THEATER J 2020-21 SEASON **REVISED Added Security** - Theater J Auditions

Posted: January 2, 2020

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THEATER J 2020-21 SEASON - WASHINGTON DC EPA

Theater J

REVISED
Due to enhanced security measures, photo ID will be required to enter to the building and bags and backpacks may be screened.

AUDITION DATES

Fri, Jan 03, 2020
9:30 am - 5:30 pm (EST)
Lunch 1 to 2

Fri, Jan 17, 2020
10:00 am - 6:00 pm (EST)
Lunch 1 to 2

APPOINTMENTS

Slots will be given in order of arrival with priority given to Equity Members, then EMC Candidates, and then NON- UNION. Appointments not taken.

CONTRACT

SPT Cat 8; $619/week minimum

SEEKING

Equity actors for various roles in the upcoming 2020-21 Season. See breakdown.

PREPARATION

Please prepare two contrasting monologues of no more than 3 minutes total. Please bring a stapled picture and resume.

LOCATION

Edlavitch Jewish Community Center of Washington DC
1529 16th St NW
Washington, DC 20036-1466
in Kay Community Hall

PERSONNEL

Associate Producer: Kevin Place (expected in attendance)

OTHER

www.theaterj.org
Roles are not understudied.

Pursuant to the terms of a concession made to this employer's agreement, the employer has agreed that any Equity member who attends this call will have an opportunity to be seen.

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

Theater J 2020-2021 Season
Washington, DC

INCIDENT AT VICHY
By Arthur Miller
Directed by Joe Calarco
First rehearsal: 9/14/20
Performances: 10/13/20-11/8/20; Wednesday at 12 and 7:30, Thursday at 7:30, Saturday at 2 and 8, Sunday at 2 and 8

In Vichy, France at the height of World War II, a group of men and a boy are rounded up under suspicious circumstances. As ominous reports of far-off camps and cattle cars packed with prisoners begin to circulate, the men battle over politics, philosophy, and how to escape.
All actors may voice Professor Hoffman (German, a scientist who is heading the operation in Vichy and conducts it with ruthless certainty) or the Boy (15; a local boy from an impoverished family; innocent, quiet, timid among this group of men) at points during the production.

Lebeau:
a painter; bearded, unkempt, hungry, a bohemian with a contempt for the bourgeoisie.

Bayard/Felix
Bayard: an electrician; serious, thoughtful, rational; an ardent socialist who sees his life as part of a larger class struggle. Also plays Felix: a guard, member of the French police force

The Gypsy/the Old Jew
The Gypsy: a local beggar and possible thief who keeps to himself and speaks only in broken language. Also plays the Old Jew: a bearded, elderly man; he never speaks, but tightly clutches a bundle and waits.

The Waiter:
a waiter at the nearby café, still wearing his apron; servile, helpless.

Marchand/Ferrand/The Major
Marchand: a businessman; well-dressed, impatient, fastidious, and entitled. Also plays Ferrand: the proprietor of the nearby café; a cheery, upbeat exterior belies his devastation beneath. Also plays The Major: an officer in the German army who has been assigned to this post recently after being wounded in battle.
Monceau: an actor; cheerful and with elegant posture, his once-stylish clothes are now frayed; a staunch optimist who cannot reconcile the current reality with his worldview.

Leduc:
a psychiatrist and officer in the French army who's been in combat; highly intelligent and perceptive as to the psychology and motivations of others; confident, forceful, decisive, and clear-eyed. This role is CAST.

Von Berg/Guards
Von Berg: an Austrian prince, Catholic; privileged, refined, well-spoken; highly values art and beauty; apolitical, but deeply sensitive, compassionate, and easily shaken.
Guards: members of the French police force.
______________________

TUESDAYS WITH MORRIE
By Jeffrey Hatcher and Mitch Albom, based on the book by Mitch Albom
Directed by Jenna Duncan
First Rehearsal: 11/2/20
Performances: 12/3/20-12/27/20; Wednesday at 12 and 7:30, Thursday at 7:30, Saturday at 2 and 8, Sunday at 2 and 8

The autobiographical story of Mitch Albom, an accomplished journalist driven solely by his career, and Morrie Schwartz, his former college professor. Sixteen years after graduation, Mitch happens to catch Morrie's appearance on a television news program and learns that his old professor is battling Lou Gehrig's Disease. Mitch is reunited with Morrie, and what starts as a simple visit turns into a weekly pilgrimage and a last class in the meaning of life.

Morrie: a charming, fiercely intelligent man suffering from ALS; has an innate benevolence and altruistic nature; wears his heart on his sleeve; he is a composed man but also open, loving, and unprejudiced; he has a sharp and incisive view of the world and how people work. This role is CAST.

Mitch: an amicable and intense man approaching middle age who has been led by fear most of his adult life. He is approaching a place of transformation; a professional sportswriter, he knows how to get what he needs when he needs it; he is a bit distant and yearns for a change in his life; he plays the piano.
_________________________

NATHAN THE WISE
By Gotthold Lessing, adapted by Michael Bloom
Directed by Adam Immerwahr
First Rehearsal: 1/19/21
Performances: 2/17/21; Wednesday at 12 and 7:30, Thursday at 7:30, Saturday at 2 and 8, Sunday at 2 and 8

It is Jerusalem in 1192 and the Muslim sultan Saladin has declared a truce in which Muslims, Christians, and Jews are to live in harmony only for the fragile peace to be broken by a fiery young Templar and the Christian Patriarch. Nathan, a wise and wealthy Jewish merchant, is sought by many to bring it back again. When the Christian Templar rescues Nathan's precocious daughter Rachel from a fire, the two young people are drawn to each other in love. Aided by a ubiquitous friar and a roguish dervish, the they come up with an imaginative resolution to the issue of which is the one true faith.

Nathan:
Jewish merchant who suffers great loss; tragic hero who repays evil with good; a humanitarian; self-reliant, fearless, and tolerant.

Rachel:
raised by Nathan alone, she is very much her father’s daughter; bright and passionate, she leads with her heart; she is prone to fantasies--both good and bad.

Templar Knight:
disillusioned young knight who opposes religious wars; high-minded, open-hearted, yet reserved; impetuous.

Saladin:
the Sultan, in a tight spot with regard to his kingdom; seemingly prejudiced against Nathan; quick-witted and capable of magnanimity when it is deserved.

Sittah:
sister to Saladin; she is her brother's confidant and chief advisor, a wonderful strategist in affairs of the state as well as of the heart; well-educated, a wiz at chess, very cosmopolitan, and not afraid to display any of these traits.

Daya:
serving woman to Nathan, who has helped to raise his daughter Rachel; respectful of Nathan, completely devoted to Rachel; she is steeped in Christian faith and has her bias when it comes to Nathan's Jewishness.

Patriarch:
ruler of the Christians in Jerusalem who uses the letter of the law to further his prejudices; he dresses ornately and has a commanding presence.

Friar:
does the Patriarch's bidding; he would rather live a contemplative rather than political life; a gentle man who is allergic to intrigue and double-dealing.

Al-Hafi:
a mystic who has given up his ascetic life for a place in the court, he yearns for his simpler lifestyle; a whiz at chess, a great mind matched by a great heart—with a big sense of humor.
________________________

THE RED BEADS
By Rinne Groff
Directed by Johanna Gruenhut
First Rehearsal: 3/15/21
Performances: 4/7/21-4/12/21; Wednesday at 12 and 7:30, Thursday at 7:30, Saturday at 2 and 8, Sunday at 2 and 8

When a father’s bedtime story magically comes to life, his young daughter is plunged into the world of Yoshke, a poor shtetl poet, desperately in love with a woman who doesn’t love him. Through the story, the daughter learns the pain – and the beauty – of letting love triumph over logic.

Father/Yoshke:
father to Alyetshke in the present, and Yoshke in the world of the story. Yoshke writes letters for a living and feels the emotions in them—and in himself—very deeply. He loves Sheyne despite being rejected by her.

Alyetshke: a
young girl; precocious and determined to be involved with everything happening in the house. She is curious and clear-eyed.
Madam Lurye: Semyontshik’s mother and a lady of some wealth; she keeps her relative Sheyne in poor conditions and aggrandizes her and her son at Sheyne’s expense.

Semyontshik:
the son of Madam Lurye, he is charming, self-centered, and vain; he squanders money and relationships with little regard for the consequences.

Sheyne:
a distant relative of Lurye and Semyontshik, she has been forced to live with and take care of them after she was orphaned in a pogrom. She hopes to once again have a life beyond servanthood. She denies Yoshke’s appeals because she is in love with Semyontshik.

Hodes:
a market vendor, she brings chickens from house to house and involves herself in affairs she does not belong in; she takes and switches sides easily.

Berl Perlson:
a water carrier and Yoshke’s father, he dreams of a day when he no longer has to labor and can live a relaxing life; he does not understand Yoshke’s predicament.

Godinsky:
a businessman, always ready to make a deal; he desperately needs to offload a plot.
______________________________

FIRES IN THE MIRROR
By Anna Deavere Smith
Directed by Adam Immerwahr
First Rehearsal: 5/10/21
Performances: 6/9/21-7/4/21; Wednesday at 12 and 7:30, Thursday at 7:30, Saturday at 2 and 8, Sunday at 2 and 8

Following the deaths of a Black American boy and a young Orthodox Jewish scholar in the summer of 1991, underlying racial tensions in the nestled community of Crown Heights, Brooklyn erupted into civil outbreak. Birthed from a series of interviews with over fifty members of the Jewish and Black communities, the play offers 26 characters, to be portrayed by one actor, in response.

Actor:
Plays characters in their 30s-50s, any gender, African American or mixed-race.
Characters include members of the African-American and Lubavitcher Jewish communities in Crown Heights, Brooklyn as well as those who comment on US race relations: Ntozake Shange, The Reverend Al Sharpton, Letty Cottin Pogrebin, and others.
Embodies many different people through the use of voice, physicality, energy, and dialect.
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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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