4TH WALL THEATRE COMPANY 2020-21 SEASON - 4th Wall Theatre Company AuditionsPosted: June 11, 2020
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4TH WALL THEATRE COMPANY 2020-21 SEASON - EQUITY VIDEO SUBMISSIONS
CONTRACTSPT $309 weekly minimum (SPT Cat. 2)
SEEKINGVideo submissions from Equity actors (age 18 and up) for the upcoming 2020-21 season. (See breakdown.)
Due to COVID-19 and social distancing efforts, the 4th Wall Theatre Company will conduct 2020-21 seasonal auditions via video submissions in lieu of local live auditions. Local Houston actors particularly encouraged to submit.
INSTRUCTIONSSubmit video auditions between ?Friday, June 26? and ?Friday, July 3.? Prepare two contrasting contemporary monologues, or a short scene not to exceed three minutes total in length. If submitting a scene, only the auditioning actor should appear in the video (scene partner should be off-camera.) Include a slate at the end of the video identifying the auditioner and material. Submit video auditions along with their resumes and head shots to email@example.com??????????.
Deadline: Fri, Jul 3, 2020
PERSONNELVideo submissions will be viewed by one or both of 4th Wall’s Co-Artistic Directors, Kim Tobin-Lehl and Philip Lehl.
OTHER DATESSee breakdown for production dates.
OTHEREquity’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 submit.
BREAKDOWN4th Wall Theatre Company is a professional EMC Program Equity theatre in Houston, TX, founded in 2011 by married couple, Philip Lehl and Kim Tobin-Lehl. Its original name was Stark Naked Theatre Company, which was changed in 2016. 4th Wall has maintained an eclectic range of programming, producing standards by Shakespeare and Strindberg, American classics like “Who’s Afraid of Virginia Woolf?,” and several world premieres.
The mission of 4th Wall is to develop and support theatrical artists by aiming to pay a living wage in order to grow and sustain the community of professional theatrical artists in Houston, TX; and to develop and promote the highest aesthetic of acting that is truthful, by producing exciting, cutting-edge, live theatre.
BETWEEN RIVERSIDE AND CRAZY by Stephen Adly Guirgis
Directed by Bill Pruitt and Kim Tobin-Lehl
First Rehearsal Date: Tuesday, August 18th, 2020Scheduled Performances:
Walter 'Pops' Washington - Black, 60's or older (precast)
Junior Washington - Black, Pops's son, 30's (precast)
Lulu - Latinx, Junior's Girlfriend, 20's or 30's (precast)
Oswaldo - Latinx, Junior's friend, 20's (precast)
Church Lady - South American, 40's or older (precast)
Audrey - White, Pops's former police partner, 50's (precast)
Dave Caro - White, Audrey's fiance, 50's (precast)
All roles have been cast. Possible replacements may be considered.
Walter "Pops" Washington is a retired New York City policeman. His wife has died and his son, "Junior," has just been released from jail. They live in a rent-controlled apartment on Riverside Drive in New York City. Junior's girlfriend, Lulu, and Oswaldo, a recovering addict, also spend time at the apartment. Walter has been pursuing a discrimination suit against the Police Department, because he was accidentally shot by another police officer
GLORIAby Branden Jacob-Jenkins
Directed by James Black
First rehearsal date: Tuesday, December 8th, 2020
Note: these character descriptions are taken verbatim from the published script.
Dean/Devin: extra-late 20’s, “white”
Kendra/Jenna: mid-late 20’s, Chinese-American or Korean-American
Ani/Sasha/Callie: early 20’s, “white”
Gloria/Nan: extra-late 30’s, “anything really”
Miles/Shawn/Rashaad: 20 years old, “black”
Lorin: late 30’s, “unclear”
The play takes place in modern-day Manhattan. It starts on a normal work day for a group of aspiring writers who are growing tired of the monotony of their desk jobs. Dean stumbles in hungover from a party at the home of the 'office freak,' Gloria, the night prior. As the day goes on, everyone goes about their business, though tensions are high with a dispute over who should be allowed to write a story on a deceased singer, and Gloria begins to act stranger than usual. In a sudden shift in tone, Gloria shoots and kills many workers, including Miles and Ani, leaving Dean, Kendra, Nan, and Lorin alive. The story then follows each character's life as they try to cope with the stress of witnessing the events and feud over who deserves a book deal based on the events of the shooting.
ADOLL'S HOUSE, PART2 by Lucas Hnath
Directed by Alanna Dorsett
First rehearsal date: Tuesday, February 16th, 2021
Nora - a single woman in her 50's (precast)
Torvald - Nora's ex-husband, 50's (precast)
Emmy Helmer – the daughter of Nora and Torvald – early 20's - any ethnicity
Anne Marie – the Helmer family’s nanny – 60’s or older - any ethnicity
The play begins with a knock on the door — the same door that was slammed shut, fifteen years earlier when Nora exited at the end of Ibsen’s play. Nora has returned. After leaving her husband, children, and nanny, Nora became a successful feminist novelist. The reason for her return is to finalize a divorce from Torvald; she needs him to sign the legal papers. Nora is questioned about what she has been doing, and the family and the nursemaid express their recriminations of her.
LIFESPAN OF A FACTby Jeremy Kareken, David Murrell and Gordon Farrell
Directed by Kim Tobin-Lehl
First rehearsal date: Tuesday, April 13th, 2021
Emily Penrose – a magazine editor-in-chief –late 40’s or older – any ethnicity
Jim Fingal – a Harvard Graduate intern fact-checker – mid 20’s - any ethnicity
John D’Agata – a writer – late 40's or older - any ethnicity
Jim Fingal is a young fact checker at a glitzy Manhattan magazine. His seasoned and successful editor, Emily Penrose, gives him a difficult assignment: check the facts of a groundbreaking piece by the established essayist, John D’Agata. Over a day and night in D’Agata’s Vegas home, all three wrestle with the high-stakes world of publishing, fact vs. fiction, and fake news.
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 submit.