Institutional Off-Broadway Theatres 2023 Equity Principal Actors - Various Producers Auditions

Institutional Off-Broadway Theatres 2023 - NYC EPA Various Producers | ,

Notice: Audition Call Type: EPA

AUDITION DATE

Wednesday, July 12, 2023

9:30 AM - 5:30 PM (E)

Lunch 1:00-2:00 pm

CONTRACT

Off Broadway

See each theatre's salary information in their breakdown.

SEEKING

Equity actors for roles in the following theatres' 2023-24 seasons:

MCC Theater

New York Theatre Workshop

Playwrights Horizons

The Public (New York Shakespeare Festival) Signature Theatre Company

WP Theater (Women's Project)

See breakdowns.

PREPARATION

Please prepare a brief monologue and/or a brief song. An accompanist will be provided. Please bring THREE COPIES of your headshot and resume stapled together.

BREAKDOWN

MCC Theatre

LOCATION

Actors' Equity New York Audition Center 165 W 46th St

16th Fl

New York, NY 10036

PERSONNEL

See breakdowns for each theatre's personnel (and personnel expected to attend).

OTHER DATES

See production dates in breakdowns.

OTHER

EPA Procedures are in effect for this 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.

Co-Artistic Directors: Bernard Telsey and William Cantler

Executive Director: Blake West

General Manager: Beth Dembrow

Expected to attend:

Manager of Artistic Production: Ayana Parker Morrison

Manager of Artistic Development: Elissa Huang

Manager of Musical Programming & Development: Scott Galina

WALK ON THROUGH: CONFESSIONS OF A MUSEUM NOVICE

Written by Gavin Creel

Directed by Linda Goodrich

Susan & Ronald Frankel Theater

Category AA - $760 weekly minimum

First Rehearsal (on or around) – October 23rd, 2023

First Preview (on or around) – November 13th, 2023

Possible Extensions Through – January 7th, 2024

SEEKING:

POLLOCK, GARSHIN, & OTHERS – Male (cis, trans, or non-binary), late 20s - early 40s, any ethnicity, pop tenor. Portrays multiple dynamic characters that come from Gavin’s imagination as he experiences the art of The Met, including a fantasized version of Jackson Pollock, a romantic composer/pianist, a young lover, a late 19th century Russian pacifist, an ex-boyfriend, and a fellow museum novice.

JUDITH – Female (cis, trans, or non-binary), mid 20s – mid 30s, any ethnicity, strong flexible mezzo/mix-belt voice with a pop sensibility. Portrays JUDITH – based on the biblical story, Judith is a quiet young widow who, as her town is about to be besieged by an army led by a tyrannical general named Holofernes, summons the courage to sneak into the enemy camp, seduce and intoxicate the general, and while he is sleeping, decapitate him, thus bringing about victory for her people. Judith awakens to her destiny and discovers a power within herself that she never knew she possessed. She is the character that most powerfully inspires Gavin to face his greatest fear.

THE CONNECTOR

Music and Lyrics by Jason Robert Brown

Book by Jonathan Marc Sherman

Conceived and Directed by Daisy Prince

Newman Mills Theater - OB/AEA Cat CC

Category CC - $1,125 weekly minimum

First Rehearsal (on or around) – December 4th, 2023

First Preview (on or around) – January 12th, 2024

Possible Extensions Through – March 17th, 2024

SEEKING:

ETHAN DOBSON - 24. Any ethnicity. Transformative character, projectable. Smart, quirky, attractive (if not necessarily conventionally handsome). Adapts very quickly. Complicated vocal role. High Baritone or Tenor 2 (to high A).

ROBIN MARTINEZ - mid-20s to early 30s. Latinx. Copy Editor at “The Connector.” Smart, astute, quick. More earnest than sassy. Always the smartest person in the room. Mezzo/Belt (or possible Soprano/Belt) with very strong mix.

CONRAD O'BRIEN - 50s to early 70s. Any ethnicity. The editor-in-chief of “The Connector.” A little grizzled and a little effete. Alpha male but aware of his age. Strong Bass or Baritone (to high G).

MURIEL - 50s to 70s. Any ethnicity. Fact checker at “The Connector.” Sharp. Has worked at the magazine longer than anybody, and lets everyone know it. Rich mezzo w/ very strong belt/mix.

MONA BLAND - 30s to 60s. Any ethnicity. Dedicated reader and conspiracy theorist. Nuts, but robust. Chipper, relentlessly talkative and blunt, not stately. Mezzo (or Soprano) with powerful belt and strong mix. Sings as part of the Company.

THOMAS HENSHAW (also WILLIS PARKS) - 30s to 40s. Black. A staff writer at “The Connector.” Big Baritone (up to high A) with fantastic diction and rap sensibilities.

ZACHARY FLEISCHER - 40s to 60s. WASPy lawyer from an old firm. Enjoys the relative squalor of the magazine floor. Baritone / Bass. Sings as part of the Company.

BILLY DOBSON (also WALDO PINE) - late 20s to 30s. Any ethnicity. Ethan’s older brother. Real Tenor up to B (strong mix/falsetto up to D).

FLORENCIA - 20s to 30s. Latinx. Robin’s friend, looking to work at “The Connector.” Soprano 1/Belt. Sings as part of the Company.

NESTOR FINEMAN - 30s to 40s. Latinx. An editor at “The New York Press.” High Baritone or Tenor. Sings as part of the Company.

BRIAN LAMB - 50s. Any ethnicity. Host of “Booknotes” on C-SPAN. Real Bass (up to high G). Sings as part of the Company.

SHERYL - 20s to 50s. Any ethnicity. Aide to the Mayor of Jersey City. Real Alto. Sings as part of the Company.

VERONICA - 30s to 40s. Any ethnicity. An executive at a multinational corporation that has recently purchased “The Connector.” Sings as part of the Company.

THE LONELY FEW

Music and Lyrics by Zoe Sarnak

Book by Rachel Bonds

Directed by Trip Cullman and Ellenore Scott

Newman Mills Theater

Category CC - $1,125 weekly minimum

First Rehearsal (on or around) – March 18th, 2024

First Preview (on or around) – April 26th, 2024

Possible Extensions Through – June 30th, 2024

SEEKING:

LILA: Late 20s. Queer. White. Guitar - plays a range of rock and pop styles with proficiency. From a working-class background in a small town in Kentucky. The lead singer and frontwoman for The Lonely Few, she is a magnetic performer and preternaturally gifted songwriter. She is a kind of transcendent creature on-stage, watching her you feel both riveted and unsteady, not sure what she might do next. Offstage she is much more awkward and approachable. She is inextricably tied to her unstable brother Adam, and always watching out for the other members of the band. Her queerness is something she knows and most people probably know, but she doesn’t often talk about it. Vocal notes: Epic rock or pop voice. Frontwoman of a band, lead vocal chops. Open to variety of styles: Brandi Carlile to Florence and the Machine. Is a powerhouse. Mezzo (or alto with very strong range) up to F5.

AMY: Late 20s/30s. Queer. Black. Guitar - plays a range of rock and pop styles with proficiency. A professional musician and songwriter—she’s been on the road, pursuing music since she was 18, though mostly in the background supporting other, more commercially successful artists. She came out a long time ago, has grown confident and comfortable in herself and her sexuality; she’s been in love and even married before. But being OUT to her audience is new—she has only recently been more explicit about her sexual identity in her solo work. She’s direct and practical—exceptionally professional. She wants more for herself and her career, is always striving, dedicated to her work. She is very good at performing vulnerability, but in real life struggles to fully let her guard down, deeply afraid of abandonment. Vocal notes: Rich and powerful voice, ideally with comfort in rock, soul, blues and country, alto or mezzo, up to E5.

DYLAN: Late 20s/early 30. Guitar and Electric bass - plays a range of rock and pop styles with proficiency. Any ethnicity. Lila’s best friend since middle school. Also from a working-class background, he’s recently started managing his dad’s Save-A-Lot store. An outcast in high school, he’s never fully fit into this town, only really happy when he’s playing with the band and when he’s with Lila. He’d love to get out of this town, live a bigger life, but his girlfriend is pregnant and he’s finding himself pulled into the undertow of this place and his circumstances. He’s dry, funny, perhaps awkward at times. He may be quiet, but there is a lot brewing beneath the surface; there’s an intensity to him. Vocal notes: 90s alt rock voice, could be Jeff Buckley, could be Michael Stipe, could be Eddie Vedder, but whatever version, it’s full of feeling. Tenor up to Bb4, with falsetto extension up to C5.

PAUL: 50s. Drums - plays a range of rock and pop styles with proficiency. Black. Lila’s friend and Amy’s former stepfather. Funny. Paternal, particularly to Amy. He had a whole life before he hit this town and opened his bar—grew up in New Orleans, has lived and toured as a musician in all kinds of groups, seen a lot of the country, survived Katrina. He is in a different place in his life than the other characters, has been through the shit of the world long before any of them. He was always someone who didn’t want to stay in one place too long—but that has newly changed in his middle age. He’s now facing some of the questionable choices he made as a younger man, particularly those that pertain to Amy. He has some regrets, and he’s trying to be more present in his life now. He can be insightful and wise—has a big heart. Vocal notes: Strong singer, solid on harmonies, but can be a simple voice. Bari-Tenor up to F4, with falsetto extension up to C5.

JJ: 17ish. Keyboard, harmonica, and basic percussion - plays a range of rock and pop styles with proficiency. Black/Latinx/MENASA/AAPI. Also from this small Kentucky town—Dylan’s down-the street neighbor. Young, vibrant, and unabashedly herself. She is ambitious and wants desperately to be an artist in her own right, to live the big, wild alternative lifestyle she’s read about and heard about, to make REAL ART—but worries she doesn’t have enough life experience to make anything worthwhile. She’s undeniably lovable, strong-willed, whip-smart. Vocal notes: Excellent musical ear and ability to harmonize, with swagger and flare on her solo lines. Higher vocal range than Lila/Amy but not of the traditional “legit soprano” variety. Think the person on the top part of The Chicks or Highwomen harmony splits. Mezzo Soprano or Soprano up to E5.

ADAM: 30s. Lila’s older brother. White. He folds into the culture of this town more easily, isn’t necessarily “right wing,” but wishes everyone would stop being so “political.” He’s not fully comfortable with Lila’s queerness. He’s a guy on the edge—has a sense of precariousness about him, like he might tip into anger or mania at any moment. His edges are sharp; there is danger there. But when he’s good, when he’s in a solid place, he’s wonderful—funny, intelligent, emotionally perceptive. A TRUE music lover and fan—he’s who got Lila into music in the first place. And he is gifted with his hands—and has an engineer’s mind. Has struggled with addiction for a while, depends on Lila to keep him from tipping into full instability. Sings but in an every-person untrained way.

New York Theatre Workshop

Artistic Director: Patricia McGregor

Executive Director: Jeremy Blocker

Associate Artistic Directors: Aaron Malkin, Rachel Silverman

Producer: Evan O’Brient

Expected to attend:

Casting Director in Residence: Claire Yenson

MERRY ME

By Hansol Jung

Directed by Leigh Silverman

First Rehearsal: September 12, 2023

First Preview: October 11, 2023

Opening Night: October 30, 2023

Latest Closing Date: December 10, 2023

Contract: Off-Broadway CC ($1125/week)

On an island not far away from the vulnerable coasts of the enemy state, a mysterious blackout has left the Navy restless and itching for action. Lieutenant Shane Horne has occupied her time satisfying the libidinous needs of all the women on the base— including the jealous general's wife. But her own merries will not come. Meanwhile a famed Angel re-descends to amend her previous prophesy, sending the Navy's psychiatrist on an epic quest to save humanity. Will the general discover the affair? Will the earth be saved? Will they ever be merry enough?

SEEKING:

[LT. SHANE HORNE] [THIS ROLE IS ON OFFER] Character portrayed is a female in her 30s. A lieutenant in the Navy. A sexual empath, God's gift to lady parts of all shapes, colors and vintages. Despite her talents, she is unable to find pleasure herself.

[DR. JESS O’NOPE] [THIS ROLE IS ON OFFER] Character portrayed is a female in her 30s. A wise but repressed Navy psychiatrist who hates her job. Might be past her prime, but wants to finally say Yes To Life. She becomes an unwilling prophet with an epic quest to save humanity.

[MRS. SAPPH MEMNON] [THIS ROLE IS ON OFFER] Character portrayed is a female in her 30s. An unwilling wife, married to Willy for the status and money. Now trapped on an island with her husband and in-laws, she craves independence and pleasure.

[PVT. WILLY MEMNON] [THIS ROLE IS ON OFFER] Character portrayed is a white male in his 30s. Married to Sapph. Sweet, kind, masculinely woke, but with a jealous streak. Has lived a privileged yet unremarkable life. Anxious to prove himself to his father, The General.

[GENERAL MEMNON] [THIS ROLE IS ON OFFER] Character portrayed is a male in his 50s-60s. A hot-headed, warstarved General in the Navy. A blustery blowhard who’s a child on the inside.

[GENERAL’S WIFE] [THIS ROLE IS ON OFFER] Character portrayed is a female in her 50s-60s. A sex-starved wife. Dislikes her husband, The General.

[THE ANGEL] [THIS ROLE IS ON OFFER] from Tony Kushner's Angels in America. Character portrayed can be any age or gender. Serves as the play’s narrator, entrusts O’Nope with her epic quest. Musical abilities are a plus.

I LOVE YOU SO MUCH I COULD DIE

Written by Mona Pirnot

Performed by Mona Pirnot

Directed by Lucas Hnath

First Rehearsal: January 20, 2024

First Preview: February 1, 2024

Opening Night: February 13, 2024

Latest Closing Date: March 17, 2024

Contract: Off-Broadway CC ($1125/week)

[THIS SHOW IS CAST]

I Love You So Much I Could Die is part concert, part play, intricate and intimate, wry and tender, elemental and wholly unforgettable. Through monologues performed by a computer and songs performed by the playwright, NYTW Usual Suspect Mona Pirnot wrestles with the private and unspeakable in a very public way. NYTW Usual Suspect and Tony Award nominee Lucas Hnath directs.

HERE THERE ARE BLUEBERRIES

Written by Moisés Kaufman and Amanda Gronich

Directed by Moisés Kaufman

Producing Organization: New York Theatre Workshop in partnership with Tectonic Theater Project Tectonic Theater Project Founding Artistic Director: Moisés Kaufman

Tectonic Theater Project Executive Director: Matt Joslyn

Casting: Stephanie Yankwitt, tbd casting co.

First Rehearsal: March 26, 2024

First Preview: April 17, 2024

Opening: April 29, 2024

Closing: June 2, 2024

Latest Closing Date: June 16, 2024

Contract: Off-Broadway CC ($1125/week)

A mysterious album of never before seen Nazi-era photographs arrives at the desk of United States Holocaust Memorial Museum archivist Rebecca Erbelding. As Rebecca and her team of historians begin to unravel the shocking story behind the images, the album soon makes headlines around the world. In Germany, a businessman sees the album online, recognizes his own grandfather in the photos, and begins a journey of discovery that will lead him to a reckoning of his family's past and his country's history. Here There Are Blueberries tells the story of these photographs – what they reveal about the perpetrators of the Holocaust, and about our own humanity.

SEEKING

a diverse and dynamic group of actors who have demonstrable experience in devised theater work. Brechtian technique is a plus. We are looking to diversify the cast as much as possible, to reflect the heterogeneity of Auschwitz during this time period, and the world that exists now in its wake. We recognize that characters are written on the binary (use she/her pronouns) and invite gender non-confirming, genderqueer, transgender, and non-binary actors to submit for the roles they most identify with. We seek to cast expansively and intentionally with consideration of race, ethnicity, gender, body type and ability.

Also, live accordion will be used in the show. Looking for actors with accordion experience.

SEEKING:

[REBECCA ERBELDING] (she/her, 30s). The head intake archivist at the U.S. Holocaust Memorial Museum. Rebecca takes us on the journey of this play. She leads with an intense curiosity that's compelling yet relentless. The wheels are always turning.

[KARL HÖCKER AND OTHERS] (he/him, 40s-50s). At the start of the war, a lowly bank teller. Due to an injury he becomes the right hand man to the head of the entire camp complex. He's at the center of power. Considers this power a fortune.

[PETER WIRTHS, HEINZ BAUMKÖTTER AND OTHERS] (he/him, 40s – 50s). Peter Wirths is coming to terms with his family history - a combination of empathy and remorse for what his father participated in and had to contend with.

[RAINER HÖSS AND OTHERS] (he/him, late 20s - mid 30s). As a teen, Rainer Höss comes undone when he learns about his family's role in Auschwitz. By the time we meet him, he is a dangerous thug. He has been broken down by his family's secrets, struggling to make sense of it all.

[MELITA MASCHMANN, CHRISTOPH BUSCH AND OTHERS] (she/her, 40s- 50s). As MELITA: Incredibly articulate, she is still coming to terms with her role as Press and Propaganda Officer of the league of German Girls. As CHRISTOPH: Very discerning, matter-of-fact disposition. The Managing Director of the Holocaust museum in Belgium.

[TILMAN TAUBE AND OTHERS] (he/him, 40s). Discovers that he is a direct descendant of a war criminal in light of this photo album of Auschwitz that has been discovered. Over the course of the play he comes to terms with his family's role in Auschwitz and tries to help others do the same.

[CHARLOTTE SCHUNZEL AND OTHERS] (she/her, 30s-40s). Methodical but not unfeeling, Charlotte acted as a receptionist and coordinated arrivals on the camp. In one interrogation scene, she denies knowing anything, as the receptionists were kept out of the loop of what was going on. But how could she not know?

[JUDY COHEN] (she/her, 60s-70s). The Director of the U.S. Holocaust Memorial Museum's photographic collection. Studies the pictures like a puzzle and gets excited when the dots connect! Judy has been around long enough to know that blinders are the only way to get by in a job like this. She can focus on the details and that helps her make it through.

Playwrights Horizons

Artistic Director: Adam Greenfield

Managing Director: Leslie Marcus

Associate Artistic Director: Natasha Sinha

Expected to attend:

Casting Director: Alaine Alldaffer

Associate Casting Director: Lisa Donadio

Casting Assistant: Emma Hart

SALARY: $985 weekly minimum (Tier BB) and $1125 weekly minimum (Tier CC)

STEREOPHONIC by David Adjmi

Songs by Will Butler

Director: Daniel Aukin

Mainstage Theater

Off-Broadway CC

1st Reh: 8/22/23

1st Preview: 10/6/23

Opening: 10/27/23

Closing: 11/19/23

Extension: 12/17/23

Dates are subject to change

SEEKING:

DIANA: American, mid-late 20s, female. One of the lead singers in the band. Plays piano, but badly. Can seem like a rock goddess one minute and a CVS cashier the next — she has a genial ordinariness that belies the seismic musical and creative force she in fact is. She can be goofy and silly and fun, but ultimately she is underestimated and underestimates herself — she doesn’t know how good she is, and is locked in a codependent loop with Peter that she can’t seem to break. Until she does.

PETER: American, mid-late 20s. Guitar and lead vocals. An innovator, great musician; possesses the raw magnetism of a rock star, but is also a bit of a geek. Can come across as cool at times, but it’s a ruse — he’s sitting on an awful lot of unprocessed sadness. That said: he also knows how good he is. He wants more than anything to be appreciated for his contributions to the band - though his obsessive (and sometimes tone deaf) perfectionist salvos starts to turn people against him.

SIMON: British, late 20s – early 30s, male. Drums and may also sing. He’s the dad of the band in a way — he often has to be the diplomat, holds things together. At turns he indulges but also chides the other band members, depending on what’s needed. He’s playful — fun, eccentric and somewhat flamboyant — but always with a dry English reserve. He’s a full on 70s rock star and looks the part but has a surprisingly aristocratic upper-crusty air.

GROVER: American, late 20s, male. The engineer who fudged his way into the job, but he’s not untalented. Nerdy, anxious, but determined to present as cool and competent. Desperate to impress Peter, whom he idolizes. A sweet, eager young man who over the course of the play tries to be more hardened and realpolitik because he thinks it’ll take him further.

ALREADY CAST:

HOLLY: Black, British, early 30s. CAST. Piano and lead vocals. In the midst of a painful split from Reg and does everything she can to maintain her composure — though he will try her patience. She likes her champagne, chain smokes, and can be very silly and fun — it’s how she survives and endures. But she is fundamentally extremely shy and private for a rock star. Has an elegance, a surface coolness (she can be intimidating) but underneath she’s feeling increasingly lost.

REG: British, late 20s/early 30s, male. CAST. Bass guitar and may also sing. Wounded, lovelorn, a bit childlike in his innocence. His drinking problem — exacerbated by the imminent breakup of his marriage — may threaten his position in the band. He can skew a bit somber and depressive until his spiritual transformation midway through the play. He reads as less aristocratic than the other Brits in the play.

CHARLIE: American, 20s. CAST. Assistant engineer. Laidback, good-natured, a little loopy, but incredibly good at his job. Not quite as ambitious as Grover but he’s lucky in life.

Three One-Person Plays Performed in Rotation

Sharp Theater

Off-Broadway BB

ALL ROLES ARE CAST

SAD BOYS IN HARPY LAND

Written and performed by: Alex Tatarsky

Director: TBD

1st Rehearsal: 10/24/23

1st Preview: 11/2/23

Opening: on or about 11/12/23

Closing: 11/26/23

Extension: 12/10/23

Dates are subject to change

Alexandra Tatarsky collages narratives of artmaking and despair into a semi-autobiographical tour-de farce, as told by a young Jewish woman who thinks she is a small German boy who thinks he is a tree. Equal parts sad clown, demented cabaret, and extended crisis of meaning, this unhinged solo performance takes place in the hellscape of the mind.

SCHOOL PICTURES

Written and performed by: Milo Cramer

Director: Morgan Green

1st Rehearsal: 10/31/23

1st Preview: 11/8/23

Opening: on or about 11/12/23

Closing: 12/3/23

Extension: 12/17/23

Dates are subject to change

Faith hates reading, Jane lost her flashcards, and Javier sees no point in studying because of climate change. This playful collection of poem-songs, written and performed by Milo Cramer – a former tutor – paints intimate portraits of ten NYC students fighting to get into competitive schools. School Pictures

is a charming musical journal of keen observations which builds to a sweeping meditation on inequality, learning, parenting, and the cruelty of puberty.

AMUSEMENTS

Written and performed by: Ikechukwu Ufomadu

Director: TBD

1st Rehearsal: 10/31/23

1st Preview: 11/8/23

Opening: on or about 11/12/23

Closing: 12/3/23

Extension: 12/17/23

Dates are subject to change

Emmy-nominated comedian Ikechukwu Ufomadu seeks to provide you, the audience, with the finest Amusements he can muster. Watch as this actor, entertainer and avant-garde soothsayer pursues this goal with serene diligence, defying genre while operating within the bounds of international law. His signature use of the time-tested tools of words, music, and light multimedia are sure to usher you oh so-gently into a haze of mirthful absurdity.

TEETH

Book by Michael R. Jackson & Anna K. Jacobs

Music by Anna K. Jacobs

Lyrics by Michael R. Jackson

Directed by Sarah Benson

Choreography by Raja Feather Kelly

Based on the film “TEETH” by Mitchell Lichtenstein

Mainstage Theater

Off-Broadway CC

1st Rehearsal: 1/8/24

1st Preview: 2/21/24

Opening: 3/11/24

Closing: 3/31/24

Extension: 4/28/24

Dates are subject to change

SEEKING:

BECKY: She/her. Any ethnicity. 18- 40. Plays the overwhelming highs and lows of adolescence. The PKGs are a group of 6 who are both literal members of Dawn’s chastity group and the theatrical manifestation of Dawn’s subconscious. Has a mix/belt from G3 to F5. A skilled singer with the ability to harmonize. Able to execute rhythmic, cardio, weight-exchange, musical coordination. In terms of movement, a quick learner and able to pick up choreography.

TRISHA: She/her. Any ethnicity. 18- 40. Plays the overwhelming highs and lows of adolescence. The PKGs are a group of 6 who are both literal members of Dawn’s chastity group and the theatrical manifestation of Dawn’s subconscious. a mix/belt from G3 to F5, with additional mix/legit extension up to Bb5. A skilled singer with the ability to harmonize. Able to execute rhythmic, cardio, weight exchange, musical coordination. In terms of movement, a quick learner and able to pick up choreography.

FIONA: She/her. Any ethnicity. 18- 40. Plays the overwhelming highs and lows of adolescence. The PKGs are a group of 6 who are both literal members of Dawn’s chastity group and the theatrical manifestation of Dawn’s subconscious. a mix/belt from G3 to F5, with additional mix/legit extension up to Bb5. A skilled singer with the ability to harmonize. Able to execute rhythmic, cardio, weight exchange, musical coordination. In terms of movement, a quick learner and able to pick up choreography.

BILL O’KEEFE: He/Him. White. 40s – Dawn’s step-father and Brad’s biological father and pastor of their congregation. Wants everyone to know he’s super cool. A bit of a cowboy and a real showman. Doubles as DR. GODFREY, a local gynecologist Dawn goes to for help once she discovers her Vagina Dentata only he’s not really interested in helping Dawn heal. Also doubles as a TRUTH SEEKER. Baritenor, A2-Gb4. A skilled singer. Able to execute rhythmic, cardio, weight-exchange, musical coordination. In terms of movement, a quick learner and able to pick up choreography.

TOBEY AKIN: He/him. Any ethnicity. Plays the overwhelming highs and lows of adolescence. Dawn’s religiously convicted boyfriend. Cool. Has a strong alpha energy to him. Everyone treats him like he’s special and he thinks he is too. Doubles as a TRUTH SEEKER. Tenor, C3-G4. A skilled singer. Able to execute rhythmic, cardio, weight-exchange, musical coordination. In terms of movement, a quick learner and able to pick up choreography.

DAWN O’KEEFE: She/her. White. Plays the overwhelming highs and lows of adolescence. An evangelical Christian girl. Leader of a chastity group called Promise Keeper Girls. Has been thrust into this space as a leader. She’s full of a lot of conviction and a lot of fear. She’s magnetic. Her Pop mix/belt, G3-E5. Able to execute rhythmic, cardio, weight-exchange, musical coordination. In terms of movement, a quick learner and able to pick up choreography.

BRAD O’KEEFE: He/him. White. Plays the overwhelming highs and lows of adolescence. Dawn’s outsider step-brother. A member of an online group of men known as Truth Seekers. Someone who has been wronged and has never had that wrong recognized. A bit of a tragic figure. Feels a little unhinged. Tenor, C3-A4. A skilled singer. Able to execute rhythmic, cardio, weight-exchange, musical coordination. In terms of movement, a quick learner and able to pick up choreography.

RYAN DANIELS: He/him. White. Plays the overwhelming highs and lows of adolescence. A young gay man who is working with the Promise Keeper Girls to help reverse his same-sex attraction. Can be a bit needy and desperate. Doubles as a TRUTH SEEKER. Tenor, C3-Ab4 (optional B4). A skilled singer. Able to execute rhythmic, cardio, weight-exchange, musical coordination. In terms of movement, a quick learner and able to pick up choreography.

RACHAEL: She/her. Any ethnicity. 18- 40. Plays the overwhelming highs and lows of adolescence. The PKGs are a group of 6 who are both literal members of Dawn’s chastity group and the theatrical manifestation of Dawn’s subconscious. The Promise Keeper Vocal ranges vary. A skilled singer with the ability to harmonize. Able to execute rhythmic, cardio, weight-exchange, musical coordination. In terms of movement, a quick learner and able to pick up choreography.

STEPHANIE: She/her. Any ethnicity. 18- 40. Plays the overwhelming highs and lows of adolescence. The PKGs are a group of 6 who are both literal members of Dawn’s chastity group and the theatrical manifestation of Dawn’s subconscious. A mix/belt from F3 to D5. A skilled singer with the ability to harmonize. Able to execute rhythmic, cardio, weight-exchange, musical coordination. In terms of movement, a quick learner and able to pick up choreography.

KIKI: She/her. Any ethnicity. 18- 40. Plays the overwhelming highs and lows of adolescence. The PKGs are a group of 6 who are both literal members of Dawn’s chastity group and the theatrical manifestation of Dawn’s subconscious. A mix/belt from F3 to D5. A skilled singer with the ability to harmonize. Able to execute rhythmic, cardio, weight-exchange, musical coordination. In terms of movement, a quick learner and able to pick up choreography.

STAFF MEAL by Abe Koogler

Director: Morgan Green

Peter Jay Sharp Theater

Off-Broadway BB

1st Rehearsal: 3/12/24

1st Preview: 4/12/24

Opening: 4/26/24

Closing: 5/19/24

Extension: 6/16/24

Dates are subject to change

SEEKING:

MINA: 30s-40s, Female. Single city dweller, looking for connection. A bit reserved, with an understated sense of humor.

BEN: 30s-40s, Male. Single city dweller, looking for connection. A bit offbeat. Raised in Spain but no accent.

AUDIENCE MEMBER: 60s-70s, Female. Former dancer. Outspoken, brash, with a deep vulnerability underneath.

THE WAITER: 30s-60s, Male. Shy, kind, with a natural grace.

THE VAGRANT: Any age. Female. A shape shifter with the capacity to be frightening, warm, or enigmatic. Strong presence and physicality.

SERVER 1: Any age, any gender. Sharp and quick. Strange. Precise in language and physicality. Lovers of great food and great service.

SERVER 2: Any age, any gender. Sharp and quick. Strange. Precise in language and physicality. Lovers of great food and great service.

THE LOOPHOLE

Books & Bars by Zeniba Now

Music & Lyrics by Jay Adana

Director: Christopher D. Betts

Level Two, Three-week Staged Reading - $600/week

9/11/23 - 9/29/23

SEEKING:

POLLY - Black Woman (30s) R&B Alto, raps, and is comfortable with verse. Nerdy, Funny, Passionate.

ACKER - Black Man (30s) R&B Baritenor, raps, and is comfortable with verse. Charming, Funny, Strong, Vulnerable.

PAT - Black man (30s) Bass with a smooth voice, comfortable with reggae and raps. Charismatic, Showman, Comedian.

BREE - Black woman (30s) Alto w/ Blues Rock Voice. Publicly Cynical Badass, privately Nurturing and Warm.

ALLIGATOR QUEEN - Black woman (40s) High Belt/Soul Rock Screalt. Magical, Warm, Mysterious. DASCH - White Man (50s) Sultry Country Baritenor. Commanding, Vengeful, Seductive.

HENRY - White Man (50s) Contemporary Musical Theatre Tenor (little to no vibrato). Believable as a loveable father and also a sniveling coward in different timelines. Nerdy and Versatile.

ANNEMARIE - Black woman (60s) Soprano (not much singing). Badass, Proper, God-Fearing, Commanding.

DARIUS - (18+ to play younger) Black Boy. Tenor, Hypeman. Loyal, Loving, Silly. YOUNG POLLY - (18+ to play younger) Soprano. Black Girl. Spunky, Know-it-all, Endearing. AJAX & VARIOUS - Tenor (20s) Black Man. Funny, Rowdy, Soldier.

MEMPHIS & VARIOUS - Bass (20s) Black Man. Funny, Rowdy, Soldier.

Signature Theatre Company

Artistic Director: Paige Evans

Executive Director: Tim McClimon

Associate Artistic Director: Beth Whitaker

General Manager: Kenneth Naanep

Expected to attend:

Artistic Line Producer: Jeremy Ehlinger

Casting Directors: Caparelliotis Casting — David Caparelliotis, Joe Gery

Casting Directors: Whitley Theatrical — Benton Whitley, Micah Johnson-Levy

Signature Theatre is an Equal Opportunity/Affirmative Action Employer and encourages performers of all ethnicities, genders, abilities, ages, and other ways of identifying, to audition. Please note that unless otherwise specified in the breakdown, for all roles we are actively seeking and welcoming of actors of any ethnicity, race, gender/gender identification/gender expression, age, and physical and neurological ability.

SUNSET BABY - Signature Theatre, The Romulus Linney Courtyard Theatre

Written by Dominique Morisseau

Directed by Steve H. Broadnax III

Casting: Caparelliotis Casting – Dave Caparelliotis, Joe Gery

First Rehearsal: Tues, 01/02/24

Previews begin: Tues, 01/30/24

Opening: Sun, 2/18 or Tues, 02/20/24

End of guaranteed run: Sun, 03/10/24

Possible extension through: Sun, 03/24/24

Salary: $985 weekly minimum (Cat. BB)

Show Description: East New York, Brooklyn. Nina’s estranged father Kenyatta, a former black revolutionary and political prisoner, reappears to obtain a coveted piece of her late Mother's legacy. While Kenyatta had visions of changing the world, his daughter became everything he feared. Now he’s at her mercy for his own redemption. This is a story about love, political action, and one woman’s journey from a brutal existence to her own liberation.

SEEKING:

NINA - Black woman. Late 20s. Hard, quiet power, deeply guarded, and nonetheless brilliant. Has a lifetime of walls up and will fight you before letting them down. Were she an animal, she'd be a dangerous panther. A robber and drug dealer, but in another life could lead a righteous revolution.

KENYATTA - Black man. 50s. Strong, quiet power, also deeply guarded. Almost a duplicate of Nina, except he has lost the hardness and is now navigating a softer version of himself. Riddled with guilt and desperate to break through Nina's walls . . . and his own. A former political prisoner and Black revolutionary. Nina's estranged father.

DAMON - Black or Latine man, 30s. Broad, street-smart, intelligent, and a drug dealer and robber. Has lost his hardness and is on the brink of retiring from the game. Nina's partner-in-crime and boyfriend. Not a stereotype. A true, genuine soon-to-be o-g. In another life, could be a helluva scholar.

ORLANDO - Signature Theatre, The Irene Diamond Stage

Written By Sarah Ruhl

Directed by Will Davis

Casting: Caparelliotis Casting – Dave Caparelliotis, Joe Gery

First Rehearsal: Tues, 03/05/24

Previews begin: Tues, 04/02/24

Opening: Sun, 04/21/24

End of guaranteed run: Sun, 05/12/24

Possible extension through: Sun, 05/26/24

Salary: $1,125 weekly minimum (Cat. CC)

Show Description: Playwright Sarah Ruhl adapts Virginia Woolf’s Orlando—once called “the longest and most charming love letter in literature,” written by Woolf for her lover, Vita Sackville-West. Orlando’s adventures begin as a young man, when he serves as courtier to Queen Elizabeth. Through many centuries of living, he becomes a 20th-century woman, trying to sort out her existence. This theatrical, wild, fantastical trip through space, time, and gender features the one and only Taylor Mac in the title role.

We are seeking to create a dynamic, sexy, intergenerational, body positive company of actors who challenge the binary and expand ideas surrounding gender identity and expression. Actors of color, actors with disabilities and actors of all gender expressions are encouraged to audition.

SEEKING:

ORLANDO – (Role is cast) charismatic, playful, transformative, 30s to 50s.

QUEEN/As Cast – imperious, elegant, good with language, 40s to 70s.

SASHA/As Cast – good mover, seductive, mysterious, has a Russian accent, 20s to late 30s. MARMADUKE/As Cast – soulful, somewhat heroic, 30s to 50s.

ARCHDUKE/ARCHDUCHESS/As Cast – a clown, someone who can make us laugh, 30s to 50s, has a Romanian accent.

THE CHORUS/As Cast – good with language, movement, collaboration, open to gender fluidity.

THREE HOUSES- Signature Theatre, The Romulus Linney Courtyard Theatre

Written By Dave Malloy

Directed by Annie Tippe

Casting Director: Whitley Theatrical – Benton Whitley, Micah Johnson-Levy

First Rehearsal: Fri, 03/29/24

Previews begin: Tues, 04/30/24

Opening: Sun, 05/19 or Mon, 05/20/24

End of guaranteed run: Sun, 06/09/24

Possible extension through: Sun, 06/30/24

Salary: $985 weekly minimum (Cat. BB)

Show Description: Susan is in Latvia. Sadie is in New Mexico. Beckett is in Ireland. All three are alone; all three are haunted by their grandparents; all three hear the Big Bad Wolf scratching at the door. This world premiere musical from Dave Malloy brings three strangers together for a post-pandemic open mic night parable about magic, madness, and the end of the world.

SEEKING:

SUSAN – any ethnicity, early 40s, prim and manic.

SADIE – any ethnicity, early 20s, bubbly and obsessive.

BECKETT – any ethnicity, late 30s, intense and shattered.

WOLF – any ethnicity, early 50s, sly and charismatic. also big and bad.

GRANDMOTHER & GRANDFATHER – any ethnicity, 70s+, maternal/paternal, kind and enigmatic. Archetypal.

The Public (New York Shakespeare Festival)

Artistic Director: Oskar Eustis

Executive Director: Patrick Willingham

Directors of Casting: Jordan Thaler/Heidi Griffiths

Expected to attend:

Jordan Thaler (Director of Casting)

Heidi Griffiths (Director of Casting)

Kate Murray (Casting Director)

Chalin Tulyathan (Casting Associate)

Elizabeth Hay (Casting Assistant)

STAGE MANAGERS: Please drop off your resumes with the Equity monitor at the audition site for consideration.

VACCINATION INFORMATION: As a condition of employment, the Public will require all employees who report to work on site (either at the Public Theater or any other workspace or performing location) to confirm that they are fully vaccinated (at least 14 days have passed since the date of receiving the final vaccine dose in the COVID-19 vaccine series) and have received an additional dose/booster shot if eligible. Please do not submit any documentation in response to this notice.

Except where otherwise noted, understudy coverage needs are TBD at this time.

HELL’S KITCHEN

Music & Lyrics by Alicia Keys

Book by Kristoffer Diaz

Choreography by Camille A. Brown

Directed by Michael Greif

1st Rehearsal: 9/12/23

1st Preview: 10/24/23

Close: 12/10/23

$1,682 weekly minimum (Cat. EE)

Grammy Award-winning artist Alicia Keys and Pulitzer Prize finalist playwright Kristoffer Diaz bring their exhilarating coming-of-age musical HELL’S KITCHEN to The Public this fall. In a cramped apartment hanging off the side of Times Square, 17-year-old Ali is desperate to get her piece of the New York dream. Ali’s mother is just as determined to protect her daughter from the same mistakes she made. When Ali falls for a talented young drummer, both mother and daughter must face hard truths about race, defiance, and growing up. Ali feels trapped, until the sound of a neighbor playing piano opens the door to an unexpected friendship and a radically different future.

SEEKING:

[UNDERSTUDY KNUCK/RIQ/JUNIOR]: Mid 20s. Male presenting. Black. A strong singer who is comfortable with R&B/pop/jazz vocals. Experience with drumming/percussion a plus. This is an offstage position. To understudy KNUCK: A young man in the neighborhood that Ali falls in love with. A bucket-drummer. Sensitive, soulful. A gentle and generous spirit, who is growing increasingly frustrated with a world that insists on stereotyping him and treating him as a threat. Will also understudy RIQ & JUNIOR: Two young guys from Ali’s Hell’s Kitchen neighborhood. Feel authentically convincing as young men who grew up–and can hold their own–in a tough neighborhood in NYC in the 90’s.

[UNDERSTUDY MILLIE/CRYSTAL]: Late 30s - early 50s. Female presenting. Afro-Latine, Latine, or Black. This is an offstage position. To understudy MILLIE: Ali’s neighbor, who has known Ali for her entire life. Down to earth, genuine. A New Yorker through and through. An exceptional singer. Comfortable speaking lines in Spanish. Will likely also understudy CRYSTAL: Another one of Ali's neighbors, who is close friends with Ali's over-protective mother.

[UNDERSTUDY ALI/JESSICA/TINY]: 18+ to play 17. Female presenting. Black-white Biracial. An extraordinary singer who is comfortable with R&B/pop/jazz vocals. This is an offstage position. Will understudy ALI: Biracial; her mother is white and her father is Black. A strong, stubborn girl with a

rebellious streak who is trying to carve out her own identity independent of her mother’s overprotective, ever-watchful eye. A charismatic presence with access to a complex emotional range. Will also understudy JESSICA & TINY: two friends of Ali’s from her Hell’s Kitchen neighborhood. They’re street smart with strong senses of humor.

MANAHATTA

By Mary Kathryn Nagle

Directed by Laurie Woolery

1st Rehearsal: 10/10/23

1st Performance: 11/16/23

Closing: 12/17/23

$1,403 weekly minimum (Cat. DD)

A gripping journey from the fur trade of the 1600s to the stock trade of today, Mary Kathryn Nagle’s MANAHATTA tells the story of Jane Snake, a brilliant young Native American woman with a Stanford MBA. Jane reconnects with her ancestral Lenape homeland, known as Manahatta, when she moves from Oklahoma to New York for a banking job just before the 2008 financial meltdown. Jane’s struggle to reconcile her new life with the expectations and traditions of her family and Nation are powerfully interwoven with the heartbreaking history of the Delaware Nation's expulsion from their land. Both old and new Manahatta converge in a lesson about the dangers of living in a society where there’s no such thing as enough.

SEEKING:

[LE-LE-WA’-YOU/JANE] Mid to late 20s. Female presenting. Native or First Nations. LE-LE WA’-YOU: A Lenape woman living in Manahatta in the 1600s. Doubles as JANE: A modern day Lenape woman, citizen of the Delaware Nation in Anadarko, who leaves her home to work on Wall Street.

[SE-KET-TU-MAY-QUA/LUKE] Late 20s to early 30s. Male presenting. Native or First Nations. SE KET-TU-MAY-QUA: A Lenape warrior living in Manahatta in the 1600s. Doubles as LUKE: Lenape, citizen of the Delaware Nation in Anadarko. Jane’s childhood friend.

[PETER MINUIT /DICK]: 50s to 60s. Male presenting. White. PETER MINUIT: The Director of the Dutch colony of New Netherland who purchased the island of Manahatta. Doubles as DICK: Present day CEO of a powerful Wall Street investment bank and Jane’s boss.

[JAKOB/JOE]: Late 30s to 40s. Male presenting. White. JAKOB: Assistant to Peter Minuet. Doubles as with JOE: the CFO of Wall Street investment bank, and Jane’s mentor.

[UNDERSTUDY WOMAN]: 30s-40s. Female presenting. Native or First Nations. This is an offstage position. To understudy LE-LE-WA’-YOU/JANE, TOOSH-KI-PA-KWIS-I/DEBRA, and MOTHER/BOBBIE.

[UNDERSTUDY MAN]: 40s. Male presenting. White. This is an offstage position. To understudy PETER MINUIT/DICK, JAKOB/JOE, and JONAS MICHAELIUS/MICHAEL.

THE ALLY

By Itamar Moses

Directed by Lila Neugebauer

First Rehearsal: January 9, 2024

First Preview: February 15, 2024

Closing: March 17, 2024

$1,403 weekly minimum (Cat. DD)

Tony Award-winning playwright Itamar Moses returns to The Public with the world premiere of THE ALLY. When Asaf (Josh Radnor) is asked to sign a social justice manifesto, he expects to be able to do so without hesitation. Instead, he becomes embroiled in an increasingly conflicted web of relationships that challenge his commitments as a liberal, a husband, an academic, an American, an atheist, and a Jew. With tensions at an all-time high, Asaf is forced to confront the age-old question: “If I am only for myself, what am I?” Directed by Drama Desk Award winner Lila Neugebauer, THE ALLY is a passionate, provocative, and unflinching new play about the vanishing line between the personal and the political.

SEEKING:

[GWEN]: Mid-30s. Female presenting. Korean-American. University Administrator for Community Relations and External Affairs, Asaf’s wife.

[NAKIA]: Early 40s. Female presenting. Black. A community organizer.

[FARID]: 20. Male presenting. Palestinian-American, a college junior.

[BARON]: 21. Male presenting. Black. A college senior.

[REUVEN]: Late 20s-early 30s. Male presenting. White. A PhD student in Jewish History and Judaic Studies.

SALLY & TOM

By Suzan-Lori Parks

Directed by Steve H. Broadnax III

In Association with The Guthrie Theater

SPRING/SUMMER 2024 TBD

$1,403 weekly minimum (Cat. DD)

Tony and Pulitzer Prize-winning playwright Suzan-Lori Parks, the author of last season’s The Harder They Come, returns to her artistic home with an edgy dramedy that celebrates the craft of theater while taking a hard look at history. The off-off-off-Broadway theater troupe Good Company is putting on a play about Sally Hemings and Thomas Jefferson. Writer Luce is cast as Sally; her romantic partner, and the play’s director, Mike, is cast as Tom—really, people, what could possibly go wrong? In association with Minneapolis’s acclaimed Guthrie Theater, this funny, ferocious new work is about art, politics, and the contradictions that make all of us. Directed by Steve H. Broadnax III, SALLY & TOM is an unmissable New York premiere from one of our finest and most daring playwrights.

SEEKING:

[LUCE]: Mid/late 30s. Female presenting. Black. The writer, doubles as SALLY.

[MIKE]: Late 30s-40s. Male presenting. White. The director, doubles as TOM.

[MAGGIE]: Mid/late 30s. Female presenting. Black. The publicist and fight director, doubles as MARY. [KWAME]: Mid/late 30s. Male presenting. Black. AKA “K-DUBB.” Almost famous, doubles as JAMES. [GINGER]: Mid/late 30s. Female presenting. White. The dramaturg, doubles as PATSY [SCOUT]: Mid/late 30s. Female presenting. AAPI. The stage manager, doubles as POLLY. [GEOFF]: Late 20s. Male presenting. White. Doing sets and clothes, doubles as COOPER et al. [DEVON]: Late 20s. Male presenting. Black. Doing lights and sound, doubles as NATHAN.

JORDANS

By Ife Olujobi

Directed by Whitney White

SPRING/SUMMER 2024 TBD

$1,125 weekly minimum (Cat. CC)

A bitingly funny, wildly imaginative new play by The Public’s Emerging Writers Group alumnus Ife Olujobi, JORDANS is a piercing exploration of assimilation, racial capitalism, success, and survival. At an overwhelmingly white workplace where appearance is everything, a long-suffering receptionist finds herself in personal, professional, and psychic jeopardy when her ruthless boss hires a hip new employee in an effort to improve the company’s image and “culture.” Suddenly, the two young, Black social climbers are forced together and torn apart by their race, ambition, and otherworldly circumstance. JORDANS is a story of identity mistaken, power subverted, and rage unleashed.

SEEKING:

[JORDAN]: 20s. Female presenting. Black. The receptionist at a hip, trendy event/production workspace.

[1.JORDAN]: Mid-late 30s. Male presenting. Black. The newly-hired Director of Culture at the hip, trendy event/production workspace.

[HAILEY]: 50s. Female presenting. White. The director of the hip, trendy event/production workspace.

[RYAN/OTHERS]: Late 30s-40s. Male presenting. White. Multiple roles including RYAN: an employee of the workspace.

[EMMA/OTHERS]: 20s-early 30s. Female presenting. White. Multiple roles including EMMA: an employee of the workspace.

[MAGGIE/OTHERS]: 20s-early 30s. Female presenting. White. Multiple roles including MAGGIE: an employee of the workspace.

[TYLER/OTHERS]: 20s-early 30s. Male presenting. White. Multiple roles including TYLER: an employee of the workspace.

[FLETCHER/OTHERS]: 20s-early 30s. Male presenting. White. Multiple roles including FLETCHER: an employee of the workspace.

Mobile Unit (Tour)

Production/Dates/Creative Team TBD

$1,125 weekly minimum (Cat. CC)

The Mobile Unit is a modern reimagining of Joseph Papp’s Mobile Theater, inspired by Ten Thousand Things Theater in Minneapolis, MN. The Public Theater’s Mobile Unit breaks down economic and geographic barriers to the arts by meeting our communities where they are—staging free professional theater productions in local neighborhood venues such as libraries, homeless shelters, correctional facilities, and community centers across all five New York City boroughs. Over the years, Mobile Unit has served thousands of audiences with critically acclaimed productions. Exact dates/venues are still TBC. The Mobile Tour will be followed by a three-week engagement at the Public Theater.

SEEKING:

We are seeking a nine-member company of collaborative actors who enjoy working in a physical style. All roles will double with multiple characters.

WP Theater (Women's Project)

Managing Director: Michael Sag

Casting: Kelly Gillespie, Danielle King

Expected to attend:

Producing Artistic Director: Lisa McNulty

BITE ME

By Eliana Pipes

Directed by Rebecca Martínez

Producing Organization: WP Theater in partnership with Colt Coeur

Colt Coeur Artistic Director: Adrienne Campbell-Holt

First Rehearsal: August 28, 2023

First Preview: September 23, 2023

Opening Night: October 5, 2023

Latest Closing Date: November 5, 2023

$729 weekly minimum (Cat. 1)

While trying to ditch class, Nathan, a white boy with family money who steals for sport, encounters Melody, an academic overachiever and the lone Black girl on campus, crying in a storage closet. They form an unexpected bond, but it’s not long before the heat between them boils over. Bite Me explores the drama (and trauma) of trying to fit in at high school and the unfinished business that haunts them when they reunite a decade later.

SEEKING:

MELODY [THIS ROLE IS CAST] at 16, Black, woman. Smart and outspoken (but never at the cost of being polite), a ‘good kid.’ Straight A’s, a member of every student organization. She has a very organized backpack. Deeply isolated. This high school is not in her district, she lives in a city closer to downtown than to the suburbs and makes a long commute by bus each morning and night. She sells her homework under-the-table to other kids. Lately she’s been crying through lunch. MELODY at 27: Cold, self-protective, sharp witted. Melody has become a confident and successful career woman, although navigating an elite university and rampant discrimination in the corporate world has hardened her spirit. Recently engaged to her business school boyfriend. She comes into the closet to flaunt her success. She needs to feel in control.

NATHAN [THIS ROLE IS ON OFFER] at 16: white, man. Charmingly arrogant and daring, a ‘bad kid.’ He can be perceptive, sensitive and kind, but he makes a point of doing it sparingly and only for people who’ve ‘earned’ it. Burgeoning alcoholism born from opportunity and angst — likes the ‘tortured artist’ aesthetic but doesn’t make any art. He comes from money but pickpockets for sport and buys homework from Melody. Most of his stories are lies.

NATHAN at 27: Warm, soft-spoken, unassuming. In the years after the death of his brother, Nathan hit rock bottom and undertook a humbling journey through substance abuse recovery in the 12 step program. He thinks of Melody fondly and comes into the closet to make amends.

MUNICH MEDEA: HAPPY FAMILY

Written by Corinne Jaber

Directed by Lee Sunday Evans

Producing Organization: WP Theater in partnership with PlayCo

PlayCo Artistic Director: Kate Loewald

PlayCo Managing Director: Robert Bradshaw

First Rehearsal: January 2, 2024

First Preview: January 27, 2024

Opening Night: February 8, 2024

Latest Closing Date: March 10, 2024

$729 weekly minimum (Cat. 1)

Childhood friends, Caroline and Alice reestablish contact after more than 20 years. As they begin to unravel shared memories, they discover the part that Caroline’s father, a renowned theater actor, played in both their lives and how it affects them to this very day. Corinne Jaber’s new play captures the wild vulnerability of youth and the heavy armature of adulthood in unsparing, theatrical detail, led by award-winning director Lee Sunday Evans (Oratorio for Living Things, Dance Nation).

SEEKING:

CAROLINE: [THIS ROLE IS ON OFFER] White. Ageless in a way, they can effortlessly go through the different stages of their lives.

ALICE: [THIS ROLE IS ON OFFER] Persian. Ageless in a way, they can effortlessly go through the different stages of their lives.

THE FATHER: [THIS ROLE IS ON OFFER] The father is older than the women and he gets even older during the play and is very old at the end of it.

2024 PIPELINE FESTIVAL

Written by Amara Janae Brady, Christin Eve Cato, Queen Esther, Amina Henry, Else Went Directed by Jordana De La Cruz, Onyekachi Iwu, Julia Sirna-Frest, Dina Vovsi, Ran Xia Produced by Alverneq Lindsay, Emma Orme, Sami Pyne, Barbara Samuels, Praycious Wilson-Gay Contract: Special Agreement (TBA/week)

Pod 1

First Rehearsal March 18, 2024

First Performance April 4, 2024

Closing Performance April 6, 2024

Pod 2

First Rehearsal March 25, 2024

First Performance April 11, 2024

Closing Performance April 13, 2024

Pod 3

First Rehearsal April 1, 2024

First Performance April 18, 2024

Closing Performance April 20, 2024

Pod 4

First Rehearsal April 8, 2024

First Performance April 25, 2024

Closing Performance April 27, 2024

Pod 5

First Rehearsal April 15, 2024

First Performance May 2, 2024

Closing Performance May 4, 2024

Launched in 2016, WP’s 5th Biennial Pipeline Festival features the brilliant new voices of the WP Theater Lab cohort. Festival artists regularly go on to be produced on the largest stages in the country and to win every award offered for the stage. Previous Festival works have included Martyna Majok’s queens, Sarah Burgess’ Kings, Sylvia Khoury’s Power Strip, Zoe Sarnak and Emily Kaczmarek’s Afloat, and MJ Kaufman’s Galatea.

Auditions for these productions will take place at a later date once the productions have become more defined.

SEEKING:

A diverse and dynamic group of actors who have are excited to work with early to mid-career artists on extraordinary, deeply collaborative work in process.