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OPUS
Author: Michael Hollinger
Dir: Rachel Lampert
1st reh for Opus: September 25, 2012 Runs to November 11, 2012 (W-Su).
ELLIOT : Male. Forties. First violin. Blunt, direct, and intellectual. As first violin, he is the leader of the quartet, though his authority is constantly in question. Strives to remain reasonable, though his veneer cracks as the play goes on. Dorian’s former lover.
ALAN: Male. Forties. Second violin. Charming, inviting and humorous. A lady’s man, flirtatious, it doesn’t take long for him to fall for someone. Romantically interested in Grace.
DORIAN: Male. Forties. Viola. Recently kicked out of the quartet due to his “unpredictable” behavior. An inspired artist, a virtuoso, but erratic, emotional. Is aware of his talent, and is sometimes smug about it. Elliot’s former lover.
CARL: Male. Forties. Cello. A father and a husband. Maintains a seamless, “invincible” exterior. Doesn’t let on when he’s upset, tries to be the stable “rock.” Has cancer, which, at the top of the play, is in remission, but the condition worsens severely by the end of the play.
GRACE: Female. Twenty-five. Viola. Dorian’s replacement in the quartet. Exceptionally talented for her age and experience. A newcomer, tentative at first, but with a rising confidence. Very attractive, but unassuming.
FRANKIE & JOHNNY IN THE CLARE DE LUNE
Author: Terrence McNally
Dir: Rachel Lampert
1st reh for Frankie and Johnny: August 7, 2012 Runs to September 16, 2012 (W-Su).
FRANKIE: Female. 40s. A waitress at a low-brow restaurant in New York City. Unconventionally good looking. Guarded, hard to reach. Has a dry sense of humor and is very suspicious of kindness. Wants to be loved, but resists admitting it.
JOHNNY: Male. 40s. A cook at a low-brow restaurant in New York City. In good physical condition, but not particularly good looking. Passionate, eager and enthusiastic. An optimist and a dreamer. Extremely talkative. His best feature is his personality. He works at it.
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Theatre’s statement: “The Kitchen Theatre does not discriminate on the basis of race, color, creed, national origin, gender, sexual orientation, political persuasion or belief, age or disability. The Kitchen Theatre is committed to non-traditional casting. In roles where race, age, ethnicity, gender or the presence of a disability is not germane to either the play or the character’s development, we actively solicit the participation of ethnic minorities, females, seniors and performers with disabilities.”
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