OREGON SHAKESPEARE FESTIVAL 2019 SEASON - Oregon Shakespeare Festival Auditions

Posted: May 3, 2018

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Oregon Shakespeare Festival 2019 Season - Ashland EPA
Oregon Shakespeare Festival

Tue, May 22, 2018
9:30 am - 4:30 pm (PDT)

please email : osflocalauditions@gmail.com please put LOCAL AREA EPA in subject line

LORT Non-Rep Minimum - $1033/wk

See breakdown.

Please prepare two brief contrasting monologues: one Shakespeare and one contemporary. Those who wish to sing may replace a monologue with a short song. No more than 3 minutes total. If you plan to sing, please bring sheet music--accompanist provided may not transpose. Please bring 2 p&rs stapled.

Oregon Shakespeare Festival
15 S. Pioneer St.
Ashland, OR 97520-0158
Black Swan Theatre. Rehearsal space. Street parking.

Joy Dickson: Casting Director:
Scott Kaiser: Director of Company Development:

See breakdown.

No stage management positions are available.
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.

Contract: LORT B+ $1033/wk
Performers unable to attend EPA may send picture/resume to:
Joy Dickson
Oregon Shakespeare Festival
15 S Pioneer Street
Ashland, OR 97520

SEEKING: Acting company members for the 2019 Season.
AS YOU LIKE ITby William Shakespeare
First rehearsal: 1/15/19 Opens: 3/8/19 Closes:10/27/19
Directed by Rosa Joshi
All roles will be understudied.
Duke Senior
Duke Frederick
Le Beau/Sir Oliver Martext
Jaques De Boys

HAIRSPRAY– The Broadway Musical
First rehearsal: 1/15/19 Opens: 3/9/19 Closes: 10/27/19
Book by Mark O'Donnell and Thomas Meehan
Music by Marc Shaiman
Lyrics by Scott Wittman and Marc Shaiman
Based on the New Line Cinema film written and directed by John Waters
Directed by Christopher Liam Moore
All roles will be understudied.
Edna Turnblad
Tracy Turnblad
Amber Von Tussle
Penny Pingleton
Motormouth Maybelle
Velma Von Tussle
Wilbur Turnblad
Link Larkin
Seaweed J. Stubbs
Corny Collins
Little Inez
Prudy Pingleton/Gym Teacher/Prison Matron/Cop
Male Ensemble: Harriman/HS Principal/Mr. Pinky/Cop/Guard
Dynamites: Judine/Ens., Kamilah/Ens., Shayna/Ens
Council Members (3 male, 3 female)
MOTHER ROADby Octavio Solis
Directed by Bill Rauch
World Premiere
First rehearsal: 1/15/19 Opens: 3/10/19 Closes:10/26/19
All roles will be understudied.
This play is inspired by John Steinbeck’s The Grapes of Wrath and finds hardworking and hard-living William Joad with no blood kin to pass the family farm down to. No one, that is, until a private detective uncovers an unexpected relation: Marti?n Jodes—a young Mexican-American man descended from Steinbeck’s protagonist Tom Joad. The two men meet up at the site of the former government work camp that once housed to Steinbeck’s Joads and is now home to migrant workers like Marti?n’s mother, who lived and died laboring in the fields. Together they travel from California back to Oklahoma, reversing the Joads’ mythic journey in an epic story about land, family and survival.
MOTHER ROAD and THE COMEDY OF ERRORS will share the same nine actors, three women and six men. These doublings below are likely, but may change. Since THE COMEDY OF ERRORS will be a bilingual production, all cast members may have Spanish text at some point, but Spanish fluency is not essential for all cast members.
Martín Jodes in MOTHER ROAD and Antipholus of Syracuse/Antipholus of Ephesus in THE COMEDY OF ERRORS : A young Latinx man, 20s-30. a Mexican?American young man looking for a home.
(will involve significant text in Spanish)
William Joad in MOTHER ROAD and Duke Solinus/Ensemble in THE COMEDY OF ERRORS: An older white man from Oklahoma looking for his kin.
Mo/Chorus in MOTHER ROAD and Adriana or Luciana/Ensemble in THE COMEDY OF ERRORS: A young Latinx woman, 20s-30.. Marti?n ’s younger lesbian cousin, works the fields.
(will probably have some text in Spanish)
Amelia/Chorus Leader in MOTHER ROAD and Luciana or Adriana/Ensemble in THE COMEDY OF ERRORS: A young Latinx woman, 20s-30. Marti?n’s love, young migrant worker.
(will probably have some text in Spanish)
Roger/State Trooper/Ranch Hand/Chorus in MOTHER ROAD and 2nd Merchant/Ensemble in THE COMEDY OF ERRORS: A middle-aged or older white man: Will’s old friend. A lawyer with some PI experience.
(may have some text in Spanish)
James/Cook/Chorus in MOTHER ROAD Angelo/Ensemble in THE COMEDY OF ERRORS: An African American man of any age: Marti?n ’s cellmate in prison.
(may have some text in Spanish)
Ivy/Police Officer/Chorus in MOTHER ROAD and Emilia/Ensemble in THE COMEDY OF ERRORS. A middle-aged Latinx woman: (will have text in Spanish)
Abelardo/Ranch Hand/Chorus in MOTHER ROAD and Egeus/Ensemble in THE COMEDY OF ERRORS: A middle-aged to older Latinx man: (will have text in Spanish).
Curtis /Abelardo’s Father/Chorus in MOTHER ROAD and Dromio of Syracuse/Dromio of Ephesus in THE COMEDY OF ERRORS: A Native American and potentially Latinx young man, 20s-30s.(will have significant text in Spanish)
THE COMEDY OF ERRORSby William Shakespeare
A bilingual Play on! adaptation and translation by Luis Alfaro
First rehearsal: 3/19/19 Closes:10/26/19
Directed by Bill Rauch
All roles will be understudied.
The cast of The Comedy of Errors, which will be shared with the world premiere of Octavio Solis's Mother Road, will perform Alfaro’s bilingual adaptation without sets and with minimal costuming and props at community venues throughout the region in the summer, and performances will be held on the OSF campus later in the season.
INDECENTBy Paula Vogel
Directed by Shana Cooper
American Revolutions
First rehearsal: 5/7/19 Opens: 7/7/19 Closes:10/26/19
All roles will be understudied.

Indecent is a love story and a celebration of the Yiddish language, literature and the way art can change lives. It’s also a glimpse at Jewish American history in the first half of the 20th century and an examination of what is “Jewish” and what is “American”—all inspired by the real-life controversy surrounding the play God of Vengeance by Sholem Asch, which was produced on Broadway in 1923 and led to the original cast being arrested for obscenity.

All actors will need to learn multiple accents and languages (German & Yiddish), and possess strong singing and dancing skills. The dance/music exists in a world of cabaret as well as music that is specific to the Jewish culture. Jews come from all different racial and cultural backgrounds. Jewish representation will reflect this range and diversity of background.

The Stage Manager, Lemml (30s – 50s): The heart and soul of this theater. A man for whom theater becomes his religion. An outsider. From a little shtetl outside Balut. Was a tailor who had never seen a play before he became a stage manager because he fell in love with The God of Vengeance.
The Ingenue (female, mid 20s – early 30s): Rifkele (“the daughter” in The God of Vengeance - full of life and sensuality – 17 years old, innocent.), Madje (Asch’s wife: passionate, strong, playful but also can be vulnerable), Ruth/Reine (actress in the troupe from the old country – never learns English – in love with Dorthee), Virginia (young American, sheltered, auditions for the play to shock her parents), Chana, Elsa,
The Ingenue (male, mid 20s – early 30s): Asch-- Brilliant Polish Jewish playwright. Fierce, passionate, intellectual. Morris Cornovsky, Eugene O’Neil (a drunk provocative artist), Avram, John Rosen.
The Middle (female, early 30s – early 40s): Manke (“the prostitute” in The God of Vengeance - passionate, sensual, emotionally potent), Dorthee/Dein (actress in the troupe from the old country - works harder to assimilate in America - in love with Ruth), Doctor, Halina. Claire Waldorff, Freida.
The Middle (male, mid 30s – late 40s): Nakhmen (sarcastic joker of art salon in Poland), Harry Weinberger (big Broadway producer with a personality to go with it. Rabbi Joseph Silverman (Pilar of his community – gives a great sermon – can be serious but also make a joke or two along the way), Mendel, Officer Benjamin, Bailie, Abraham, Cahan.
The Elder (female, late 40s – mid 60s): Sarah (“the mother” in The God of Vengeance, Mrs Peretz, Vera – The matriarch of the theater company in action and in the roles she plays., Esther Stockton,
The Elder (male, late 40s – mid 60s): Yekel (“the father” in The God of Vengeance – has a violent temper), Peretz (respected host of the art salon in Poland), Schildkraut (lead actor of the troupe – a giant of the European stages), Bartender, Otto.
Featuring songs by Dengue Fever
Directed by Chay Yew
First rehearsal: 1/22/19 Opens: 3/9/19 Closes: 10/27/19
All roles will be understudied.
Featuring songs by Dengue Fever, this comedy-mystery-rock concert hybrid explores the legacy of the Khmer Rouge genocide through the music- filled story of a Cambodian American woman and her father, who for the first time in 30 years returns to the country he fled.
Chum—Male, 51 & 18, Cambodian. Must sing and play guitar.
Neary--Female, 26, Cambodian American. Lead singer of a rock band. (also plays SOTHEA),
Ted--Male, 25, Thai Canadian (also plays a CADRE, LENG). Must sing and play guitar.
Duch--Male, “ageless”, Cambodian.
Rom-- Male, a rock drummer and singer, 20s-30s, Cambodian (also plays JOURNALIST)
Pou-- Female, musician, F, 20-30’s, Cambodian.
Directed by Eric Ting
World Premiere/American Revolutions
First rehearsal: 2/27/19 Opens: 4/7/19 Closes:10/27/19
All roles will be understudied.
An intergenerational story of familial love, loss, connection... and how life begins “between two knees.” The story spans historical events like the massacre at Wounded Knee, forced reeducation via boarding schools, all of the World Wars so far, the Civil Rights Movement, Vietnam (the war, not just the country) and of course, is bookended by the 1973 takeover at Wounded Knee. Also, it’s funny.
Isaiah (Native man) 20-40, fit, handsome father/warrior archetype, grows to grandpa.
Larry (Native man) 20-50, fitness ambivalent, shifty, erratic and off, does not age.
William/Eddie (Native man) 20-40, fit, handsome warrior archetype, cocky.
Col. Forsyth/Priest/Ens. (White man) 30-60
Irma (Native woman) 20-40, stout, stern, mother/warrior, grows to grandma.
Irene/Bung’s wife (Native woman) 20-40, caring, smart, army nurse, single mother, revolutionary.
Two Ensemble roles (ethnicity, age & gender open)
HOW TO CATCH CREATION by Christina Anderson
Directed by Nataki Garrett
West Coast Premiere
First rehearsal: 6/4/19 Opens: 7/27/19 Closes: 10/26/19
All roles will be understudied.
In Anderson’s poetic exploration of the universal act of creation—of life, of family, of art—a black, queer, feminist writer’s life is changed in the 1960s when her girlfriend tells her some unexpected news. Decades later, the implications of that moment still echo in the lives of four individuals in this new play exploring family, connection, parenthood and the right to start over.
GRIFFIN – late 40s, Black American man. Compassionate, considerate, and intelligent. Has a sense of humor. It’s been a year since he was exonerated from prison after serving 25 years. While serving time he read a great deal and discovered works written by Black women. While in prison he became a Black feminist.

TAMI – early 40s; Black American woman. Queer. Very quick wit. Smart. A painter. She’s an academic who runs the painting department at an arts conservatory. Met Griffin when they were both teenagers. She has stayed close with him throughout the years and has been his family for a long time. She can be a bit cynical, but still compassionate. Dates and meets women, but hasn’t let herself fall in love for a very long time.

RILEY – late 20s, Black American woman. Queer. Also very quick wit. Smart. A go-getter. She’s into computers and technology. Works at a boutique tech repair shop. Often sees the world in black and white. Stokes’s partner.

STOKES – late 20s, Black American man. He often leads with his heart. Genuine. Reflective. Smart. A painter who’s disconnected from his art. Riley’s partner.

G.K. MARCHE– (pronounced “mar-shay”) – early 30s & early 80s, Black American woman. Queer. A writer. Partners with Natalie. As a younger woman G.K. is charming, playful but focused (obsessed?) with her commitment to writing. When she’s in her 80s, she’s joyful, gives and receives love easily. The performer should have a timeless quality. Plays G.K. in the 1960s, 1980s, and present day.

NATALIE – early 30s; early 50s, Black American woman. Queer. Seamstress, tailor, clothes-maker. Compassionate. Hard worker. She doesn’t identify as an artist but there is an art to the care and skill she puts into her work. Has a hard time expressing her feelings and wants. Smart. Endearing. G.K.’s partner.

MACBETHby William Shakespeare
Directed by José Luis Valenzuela
First rehearsal: 3/26/19 Opens: 6/7/19 Closes:10/11/19
All roles will be understudied.
Lady Macbeth
Lady Macduff
The Three Witches
King Duncan
ALICE IN WONDERLANDby Eva Le Gallienne and Florida Friebus
Adapted from Lewis Carroll
Directed by Sara Bruner
First rehearsal: 3/26/19 Opens: 6/8/19 Closes:10/12/19
All roles will be understudied.

White Rabbit
Fish Footman
Frog Footman
Cheshire Cat
March Hare
Mad Hatter
Queen of Hearts
King of Hearts
Knave of Hearts
Mock Turtle
Red Queen
Train Guard
Gentlemen Dressed in White Paper
White Queen
White Knight
Pack of Cards (Clubs, Spades etc.)
ALL’S WELL THAT ENDS WELLby William Shakespeare
Directed by Tracy Young
First rehearsal: 3/26/19 Opens: 6/9/19 Closes:10/13/19
All roles will be understudied.
King of France
Duke of Florence
Countess of Rossillion

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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