Palm Beach Dramaworks 2019-20 - NYC EPA|
Palm Beach Dramaworks
Tue, May 21, 2019
9:30 am - 5:30 pm (EDT)
Lunch 1 to 2
SPT SPT 10; $747
Equity actors and singers for various roles in the 2019-20 Season. See breakdown.
Prepare EITHER: 1) Two brief contrasting monologues; OR 2) a one minute monologue and a brief legit theatre selection in the style of the show (bring sheet music in your key), If you wish to be considered for a specific role, you may also sing from the score.
TOTAL AUDITION TIME NOT TO EXCEED 2 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)
EPA Procedures are in effect for 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.
Palm Beach Dramaworks – 2019-20 Season
A Streetcar Named Desire
by Tennessee Williams
J. Barry Lewis, Director
1st Rehearsal: September 17, 2019
Runs: October 11 - November 3, 2019
Blanche Dubois – Female, late 20s – late 30s; Refined, complicated, delicate, she has beautiful manners, a love of the arts and all thing beautiful and elevated. A fading southern belle, she ended up back on the crumbling family plantation after a disastrous early marriage and became a schoolteacher. After the last relative died, she lost the family estate and was left completely impoverished and alone. She prefers magic and illusion to the reality of her life, has a hazy relationship with the truth and often disappears into flights of fancy. She has lived a relentlessly hard life, filled with loss and pain, and she’s starting to crack. She has arrived on her sister Stella’s doorstep in a very downscale part of New Orleans, penniless, after being chased out of her last teaching job for seducing a student. This is her last chance at happiness and she is determined to find it.
Stanley Kowalski – Male, late 20’s-late 30s; working class, charismatic. Crude, highly sexual and loves the basic pleasures of life, including bowling and poker with his friends. He is earthbound, coarse and ill-mannered at times. Unpredictable, he is prone to random fits of temper and violence. Ambitious and driven, he has worked his way up from assembly line worker to selling auto parts. He is fiercely in love with Stella, highly irritated but also fascinated by Blanche, who is his complete opposite in many ways, but not all. He has no patience with her games and her spinning of the truth, and ends up raping her.
Stella Kowalski – Female, late 20s-late 30s; Blanche’s attractive younger sister, born into the same fading aristocratic southern family but she escaped into the arms of Stanley. Although he is not her social equal, she is madly in love with him and they have a strong physical connection. She is pregnant with their first child. She is grounded; much sturdier, more adaptable, and more down to earth than her older sister. She looks up to her beautiful older sister Blanche, and feels guilty about leaving her behind to care for their family and property.
Harold “Mitch” Mitchell – Male, 30s-early 40s; Solid, working class, Stanley’s poker buddy. He is kind, if a bit thick and rough around the edges, and has an essentially gentle spirit. He falls in love with Blanche. He is very tied to his dying mother, who would like him to settle down with a woman before she dies. He is salt of the earth, loyal and would be a good provider. Blanche sets her cap for him, but when Stanley informs him of her less than pure past, he rejects her.
Eunice Hubbell – Female, 30s-40s; Blanche’s landlady and friend, knowing, earthy, tough, she keeps the place running and is constantly fighting with her husband. Big, generous spirit, she helps Stella with figuring out how to handle Blanche.
Steve Hubbell – Male, 30s-40s; 2-3 scenes, Working class, Stanley’s poker friend, Eunice’s husband, loud and boisterous, likes a good joke. He and Eunice are constantly bickering about various domestic issues and his wandering eye. Helps sober up Stanley after he hits Stella.
African American Woman – Female, 30s - 40s; 2-3 scenes, 4-5 lines, Hearty laugh, also tough, she is a neighbor, Eunice’s friend and amused fellow observer of the Dubois family drama.
Mexican Woman – Female, 50’s-60s, Haunted look, 1 scene, tries to sell flowers for the dead to Blanche. Her lines are in Spanish.
Pablo Gonzales – Male, 20s-30s; 2-3 scenes, working class, Stanley’s poker friend, funny and earthy, helps sober up Stanley after he hits Stella.
A young Collector – Male, 18-22; Innocent, pure and fresh look, 1 scene, comes to Blanche’s door to collect money for the local paper, and Blanche almost seduces him…
Strange Woman (Nurse) – Female, 40s-60s; 1 scene, no-nonsense nurse from the insane asylum who comes to pick up Blanche at the end of the play, and insists on using a straitjacket.
Strange Man (doctor) – Male, 40s-60s; 1 scene, sympathetic, kindly doctor from the insane asylum who escorts Blanche out of the Kowalski’s, sans straitjacket, at the end of the play.
by Joseph McDonough
Bill Hayes, Director
1st Rehearsal: November 15, 2019
Runs: December 6 - December 29, 2019
Tillie Berg/Molly Goldberg – Female, 50-65; Jewish character, plays the lead on the show, Molly Goldberg, as well as Tillie, the actress portraying Molly. Tillie created the enormously popular show and writes each script, including the cleverly interwoven advertising for various product sponsors. She is a pioneering powerhouse, no doubt battling both sexism and antisemitism to get where she is. She is smart, funny scrappy and has lots of integrity. She doesn’t like secrets and is honorable and above board, unlike the executives she deals with. When told she must fire cast member Philip Loeb for being a communist, she initially refuses, ends up doing it and loses her show anyway. The suits consider the show too ethnic “Jewish” and old-fashioned. Precast
Phil Loeb/Jake Goldberg – Male, 50-65; Jewish character, plays Molly’s husband, Jake Goldberg on the show, as well as the actor playing Jake, Phil Loeb. Warm, funny, always joking and laughing with the rest of the cast; sweet, gentle—he is a mensch. Phil is accused of being a communist sympathizer by a sponsor, and is ordered to be fired. Phil is the sole support of his mentally ill son, as well, and the eventual loss of his job leads to tragic consequences.
Fannie Merrill/“Mrs. Kramer” – Female, 50-60; Plays Mrs. Kramer, the nosy neighbor on the show, as well as the actress playing her, Fannie Merrill. Fannie looks up to Tillie, and is very loyal and appreciative of her job. Smart, savvy and level-headed, she functions as a trusted adviser to Tillie, and in addition to acting, is heavily involved in all aspects of producing The Goldbergs.
Eli/“Uncle David”/NBC executive/Cardinal Spellman - Male, 40s 50s; Plays Uncle David on the show, as well as the actor playing him, Eli. Eli is high energy; quick, kind of a smartass, and loves to tell stories. Also plays the shrewd, opportunistic Cardinal Spellman, so should have some gravitas AND a weasel-ish television executive who rejects the Goldbergs.
Walter Hart/Roger Addington/Frank Stanton/Cutlery Sponsor/Diner Owner – Male, 30s-50s; Plays several hard charging Corporate sponsors of the Goldbergs, who all bail on the show, due to Phil Loeb’ s supposed communist ties, as well as Walter, the show’s frazzled but devoted director and a friendly mid-western the diner owner who waits on Tillie after she end up in a touring production of The Matchmaker.
By David Hare
Actors should prepare an English accent for the audition.
Bill Hayes, Director
1st Rehearsal: January 14, 2020
Runs: February 7 – March 1, 2020
Kyra Hollis – Female, 25-35; Raised in affluence and well educated, she has escaped that life to be a schoolteacher in a London slum, possibly as penance for deeply held guilt or possibly as a way of discovering her own identity; now more confident, calm and centered than ever before, her new sense of self is about to be put to the test.
Tom Sergeant – Male, 45-55; A self-made highly successful restaurant entrepreneur; charismatic, funny, aggressive, physical, commands a room, a man’s man that is used to getting his way; he believes he is fully responsible for his success and in control of his own fate (and sometimes of those around him). Precast
Edward Sergeant – Male, (actor 18+ to play) 18; Tom’s son, he’s a young man in search of his own identity and a path of his own; a mixture of Kyra’s and Tom’s personalities, he’s desperate to make sense of the world while not asking for help; his dialect is more that of Kyra’s, but has the flourishes of Tom’s.
The Light in the Piazza - Musical
by Craig Lucas and Adam Geuttel
(Based on the novella by Elizabeth Spencer)
Bruce Linser, Director
1st Rehearsal: March 10, 2020
Runs: April 3 - April 26, 2020
Many of the lyrics are in Italian or broken English as many of the characters are fluent only in Italian.
Margaret Johnson – Female, 40s-50s; An elegant, self-possessed, practical, and proper Southern woman; contained and controlled yet warm and appealing with a dry, self-deprecating sense of humor and a deeply romantic and secret yearning underneath; keeps her heart in a box; Southern accent; vulnerable actor with a strong legit soprano voice, G below middle C up to G#5.
Clara Johnson – Female, 26; Margaret’s daughter; an impulsive, naïve, romantic, keenly curious, highly sensitive, and easily provoked Southern girl who seems younger than her age due to a developmental disability; classic American beauty; wears her heart on her sleeve; Southern accent; spontaneous actor with a strong legit soprano and belt/mix voice, A3 to high A5.
Roy Johnson – Male, 40s-50s; Margaret’s husband; a contained, controlled, efficient, practical, proper, and impatiently abrupt though not unkind Southern gentleman; emotionally unavailable and cool; has a tight heart and a tight smile; Southern accent; austere actor with a strong legit baritone voice; also doubles as Ensemble.
Signor Naccarelli – Male, 40s-50s; A warm, free, open, and amiable Italian gentleman with a smooth, affable ease and amused charm which could be perceived as slick; also has a temper and can be strict when he needs to be; speaks English very well and must also be able to speak fluent Italian with an authentic Italian dialect; confident actor with a strong legit baritone voice to G5.
Signora Naccarelli – Female, 40s-50s; Signor Naccarelli’s wife; a warm, open, amiable, dutiful yet strong and watchful Italian woman; not unlike Margaret only freer; must be able to speak fluent Italian with an authentic Italian dialect; likeable actor with a strong legit soprano voice to C6.
Fabrizio Naccarelli – Male, 20; The Naccarelli’s youngest son; dazzlingly handsome, charming, earnest, impulsive, dramatic, deeply emotional, and hopelessly romantic young Italian boy; innocent, pure, and sweet yet wants to seem more sophisticated than he is; wears his heart on his sleeve; knows very little English so must be able to speak fluent Italian with an authentic Italian dialect; engaging actor with a strong lyrical tenor voice to B5.
Giuseppe Naccarelli – Male, 20s-30s; The Naccarelli’s eldest son; a handsome, charming, impetuous, hen-pecked Italian playboy; not the brightest bulb; desperately trying to hold onto his youth while still being the adult he’s expected to be; must be a strong mover who is able to speak fluent Italian with an authentic Italian dialect; enterprising actor with good comic timing and a strong legit baritone voice to G5.
Franca Naccarelli – Female, 20s-30s; Giuseppe’s wife; a woman scorned; fiery, passionate, strong-willed, sexy, and unabashedly direct Italian woman with a deeply caring and romantic streak; must be able to speak fluent Italian with an authentic Italian dialect; fervent actor with a strong legit soprano voice to F6.
Ensemble – 30s-50s; Various types to play tourists and citizens of Florence; versatile ensemble actors with strong legit voices.
by Kenneth Lonergan
J. Barry Lewis, Director
1st Rehearsal: April 28, 2020
Runs: May 22 - June 7, 2020
Jeff – Male, 20's; A uniformed security guard in a Manhattan high rise. A glib, talkative, wisecracking slacker hoping to get his life together despite his history of underachievement and lack of real drive or ambition. His goals are modest, get his own apartment, find a girlfriend, and he is somewhat shy and quirky. He has a big crush on Dawn, and to impress her, inadvertently betrays the trust of his mentor William.
William – Male, late 20’s-30s; African American. Jeff's uniformed supervisor. A hard working, ambitious, upstanding man with a strong moral code, he values discipline and self-improvement and is wound a bit tight. He considers the wayward Jeff a “project”, and takes him under his wing. His moral compass is tested when his brother asks him to be his alibi for a heinous crime that his brother may or may not have committed.
Dawn – Female, 20's; Bill's working class, attractive, rookie partner trying to navigate her way on a male dominated force. Tough, enthusiastic, but green and still making her bones, she has already gotten herself in trouble for using way too much force on her first collar. Her married partner Bill is her role model as well as her lover. When she finds out he is sleeping with yet another woman outside his marriage, she turns on him.
Bill – Male, 30s; A uniformed policeman. A cocky, self-assured and smoothly superior veteran, he makes his own rules and is a dominant, charismatic personality. He is used to getting away with bad behavior in his personal life, but is actually a good cop, not too rigid or hard-nosed, and adept at working within various communities. Married, but having an affair with Dawn, as well as one of the residents in Jeff’s building.
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.