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Call Type
Equity Principal
Time(s)
Equity Principal Auditions by APPOINTMENT
Tuesday, August 4, 2015
Wednesday, August 5, 2015
10 AM to 5:30PM each day (new time)
Lunch 1 to 2
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Contract
LOA
$550.00/week
Location
Philadelphia Shakespeare Theatre
2111 Sansom Street
Philadelphia, PA 19103
The Theatre is located on the second floor of the church **
When you arrive you need to ring the door bell marked The Philadelphia Shakespeare Theatre and someone for the theatre will let you in
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Breakdown
MACBETH
1st reh: 3/1/16
Runs: 4/5-5/22
Seeking:
Macbeth
Scottish general; thane of Glamis. Led to wicked thoughts by 3 witches after their prophecy he will be made thane of Cawdor comes true. Brave soldier; powerful man; but not a virtuous one. Easily tempted into murder to fulfill ambitions to throne. Once commits his 1st crime & crowned King of Scotland, embarks on more atrocities with increasing ease. Ultimately proves himself better suited to battlefield than to political intrigue; lacks skills necessary to rule without being a tyrant. Response to every problem is violence & murder. Never comfortable in role as a criminal. Unable to bear psychological consequences of his atrocities.
Lady Macbeth
Macbeth’s wife. Deeply ambitious; lusts for power & position. Early in play seems to be the stronger & more ruthless of the two, as she urges her husband to kill Duncan & seize the crown. After bloodshed begins, falls victim to guilt & madness to an even greater degree than her husband. Her conscience affects her; eventually commits suicide. Interestingly, she & Macbeth are presented as being deeply in love, & many of her speeches imply that her influence over her husband is primarily sexual. Their joint alienation from the world, occasioned by their partnership in crime, seems to strengthen the attachment they feel to each another.
The Three Witches
"Black and midnight hags”. Plot mischief against Macbeth using charms, spells, prophecies. Predictions prompt him to murder Duncan, order deaths of Banquo & his son, & to blindly believe in his own immortality. The witches’ true identity is left unclear—aside from fact they are servants of Hecate. In some ways they resemble mythological Fates, who impersonally weave threads of human destiny. They clearly take perverse delight in using knowledge of future to toy with & destroy human beings.
Banquo
Brave, noble General whose children, according to the witches’ prophecy, will inherit the Scottish throne. Thinks ambitious thoughts but doesn't translate thoughts to action. His character stands as a rebuke to Macbeth - he represents the path Macbeth chose not to take: a path in which ambition need not lead to betrayal & murder. It is Banquo’s ghost—and not Duncan’s—that haunts Macbeth. The ghost also reminds Macbeth that he did not emulate Banquo’s reaction to the witches’ prophecy.
King Duncan
Good King of Scotland whom Macbeth murders. Model of a virtuous, benevolent, farsighted ruler. His death symbolizes destruction of an order in Scotland that can be restored only when Duncan’s line, in the person of Malcolm, once more occupies the throne.
Macduff
Scottish nobleman hostile to Macbeth’s kingship from start. Eventually becomes leader of the crusade to unseat Macbeth. Crusade’s mission is to place rightful king Malcolm on throne, but Macduff also desires vengeance for Macbeth’s murder of Macduff’s wife & young son.
Malcolm
Son of Duncan, whose restoration to the throne signals Scotland’s return to order following Macbeth’s reign of terror. Becomes a serious challenge to Macbeth with Macduff’s aid & support of England. Prior, he appears weak & uncertain of his own power, as when he & Donalbain flee Scotland after their father’s murder.
Hecate
Goddess of witchcraft; helps 3 witches work their mischief on Macbeth.
Fleance
Banquo’s son; survives Macbeth’s murder. At end of play, Fleance’s whereabouts are unknown. Presumably may come to rule Scotland, fulfilling witches’ prophecy that Banquo’s sons will sit on Scottish throne.
Lennox
Scottish nobleman.
Ross
Scottish nobleman.
The Murderers
Group of ruffians conscripted to murder Banquo, Fleance (whom they fail to kill), & Macduff’s wife & children.
Porter
Drunken doorman of Macbeth’s castle.
Lady Macduff
Macduff’s wife. The scene in her castle provides our only glimpse of a domestic realm other than that of Macbeth and Lady Macbeth. She & her home serve as contrasts to Lady Macbeth & the hellish world of Inverness.
Donalbain
Duncan’s son & Malcolm’s younger brother.
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TWELFTH NIGHT
1st reh: 3/8/16
Runs: 4/15-5/21
Seeking:
Viola
Woman of aristocratic birth; the protagonist. Washed up on shore of Illyria when shipwrecked in storm. Decides to make her own way in the world. Disguises herself as young man 'Cesario' & becomes Page to Duke Orsino. Falls in love with Orsino—even as Olivia, the woman Orsino is courting, falls in love with Cesario. Finds her clever disguise has entrapped her: cannot tell Orsino she loves him, & cannot tell Olivia why she (Cesario) cannot love her. Her poignant plight is the central conflict in the play.
Orsino
Powerful nobleman of Illyria. Lovesick for Olivia but becomes more & more fond of Cesario (Viola). A vehicle through which the play explores absurdity of love: a supreme egotist, he mopes around complaining how heartsick he is over Olivia. It's clear he is in love with idea of being in love & enjoys making a spectacle of himself. His attraction to the ostensibly male Cesario injects sexual ambiguity into his character.
Olivia
Wealthy, beautiful, noble lady. Courted by Orsino & Sir Andrew Aguecheek. Insists to each she is in mourning for her brother, who has recently died & will not marry for 7 years. Like Orsino, seems to enjoy wallowing in own misery. Viola’s arrival in guise of Cesario enables Olivia to break free of her self-indulgent melancholy. Seems to have no difficulty transferring affections from one love interest to the next - suggesting her romantic feelings do not run deep.
Sebastian
Viola’s lost twin brother. When he arrives with Antonio (his close friend and protector) he discovers many people think they know him. Lady Olivia whom he has never met, wants to marry him. Not as well rounded a character as Viola. Seems to exist to take on role that Viola fills while disguised as Cesario—namely mate for Olivia.
Malvolio
Straitlaced steward—or head servant—in Lady Olivia's household. Very efficient but also self-righteous; has poor opinion of drinking, singing, & fun. His priggishness & haughty attitude earn him enmity of Sir Toby, Sir Andrew, & Maria, who play cruel trick on him, making him believe that Olivia is in love with him. In his fantasies about marrying her, he reveals a powerful ambition to rise above his social class.
Feste
Clown/fool of Olivia’s household. Moves between Olivia’s & Orsino’s homes. Earns living by making pointed jokes, singing old songs, being witty, & offering good advice cloaked under layer of foolishness. In spite of being a professional fool, often seems the wisest character.
Sir Toby
Olivia’s uncle. Olivia lets him live with her but does not approve of his rowdy behavior, practical jokes, heavy drinking, late-night carousing, or friends (specifically the idiotic Sir Andrew). Also earns the ire of Malvolio. But has an ally & mate in Olivia’s sharp-witted waiting-gentlewoman, Maria. Together they bring about the triumph of chaotic spirit which he embodies & the ruin of the controlling, self-righteous Malvolio.
Maria
Olivia’s clever, daring young waiting-gentlewoman. Remarkably similar to her antagonist, Malvolio, who harbors aspirations of rising in the world through marriage. Maria succeeds because she is a woman, but, more likely, because she is more in tune than Malvolio with the anarchic, topsy-turvy spirit that animates the play.
Sir Andrew Aguecheek
Friend of Sir Toby’s. Attempts to court Olivia, but doesn’t stand a chance. Thinks he is witty, brave, young, & good at languages & dancing, but is an idiot.
Antonio
Rescues Sebastian after shipwreck. Becomes very fond of Sebastian, caring for him, accompanying him to Illyria, furnishing him with money—all because of a love so strong it seems to be romantic. His attraction to Sebastian never bears fruit. Despite ambiguous & shifting gender roles, the play remains a romantic comedy in which characters are destined for marriage
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