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DRACULA! THE TALE OF FLESH & BLOOD - Moose Hall Theatre Company Auditions

Posted: May 1, 2017

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DRACULA! THE TALE OF FLESH & BLOOD - NYC Appointments
Moose Hall Theatre Company

APPOINTMENTS

NYC General Auditions to be held on June 24 BY APPOINTMENT ONLY. Callbacks: July 1. Further auditions TBA.

CONTRACT

Showcase-NY Basic showcase code

SEEKING

Actively seeking multi-cultural non-traditional cast for DRACULA! THE TALE OF FLESH & BLOOD, part of the Inwood Shakespeare Festival - The Season of Courage & resurrection.

Cross-gender casting considered for some roles. Most actors will play multiple roles.

Also seeking Assistant Director and Stage Manager

INSTRUCTIONS

Send pix & résumés to Casting, Moose Hall Theatre Company/Inwood Shakespeare Festival, 25 Indian Road, New York, NY 10034.

Make sure to mark your submissions either as [Audition Appointment Submission], [Assistant Director Submission], or [Stage Manager Submission]

SUBMIT TO

Moose Hall Theatre Company/Inwood Shakespeare Festival
25 Indian Road
New York, NY 10036

PERSONNEL

adapted from Bram Stoker’s novel DRACULA by Ted Minos.
Director/Producing Artistic Director: Ted Minos

OTHER DATES

Show runs October 11-29 at the 13th Street Repertory Company, 50 West 13th Street, NYC.

OTHER

www.inwoodshakespearefestival.com
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

COUNT DRACULA:
Male 30’s-60s. (All genders considered for this male role.) Very charismatic. Intense, dry humor. Charming, sexually charged, moves well.

PROFESSOR ABRAHAM VAN HELSING:
late 30s-60s. Dutch PhD. Speaks with German dialect. Comfortable with science and mysticism, courageous, great energy and humor.

MINA MURRAY:
20s-30s: British. Harker’s Fiancé. Prim school mistress. Under the Count’s spell she is conflicted with aggressive-predator tendencies. A heroine.

LUCY WESTENRA:
Early 20s-30s. British. Young. Precocious, beautiful. Mina’s best friend and confidant. Becomes a dangerous vampire.

R. M. RENFIELD:
20s-60s. Inmate at lunatic asylum. Delusional, intelligent, hysterical, comical, intuitive. Minion of the Count, plagued by conscience.

JONATHAN HARKER:
20s-late 30s. British solicitor. Evolves from trusting/passive to a romantic-heroic.

DR. JOHN SEWARD:
30s-60s. Administrator of insane asylum. Pragmatic, practices advanced therapy techniques. A suitor to Lucy

QUINCEY MORRIS:
20s – 40s Rich Texan. American rustic. Has adventurous past. A suitor to Lucy.

ARTHUR HOLMWOOD:
20’s – 40’s In love with Lucy, friends and the successful rival of Morris and Seward. Romantic, courageous.

JOE:
20s-60s: Asylum attendant: Have seen almost everything. Resolute and ironic. In a secret relationship with Maggie.

MAGGIE:
20s-60s: Asylum attendant: Have seen almost everything. Resolute and ironic. In a secret relationship with Joe.

BRIDES OF DRACULA:
20’s-30’s Sexually charged and aggressive women. Alluring, dangerous. Great movement skills. Vocal skills a plus.

RUSSIAN SHIP CAPTAIN:
30’s – 60’s. Earthy intelligence, committed to ship and crew. Dauntless in face of terror.

VINCENT:
30’s – 60’s. Telegraph operator. Jolly. Unintentionally crude.

LANDLADY & LANDLORD:
30’s -60’s. Goodhearted, superstitious. Lives under the shadow of Dracula’s domain.

GYPSYS:
20’s – 50’s Sworn ruthless protectors of Count Dracula. Stage-fighting and dialect skills.

RUSSIAN SHIP CREW:
20’s – 50’s Brave crew on voyage of terror. Movement & vocal skills.

ENSEMBLE
Various roles: TRANSYLVANIA VILLAGERS, LONDON TOWNSPEOPLE, PUPPETEERS. Dialects and multi-lingual fluency a plus.

Cross-gender casting considered for some roles. Most actors will play multiple roles.


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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