest of the guys. Small, boyish, open, with a disarming smile and a hero-worshipping attitude toward the other guys. He also plays the guitar. Roger: (Tenor, vocal range D4-A5) The "anything-for-a-laugh" stocky type. Full of mischief, halfbaked schemes and ideas. A clown who enjoys putting other people on. Sonny: (Baritone, vocal range G3-A5) Italian-looking, with shiny black hair and dark oily skin. A braggart and wheeler-dealer who thinks he's a real lady-killer. ________________ THE PRODUCERS Rehearsals start May 20, 2019, show runs June 1-9, 2019 Max Bialystock: (40-50, vocal range A2 to F#4) The consummate con man. Naturally animated and bombastic, he is never at a loss for charm and manners. Typically conspires with Leo. Leo Bloom: (35-40, vocal range A2 to F4) An accountant. Boring and mousy, he is a hesitant optimist who longs for something more. Dragged into a scheme by Max. Franz Liebkind: (35-55, vocal range F2 to G4) German loyalist playwright. From his lederhosen to his pigeon, Adolph, his love for the motherland is unmistakable. He is imposing yet tender. Rogers Debris: (50-60, vocal range G#2 to G4) New York's most famous and flamboyant stage director. Surrounds himself with deliciously beautiful clothing, people, and possessions. In a crowd, it would be impossible to miss him. Carmen Ghia: (25-35, vocal range C3 to A4) Roger Debris' faithful assistant. Carmen is severe in looks and passion for Roger. He may appear younger than he actually is thanks to skilled surgeons. Ulla Inga Hansen Benson Yonsen Tallen-hallen Svaden-svanson: (20-30, vocal range A3 to G5) A young and hopeful actress. Though her beauty might eclipse her talent, Ulla is passionate about life and art. Quite a clueless seductress in some ways.


Alice By Heart - EPA - Singers
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Region: Eastern

Seeking:White Rabbit: 18+, Male, late teens to early 20s, any ethnicity. Attractive. Obsessive-compulsive. Manic. Running from something he doesn’t understand. Also plays Alfred Hallam: Alice’s ailing friend. The boy Alice loves. Had lived on the streets and contracted tuberculosis. A great contemporary pop/rock singing voice. Principal. Cheshire Cat: 18+, Female, late teens to early 20s, any ethnicity. Smart. Streetwise. Has gravity. Also plays Tabatha. Contemporary pop/rock singing voice. Must be able to do a British accent. Principal. Dormouse: 18+, Male, late teens to early 20s, any ethnicity. A younger Jack Benny feel. Effete. Nervous. Dry. Acerbic. Bitchy. Snobby. Non-engaged. Puts everyone in their place. Also plays Nigel. Contemporary pop/rock singing voice. Principal. Mad Hatter: 18+, Male, late teens to early 20s, any ethnicity. Preening. Demanding. Full of riddles. Also plays Harold Pudding: A soldier who has lost his wits in the war. Manic. Funny. Charming. He’s nuts. Also plays Caterpillar: Cool. Seducing. Sexy. Needs real comic chops. A great contemporary pop/rock singing voice. Principal. Magpie: 18+, Female, late teens to early 20s, any ethnicity. A younger Maggie Smith feel. Also plays Mamie: Put-upon. Wealthy. Privileged. Posh. Feels too good for the people around her. Underneath, there’s pain. Needs dry wit. Contemporary pop/rock singing voice. Must be able to do a British accent. Principal. Caterpillar: 18+, Male, late teens to early 20s, any ethnicity. Sexy. Funny. Also plays Angus. Great contemporary pop/rock singing voice. Strong dancer. Must be able to do a British accent. Principal. King of Hearts: 18+, Male, 50s – 70s, any ethnicity. Falling apart. Anxious to a comic extent, a la Larry David. Nervous. Threatening. Also plays Dr. Butridge and Jabberwocky. Character singing voice. Must be able to do a British accent. Principal. Queen of Hearts: 18+, Female, 40s, any ethnicity. A younger Judi Dench feel. Tough. Funny. Take-charge. Dominates her husband. Gets what she wants. Also plays Red Cross Nurse. Big singing voice.


Institutional Off Broadway Theatres - EPA - Actors, Singers
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Region: Eastern

Seeking:WP Theater 2018-2019 Season General (Lisa McNulty, prod. Artistic dir.; Michael Sag, managing dir.) Attended by one or more of the following: Lisa McNulty (Producing Artistic Director), Tamilla Woodard (Associate Artistic Director), Rachel Karpf (Artistic Producer); WP Theater is committed to diverse casting. We are seeking qualified actors of all ages 18+; all ethnicities; disabled and non-disabled; and all gender identities including trans, non-binary, and cis, for consideration for season projects. While WP’s 2018-19 season has not yet been announced, it is expected to include two or more premiere Off-Broadway productions of contemporary new works by female or trans writers and directors. Recent WP productions that reflect our artistic point of view include Martyna Majok’s Ironbound, Kate Benson’s [PORTO], and Sundown, Yellow Moon by Rachel Bonds and The Bengsons. =================== Playwrights Horizon 2018-2019 Season Equity Off-Broadway BB Contract; $715/week min. Casting is attending the EPAs. (Tim Sanford, artistic dir.; Alaine Alldaffer, casting dir.; Lisa Donadio, assoc. casting dir.; Gail Quintos, casting asst.) “I Was Most Alive With You” (Mainstage Theater. Craig Lucas, writer; Tyne Rafaeli, dir. Sabrina Dennison, dir. of artistic sign language. Rehearsals begin July 24; runs Aug. 31-Nov. 4) All roles are cast. Ash 50s. Hearing, signs quite well for a hearing person (rarely needs to revert to spoken English); recovering alcoholic and addict; TV writer, born into Hollywood royalty; Knox’s adopted father. Suffering from painful stress-induced skin ailments in the present-tense scenes. Knox: Early to mid-30s. Adopted son of Ash and Pleasant; Deaf, signs fluently, speaks and reads lips well; does not have an implant. Lives in constant contact with many different individuals within the Deaf community and the hearing world; he’s learned the hard way what works for him in life; works as an ASL educator and loves it. He is in recovery from heavy drug and alcohol dependency in his youth. Astrid: 40s/50s. Ash’s writing partner, hearing, knows quite a bit of sign from both spending time with Ash and Knox and from study; her tendency is to flip in and out of ASL and back into spoken English when she reaches something she doesn’t know how to sign; she knows that both Knox and Farhad read lips well; has had to learn how to fight for what she wants; this has taken her a long time and she is not about to give up any of what she’s won; wit and tenacity have gotten her through most of life’s scrapes. Atheist. Pleasant: 50s. Ash’s wife; knows very little sign; in certain ways she is the hearing equivalent of Farhad – doesn’t like any kind of Group-think – actively dislikes religion, AA, middle-class values among the hearing and Deaf community equally; has always been a loner. The smartest, funniest one in the room. Farhad: Early- mid 20s. Lebanese. Deaf; reads lips well, speaks (if infrequently) but seldom signs, though he certainly knows how to; has a cochlear implant, but seldom uses it; has quite a few tattoos, maybe some piercings; if you boil things down, you might say he has equal contempt for the hearing and Deaf communities: an equal opportunity offender; he’s quite a looker – both men and women find him attractive – and that has been his primary source of power up until now.  Carla: Late 70s/80s. Ash’s mother, widowed; a hearing person, knows some sign; graceful, cultured, appropriate, no bullshit; raised Christian, converted to Judaism when she married Ash’s father. Mariama: 50s. Hearing, fluent in ASL as taught to her by the Jehovah’s Witness; a former addict, a private person. The one person in the play who would appear to have appropriate boundaries and tact.  Shadow Pleasant: Female. Any age. Any race. Fluent ASL. Shadow interpreters will provide ASL translations of all spoken lines. Shadow Ash: Male. Any age. Any race. Fluent ASL. Deaf or hearing. Shadow interpreters will provide ASL translations of all spoken lines.  Shadow Astrid: Female. Any age. Any race. Fluent ASL. Deaf or hearing. Shadow interpreters will provide ASL translations of all spoken lines.  Shadow Knox: Male. Any age. Any race. Fluent ASL. Deaf or hearing. Shadow interpreters will provide ASL translations of all spoken lines.  Shadow Farhad: Male. Any age. Any race. Fluent ASL. Deaf or hearing. Shadow interpreters will provide ASL translations of all spoken lines.  Shadow Carla: Female. Any age. Any race. Fluent ASL. Deaf or hearing. Shadow interpreters will provide ASL translations of all spoken lines. Shadow Mariama: Female. Any age. Any race. Fluent ASL. Deaf or hearing. Shadow interpreters will provide ASL translations of all spoken lines.  _____________________ “The Thanksgiving Play” (Peter Jay Sharp Theater. Larissa FastHorse, writer; Moritz von Stuelpnagel, dir. Rehearsals begin Sept. 14; runs Oct. 12-Dec. 30) All roles are cast. Logan: Female, 30s. The director-creator of a new politically correct Thanksgiving play for kids, and the high school drama teacher that’s always pushing the envelope in ways she doesn't realize will be potentially inappropriate for her midwestern community. Earnest about theater and proving herself, but not always terribly self-assured. She is deeply sensitive and wants everyone's voice to be heard, but sometimes lets her anxiety and controlling nature get the best of her. Very aware how important it is to be politically engaged, to shop locally, and to be racially sensitive, at this critical moment in history. Ability to carry a tune necessary.  Jaxton: Male, 30s. A yoga practitioner and street performer at the local farmer's market. His side hustle is acting in school assemblies, and there's a natural clown in him that helps him relate to kids. Politically correct to a fault, he is obsessed with making sure people recognize he's more "woke" than white. He’s that confident guy everyone loves, but his logical PC thinking takes weird turns, and his sanctimoniousness does lead to mansplaining on occasion. Very proud to be a political mentor (and lover) to Logan.  Alicia: Female, 20s/30s. An LA actress without guile (or even talent) beyond the ability to cry on command. Has looks that would have been cast as ethnic in 1950’s movies, and her agent has arranged for her to have headshots as different ethnicities. Sexy and hot, but not bright, she doesn’t care about really anything beyond the opportunity to act. She has happily traded flirtations for acting jobs, and sees no problem with doing so. Though she is often confused, especially about Logan’s process of devising rather than handing out parts, she is always unshaken and happy in her bubble. Ability to carry a tune necessary.  Caden: Male, 40s/50s. The academic. Awkward elementary school history teacher with secret dramatic aspirations but no experience. A stickler for facts, his inner obsessive researcher is at odds with his artist spirit, so he ends up being pretty obstinate as a collaborator. Geeks out about lesser known historical details, especially gory ones. Lonely for female attention, he is aglow around Alicia’s extroverted femininity.  ____________________ “Noura” (Mainstage Theater. Heather Raffo, writer; Joanna Settle, dir. Rehearsals begin Nov. 7; runs Nov. 27, 2018-Jan. 20, 2019) All roles are cast. Noura: Mid 40s. Female. Married to Tareq. An architect.  Tareq: Mid 40’s to early 50’s. Male. Christian Iraqi. Noura’s husband. A former surgeon originally from Baghdad. Living in New York for eight years, he is passionate about his new status as an American Citizen. Intellectual and progressive, he now works as a hospitalist after years struggling as a refugee in America. Charming, appealing, sexual. Deeply in love with his wife. A committed and passionate husband and father. He tries hard to bury the years of trauma and war to which he was witness as a surgeon in Iraq. Every decision he makes is for the benefit of his family.  Rafa'a: Mid 40’s to early 50’s. Muslim Iraqi. Noura’s childhood neighbor from Mosul. A close friend of the family and a surrogate uncle to their young son, Yazen. A progressive, feminist, OBGYN. Introspective, empathetic, intelligent. Has an intensity to him, and a playful sense of humor. In love with Noura and her true confidant but has been prevented from ever having a romantic relationship with her because of their different faiths. Torn between expressing his love for Noura and staying in close relationship to her family.  Maryam: 20s. A young woman from Mosul. Now in her first semester of studies in America. A refugee. Survivor. Feminist.  Yazen/Alex: 11- 13 years old. Noura and Tareq's son. Middle Eastern. Joyful, with ease. A little messy. Can have long hair. Very free and expressive. Mostly interested in playing video games, has been almost fully Americanized, somewhat to the consternation of his parents. An innocent. _________________ “If Pretty Hurts Ugly Must Be A Muhfucka” (Mainstage Theater. Tori Sampson, writer. Rehearsals begin Jan. 18, 2019; runs Feb. 15-Apr. 21, 2019)  Akim: 17, a witty, intelligent dark-skinned Black woman deemed the most beautiful in her community. Warm, yet prideful, she yearns to feel connected to the people around her and experience life to the fullest, but doesn’t want to have to give up the privileges her beauty confers in order to do so. Massassi: 17, a beautiful Black woman who wants to be the queen bee of her small community. Massassi is bold, yet insecure; she will stop at nothing to be at the top and to relieve the envy that’s burning her up. She is both ashamed and proud of her body: embarrassed by her thick hips and butt as a child, she has learned how to use her body to her advantage. Adama: 17, a cerebral, observant Black woman. Wants to be seen a whole, free person, appreciated for her full personality not judged by her looks. Recognizing that her society will not allow that, she plays by its rules. When push comes to shove, she does the moral thing and dies trying to protect Akim from the friends seeking to destroy her. Kaya: 17, a meek, easy-going Black woman who wishes she could escape the drama and competitions within her circle of friends and focus on her happiness instead. When Massassi will not let her just fade into the background, she is forced to choose sides, and follows whoever pulls the strongest. Chorus: Ageless, Akim’s smart pad device. The chorus is a male comedian with a devious, sarcastic streak who wants to deliver the juiciest story to the audience and, with jokes and games, shove some hard truths down their throats. Kasim: 17, a confident, passionate, witty young Black man whose hormones tend to get the better of him. He wants to be with the most beautiful woman in the village, and falls in love with one girl, then another, deeply. He didn’t make the ranking system that eventually ensnares everyone, yet he is happy to participate in it and wants the clout it confers on him. Ma: 40s, a refined, pragmatic Black woman whose biggest priority is her daughter Akim. She wants to give her daughter the tools to become an independent, kind, adult woman. She wants to shield her from hurt, but realizes that she has to let her make her own mistakes. Dad: 40s, a Black man obsessed with protecting his daughter from harm, who has built his entire life around her. He takes a pride in Akim’s beauty which, when challenged, turns into arrogance. Willful, unyielding, and self-righteous, he will let nobody challenge his opinion and compromise his standards. __________________ “The Pain Of My Belligerence” (Peter Jay Sharp Theater. Halley Feiffer, writer; Trip Cullman, dir. Rehearsals begin Mar. 1, 2019; runs Mar. 29-June 16, 2019)  Cat: 30 - 38. White. A rising journalist. Intelligent and ambitious. Also, insecure and mistrustful of her own instincts. Prone to isolation, desperate for validation. Hungry for love and willing to subjugate her own values — or even change them — in order to get it. Struggles with chronic illness, which makes her all the more hungry, desperate, mistrustful and insecure. A good heart who is lost. Cast. Guy: 40 - 44. White. A famous architect in a famous marriage to a famous female chef. Wealthy, brilliantly talented, handsome — with an ego to match. Troubled — and to hide this fact, he leans on his charisma and resume to help him get what he wants. He tends to always get what he wants. Often it makes him miserable. Enchanted by Cat. Trapped. Yuki: 50. Asian. A giantess in the culinary world — founder and Executive Chef of a massively successful collection of high-end Ramen restaurants with an international presence. Married to Guy, whom she brought on as co-owner to her empire. Dazzling in her intelligence and accomplishments. Fiercely protective of what she has worked so hard to build. Olive: 9. Mixed-race. Guy and Yuki’s daughter. Shy. Scared. Sweet. Bullied by her older sister. Trying to stand her ground — at home, in life. Also prone to isolation and hungry for love. ____________________ “A Strange Loop” (Mainstage Theater. Produced in association with Page 73. Michael R. Jackson, book-music-lyrics; Stephen Brackett, dir.; Rona Siddiqui, musical dir. Rehearsals begin Apr. 19, 2019; runs May 24-July 28, 2019)  Usher: Black. 20s. Overweight to obese cisgender queer, male who carries a self-conscious femme energy. Extremely self-aware and extremely insecure with a deeply ironic sense of humor. An usher by day, musical theater writer by night. Tenor. Eb3 – D6. Thought #1: Black. Mid-20s- Mid- 40s. Trans-femme, non-binary, or cisgender femme male. Plays several characters including but not limited to an elderly woman tourist and Usher’s niece’s ratchet mother. High tenor. B2 – C7. Thought #2: Black. Mid-20s- Mid- 40s. Femme, cisgender male who is as or less femme than Thought #1. Plays several characters including but not limited to Usher’s Doctor and the first incarnation of Usher’s mother. First tenor. B2 – C6. Thought #3: Black. Mid-20s- Mid- 40s. Cisgender Male who balances femme and masculine energy. Plays several characters including but not limited to Usher’s agent and Usher’s niece Nala. Second tenor. B2 – C#6. Thought #4: Black. Mid-20s- Mid- 40s. Cisgender Male who balances butch femme and masculine energy. Plays several characters including but not limited to the second incarnation of Usher’s mother. Baritenor. G2 – A5. Thought #5: Black. Mid-20s- Mid- 40s. Cisgender Male who carries more masculine energy. Plays several characters including but not limited to Joshlet and Usher’s Dad. Bass-Baritone. G2 – G5. Thought #6: Black. Mid-20s- Mid- 40s. Cisgender Male who carries the most masculine energy in the play. Plays several characters including but not limited to Inwood Daddy. Bass. E2 – G5. ===================== The Public Theater 2018-2019 Season (Oskar Eustis, artistic dir.; Patrick Willingham, exec. dir.; Jordan Thaler/Heidi Griffiths, dirs. of casting) Attended by one or more of the following: Jordan Thaler (Director of Casting), Heidi Griffiths (Director of Casting), Kate Murray (Casting Director), Rebecca Feldman (Casting Associate), Chalin Tulyathan (Casting Assistant), and Claire Yenson (Casting Assistant) The Public Theater is committed to casting diverse companies. For all projects, we are seeking qualified actors of all ages and ethnicities; disabled and non-disabled; and all gender identities including trans, non-binary, and cis. “Girl From The North Country” (Conor McPherson, writer-dir.; Bob Dylan, music-lyrics. Rehearsals begin July 30; runs Sept. 11-Nov. 4 or Dec. 23) Contract: EE ($1,167/wk) Girl From The North Country is a musical about the survivalist strength of our country. In the Winter of 1934 in Nick Laine’s soon-to-be foreclosed guesthouse in Duluth, MN, the Great Depression has left its mark on the struggling residents, all of whom are one piece of bad luck removed from disaster. With little to be thankful for except for the kindness (and sometimes the deceit) of strangers, they gather together as a group of survivors for their last Thanksgiving together before scattering to whatever is next for them. This show is fully cast. ______________________ “Mother Of The Maid” (Jane Anderson, writer; Matthew Penn, dir. Rehearsals begin Aug. 21; runs Sept. 25-Nov. 18 or Dec. 23)  Contract: DD ($1,020/wk) Jane Anderson’s humorous and heartbreaking new play tackles an ancient story from a fresh perspective—the tale of Joan of Arc from the point of view of her mother, Isabelle. When Joan receives her heavenly calling to lead the army of France, Isabelle and the rest of Joan’s peasant family is thrust into an unfamiliar circumstances as they watch Joan mature from a teenage girl into a soldier, a celebrity, and ultimately, a heretic. This show is fully cast. __________________ “A Midsummer Night’s Dream” (Mobile Shakespeare Unit. William Shakespeare, writer; Jenny Koons, dir. Rehearsals begin Sept 10; tours Oct. 5-27; runs Oct. 29-Nov. 18 at the Public Theater)  Contract: Off-Broadway – Special Agreement, equivalent to Off-Broadway AA ($697/wk. This production of A Midsummer Night’s Dream is set in contemporary New York City and is populated with characters who are deeply recognizable as the New Yorkers we see every day. The.crisp summer sneakers crowd, janitors, baristas, the 9-to-5 commuter crowd, Queens College students, and everyone in between. The company of actors will collaborate with audience members to create a pop-up block party, the center of which is the collective dream of the play. All actors must be comfortable interacting with audience members in and out of character to create the environment for the production. Now in its eighth year, The Public Theater’s Mobile Shakespeare Initiative is focused on bringing Shakespeare to non-traditional venues such as community centers, prisons, homeless shelters, and centers for underserved youth around the tri-state area. Actors travel by company van and participate in set-up and striking of small scenic elements, props, and costumes. The company will present approximately six performances per week during the tour. The final three weeks will be played at The Public Theater with eight performances per week, and will be open to the general public. We are seeking a dynamic ensemble of collaborative, hilarious, language-oriented actors who enjoy working in a physical style. Most roles will double with multiple characters. The ability to transform and disappear into character will be key. We are seeking qualified actors of all cultures, ages, gender identities, disabled and non-disabled. Puck: cast. Bottom: cast. DemetriusFlute: cast. Egeus/Fairy/Quince: cast. Theseus/Oberon: Male. Any ethnicity. 40s. As Theseus, Duke of Athens, a man who’s used to getting what he wants. Commanding, charismatic, and authoritative. Thrown off both by his love for Hippolyta and her refusal to acquiesce to his rule. As Oberon, King of the Fairies. He can be expansive and playful, but also unyielding. Blustering and powerful. He plays games to entertain himself and to maintain control over his kingdom and his wife/favorite sparring partner, Titania. Hippolyta/Titania: Female. Any ethnicity. Late 30’s-40s. As Hippolyta/ A captured Amazon warrior Queen, betrothed to Theseus. Regal, powerful, witty. Takes control of her circumstances and position. As Titania, Queen of the Fairies, a dreamy and passionate woman who loves her kingdom and subjects. Comfortable with her position and status. Will spar and go head to head with her husband, unwilling to hold back her opinions. Hermia/Starveling: Female. Any ethnicity. 20s-30s. As Hermia, spunky, headstrong, decisive. Knows her own mind, and ready to begin her adult life with or without her father’s permission or input. Outspoken, sharp, quick-witted, and physically bold. As Quince, a carpenter, and the leader in name only of the mechanicals in their effort to put on a play for Theseus’ marriage celebration. A clipboard carrying spreadsheet maker, organized and precise. Determined to lead her company, yet often pushed to the side by Bottom, she remains ever-hopeful that she can create order out of chaos. HelenaSnout: Female. Any ethnicity. 20s-30s. As Helena, Hermia’s devoted best friend. Used to being the sidekick and the second choice. She has a healthy sense of humor about her social position but it masks her insecurities, which come raging forth when provoked. Intelligent, clever, and funny. Fiercely independent. Deeply feeling. As Snout, a welder and part of the company of mechanicals. A woman of few words. Easygoing and not the deepest thinker. Winds up playing the Wall in the mechanicals’ play, with a straightforwardness so literal it becomes humorous. Lysander/Snug: Male. Any ethnicity. 20s-30s. As Lysander, a young man in love with Hermia. Bold, funny, confident. Self-absorbed and lovesick. Blissfully ignorant in some ways, and very devoted to Hermia. As Snug, a laborer and member of the mechanicals’ company. A gentle spirit with difficulty staying in character or remembering lines, he plays the Lion in the company’s play—and worries that his roaring will frighten the faint-hearted in the audience. __________________ “Eve’s Song” (Patricia Ione Lloyd, writer; Jo Bonney, dir. Rehearsals begin Sept. 18; runs Oct. 23-Dec. 2 or 9)  Contract: CC ($783/wk) Lauren is desperate for a girlfriend. Mark is desperate not to be a nerd. Deborah is desperate for her kids to talk to her at the dinner table. On the surface they are a pretty typical family. It would all be remarkably normal if it wasn’t for the fact that their house is possessed by the restless spirits of some long ago and some recently dead women. This play is a dark comedy and all roles are for actors with great wit and comedic skills. This show is fully cast. __________________ “Wild Goose Dreams” (Hansol Jung, writer; Leigh Silverman, dir.; Paul Castles, music; Charity Wicks, music dir. Rehearsals begin Sept. 25; runs Oct. 30-Dec. 9 or 16)  Contract: CC ($783/wk) Minsung is a “goose father”; a South Korean man whose wife and daughter have moved to the United States for a better life. Deeply lonely, he escapes onto the internet and meets Nanhee, a defector forced to leave her family behind in North Korea. Amidst the endless noise of the modern world, where likes and shares have taken the place of love and touch, Minsung and Nanhee try their best to be real for each other. But after a lifetime of division and separation, is connection possible? Chorus/Father: cast. Chorus/Wife: cast. Gook Minsumg: cast. Digital Nanhee/Chorus: cast. Digital Minsung/Chorus: cast. Heejin/Chorus: cast. Male Chorus: cast. Female Chorus: cast. You Nanhee: 40’s. Female. A North Korean defector living in South Korea. Tough, headstrong. Lonely, adrift, anxious. She feels like a stranger in a new and unfamiliar community. Guilty about her choice to leave her family, and haunted by not knowing what has become of them. Wants to make something of her life in order to make the sacrifices that were made for her freedom worthwhile. Has a vivid imagination and tries to keep herself busy and distracted in order to keep her darker thoughts and fears at bay. Action and solution oriented, but still a dreamer, even if she considers dreams to be a luxury her situation cannot afford. ____________________ “White Noise” (Suzan-Lori Parks, writer; Oskar Eustis, dir. Rehearsals begin Jan. 21, 2019; runs Feb. 19-Mar. 31 or Apr. 28, 2019)  Contract: DD ($1,020/wk). Following her critically acclaimed trilogy Father Comes Home From The Wars, Parts 1, 2, & 3, Pulitzer Prize-winning playwright and The Public’s Master Writer Chair Suzan-Lori Parks returns with a world premiere play about race, friendship, and our rapidly unraveling social contract. Long-time friends and lovers Leo, Misha, Ralph, and Dawn are educated, progressive, cosmopolitan, and woke. But when a racially motivated incident with the cops leaves Leo shaken, he decides extreme measures must be taken for self-preservation. The Public’s Artistic Director Oskar Eustis directs this fierce new drama about what happens when the unspoken and the unspeakable come head-to-head. Ralph: cast. Misha: Female. Black. Early 30s. Incredibly smart, from a wealthy family, graduated summa cum laude from her liberal arts college. The host of a live webseries, “Ask a Black,” she’s made a career of being comfortable with the uncomfortable and promoting civil discourse. Committed to the path she’s laid out for herself and willing to stick with it regardless of the changes happening around her. Dawn: Female. White. Early 30s. A lawyer fighting for the disadvantaged, raised by two therapists. She’s in a relationship she isn’t sure she wants, in a job she isn’t sure she wants, and struggling to stay afloat. Haunted by guilt of all kinds and doing her best to show up every day for the people in her life, while also looking for someone who will show up for her. Leo:Male. Black. Early 30s. A lifelong insomniac, haunted by the realities of being a Black man in America. An artist. At his wit’s end and desperate for solutions. After a personal experience with police brutality, he makes a drastic choice that upends his life in every way, and finds salvation—maybe—in choosing to forego freedom. __________________ “Ain’t No Mo’” (Jordan E. Cooper, writer; Stevie Walker-Webb, dir. Rehearsals begin Feb. 11, 2019; runs Mar. 12-Apr. 21 or May 5, 2019)  Contract: CC ($783/wk) The American government has given Black citizens a choice: leave the United States on a one-way “Reparations Flight,” or stay and become somebody else. In a series of wildly imaginative vignettes—which run the gamut from uproariously funny to darkly chilling, those that remain scramble to pack their belongings and deal with unfinished business. But when it comes to identity and culture, what do you take with you? And what do you leave behind? Passenger 6: cast. Passenger 1: Male. 20’s – 50’s. Black. To play PEACHES: A drag queen and stewardess on African American Airlines. Bombastic, deeply charismatic. Adept at code-switching and knows effortlessly how to work an audience. Our emcee for the evening, and we’re happy to be in her capable hands. Witty, tells it like it is. Tough and no-nonsense, but also possesses a deep warmth and love for her community. This is a role for an actor who with strong language skills, possessing both humor and emotional truth. Passenger 2: Female. Early-mid 20’s. Black. A role for an actor with humor and emotional range. To play a line of roles including, but not limited to Trisha: A young woman, pregnant, and recently widowed as a result of police brutality. She may be young, but tragedy has forced her to grow up quickly. Pragmatic. Resilient but exhausted. Also plays Marie: The eldest child of a wealthy, conservative family. Poised, elegant, restrained. Regal. Able to keep her siblings in line without appearing to exert the slightest effort. Also plays Keisha: An inmate in a maximum security prison. Young, sincere, direct, and somehow still hopeful. Naïve and open, she’s excited and curious to learn more about the outside world. Also plays Kendra: A cast member on the “Real Baby Mamas of the South Side.” Young, pretty, privileged, and clueless. No filter. Over the top. Think Portia from The Real Housewives of Atlanta. Passenger 3: Male. Late 20’s – early 30’s. Black. A role for an actor with strong language skills, and access to humor and range. To play a line of roles including, but not limited to Pastor Freeman: A fire and brimstone preacher. Hopeful. Energetic, charismatic, adept at rallying a crowd. A natural showman. Could talk anyone into anything. Also plays Damien: A young man cut down in the prime of his life. Stuck between this world and the next, he is desperate to not be erased and forgotten. Full of love, anger, and untapped potential he’ll never be able to explore. Also plays Jonathan: Wealthy, privileged. Educated in the best schools. The child of immigrants, he believes in hard work and the American Dream. Passenger 4: Female. 20’s – 30’s. Biracial/Black. A role for an actor with humor and emotional range. To play Rachonda: The first “transracial” cast member of “The Real Baby Mamas of the South Side.” A white woman who believes that she is black. Excited to explore her new identity. Loud, outspoken, takes up space. Not a bashful bone in her body. Also plays Zamata: An activist. Passionate, outspoken. Fed up with the inequality of the status quo, and unafraid to resort to the most difficult and radical forms of protest to make her voice heard. Also plays Also plays Susan: A wealthy, conservative woman, who has dealt with her unhappy marriage and her boredom with her life by repressing her darker feelings. When a bad dinner party unearths hidden grievances, she begins to find some freedom in watching the carefully constructed world around her crumble. Passenger 5: Female. 30’s. Black. This is a role for an actor with impeccable comic timing, strong language skills and emotional range. To play a line of roles including, but not limited to Woman: A woman waiting in line at an abortion clinic. Frank, she tells it like it is, with a take-no-prisoners sense of humor. Chatty, and not one to bother about personal space, she’ll talk to anyone for as long as she wants. Although her stories are ones of trauma and violence, to her they’re unremarkable. Not one to dwell, she delivers them with humor and candor. Also plays Officer Brown: A prison warden. Empathetic & maternal, but in no way a pushover. Treats the inmates under her watch with patience and dignity. And Katie: The youngest sibling in a wealthy and privileged family. Sweet, bright and bubbly. A bit naïve. Happy to let others take the lead in situations, and a bit sheepish when it comes to owning her own voice. ___________________ “Socrates” (Tim Blake Nelson, writer; Doug Hughes, dir. Rehearsals begin Feb. 25, 2019; runs Apr. 2-May 19 or June 30, 2019)  Contract: CC ($783/wk) Socrates is a witty and endlessly fascinating new drama about a complicated man who changed how the world thought. This powerful new play by actor, director, and writer Tim Blake Nelson is an intellectual thrill ride from the philosopher’s growing prominence in democratic Athens through the military and social upheavals that led to one of the most infamous executions in Western history. Tony Award winner Doug Hughes directs Socrates, a timely and timeless new work that serves as a passionate tribute to the man who continues to inspire us to question authority and defend freedom of belief. Socrates: cast. Plato: Male. Any ethnicity. 40s-50s. Socrates’ student and devotee. A philosopher looking back on his own life as well as Socrates’ and examining his own beliefs against the backdrop of the creation and refinement of democracy. A Boy: Male. Any ethnicity. 18+ to play a teen. The young Aristotle. Petulant, cool, and too smart for his own good. Interested in learning and hard work, but suspicious of anyone who claims they’re smart enough to teach him anything. Xanthippe: Female. Any ethnicity. 30s-40s. Socrates’ wife and intellectual equal. Tough, quick, and bold. Constantly at odds with her husband, but loves him deeply. Institutional Off Broadway Theatres Combined NYC EPAs Page 11 of 13 Men Of Greece: Seeking men of all ages and ethnicities to play followers of Socrates, accusers, interlocutors, and other citizens of Greece who will populate the story of Socrates’ life. _____________________ Spring Mobile Unit, Play TBD (William Shakespeare, writer. Rehearsals begin Mar. 11, 2019; tours Apr. 8-18, 2019; runs Apr. 29-May 19, 2019 at the Public Theater)  Now in its eighth year, The Public Theater’s Mobile Shakespeare Initiative is focused on bringing Shakespeare to non-traditional venues such as prisons, homeless shelters, and centers for disadvantaged youth around the tri-state area. Actors travel by company van and participate in set-up and striking of small scenic elements, props, and costumes. The company will present approximately six performances per week during the tour. The final three weeks will be played at The Public Theater with eight performances per week, and will be open to the general public. We are seeking a diverse group of collaborative, language-oriented actors who enjoy working in a physical style. All roles will double with multiple characters. Please submit qualified actors of all cultures, ages, gender identities, disabled and non-disabled. We will be seeking a nine member company. ____________________ “Mojada” (In collaboration with The Sol Project. Luis Alfaro, writer; Chay Yew, dir. Runs July 2-Aug. 11, 2019) MacArthur Genius Award-winning playwright Luis Alfaro returns with the New York premiere of his stirring drama about love, immigration, and sacrifice, inspired by the Ancient Greek story of Medea. Helmed by Chay Yew, this play masterfully combines ancient storytelling with the most pressing issues facing our country today, following a young Mexican mother who gives up everything to bring her son to America, only to find America demands even more. Alfaro’s Oedipus El Rey, produced last season in collaboration with The Sol Project, was hailed by The New York Times as a “dynamic reminder that we are living in a political moment when stories matter.” With great poetry, humor, and heart, Mojada is a bold new telling of a story as old as tragedy itself. Medea: Female. Latinx. 20s. A young woman who has fled a life of limited opportunity in Mexico in search of a better life. Overwhelmed by the culture shock of life in Los Angeles and yearning for her home country, she has locked herself away in her house and yard, interacting only with her family and making money as a seamstress. Fiercely loyal and protective. Her outward timidity belies a hidden strength and passion that simmer beneath the surface. Hason: Male. Latinx. 30s. A go-getter with a taste for all life has to offer. He has brought his family from Mexico to Los Angeles in order to broaden their worlds. Ready to acclimate to his new city and new country, and willing to do whatever it takes to create a better life for himself and his son. Acan: Male. Latinx. 18+ to play younger. A teenager torn between childhood and growing up, and likewise torn between his mother’s need to hold onto the past and his father’s need to assimilate and fit in. Searching for his place in every way. Tita: Female. Latinx. 60s. Medea and Hason’s housekeeper, and Acan’s nanny. A part of the family, who came with them from Mexico to California. A gossip and old-world healer. She pays attention and sees the world around her clearly. She wants the best for her family, whom she loves, and she tells it like it is. Josefina: Female. Latinx. 30s. Outgoing, friendly, and talkative. Knows everyone in the neighborhood. A fellow Mexican immigrant, and a baker and street vendor who doesn’t mind playing a part for the white hipsters who frequent her cart in order to make more money. Armida: Female. Latinx. 50s. Hason’s boss. No-nonsense, sharp, and practical. Elegant and commanding. Has built a real estate empire and takes pride in her skill and success as a Mexican immigrant who’s made a name for herself in LA. Used to getting what she wants and believes she deserves it; she has no qualms about taking what is available to her.


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Region: Eastern

Seeking:Bechet: Male, African American, early to mid-30s; son of a share-cropper; talented jazz vocalist; the protector of the group; a pragmatic realist; doesn't have the luxury to be a romantic but believes in fighting for a better life; haunted by the threat and humiliation of racism in post WWII America; a survivor who has learned to keep his emotions in check but at what cost and for how long? Tenor or Baritone with range.


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