Dallas Theater Center 2019-20 Season - NYC EPA|
Dallas Theater Center
Mon, Apr 01, 2019
10:00 am - 6:00 pm (EDT)
Lunch 1:30 to 2:30
LORT Non-Rep LORT B ($941/week), C ($873/week) and D ($696/week) min.
Adult Equity actors and singers (18+) for various roles in the upcoming 2019-20 Season.
We will not be using understudies.
SM and ASM positions are filled
For auditions, please prepare EITHER: 1) Two Contrasting monologues; OR 2) One monologue and 16-32 bar song (standard or contemporary musical theater is preferred, but not required). TOTAL AUDITION TIME NOT TO EXCEED 2 MINUTES.
Bring (2) 8X10 headshots and resumes stapled back to back
For singers only: Bring clearly marked sheet music for accompanist
Pearl Studios NYC (500)
500 8th Ave
New York, NY 10018-6504
3rd floor of Pearl Studios at 500 8th Ave. Rooms 305 and 306
Auditions held by Joel Ferrell, Associate Artistic Director, Casting Director.
EPA Procedures are in effect for 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.
IN THE HEIGHT
Music and Lyrics by LIN-MANUEL MIRANDA | Book by QUIARA ALEGRIA HUDES | Conceived by LIN-MANUEL MIRANDA
Director: James Vasquez, Choreographer: TBA, Musical Director: TBA
First Rehearsal: August 21
First Performance: September 21
Closing Performance: October 20
USNAVI DE LA VEGA, owner of De La Vega Bodega, Latino
KEVIN ROSARIO, Nina’s father, owner of Rosario’s Car Service, Latino
CAMILA ROSARIO, Nina’s mother, co-owner of Rosario’s, Latina
BENNY, employee of Rosario’s, African-American
VANESSA, works at the salon, Latina
ABUELA CLAUDIA, raised Usnavi, though not his blood grandmother, Latina
DANIELA, owner of Daniela’s Salon, Latina
CARLA, works at the salon, Latina
GRAFFITI PETE, an artist
PIRAGÜERO (PIRAGUA GUY), scrapes piraguas from his block of ice, Latino
A CHRISTMAS CAROL
Written by Charles Dickens | Adapted by Kevin Moriarty
Director: Joel Ferrell, Choreographer: Jeremy Dumont, Musical Director: Vonda Bowling
First Rehearsal: October 22
First Performance: November 21
Closing Performance: December 29
Ghost of Christmas Present/Ensemble
Business Person 1/Ensemble
Business Person 2/Ensemble
Fred (Scrooge's Nephew)/Ensemble
Jacob Marley/ Old Joe/Ensemble
Lucy, Fred's wife/Ensemble
Written by KATE HAMILL | Based on the novel by LOUISA MAY ALCOTT
First Rehearsal: January 6, 2020
First Performance: February 7, 2020
Closing Performance: March 1, 2020
JO MARCH - the second-to-oldest March. Does not fit comfortably within the given * parameters of her given gender role. A deep fire within her. Extremely ambitious and frustrated by the distance between where she is - and where she wants to be. Impatient. Wants to change the world. Very smart and knows it. A mix of insecurity and aspiration. Boyish and rough-and-tumble. Sometimes antagonistic. Not the most tolerant of differing viewpoints. Can be quite awkward or abrupt; bad temper when riled. A great sense of humor. Passionate. Ahead of her time. A warrior. Has a special relationship with Beth.
THEODORE “LAURIE” LAURENCE - a sweet and handsome young man; sensitive. * Funny, charming, and caring. In his fantasies, he’s a white knight: riding in to rescue damsels in distress. A natural musician. Wealthy thanks to his inheritance; generous, does not have to think about money. Does not always fit comfortably within the given parameters of his given gender role - he doesn't want to grow up to be a soldier or tedious man of business. Finds a family in the Marches.
Written by JOSÉ CRUZ GONZALEZ Director: HENRY GODINEZ
First Rehearsal: February 10, 2020
First Performance: March 14, 2020
Closing Performance: April 5, 2020
(Important note: Musical/Instrumental training and coaching will be provided for roles that require the playing of a Mariachi instrument)
LUCHA MORALES, early to mid 20s, U.S. born Mexican-American. Bilingual. Daughter of AMALIA and FEDERICO MORALES. Struggles with her father’s expectations. Dreams of one day becoming a nurse. She is the primary caregiver for her mother. She loves to sing and learns to play the violin. Her best friend is her cousin BOLI.
HORTENSIA PÉREZ, prefers to be called “BOLI.” Early to mid 20s, Mexican American. Works as a hotel maid and later at a cannery. LUCHA’s cousin. Hungry to learn about the world. She is fiercely loyal and protective of her family and friends. She loves to sing and learns to play the guitar.
AMALIA MORALES, late 40s/early 50s. Mexican American. Bilingual. Mother of LUCHA, She is battling early onset dementia and is mostly lost in the past except for a few moments of lucidity. She sees and speaks to her deceased aunt, TÍA CARMEN. She used to the play violin and she sings beautifully. Also plays DOÑA LOLA; an elderly eccentric lady who loves her hair styled in the salon.
GABBY OROZCO, mid 20s. Mexican American. A Born Again Christian. She lacks confidence, style, and experience in the world. Works as a baker at El Águila Panadería. She sings and plays the electric bass at her church. Learns to play the guitarrón. She actively searches for guidance and companionship. Plays BERTA, DRUNK UNCLE’S WIFE & QUINCEAÑERA GUEST.
SOYLA REYNA, early/mid 40s. Born in Colombia. Immigrated to the U.S. as a young woman. Bilingual. Owner of Salón Superior de Soyla. She is always well put together. Savvy about the world, opinionated, self-sufficient, sexually confident, and supportive of the young women. She sings beautifully and learns to play the vihuela. Also plays SISTER MANUELA, an old school Catholic nun, CHOIR, HOLY ROLLER.
MINO AVILA, a middle-aged Mexican. Ex-friend of FEDERICO. Bilingual. A former mariachi, he is very wise, a music historian. LUCHA’s godfather. A soft-spoken and humble man with a broken heart. He works as a carpenter who also repairs music instruments in his garage. Plays PADRE FLORES from Madrid, Spain, HOLY ROLLER MUSICIAN, QUINCEAÑERA GUEST. Plays guitar or vihuela.
By DOMINIQUE MORRISEAU Director: TBA
First Rehearsal: March 9, 2020
First Performance: April 3, 2020
Closing Performance: May 10, 2020
NYA - Black woman, mid-late 30's. Single mother. Public H.S. Teacher. Trying to raise her teenage son on her own with much difficulty. A good teacher inspiring her students in a stressed environment. A struggling parent doing her damndest. Strong but burning out. Smoker. Sometimes drinker. Holding together by a thread.
OMARI - Black man, late teens. Smart and astute. Rage without release. Tender and honest at his core. Something profoundly sensitive amidst the anger. Wrestling with his identity between private school education and being from a so-called urban community. Nya's son.
XAVIER - Black man, mid-late 30's. Single father - struggling to connect to his own son. Marketing exec. Wounded relationship with his ex-wife. Financially stable. Emotionally impoverished. Nya's ex-husband. Omari's father.
THE SUPREME LEADER
Written by DON X. NGUYEN Directed by Kevin Moriarty
First Rehearsal: May 4, 2020
First Performance: June 3, 2020
Closing Performance: July 12, 2020
KIM JONG-UN (Male 18) Asian. A student and future Supreme Leader of North Korea. Must be able to embody the awkwardness and inner turmoil of a teenager struggling between right and wrong.
SOPHIE PRESCOTT (Female 18) A fellow student. Non-Asian. Sophie is open and friendly, works to befriend Kim Jong Un and others at her school. Her bright personality masks an emotional wound.
ROGER FULLBRIGHT (Male 18) A fellow student. Non-Asian. Sophie's ex. Handsome and well meaning with an air of entitlement.
THE MINDER (Male 40-50s) Asian. Kim Jong-Un's Minder. Loyal to the Korean government and tasked with helping shape Kim Jong Un to be the next Supreme Leader. A surrogate father to Kim Jong-Un.
Dallas Theater Center’s Inclusion Statement:
Actor's Equity Association'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.
In accordance with Equity's standards, Dallas Theater Center strongly believes that an effective workforce includes employees from different and diverse backgrounds and experiences that together form a more creative, innovative, and productive environment. As a leading national theater, DTC recognizes that building an equitable, diverse and inclusive environment is the key ingredient to its relevance and sustainability in the community it serves.
DIVERSITY is acknowledging and respecting human qualities that are different from our own and outside the groups we are a part of or associated with, yet are present in other individuals and groups. These qualities include but are not limited to: ethnicity, race, color, country of origin, sex, gender, age, sexual orientation, marital status, religion, beliefs, political affiliations, socioeconomic status, experiences and any form of disability.
An INCLUSIVE work environment is one where all employees are engaged and supported by the leadership of the institution, beginning at the highest level. Dallas Theater Center strives to create a culture of inclusion where employees of diverse human qualities can thrive and succeed and are able to participate in, and contribute to, the progress and success of the institution, while growing both professionally and personally.
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.