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Barrington Stage Company 2011 Season - Barrington Stage Company Auditions

Posted: January 31, 2011

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Barrington Stage Company 2011 Season

– Equity Principal Auditions / Dramas

Pittsfield MA LOA, SPT (approval/salary level pending; 2010 min. weekly salary: $502 (LOA & SPT).

Artistic Dir: Julianne Boyd

Managing Dir: Tristan Wilson

CD: Pat McCorkle, CSA

Equity Principal Auditions:

Wednesday, February 16, 2011Actors' Equity Association Audition Center

9:30 AM - 5:30 PM165 West 46th Street, 2nd Floor

Lunch from 1 - 2.New York City

Please prepare a brief monologue. Please bring a picture & resume, stapled back-to-back.

All dates are in 2011. All listed roles are available unless otherwise noted. Auditioning performers will be considered as possible replacements for pre-cast roles, should any become necessary.

Mainstage productions (LOA contracts):

THE BEST OF ENEMIESby Mark St. Germain. Inspired by Osha Gray Davidson’s book. Dir: Julianne Boyd. 1st reh: 7/1. Runs 7/21-8/6.

Story of the relationship of C. P. Ellis, Exalted Cyclops of the Ku Klux Klan, and black civil rights activist Ann Atwater. Fueled by the hatred they felt for each other, Ellis and Atwater faced off as co-chairpersons of a committeeto debate school de-segregation in Durham, NC in 1971.Story exposes the poison of prejudice throughAtwater andEllis, who, byfacing their enemy,are forced toface themselves and discover the true enemy they share.

Ann Atwater:

African American, 35-45. Civil rights activist. Smart, powerful steamroller of a woman. The most dangerous kind of adversary – one who has nothing to lose.

C. P. Ellis:

Caucasian man, 35-45. Exalted Cyclops of the Durham Ku Klux Klan. Filled with pride and the righteousness of having truth and God on his side. Will do anything necessary to protect his family and country from a disintegrating society trying to destroy them.

Bill Riddick:

African American, 25-35. Community organizer. College-educated, smart and charming – and he knows it. Determined to advance civil rights, and his own career as well.

Mary Ellis:

Caucasian; a few years younger than her husband C. P. While C. P. is out “saving” the world, Mary’s at home, trying to save their troubled family and marriage. Strong, shrewd, with no formal education. Won’t get involved in racial issues; certain that the problems all men face are much deeper than skin color.

LORD OF THE FLIESby William Golding. Adaptation: Nigel Williams. Dir: Christopher Innvar. 1st reh: 9/13. Runs 10/5-10/23.

Marooned on a desert island during wartime, English schoolboys find themselves in a world without rules. At first a fun island utopia with no adults or discipline, the situation tests their inherent morality, as they struggle to survive on their own. Alliances are formed as the boys begin turning on one another, and they uncover an underlying savagery to their natures which leads to a wild descent into madness, violence and ultimately to murder.

Important note:

For these boys’ roles, seeking actors 18+ who must “read” young (i.e. 13-16):


13. Sensible boy who is elected leader of the group, and grows up quickly as he witnesses the disturbing disintegration of the miniature civilization that he tries to build on the island. Sincere, well-meaning. Represents man's desire to be civilized.


One of the older boys. Choir prefect who becomes the leader of the hunters— a "rebel" group. Tries to be fearless, but shows hints that he is still a child, too. Initiates violence on the island, and seeks total power through increasingly barbaric means. Cruel, manipulative, aggressive. Represents man's savage instinct.


Tag-along supporter of Ralph. Short, plump. Gets bullied for his weight, lack of physical strength and because he wears glasses. Smart, inventive. Represents the scientific and rational side of civilization. Mature and practical, but doesn't have any of his own power over the boys.


Supporter of Jack. Independent/a loner. Sadistic older bully who eventually murders Piggy.


The outsider of the group, in terms of temperament. Shy, sensitive, perceptive and inherently kind without being weak. Represents a peaceful spirituality and an intrinsic good morality, not even dictated by society.


“Class clown” of the group. Big, innocent, amiable but not bright. Treats the situation as if it’s all a game.

SPT contracts:

GOING TO ST. IVESby Lee Blessing. Dir: Tyler Marchant. 1st reh: 5/31. Runs 6/22-7/10.

May N'Kame, the mother of an African dictator, travels to England to see Dr. Cora Gage about medical treatment for her failing eyesight. Dr. Gage uses the consultation as an opportunity to raise the issue of the imprisonment of some of her colleagues. Meanwhile, May’s true motive in visiting the doctor is to obtain a poison with which to kill her murderous son. Two impressive women are brought together by that which is personal and divided by that which is political, as both seek to accomplish the greatest good.

May N’Kame:

Black African character, 50s-60s. Mother of a vicious African dictator. Imposing presence who is equal parts regal, sophisticated and intelligent. Bravely facing impossible circumstances; tries to hold on to her perception of the greater good. Commands the room she enters.

Dr. Cora Gage:

CAST. Caucasian Englishwoman, 40s. Famous, affluent eye surgeon. Very bright and strong-willed. Poised, but at the brink. Haunted by the tragic death of her son.

BETRAYALby Harold Pinter. Dir TBA. 1st reh: 7/29. Runs 8/19-9/4.

Begins in the present, with the meeting of Emma and Jerry, whose adulterous affair of seven years ended two years earlier. Emma's marriage to Jerry’s best friend Robert is now breaking up, and she needs someone to talk to. Their reminiscences reveal that Robert knew of their affair all along and, to Jerry's dismay, regarded it with total nonchalance. Thereafter, in a series of contiguous scenes, the play moves backward in time, from the end of the Emma-Jerry affair to its beginning, throwing into relief the little lies and oblique remarks that, in this time-reverse, reveal more than direct statements or overt actions ever could.


English, 30s-40s (slightly younger than the men). Married to Robert; had an affair with Jerry. Middle-class, runs a gallery. Very knowing. Burdened with the consequences of her choices, but capable of manipulating a situation to her advantage. Changes from scene to scene—mysterious, girlish/giddy, sexy, confident/shrewd, oblivious to her own fickleness with others, etc. A bit more moral than the men, but trust is a virtue only when it helps her. Wants more emotionally from both men than they do. British accent.


English, 30s-40s. Literary agent. Simmering under a passive surface. Romantic and naïve, but mysterious—shows constraint through frustration and an underlying roughness. Lives for the moment, as long as it doesn’t impinge upon his separate life with his family. Restrains true and unspoken feelings/emotions, until they combust while he is drunk at the end of the play. British accent.


English, 30s-40s. Has a seemingly perfect life as a wealthy publisher, with a wife (Emma), children and successful career. Has an underlying darkness—hits his wife. Cynical realist who often shows blatant disdain. Very clever; finds out about Jerry and Emma’s affair. Insistent that he is in control of the situation, though Jerry sees him as the cuckold. Wronged by the others, but ostensibly in denial, as he continues to like Jerry anyway. British accent.


Italian man. One small, comic scene at a restaurant where Jerry and Robert have lunch.

EPA/Musicals: 2/18/11. See separate notice. ECCs TBA.

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