CYGNET THEATRE 2019-20 SEASON - Cygnet Theatre Company Auditions

Posted: March 15, 2019

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CYGNET THEATRE 2019-2020 SEASON - San Diego EPA/ECC Singers Days
Cygnet Theatre Company

Thu, May 16, 2019
10:00 am - 7:00 pm (PST)
Lunch: 2:30PM - 3:30PM

Fri, May 17, 2019
10:00 am - 7:00 pm (PST)
Lunch: 2:30PM - 3:30PM

Sat, May 18, 2019
10:00 am - 7:00 pm (PST)
Lunch: 2:30PM - 3:30PM

N/A. Sign ups begin at 10:00AM in the lobby of the space. Non AEA will be seen when possible.

SPT Minimum - $601/wk

See breakdown.

Please present either two short contrasting monologues, or one monologue and one 32 bar vocal cut.

Cygnet Theatre Rehearsal Hall
2555 State Street
Suite 104
San Diego, CA 92101

Artistic Director Sean Murray
Associate Artistic Director Robby Lutfy
Casting Director Jacob Caltrider

See breakdown.

Please note that auditions for these projects will be held only in San Diego, California.
An Equity Monitor will not be provided. The producer will run all aspects of audition.
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 Virgin Trial
By Kate Henning
Directed by Rob Lutfy
AUG 13 2019 – OCT 6 2019

In this edge-of-your-seat thriller, the young princess Elizabeth navigates a labyrinth of political and sexual intrigue in the Tudor court that threatens her freedom – and even her life. After the death of both her parents, 15-year-old Elizabeth I must defend herself against cutting accusations of plotting to kill her brother, the king, and having an illicit affair with her stepfather. Don’t miss this eagerly awaited companion piece to the runaway hit The Last Wife.

Bess: a princess - 13-15 years. (to be cast 20’s, due to mature nature of role) Intelligent, precocious, entitled, un-edited, sexual – fire.
Mary: a princess - 30-32 years. Private, cutting, wounded, capable, loyal – water.
Eleanor: a lady of the court - 50ish. Contained, obsessive, incisive, independent, vengeful – earth.
Ashley: a lady of the court, governess to Bess - 40ish. Guileless, reliable, effortless, unrefined, maternal – water.
Thom: Lord High Admiral, husband to Katherine Parr - 39-41 years. Athletic, reckless, impulsive, ineffectual, loving – air.
Ted: Lord Protector to Edward VI, brother to Thom - 50ish. Paternal, jovial, authoritative, patient, devoted – earth.
Parry: A lord of the court, secretary to Bess - 35ish. Buoyant, cheerful, sensitive, abrupt, nervous – air.

The Last Five Years
By Jason Robert Brown
Directed by Rob Lutfy
Oct 23rd 2019 – Nov 17th 2019

Drama Desk award-winner The Last Five Years is Jason Robert Brown’s intimate window into a couple’s doomed marriage. Cathy, a struggling actress, and Jamie, a budding novelist on the brink of wild success, are 20-somethings in New York who meet, fall in love, marry, and divorce over the span of five years. Cathy tells the story from the end of their marriage; Jamie begins from when they first meet. As the musical unfolds, Cathy moves backward in time to the beginning of the relationship as Jamie moves toward the end; they meet only once, in the middle, at their wedding. Since its Off-Broadway premiere in 2002, Brown’s funny, poignant, and devastatingly honest two-person production has enraptured audiences around the world with its spellbinding and emotional score and libretto.

Catherine Hiatt (late 20s, 30s)Character arcs from an ambitious, fresh-faced girl in a new relationship to a woman stunned by a betrayal and a divorce that she is only beginning to understand.
Jamie Wellerstein (late 20s, 30s)Character arcs from an ambitious guy on a promising first date with a dazzling career to someone who is blinded by success and ego. He is very lovable, yet makes unintentional choices that sabotages his own happiness.

The Great Leap
By Lauren Yee
Directed by Rob Lutfy

Jan 22nd 2020 – Feb 16th 2020

When an American college basketball team travels to Beijing for a “friendship” game in the post-Cultural Revolution 1980s, both countries try to tease out the politics behind this newly popular sport. Cultures clash as the Chinese coach tries to pick up moves from the Americans and Chinese-American player Manford spies on his opponents. Inspired by events in her own father’s life, Yee “applies a devilishly keen satiric eye to…her generation (and its parents).”

MANFORD: 17, male, Chinese American. Intense, scrappy, runs into trouble, attacks the rim, with a ruthless crossover. Not tall. More Allen Iverson than Jeremy Lin.

WEN CHANG: 43, male, Chinese, coach of Beijing University’s men’s basketball team. Observant, efficient. Favors three pointers over aggressive inside shots. Tim Duncan would appreciate his energy. (His English is formal, but relatively unaccented.)

SAUL: 52, male, Jewish, coach of University of San Francisco’s men’s basketball team. A shit-talking, shot-blocking, washed up Larry Bird.

CONNIE: 25, female, Chinese American. Manford’s cousin and UC Berkeley grad student. Level-headed, big picture. A Chris Paul/Klay Thompson type.

La Cage Aux Folles
Book by Harvey Fierstein, Lyrics and Music by Jerry Herman
Directed by Sean Murray
Music Direction by Terry O’Donnell
Choreography by Luke Harvey Jacobs

FEB 11 2020 – MAY 3 2020

After twenty years of un-wedded bliss Georges and Albin, two men partnered for better-or-worse get a bit of both when Georges’ son (fathered during a one-night fling) announces his impending marriage to the daughter of a bigoted, right-wing politician. Further complicating the situation is the ‘family business’: Albin and Georges run a drag nightclub in St. Tropez, where Albin is the “star” performer Zaza. Georges reluctantly agrees to masquerade as “normal” when he meets the family of the bride-to-be. But Albin has other plans, with hilarious results.

The roles of Georges and Albin have been cast.

Jean-Michael– Early 20’s Georges’ charming son who has been spoiled by his love parents. Somewhat of a playboy who has recently finished sowing his wild oats and fallen in love. Although he begins somewhat selfish, he evolves and grows throughout the show.
Jacob– 18-35 The flamboyant butler (and maid) to Georges and Albin with dreams of being a huge drag star. He balances all the tasks of managing the hectic household and making Albin happy – even though he may not have all the qualities of a good butler.
Anne– Early 20’s Jean-Michael’s girlfriend and daughter of Dindon. A sheltered girl who has just recently discovered her own sense of personal freedom.
Jaqueline– 30-60 The glamorous owner and operator of the Riviera’s most exclusive restaurant, Chez Jacqueline. She has a larger-than-life personality and imagines herself to be a much bigger celebrity than she actually is.
Edourd Dindon– 45-60 Deputy General of the Tradition, Family, and Morality Party. He is a staunchly conservative politician quickly rising in popularity. He is borderline bombastic in his dedication to his “morality.”
Marie– 40-60 Mme. Dindon, the trophy wife who stands by her politician husband. She is clearly used to standing next to him while he receives all the attention. Moments of genuine caring shine through, but are often silenced by her husband.
Francis– 20-60 The hard working stage manager at La Cage who is very used to the chaotic herding of drag queens.
Renaud– 30-60 A high ranking chef at Chez Jacqueline.
Mme. Renaud– 30-60 The kindest hostess at Chez Jacueline.
Collete– Early 20’s A flirtatious and promiscuous beauty of the French Riviera.
Etienne– Early 20’s A suave young man along the French Riviera.
Tabarro– A weathered fisherman along the French Riviera.
The Cagelles– A chorus of drag queens who are the featured performers at the most infamous nightclub along the French Riviera.

Two Trains Running
By August Wilson
Directed by Delicia Turner

May 20th 2020 – June 14th 2020

This is the 1960s chapter of the Pulitzer Prize winning playwright's decade by decade saga of ordinary African Americans in this turbulent century. It takes place in Memphis Lee's coffee shop in a Pittsburgh neighborhood that is on the brink of economic development. Focus is on the characters who hang out there: a local sage, an elderly man who imparts the secrets of life as learned from a 322 year old sage, an ex con, a numbers runner, a laconic waitress who slashed her legs to keep men away, and a retarded man who was once cheated out of a ham. With Chekhovian obliqueness, the author reveals simple truths, hopes and dreams, creating a microcosm of an era and a community on the brink of change.

MEMPHIS 40s-60s. African American. Self-made businessman who has seen his share of injustice and discrimination and has managed a small piece of success; Memphis has a hard time balancing his hopes and dreams with his well-earned cynicism; juggling the injustices in life has made him a little rough around the edges; exacting and unyielding, he has a sense of determination that cannot be abated; though talkative, opinionated, and a bit judgmental, he only takes what he’s owed and treats people right, as best he can.
WOLF 20s-30s. African American. A slick number’s runner whose relationships with women are complicated and may be fabricated; he’s popular in the community and always “keeps money in his pocket and a decent pair of shoes on his feet”; he carries all the same anxieties with him that any number’s runner would, as he is always either the bearer of the best or worst news.
RISA 20s-30s. African American. A young woman who works for Memphis in his restaurant and deftly, if not quietly, navigates all the men who frequent the diner; she has a quiet control of herself, her body, and her womanhood, but her need not to be defined by the standards of men and their desires has driven her to permanently scar herself; she cares for the men in the restaurant and has a particular softness for Hambone; even in these moments of vulnerability, kindness, and sensuality, however, she maintains a certain level of autonomy in a world which tries to determine her life for her.
HOLLOWAY 60s. African American. An older man who has a deep understanding of the world in both its natural and supernatural spheres; while one may say he borders on superstitious, his ability to lean on a particular brand of spirituality is the cornerstone of his upright personality, creating a way for him to accept the injustices he’s experienced and live a full and happy life; the sage of Memphis’ restaurant, he provides with a wealth of knowledge, wisdom, and reason to the characters who frequent the establishment.
STERLING 20s-30s. African American. Recently released from prison for a bank robbery, Sterling is a complex man whose difficult and poverty-stricken upbringing has created in him a dark sense of entitlement; he believes that the world owes him better than what he got and the only way to get it is to take it; Sterling, like everyone else, is seeking a way to take control of his life and his unbalanced logic often gets him into trouble; he has, however, a deep sense of justice and injustice; Sterling has a clear need to protect those he sees as more vulnerable than him and is willing to put himself on the line for others he deems worthy.
HAMBONE 40s. African American. A man whose encounter with the injustices of the world has rendered his mind into a deteriorated state; despite this, he takes care of himself, as he has no known family; his persistence in the face of opposition is rivaled by none of the other characters and it is this simple, direct, and keen sense of what is right and wrong, coupled with his willingness to work for what he is owed, that makes him a central and important figure in the lives of those around him.
WEST 60s. African American. A complicated, wealthy funeral director who has gained his wealth, one could argue, at the expense of others; the people in the community both respect him and are critical of his choices; on one hand, he does a great deal of good for people in their worst moments – treating them with a polite respect; on the other hand, he is a clear hustler who attempts to conduct shady business deals with Memphis and is accused of cutting corners and fabricating fees to line his own pockets; it is remarked that his greed could be motivated by the grief of losing his wife.

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.

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