HARTFORD STAGE 2022-23 SEASON Submission - Hartford Stage Company Inc. Auditions

HARTFORD STAGE 2022-23 SEASON - EQUITY VIDEO SUBMISSIONS

Hartford Stage Company Inc.

CONTRACT

LORT Non-Rep $1008 weekly minimum (LORT B)

SEEKING

Equity actors for roles in 2022-23 season (see breakdown).

We are requiring that all Actors and Stage Managers be vaccinated against Covid-19.

We are committed to a strong anti-racist ethos and a collective recommitment to nurture and sustain a culture of equity, inclusion and belonging at our organization. We seek to build a team that is passionate about theatre and that reflects the abundant vibrancy and diversity of our city, state, and nation. We are proud to be an equal opportunity employer and all qualified applications will receive consideration for employment without regard to race, color, gender-identity, sexual orientation, familial status, religion, ability, age, national origin, class and veteran or immigrant status.

INSTRUCTIONS

Please prepare two contrasting monologues from a play of your choice. Total video should not exceed 3 minutes. Please upload your headshot/resume attached as a combined PDF. To submit, visit https://www.hartfordstage.org/epa-auditions/ by 6 pm EDT on June 27.

Deadline: Mon, Jun 27, 2022

PERSONNEL

Rachel Alderman, Artistic Producer
Zoë Golub-Sass, Artistic Associate

Reviewing video submissions:
Alaine Alldaffer, Casting Director

See production-specific personnel in breakdown.

OTHER DATES

See production dates in breakdown.

OTHER

Hartford Stage may record each production and make a recording available for ticket-buyers in accordance with the LORT-Equity Extended Media Side Letter.

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

NOTE: While the characters are written with “he/him” or “she/her” pronouns in the original scripts, we welcome gender non-conforming, genderqueer, transgender, and non-binary actors to audition for the roles they most identify with. We will also list race/ethnicity when specific to the character but are otherwise seeking all races and ethnicities. In addition, we will list disability when specific to a character, but are otherwise seeking actors of all abilities. Thank you to First Folio Theatre for inspiring the language in this note as we work towards a more inclusive casting process.

No roles will be understudied.

THE MOUSETRAP by Agatha Christie
Directed by Jackson Gay
1st Rehearsal: 9/13/22
1st Preview: 10/13/22
Opening: 10/21/22
Closing: 11/6/22

Note: All actors must have excellent British dialect skills. Open and seeking all ethnicities.

Mollie Ralston (female, mid 20’s to 30’s) - Co-owner, with her husband Giles, and brand-new proprietress of Monkswell Manor. Trusting, hardworking and hopeful. She is in over her head, but what she lacks in experience she will make up with cunning ingenuity. She carries a deep guilt from her past and has not been able to forgive herself.

Giles Ralston (male, mid 20's to 30’s) - Co-owner, with his wife Mollie, and brand-new proprietor of Monkswell Manor. Confident, bordering on arrogance. He has a lot to prove to the world, to Mollie and to himself. Although he loves his new wife, his escalating jealousy may destroy everything.

Christopher Wren (male, early 20's) - A neurotic young man who, when not talking incessantly, seems to be crying for help. His strange behavior is off-putting and may cover up something darker from his mysterious past. He also just might be deeply lonely.

Mrs. Boyle (female, 50's to 60's) - Former magistrate, imposing woman. She is entitled and impossible to please. She is not afraid to ask for what she wants. She worked hard to get where she got in life. She refuses to accept responsibility for her actions, choosing instead to double-down on her innocence. She is full of guilt and wants forgiveness, even though her actions show otherwise.

Major Metcalf (male, 50's to 60's) - Military in manner and bearing. He is pleasant, helpful, and curious. Very curious. He seems to be watching and always listening. He has a love of adventure and seems to enjoy a good game. His pleasantness makes him hard to read.

Miss Casewell (female, early 30's) - She is confident in herself. She refuses to live, speak, and dress in the way a young woman is expected to in this world. She is disparaged by others as being too “manly.” She frightens others as she won’t play the role they want to cast her in. She takes advantage of their fear and doubles-down. She is private and carries something dark with her.

Mr. Paravicini (male, late 40’s) - He is reminiscent of the famous fictional detective Hercule Poirot. He is a stranger and an unexpected guest. He seems to be older than he is as if he’s trying to disguise his identity. He wears a flamboyant mustache and makes lewd advances toward Mollie. He keeps everyone off balance with his odd behavior and he enjoys doing this immensely.

Detective Sergeant Trotter (male, mid 20's) - Trotter is a cheerful, commonplace young man with a slight cockney accent. He is full of energy and determined to solve the crime before anyone else gets hurt. He loves his job and is good at it. He is young, ambitious, and determined to find justice no matter what the cost. He’s a great person to have in your corner.

IT’S A WONDERFUL LIFE: A LIVE RADIO PLAY By Joe Landry
Directed by Rachel Alderman
1st Rehearsal: 10/25/22
1st Preview: 11/25/22
Opening: 12/2/22
Closing: 12/24/22

FREDDIE FILMORE - portrays many, including Gower and Potter. He is a powerful presence, charismatic and a leader in the radio room and in Bedford Falls

JAKE LAURENTS – portrays George Bailey. Is an earnest, warm man, searching/yearning for his place in the radio ensemble and Bedford Falls.

HARRY “JAZZBO” HEYWOOD – portrays many, including Harry and Clarence. Grounded and confident. Thrives on the radio and enjoys the chaos of the radio drama. A charismatic chameleon.

SALLY APPLEWHITE – portrays Mary Hatch at all ages. An intelligent, witty and strong presence. Filled with warmth. Working hard to keep both the radio drama and the world of Bedford Falls positively on track.

LANA SHERWOOD – portrays many, including Violet and Rose Bailey. A confident, feisty and flirty performer. Enjoys attentions on radio and in Bedford Falls. A charismatic chameleon.

ESPEJOS: CLEAN By / Escrita por Christine Quintana
Spanish translation and adaptation by / Traducción y adaptación por Paula Zelaya Cervantes
Directed by / Dirigida por Melissa Crespo
In association with / En asociación con Syracuse Stage
Hartford Stage Dates:
1st Rehearsal: 12/13/22
1st Preview: 1/12/23
Opening: 1/20/23
Closing: 2/5/23

Syracuse Stage Dates:
First rehearsal: February 7 or 8, 2023
First preview: February 15, 2023
Opening: February 17, 2023
Closing: March 5, 2023

ALL ROLES ARE CAST

THE ART OF BURNING Playwright: Kate Snodgrass
Director: Melia Bensussen
Location: Virginia Wimberly Theatre (Huntington), LORT B; Hartford Stage, LORT B

The Huntington Dates:
Upcoming Workshop Dates: July 7-9, 2022
First Rehearsal: Tuesday, December 13, 2022
Tech Begins: Saturday, January 7, 2023
First Preview: Friday, January 13, 2023
Opening: Wednesday, January 25, 2023
Closing: Sunday, February 12, 2023

Hartford Stage Dates:
First rehearsal: Wednesday, Feb 15, 2023
First tech: Friday, Feb 24, 2023
First preview: Thursday, March 2, 2023
Opening: Friday, March 10, 2023
Closing: Sunday, March 26, 2023

Actors need to be available for both runs.

PATRICIA – Woman, mid-40s-early 50s, an artist and Beth's mother; Jason’s soon-to-be ex-wife. A brilliant painter, she experiences the world through a vivid emotional life. A woman with a great sense of humor, she is currently very concerned about how she's raised her daughter and looking for how to ameliorate the possible damage caused by her and Jason.

JASON – Man, late 40s-early 50s, a financial planner and Beth's father; Patricia’s soon-to-be ex-husband and lover to Katya. Obsessed with his reputation and how he is seen by the world, wants to be the Picture-Perfect father. Is looking for a new start with a new partner as his marriage to Patricia has ceased to feel alive to him. Judgmental of Patricia, he is blinded by his own biases, and is fiercely protective of Beth.

MARK – Man, late 40s-early 50s, an attorney, father, husband to Charlene. His own marriage to Charlene has its challenges, and he is determined that no one knows the truth of his family's life. Wants, as Jason does, to appear perfect. A gifted mediator, he is in over his head with Patricia and Jason.

KATYA – Woman, mid-30s, an attorney in Family Law, lover to Jason. Newly made partner at her firm, she is excited about her professional opportunities, and is idealistic about the change she can make in the world. Although she loves Jason, and wants to connect with Beth, she is struggling to balance her work and personal desires.

CHARLENE – Woman, 40s, a housewife and mother; married to Mark. Patricia's close friend. Due to her own struggles in her marriages, she identifies with both Jason and Patricia. Struggling to regain her footing in her own marriage, she has a sophisticated view of what family life and long-term commitment can entail. Smart, self-aware, and has a good sense of humor.

BETH/SHELLEY – Beth, woman, 15. Patricia and Jason’s daughter. Fiercely independent with a rebellious spirit. Wants to be her own person, trying to navigate her evolving relationship with her parents. Shelley, woman, 20s, an experienced waitress. Quick-witted, has waited tables long enough to know how to deal with all sorts of BS from men.

THE WINTER'S TALE By William Shakespeare
Directed by Melia Bensussen
1st Rehearsal: 3/14/23
1st Preview: 4/13/23
Opening: 4/21/23
Closing: 5/7/23

10 actors (ages 18 and older) of all races, gender identities, and abilities are needed. Many roles double. Tracks to be determined once the ensemble is assembled. Actors should be comfortable with heightened language, and have a facility for genre hopping as the production will go from the austere to the imaginative, playful to poetic.

TROUBLE IN MIND By Alice Childress
Directed by Christopher D. Betts, Joyce C. Willis Fellow
1st Rehearsal: 4/25/23
1st Preview: 5/25/23
Opening: 6/2/23
Closing: 6/18/23

WILETTA MAYER (Black female, late 30s-50s) – A veteran actor, initially agreeable, though savvy. Has come to view show business as just that – a business. She has learned from experience how to swallow her feelings, get along, and say the right thing. Typically, does not rock the boat. She accepts compliance as a means of survival and a catalyst toward stardom. When pushed, her true colors unfold, and we see a woman who can no longer be relegated to a stereotype. As the play goes on, she grows increasingly confident and direct, becoming an outspoken critic of the production.

HENRY (White male, late 70s) – A veteran of 50 years in show business, first as an electrician and now the doorman. He's Irish and proud of it. His work is exact, precise, and all business though he is innately compassionate. He is long-winded, slightly hard of hearing, and a real character.

JOHN NEVINS (Black male, 20s-early 30s) – A novice actor making his Broadway debut. He is a college graduate aspiring to rise to the top of his profession who believes his formal training to be superior to experience gained by playing into stereotypes. He tries to look self-assured, but it is evident that he is new to the theater and fighting hard to control his enthusiasm. John is charismatic and ready to play the game to get ahead. He initially scoffs at the idea that he would need to ingratiate himself with his White colleagues by being less than his authentic self. As the play goes on, he becomes seduced by the idea of success, aligning himself with the director and the White cast members.

MILLIE DAVIS (Black female, 30s) – An experienced actor who is not afraid to speak her mind. She is an intelligent, politically active, and impeccably dressed woman who knows how to make an entrance. Like Wiletta, she has spent her career performing Black stock characters, and she readily voices her dissatisfaction concerning dialogue and actions that demean Black people. Unlike Wiletta, she stops short of pursuing her objections. Though she knows what's right—she also knows what she needs to do to keep her job.

JUDY SEARS (White female, 20s) – a young, energetic actor who recently graduated from Yale Drama School. This is her professional theatre debut, and she is eager to please. While earnest and well-meaning, her innocent belief in her progressive attitudes can make her seem cloying. Though she is ignorant of her privilege, she has more self-awareness than expected.

SHELDON FORRESTER (Black male, 60s-70s) – a veteran character actor. He has held such an obsequious posture for so long that he is numb to the indignities he and other Black actors suffer in the profession. However, he is more than he appears; he is playing a role that pleases white people as a means of survival.

AL MANNERS (White male, late 30s - early 40s) – the play's director, making his Broadway debut. Confident, passionate, but patronizing in his manner. Underneath a veneer of kindness, he can be self-concerned, tactless, and manipulative. Calculating. Can't take criticism. Believes firmly that he is progressive and is thusly unwilling to interrogate his capacity for bias. Though he considers himself liberal, he treats Black and White cast members with inequity. As the racial tensions rise, he becomes more intense, exposing his deep-rooted racial biases.

EDDIE FENTON (White male, 30s) – The stage manager and good-hearted side kick to Al Manners. In Act 1, he is easy-going. As he absorbs the conflicts around him, he grows visibly nervous and drawn, lacking the easy-going attitude of the first act.

BILL O'WRAY (White male, 40s - 50s) – A seasoned and lauded actor. The only cast member who finds steady work. When playing a part, he is dynamic and radiates strength and power. When he is only himself—he is a shadow of a man, appearing to be worried all the time and avoiding the company of others. He insists that he is not prejudiced but is reluctant to commune with the Black actors.

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.