| Breakdown
A DRAM OF DRUMCHHICIT
By Arthur Kopit & Anton Dudley
Directed by Christopher Ashley
Rehearse - April 12, 2011
Preview - May 17, 2011
Close - June 12, 2011
Note:
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.
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 60s would be good):
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
Directed by David Schweizer
Co Production with Kansas City Repertory Theatre
Rehearse - June 14, 2011
Preview - June 28, 2011
Close - July 24, 2011
Central to this adaptation is the fact that only 5 actors take on all the roles and are constantly transforming themselves. At one point, three of the actors all combine to play one demented Troll King! The three male actors all portray Peer Gynt at different times and showcase the different aspects of his personality, thereby heightening the search for identity which lies at the root of this mythic piece of theater.
HEROPEER: (25-45). Has a very open, charming, yet energized quality. Portrays the young, roguish Peer as well as Old, crusty Peer, a lunatic, and various other roles.
CONMANPEER: (25-45). Innately funny, mysterious, and sly. A natural raconteur, huckster- Peer at his most manipulative. Also plays a thuggish blacksmith, troll king, and others.
CRAZYPEER: (25-45). Nervous, eccentric, and seemingly shy, with an explosive temperament underneath that can erupt. Portrays a sea captain, a stuttering romantic rival, a sphinx, and a button molder/ devil among others.
OLDER WOMAN: ( early 40s-50's) Ageless in her grace and warmth. Must revel in portraying our sweet, pure young heroine, Solvieg- and the dynamic, even terrifying mother-of-us-all, Ase. With other choice roles in between....
YOUNG WOMAN (20s, early 30's): Impulsive, romantic, and goofily dreamy. Portrays a spoiled mountain belle, a cash-oriented, femme fatale belly dancer, and many others with strong comic presence.
UNTITLED LA JOLLA PLAYHOUSE MUSICAL #1
Rehearse - June 21, 2011
Preview - August 9, 2011
Closing - September 18, 2011
MILK LIKE SUGAR
By Kirsten Greenidge
Directed by Rebecca Taichman
Rehearse - July 26, 2011
Preview - August 30, 2011
Close - September 25, 2011
All characters in MILK LIKE SUGAR are African American
GENERAL NOTE: It is okay and probably recommended to cast older than the “16” that is called for in the script.
ANNIE, 16
Vulnerable. Appears tough, but there is 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.”
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. Oddly masculine, 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. Funny.
ANTWOINE, 23
Painfully smooth and attractive. 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.
MYRNA, late thirties
Sad. We should know by looking at her that she has missed out on many things. Not overtly sad but there should be adesolation about her and a detached quality like Blanche Dubois in terms of someone who has an inner world that she hints at sharing. 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.
UNTITLED LA JOLLA PLAYHOUSE MUSICAL #2
Rehearse - September 26, 2011
Preview - November 8, 2011
Close - December 18, 2011
AMERICAN NIGHT
By Richard Montoya for Culture Clash
Developed and Directed by Jo Bonney
Rehearse - January 3, 2012
Preview - January 31, 2012
Closing - February 26, 2012
The roles of Richard and Diego Rivera have been cast. Remaining roles open.
Character description not available at this time, please check back.
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