McCarter Theatre Center 2011-12
– Local Equity Auditions by APPOINTMENT in NJ
Princeton NJ LORT B+ and LORT C (current weekly minimums: $832 and $710, respectively)
Artistic Dir: Emily Mann
Assoc Prod / Local CD: Adam Immerwahr
Local Equity Auditions by APPOINTMENT:
Monday, June 27, 2011 – Accompanist provided McCarter Theatre Center
Tuesday, June 28, 2011 – No accompanist 91 University Place
10 AM - 6 PM both days. Princeton NJ
Lunch from 1 – 2.
For an appointment (recommended), e-mail
casting@mccarter.org or call 609/258-6505. Equity Members without appointments will be seen throughout each audition day, as time permits.
No accompanist on June 28. On that date, please prepare a brief monologue. On June 27 (accompanist provided, but may not transpose), please prepare a three-minute audition including EITHER 1) A brief monologue OR 2) A brief musical theatre song OR 3) A one- minute monologue and 16 bars of a musical theatre song. If singing, bring sheet music in the correct key.
Please bring a picture & resume, stapled back-to-back. Contact info should be clearly printed on resume.
Seeking (roles are available unless otherwise specified; auditioning performers will be considered as possible replacements for pre-cast roles, should any become necessary):
Theatre’s casting notes: “We are interested in seeing actors of all ages and ethnicities, appropriate for a wide range of productions. No roles are understudied.”
Ten cents a dance Score: Richard Rodgers and Lorenz Hart. Concept/Dir: John Doyle. Produced in association with Williamstown Theatre Festival. 1st reh: 8/30/11. Runs 9/9–10/9. LORT C.
Song cycle of classic Rodgers and Hart music. Johnny is the imaginer of this tale; the “Miss Joneses” are his creation. They are the quintessential chorus girls: dazzling, sophisticated, sexy, but not bimbos – they also have a sly and witty side. The chorus of Johnny’s dreams, they move, sing and even think in perfect harmony.
Note: All actors play instruments (including piano, saxophone, clarinet, drums); all women tap dance.
Johnny:
Middle-aged man, any ethnicity. Cool, sophisticated piano composer – also a romantic, and hopelessly in love. Actor must be able to play the piano and drums.
Miss Jones One:
CAST. Any ethnicity. Young and optimistic chorus girl.
Miss Jones Two:
CAST. Any ethnicity. Sexy and sophisticated chorus girl.
Miss Jones Three:
CAST. Any ethnicity. Sultry and cynical chorus girl. Plays the clarinet.
Miss Jones Four:
CAST. Any ethnicity. Middle-aged. Worldly-wise chorus girl.
Miss Jones Five:
CAST. Any ethnicity. Aging but still energetic chorus girl. Plays piano.
Phaedra by Marina Carr. Dir: Emily Mann. 1st reh: 9/20/11. Runs 10/18–11/6, 2010. LORT B+.
World premiere. Haunting and poetic, this modern adaptation of the classic Greek myth explores the politics of family, the pull of fate and the danger of desire.
Phaedra:
40s-50s, any ethnicity. Cynical, bitter and jaded; has seen too much pain and anguish to be affected by it anymore. And yet, she is not hard-hearted. More than anything, she longs for the love and affection of her husband. Torn by the many roles she plays: mother, wife, sister, daughter – but the role she plays best is seductress. Clever, wily; a commanding force.
Theseus:
40s–50s, any ethnicity. Phaedra’s husband. Lusty, enchanting and attractive, yet he mourns the loss of his youth and the hundreds of lovers he used to have. Once a violent and conniving man who slaughtered the Minotaur, he has matured into a proud and refined king.
Aricia:
20s, any ethnicity. Girlfriend of Hippolytus. Smart, pretty and optimistic. Very well-educated, but does not have much real-world experience. Able to stand up to Phaedra’s sharp tongue.
Minotaur:
30s-40s, any ethnicity. Phaedra’s brother. He is part animal and part man; sometimes he is ruled by his animal instincts, and sometimes by his heart. This makes him volatile, dangerous and unpredictable. Also, incredibly sexy. Performer must be a strong mover/dancer.
Pasiphae:
30s, any ethnicity. Phaedra’s mother. Has lost a son, and is now driven to be impregnated by the very bull that killed him. Impulsive, protective, very sensual.
Minos:
30s–40s, any ethnicity. Phaedra’s father. A king. Full of fury and vengeance. In shock and disbelief that his wife allowed herself to be impregnated by the bull that killed his son, he becomes consumed with hate for the baby minotaur.
Nanny:
50s-60s, any ethnicity. The housekeeper. Was Phaedra’s nanny when she was a child; she now looks after Phaedra’s daughter. Trusting confidante of the family. Wise, comforting and wearied by the strife she has witnessed.
Hippolytus:
CAST. 20s. Phaedra’s stepson/Theseus’s son. Incredibly attractive. Detached and indifferent with his girlfriend and father. Allows himself to be seduced by Phaedra.
Ariadne:
CAST. 30s-40s. Phaedra’s sister. Cynical. Dark. The living dead. Furious that Phaedra stole Theseus from her. She was an accomplice in the murder of the Minotaur; does not feel guilt or regret.
Inventor:
CAST. 50s-60s. Hired by Pasiphae to build a “cow suit” for her. Sarcastic, disapproving; honest with his opinions, but he does as he’s told.
A CHRISTMAS CAROL by Charles Dickens. Adaptation: David Thompson. Dir: Michael Unger. Choreo: Rob Ashford. 1st reh: 11/11/11. Runs 12/4–12/24. LORT B+.
Ebenezer Scrooge:
50s - mid 60s. Quintessential curmudgeon. Beneath the crusty exterior is a man seeking a connection. Actor must have superb comic and dramatic range. Role involves flying. London accent (not posh, not cockney).
Bob Cratchit:
30s, any ethnicity. Scrooge’s clerk; has been worked to the bone. Once lively, he now worries about putting food on the table, but is still filled with hope and humor, despite his difficult existence.
Jacob Marley:
Late 20s - late 30s, any ethnicity. Scrooge’s partner; ambitious, practical, no sentimentality. A product of industrial England, he places money and financial stability above all else. Must move well.
Fred / Undertaker:
Any ethnicity. Fred: 20s. Scrooge's nephew. Optimistic and kind. Witty, and able to trade barbs with his uncle. Should be an attractive leading man-type with a slightly goofy edge. Undertaker: Leering, creepy, grasping example of the underworld in Victorian England. Cockney accent. Funny. High baritone.
Young Scrooge:
Early 20s. Scrooge, before he is corrupted: a conflicted youth torn between the need for financial security and the desire to connect with other human beings. At this point, he still possesses a sense of fun and humor and, most importantly, is still redeemable.
Fan / Solicitor 2:
20s, any ethnicity. Fan: Young and fragile. Scrooge’s devoted sister, Fred’s mother. Solicitor 2: Giddy but determined young woman. Loves to tease. Good-hearted and well-intentioned.
Mrs. Fezziwig / Solicitor 1 / Laundress:
30s-40s, any ethnicity. Mrs. Fezziwig: Ditzy and gabby, warm. Convinced she and her daughter are great beauties. Good-hearted meddler. In love with her husband, and entirely convinced of the goodness of those around her and the bounty of the world. Solicitor 1: Strong woman who works for right. Quick with a joke, though hard on those she considers stingy. Laundress: Cockney. Making what she can out of the despair of others. Competitive. Funny.
Mrs. Dilber:
30s - early 40s, any ethnicity. Working-class British. Scrooge’s dithering servant. Quirky, funny and resigned. Role for a comedienne with heart; character woman.
Mrs. Cratchit:
30s. Caring but fiery, she will defend her family at any price. The glue that holds her family together. Nurturing, warm; salt of the earth. Working-class London accent.
Lily / Belle:
20s - early 30s. Lily: Fred’s wife. Kind, graceful. Always sees the best in people. Tenacious; refuses to give up on Scrooge, because she realizes how much family means to Fred. Belle: Scrooge’s fiancée; leaves him because of his obsession with money. Ahead of her time; fiercely idealistic. There is a sadness about her; she holds people to high standards, and has been disappointed. Must sing (chest mix to D) and move extremely well (dancer preferred).
Mr. Fezziwig / Old Joe:
50s, any ethnicity. Track for a character man. Fezziwig: Young Scrooge’s boss. Generous, expansive. Kind-hearted and jolly, but not a fool. Has integrity. Old Joe: Cockney pawn shop dealer; trades in stolen goods. Witty and devious; a distant relative of Dickens’s Fagin, with a bawdy sense of humor.
Christmas Present:
Female, 30s, African American. Infectious spirit and warmth. Must have a real presence and sense of humor, wit and mischief. Though maternal and earthy, she is powerful, and has an implicit understanding of right and wrong.
The convert by Danai Gurira. Dir: Emily Mann. 1st reh: 12/16/11. Runs 1/13 – 2/12/12. LORT C.
World premiere. It’s 1895, in the region that would become Zimbabwe. Jekesai, a young village girl, escapes a forced marriage by becoming the newest convert of a well-meaning black catechist for the Catholic Church. When a civil uprising against colonial white rule disrupts their lessons, the girl and her teacher must find their place in a new world order that threatens their heritage, history and faith.
Mai Kuda:
Black woman, mid 50s. Chilford’s live-in housekeeper. A mother of the earth; very superstitious. Presents herself as a devout Christian to Chilford, while she really holds on to her pagan beliefs. Like a mother to Jekesai – taking care of family is her #1 priority. Funny.
Jekesai-Ester:
Black girl, late teens. Pure, honest, curious and bright; eager to learn and to please. Becomes Chilford’s servant and protégée. Unassuming enough to win the hearts of everyone who meets her, yet strong enough to fight for her life. An obedient servant, also a fierce warrior. From the Muzezuru tribe. Comedic and dramatic role.
Chilford:
Black man, early – mid 30s. Catechist in the Catholic Church; the only African who holds this position in the Mashonaland region. Man of great deliberation and precision. His English is that of one who strains to sound as European as possible. Ridiculous, bumbling; full of malapropisms. Takes great pride in the small amount of power he has. Does not have much of a spine, though, and cowers when threatened.
Kuda:
Black man, early - mid 20s. Like an older brother to Jekesai. Caring and responsible when it comes to family. But when his family, tribe or beliefs are threatened, he becomes fierce, stormy and even violent.
Chancellor:
Black man, early - mid 30s. Chilford’s friend. Translator for European companies. Always looking out for himself first, and eager to make a deal; uses his British connections to make shady deals. Engaged to Prudence, but still gets around town. Sly, charming.
Uncle:
Black man, 40s or 50s. Jekesai’s uncle. Very traditional; honors the customs of the Muzezuru tribe. Resentful and suspicious of anything from the Western world. Self-serving, angry, violent and uneducated. Has great distrust of Chilford and his Western ways.
Prudence:
Black woman, early 30s. Engaged to Chancellor. Elegant, poised and very well-educated. Cunning and seductive. Has a tough exterior, but becomes frail and despondent when tragedy strikes.
Travesties by Tom Stoppard. Dir: Sam Buntrock. 1st reh: 2/14/12. Runs 3/13 – 4/1/12. LORT B+.
1976 comedy. Set in Zurich, 1917. James Joyce, Tristan Tzara and Lenin accidentally meet in a public library. Political, literary and philosophical worlds collide as they attempt to put on a production of Oscar Wilde’s “The Importance of Being Earnest”.
Henry Carr:
Appears as a shabby and very old man, and also as his youthful, elegant self. Appreciates the finer things in life – especially a well-made suit. Cultured. Intelligent. A bit of a buffoon, though. Full of himself. Fashionable. Extremely opinionated. Articulate. A great romantic; falls in love with Cecily. British dialect.
Tristan Tzara:
Romanian. The Dadaist. He was a short, dark-haired, very boyish-looking young man, and charming (his word). Unpredictable. A wild-card. In love with Gwendolen. Cheerful. Easily becomes over-excited about his art and philosophies.
James Joyce:
In 1917, age 36. Always mismatched and sloppy in appearance. Irish dialect. Very clever.
Lenin:
In 1917, age 47. Russian. Philosopher and revolutionary. Passionate, and eager to affect change. Intense, driven and violent when politics are on his mind, yet softens in the presence of great art. Can be considerate and thoughtful. Russian dialect.
Bennett:
Carr's manservant. Quite a weighty presence. Formal. Smart. Able to speak eloquently of political and worldly matters. British dialect.
Gwendolen:
20s–30s. Carr's younger sister. Attractive. Has a quick wit. Joyce’s secretary. In love with Tzara. British dialect.
Cecily:
20s–30s. Pretty librarian. Well-bred. Bright and opinionated, but not very practical or full of common sense. Falls in love with Carr. British dialect.
Nadya:
Nadezhda Krupskaya, Lenin's wife, age 48. Savvy, and as politically driven as her husband. Professional revolutionary. Russian dialect.
Are you there, mcphee? by John Guare. Dir: Sam Buntrock. 1st reh: 4/6/12. Runs 5/4 – 6/3/1. LORT C.
World premiere. Time: The 70s. Playwright Edmund Gowery purchases an investment home in Nantucket; it turns out to be occupied by renters, who are running a child pornography ring. He travels to Nantucket in order to sort out the whole affair, and is pulled into even deeper chaos by the locals. An 11-pound lobster, a pair of abandoned children and a mysterious murder are all part of the bedlam in which Gowery finds himself.
Edmund Gowery (aka “Mundie”):
A playwright of marginal fame. Cynical, narcissistic and a bit of a smart-ass. Also a helpless romantic. Helpless and spineless when he gets in a bind; would prefer to remain low-profile, and tries to avoid uncomfortable situations.
Company of Five Men and Five Women:
All ages and types. Performers must be versatile and energetic; they play the whirlwind of characters who confront Mundie in Nantucket.
Male roles include…
Andy: Mundie’s laywer and best friend.
Psychologist.
Cop.
Fisherman.
An Ancient Walt Disney.
An Evil Villain.
Peter: Guardian of the abandoned children.
Schuyler: Father of the abandoned children.
Female roles include…
Antonia: Mundie’s lover.
Alice: Mundie’s second lover.
Passenger on a Plane.
Real Estate Agent.
Mother.
Librarian.
Secretary.
Wendy: Guardian of the abandoned children.
Bitsy: The children’s aunt.
Theatre’s statement: “McCarter does not discriminate against any person because of race, color, sex, age, handicap, national origin, religious or political beliefs, marital status or sexual preference. 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.”
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