MACBETH Submission - Repertory Theatre of St. Louis Auditions

MACBETH – Photo / Resume Request

Repertory Theatre of St. Louis - St. Louis, MO Equity LORT B+; $816/week minimum

Artistic Director: Steve Woolf

Director: Paul Barnes

Author: William Shakespeare

Casting: Rich Cole

1^st rehearsal: 1/11/11. Runs: 2/9 – 3/6/11

NYC auditions will be held on November 2 – 4, by appointment only,

Seeking submissions from Actors' Equity Members only for these particular auditions.

For consideration, mail picture and resume to:

Rich Cole

648 Broadway--Suite 912

New York, NY 10012

Attn: MACBETH (name of role) – AEA Member Self Submit

Submission is by mail only. Absolutely no emails, phone calls or office visits/drop off's!

Be sure to put the title of the show and the role you're interested in on the front of the envelope.

Callbacks: 11/5/10

Please read notice carefully, and submit ONLY if you are"right" for one or more roles.

Note: This production will be a small cast rendition of the play in which just about everyone will double. The doubling will be pretty transparent with the cast spending time around the perimeter of the stage, observing the action when not actually engaged in it. Specific costume pieces added and subtracted to help define and delineate character. The roles/lines of roles listed below are the only ones we will be casting in New York.

Macbeth:

Late 20s to early 40s. Fierce and accomplished warrior, beset and undone by his own insecurities, his ambition, and his wife's ambition. Principled and honorable; at first, respected and admired by his countrymen. Believes he will make a good King and that Scotland will thrive under his rule. Ultimately willing to embrace his fate with passion and abandon. Though sexually alive and has clear sexual energy, something is lacking in his “manhood.” In a world in which manhood is defined by killing, he is able to kill, yet is also beset by conscience and his awareness of consequence. Ultimately tortured by his own choices and actions. Possessed of the imagination his wife lacks. Excellent combat skills; excellent language skills.

Lady Macbeth:

Late 20s to early 40s. Her husband's partner. Not necessarily of the aristocracy; extremely ambitious; politically canny, but lacks her husband's imagination and is unable to see beyond their actions to the consequences of those actions. Equates killing with manhood; unafraid to humiliate her husband as a tactic to fulfilling her (and their) ambition; willing to invoke/ask for help from supernatural powers to see her husband become King of Scotland and in order to become Queen of Scotland. Believes her husband is deserving and capable (though she fears his 'softer' nature) and is convinced they will be good leaders. Once on the throne, her world rapidly begins to disintegrate; she suffers sleeplessness, madness, and ultimately takes her own life. Quick thinker; unafraid to manipulate and to use sex to get what she wants; convincing arguer. Will also absorb Messenger's lines in IV.ii (murder of Lady MacDuff) - but as Lady Macbeth. Excellent language skills.

Lennox:

Mid-20s to mid-30s. Young warrior and Thane; not as accomplished as Macbeth, but a skilled fighter nonetheless. Admires Macbeth at first but is affected by Duncan's murder, and gradually turns against Macbeth as the events of the play unfolds. Goes through a period of mistrust and suspicion as Scotland is fractured and divided under Macbeth's kingship. Good fight skills; excellent language skills.

Bloody Captain/King-Apparition/Siward:

30 – 40. Warrior of some status and stature in the Scottish army. Wounded at the beginning of the play and delivers important exposition about the battle that has just taken place. Fights through his wounds to deliver the information. Will also appear as a King in the Apparition scene (IV.i), and double as Siward in the latter part of the play. Siward is the Earl of Northumberland and Commander of the English army. Father to Young Siward, who dies in battle (at Macbeth's hand). Principled and accomplished military man whose main concern when he learns of his son's death in battle is if he fought properly, heroically. Good fight skills; excellent language skills. Age range needs to be a bit versatile in that the Captain is younger; Siward is old enough to have a teenage son.

Witch 3/Porter-Seyton/3rd Murderer:

Mid 20s - 40. Male character actor; transformative. The Witches are present throughout the play and take on many roles as the action of the story unfolds. Must be able to carry a sense of “otherness,” as the Witches are people who live on the outside of society. Prescient; able to foretell the future, and are also a conduit to supernatural forces in the world -- and underworld. Keen observers; capable of great stillness. Porter-Seyton is a combined character. Keeper of the gate; a drinker; unimpressed and unintimidated by authority. Comic skills; handles much direct address; willing to engage with the audience. Serves Macbeth. Helpful to carry a sense of the sinister underneath all he does. 3rd Murderer is an outcast from society; comes into the murder of Banquo subplot later than Murderers 1 & 2, but like his fellows, willing to murder in order to survive. (3rd Murderer may actually be Porter-Seyton, without attempts to disguise or change identity.) Physically lithe; good combat skills; good language skills.