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Send To
SALOME / NYC Appointments/ AEA Submission
LAURA STANCZYK CASTING
1674 BROADWAY, STE 703
NEW YORK NY 10019
Email
interns@lscasting.org
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Contract
LORT Non-Rep
$619 and $812/week minimum (see OTHER section)
Seeking
NYC Auditions in April by appointment only.
Seeking submissions from AEA members only.
In order to be considered, AEA members must submit him/herself directly via instructions listed in this notice ONLY.
See breakdown
Other Dates
Experimental Theatre Lab dates: 5/3 – 5/11
1st reh: 9/1/15. 1st preview: 10/6. Opens: 10/13. Closes: 11/8.
Possible Extension to 11/15
Email or mail picture and resume ASAP for consideration
Indicate Role you are submitting for.
Personnel
Artistic Director: Michael Kahn
Playwright: Yael Farber
Director: Yael Farber
Casting: Laura Stanczyk Casting
Other
Salary notes:
During Experimental Lab run: $619/week
During regular production: $812/week
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Breakdown
NOTE: Salome is an adaptation of the story of Salome, King Herod the Great and John the Baptist encompassing sources ranging from the Bible to Oscar Wilde’s play of the same name. This rendering of the story is much closer to the biblical, bronze-age telling than the Victorian idea dramatized by Oscar Wilde. Yael Farber who’s recent acclaimed production of Arthur Miller’s THE CRUCIBLE appeared at The Old Vic in London, will be adapting and directing the production.
Salome will be a highly physical production. Formal dance training is not required but an intrepid level of physical intelligence, curiosity and willingness is crucial. There may be nudity required in the production of all performers. Languages in addition to English will be a benefit but not required.
The Experimental Theatre contract will not carry a ROFR for the production but it is our hope and intention to use the same company for both processes. If an artist is not available for both, please let us know.
SEEKING:
KING HEROD
To play Mid 50s or older. Stepfather and Uncle to Salomé. A powerful presence physically, sexually, intellectually. Dominant alpha male. Ruthless. Determined to crush political opposition or any form of challenge. Obsessed with Salome (his dead brother’s child). If not already involved with her incestually, certainly planning it. A knowledge of Hebrew / Arabic or Latin is ideal but in no way a requirement. This is NOT Oscar Wilde or Andrew Lloyd Weber’s Herod but a powerful, sexual, obsessive tyrant.
SALOME
To play early to mid 20’s. Dark and strikingly beautiful (though not in a traditional Western sense of the word). SALOMÉ has a deeply haunted and haunting quality about her. Her despair is deep, but she wears it without self-pity. She is royal in a court that does not recognize her as legitimate –valued only for her beauty. Highly intuitive, intelligent, can be scathing but is also achingly vulnerable when her guard drops, and her sadness becomes evident. She is capable of great rage, grief – as well as sensuality and a childlike yearning. Mesmerizing to watch. Powerful stage presence is crucial. Movement/dance background is essential to this role. So too is the capacity to play great emotional intensity. Ideally this actress is fluent in a language besides English. Hebrew/ Arabic/ Aramaic are ideal but not required.
NAMELESS WOMAN
To play 50’s – 60’s. The older self of SALOMÉ. She is now a woman in her 50s or older. She is powerful, statuesque, untamed. The actor should have exceptional stage presence – in both stillness and movement – and a rich vocal capacity, since she carries significant portions of text while seated or in stillness, observing. This is a highly -accomplished stage performer, who can carry nuance, power and detail of narrative.
THE SINGER
To play late 20’s – 40’s. A woman who scores/underscores and accompanies the action of the play. In the style of Yasmin Levy, she can carry in her voice a sense of ancient grief, passion and play. Stylistically combining the influences of Ladino and Flamenco music. This performer is integral to the action of the play and will be involved in the entire rehearsal process on a visceral level.
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