McCarter Theatre Center 18-19 Season - Princeton NJ EPA
McCarter Theatre Center
AUDITION DATES
Fri, May 25, 2018
10:00 am - 12:00 pm (EDT)
APPOINTMENTS
Email casting@mccarter.org between 10:00am - 6:00pm, Monday - Friday. McCarter will fill all time slots on 5/21 before filling 5/25 time slots.
CONTRACT
LORT Non-Rep B+ & C; $993-1033/week & $848-873/week AEA minimums
SEEKING
Equity actors for various roles in the upcoming season. We are interested in seeing actors of all ages and ethnicities, appropriate for a wide range of productions. See breakdown.
PREPARATION
Each actor will have 3 minutes. Prepare a brief monologue or two contrasting one-minute monologues.
Please bring a picture and resume, stapled together, with contact information clearly printed on the resume.
LOCATION
McCarter Theatre
91 University Pl
Princeton, NJ 08540-5121
PERSONNEL
Artistic Director/Resident Playwright: Emily Mann
Resident Producer: Debbie Bisno
Artistic Line Producer: Stephanie Rolland
Assistant Producer: Emily Zetterberg (in attendance at EPA)
OTHER
No roles will be understudied.
An Equity Monitor will not be provided. The producer will run all aspects of this 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.
BREAKDOWN
MCCARTER THEATRE CENTER 2018-2019 SEASON BREAKDOWN
THE AGE OF INNOCENCE
By Edith Wharton, adaptation by Douglas McGrath. Directed by Doug Hughes. 1st Rehearsal: August 21st, 2018. Runs September 15th – October 7th, 2018. Berlind Theatre.
Co-production with Hartford Stage. (Runs April 5th – May 6th, 2018 at Hartford Stage.)
(All AEA roles are cast.)
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DETROIT ‘67
By Dominique Morisseau. Directed by Jade King Carroll. 1st Rehearsal: September 11th, 2018. Runs October 13th – October 28th, 2018. Matthews Theatre.
Co-production with Hartford Stage. (Runs February 14th – March 10th, 2019 at Hartford Stage.)
It’s the summer of 1967, and the songs of Motown are breaking records and breaking barriers. Chelle and her brother Lank are running an unlicensed after-hours joint out of their basement – risky business, especially during a brutal police crackdown that has set off riots throughout the city. When Lank offers refuge to a mysterious stranger, he and Chelle clash. Pent-up emotions erupt, and they must navigate the chaos both outside and within.
Chelle (Michelle): Black woman, late 30s, strong, steadfast, firm and not easily impressed. A widow, mother, and sister. A loving heart beneath her pride.
Lank (Langston): Black man, early 30s, cool, loving and charismatic. A dreamer. Has a special effect on women – but not a womanizer. Chelle’s younger brother.
Bunny (Bonita): Black woman, mid-late 30s, fun, spunky, sexy and joyful. A friend and sometimes a lover… Never lets nothin’ get her down.
Sly (Sylvester): Black man, late 30s, hip, slick and sweet-talking. An honest hustler and numbers man. Fiercely loyal. Lank’s best buddy.
Caroline: White woman, late 20s/early 30s, beautiful, quiet strength, troubled, soft and mysterious. There is a world of danger behind her eyes.
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A CHRISTMAS CAROL
By Charles Dickens, adaptation by David Thompson. Directed by Adam Immerwahr. 1st Rehearsal: November 9th, 2018. Runs December 7th – December 29th, 2018. Matthews Theatre.
Ebenezer Scrooge: 50s-mid 60s. Actively seeking all ethnicities for this role. Quintessential curmudgeon, nasty and miserly; must have superb comic and dramatic range. Beneath the crusty exterior is a man seeking a connection. London accent. Not posh, not cockney.
Bob Cratchit: 30s. Actively seeking all ethnicities for this role. Scrooge’s clerk who has been worked to the bone. Once a lively man, he now worries about putting food on the table. A true family man, his children fill him with hope and humor despite his difficult existence.
Old Jacob Marley / Old Joe: 50s-mid 60s. Actively seeking all ethnicities for this role.
Old Jacob Marley – Scrooge’s deceased business partner. In life, he was an ambitious, practical man with no sentimentality. Now a ghost, he is waiting desperately for Scrooge to see him and hear his lesson and words of regret. Physical actors preferred as this character will fly.
Old Joe – Cockney pawnshop dealer who trades in stolen goods. Witty, dark and devious, Joe is a distant relative of Dickens’ Fagin and has a bawdy sense of humor.
Fred / Undertaker: 20s-early 30s. Actively seeking all ethnicities for this role.
Fred – Scrooge’s nephew. An optimistic and kind young man, a goofball at heart. Witty and able to trade barbs with his Uncle. Should be an attractive leading man with a slightly comic edge.
Undertaker – A professional undertaker of Victorian England. Cockney accent.
Young Jacob Marley: Early 20s. Actively seeking all ethnicities for this role. Scrooge’s partner, an ambitious, practical man with no sentimentality. Marley is a product of a newly industrialized England and places money and financial stability above all else.
Young Scrooge / Solicitor: Early 20s. Actively seeking all ethnicities for this role.
Young Scrooge – Scrooge before he is corrupted. A conflicted young man torn between the need for financial security and the desire to connect with other human beings.
Solicitor – A wealthy and respected man of business. He is charitable and warm and is seeking donations with his friend and colleague.
Mr. Fezziwig / Solicitor: Late 40s-50s. Actively seeking all ethnicities for this role.
Mr. Fezziwig – Young Scrooge and Marley’s boss, generous and expansive. Mr. Fezziwig is a kindhearted and jolly man, but not a fool. He has great integrity and great love for everyone around him.
Solicitor – A wealthy and respected man of business. He is charitable and warm and is seeking donations with his friend and colleague.
Mrs. Fezziwig / Laundress: 30s-50s. Actively seeking all ethnicities for this role.
Mrs. Fezziwig – Ditzy, gabby, and overflowing with warmth. A good-hearted meddler who is in love with her husband and entirely convinced of the goodness of those around her and the bounty of the world.
Laundress – She desperately sells the stuff dead people leave behind. Competitive and funny. Cockney accent.
Mrs. Dilber: 30s-early 60s. Actively seeking all ethnicities for this role. Scrooge’s dedicated and dithering servant. Working class British. Quirky, funny, and resigned. A character woman. Comedienne with heart.
Mrs. Cratchit: Actively seeking all ethnicities for this role. Caring but fiery, she will defend her family at any price. She is the glue that holds her family together. Nurturing, warm, the salt of the earth. Working class London accent.
Lily / Belle: 20s-early 30s. Actively seeking all ethnicities for this role.
Lily – Fred’s wife and an extremely kind and graceful young woman. Lily always sees the best in people. She is tenacious and refuses to give up on Scrooge because she realizes how much family means to her husband.
Belle – Scrooge’s fiancée who leaves him because of his obsession with money. A woman ahead of her time, Belle is fiercely idealistic. There is a sadness about her; she holds people to high standards and has been disappointed.
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THE NICETIES
By Eleanor Burgess. Directed by Kimberly Senior. 1st Rehearsal: December 26th, 2018. Runs January 19th – February 10th, 2019. Berlind Theatre.
Co-production with Huntington Theatre Company and Manhattan Theatre Club (Runs September 5th – October 7th, 2018 at Huntington Theatre Company and October 25th – November 25th, 2018 at Manhattan Theatre Club.)
Race. History. Power. The Present. Zoe, a black student at an Ivy League university, is called into her white professor’s office to discuss her thesis about slavery’s effect on the American Revolution. In this riveting two-person drama, a polite clash in perspectives explodes into an urgent debate about race, history and power.
Janine Bosko: Female, white, early 60s. A college professor.
Zoe Reed: Female, black, 20. A college student.
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KEN LUDWIG’S THE GODS OF COMEDY
Directed by Kathleen Marshall. 1st Rehearsal: February 12th, 2019. Runs March 16th – March 31st, 2019. Matthews Theatre.
Co-production with The Old Globe. (Runs May 16th – June 16th, 2019 at The Old Globe.)
A young Princeton Classics professor puts her career – and her love life – in peril, and calls on the gods of Ancient Greece to save her. When the gods who show up are the gods of Comedy, things don’t go according to plan.
Daphne Rain: Mid-20s. Academic in the Princeton University Classics Department. Intelligent and attractive, but afraid of letting people down. Calls upon the gods of Ancient Greece when she finds herself in hot water.
Ralph Sargent: 35. American classicist and academic in the Princeton University Classics Department. Attractive, but unaware of it. Goofy and energetic. Searching for one of Euripides’ original manuscripts. Finds himself caught up in a variety of romantic entanglements.
Dionysus / Aristide: 30s-40s.
Dionysus – One of the Gods of Comedy, as well as the God of Wine and Revelry. Joyful but mischievous. Loves the good life. Will face dire consequences if he is unable to help Daphne.
Aristide – A Greek man selling souvenirs on the island of Naxos.
Thalia: 20s-30s. One of the Gods of Comedy. Confident, sexy and energetic. Will face dire consequences if she is unable to help Daphne. Bronx accent.
Dean Trickett: 40s-60s. A force of nature. Wildly ungainly, with the full-throated laugh of a large woodland creature. English accent.
Antoine / Ares: 30s.
Antoine – Custodian in the Princeton University Classics Department. Friendly and unassuming. Passionate about Greek literature. Jamaican accent.
Ares – The God of War. Finds enjoyment in others’ struggles. Rude, bellicose and tremendously manly.
Brooklyn DeWolfe: 30s. Movie star who has passed her prime and is attempting to revamp her career at all costs. She was a star student at Princeton University. Beautiful and stylish.
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SKYLIGHT
By David Hare. Directed by Emily Mann. 1st Rehearsal: April 5th, 2019. Runs May 11th – June 2nd, 2019. Berlind Theatre.
On a bitterly cold London evening, Kyra receives an unexpected visit from her former lover, whose wife has recently died. As the evening progresses, the two attempt to rekindle their once passionate relationship only to find themselves locked in a battle of opposing ideologies and mutual desires.
Kyra Hollis: 30. School teacher living modestly in East London. Former lover, business associate and family friend of Tom. Lived with the Sergeant family until Tom’s wife discovered Kyra’s affair with her husband. English accent.
Edward Sergeant: 18. The son of Tom Sergeant. Hurt by Kyra’s departure from the Sergeants’ home and hopes her reconciling with his father will diminish Tom’s grief. English accent.
Tom Sergeant: 50. Restless former lover, business associate and family friend of Kyra. Self-made restaurant tycoon turned teacher of underprivileged children. Grieving Kyra’s departure and loss of his wife to cancer. English accent.
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Theatre’s statement: McCarter does not discriminate in casting against any person because of race, color, religion, sex, age, veteran status, sexual orientation, marital status, national origin, disability or any other protected characteristic. McCarter acknowledges the need for expanding the participation of women and all ethnic groups and minorities in the Theatre’s artistic process and is committed to non-discrimination and a flexible, imaginative, non-traditional casting policy. “Non-traditional casting” is defined as the casting of ethnic minorities or female actors in roles where race, ethnicity or sex is not germane. We are interested in seeing actors of all ages and ethnicities, appropriate for a wide range of productions.
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.
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