New Harmony Theatre 2019 Season - NYC EPA|
New Harmony Theatre
Wed, Feb 27, 2019
10:00 am - 6:00 pm (EST)
Lunch 1 to 2
LOA Ref. to LORT; $696/week
Equity actors for various roles in the upcoming 2019 season. See breakdown.
The PSM position has already been filled. Currently still seeking an ASM. ASMs may attend the EPA for a brief interview or submit for consideration (see separate notice on Casting Call)
Actors will read from sides, provided at the EPA. Actors auditioning for the role of Patsy
Cline will have the option to sing a song (either Crazy in B-flat or Your Cheatin' Heart
in G) or to read the side for Louise. Bring picture and resume.
Ripley-Grier Studios (520)
520 8th Ave
New York, NY 10018-6507
Rooms 16I & 16J
Producing Artistic Director: Elliot Wasserman (in attendance and has authority to hire SM/ASMs)
Resident Associate Director: Eric Altheide
Managing/Marketing Director: Rebecca Lutton
See breakdown for dates
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.
New Harmony 2019
rehearsal starts June 4, 2019; opens June 21, closes June 30; 9 performances
Margaret: White, about 50. Uneducated, never left the South Boston neighborhood she grew up in. Struggles every day to make ends meet for her and her adult child with special needs. No good choices.
Stevie: White. Mid to late 20s. The next generation of Southie. Margaret’s manager at the Dollar Store. Dealing with Margaret is awkward for him since Margaret knew his mother.
Dottie: White, Mid-60s. Margaret’s landlord. Her concern is always the rent owed her. “What’s fair is fair” is more important than empathy, but she doesn’t push the point too hard because she like to be included at Bingo. Also South Boston.
Jean: White, same age as Margaret. Friends from forever back in the day. Sharpens her tongue on Dottie now and then. South Boston.
Mike Dillon: White. A successful doctor. Grew up in South Boston, but managed to get out. Youthful, and has to be, since his wife is 20 years his junior.
Kate: African-American, Mike’s wife. About 30, or early 30s. A lovely woman, warm and engaging. A conversationalist, a welcoming host.
rehearsal starts June 25, 2019; opens July 12, closes July 21; 9 performances
Louise Seger: A superfan of Patsy Cline. Her enthusiasm and admiration knows no limits because Patsy’s singing speaks about the life she experiences. 30s or 40s? Age can be somewhat adjustable given that this is a dramatic memoir. She can sing a little.
Patsy Cline: She exists in the music, not the music business. She is warm, vulnerable. The actress should appear to be about 30 or slightly younger and will sing 27 of Cline’s songs. Enough said.
DRIVING MISS DAISY
rehearsal starts July 9, 2019; opens July 26, closes August 4; 9 performances
Daisy Werthan: An older white lady of Atlanta. We first see her at 72 in 1948 and follow her story until she is 97 in 1973. While she is Jewish, her bearing is that of a privileged white southern class. A moral compass will enable her to overcome fixed notions of the times. Her body weakens, but never her backbone.
Hoke Coleburn: African-American. He ranges from 60-85 in the play. He also is a product of the south. But his deference is not merely a survival technique forged in a period of harshly racist treatment. He fully respects others. He is honest. He is a gentleman. He is a gentle man. And he can be talkative.
Boolie Werthan: Daisy’s son, age 40 to 65. A good son, trying to take care of a mother who has clearly been in charge. If he has the upper hand, ever, he tries not to show it
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.