FOR ALL THE WOMEN WHO THOUGHT THEY WERE MAD - SoHo Repertory Theatre Inc. Auditions

Posted: June 5, 2019

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FOR ALL THE WOMEN WHO THOUGHT THEY WERE MAD - NYC EPA

SoHo Repertory Theatre Inc.

AUDITION DATE
Tue, Jun 18, 2019
10:00 am - 6:00 pm (EDT)
lunch 1:30 to 2:30

CONTRACT
LOA-NYC $582/week

SEEKING
We are casting for a workshop July 29 - August 2 as well as the regular production. Actors must be available for production dates — and ideally would be available for the workshop dates as well, but that is not a requirement.

Also seeking: We have a PSM position available (see separate notice on Casting Call for details)

PREPARATION
Prepare a contemporary monologue under 2 minutes. Bring picture and resume.

LOCATION
Pearl Studios NYC (500)
500 8th Ave
New York, NY 10018-6504

PERSONNEL
Artistic Director: Sarah Benson
Producer: Meropi Peponides
Director: Whitney White
Writer: Zawe Ashton
Casting Director: Stephanie Yankwitt, Margaret Dunn
Casting Assistant: Mary Baynard


In the room for EPA:
Stephanie Yankwitt, Casting Director
Margaret Dunn, Casting Director
Mary Baynard, Casting Assistant

OTHER DATES
PRODUCTION DATES
1st Rehearsal: 09/16/2019
1st Preview: 10/15/2019
Opening nigh: 10/26/2019
Closing: 11/17/2019
Poss Extension: 12/22/2019

OTHER
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.

BREAKDOWN
We will be examining Zawe’s piece against an American- Ugandan landscape. Our JOY is living and working in the US and is of the Ugandan-diaspora. The FLOURISH which is comprised of NAMBI, RUTH, ANGE-LA, ROSE, KIM, and MARGARET is also of the US-Ugandan diaspora. Actors with East African heritage is the dream, but thrilled to work with actors of the African diaspora. The women should really represent all women, and body and color diversity About the white male actors: they should not be hate-able. In fact there should be something lovable or at least likable about them. None the less, they are representatives of a way of life that is drowning our JOY.
For our MARGARET, KIM, ROSE, and ANGELA one of these women should be our “song leader” and the most comfortable with leading moments of song.
JOY
Black, African American with deep East African roots. Early 30- late 30’s. Currently working herself to death. A modern woman with style. Longing for home and family. Not a mother. Strong fear of motherhood. Actor should be comfortable making physical choices and with physical theatre. Comfort with singing in public a plus. While Joy is the leading role to a point, she too is part of the flourish and is backgrounded as much as she is foregrounded. We will need a team player here.
NAMBI
Mixed-heritage (African American and white). Should read as a pre-teen or younger. A child full of wonder, hope, and possibility. Comfortable with song and singing in public. Comfortable with physical theatre and games. Full of play, fear, and innate knowledge.
RUTH
Black Female, 55+. Extremely comfortable with dialect work. A mother. Earth-bound. Rooted. Des-perately trying to save her daughter. A pillar in the community. Practical. A survivalist. Proud. Strong sense of humor. Not overly emotional, yet grieving. Comfortable with singing.
ANGELA
Black Female, East African, Late 30's. American accent. Second generation Ugandan/East African Ameri-can. A woman desperately at odds with her place in the world, with her place in her family and within her so-ciety. She has found comfort in her rage with regards to JOY’s death. She’s a hurt person hurting people. Assimilated but wanting to keep in touch with the hurt of her people, the hurt she feels all the time. Comforta-ble with singing.
ROSE
Black Female, East African, early 40's. Second generation Ugandan/East African American. The sister eve-ryone wants. Diplomatic, sweet and strong like a Rose. She is piecing together the death of Joy in the only way she knows how, by trying to accept it and keep the family together. She has a light inside her that has dimmed significantly, but refuses to go all the way out. Comfortable with singing.
KIM
Mixed Race/Part Black Female. Teens - 20’s. She should feel younger than JOY. Could be American with a regional texture. She is young, curious, wise beyond her years. She’s good with children at a young age and has an understanding of the traumas of parenthood that ages her beyond her years.
MARGARET
Black Female, East African, 60 and older. The ultimate Ugandan/East African matriarch. She has the magi-cal quality of someone who has seen many children die and has managed to stay alive herself. A woman who commands power in silence and could change the weather if she willed it hard enough. She will never come to terms with Joy’s death, which makes her hard, like a rock that might never break. Or a rock with cracks through it. Either way, she is the most senior elder and must command a different vibration from the rest. Comfortable with singing.
BOSS
Male, Caucasian, 30's-50's.A little Type A. Also a slave to the system and desperate to keep the machine working. Cog in the wheel. A joker who makes bad jokes. Perhaps a little obsessed with Joy or at leas the black female body. Strong sense of humor. Very comfortable with physical theatre. Trying to be nice but is probably too stressed. A penny pincher. Enjoys sharing a laugh. Surprising and turns up when you least ex-pect.
DOCTOR/TOM
Male, Caucasian, 40's-60's. A representative of order, rules, regulation, and information. A bringer of band news but has some bedside manner/charm.
An interpreter of signs. A doctor of the mind and body, or representative of both health practices.
Icon: Benedict Cumberbatch (but American) or a little older. Someone who looks like each day of his life has been a privilege.


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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