McCarter Theatre Center
CONTRACT
LORT Non-Rep $1008 weekly minimum (LORT C)
SEEKING
Equity actors for roles in RIDE THE CYCLONE (see breakdown).
We welcome performers of all ethnicities, gender identities, abilities/exceptionalities, and body types.
Actors of diverse cultural and racial backgrounds are encouraged to apply.
INSTRUCTIONS
SEE PREPARATION INSTRUCTIONS IN BREAKDOWN. Please submit at https://docs.google.com/forms/d/e/1FAIpQLScZ8yb1zpGgXciMCgza92Qfxg76LtSvrrPYYhW3-yEPGdWoRw/viewform
Deadline: Fri, Feb 4, 2022
PERSONNEL
Book, Music and Lyrics: Brooke Maxwell and Jacob Richmond
Artistic Director: Sarah Rasmussen
Associate Artistic Director: Nicole A. Watson
Resident Producer: Debbie Bisno
Artistic Initiatives Consultant: Julie Dubiner
Cory Dunn, Artistic Line Producer (viewing auditions)
Alexandra Haddad, Artistic Assistant (viewing auditions)
Choreographer: Jim Lichtscheidl
Music Director: Mark Christine
Choreographer: Jim Lichtscheidl
Music Director: Mark Christine
OTHER DATES
First Rehearsal – 03.29.22
First Preview – 04.30.22
Opening – 05.07.22
Closing – 05.29.22
OTHER
Personnel continued:
Scenic Design: Scott Davis
Costume Design: Trevor Bowen
Lighting Design: Jiyoun Chang
Sound Design: Andre Pluess
New York Casting: Duncan Stewart CSA of Stewart/Whitley
Casting Assistants: Darienne Orlansky, Afsheen Misaghi of Stewart/Whitley
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:
Auditioners are welcome to submit one monologue and one song, or two monologues.
Per Equity guidelines, McCarter is providing sheet music and accompaniment at https://www.dropbox.com/sh/u88qfrqswyi2d4o/AACkVf3o3zNIRHfERsMtzc6qa?dl=0 for a cut of RIDE THE CYCLONE for auditioner use, but auditioners are welcome to use their own audition music if they prefer. If using the McCarter cut, auditioners should use the accomp track for their audition and the voice tracks to learn their part
RIDE THE CYCLONE is a visually stunning musical comedy that asks “what makes a life well lived?” This musical encounters grief and loss head on, but also invites us to see each other and ourselves with new eyes. It lets us feel big feelings and encounter the mysteries and wonder of being human. This production walks the tightrope of hilarious and heartfelt. These characters have no idea they are funny. Our heroes are awkward, sometimes infuriating, and ultimately glorious teenage souls. In 90 minutes, we see them transform from stereotypical strangers into fully prismatic humans that we will never forget. The magic of that transformation is via your actor ability to remind us that through empathy, change is possible. And when we see characters change, something in us feels just a little more possible.
SEEKING:
In addition to genders listed in character breakdowns, we are actively seeking trans and non-binary performers for all roles.
Seeking understudies as well as principals.
[OCEAN O’CONNELL ROSENBERG] Female-identifying, 18+ to play late teens. Alpha female. Ocean is the self-proclaimed leader of the group, relentlessly competitive. She starts out oriented to win at any cost, but ultimately her heart breaks open to seeing the humanity in those she once saw as rivals. High Broadway mix, with a pop quality. Big range.
[MISCHA ALEXAI BACHINSKI] Male-identifying, 18+ to play late teens. Adopted from the Ukraine as a teenager. He has a thick Ukrainian dialect and a lot of rage. He is obsessed by Gansgsta Rap (an enormous fan of the auto-tune phenomena). There is a hidden, soulful romantic side. Baritenor with the ability to sing lyrical Ukrainian folk music as well as rap.
[NOEL GRUBER] Male -identifying, 18+ to play late teens. The only gay kid in Uranium. Never had a relationship. Obsessed by French New Wave cinema, he has fantasies of dying a tragic death, like a French prostitute. Intellectual, biting wit, but he doesn’t have enough hindsight or life experience to make him a snarky bitch. Tenor, with a great falsetto. Sings in the style of a French chanteuse.
[RICKY POTTS] Male -identifying, 18+ to play late teens. Lives with a degenerative disease that has left him speechless and mostly immobile. He discovers at the beginning of the play that in this strange purgatory, he has regained all of these abilities. He reveals a secret inner life in which he accesses Rockstar superpowers of charisma – think Prince or Bowie. Baritone rock voice. Basic accordion and/or tumbling a plus.
[CONSTANCE BLACKWOOD] Female -identifying, 18+ to play late teens. Comic chops, a big heart and a delightfully goofy and soulful way of seeing the world’s bittersweet wonder. Will do anything for Ocean’s friendship and allows herself to be used as a doormat. Self-deprecating, lots of pain under the pleaser façade. Dubbed “the nicest girl in town,” a title she secretly despises. Alto belt, with a rock edge.
[JANE DOE] Female -identifying, 18+ to play late teens. A mystery. Possibly the new girl at school who no one had gotten to know yet. She was decapitated in the accident, and no one claimed her body. Even though she isn’t headless in the piece (but often carries around a headless doll), the trauma of the accident leaves her discombobulated and removed. It’s like she’s learning the world anew, with some weird references from a past life. Classically trained soprano with a flexible coloratura upper range, and some grit and meat in the lower register. For JANE DOE, prepare a brief classical song with floaty top notes. If you do not have access to accompaniment you may use the song provided for Jane Doe.
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.
Videos
