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ACT ONE - Lincoln Center Theatre Auditions

Posted: August 22, 2013

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ACT ONE - Equity Principal Auditions

Lincoln Center Theater|New York, NY

Date of Audition:

Call Type
Equity Principal

Equity Principal Auditions

Tuesday, September 3, 2013
9:30 AM to 5:30 PM
lunch 1 to 2

LORT Non-Rep
LORT A; $1268/week minimum

Actors' Equity Association Audition Center
165 West 46th Street
16th Floor
New York, NY 10036

Equity actors, men and women, for principal roles and understudies.

see breakdown.

Sides will be provided at the audition.

Bring picture and resume, stapled together.

Other Dates
1ST Rehearsal 2/11/14; 1st Preview: 3/20/14; Opens: 4/17/14; Closes: 6/15/14

Casting note: Daniel Swee and Camille Hickman will be attending the auditions at separate times. The exact time each will be in the room will be determined on day of EPA.

Director: James Lapine
Writer: James Lapine, adapted from the autobiography by Moss Hart
Casting: Daniel Swee, Camille Hickman
· EPA Rules are in effect.
· A monitor will be provided.
Performers of all ethnic and racial background are encouraged to attend.
Always bring your Equity Membership Card to auditions.


Set in the 1920’s, ACT ONE is James Lapine’s adaptation of Moss Hart's classic autobiography which eloquently chronicles the playwright/director's impoverished childhood and his determined struggle to escape poverty and forge a career in the theater.


Early-Mid 20s. Moss Hart, the renowned American playwright and director. We see Moss from his late teens to his Mid 20s, smart, charming, resilient, scrappy, curious and tenacious, a jewish kid from the streets of NY. He is single-minded in his ambition to have a life and career in the theater, which was an escape and solace from his hard scrabble life of poverty. Born in 1904 to Jewish immigrant parents and raised in the Bronx, he worked his way up in the world of the theater from an office boy to a playwright. Although he was always under pressure, because his family depended on him financially, he managed to remain optimistic with a sense of humor.

50s. HART – Moss Hart in his 50s, looking back on his life, he serves as a de facto narrator of the piece. Smart, wise, wry, no longer as much a kid of the streets, he’s an experienced artist, with a sensitive heart who can see his younger self through clear, yet generous eyes. FATHER 40’s-50. Moss Hart’s father. English-born, Jewish immigrant, working class, he speaks with a Cockney accent. An unemployed cigar maker, he lived a life filled with frustration and failure as he desperately tried to provide for his family by renting out rooms in his apartment. In a constant state of daily warfare with Aunt Kate and with anybody else he thought was not giving him the respect he deserved. GEORGE S. KAUFMAN - American playwright, theatre director and producer, drama critic and humorist. Obsessively fastidious.Educated, brilliant and somewhat removed. A superior artist and craftsman, intimidating in his quiet self-confidence. Not fond of sentimentality, cantankerous, unconcerned by being liked, a private man who reveals himself to few people.

The following roles will double/triple/etc. with each other (in other words, actors will play multiple roles), although it is not yet known how the roles will be divided up. Actors should be highly versatile and comedic. There are other roles which will double, in addition with the roles listed.

Late 30s-50. Moss Hart’s mother. English-born, jewish immigrant, working class, she speaks with a Cockney accent. A woman of decent instincts and exemplary behavior even though her life is a struggle. With her husband, supports the family by taking in boarders. Much of her life consists of keeping peace between her sister, Kate and her husband.

40s-50. English born, Jewish immigrant. Lillie’s older sister. A larger than life figure to Moss, she behaves like a lady of leisure, putting on airs and disdaining work of any kind. An incurable romantic, extremely intelligent, opinioned and a vivid storyteller, she recreates her evenings spent at the theater for a rapt and captive audience consisting of her nephew, Moss and her sister, Lillie. Overly dramatic, she feels herself above her circumstances.

Late 30s–40s. Augustus Pitou’s secretary and George Steinberg’s Aunt, she’s a tough bird who doesn’t put up with guff.

40s-50s. Theatrical investor and owner of the Hudson Theatre, which she inherited when her husband went down with the Titanic. Rich, possibly portly, always dressed to the nines, colorful, good humored. Up for an adventure, endlessly optimistic, but ultimately and unexpectedly quite shrewd.

Late 30s–40s. Literary agent. Highly respected in the community so whatever plays she recommended for production were read with promptness and great enthusiasm. A bit of a character, she’s tough and realistic, but very supportive of her client, Moss.

40s. George S. Kaufman’s wife. Not conventionally beautiful but had an individual style and a uniqueness that lent a radiance to everything she did or said. Very smart, insightful, highly perceptive, elegant and witty.

20s. Works at Clara Hirsch Home for Working Girls where Aunt Kate ends up living after being thrown out of the Hart home. Warm, straightforward, pleasant.

20s. Works in the Kaufman household. Good at her job.

Early-Mid 20s. To play a pretty, period ingénue. Actress in The Beloved Bandit and in a show-mance with one of the actors in the show.

Early–Mid 20s. An actress waiting to audition for a play.

50s-60. New Yorker. Theatrical Producer who books touring shows. Known as the “King of One Night Stands”. Shrewd businessman, always looking for a way to put on a show for a quick buck. Smart, funny, cheap.

30s. The director of The Beloved Bandit. Experienced and charming, he tries to maintain patience and unflagging good humor in even difficult situations.

Late 20s-Late 30s. Excellent pianist of period standards at a party. Should be able to read music

Late 20s. Irish. Star of The Beloved Bandit.

Early 20s. New Yorker. Moss’ neighbor in the Bronx. Works as an office boy for the theatrical producer Augustus Pitou and helps get Moss a job.

Early–Mid 20s. New Yorker. Office boy for theatrical producer George Tyler. Kind and good hearted.

Early–Mid 20s. New Yorker. Office boy for producer Flo Ziegfeld, legendary theatrical producer. Charming, witty, and a bit of a show off. Quits his job to become Social Director for a Camp in the Catskills where he and Moss end up working together. A fast talker with a plan.

Early–Mid 20s. New Yorker. Office boy who recommends to Moss that he send his newest play (“Once in a Lifetime”) to the producer Jed Harris at his hotel, not his office. Quick witted, ambitious.

Early-Mid 20s. Actor in The Beloved Bandit. Friendly, talkative, wants his role to be larger.

11ish. Moss’s younger brother. A street smart NY kid and a bit of a wiseass, but ultimately sweet natured. Role will double with MOSSY – Moss Hart as a child.

40s–60s. Austrian (spoke with a light accent). Hugely successful producer. Whatever play he turned his hand to was catapulted into immediate success. Disconcerting, dynamic, brilliant conversationalist on the subject of theater, commanding in his loquaciousness and elocution, incisive way with a script. Idiosyncratic, eccentric and unpredictable, he made as many enemies as he did friends.

40s–50s. African American actor and director of a production of The Emperor Jones. An Imposing presence and a towering talent, but impatient and intolerant and angry and resentful, particularly when he’s been drinking.

40s-50s. A seasoned and weary stage manager of The Beloved Bandit, Moss’s first play.

40s–50s. Sam Harris’ General Manager. Amiable and adept at putting people at their ease. A natural peacemaker and negotiator of difficult personalities.

30s–40s. British director of The Constant Nymph. Condescending, biting, contemptuous, intolerant.

30s–40s. Prolific and successful Broadway theatrical producer. Elegant, serene, warm hearted, amiable. A gentleman of the theater. Wise and kind. Everybody adored him and everybody took pains to be their best with him.

40s. Boarder in the Harts’ apartment, unhappy with the quality of the living situation and vocal about it.

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