Bridge Street Theatre 2018 Season - Catskill NY and NYC Appointments
Bridge Street Theatre
APPOINTMENTS
Catskill NY auditions to take place approximately Jan. 27 and NYC auditions to take place afterwards, possibly Jan 30, Jan 31. All auditions by Appointment only
CONTRACT
Special Appearance AEA: $247/wk; $254/wk after 10/1/2018. Housing and one-time round trip transportation is available to artists from outside a 50-mile radius of Catskill.No work weeks will accrue for either EMC points or health insurance. All non-AEA talent will receive a stipend
SEEKING
Submissions from AEA and non-AEA adult actors for the 2018 Season
INSTRUCTIONS
Email picture and resume ASAP for consideration to casting@bridgest.org, with the subject line Bridge Street Theatre 2018 Season Appointment Submission. Individual submissions only; no agent submissions, please.
Those selected to audition will be contacted for an appointment and provided with sides to prepare, a location, and an audition time. Bridge Street Theatre is located in Catskill, NY, a two-hour drive north of New York City.
Deadline: Mon, Jan 22, 2018
SUBMIT TO
PERSONNEL
Steven Patterson, Associate Director
OTHER DATES
See breakdown for show dates.
Performance schedule is Thursday-Saturday evenings at 7:30pm and Sunday matinees at 2:00pm, with Pay What You Will performances on the first Thursday and Sunday of each run.
OTHER
www.bridgest.org
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.
BREAKDOWN
FRANKIE AND JOHNNY IN THE CLAIR DE LUNE
by Terrence McNally, dir: Sara Lampert Hoover
Rehearse: March 13 Runs: March 29-April 8
Seeking:
Frankie – 40s. A waitress in a diner. Striking but not conventional good looks. A sense of humor and a fairly tough exterior. Some onstage nudity required.
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LENI
by Sarah Greenman
Directed by John Sowle
Rehearse: May 1 Runs: May 17 - 27
Seeking:
Leni – German filmmaker Leni Riefenstahl. Plays ages 30-45, but should appear even younger. Looks pristine, as if she has stepped out a black and white ‘30s era film.
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THE REVENGE OF THE SPACE PANDAS or BINKY RUDICH AND THE TWO-SPEED CLOCK
by David Mamet
Directed by Steven Patterson
Rehearse: June 19 Runs: July 12 - 22
Seeking Adult Actors for:
George Topax – Supreme Ruler of Crestview. Capricious, spoiled, and entitled. A preening narcissist.
Edward Farpis – A washed-up former matinee idol, now a derelict. Think John Barrymore (or Norma Desmond)
Bob – A sheep. Deadpan, sardonic sense of humor.
Mrs. Rudich – A somewhat harried housewife, attempting to emulate June Cleaver.
Retainer (“Hank”) – Works for George Topax. An obsequious sycophant, extremely condescending to those he feels are lower on the totem pole. Think Franklin Pangborn.
Cross-gender casting possible. Youth roles will be cast exclusively from the Catskill area.
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THERE IS A HAPPINESS THAT MORNING IS
by Mickle Maher
Directed by John Sowle
Rehearse: August 21 Runs: September 6 – 16
Seeking:
Bernard – Middle-aged, a barely published poet of scant scholarship. An undergraduate lecturer (on William Blake’s “Songs of Innocence”) at a small, failing Liberal Arts college in rural New England. Exuberant, boyish, childlike.
Ellen – Middle-aged, a reputable Ph.D. Bernard’s lover and also an undergraduate lecturer (on William Blake’s “Songs of Experience”) at the same failing Liberal Arts college. Feisty, combative, but with an undercurrent of melancholy.
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DRIVING MISS DAISY
by Alfred Uhry
Directed by Flo Hayle
Rehearse: September 25 Runs: October 11 – 21
Seeking:
Hoke Colburn – An African-American man, native to Georgia. 60 years old, unemployed, and uneducated in 1948 at the beginning of the play, and 85 years old in 1973 at the end. Extremely patient and tolerant of Daisy’s barely disguised prejudices, but not afraid to speak up when his dignity is at stake.
Boolie Werthan – Daisy’s son, born and raised in Atlanta. 40 years old in the first scene of the play in 1948, and 65 years old at the show’s end in 1973. Dutiful to his mother, despite her prickly personality.
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CASSE NOISETTE
by Michael Whistler
Directed by John Sowle
Rehearse: October 23 Runs: November 8 - 18
Seeking:
Joe Jessup/Pyotr Illych Tchaikovsky – 50s. JOE is quiet and diligent: a teacher, and a man who understands the value of patience and self-negation. He is used to not getting exactly what he might wish for. TCHAIKOVSKY is the musical genius, deeply emotional, explosive.
Nancy Klein/Antonietta Dell’era – About 40. NANCY is a high school English teacher, very warm. She laughs too easily, probably cries too easily as well if anyone were ever around to see. DELL’ERA is Prima Ballerina of the Imperial Ballet. A voluptuous woman with majestic hauteur. She speaks with an almost ludicrous Italian accent.
Marc Maynes/Modeste Illych Tchaikovsky/Consort – MARC is a gym teacher, 35+, not un-charming, but a man who honestly believes valuable life lessons can be learned in dodgeball. MODESTE is a businessman who wishes to be an artist. Sharp, a little sly, and not sentimental. CONSORT is in service to the Sugar Plum Fairy.
Sasha Illynovna Davidov/Sugar Plum Fairy – 40s. SASHA, sister to Pyotr and Modeste, is placid and quite beautiful: a truly porcelain face, which seems to rest in a fixed calm. A riding injury has left her in constant pain and addicted to opium. SUGAR PLUM FAIRY is grand, a little ludicrous and histrionic, with all of the aplomb and humor of a drag-queen. Ballet experience a plus.
Blaine/Vladimir “Bob” Levovitch Davidov – Early 20s. BLAINE is a young gay runaway, working for a phone sex chatline. Always testing bounds. BOB, son of Sasha, nephew to Modeste and Tchaikovsky, a still unformed and naive young man; unsure which road to take, unsure if he will take any.
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.
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