Lean Ensemble Theater 2019-20 Season - NYC OPEN Call by Appointment|
Lean Ensemble Theatre
Thu, Jul 11, 2019
10:00 am (EDT)
Fri, Jul 12, 2019
10:00 am (EDT)
Schedule appointments online by submitting your headshot and resume to email@example.com Deadline to schedule an appointment is 6/10/19. Make sure to indicate you are requesting an appointment in NYC.
Special Appearance Level 2; 394.00/week
Equity and non-Equity Actors for various roles in the upcoming 2019/20 Season.
Preparation: Please prepare one 90 second monologue and bring a recent headshot and resume.
Pearl Studios NYC (500)
500 8th Ave
New York, NY 10018-6504
4th floor, Room 405
Present in the room will be:
Blake White, artistic director and director of “Death of a Streetcar Named Virginia Woolf”
Jay Briggs, director of “The Christians”
Amanda Sox, director of “Cry It Out”
An Equity Monitor will not be provided. The producer will run all aspects of audition.
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.
LEAN ENSEMBLE THEATER 2019/20 SEASON BREAKDOWN
Playwright: Stephen Karam
Director: Chip Egan
First Rehearsal: 10/1/19
Eric Blake (male, 60), Irish-American, Catholic, working-class background from Scranton, PA. Head of maintenance at a high school for 28 years. Loves his family and has worked hard his whole life. Fired recently because he was discovered having an affair with a teacher at the school and is facing the loss of his job, pension, life saving and self worth. Struggling to make sense of his life and the world around him. (CAST, seeking replacement only)
Deirdre Blake (female, 61), Irish-American, Working class background form Scranton, PA. Overweight. Her Catholic beliefs have sustained her through her life, including her husband’s recent affair and economic downfall. She has found a way to forgive her husband; both pragmatic and romantic. She has worked for the same company since graduating high school. [CAST - seeking replacement only]
Fiona (Momo) Blake (female, 79), Eric’s mother. Irish-American, Catholic. In the throes of dementia for the past four years, most of her speech doesn’t make sense and is repetitive. She is occasionally prone to wild outbursts of rage. Beloved by all members of her family. [CAST - seeking replacement only]
Aimee Blake (female, 34), Irish-American. Grew up in Scranton, PA and is now a lawyer working in a large corporate firm in Philadelphia. Makes a good living. Recently broken up with her longtime girlfriend and is heartbroken. Suffers from ulcerative colitis. Gentle and sensitive but strong. Has often been the peacekeeper of the family.
Brigid Blake (female, 26), Irish-American. Grew up in Scranton, PA and now lives in NYC as a musician and composer. Possesses an artistic/mercurial nature. Frustrated by bartending and collecting unemployment. Spoiled, upbeat and full of energy. She loves her parents but is embarrassed by their background now that she lives in the city. Seeks their approval, wanting them to both love her apartment and boyfriend.
Richard Saad (male, 38), American with Middle Easter ancestry. Comes from privilege and money. He will come into his trust fund in a few years. His family has a house on Cape Cod and he is currently studying to get a masters in social work. He tries to stay upbeat and positive, remaining sensitive to the complicated dynamics of the Blake family. Suffers from depression and is able to reveal his struggles with this in his past to Brigid’s parents. [CAST - seeking replacement only]
Every Brilliant Thing
Playwright: Duncan MacMillian
Director: Maegan Azar
First Rehearsal: 11/26/19
(20-40) Any gender, any race. Charming, engaging warm and equally adept at comedy and drama. Acompelling storyteller with effortless comedic chops. Experience and expertise in improvisation is key. The actor should radiate honesty and empathy, without seeming performative. [CAST - seeking replacement only]
Playwright: Lucas Hnath
Director: Jay Briggs
First Rehearsal: 1/7/20
Paul (male, 40s-mid 50s) The Pastor of the church. A man of integrity, enormously charismatic with an inspiringpresence; thoughtful, deeply spiritual with profound beliefs. Has a crisis of faith and a new, albeit unpopular with his church, understanding about what he truly believes. Must be able to balance arrogance, confidence and a righteousness of his convictions.
Elizabeth (female, 40s-mid 50s) Paul’s wife. Intelligent, possessing a deep faith and conviction of her beliefs. Deeply emotional but lacks sentimentality or neurosis, she is a rock; disturbed and disappointed over the decisions Paul has made without her.
Joshua (male, 30-40) Associate Pastor who challenges Paul’s leadership. Needs a strong sense of integrity, honesty and directness.
Jay (male, 50s-60s) Church Elder who represents the financial needs of the church. Deeply respects Pastor Paul but is alarmed by his decisions. Tries to remain the voice of reason.
Jenny (female, 30s - 40s), Congregant. Working class, single mother who is struggling financially. She has found assistance within the church and is not deeply afraid of how this upheaval will affect her personal life as well as her faith. Confronts the pastor about his decisions and the time of his sermon.
Cry It Out
Playwright: Molly Smith Metzler
Director: Amanda Sox
First Rehearsal: 3/3/20
Jessie (female, mid 30s) Married to a North Shore native; recently relocated to Port from Manhattan to raise her family. Educated, articulate, lovely, warm. Originally from the Midwest and has that Midwestern ready-smile. In private, bends toward anxiety. Used to work 90 hour weeks and now has a newborn and lives in yoga pants.
Lina, (female, late 20s/early 30s) From Long Beach on the South Shore of Long Island and you can tell immediately. An acrylic nails, big hoops, velour tracks suits kind of gal - from a huge Italian family. Failed community college, curses too much but fun, funny and refreshingly genuine.
Mitchell (male, late 30s-mid 40s) Adrienne’s husband, works in investment capital. A math nerd - great with numbers but no people. Serious, shrewd, sensitive. Grew up in a tough part of Utica and scalar-shipped his way to where is now. Grades, status and success are his currency. However, fatherhood has changed him. He makes goofy faces now, stares out of windows during meetings and ends his sentences with question marks.
Adrienne (female, mid/late 30s) Mitchell’s wife. Elegant, powerful, aloof, and slightly rock n roll. She grew up on Central Park West, attended posh boarding schools, studied art abroad and is the kind of women you see claiming out of a dark sedan at JFK who you just know is going somewhere cool. Loyal, ferocious in both business and life. A successful jewelry designer.
Death of a Streetcar Named Virginia Woolf
Playwright: Tim Ryder & Tim Sniffen
Director: Blake White
First Rehearsal: 4/7/20
The show takes place in present-day New Orleans on a humid summer night.
The Stage Manager (male, 30s - 50s), a folksy, omniscient narrator of New England descent. [CAST - seeking replacement only]
Blanche DuBois (female, early 40s), an anxious, fragile, secretive Southern woman. [CAST - seeking replacement only]
Stanley Kowalski (male, 30ish), a sexually aggressive, blue-collar hothead.
Willy Loman (male, late 50s), a defeated, down-on-his-luck salesman. [CAST - seeking replacement only]
George (male, 40s-50s), a jaded, henpecked university professor. [CAST - seeking replacement only]
Martha, (female, 40s-50s), George’s brassy, equally jaded wife. [CAST - seeking replacement only]
Note: cutaway scenes feature other supporting characters
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 audition.