THE PLAY THAT GOES WRONG Submission - Off-Broadway Goes Wrong Limited Partnership Auditions

THE PLAY THAT GOES WRONG - EQUITY VIDEO SUBMISSIONS

Off-Broadway Goes Wrong Limited Partnership

CONTRACT

Off Broadway $1086 weekly minimum

SEEKING

Equity actors for future replacements in the Off-Broadway production of THE PLAY THAT GOES WRONG (see breakdown).

All stage management positions are currently filled.

About the show: Cornley Polytechnic Dramatic Society presents ‘Murder At Haversham Manor’, and everything that could go wrong, does. We are looking for truthful, funny, physically adept performers who can commit to the style of the play and fully inhabit the characters. It is vital to believe in the characters who are performing the play within the play, as that is where the heartbreaking comedy comes from. With that in mind, we are looking for actors with a keen ability and understanding of comedy but are able to play the truth of the scenes.

INSTRUCTIONS

Please prepare one side from https://www.dropbox.com/sh/3lkv6x66pq7zpe8/AADZFrMeQmwCJ1Tbu5FRcD-aa?dl=0 for the role you feel most comfortable with. Those interested in the role of JONATHAN should read the CHRIS side. Alternatively, you may prepare a short comedic monologue. All audition videos must be sent as a streaming link (youtube, vimeo etc). Please include your full name, and the role you are submitting for in the subject line. Deadline: Friday January 14th, 2021 at 12:00pm ET.

Deadline: Fri, Jan 14, 2022

SUBMIT TO

TPTGWcasting@gmail.com

PERSONNEL

Producer: Kevin McCollum, J.J. Abrams, Kenny Wax, Mark Bentley & Catherine Schreiber, Producers; Authors: Henry Lewis, Jonathan Sayer, Henry Shields
Off-Broadway Production Directed by Matt DiCarlo
Original Direction by Mark Bell

Viewing auditions:
Casting: C12 Casting
Casting Directors: Stephen Kopel and Carrie Gardner
Casting Associates: Sujotta Pace and Maureen Kelleher

OTHER DATES

Currently running Off-Broadway.

OTHER

Venue: New World Stages

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

All roles will be understudied.

CHRIS (Male, 25 - 35, any ethnicity) High status clown. Rigid, uptight, everything really matters. He is the director of the show and this is the biggest day of his life. Everything is riding on this. It is a nerve wracking and exciting night. His pain is evident and every time someone laughs the pain deepens. He has equal amounts of contempt for his fellow actors & the audience watching the play. RP ACCENT.

ROBERT (Male, 25 - 35, any ethnicity) Wants to be Richard Burton, as evidenced by his declamatory style. He is, however, not a parody of a bad actor. He is unaware of others around him. He does not feel badly when things go wrong and never learns from his mistakes. There is a power struggle between Robert and Chris to be president of the Cornley Poly Drama Society (a position that matters a great deal to Robert). Has real vocal power. RP ACCENT.

MAX (Male, 25 - 35, any ethnicity) He has never been on stage before. He learned his lines and does exactly what he's told to do. He has zero connection with any of the other actors, but when he gets a laugh he breaks the 4th wall and engages with the audience. Childlike and naïve. His mistakes are fundamental. He doesn't think anything through, just looks for approval. RP ACCENT.

DENNIS (Male, 25 - 35, any ethnicity) He has no real desire to be involved in the theatre, he just wants to make friends (of which he has none). He believes if he does well in the show, he will be more successful socially. Laughter from the audience is agony for him. He may be slightly oblivious but understands when he gets things wrong. The laughter is a personal tragedy/failure. RP ACCENT.

TREVOR (Male, 25 - 35, any ethnicity) The play’s lighting and sound operator. He simply wants to get on with the show. Curmudgeonly and doesn’t care for actors. He is easily distracted and does many things he shouldn’t, including engaging with the audience. When things go really sideways, he is forced to act in the play. He hates acting. STANDARD AMERICAN ACCENT.

JONATHAN (Male, 25 - 35, any ethnicity) A bit bland, but sees himself as a James Bond type. Excited and having fun, but not naïve. He technically has to drive the show. He cares about the play, but not to the same extent as the others. Very Physical role. RP ACCENT.

SANDRA (Female, 25 - 35, any ethnicity) She is vain and possess a huge ego. Wants to be loved. Has ambitions to go to Hollywood and will hurt anyone standing in the way of what she wants but is smart enough to stay on the good side of someone who can help her (like the director). You know the type. The stakes are high for her. Very physical role. RP ACCENT.

ANNIE (Female, 25 - 35, any ethnicity) The stage manager. She has the biggest journey of any of the characters. When Sandra is indisposed Annie, who cannot bear to be on stage, must step in. Initially terrified by acting, she is willing to kill for it by the end of the play. Her initial terror turns to joy, and then to fury. She starts small but grows and grows. STANDARD AMERICAN ACCENT.

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.