Syracuse Stage
CONTRACT
LORT Non-Rep $990 weekly minimum (LORT D)
SEEKING
Equity actors for roles in THE PLAY THAT GOES WRONG (see breakdown).
Bass/Valle Casting encourages people of all races, ages, ethnicities, abilities and gender identities to apply.
All performers must be fully vaccinated against COVID-19 as defined by the CDC (i.e., more than 14 calendar days following receipt of a final dose of an FDA or World Health Organization authorized or approved vaccine) by 03/01/22. Any actor requiring a medical or religious exemption must provide written documentation for the exemption during the hiring process
INSTRUCTIONS
Please send headshot and resume for consideration.
Deadline: Thu, Jan 20, 2022
SUBMIT TO
PERSONNEL
Director: Robert M. Hupp
Writer: Henry Lewis, Jonathan Sayer, Henry Shields
Casting: Bass/Valle Casting
Casting Directors: Harriet Bass and Gama Valle (viewing auditions)
OTHER DATES
Callbacks: 01/28/22 & 01/29/22 (in person)
First Rehearsal: 03/15/22
First Preview: 04/13/22
Opening: 04/15/22
Closing: 05/01/22
OTHER
SYNOPSIS: Winner of London’s Olivier Award for Best Comedy and a New York Times best pick for comedies, The Play That Goes Wrong follows in the grand tradition of plays that go farcically awry. As the Cornley Drama Society attempts to perform a 1920s murder mystery, sets malfunction, lines are dropped and corpses won’t stay still. Such fun. Laughter for the sheer joy of laughter.
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
SEEKING:
No roles will be understudied.
NOTE: ALL roles are open to actors of all races and ethnicities. We are looking to assemble a diverse cast. British dialect required. Physical comedy experience is essential.
TREVOR- he/him/his, 25 to 40, any race/ethnicity, he is the play’s lighting and sound operator. Trevor could be a burly guy. 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. NOTE: British dialect required. Physical comedy experience is essential.
ROBERT/THOMAS COLLEYMORE- he/him/his, 25 to 40, any race/ethnicity, he does not feel bad when things go wrong and never learns from his mistakes. Large voice, large presence. Wants to be Richard Burton, as evidenced by his presentational style. But he’s not a parody of a bad actor, just unaware of others around him. NOTE: British dialect required. Physical comedy experience is essential.
MAX/CECIL HAVERSHAM/ARTHUR- he/him/his, mid 20’s to early 30’s, any race/ethnicity, has never been onstage before. He is in his mid to late 20’s among the younger members of the troupe. Childlike and naïve. His mistakes are fundamental. He doesn’t think anything through. He learned his lines and does exactly what he’s told to do. He has zero connection with any of the actors, but when he gets a laugh he breaks the fourth wall and engages with the audience. NOTE: British dialect required. Physical comedy experience is essential.
SANDRA/FLORENCE COLLEYMORE- she/her/hers, 25 to 40, any race/ethnicity, is vain and has a huge ego. She wants to be loved. She 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). The stakes are high for her. NOTE: Very physical role. British dialect required. Physical comedy experience is essential.
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.
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