Geffen Playhouse 2019-2020 SeasonGeffen Playhouse
Fri, Jul 19, 2019
10:00 am - 6:00 pm (PDT)
Lunch: 1:00PM - 2:00PM
LORT Non-Rep LORT B, D Minimums - $941/wk, $696/wk
Please prepare one 2 minute monologue.
10886 Le Conte Ave
Los Angeles, CA 90024-3021
Key Largo Adapted by Andy Garcia and Jeffry Hatcher
Nightfall by Marisela Trevino Orta directed by Jaime Castaneda
Bernhardt/Hamlet by Theresa Rebeck, directed by Sarna Lapine
Phyllis Schuringa - Casting
Rehearsal: October 8
Preview: November 5
Opening: November 14
Closing: March 8, could extend until December 15
Rehearsal: February 4
Preview: March 3
Opening: March 12
Closing: April 12
Rehearsal: March 10
Preview: April 7
Opening: April 16
Closing: May 10
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.
Age 30s – early 40s. Caucasian. Former Army Major. Tough, decent, bruised by the war and his life since. A man trying to atone for something.
Age 20s. Caucasian or Latinx. Beautiful. Her past is murky, so she keeps things close to the vest, but it’s been a hard life with a lot of ugliness to it, and she wants something better.
Age late 30s – 50s. Caucasian/Latinx/African American. Very attractive, but time, drink and drugs have done a number on her, and it shows. An expressive singing voice, even now. A potent mix of bombshell, little girl, polite lady, and screamer.
Age late 50s – early 70s. Caucasian/Latinx/Italian American. A tough old guy who’s only slightly weakened by his blindness. Flinty and fearless. A man who’s on a slow boil throughout the course of the story.
Age 30s – 40s. Caucasian/Latinx/Italian American. Obese, sweaty, unpleasant. A combination of glad-hander and sniveling weasel, alternating between a false swagger and a cringing servility.
Age 20s – 30s. Caucasian/Latinx/Italian American. Thin, deadpan, mean. A classic narrow-eyed gunsel.
Age 40s – mid 60s. Caucasian/Latinx. He’s been nowhere but the Keys, but he’s seen everything. A particularly American mix of decency and corruption. Tough if he has to be, but willing to make a deal.
Age 40s – 50s. Caucasian/Latinx/Italian American/Jewish. A nasty piece of work. A hard guy who got promoted to the top, aka if Toots became Rocco. Ice water in his veins. Not a drop of compassion.
Karla - Mid 40s. Latina. Athletic
Olivia - 16 years old. African American teenager with a lean physique. Karla's step-daughter and not happy about it.
Ryan - Mid 30s White. Lean. Athletic. A real jerk.
*The role of Sarah has been cast.
Edmond Rostand Male 34-44
Mid 30s to early 40s. Male. A playwright completely transfixed with adoration for Sarah, his artistic ambitions and sexual infatuation are wrapped up in her. He is both a fawning writer in awe of how actors come alive and a fiercely determined thinker. He is good with language and he knows it, so there is a confidence to his arguments which collapses into a vivid frustration when they fail him. Living slightly in his head, meticulous and obsessive, he believes in the power of poetry, even when it makes him neurotic about his own work. Having not yet penned Cyrano, his ambition is currently fettered with a slew of unmemorable productions, and were it not for his relationship with Sarah, he would question himself. Worried that Sarah is making a grave error in taking on Hamlet, he becomes desperate to intervene. But out of love for her, he takes on the daunting task of adapting and abridging Hamlet, driving him near mad. All the while, he is racked with guilt over his neglected wife and sick infant at home, but he can't seem to stay away from the theater. A role for an unconventional lover with wit and depth.
Constant Coquelin / Ghost of Hamlet's Father / Cyr Male 50-59
50s. Male. The leading man in Sarah's troupe who has played every role in the canon... thrice. And yet, having never gotten the acclaim he probably deserved, there's a heaviness about him. Though slightly jaded, he is a confidant to Sarah and she values him dearly. He's a creature of the stage, well read, adaptable. Powerful and commanding as the Ghost of Hamlet, but also a whirlwind of effortless wit as the inspiration for Cyrano. He knows how to own the stage. This is a terrifically funny role that offers broad range. He is a consummate actor, who is capable of great bravura, open-hearted ferocity and careless nonchalance.
Alphonse Mucha Male 40-49
40s. Male. A famous artist and graphic designer, freed from obscurity by Sarah who hires him for all her show posters. He stands aloof, always scrutinizing from an emotional distance, sometimes dismissive, yet utterly charming. Can be unapologetically blunt. His dry humor is subtly hidden behind a facade of seriousness. Completely engrossed by his work, he doesn't rest until it suits his standards, and gets tied up into himself when it doesn't. Slight Czech accent.
Maurice Male 34-36
Mid 30s. Male. Sarah's devoted son who has allowed his mother the spotlight his entire life, either in being hailed for her artistic accomplishment or in being gossiped about derisively for her promiscuity. Handsome, he maintains dignity despite it all. But the twists and turns of his mothers passions as well as her finances have left him worried about money. A well meaning gentleman, but more content to hide away as a perpetual student than become a leader. And yet, mother and son are very close and deeply bonded. Perhaps to a fault. Finally, he is good natured about who he is in the world. He can stand up to his mother's excesses without apology. While he will never outshine her or escape her, there is no neurosis. Her love has made him steady, not weak.
Lysette / Ophelia Female 20-29
20s or early 30s. Female. The pretty ingenue of Sarah's troupe, she considers this job a big break for her. In awe of Sarah and always eager to learn from her. Seemingly innocent, she fancies herself more self-possessed than she probably is, but her depth is surprising, as is her willingness to experiment with her sexuality. Or maybe that's just her idolatry for Sarah sublimating itself into desire.
Louis Male 50-79
50s to 70s. Male. The leading theater critic of Paris. Full of flamboyance, pretense and cutting humor, he relishes his authority to make or break careers. Passionate about the theater, he champions work he believes in or delights in utter flops. Loves to be courted by producers and artists who desire his approval, but just as likely to ingratiate himself to stars. An inconstant member of an entourage, but an important one nonetheless.
Rosamond Female 30-39
30s. Female. Rostand's neglected wife. She confronts Sarah, not to stop her love affair with her husband, but to ask that she release him from the challenge of rewriting Hamlet so he can finish Cyrano. A woman of quiet dignity and strength, with a sick child at home and a husband she never sees, who has not always been dealt the kindest hand by life. And yet she's persevered. As a fanciful poet herself, she respects the theater, but stands outside the incestuousness of its community. Unsure how to behave in the face of Sarah's celebrity, she defies it. Extremely secure in her own skin--surprisingly so, given the circumstances. When she plays her cards she does so with an assurance which is one of the few things that truly can rattle the Divine Sarah.
Raoul / Rosencrantz / Viscount De Valvert:
30s or 40s. Male. An actor in Sarah's troupe. Self involved and has more than a hint of machismo. Not the brightest bulb, but not untalented. Funny, well trained, and serious about his craft. A good supporting role for a comedian who can make something his own.
Francois / Guildenstern / the Bore From Cyrano Supporting Male 30-39
30s or 40s. Male. An actor in Sarah's troupe. A little scattered, his attention is just as easily captured as it can be distracted. A little sensitve, he's a people pleaser. Funny, well trained, and serious about his craft. A good supporting role for a comedian who can make something his own.
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.