Palm Beach Dramaworks 18-19 Season - NYC EPA|
Palm Beach Dramaworks
Tue, May 22, 2018
9:30 am - 5:30 pm (EDT)
Lunch 1 to 2
SPT SPT10; $747/week
Equity actors and actor/singers for various roles in the upcoming season.
Performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, are strongly encouraged to attend.
Please prepare two 1-minute contrasting monologues. For those interested in The Spitfire Grill, be prepared to sing one song of choice (bring sheet music; an accompanist will be provided), and a monologues. Total audition time for all not to exceed two minutes. Bring picture and resume.
Actors' Equity New York Audition Center
165 W 46th St
New York, NY 10036
William Hayes, Producing Artistic Director (expected in attendance)
performance schedule: wed-sun wed 2pm and 7;30pm thurs 7:30pm friday 8pm sat 2p and 8p sun 2pm and 7:30p
EPA Procedures are in effect for this audition.
An Equity monitor will be provided.
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.
By Paula Vogel
Directed by J. Barry Lewis
1st reh: September 25th, 2018
Runs October 19th-November 11th, 2018
opens oct 19th
Lemml, male, 30s-40s, plays the stage manager of the play within the play, “God of Vengeance”, and the narrator who takes us through its long and complex journey of productions.
Chana, female, 20s-early 30s, ingénue, plays Rifkele. Young, fresh she lives upstairs from her father’s brothel in 19th century Poland and falls in love with Halina, a slightly older prostitute from the brothel.
Avram, male, 20s-early 30s, ingénue, plays the young Simon Asch, who is the playwright of the controversial “God of Vengeance”.
Halina, female, late 30s-40s, the middle, plays Manke, the slightly older prostitute who lives downstairs and falls for Rifkele, the boss’s daughter.
Mendel, male, late 30s-40s, the middle, plays harry Weinberger, the producer who brings “The God of Vengeance” to Broadway.
Vera, female,50s-60s the elder, plays Sarah, Yekel’s wife and Rifkele’s mother as well as multiple other roles.
Otto, male ,50s-60s, the elder, plays yekel, the owner of the brothel and Rifkele’s father.
Note: With the exception of Lemml, all company members play at least one primary role and multiple small roles. The entire ensemble must be energetic, transformational, move well, have strong singing voices and be comfortable speaking with Yiddish and German accents.
HOUSE ON FIRE
By Lyle Kessler
Directed by William Hayes
1st rehearsal November 6th 2018
Runs December 7-December 30, 2018
opens dec 7
Colman, late 20s-30s, male, working class inner city Philadelphian. The prodigal son newly arrived home after 10 years. Wary of his abusive, manipulative and hard charging father. Left home and hit the road to escape the early death of his mother and his abusive father. Bold, brazen extrovert—he is making his own way in the world included committing some petty and not so petty crimes and has done some light jail time.
Dale, late 20s-late 30sm male, Colman’s twin brother. Stayed home and became the family caretaker. Much more quiet and introspective than his brother and has become practically a recluse in the intervening years. Has taken to compulsively writing stores in the hours that he is not stuck working the counter of the family newsstand and has become very isolated.
Old man, 50s-60s, male, tough, working class, with an overpowering personality. He pretends to be dead on the couch in order to lure his Colman home after all of these years. He’s a womanizer, verbally abusive and is obsessed with baseball as a game and a metaphor. Competitve, manipulative and determined to have his way at all times. Doesn’t back down and refuses to surrender, whatever the stakes at hand. He drove his wife into an early grave and his favorite son out of the house.
Noah, 30s-40s, male, a sociopathic grifter and thief Colman attached himself to in a vulnerable moment. They’ve done “jobs” ie committed various together over the years. Noah has turned out to be more dangerous and violent than Colman even knew. He shows up at Colman’s family house in Philadelphia with
Lane, late 20s-30s, intense, attractive in a quirky way and believes in magic. May or may not be pregnant by Colman. Although enmeshed in the criminal life of Noah and Colman, she has a big heart and a bigger imagination, and is a brilliant safecracker.
THE SPITFIRE GRILL
Music and book by James Valcq , Lyrics and book by Fred Alley
Directed by Paul Stancato
1st rehearsal jan 8, 2019
Runs feb 1-feb 24th, 2019
Percy Talbott, 20s, female, pretty if a bit rough edged, her face declares the strength of her youth and a sadness beyond her years. Her accent has a southern Appalachian cadence. Strong folk/country belt to D, some head voice required.
Hannah ferguson, female, 60s plus, a tough skinned and flinty old bird with a short, no-nonsense manner bordering on the bitter. MEzzo/alto chest range.
Shelby Thorpe, 30s, female, a plain, soft faced creature with a shy, almost ethereal manner. Shimmering folk soprano with a strong high belt to D.
Caleb Thorpe, 40s, male, out-of-work foreman of the stone quarry. frustrated working man clinging to the past. Solid folk/rock voice with an edge (top G)
Sheriff joe sutter, 20s-30s,, male A young, small town policeman with an appealing intensity and a restless nature. Strong folk tenor to a G (touches an A).
Effy Krayneck, 50s, female, Postmistress and busybody. A sour-tongued and suspicious woman. Solid singer in mezzo/alto chest range. Carries close harmony.
The Visitor, male, 40s, a mysterious figure who never speaks. An actor with powerful eyes and a strong sense of his body.
all characters speak in standard mid-western speech, without countrified intonations
By August Wilson
Directed by William Hayes
1st rehearsal march 5, 2019
Runs march 19th-april 21st, 2019
opens march 19th
Troy maxson, African American, 50s, former negro league baseball player. Been knocked around by life and wrestles with many demons but always tries to do the right thing. Has a good but grim sense of humor. Solid, everyman whose trying to provide for his family and keep himself together as well. Has some blind spots though, and doesn’t always make the healthiest choices for himself or his family.
Jim Bono, African American, 50s male, Troy’s loyal friend, fun, likes to party and hang out. Although he admires Troy greatly and is a kind of acolyte to him, he does warn Troy about the consequences of betraying Rose with another woman.
Rose, African American, 40s-50s Troy’s wife, highly intelligent, loyal, tolerates Troy’s occasional drinking, but when he betrays her with alberta she struggles. Cooks, cleans, offers strong foundation for her son, stepson, brother in law and her husband’s love child. she knew her options were limited as a black woman and ultimately appreciates Troy’s loyalty, flawed as it is.
Cory, African American, 20s, male, Troy and Rose’s son,working in the a& p and recruited by a college football team. Troy is set against it, and won’t let him go.
Lyons, African American, 30s male,Troy’s oldest son by a previous marriage. A bit of a ne’er do well and an operator and is a bit slick. He fancies himself a musician and tends to drop by home only when he needs to borrow money.
Gabriel, Troy’s brother, African American, male, 50s, has a metal plate in his head from wwii. Thinks he’s the archangel Gabriel. He roams the streets and sells discarded fruits and vegetables to the occasional passerby.
Raynell, African American, 7 years old, Troy’s daughter with his mistress Alberta. Rose ultimately takes her in and raises her as her own child.
THE HOUSE OF BLUE LEAVES
By John Guare
Directed by J. Barry Lewis
1st rehearsal 4/23/19
Runs may 17-june 2nd, 2019
opens may 17
The play is a black comedy set in Queens, NYC in the mid to late 1960s during the Pope’s historical visit, which is at the height of the Vietnam War.
Artie Shaughnessy, male, 40s zookeeper and compulsive wannabe songwriter, trying to get his songs to his Hollywood friend Billy so Billy can use them in his films. He has stuck by his wife through her various breakdowns, and is determined to seize happiness with a new woman and a new career writing music for the movies. Some light piano playing ability helpful.
Ronnie, male, to play 18, artie and bananas’ wacked out son. AWOL from the army, he has a homemade bomb and is planning on blowing up the pope.
Bunny flingus, female, late 30-40s, artie’s sexy, voluptuous and dishy mistress. A legendary cook, artie has fallen for the promise of her various specialties. Which she won’t cook til he has truly left his wife. She’s all aglow over the pope’s visit to nyc.
Bananas, female, late 30s-40s, lives in her nightgown, has had various mental breakdowns in recent years and is heavily medicated off and on. Prone to fits of hysteria and complete psychotic breaks, but then can make total sense. She is quite shrewd and there seems to be a method to her madness.
Billy, male 40s, Artie’s childhood friend and now a bit flashy. He’s made it big in Hollywood as film director. He arrives back in nyc to identify Corinna’s body.
Corinna, 20s, an attractive Hollywood starlet, she had an accident on the set of Billy’s last film and is now completely deaf. She ends up at Artie’s apt in NYC and dies when Ronnie’s bomb accidently goes off.
3 nuns, females, can be 20s-50s, they arrive in nyc for the pope’s historic visit. They end up on the roof of Artie’s building and one or two die when Ronnie’s bomb goes off.
Man, 20s-40s, wears medical whites. comes to take Bananas to the mental hospital again. 1 scene.
Military Policeman, 20s-40s, comes to arrest Ronnie for going awol, 1 scene.
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.