2018 Season - Chicago EPA Day
Venus Cabaret LLC
AUDITION DATES
Sun, Jan 14, 2018
4:00 pm - 10:00 pm (CST)
20 minute break from 6 to 6:20.
Mon, Jan 15, 2018
4:00 pm - 10:00 pm (CST)
20 minute break from 6pm to 6:20pm
Tue, Jan 16, 2018
6:00 pm - 10:00 pm (CST)
20 minute break from 8:30 to 8:50 pm
APPOINTMENTS
Members may sign up for an appointment through the member portal beginning Monday, January 8th at noon.
CONTRACT
CAT CAT Tier 2; $298.75/week minimum
SEEKING
Actors who sing for our upcoming 2018 Season. See breakdown for details
PREPARATION
Prepare to sing 16 bars from two different songs. We will only request one song, but like to have two from which to choose. Bring sheet music in the proper key. An accompanist will be provided. Bring headshot and resume.
LOCATION
Mercury Theater Chicago
3745 N Southport Ave
Chicago, IL 60613-3718
PERSONNEL
Director: L. Walter Stearns
Musical Director: Eugene Dizon
OTHER DATES
Sondheim's COMPANY: Rehearsals from 2/27/18 to 3/31/18. Performances through 5/20/18.
Monty Python's SPAMALOT: Rehearsals from 5/29/18 to 6/23/18. Performances through 8/5/18
OTHER
Casting is inclusive of people of any ethnicity and gender identification.
EPA Procedures are in effect for this audition.
An Equity monitor will be provided.
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
Sondheim's COMPANY
Robert, Baritone, 30 – 40. The story's protagonist, a keen observer who appears to be happy. He is the only one in his circle still single. Terrified of marriage, but fears a lifetime of loneliness.
Sarah, Alto, 30 – 40. Harry's hypercritical wife. She is an avid learner of karate and tends to overeat. Open, accepting, and loving.
Harry, Baritone, 30 – 45. Sarah's husband. He is a recovering alcoholic. Believes the advantages of marriage outweigh the disadvantages.
Susan, Mezzo, 25 – 35. A delicate southern belle. Peter's wife and ex-wife. Motherly in her affections towards Robert.
Peter, Baritone, 25 – 35. Susan's husband. The perfect husband and ex-husband. He is very liberal in his view of relationships.
Jenny, Soprano, 30 – 45. Quietly manipulative, simultaneously square and wise. Loves her husband, David, and will indulge him from time to time.
David, Tenor, 30 – 45. Jenny's husband; relaxed and always in control. Believes a man should be married and that the sacrifice of freedom is worth what you get in return.
Amy, Alto, 25 – 40. A frantic neurotic engaged to Paul but terrified of marriage. After a mental breakdown, she finally realizes that Paul is, in fact, her soulmate.
Paul, Tenor, 25 – 40. Amy's fiancé. Patient with her neurotic nature. Fully commits to the idea of marriage and encourages Robert to do the same.
Joanne, Alto, 45 – 65. Acerbic and demanding. Too old to be part of the young crowd but would not fit well with the older crowd. Puts on a brassy front that melts when she is alone with her husband, Larry.
Larry, Tenor, 45 – 65. Joanne's husband. Stoic and centered, but has moments of goofiness. Indulges his wife's behavior but knows when to put his foot down.
Marta, Mezzo, 25 – 35. A girlfriend of Robert's. Intensely modern, seeking adventure and excitement in the City.
Kathy, Mezzo, 30 – 40. A former girlfriend of Robert's, now considered a good friend. She plans to leave the City for a life of domesticity. Sweet and loving.
April, Mezzo, 21 – 30. A girlfriend of Robert's. She is a flight attendant who came to New York to live in Radio City. Ditzy and adorable.
Monty Python's SPAMALOT
King Arthur, Baritone, 30-60 The King of England, who sets out on a quest to form the Knights of the Round Table and find the Holy Grail. Great humor. Good singer.
The Lady of the Lake, Alto, 20-40. A Diva. Strong, beautiful, possesses mystical powers. The leading lady of the show. Great singing voice is essential, as she must be able to sing effortlessly in many styles and vocal registers. Sings everything from opera to pop to scatting. Gets angry easily.
Sir Robin, Tenor/Baritone, 30-40. A Knight of the Round Table. Ironically called Sir Robin the Brave, though he couldn't be more cowardly. Joins the Knights for the singing and dancing.
Sir Lancelot, Tenor/Baritone, 30-40. A Knight of the Round Table. He is fearless to a bloody fault but through a twist of fate discovers his softer side. This actor must be great with character voices and accents, as he also plays THE FRENCH TAUNTER, an arrogant, condescending, over-the-top Frenchman; the KNIGHT OF NI, an absurd, cartoonish leader of a peculiar group of Knights; and TIM THE ENCHANTER, a ghostly being with a Scottish accent.
Patsy, Tenor/Baritone, 30-40. King Arthur's horse and servant. Under-appreciated but always longing for Arthur's approval. Good, funny, physical mover with some tap dancing. Also plays MAYOR, a jolly red-faced man who advertises the merits of his hometown; and the drunken, useless GUARD 2. Very good mover. Tap skills a bonus.
Sir Galahad, Tenor, 30-40.. A Knight of the Round Table. Begins as Dennis, a lower class mud gatherer who becomes knighted and transforms into the dashing Sir Galahad. Also plays PRINCE HERBERT'S FATHER, a wealthy, brutish Yorkshireman at odds with his sensitive son; and THE BLACK KNIGHT, who is always ready to duel despitemultiple injuries.
Sir Bevedere, Tenor/Baritone with falsetto, 20-40. A Knight of the Round Table. An inept scholar. Also plays DENNIS GALAHAD'S MOTHER, a shrill peasant woman; and CONCORDE, Sir Lancelot's horse.
Not Dead Fred, Tenor, 20-30. A sickly little fellow who -- despite others' beliefs -- claims he is not yet dead; a FRENCH GUARD, the condemnatory sidekick to the French Taunter; a MINSTREL in Sir Robin's band; and PRINCE HERBERT, the hopeful and frilly prince who loves to sing and pines for his love atop a tower.
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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