Why We Have A Body
Magic Theatre | San Francisco, CA |
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Call Type
Equity Principal
Date of Audition
5/11/2011
Location
Magic Theatre @ Fort Mason Center
Fort Mason Center
Building D
San Francisco, CA 94123
In the LOUNGE - Pay Lot available (takes time to find free parking)
Time(s)
9:30AM - 1:00PM
2:00PM - 5:30PM
· A monitor will not be provided. The producer will run all aspects of this audition.
Appointments
email:
auditions@magictheatre.org
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Contract
Bay Area Theatre
$510/wk
Seeking
1F 50-60s, LOCAL HIRE ONLY
1F, 30-40s, LOCAL HIRE ONLY
1F, 30-40s, LOCAL HIRE ONLY
1F, 30-40s, LOCAL HIRE ONLY
*Please see breakdown for specifics.
Preparation
Sides will be provided at the audition
Other Dates
First Rehearsal: August 9, 2011
First Preview: August 31, 2011
Opening: September 7, 2011
Closing: October 2, 2011
Possible Extension: October 16, 2011
*subject to change*
Other
www.magictheatre.org
Personnel
Playwright: Claire Chafee
Director: Katie Pearl
Resident Casting Contact: Abbey T.S. Loberman
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| Breakdown
ELEANOR- 50’s- 60’s, could be older. Born and bred a New England WASP, now an unlikely and hardy explorer. Refined but with a spark, she is seeking her own life. Self-professed “student of the female brain,” she is exploring her own internal landscapes as well as the jungles of the Yucatan. Inbred elegance that remains with her even as she paddles herself down remote rivers. Ultimately chooses to leave her adult daughters to follow her own journey. Direct relationship to the audience, sharing/confiding her assessments of herself and others by inviting us into her thought process rather than being stridently judgmental or pedantic.
Physically fit. Able to work with poetic language and direct address. Ability to work in a rehearsal environment that privileges physicality, composition and subtle choreography alongside psychologically-based acting.
LILI- late 30’s- mid 40’s. Lifelong daughter of an emotionally remote mother and a schizophrenic sister; her fear of going crazy has taken its toll and she is in a kind of liminal lockdown, managing to lead a contained, controlled life without ever really creating a home around herself. She is a caretaker, especially of her younger sister Mary—a criminal who is frequently needs practical and emotional support. Job: private investigator, which masks her own desire to for once be the mystery. Unwillingness to trust others or her own emotional instincts leads to her inability to sustain long-term romantic partnerships—despite her fierce desire to do so. Lesbian, earliest role model Harriet the Spy.
Able to work with poetic language and direct address. Ability to work in a rehearsal environment that privileges physicality, composition and subtle choreography alongside psychologically-based acting. Comfortable being physically intimate with another woman.
RENEE- late 30’s- mid 40’s. Passionate, cerebral, able to deeply captivated by ideas, people, moments. She is on the verge of uncovering an entirely new layer of herself, and tracks her way into this new self with awe, excitement, erotic desire. She moves in alternating bursts of follow-through and retraction. Married, but separated. Her affair with Lily marks the first time she’s let herself be with a woman. Job: Paleontologist. An ardent fan of free association, she is a discoverer in every way.
Able to work with poetic language and direct address. Ability to work in a rehearsal environment that privileges physicality, composition and subtle choreography alongside psychologically-based acting. Comfortable being physically intimate with another woman.
MARY- mid 30’s- early 40's. Fast moving, fiercely intelligent, high functioning schizophrenic younger sister. Hilarious, sharp wit. Quick tempo, intense energy. Unpredictable. Profession: criminal, mostly robbing 7-11’s. Able to send telepathic faxes. Carries an extremely close kinship with Joan of Arc. Desperately loves her sister and mother, her broken heart comes from failing to feel part of her own family. Carries a frantic desire for healing.
Able to work with poetic language and direct address. Ability to work in a rehearsal environment that privileges physicality, composition and subtle choreography alongside psychologically-based acting.
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