AMERICAN MARIACHI - Dallas Theater Center Auditions

Posted: June 5, 2019

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American Mariachi - Dallas EPA Days

Dallas Theater Center

AUDITION DATES
Mon, Jun 17, 2019
10:00 am - 5:00 pm (CDT)
Lunch: 1:00PM - 2:00PM

Tue, Jun 18, 2019
10:00 am - 5:00 pm (CDT)
Lunch: 1:00PM - 2:00PM

APPOINTMENTS
Auditions are by appointment only. Contact caroline.hamilton@dallastheatercenter.org to book an appointment.

CONTRACT
LORT Non-Rep Minimum - $941/wk

SEEKING
Performers 18+. See breakdown.

PREPARATION
Prepared sides, 16-32 bars of a song of your choosing (pop, musical theater, or mariachi accepted). If you play a musical instrument, please bring it with you and be prepared to play. Keyboard provided.

LOCATION
Kalita Humphreys Theater
3636 Turtle Creek Blvd
Dallas, TX 75219-5502
Franks Place

PERSONNEL
PLAYWRIGHT: JOSE CRUZ GONZALEZ
DIRECTOR: HENRY GODINEZ
MUSIC DIRECTION: CYNTHIA REIFLER FLORES
CASTING DIRECTOR: JOEL FERRELL (DTC), ADAM BELCUORE (GOODMAN)
PRODUCER: SARAHBETH GROSSMAN (DTC), TANYA PALMER (GOODMAN)

OTHER DATES
Dallas Theater Center:
First Rehearsal - Feb 10
First performance - Mar 14
Closing - April 5

The Goodman
First Rehearsal - April 14
First Performance - April 28
Closing - May 31

OTHER
Co/Production with The Goodman Theatre
An Equity Monitor will not be provided. The producer will run all aspects of 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
Available roles
*Important note: Musical/Instrumental training and coaching will be provided for roles that require the playing of a Mariachi instrument.
LUCHA MORALES, early to mid 20s, U.S. born Mexican-American. Bilingual. Daughter of AMALIA and FEDERICO MORALES. Struggles with her father’s expectations. Dreams of one day becoming a nurse. She is the primary caregiver for her HORTENSIA PÉREZ, prefers to be called “BOLI.” Early to mid 20s, Mexican American. Works as a hotel maid and later at a cannery. LUCHA’s cousin. Hungry to learn about the world. She is fiercely loyal and protective of her family and friends. She loves to sing and learns to play the guitar.
AMALIA MORALES, late 40s/early 50s. Mexican American. Bilingual. Mother of LUCHA, She is battling early onset dementia and is mostly lost in the past except for a few moments of lucidity. She sees and speaks to her deceased aunt, TÍA CARMEN. She used to the play violin and she sings beautifully. Also plays DOÑA LOLA; an elderly eccentric lady who loves her hair styled in the salon.
GABBY OROZCO, mid 20s. Mexican American. A Born Again Christian. She lacks confidence, style, and experience in the world. Works as a baker at El Águila Panadería. She sings and plays the electric bass at her church. Learns to play the guitarrón. She actively searches for guidance and companionship. Plays BERTA, DRUNK UNCLE’S WIFE & QUINCEAÑERA GUEST.
SOYLA REYNA, early/mid 40s. Born in Colombia. Immigrated to the U.S. as a young woman. Bilingual. Owner of Salón Superior de Soyla. She is always well put together. Savvy about the world, opinionated, self-sufficient, sexually confident, and supportive of the young women. She sings beautifully and learns to play the vihuela. Also plays SISTER MANUELA, an old school Catholic nun, CHOIR, HOLY ROLLER.
MINO AVILA, a middle-aged Mexican. Ex-friend of FEDERICO. Bilingual. A former mariachi, he is very wise, a music historian. LUCHA’s godfather. A soft-spoken and humble man with a broken heart. He works as a carpenter who also repairs music instruments in his garage. Plays PADRE FLORES from Madrid, Spain, HOLY ROLLER MUSICIAN, QUINCEAÑERA GUEST. Plays guitar or vihuela.


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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