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Roles are available unless otherwise specified. For pre-cast roles, auditioning performers will be considered as possible (emergency) replacements, should any become necessary.
"Reza in Rep": ART and GOD OF CARNAGE. Both plays by Yasmina Reza and translated by Christopher Hampton. Performed in repertory. 1ST rehearsal of Art: 9/17/12. 1st rehearsal of God of Carnage: 9/19/12. Shows Run: 10/16 – 11/18/12
Synopsis, ART: How much would you pay for a white painting? Would it matter who the painter was? Would it be art? One of Marc's best friends, Serge, has just bought a very expensive painting. It's about five feet by four, all white with white diagonal lines. Marc thinks it’s anything but art, but it is the painting that offends him, or Serge’s willingness to follow the latest trends? Hilarious, acerbic comedy that examines the meaning of art, friendship, peer pressure…and the ultimate value of those you love.
Synopsis, GOD OF CARNAGE: Comedy brings together two sets of Brooklyn parents after a playground altercation between their 11-year-old boys. Though the meeting to resolve the matter begins with polite pleasantries, it quickly descends into primal madness as tempers flare, loyalties shift and the parents devolve into children.
Annette Raleigh (in GOD OF CARNAGE): Alan’s wife. Mid 20’s to Mid 40’s. Smarter and funnier than Alan gives her credit for, and has been willing to live within this perceived role (though perhaps fraying at the edges). A bit high strung and very put together. A financial planner by trade.
Veronica Novak (in GOD OF CARNAGE): Michael’s wife. Late 30’s early 40’s. She is a writer and art-historian. Uber-intellectual and a bit of a know-it-all. Domineering.
Marc (in ART) / Alan (in CARNAGE): CAST. 40-something, smart, well-spoken males. (Alan is a lawyer).
Serge (in ART): CAST. late 30’s early 40’s, handsome, affable, intellectual and reactionary.
Yvan (in ART) / Michael (in CARNAGE): CAST. late 30’s early 40’s – funny, loveable, emotional and a bit on the dramatic side (Michael sells plumbing supplies and can have a hard edge when necessary)
I AM MY OWN WIFE By Doug Wright. 1ST rehearsal: 12/17/12. Runs: 1/17 – 2/3/13.
Based on a true story, and inspired by interviews conducted by the playwright over several years. Tells the fascinating tale of Charlotte von Mahlsdorf a real-life German transvestite who managed to survive both the Nazi onslaught and the repressive East German Communist regime.
MAN – Appears 40-55 years old; this one man plays a total of 37 characters ranging in both gender and nationality including Charlotte von Mahlsdorf a German transvestite, a Texan journalist, a Nazi soldier, and the playwright himself.
THE IMPORTANCE OF BEING EARNEST by Oscar Wilde. 1st rehearsal: 1/24/13. Runs: 2/14 – 3/3/13.
Set in Victorian London, the play opens with Algernon Moncrieff, an idle young gentleman, receiving his best friend, whom he knows as Earnest Worthing. Earnest has come from the country to propose to Algernon's cousin, Gwendolen. Algernon, however, refuses his consent until Earnest explains why his cigarette case bears the inscription, "From little Cecily, with her fondest love to her dear Uncle Jack." "Earnest" is forced to admit to living a double life.
John Worthing (Jack/Ernest) – 20’s/30’s; a Justice of the Peace; a seemingly responsible and respectable young man who leads a double life; guardian of Cecily Cardew
Algernon Moncrieff – 20’s/30’s; a charming bachelor; best friend of Jack who he knows as Ernest and nephew of Lady Bracknell; brilliant, witty, selfish and amoral
Rev. Canon Chasuble – 40’s +; Rector of the Worthing estate; Doctor of Divinity; entertains secret romantic feelings for Miss Prism
Lane/Merriman – One actor will play both of these roles: Lane only appears in Act I; Merriman only appears in Act II and III. Lane is Algernon Moncrieff’s man-servant. Merriman is Butler to John Worthing
Lady Bracknell – This role will be played by a man. 40’s/50’s; Algernon Moncrieff’s snobbish, mercenary, and domineering aunt and Gwendolen’s mother; primary goal is to see her daughter marry well; cunning, narrow-minded, and authoritative
Gwendolen Fairfax – 20’s/30’s; Lady Bracknell’s daughter and Algernon Moncrieff’s cousin; in love with Jack whom she knows as Ernest; sophisticated, intellectual, cosmopolitan and utterly pretentious
Cecily Cardew – 20’s/30’s; John Worthing’s ward; intrigues by the idea of wickedness
Miss Prism – 40’s; Miss Cardew’s governess; despite her rigidity seems to have a softer side; entertains romantic feelings for Rev. Chasuble
The Whipping Man by Matthew Lopez. 1st rehearsal: 2/25/13. Runs: 3/14 – 3/30/13.
In 1865, The Civil War is over and throughout the south, slaves are being freed, soldiers are returning home and in Jewish homes, the annual celebration of Passover is being celebrated. Three men are at a crossroads – a Jewish Confederate soldier who has returned from battle, and his two former slaves. As the three men reunite to celebrate Passover, they wrestle with their shared past and the reality of the new world in which they find themselves. Play about redemption and forgiveness, about the lasting scars of slavery, and the responsibility that comes with freedom.
John - late 20's to early 30's. African American. John was raised along-side Caleb, until the master/slave relationship was forced on them. Well-read and angry, John wears his new freedom proudly. A trouble maker, righteously indignant, and also hiding secrets he would rather not reveal.
Caleb – CAST. late 20's to early 30's. Caucasian. A confederate soldier at the end of the civil war. Broken physically and spiritually. Attempting to adjust to the new world around him and holding fast to secrets he doesn't want to share.
Simon – CAST. 50's -60's African American. Former slave with newly found freedom. Simon was the slave who ran the household. Illiterate, but deeply spiritual in the Jewish faith. A kind hearted and pragmatic man, but when angered, truly scary. Simon is the moral and spiritual center of this play.
Master Class By Terrence McNally. 1ST rehearsal: 3/21/13. Show Runs: 4/4 – 4/21/13.
Takes inspiration from the life of opera diva Maria Callas, after her voice has given out and she has taken to teaching Master Classes at Julliard. Join her center stage as she coaxes, prods and inspires her opera students into giving the performances of their lives, while she entertains us with secrets of her own, while she reminisces on the triumphs and tragedies of her life and career. Filled with funny quips about life and love, insights into what it means to be human, and interesting perspectives on the creation of art and bringing a song to life.
Maria Callas – mid 50’s to early 60’s, Greek/Italian mannerisms. A previous opera diva. Elegant, confident and intelligent. She can no longer sing. Wry and witty.
First Soprano (Sophie) - Doesn’t necessarily have “a look”. Sweet. Must be able to sing opera. Specifically the aria “Ah, non credea mirarti”.
Second Soprano (Sharon) - Late 20’s/early 30’s. Must be able to sing opera. Specifically “Vieni, t’affretta”
Tenor (Tony) – must sing “Recondita armonia” from Puccini’s Tosca. Large, likeable, charming. Late 20’s early 30’s.
Stagehand – mid 20’s to mid 30’s. Can be male or female.
Manny – CAST. the accompanist. Jewish mid 30’s to early 60’s. Must play piano very well and serve as Music Director for the production. Does have lines and is on-stage throughout
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