GOOD GOODS Submission - Yale Repertory Theatre Auditions

LORT

GOOD GOODS – Photo / Resume Request

Yale Repertory Theatre (New Haven, CT) LORT D; $1125/week (above minimum)

Salary includes housing or NY New Haven Train Fare

Artistic Director: James Bundy

Associate Artistic Director: Jennifer Kiger

Managing Director: Victoria Nolan

By Christina Robinson

Director: Tina Landua

Casting: Tara Rubin Casting

1st Rehearsal: 1/2/12. Runs: 2/3/12 – 2/25/12

NYC auditions will be held the week of October 10^th, by appointment only.

Seeking submissions from Actors' Equity Members only for these auditions.

For consideration, mail picture and resume to:

Tara Rubin Casting

570 7^th Avenue, Suite 401

New York, NY 10018

Attn: Good Goods / AEA Self Submission

Seeking:

Stacey:

Black American male. 28 years old. The former straight man in a comedy duo. Good-looking, compelling, caustic, enjoys control and stirring the pot. He’s a strong man, who’s also vulnerable and can be sensual with both men and women.

Truth:

Black American male. 35 years old. Shop assistant. A solid man with some weight on him. Rough and tough on the outside, with a soft side underneath.

Wire:

Black American male. 3O years old. A messenger. Short in stature and light on his feet. Sweet. Resilient. Has an intimate history with Stacy.

Patricia:

Black American female. 29 years old. One half of a comedy duo. Charismatic, buoyant, tough. A showman, but with palpable pain underneath. Sings.

Waymon as Hunter Priestess:

Black American male. Ageless. A big or burly man with physical stature and command. As Hunter Priestess, he preaches, wails on tambourine, and sings; he’s possessed, flamboyant, extreme. As Waymon, he’s meek and mild mannered.

Sunny / Emekah:

Black, American, female, 18 years old. Runs away from an arranged marriage and befriends Patricia. She’s described as a “little glowing ball of brown beauty”. She's cute, and she knows it. She's an ingénue and has a bright-eyed innocence. In the play, Sunny becomes possessed by the spirit of a man, and the actor needs to make a huge, believable jump from soft and cute, girly girl, to rough and crude, mean man. She needs to have exquisite body control and be able to coordinate and separate her physical language from her voice in order to make fast transitionless switches from man to woman and visa a versa.