NORTHERN STAGE CO 2021-22 SEASON Submission - Northern Stage Company Auditions

NORTHERN STAGE CO 2021-22 SEASON - EQUITY VIDEO SUBMISSIONS

Northern Stage Company

CONTRACT

LORT Non-Rep $739 weekly minimum (LORT D) plus room and travel to Feb. 13, 2022 Increases to $765 weekly minimum beginning Feb 14, 2022

SEEKING

Equity actors for roles in Northern Stage Company's 2021-22 season (see breakdown).

No roles will be understudied.

INSTRUCTIONS

SEE PREPARATION INSTRUCTIONS IN BREAKDOWN : Please email submissions. Slate with name, and material chosen. If you are interested in a particular show in the season please include that as well.

Deadline: Tue, Sep 28, 2021

SUBMIT TO

kcactorsubmissions@gmail.com

PERSONNEL

Karie Koppel-Casting Director (viewing auditions)
Tramaine Bembury-Casting Intern (viewing auditions)

OTHER DATES

HEISENBERG
First Rehearsal: January 25, 2022
Runs: February 16-March 6, 2022

MONTY PYTHON’S SPAMALOT
First Rehearsal: March 25, 2022
Runs: April 13-May 15, 2022

OTHER

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 submit.

BREAKDOWN

PREPARATION INSTRUCTIONS :

Please prepare one two-minute monologue, two contrasting monologues, or one song and one monologue not to exceed two minutes in length. You may choose your own song, or from the accompaniment provided below.

Accompaniment for MONTY PYTHON'S SPAMALOT

Backing Tracks: Act 1 https://www.youtube.com/watch?v=WQm1fo54nbk

Diva’s Lament/Whatever Happened To My Part: https://www.youtube.com/watch?v=VBbgKhzF7T0

Always Look on the Bright Side: https://www.youtube.com/watch?v=p3gR3uvyGEs

You Won’t Succeed on Broadway:https://www.youtube.com/watch?v=qUMdftsMOZw

HEISENBERG
By Simon Stephens
Directed by Sarah Wansley

ALEX PRIEST. 75, male, retired butcher from Enniscorthy, County Wexfield. Insular, reticent, solitary. Not looking to add more excitement to his life but ultimately grateful when it comes along. A single man who likes to tango. The type of man who is content reading the newspaper all day in the back of a cafe with no other agenda other than to be left alone. ROLE IS CAST.

GEORGIE BURNS. 42, female, from New Jersey. Vibrant, talkative, brash, and not afraid to pursue what she wants. A spirited American expatriate whose 19-year-old son abandoned her. The kind of woman who wouldn’t let you leave her store without buying something. Unfiltered conversationalist who always needs to talk to someone, anyone.

MONTY PYTHON’S SPAMALOT
By Eric Idle and John Du Perez (music) and Eric Idle (book and lyrics),
Based on the film Monty Python and the Holy Grail
Directed by Carol Dunne
Music Direction by Kevin Smith
Choreography by TBA

KING ARTHUR. (Baritone, [Low G2 -- High F4], Late 30s-60s) – The King of England, who sets out on a quest to form the Knights of the Round Table and find the Holy Grail. Great humor. Good singer.

THE LADY OF THE LAKE. (Alto with large range, [Low E3 -- High B6], 20s-40s) – A Diva. Strong, beautiful, possesses mystical powers. The leading lady of the show. Great singing voice is essential, as she must be able to sing effortlessly in many styles and vocal registers. Sings everything from opera to pop to scatting. Gets angry easily.

SIR ROBIN. (Tenor/Baritone, [Low D3 -- High G4], 30s-40s) – A Knight of the Round Table. Ironically called Sir Robin the Brave, though he couldn't be more cowardly. Joins the Knights for singing and dancing. Also plays GUARD 1 and BROTHER MAYNARD, a long-winded monk. A good mover.

SIR LANCELOT. (Tenor/Baritone, [Low C31 -- High E4], 30s-40s) – A Knight of the Round Table. He is fearless to a bloody fault but through a twist of fate discovers his softer side. Great with character voices and accents, as he also plays THE FRENCH TAUNTER, an arrogant, condescending, over-the-top Frenchman; the KNIGHT OF NI, an absurd, cartoonish leader of a peculiar group of Knights; and TIM THE ENCHANTER, a ghostly being with a Scottish accent.

SIR GALAHAD. (Tenor, [Low Bb3 -- High Bb5], 30s) – A Knight of the Round Table. Begins as Dennis, a lower class mud gatherer who becomes knighted and transforms into the dashing Sir Galahad. Also plays PRINCE HERBERT'S FATHER, a wealthy, brutish Yorkshireman at odds with his sensitive son; and THE BLACK KNIGHT, who is always ready to duel despite multiple injuries. Strong bari-tenor singer. ROLE IS CAST

SIR BEVEDERE. (Tenor/Baritone with falsetto, [Low D3 -- High G4], 20s-40s) – A Knight of the Round Table. An inept scholar. Also plays DENNIS GALAHAD'S MOTHER, a shrill peasant woman; and CONCORDE, Sir Lancelot's horse.

PATSY. (Tenor, [Low Bb3 -- High G5], 30s-40s) – King Arthur's horse and servant. Under-appreciated but always longing for Arthur's approval. Good, funny, physical mover with some tap dancing. Also plays MAYOR, a jolly red-faced man who advertises the merits of his hometown; and the drunken, useless GUARD 2. Very good mover. Tap skills a bonus.

HISTORIAN/NOT DEAD FRED/FRENCH GUARD/MINSTREL. (Tenor, [Low A2 – High A5], 20s-30s) – A tweedy academic. Also plays NOT DEAD FRED, a sickly little fellow who -- despite others' beliefs -- claims he is not yet dead; a FRENCH GUARD, the condemnatory sidekick to the French Taunter; a MINSTREL in Sir Robin's band; and PRINCE HERBERT, the hopeful and frilly prince who loves to sing and pines for his love atop a tower. Tenor singer. Very good mover.

ENSEMBLE. Strong singer-dancers and comic actors with great character voices and accents to play many roles including: the other Knights of the Round Table, Camelot Girls, Sir Not Appearing, Laker Girls, Sir Bohrs, Knights in Ni, Bodies in Not Yet Dead, the Dancing Monk, Robin’s Minstrels, Dancing Nun, French Citizens, Finland Citizens, French Guards, and more! Strong dance skills; tap skills a bonus.

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 submit.