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AMERICAN REPERTORY THEATER 2016-17 SEASON - American Repertory Theatre Auditions

Posted: May 9, 2016

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American Repertory Theater 2016-17 - Boston EPA

American Repertory Theatre|Cambridge, MA



Date of Audition:
5/19 and 5/20/2016




Call Type
Equity Principal

Time(s)
Equity Principal Auditions

Thursday, May 19, 2016

Friday, May 20, 2016
10:00 am - 6:00 pm
(lunch 1:00 - 2:00 pm)

Contract
LORT Non-Rep
$861 weekly minimum

Location
Loeb Drama Center
64 Brattle Street
Cambridge, MA 02138


Seeking
Equity actors for 2016-17 season.

See breakdown

Preparation
Please prepare a contemporary monologue. Please note singing is not required and an accompanist will not be present.

Bring picture and resume

Other Dates
See breakdown for rehearsal, opening, and closing dates.

Other
AEA members without appointments seen as time permits.

Personnel
Expected to attend: Mark Lunsford, Line Producer

See breakdown for creative staff for each production.

? A monitor will

not be provided. The producer will run all aspects of this audition.

Appointments
Please schedule an appointment by emailing seasonauditionsART@gmail.com.

Performers of all ethnic and racial background are encouraged to attend.

Always bring your Equity Membership Card to auditions.


Breakdown

A.R.T. 2016-17 Season


NOTES FROM THE FIELD: DOING TIME IN EDUCATION
Created, written, performed by Anna Deavere Smith


Music composed and performed by Marcus Shelby

1st reh: 7/19/16. Perfs: 8/20 – 9/18

(This is a one-person show and full CAST. Not seeking understudies)

_____

THE PLOUGH AND THE STARS
By Sean O'Casey
Directed by Sean Holmes
1st preview: 9/25. Press Night: 9/28. Opens: 9/29. Closes: 10/9

*this is an international presentation, all roles are cast and we are not seeking understudies

_____

FINGERSMITH
By Alexa Junge, Based on the novel by Sarah Waters
Dir: Bill Rauch
1st reh: 11/1. Opens: 12/14. Holiday Schedule TBD. Closes: 1/8/17 (Holiday Schedule TBD)

Please note the doubling at the end of the list:

SUSAN TRINDER
(20) The protagonist of the play. Grew up in a den-of-thieves on in the dodgiest Borough of London. A skilled pickpocket. Devoted to Mrs. Sucksby who took her in an cared for her, Sue is hungry and ready to strike out on her own.

MAUD LILLY
(20) The heiress at the center of Sue’s plot. Kept away from the world by her controlling uncle, Maud is desperate to escape from Briar and find liberty in London.

RICHARD “GENTLEMAN” RIVERS
(30’s) A master con and expert in art forgery and “higher-class” crimes. Gentleman is partner to Sue a risky scheme of seduction and deceit.

MRS. GRACE SUCKSBY
(50’s-60’s) Baby-farmer and cunning businesswoman. Mrs. Sucksby raised and favored Sue in her thieves’ den on Lant Street-- teaching Sue to pick pockets, protecting her from the neighborhood boys and prizing Sue like a jewel above all others.

CHRISTOPHER LILLY
60’s) Maud’s uncle who has raised her to be his secretary locked up in a mansion “Briar” and keeps her for his secretary. In love with his dead sister, Marianne.

MARIANNE LILLY
(20’s-30’s) Maud’s mother. Found to be pregnant by a stable boy at her father’s estate then committed by her father and brother Chris Lilly to a lunatic asylum. A spirited woman ahead of her time.

YOUNG SUE/YOUNG MAUD

Child versions of both Sue and Maud. Must be quite different for each portrayal.

LANT STREET

MR. IBBS
(50’s) A crooked pawn-seller and neighborhood fence. Mr. Ibbs shares his shop (and sometimes his bed) with Mrs. Sucksby who’s been his “partner in crime” since before Sue was born.

DAINTY WARREN
(20’s) A lodger at Lant Street, a small-time thief and the closest thing Sue has to a best friend. The long-suffering girlfriend of John Vroom.

JOHN VROOM
(20’s) A misbegotten orphan and petty thief. Bitter about Sue’s preferential treatment. Ill-tempered and rude; but only because he’s been treated so poorly.

MRS. GRIGGS
(40’s) Onlooker at hanging.

MR. GRIGGS
Onlooker at hanging.

POLICEMEN
Investigate Gentleman’s murder.

BRIAR

MRS. STILES
(50’s) Housekeeper at Briar for over forty years. Attended to Marianne Lilly, and then (bitterly) to Maud.

MR. WAY
(50’s) Butler at Briar for Marianne and then Maud’s time there. Alcoholic father to Charles the knife-boy.

MR. INKER
(60’s) Carriage man at Briar.

MARGARET
(20’s) Parlor maid at Briar. Reports to Mrs. Stiles.

COOK
(50’s) Report to Mrs. Stiles.

CHARLES WAY
(14) Knife boy at Briar who becomes enamored with Gentleman.

MR. HAWTREY
(50’s) Publisher, London book-store owner. Colleague to Chris Lilly. Kind and respectful to Maud.

MR. HUSS

(50’s) “Gentleman” collector of books. Comes to hear Maud read from rare texts. Lascivious.

AGNES
(20’s) Maud’s maid who is seduced by Gentleman and then sent away in order to make a post available for Sue.

VICAR
(60’s) Drunken clergyman who marries Gentleman and Maud on the night of their elopement.

MRS. CREAM
(50’s) Owner of the cottage where Gentleman stays with Maud and Sue after eloping with Maud. Aunt to Charles.

ST. JOHN’S ASYLUM

SPIKEY NURSE
(30’s – 40’s) Tended to Maud as a child. Had smothering soft-spot for Maud.

STOUT NURSE
(40’s) Meaner of two nurses, also possessive of Maud.

OLD LUNATIC
Terrifying to Young Maud.

RENBRIDGE ASYLUM

DR. CHRISTIE
Director of Lunatic Asylum. Ambitious and scientifically out of date.

NURSE SPILLER
Miserable lifer with no patience and a sadistic streak toward her charges. Especially peeved by Sue’s “uppity” nature.

MR. KENT
Orderly who reports to Nurse Spiller.

MRS. FELL
Lonely lunatic spinster.

BETTY
Developmentally disabled inmate exploited by Nurse Spiller to do her personal bidding. Enjoys her special status.

 Doubling for FINGERSMITH:

Women:
Sue Trinder
Maud Lilly
Mrs. Sucksby/Old Lunatic
Flora/Agnes/Marianne Lilly
Dainty/Margaret/Nurse Spikey/Betty

Mrs. Stiles/Nurse Spiller/Prison Matron
Cook/Mrs. Cream/Nurse Stout/Miss Wilson
Young Sue/Young Maud (youth)

Men:
Richard “Gentleman” Rivers
Christopher Lilly
John Vroom
Charles Way (youth)
Mr. Ibbs/Mr. Inker/Vicar/Mr. Huss
Mr. Way/Dr. Christie/Mr. Hawtrey
________ 

TRANS SCRIPTS
Writer: Paul Lucas
Dir: Jo Bonney
1st reh: 12/27. 1st Preview: 1/19/17. Press/Opening: 1/26. Closes: 2/5

Eden:
White Intersex Female, 30s/40s, British. Assigned male at birth, her history was concealed from her by her parents. She has a history of both abused and self-harm. Opinionated, mercurial, and funny, she is a substance abuser and a lesbian. Not comfortable presenting as hyper-feminine, she is extremely androgynous.

Josephine:
White Australian Trans Female, mid-50s, lived as a hyper-masculine man for 50 years. Intelligent, emotionally fragile, self-effacing, nervous, depressed, warm. Her dream is to become a “normal girl" and disappear into society. She does not feel entitled to take up space, or even the air in the room.

Luna:
African American and Latina Trans Female, 28. Orphaned at 9, she was raised in a series of group homes before transitioning at 17. Outrageous, warm, and funny, she is an expert “code-switcher,” drawing on her extensive vocabulary one minute and on her street cred the next.

Sandra:
White Trans Female, 65. A former garage mechanic with the soul of a French poet, Sandra underwent a well- supervised, expensive transition at 40. Introspective and measured, her soothing, yet artificial dialect lays like a beautiful shawl draped over the tent poles of a Staten Island accent.

Tatiana:
White Trans Female, late 40s/early 50s, transitioned in her 20s. She is simultaneously arch and endearing, like Julie Newmar as Catwoman. Funny, smart, ribald, and frank, she is somewhat skeptical of the political stance of the younger generation of trans women.

Violet:
British gynecologist, living in Australia, 72. She presented as male her entire life in order to have the career she wanted, transitioning at 68. She is loud, funny and pompous. Her experience in the field makes her simultaneously insightful and detached.

Zakia:

African American Trans Female, 30s, began her transition at 21. Social Worker by day and Beauty Pageant Contestant/ Drag Performer by night. Although glamorous, funny, and deeply religious, she doesn’t take any shit. While her choice of words sometimes belies her intelligence, she is a thoughtful, accomplished woman who stands up for herself in a direct way.

______

NIGHT OF THE IGUANA
By Tennessee Williams
Dir: Michael Wilson
1st reh: 1/17/17. Opens: 2/23. Closes: 3/18

Maxine Faulk – mid 40s, female (offered)

Pedro – 20, male

Pancho – 20, male

Reverend Lawrence Shannon – mid 30s, male (offered)

Hank – unspecified age, male

Herr Fahrenkopf – father of Fahrenkopf family

Frau Fahrenkopf – mother of Fahrenkopf

Hilda – daughter of Fahrenkopf family

Wolfgang – son of Fahrenkopf family

Judith Fellows – mid 40s, female

Charlotte Goodall – teenager, female

Jonathan Coffin – older man, 80’s-90’s

Hannah Jelkes – 30s-40s, female (offered)

Jake Latta - male
_____

ARRABAL
By John Weidman
Dir: Sergio Trujillo
Choreographers: Sergio Trujillo and Julio Zurita

1st reh: 4/11. Opens: 5/18. Closes: 6/11

ARRABAL:
18-20. Innocent and guileless. Beautiful, in an entirely fresh and unspoiled way. Fascinated, as a child would be, by a world from which she has been sheltered all her life—and which she will encounter and come to terms with as the story unfolds. Must be a beautiful, balletic dancer and a first-rate actress whose inner life is made available through movement and

nuanced expressiveness.

RODOLFO:
35-45. Single father, deeply attached to his daughter Arrabal, both when she is an infant and later on. Confident, courageous and fearless—a natural leader and working class revolutionary, but with a soft side and easy access to his emotional inner life. An experienced tango/contemporary dancer who must also be a first-rate actor.

EL PUMA:
30-35 in early scenes, 50-55 in balance of the show. Confident, commanding presence and masterful tango dancer at the top. Confidence has been replaced by guilt-driven insecurity and pervasive anxiety in later scenes. A brilliant tango dancer who must also have exceptional instincts as an actor.

BERTA:
Like El Puma, 30-35 in early scenes, 50-55 later on. Confident, authoritative, and attractive. As a younger woman she is playfully flirtatious; later on she projects a mature, deadly serious determination. Must be an accomplished tango dancer and an accomplished actress.

ABUELA:
60-65, but plays a scene at the top in which she is 18 years younger. Grieving for her disappeared son for 18 years has produced a woman with pain written on her face, someone with whom we should instantly sympathize, but also someone strong, stoic, and determined. Minimal dancing required.

MARIO:
35-45. El Puma’s trickster assistant. A mysterious, intriguing, and charismatic imp. Fascinating, irresistible—a unique presence onstage. A specialty dancer who can hypnotize with an eccentric style of movement which seems to defy the laws of human anatomy.

JUAN:
25-30. Secure, self-confident, and strong—the best looking, sexiest, and most appealing man onstage. Must be capable of playing cocky and self-involved, but also deeply sensitive and sympathetic. All of which must be expressed through his virtuoso skills as a tango master.

NICOLE:
25-30. Sultry, sexy, and dangerous. A stunning woman—and a brilliant, multi-faceted dancer—who knows what she wants and does not behave well when she doesn’t get it. A help if she is physically distinguishable from the other, also gorgeous, women onstage. Blond hair is a plus.
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