THEATER AT MONMOUTH 2020 SEASON - Theater at Monmouth Auditions

Posted: November 6, 2019

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Theater at Monmouth 2020 Season - Monmouth ME EPA

Theater at Monmouth

AUDITION DATE

Mon, Dec 09, 2019
10:00 am - 6:00 pm (EST)
Lunch 1:30 to 2:30

APPOINTMENTS

AEA members may request an appointment for Monmouth, Maine auditions. Email: boxoffice@theateratmonmouth.org. Call 207.933.9999 between 10:00 a.m. and 4:00 p.m. Monday - Friday.

CONTRACT

LOA anticipated $480/week

SEEKING

6 AEA Actor Tracks: 2 women, 4 men, each to play various roles in the season.
See breakdown.

Seeking theatre artists who would like to join a strong ensemble company and are interested in teamwork, collaboration and artistic growth, in a creatively-charged atmosphere in a beautiful rural community in central Maine.

Performers of all ages, ethnic and racial backgrounds, and gender identification are strongly encouraged to audition.

PREPARATION

Two short, classic monologues, one of them must be Shakespeare. Note, there may only be time to audition with one piece, so prepare your best piece first. Bring picture and resume, stapled together.

LOCATION

Theater At Monmouth
796 Main Street
Monmouth, ME 04259-0385
at Custom Hall

PERSONNEL

Dawn McAndrews, Producing Artistic Director.

OTHER DATES

Summer - 6/16 is first rehearsal, 7/10 is first opening, 8/23 is closing.

OTHER

Also seeking an ASM. See separate notice on Casting Call for submission info
An Equity Monitor will not be provided. The producer will run all aspects of audition.
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.

BREAKDOWN


CYMBELINE, Director: Charlie Marie McGrath by William Shakespeare
SEASCAPE, Director: Kate Bergstrom, by Edward Albee
JULIUS CAESAR, Director: Bill Van Horn, by William Shakespeare
SOFONISBA, Director: Dawn McAndrews, by Callie Kimball
Seeking 6 AEA Actor Tracks. Each actor in the summer company plays three or four roles, and all shows are rehearsed and performed in repertory.

Woman 1: To play characters 30-50 in:
CYMBELINE—Belarius: Former warrior, still physically strong, in his youth was quick to revenge, still might hold a grudge, makes up for his sins by devotedly foster fathering the sons he stole.
JULIUS CAESAR—Portia (other doubling): Brutus’s wife, strong-willed and trustworthy, she attempts to learn about the conspiracy her husband hides from her, and then becomes anxious she will reveal what she has learned. She commits suicide upon realizing her husband’s doomed fate.
SEASCAPE—Nancy: a middle-aged woman with an immeasurable love for life, adventure, and romance. Married to Charlie. Ready for what life has to offer.

Man 1: To play characters 50-60 in:
CYMBELINE—Cymbeline: The King, once a warrior, values loyalty, punishes betrayal, quick to judge, devoted to his new Queen, makes her happy by giving her what she wants and by projecting power over his daughter, his land, and even the Romans
JULIUS CAESAR—Caesar (other doubling): Recently returned from a successful military campaign, accused of being overly ambitious, despite publicly denying the crown multiple times, easily flattered by the public’s adoration, and ignores the ill omens that foretell his assassination. Charismatic, egocentric, and intelligent.
SEASCAPE—Charlie: Charlie is Nancy’s retired middle-aged husband. Charlie fears change and wants nothing to do with adventure. He longs to fill his retirement with peace, quiet, and solitude

Man 2: To play characters 50-60 in:
JULIUS CAESAR—Decius (Other doubling): Conspirator who is able to convince Caesar to attend the Senate on the Ides of March by reinterpreting Calpurnia’s ill-omened dream to instead symbolize his success.
CYMBELINE—Caius Lucius: Roman ambassador and general, honorable.
SOFONISBA—Bishop/ Don Francisco: Bishop Espinoza. Spanish. Late 50s. His paternalism is benign and suits the time. Don Franscisco Fabrizio de Moncada Pignatelli Del Paterno.Sicilian. Around 40, though he could be older. He is the son of a prince. Tragically earnest. (Think Alan Rickman as Colonel Brandon in "Sense and Sensibility.")

Man 3: To play characters 45-55 in:
JULIUS CAESAR—Brutus: noble and idealistic, convinced by Cassius of the threat of Caesar’s ambition, driven to act for the good of the people rather than out of personal greed or malice.
CYMBELINE—Pisanio: Does faithful service to Posthumus and Imogen, honest except to the wrong-headed, a good man but fallible.
SOFONISBA—King Phillip: Spanish. In his 30s at the start of the play. A good husband, but still a king who imprisons people on the regular.

Man 4: To play characters 30-45 in:
CYMBELINE—Iachimo: Poster boy of decadent Rome, projects sexually potency, has to be the center and on top, surprisingly finds he has a conscience.
JULIUS CAESAR—Cassius: shrewd and unscrupulous, leads the conspiracy against Caesar, incredibly manipulative, yet he yields to Brutus’s counsel, which leads to disastrous results for the conspiracy.
SOFONISBA—The Fool/ Orazio: The Fool. Scottish and ageless. Orazio Lomellino. Italian. Handsome and strong.

Woman 2: To play characters 25-35 in:
CYMBELINE—Queen: Relishes her royal role, cunning, knows how to get what she wants, feigns charm, props up and advances her only son, poison is her hobby.
JULIUS CAESAR—Casca/Cinna (other doubling): Casca: First of the conspirators to stab Caesar, talkative, pompous, and ambitious.Cinna: Conspirator who urges Cassius to enlist Brutus in their cause, he then aids Cassius in deceiving Brutus with forged letters.
SOFONISBA—Sofonisba:Italian. 27 when the play starts. 47 when it ends. Court painter to King Philip II of Spain. Brilliant but modest, firm in her convictions and sense of self. As modern as she was for the 16th century, be waryof giving her a contemporary sensibility. In her position, she cannot afford sarcasm or anger. She must charm, but not too much. It is a tightrope she walks.
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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.

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