BRAVE NEW WORKS 2011 SEASON Equity Principal Audition - Theatre Emory Auditions
Theatre Emory
Brave New Works 2011
- Equity Principal Auditions by APPOINTMENT in Atlanta
Theater Emory SPT $368/week minimum.
Director, The Playwriting Center of Theater Emory: Lisa Paulsen
Authors: Various
Casting Coordinator: Robert Schultz
1st reh: 3/29/11. Project presentations between 4/2 and 4/21.
Equity Principal Auditions by APPOINTMENT:
Saturday, February 19, 2011 Theater Emory Administrative Offices
10 AM - 6 PM Emory University Campus, Rich Building, Rm. 205
Lunch from 1 - 2. 1602 Fishburne Drive
Atlanta, GA
For an appointment, call 404/712-9118, M-F, 10 – 5, starting 2/8. Equity Members without appointments will be seen throughout the audition day, as time permits.
Please prepare EITHER A) a brief (approx. two-minute) contemporary monologue OR B) a brief song from a contemporary or legit musical OR C) a one-minute monologue and 16 bars of a song. If singing, bring sheet music; accompanist provided.
Please bring a current picture and resume, stapled together.
Callbacks are planned for Monday, February 21.
Biennial festival of new play readings and workshops. The projects-in-process will be rehearsed and presented over a three-week period by a combined company of student and professional actors. Actors are hired as members of the Brave New Works company, and will act in one - three projects during the one - three weeks of employment. Weeks of employment are certain – per-project casting is subject to change.
Seeking:
Theatre’s statements: “Two or three Equity actor contracts remain available. Theater Emory casts entirely from the Atlanta / North Georgia area. No housing is available to out-of-area performers.”
Female Actor #1:
Seeking an actress/singer. Plays African American characters (mid 30s - late 40s). Three-week contract.
Female Actor #3:
Seeking an actress to play various roles (40s-50s). Three-week contract.
Male Actor #3:
Seeking an actor/singer. Plays various roles (TBD) in the 40s – mid 50s age range. Characters include Boss Tweed, Cornelius Vanderbilt and U. S. Grant. Three-week contract.
Male Actor #4:
Seeking an actor/singer with physical skills. Age range of characters: late 40s - early 60s. Characters include Jay Gould. Three-week contract.
Male Actor #5:
Seeking actor with camera-acting skills. Plays various roles (ages 30-50) in Past is Present. One-week contract.
The following positions are cast (i. e. offers accepted). Auditioning performers will be considered as possible replacements, should any become necessary.
Male Actor #1:
CAST. Position for an actor with camera-acting skills. Plays various roles (35-50) in Past is Present. One-week contract.
Male Actor #2:
CAST. Position for an actor/singer. Plays African American characters (mid 30s - late 40s) including Jim Fisk. Three-week contract.
Female Actor #2:
CAST. Position for an actress with camera-acting skills. Plays African American characters (early 30s – mid 40s in Past is Present. One-week contract.
2011 Brave New Works projects:
6 x 6 by Esther Albrecht, Joshua Elmore, Jireh Holder, Alexandra Kayhart, Jamie Schlansky, Geoff Schorkopf and Arianna Skibell. Concept: John Ammerman. Mentor/Dirs: Janice Akers, Mr. Ammerman, Donald McManus, Tim McDonough and Lisa Paulsen.
Comprised of six one-person, one-act original plays, written by Emory student playwrights. Seven playwrights will present their plays as music-stand readings. Six plays will be chosen to be produced as part of Theater Emory’s 2011-12 season.
KITES: AERIAL VIDEOGRAPHY by Kent Wall. Dir: Mr. Wall.
Kite-mounted aerial photography captures a rarely seen point of view in a fashion akin to hand-held camera-work. This view allows a unique perspective for experiencing the environs and the camera’s relationship to the wind itself. This is not a play. It is a documentary film, using aerial videography, which is being developed for eventual presentation as a gallery installation. During Brave New Works, the artist will be focused on the issue of projection. He is experimenting with various strategies to “break away from the screen” and test alternative projection surfaces, including the human body, architecture, locations and moving kites. Technicians, actor/dancers, photographers and art historians will assist the maker in his exploration of various ways space can be shared by spectators and projected images.
WITHOUT WHICH NOTHING by Margaret Baldwin & Out of Hand Theater. Dir: Matt Huff.
Play about water as it relates to sustainability, public health and origin-of-life chemistry. Play is woven of three dramatic threads: scientists researching the early chemical building blocks of life, women on a daily trek to a well in Africa, and a fairy-tale-style frog prince affected by water pollution. These three strands meet in a story of struggle, despair, hope and wonder at the awesome power of water, the substance without which life cannot exist.
THE HAUNTING OF THIS HOUSE by Jim Grimsley. Dir TBA.
The house of the title refers to the Candler Mansion, a national historic site and achingly beautiful long-neglected mansion on the grounds of Emory University’s Briarcliff Campus. The showplace mansion was built by Asa Candler, Jr., son of Coca Cola’s founder. The extraordinary life of the structure itself is the story of the play, which will blend all the times and uses of that house, seen as ghosts occupying the current structure. The well-known episode in which ghost hunters searched for spirits in the house will serve as the spine for the narrative.
This house has been lived in by billionaires and zoo animals, used by the public at large and then taken over by lunatics, scientists and administrators. This history can be told best by blending all the times into the same dreamy state.
GOREÉ CROSSING by Paul Carter Harrison. Dir: Mr. Harrison. Original Score: Olu Dara.
Goreé Island, in the bay of Dakar, Senegal, is the place where Africans were forcibly detained in dungeons prior to being packed into ships during the 19th-Century slave trade. Set in the deep South in 1918 at the end of Minstrelsy and World War I, Goreé Crossing acts as a symbolic crossroads where Africa, the deep South and the high-life of the urban world psychically entwine.
A black, smug, socially alienated, high-stepping Music-Hall-coon-song-singing Vaudevillian from New York finds himself stranded in Goreé Crossing. He soon discovers that Goreé Crossing and the characters who inhabit it have their own rhythm and sense of purpose, despite the danger of racial oppression. He responds by conjuring up a Chorus of Dance Hall Girls who are actually the transfiguration of the local Church Sisters. He finds himself trying desperately to come to grips with the contradictions of his Southern roots and urban self-image, and is finally resurrected from his cynical sense of alienation by spiritual continuity with the African past.
Original score employs Gospel, Blues, military and funeral marching bands, ragtime and Music Hall, all of which connect to a common source in the Black Church. Like a traditional Greek Chorus, The Chorus serves to amplify the dramatic action and the mythic insinuations that underlie and inform the drama.
INFINITE COUNTRY: A FRONTIER PLAY by Nicholas Surbey. Dir: Elisa Carlson.
Deals with issues of storytelling and the making of American heroes and mythology. Setting: 1863, small frontier town in the Western Territories. Follows Jim and his youthful, romantic stories about Imogen, the mysterious daughter of a con-man. Jim, along with his friend Kip, discovers that Imogen's father, Mr. Grant, is duping the townsfolk of their money. When Jim forces Kip to put a stop to the con, Kip must choose to play the part of the hero or let Mr. Grant's plot prevail to save his own skin. Traditional portraits of the Old West are examined and turned on their heads.
LOUISE NEVELSON: A LIFE ASSEMBLED Concept/Curator: Lisa Paulsen.
Biographical, multi-disciplinary assemblage of short works inspired by the life and work of the celebrated American sculptor who is best remembered for her natural abstract sculptures, particularly her utilization of cast-off materials and monochromatic color to create massive installations.
Seven individual projects are being commissioned from theater, dance, movement, music and visual artists and will be staged in front of an installation of Ms Nevelson’s work, and presented at the “Creativity Through The Life Cycle” Interdisciplinary Conference.
JUBILEE JIM by Bobby Paul, Dir/Mus Dir: Kendall Simpson.
Work of musical theater. Set in that turbulent period in American history just after the Civil War that Mark Twain dubbed “The Gilded Age”. The era is generally considered one of the most corrupt in history, but is also one which marked the beginnings of real social reform.
The story begins in the wake of Jay Gould and Jim Fisk’s failed attempt to corner the entire gold market, and the ensuing financial panic of September 1869. Henry and Charles Adams, descendents of presidents, set out on an unprecedented quest to investigate, and publish their findings to instigate reform in the then-unregulated stock market. The story is told largely in song, and the piece strives to be both a rousing and entertaining musical and an occasion for introspection into the American soul.
PAST IS PRESENT: NEW SOUTHERN SCREENPLAYS Project Dir: Vincent Murphy.
A company of six student and four professional actors will work as an ensemble to support the development of three screenplays (“Holy Oak” by David Garrett, “This Passion Thing” by Steve Murray and “Partners in History” by Donzaleigh Abernathy) during this week-long workshop with writers, filmmakers and the project director.
Theatre’s statement: “Performers of all ethnic and racial backgrounds are encouraged to attend.”
