Cape Playhouse 2019 Season Plays - NYC EPA|
Tue, Jan 22, 2019
9:30 am - 5:30 pm (EST)
Lunch 1 to 2
COST AEA COST TIER 2 Contract ($730/week min)
Seeking actors for various roles in the upcoming 2019 season plays.
Stage Managerial information is still pending and will be provided asap.
Please prepare a short comedic monologue, no longer than 2 minutes. Bring a picture/resume, stapled.
Actors' Equity New York Audition Center
165 W 46th St
New York, NY 10036
In the room:
Artistic Director: Michael Rader
Casting Director: Geoff Josselson, CSA
see breakdown for production dates.
EPA Procedures are in effect for audition.
An Equity monitor will be provided.
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.
THE IMPORTANCE OF BEING EARNEST
Director: Matt Lenz
Playwright: Oscar Wilde
Rehearsals begin: May 27, 2019 (in NYC)
Opening: June 12, 2019
Closing: June 22, 2019
Seeking actors of all races and ethnicities with STRONG comedic language skills and impeccable British dialects for all roles.
[LADY BRACKNELL] Female or Male, any ethnicity, 50’s – 70’s. Algernon’s domineering aunt and the epitome of high society. A force to be reckoned with, she is cunning, haughty, snobbish and blunt. Effortlessly dominates any room she’s in with her bone-dry wit, arrogant observations and blistering retorts. Her word and judgment on a subject, however narrow-minded, are final. Committed to the keeping up of societal appearances and driven to see her daughter marry well; she doesn’t concern herself with issues of morality or ethics, only optics.
[JACK WORTHING] Male, any ethnicity, late 20s - early 30s. A wealthy and handsome young gentleman. He is seemingly respectable and responsible, but also secretly living a double life. In the country he is known as ‘Jack’ and in London, he is known as ‘Ernest’. Likes to think of himself as being mature, honest, serious and respectable, even if it’s not always the case. He yearns for a romantic, carefree life but is critical of his best friend Algernon’s rakish behavior and takes his position as Cecily’s guardian very seriously. He is in love with Gwendolen.
[ALGERNON MONCRIEFF] Male, any ethnicity, late 20s - early 30s. Effortlessly witty, caddish, charming and blithely self-centered nephew of Lady Bracknell and cousin to Gwendolen Fairfax. Mischievous, amoral and cocky, but charismatic, smart and self-assured - and irresistibly appealing. Playful and a bit reckless, to him everything is a game and, with the exception of his never-ending pursuit of pleasure, he refuses to take anything seriously. He has invented a fictional friend, “Bunbury,” to use as an excuse to wriggle out of unpleasant or dull social obligations. He’s in love with Cecily Cardew.
[GWENDOLEN FAIRFAX] Female, any ethnicity, mid 20’s – early 30s. Algernon’s young, sophisticated and charming, witty cousin, and Lady Bracknell’s daughter. A model and arbiter of high fashion and society, Gwendolen speaks with unassailable authority on matters of taste and morality. Quick-witted, poised, elegant, graceful and often prone to pretension. Prides herself in remaining cool and composed under any and all circumstances. She is fixated on marrying someone with the name Ernest. In love with Jack, whose name she thinks is Ernest.
[CECILY CARDEW] Female, any ethnicity, early 20s. Jack’s ward, she is a beautiful, imaginative, vibrant, blooming young woman, coming of age. Of a sweet but still outspoken temperament, she is confident, clever, and resourceful. Cloistered away at Jack’s country estate, she has lived a deliberately sheltered life surrounded by stuffy, middle-aged people. A romantic at heart, she craves passion, adventure, excitement, and most of all, love. She is obsessed with the name Ernest, but she is even more intrigued by the idea of wickedness. This idea has prompted her to fall in love with Jack’s wicked brother “Ernest” in her imagination and to invent an elaborate romance and courtship between them
[MISS PRISM] Female, any ethnicity, 50s – 60s. Cecily's puritanical governess. Conscientious, proper, and rigorously principled, she is prone to over the top severe, pronouncements and quoting of scriptures. Despite her moral righteousness and rigidity, she is a romantic and harbors feelings for the local vicar, Rev. Chasuble.
[REVEREND CHASUBLE] Male, any ethnicity, 50s – 60s. Local vicar, and source of moral judgments, but easy-going and amiable nonetheless. His proudest achievement is the all-purpose sermon that can be used for christenings, weddings and funerals alike. Beneath the religious exterior, his heart beats for Miss Prism. A kind and gentle man, he is learned and well-read, but a bit bumbling.
[LANE] Male, any ethnicity, 20s – 40s. Algernon’s faithful butler. A man of few words, but possesses a dry wit, a mischievous side and impeccable timing. He’s a worthy match for his master’s swift repartee. A consummate professional, he never loses his cool, and nothing gets under his skin.
[MERRIMAN] Male, any ethnicity, 30s – 50s. The butler at Jack and Cecily’s country manor house. Formal, unflappable and efficient, he is helpful and does as he is told without question.
Director: Jeffry Denman
Playwright: Michael Frayn
Rehearsals begin: July 22, 2019 (in NYC)
Opening: August 7, 2019
Closing: August 17, 2019
Seeking actors of all races and ethnicities with STRONG physical comedy and language skills with impeccable British accents.
[DOTTY OTLEY] Female, any ethnicity, 50s-60s. A veteran British character actress. Has made a career in the theatre playing older character roles. Forgetful and aloof at times, but cares about the play and the cast deeply. In a tumultuous relationship with Garry and uses Freddy to make him jealous.
[BROOKE ASHTON] Female, any ethnicity. 20s-early 30s. British. A young, ditzy, inexperienced actress. Gorgeous and sexy, but not all that talented or smart. Likely got the role because she is sleeping with Lloyd, the director. Spacey and dim, she can’t see without her contacts but she’ll carry on with the play regardless of what is happening around her. Oblivious but means well.
[BELINDA BLAIR] Female, any ethnicity, 30s – early 40s. British. A warm and likable veteran actress, she is cheerful, reliable and endlessly positive. Tries her hardest to keep the show going, despite every setback. A busybody, she knows all the company gossip but doesn’t look to start any drama.
[POPPY NORTON-TAYLOR] Female, any ethnicity, 20s – early 30s. British. The assistant stage manager. Sweet and earnest, she is very invested in the show and desperately trying to keep it from falling apart. Sensitive and emotional, often on the verge of tears, she is extremely overworked. Having an affair with Lloyd, the director.
[LLOYD DALLAS] Male, any ethnicity, 40s – early 50s. British. The director of the play. He is passionate and authoritative, but also temperamental and often exasperated. Sarcastic and sharp-tongued but with considerable charm and charisma, he’s secretly in a love triangle with Brooke and Poppy, and trying to keep it from destroying the show.
[GARY LEJEUNE] Male, any ethnicity, 30s – early 40s. British. A stuttering actor who is easily fired up and prone to jealousy. A professional, his stutter disappears onstage. Offstage, he is overly confident and likes to command a room, but he is incoherent at times and rarely finishes his sentences. Having an affair with Dotty, but mistrustful.
[FREDERICK FELLOWES] Male, any ethnicity, 40s. British. A sweet, neurotic actor with a serious fear of blood and violence. Nervous and oblivious, he is not particularly bright and lacks confidence. Overthinks and overcomplicates everything, onstage and off. Often gets nosebleeds. His wife recently left him.
[SELSDON MOWBRAY] Male, any ethnicity, 60s-70s. British. An endearing, aging, alcoholic, veteran character actor. Forgetful and selectively hard of hearing. The rest of the cast is often trying to find him and keep him away from alcohol. Typically asleep and not where he is supposed to be.
[TIM ALLGOOD] Male, any ethnicity, 20s – 30s. British. The play’s exhausted stage and company manager. Overworked and seriously sleep deprived. Frantically juggling multiple crises and tasks at any given moment. In addition to his offstage duties, he also understudies Seldon and Frederick, but not well.
Director: Marcia Milgrom Dodge
Playwright: Ira Levin
Rehearsal begin: August 5, 2019 (in NYC)
Opening: August 21, 2019
Closing: August 31, 2019
All roles open to actors of any race/ethnicity.
[SIDNEY BRUHL] Male, mid 40s-50s. Stately, wry, witty, erudite, distinguished. Attractive with a causal sophistication. A celebrated playwright of mystery thrillers who gained astonishing success early in his career but has hit a dry spell. He has a strong magnetizing presence of a man who has achieved great fame and stature. Actor must have some experience in stage combat.
[MYRA BRUHL] Female, 40s-50s. A modest, self-effacing woman, middle-upper class. Has a nervous, quick, disposition and tends to follow, rather than lead. Smart but fragile. Married to Sidney for eleven years.
[CLIFFORD ANDERSON] Male, 20s-30s. Charismatic, sturdy, good-looking, with the youthful, optimistic exuberance. A former writing student of Sidney’s and young lover. Seemingly sincere with a friendly dispoisition, but surprisingly calculating and manipulative underneath. Actor must have some experience in stage combat.
[HELGA TEN DORP] Female, mid 50s-70s. A European psychic who has moved in next door. A wildly eccentric, mysterious woman. Her magical powers are very real and potent and she believes in them with great seriousness. She is a celebrity and enjoys the fame, attention and the status. Speaks with a Dutch dialect.
[PORTER MILGRIM] Male, 50s-60s. A pragmatic, though fairly meddlesome, lawyer. Direct, to the point, businessman who is in charge of Sidney’s legal affairs.
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.