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BRAVE NEW WORKS - Theater Emory Auditions

Posted: October 26, 2015

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BRAVE NEW WORKS - GA EPA

Theater Emory | Atlanta, GA

Date of Audition:
11/7/2015




Call Type
Equity Principal

Time(s)
Equity Principal Auditions by APPOINTMENT

Saturday, November 7, 2015
10 AM to 6 PM
lunch 1 to 2

Contract
SPT
Tier 6; $440/week minimum

Location
Theater Emory Admin. Offices, Emory University
Campus, Rich Bldg, 2nd Fl
1602 Fishburne Dr
Atlanta, GA 30322
Second floor, room 205. Parking in Fishburne Parking Deck.


Seeking
Equity actors for various roles.

Note: Theater Emory casts entirely from the Atlanta / North Georgia area as housing is not available to out-of-area performers

Preparation
Prepare a contemporary monologue of one to two minutes in length. Actors can also expect to read from sides to be provided at the audition and available at the theater and online in advance.

Please bring a picture and a resume, stapled together.

Other Dates
Callbacks (if necessary) will be held on Monday, Nov. 9.

1st reh: 1/24/16. Project presentations between 1/28 and 2/13

AEA Members without appointments will be seen throughout the audition day, as time permits.

Other
Brave New Works is a biennial festival of new play readings and workshops produced by the Playwriting Center of Theater Emory.

www.theater.emory.edu

Personnel
Director, The Playwriting Center of Theater Emory: Lisa Paulsen
Casting Coordinator: Robert Schultz
· A monitor will

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

Appointments
Beginning Tuesday, Oct. 27, send email to emma.e.yarbrough@emory.edu. If no email access, call Emma Yarbrough at 404-712-9118. Email preferred.
Performers of all ethnic and racial background are encouraged to attend.
Always bring your Equity Membership Card to auditions.


Breakdown

Brave New Works is a biennial festival of new play readings and workshops produced by the Playwriting Center of Theater Emory. The projects-in-process will be rehearsed and presented over a 3-week period by a combined company of student and professional actors. Weeks of employment are certain – per project casting is subject to change, given the developmental nature of the scripts.



Female Actor #1
CAST. Actors will be considered as possible replacements if needed. To play 30s-early 40s, African-American (Roles TBD in Fellowship B, Widow Norris in Looking Glass) – contract term: 3 weeks

Female Actor #2
To play 30s, African-American (Roles TBD in Fellowship A, Female line #2 in The Bonobo Project, Roles TBD in Fellowship C) – contract term: 3 weeks

Female Actor #3
To play, 30s, any ethnicity (Female line #1 in The Bonobo Project, Dorothea/Agna in Looking Glass) – contract term: 2 weeks.


MALE ROLES

Male Actor #1
To play mid 30s-40s, men of color (Please ensemble, Roles TBD in Fellowship B, General Norris/Court Clerk 2 in Looking Glass) – contract term: 3 weeks

Male Actor #2
To play mid 50s-60s, African-American (Domitius/Claudius/Guard in The Younger, Papa Shaw in King James) – contract term: 3 weeks

Male Actor #3
CAST. Actors will be considered as possible replacements if needed. To play 30s, men of color (Please ensemble, Male line #2 in The Bonobo Project, Roles TBD in Fellowship C) – contract term: 3 weeks

Male Actor #4
CAST. Actors will be considered as possible replacements if needed. To play late 20s-early 30s, Caucasian (Seneca in The Younger, Male line #1 in The Bonobo Project, Court Clerk 1/Historian in The Looking Glass) – contract term: 3 weeks

Male Actor #5
To play 30s, African-American (Roles TBD in Fellowship A, Andre in King James) – 3 weeks

=====

BRAVE NEW WORKS Project Descriptions

Fellowship Readings (A, B and C). Staged readings of scripts from candidates for the 2016-18 Emory Playwriting Fellowship. (Candidate selection not yet finalized.)
Actors are ‘as cast’ in these TBA projects.

THE YOUNGER
by Ann Hughes
Dir: Jeremy Cohen
Dramaturg: Edith Freni

Julia Agrippina is a young bride living in 1st century Rome. When she meets the scholar/philosopher Seneca at a party to celebrate her recent marriage to the controlling Domitius, she becomes infatuated with him. Her pursuit of Seneca’s affections leads to his expulsion from the city and a desperate quest to bring him back regardless of the cost.

Seneca
38, male. Perhaps a bit on the lanky side. Quiet, kind and thoughtful man. Spends his days writing plays and teaching at the center of philosophy.

Domitius
48, male. Agrippina’s husband and right hand man to the Emperor.

Claudius
55, male. Agrippina’s uncle.

Guard
Any age, male.

=========

PLEASE
(working title)
Adaptors: Jericho Brown and Snehal Desai
Dir: Snehal Desai
Dramaturg: Vincent Murphy

A stage adaptation of Jericho Brown’s, Please, which won the American Book Award in 2008. Please explores the points in our lives at which love and violence intersect. Drunk on its own rhythms and full of imaginative and often frightening imagery, Please is the album playing in the background of the history and culture that surround African American/male identity and sexuality.

NOTES ON CASTING: All of the characters are envisioned as African-American, but for this workshop we are open to multi-ethnic casting. Three professional and three student actors will be cast in the ensemble. Specific character lines will be assigned by the director in rehearsal.

Detroit
an escaped convict, early to mid 20s, smart, educated, poetic, a person caught by bad circumstances.

Chicago
an escaped convict, early to mid 20s, a little shadier then Detroit and of the streets.

Austin
more obviously effeminate than other members of the cast late 20s to 30s

Claremont
30s, black, thin or at least svelte-looking in a suit and tie throughout

Birmingham
30s, brawny, wearing t-shirt and jeans and a tool belt throughout

Philly
late 20s, black, a more stocky character, wears a beret throughout

=========

THE BONOBO PROJECT
by Johnny Drago, Daryl Fazio, Michael Winn and Edith Freni.
4 Atlanta playwrights took inspiration for these 4 distinct new plays from common source material, “Sex at Dawn: the Prehistoric Origins of Modern Sexuality,” by Christopher Ryan and Cacilda Jetha: The Flower Room by Daryl Fazio, The Mystic by Edith Freni, Homo Sapiens is Latin for Man Who Knows by Michael Winn, and Cul-de-Sac by Johnny Drago. Directors are TBA.

The plays will utilize the same company of four actors in multiple roles:

Female line #1
early 30s, African-American. Plays multiple roles including an uptight anthropologist, a plantation slave who time travels to modern America, a woman literally tormented by demons, and a ‘welcome wagon’ suburban wife with plenty of winks and grins to spare.

Female line #2
late 20s-mid 30s. Plays multiple roles including a young wife (‘kind of a noodle’) trying to fit into her new neighborhood, a minister’s daughter navigating a relationship with a man full of secrets and impossible surprises, the overwrought adult child to an aging matriarch, and a crotchety old lady with dementia.

Male line #1
20s. Plays multiple roles including a charismatic hunk, a slave-owning master and early researcher in male sexuality, a ‘welcome wagon’ suburban husband with plenty of winks and grins to spare, a lawyer who is also a ‘Dom.’

Male line #2
early 30s. African-American. Plays multiple roles including a husband resistant to fitting in to his new neighborhood, modern metrosexual who has to live as a slave when he is pulled through time to a plantation, a software engineer with a quick wit and plenty of sexual hang-ups, and a conservative department chair at a university.

=========

KING JAMES
by David Garrett
Dir: David Garrett.
King James is a film adaptation of Woyzeck, Georg Buchner’s play about poverty, morality, madness, and violence. This re-imagining brings the action into present-day Atlanta, about a black cop named King James buffeted by societal upheavals sparked by police brutality and race.

King James
30s. Cop stressed by psychological issues, working feverishly to provide for his wife and child.

Andre
30s. King’s childhood friend, a disabled and homeless veteran, political activist.

Papa Shaw
70s-80s. King James’ father-in-law, originally from New Orleans but displaced by Katrina. Bitter and fragile.

=========

THE LOOKING GLASS
by Jim Grimsley
Dir: Joseph Megel
Dramaturg: Elizabeth Corley

Story of the Widow Evangeline Norris, whose history is similar to the infamous 17th century figure Elizabeth Bathory (The Blood Countess), although the play is set in an imagined future when our modern world has collapsed back into slavery and serfdom. Widow Norris is visited in prison by her now dead husband, General Norris, while the grim reality and scope of her crimes are revealed as her accomplices (Agna, Katy, Dorothea) are put on trial.

Crown Clerk 1 (Johnson) & 2 (Marbury)
Law clerks whose duty it is to elicit testimony of the crimes of the Widow Norris

Katy
Laundry manager to the Widow Norris’s children and later one of her inner circle

Dorothea
Wet nurse to the children of the Widow Norris

General Gregory Norris
Military leader in the new Kingdom of Texas and hero of the times of chaos

Widow Evangeline Norris
Daughter of a wealthy billionaire and wife to the General, part of the nobility of the new Kingdom of Texas; she is veiled and masked when she appears onstage

Agna
Secretary to the Widow Norris, procurer of young women, chief among her accomplices

Historian
An apologist for the Crown

Roles to be doubled:
Katy/Widow Norris
Dorothea/Agna
Crown Clerk 1/Historian
General Norris/ Crown Clerk 2



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