Two River Theatre Co 2017-18 Season - NJ EPA
Two River Theater Company
AUDITION DATE
Jun 02, 2017 WITH Accompanist
10:00 am - 6:00 pm (EDT)
Break 1:00-2:00 pm
Jun 06, 2017 NO Accompanist
10:00 am - 6:00 pm (EDT)
Lunch 1 to 2
APPOINTMENTS
No appointment necessary.
CONTRACT
LORT Non-Rep $637/week minimum
SEEKING
Equity actors for 2017-18 season.
PREPARATION
Please prepare EITHER one brief monologue and 32 bars of a song OR two brief contrasting monologues. If singing, bring sheet music; an accompanist will be provided.
Please bring a current picture and resume, stapled together.
LOCATION
Two River Theatre
21 Bridge Ave
Red Bank, NJ 07701-1105
Note: Doors do not open until 9:45 AM.
PERSONNEL
Artistic Director: John Dias
Managing Director: Michael Hurst
Casting Directors: Jack Doulin + Sharky Casting (unless otherwise noted)
OTHER DATES
See breakdown for production dates.
OTHER
An Equity Monitor will not be provided. The producer will run all aspects of this audition.
Equity’s contracts prohibit discrimination. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to attend every audition.
Always bring your Equity Membership card to auditions.
BREAKDOWN
A RAISIN IN THE SUN
By Lorraine Hansberry
Directed by Carl Cofield
First Rehearsal: Aug. 15
First Performance: Sept. 9
Opening: Sept. 15
Closing: Oct. 8
WOMEN
LENA YOUNGER – CAST
RUTH YOUNGER – CAST
BENEATHA YOUNGER
MEN
WALTER LEE YOUNGER – CAST
JOSEPH ASAGAI – CAST
BOBO – CAST
TRAVIS YOUNGER
GEORGE MURCHISON
KARL LINDNER
MOVING MAN 1
MOVING MAN 2
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THE IMPORTANCE OF BEING EARNEST
By Oscar Wilde
Directed by Michael Cumpsty
Casting: Heidi Griffiths & Kate Murray
First Rehearsal: Oct. 17
First Preview: Nov. 11
Opening: Nov. 17
Scheduled Close: Dec. 3
MEN
JACK WORTHING
ALGERNON MONCRIEFF
REV. CANON CHASUBLE, D.D.
LANE
MERRIMAN
WOMEN
LADY BRACKNELL
GWENDOLEN FAIRFAX
CECILY CARDEW
MISS PRISM
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EL COQUÍ ESPECTACULAR AND THE BOTTLE OF DOOM
By Matt Barbot
Directed by Jose Zayas
First Rehearsal: Tuesday, Dec. 5, 2017
First Preview: Jan. 6, 2018
Opening: Jan. 12
Closing: Feb. 4
MEN
ALEX – 20s. Latino. A comic book writer and illustrator who has quit his unsatisfying job, he’s moved back in with his mom and is drifting. In order to connect with the Puerto Rican heritage he feels disconnected from, he creates a superhero, El Coquí Espectacular, and then tries to be him for real. Warm, funny, and impulsive, he’s also idealistic and more than a little immature.
JOE – late 20s/30s. Latino. Alex’s older brother, Joe has very much taken it upon himself to be the responsible man in the family after their father’s death. This manifests as a “grown-up” job that just might be sucking his soul away, and a lack of patience with his brother’s refusal to grow up. Organized, a bit of a control freak, and not a natural leader who pretends to be one, Joe’s rigid exterior hides a kind, lonely guy who tries to do the right thing, but doesn’t quite know what that is.
EL CHUPACABRA/JUNIOR – 20s-30s. Latino. The supervillain to El Coquí’s hero, El Chupacabra also acts as Alex’s insecurities come to life and his tormentor (as Junior, Alex’s bully from high school, he literally was his tormentor). Cartoonishly evil and in love with his own villainy, El Chupacabra must have a big personality and ace comic timing.
WOMEN
PATRICIA – late 40s/50s. Latina. Joe and Alex’s mom, Patricia’s love for her sons sometimes looks a lot like nagging. Funny and warm, she wants the best for her family.
YESICA – 20s. Latina. An ambitious photographer and blogger, she’s the first to see the symbol the superhero El Coqui could be to the changing neighborhood. Never afraid to put herself in harm’s way to get the best shot or the best story, she nevertheless has a strong moral compass that never leads her astray. Although she’s blunt and can be harsh, she cares deeply about her community and her friends.
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THE BRIDGE OF SAN LUIS REY
By Thornton Wilder
Adapted for the Stage by David Greenspan
Directed by Ken Rus Schmoll
First Rehearsal: Jan. 23 2018
First Preview: Feb. 17
Opening: Feb. 23
Closing: March 18
NOTE: All ethnicities encouraged to apply for all roles.
MEN
UNCLE PIO – CAST
ESTEBAN, A SCRIBE – 20s-early 30s. One of a pair of orphaned identical twins who work as scribes, he is the more practical of the two. His brother Manuel’s obsessive love for Camila reveals his own devotion to Manuel, and throws him into a panic.
MANUEL, A SCRIBE – ESTEBAN’S TWIN BROTHER – 20s,-early 30s. One of a pair of orphaned identical twins who work as scribes. Passionately – fervently, unexpectedly drawn to Camila, overwhelmed by his passion – unaware that his feelings for Camila have sent Esteban into turmoil. An orphan.
To be played by one actor, 40s-50s:
DON ANDRÉS DE RIBERA, VICEROY OF PERU – Wealthy, cultured, politician – a sensualist.
CAPTAIN ALVARADO, A SHIP CAPTAIN – Stoic – secretly mourns his deceased daughter.
DON VICENTE, CONDE D’ABUIRRE, DOÑA CLARA’S HUSBAND – Intellectual, cultured, self-effacing, patient – appreciates Doña María’s correspondence.
WOMEN
DOÑA MARÍA, MARQUESA DE MONTEMAYOR – 50s-60s. A regal yet dissipated aristocrat who has focused all her intense love on the adult daughter who despises her, Doña María is “the laughingstock of all Lima”, mocked for her drunkenness, though she doesn’t know it. However, despite the slightly ridiculous, slightly pathetic figure she cuts and her grasping need, she is a loving, lonely woman.
DOÑA CLARA, CONDESA D’ABUIRRE, DOÑA MARÍA’S DAUGHTER –late 20s-early 40s. Glacial, pampered beauty. Emotionally cold, and capable of great vindictiveness – her coldness a defense against her mother’s smothering attentions.
PEPITA, YOUNG PROTÉGÉ OF MADRE MARÍA DEL PILAR, SERVANT TO DOÑA MARÍA – Teenager to play girl of 11. An orphan who is a kind, capable, and organized, with natural leadership potential, underneath her composed exterior she is hungry for the approval and affection of Madre María.
MADRE MARÍA DEL PILAR, ABBESS OF CONVENT SANTA MARÍA ROSA DE LAS ROSAS – 50s-60s. A charismatic mother superior and a natural leader, she is driven by her cause of liberating women and helping the needy of her community, and will use almost any tactic to achieve her goals. Strong and strong-willed, her big heart is matched by her steel spine.
CAMILA PERICHOLE, CELEBRATED PERUVIAN ACTRESS – late 20s-30s. A charismatic stage star who, though not a conventional beauty, is made stunning by her talent and presence. Born into poverty and sold by her mother as a child for a few coins, she is obsessed with rising in society. Though vain, superficial, and often selfish, she deeply loves her sickly son.
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DANCING AT LUGHNASA
By Brian Friel
Directed by Jessica Stone
First Rehearsal: March 19
First Preview: April 14
Opening: April 20
Scheduled close: May 6
MEN
MICHAEL EVANS
GERRY EVANS
FATHER JACK MUNDY
WOMEN
MAGGIE MUNDY
KATE MUNDY
AGNES MUNDY
ROSE MUNDY
CHRISTINA MUNDY
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OO-BLA-DEE
By Regina Taylor
Original Music by Diedre L. Murray
Directed by Ruben Santiago-Hudson
First Rehearsal: May 7 2018
First Preview: June 9
Opening: June 15
Closing: July 1
WOMEN
GIN DEL SOL – 20s. African-American. Driven, stubborn, quick-thinking and a gifted musician, Gin will do anything to follow her music and achieve her dream of playing in a band, including creating an entirely new identity for herself. Her ambition occasionally makes her cruel, though she talks tougher than she is, and she has yet to learn the cost of her own sacrifices. Must have a beautiful, jazzy singing voice.
EVELYN WATERS – 50s. African-American. The lead singer of her own all-women’s band in 1946, Evelyn has had to fight tooth and nail for her spot in a man’s world, and she’s as tough as you’d need to be to achieve that. Despite her quick temper, lack of patience, and fearsome demeanor, she maintains a soft spot for her man Leroi, fighting across the sea. Must have a beautiful, jazzy singing voice.
LULU – 30s-40s. African-American. The drummer of the band, Lulu has been around the block. Almost always high or drunk, she’s a bit of a mess and can be downright mean if she wants to be, but she’s also a lot of fun, and very funny. She’s not as tough as she pretends to be. Must have an earthy, jazzy singing voice.
RUBY – 30s-40s. African-American. The band’s bassist and unofficial den mother, Ruby is a peacemaker who always has pots of delicious soul food cooking as soon as she can get to a kitchen. However, despite her warmth, Ruby is no pushover and has made great sacrifices to be where she is. Must have a beautiful, jazzy singing voice.
LUNA C – 20s-40s. African-American. A little bit Billie Holiday, a little bit Bette Davis, and a little bit magical, Luna C is Mother Time, the spirit of the music, and the voice of Gin Del Sol’s journey. A silver-voiced narrator who’s as elegant as she is wise, she knows the past and the future and will occasionally decide to share what she knows. Must have a beautiful, smooth singing voice, and the ability to mimic the sound of the jazz greats.
MEN
SHORTY – 40s-50s. African-American. The band’s long-suffering manager and the most common target of Evelyn’s wrath, Shorty carries a secret torch for her and makes sure her many demands are taken care of with a smile. Warm and kind, if perhaps a little weak, he is happy to do whatever it takes to avoid conflict but occasionally cannot hide his internal struggle. Must have a beautiful, jazzy singing voice.
ARTHUR/SOLDIER – 20s. African-American. A soldier who has returned from the front, Arthur is honorable, handsome, a natural leader, and a hopeless romantic. He is devoted to the woman he left behind, and will do anything to find her and build their life together. Must have a beautiful singing voice. Angels should weep when he sings.
Equity’s contracts prohibit discrimination. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to audition.
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