Golden Thread 2023 Season Generals - Equity video submissions Golden Thread Productions | San Francisco, CA
Notice: Submission
Bay Area Theatre
$400 weekly minimum (Intro Tier)
Equity actors for roles in Golden Thread's 2023 Season (See breakdown).
Actors auditioning for Season General Auditions may be considered for roles in the 2023 mainstage productions and programs (ReOrient Festival of Short Plays, Fairytale Players program, New Threads staged readings, as well as future readings and productions).
Actors of all ages, races, genders, ability and experiences levels welcome. We are a company focused on the Middle East, so we do have numerous roles in productions and staged readings for actors of Middle Eastern heritage. Actors looking to showcase physical movement experience, such as clowning; dance; ensemble, devised work; and musicians are encouraged to audition.
Local (Bay Area) actors are encouraged to submit.
Please prepare a two-minute monologue that showcases your vocal, physical, and emotional range. Please submit your headshot, resume and audition video link at:
https://forms.gle/L9Rx4FRupP7ke8Mc8 .
Deadline: 12/31/2022
ReOrient Festival of Short Plays:
STAMP by Yussef El Guindi
CLOSURE by Arti Ishak
DATA QUEEN by Adam Ashraf Elsayigh A MASSACRE by Katrin Arefy
PICTURE BRIDE by Judith Strang-Waldau THE SUICIDE BOMBER by Hamed Sinno
Viewing submissions:
Executive Artistic Director: Sahar Assaf Production Associate: Wendy Reyes
In-person Auditions and call-backs for our ReOrient Festival of Short Plays will be scheduled on an individual basis (by appointment) on Tuesday 2/14/23 and Wednesday 2/15/23 and Callbacks Tuesday 2/28/23.
http://www.goldenthread.org" target="_blank">www.goldenthread.org
Please note that Golden Thread is a fully vaccinated company. Actors will be required to email their proof of vaccination prior to their audition appointment date. Your final dose must be administered at least 2 weeks prior to the first day of in-person auditions.
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.
STAMP by Yussef El Guindi
Ahmed is waiting in an immigration line as his thoughts race, skid and trip him up as he anticipates the things that might be asked, the papers he’ll have to show, and the personal information he might have to share. It is not a pretty stream of consciousness.
AHMED, a man whose age is currently flexible
CLOSURE by Arti Ishak
Two former Arabic school rivals meet 20 years later when an unexpected reveal changes the nature of their reunion.
AMAL, 30s, Arab Muslim Woman
AMINA, 30s, Arab Muslim Woman
DATA QUEEN by Adam Ashraf Elsayigh
Lebanese, Gen-Z Partyboi, Sam, is in trouble with his tamer, older, White boyfriend, Joel. But it’s really not his fault. Joel went snooping, finding Sam’s FUCK FORM, with all the raunchy descriptions of his recent hookups. So here they are at ODYSSEY, San Francisco’s hottest, new Couple Therapy practice. Will Sam and Joel manage to fix this hot mess with the assistance of their overwhelmed but well-meaning counselor, Sharon… or is this all doomed for failure?
SAM (he/him), Ambitious, mid-20s, Lebanese immigrant. Speaks with a Levant French accent; his words often blur the fine line between sincerity and irony (a classically gay thing). Has a variety of emotional problems expertly hidden behind a charming personality.
JOEL (he/him), Sam’s late-30s, White boyfriend who works for an immigration non-profit and apologizes to all his Arab friends at brunch for having done Birthright when he didn’t know better two decades ago.
SHARON (she/her), Sam and Joel’s middle aged,couple’s therapist. BIPOC but assimilated into a brand of middle-class, coastal-liberal, cultural Whiteness represented in her DEI lens and identity politics. She’s not incompetent or stupid but that worldview makes her very in-over-her-head with Sam and Joel.
A MASSACRE by Katrin Arefy
Discovering a pile of dead bodies in the middle of their office, work colleagues seem nonchalant to the carnage and instead become embroiled in petty arguments. Their repetitive discussions and responses are predetermined and non-negotiable.
THE WOMAN: A middle aged woman wearing a patterned dress.
THE ELDERLY MAN: An elderly man with a heavy body who walks slowly. His breathing is noisy and labored when he walks.
THE TALL MAN: A tall, slim man in jeans and a T-shirt, with a pencil tucked behind his ear. THE YOUNG WOMAN: A slim, short young woman in a short skirt.
THE BALD MAN: A bald man in a suit.
PICTURE BRIDE by Judith Strang-Waldau
A young woman recounts sailing to America during the Armenian Genocide to marry a man on Ellis Island.
ANI – (Female) 20s. Armenian woman.
THE SUICIDE BOMBER by Hamed Sinno
In a farce of a play within a play within a play, fractals of a writer’s identity battle over controlling the narrative. When they start eliminating each other, it becomes unclear who is writing whom.
SAMMY – A mid-20s, gender non-binary dancer and choreographer. Typical Mediterranean features. Not a cis man. Speaks passionately. Anxious. Sammy is almost a caricature of the “engaged artist” though not to comical effect. They are someone whose sense of self-worth comes from feeling useful to the world. They don’t feel like they deserve the kind of acclaim they have been garnering for their work, and their self-sacrificial impulse seems to be the only way for them to sublimate their guilt and sense of being an imposter. Their self-preserving impulses are allowed to be more dormant because of their co-dependent dynamic with Mo.
MO - Mo is an early 20s male Nubian from southern Egypt. One of the dancers in Sammy’s company, and Sammy’s closest friend. Mo and Sammy have developed a kind of shorthand and mutual understanding that comes from having been romantically involved a lifetime ago. Mo is clever, fast with his clap-backs, and delivers everything with a remarkably dry dead-pan. Though Mo often finds difficulty in validating his own needs and wants, he validates Sammy’s with tremendous ease.
PLAYWRIGHT (Sami Mehri) – What a tool. Real name Sami Mehri . A pretentious writer voted “most likely to walk around with a tobacco pipe.” Speaks with a heavily affected Mid-Atlantic accent, or an obviously fake British accent. Has a temper. Wears tweed. Often pretends to read books he hasn’t read. He has a hard time balancing his impulses for self-preservation with his impulses for self sacrifice. For all his wretchedness, he can actually write. In fact, he can lose himself completely in his writing. This can sometimes get dangerous, as he amplifies fractals of his own personality to articulate certain affective registers in his writing, but finds them taking over his own life.
BOYNE - Backstage manager for The Met, where Sammy is performing. He speaks with the cadence of a planner/organizer who is more annoyed than stressed. Young enough to be an intern. Problematic. Boyne was previously written as “Blanche” but was then re-written as someone presenting masculine because misogyny. He colonizes space in a way only someone of tremendous privilege can. He is loud, over performative, inherently confident in his opinions etc.
CHOCOLATE HUMMUS – just a person dressed as a giant tub of chocolate hummus. They don’t do much, but their presence is imperative. Note for actor: feel free to come up with whatever backstory you need if it’ll make it easier for you to really bring the role to life.
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