LORT
La Jolla Playhouse 2011-2012 Season
- Equity Principal Auditions
La Jolla, CA LORT B $765/week
Associate Producer: Dana Harrel
Equity Principal Auditions:
Monday, January 17, 2011 at Ripley Grier Studios 939
10 AM – 6 PM 939 Eighth Avenue, Suite 307
Lunch from 1:30 – 2:30. New York, NY
Please prepare either 1) a brief contemporary monologue or 2) a short contemporary musical theater song and a one minute monologue (total should be no more than 2 minutes). If singing, bring sheet music; accompanist provided.
Bring picture and resume, stapled together.
Seeking Equity performers for the 2011-12 season:
A DRAM OF DRUMCHHICIT
Word Premiere By Arthur Kopit & Anton Dudley
Director: Christopher Ashley
1st rehearsal: 4/12/11. Runs: 5/17 – 6/12/11
All roles available:
A Dram of Drumchhicit is a modern comedy set in rural Scotland. Characters are variously Scottish, American, and British: required accent is noted with each description.
Seeking:
Charles Pearse:
(early to mid-30s) American. Charles is corporate “fixer”, so we need to see authority and intelligence. People warm to him on first sight. Charles is someone other people trust. That’s what makes him so effective at his job. But there is something else in Charles’ character: it’s the ability to act ruthlessly. Though it comes out only rarely, when it does you don't want to mess with him.
Harry Morgan:
(mid-50s) Scottish. A true Scot. Canny businessman. Laconic. Dry sense of humor. (And of course with a great Scottish accent.)
Robert Bruce:
(mid-50s) American. Robert Bruce is Donald Trump, but without the weird hair. In short, someone capable of exploding in anger at any moment (but without going over the top). Yet, like Trump, he can be charming when he needs. One can understand why he has so much power.
Angus MacLeod (a.k.a. Old Angus):
(late 50s – mid-60s) Scottish. Angus is a fisherman, and the fish have gone away: he knows it’s not an accident. Therefore, one needs to see a sense of tragedy in him, and yet life. Old Angus has spirit and impeccable dry comic timing. He also has Fiona, his daughter, and no father has ever loved a daughter more.
Fiona MacLeod (Angus’s daughter):
(mid to late 20s, could be 30) Scottish. Pretty, and saucy, and sexy, with great comic chops. The temperament of a fiery redhead. Like all the Scots, it's a dry sense of humor she has. Utterly unself-conscious about her body (brief nudity in one scene).
Mackenzie Stewart:
(age not a factor here, but 40 something would be fine) Scottish. The pubmaster, he has energy and enthusiasm and dry humor. One can understand why he’s who the other townsfolk look to for leadership.
William Ross (a.k.a. Old Willy):
(needs to be old, but not decrepit; late 60ish) Scottish. Think Jim Norton. Ross needs to be crotchety, and quirky, with one leg half in the grave. He’s done a bad thing and knows it. (He’s betrayed the island.) He’s also got a very bad cold, and knows it’s not the flu but the gods, angry with him. (He needs to be older than Harry or Bruce, and more of an “odd ball” than any of the others.)
Reverend Hagglehorne:
(50s?) Scottish. A man of God, but only barely. When the play opens he's at the end of his tether, and we should see that in his eyes, and manner. In short, he’s not a physically strong man. This man has been beaten down by fate, and looks it. Like all our characters, he needs to have a wonderful Scottish accent and great comic timing. On some fundamental level, we must love him, and want things to work out for him, which they will.
Little Nick (the sexton):
(anywhere from early 20s to mid-30s) Scottish. Tall, and appropriately gangly, with the right amount of quirkiness. He and Reverend Hagglehorne are like Gogo and Didi, or, if you prefer, Mutt and Jeff.
Felicity Oliphant:
(maybe 40 to 50 – in short, neither young nor old) British. As the Reverend Hagglehorne says, “It’s a sweet name she has, but she is definitely no sweetie-pie.” That’s Felicity in a nutshell – who is not Scottish by the way, but British. In short, she is one tough dame, more than capable of fending for herself in the wild, the desert, the bush, or wherever her archaeological adventures take her. (I see her as sort of a female Indiana Jones.) I would bet she’s great at arm wrestling. Certainly can drink most men under the table.
PEER GYNT
By Henrik Ibsen. Translation by David Schweizer
Director: David Schweizer
Co Production with Kansas City Repertory Theatre
1st rehearsal: 6/14/11. Runs: 6/28 - 7/24/11
All roles available.
UNTITLED LA JOLLA PLAYHOUSE MUSICAL #1
1st rehearsal: 6/21/11. Runs: 8/9 – 9/18/11
All roles available.
MILK LIKE SUGAR
World Premiere By Kirsten Greenidge
Director: Rebecca Taichman
1st rehearsal: 7/26/11. Runs: 8/30 – 9/25/11
ALL CHARACTERS ARE AFRICAN AMERICAN
GENERAL NOTE: It is okay and probably recommended (depending on talent pool) to cast older than the age of “16” that is called for in the script.
Seeking:
Annie:
16. There should be something vulnerable about Annie. While she should be able to appear tough, there should be an underlying softness and sensitivity to her, something that tells us she is not as savvy as Talisha and much more introspective than Margie. She should be the girl that is identifiable as being “savable” if that makes sense.
Talisha:
16. In a word: rough. She is a girl who never was able to be young, but probably seemed twenty-five when she was ten. I also see something oddly masculine about Talisha, despite her manicured nails.
Margie:
16. Flighty, young, naïve. As much as this could be offensive, there is something overtly “ghetto” about Margie that she is not ashamed of in the least. Possibly because of her naiveté, there is a resilient quality, too, about Margie. Whoever plays her should also be able to be funny. While Talisha and Annie often wrangle with each other, there is something lighter about how Margie interacts with them, in spite of the weight of what they are discussing.
Antwoine:
23. Painfully smooth and attractive. As much as I hate this phrase, he would be someone who is adept at “keeping it real”: he’s been successful but still lives in his old “hood”.
Malik:
17. A bit of a square, when compared to the girls and probably the rest of his peers. Sweet, cute, but nobody’s first (or even third) choice as a prom date. Whatever discomfort this has caused him has had time to ease. He is focused and composed and possesses a confidence the girls do not have and which he believes Annie should have. Kind.
Myrna:
Late 30s. There should be something sad about Myrna. We should know by looking at her (or for a reading sensing a quality about her) that she has missed out on many things. This said I do not think she herself could be characterized as being overtly sad. I doubt she would categorize herself as that. But there should be a desolation about her and a detached quality, a bit like Blanche Dubois in terms of someone who has an inner world that she hints at sharing. She should also seem too young to have teenage children.
Keera:
16. Earnest, sincere, but not dismissibly naïve or sheltered. She should also be able to be playful and joyful, as well as persistent. Whoever plays her should be able to find gradations in her approach to Annie, especially in a reading situation.
UNTITLED LA JOLLA PLAYHOUSE MUSICAL #2
1st rehearsal: 9/26/11. Runs: 11/8 – 12/18/11
All roles available.
AMERICAN NIGHT
By Richard Montoya for Culture Clash
Developed and Directed by Jo Bonney
Developed by Culture Clash
1st rehearsal: 1/3/12. Runs: 1/31 – 2/26/12
The roles of Richard and Diego Rivera have been CAST. Remaining roles open.
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