Gulfshore Playhouse 2024-25 Season and Weston Theater Company (THE WOMAN IN BLACK) - NYC EPA Various Producers | ,
Notice: Audition Call Type: EPA
Tuesday, April 2, 2024
9:30 AM - 5:30 PM (E)
Lunch 1:00 PM - 2:00 PM
LORT Non-Rep
$1011 weekly minimum (LORT C) - Gulfshore - Moran
$807 weekly minimum (LORT D) - Gulfshore - Struthers & Weston
Both theaters + health / pension /
transportation / lodging
Equity actors for Gulfshore Playhouse's 2024- 25 Season and Weston Theater Company's production of THE WOMAN IN BLACK (See breakdown).
Some roles will be understudied.
Please prepare one brief song OR one brief monologue in the style of something within the season. An accompanist will be provided. Please bring a headshot/resume. If unable to attend this EPA, performers are welcome to send their picture/resume submissions for season consideration to
submissions@michaelcassara.net - However/PLEASE NOTE: EPA procedures are in effect, we are unable to schedule any appointments at that email address.
Actors' Equity New York Audition Center 165 W 46th St
16th Fl
New York, NY 10036
GULFSHORE PLAYHOUSE
Producing Artistic Director: Kristen Coury Managing Director: Joel Markus
WESTON THEATER COMPANY
Executive Artistic Director: Susanna Gellert
Expected to attend:
Casting Director: Michael Cassara, CSA
See breakdown for production specific personnel.
See breakdown for production specific dates.
OTHER
EPA Procedures are in effect for this 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.
2024-25 will mark the grand opening of Gulfshore Playhouse’s brand new $72 million Baker Theatre and Education Center which will include two separate theatre spaces as outlined below.
Moran Theatre (mainstage) LORT C
Director: Kristen Coury
Choreographer: Sara Brians
Music Director: Trevor M. Pierce
Music and Lyrics: Cole Porter
Original Book by Guy Bolton, P.G. Wodehouse, Howard Lindsay and Russel Crouse New Book by Timothy Crouse and John Weidman
[PLEASE NOTE: this production will be using the very new/2022 revisions to the script]
First Rehearsal: 10/1
First Preview: 10/27
Opening: 11/1
Closing: 11/24
Possible Extension through 12/8
[RENO SWEENEY] Female. 30s-40s. Any ethnicity/race. Mezzo G3-Eb5. A charismatic nightclub singer who has forsaken her former calling as an evangelist. Fun-loving and basks in being the center of attention. Confident, sassy, and sexy. Fast-talking and unapologetic. She puts on a brave face but is tenderhearted and lovelorn beneath her bravado. Dances (jazz and tap) well.
[BILLY J. CROCKER] Male. 20s-30s. Any ethnicity/race. Tenor B3-G4. A love-struck would-be suitor to Hope Harcourt. Billy is optimistic, good-natured, and quick-thinking, sometimes to a fault, when he finds himself in a fix. Strong dancer (including tap).
[HOPE HARCOURT] Female. 20s-30s. Any ethnicity/race. A debutante who is set to marry Lord Evelyn out of financial necessity rather than love. Hope is sweet with a strong sense of morals and duty. Strong dancer.
[MOONFACE MARTIN] Male. 40s+. Any ethnicity/race. Tenor Bb-Gb2. “Public Enemy Number 13” - Moonface is a second-rate gangster disguised as a reverend to escape police notice. Wily, quick witted, and loveable, he’s not nearly as intimidating as he thinks he is. Strong comedic timing and movement required.
[SIR EVELYN OAKLEY] Male. late 20s to 40s. Any ethnicity/race. Baritone C3-G4. 30s-40s. Hope’s aristocratic fiancé. Evelyn is good-natured, earnest, gullible, and often oblivious. Excellent comedic timing. RP accent.
[ERMA] Female. 20s-30s. Any ethnicity/race. Mezzo A4-C#5. An independent, modern, impulsive, and lovably clueless moll to Moonface. Strong dancer. Razor-sharp comedic timing. Speaks with a “Joisey” accent.
[ELISHA WHITNEY] Male. 60s+. Any ethnicity/race. Baritone. An extremely near-sighted business tycoon.
[MRS. EVANGELINE HARCOURT] Female. 60s+. Any ethnicity/race. Hope’s overbearing mother.
[CAPTAIN] Male. 40s+. Any ethnicity/race. Baritone. The captain of the S.S. American. Dignified and deeply concerned with the ship’s prestige. Excellent comedic timing.
[PURSER] Male. 20s-30s. Any ethnicity/race. Reliable, alert, and by the book. Strong mover.
[DIPPY] Male. 20s-30s. Any ethnicity/race. A rascally New York street-tough who has allegedly been converted by Reverend Henry T. Dobson.
[SPIT] Male. 20s-30s. Any ethnicity/race. A rascally New York street-tough who has allegedly been converted by Reverend Henry T. Dobson.
[FEMALE ENSEMBLE] female, 18+, any ethnicity/race, Strong tap dancers who sing well to play various characters in the ensemble.
[MALE ENSEMBLE] male, 18+, any ethnicity/race. Strong tap dancers who sing well to play various characters in the ensemble.
Adapted by Jeffrey Hatcher
Director: Jackson Gay
First Rehearsal: 12/17/2024
First Preview: 1/12/2025
Opening: 1/16
Closing: 2/2
Possible Extension through 2/9
[MARGOT WENDICE] Female. 30s/40s. Any ethnicity/race. English accent required. A wealthy socialite who previously had an affair with Maxine and is now being blackmailed. She moves from an optimistic outlook on life to being frightened for her actual life.
[MAXINE HADLEY] Female. 30s/40s. Any ethnicity/race. An American thriller writer. She is Tony’s client and former flame and had an affair with Margot. Successful, strong and devoted to Margot.
[TONY WENDICE] Male. 30s/40s. Any ethnicity/race. A publishing PR agent and failed writer, married to Margot. Vain, witty, and charming. Calculating.
[LESGATE] Male. 30s/40s. Any ethnicity/race. English accent required. A shady character with multiple aliases and a mysterious connection to Tony. Ruthless and self-serving.
[INSPECTOR HUBBARD] Male. 40s/50s. Any ethnicity/race. English accent required. The lead detective in the case. Intelligent, observant. Witty with high moral standards. Determined to find the truth.
By Michael Frayn
Director: Peter Amster
First Rehearsal: January 28, 2025
First Preview: February 23, 2025
Opening: February 27, 2025
Closing: 3/16
Possible Extension through 3/23
[DOTTY OTLEY/MRS. CLACKETT] Female. 50+. Any ethnicity/race. British dialect. A seasoned actress who has played older women for her entire career. She is forgetful, caring, and spiteful when spurned. She is engaged in an affair with her much younger castmate, Garry. In “Noises On” she plays Mrs. Clackett, a Cockney housekeeper. Strong physical comedy and language skills.
[BROOKE ASHTON/VICKI] Female. 20s. Any ethnicity/race. British dialect required. An idealistic and inexperienced young actress. She’s a bit spacey and cannot see without her contacts. She is sleeping with Lloyd Dallas, the director. In “Nothing On” she plays Vicki, a secret tax authority worker, trying to woo Roger. Strong physical comedy and language skills.
[BELINDA BLAIR/FLAVIA BRENT] Female. 30s. Any ethnicity/race. British dialect required. A talented, veteran actress who is charming, reliable, and positive as she tries to keep the production going. She’s a busybody. In “Nothing On” she plays Flavia, who is trying to secretly use the play’s house with her husband. Strong physical comedy and language skills.
[POPPY NORTON-TAYLOR] Female. 20s. Any ethnicity/race. British dialect. The overworked assistant stage manager grappling with emotional overwhelm. She is secretly having an affair with Lloyd Dallas, the director. She understudies Brooke. Strong physical comedy and language skills.
[LLOYD DALLAS] Male. 40s-50s. Any ethnicity/race. British dialect. The director of the play “Nothing On.” He doesn’t seem to care much for the play, but he’s passionate and temperamental. Suave, charming, and frequently sarcastic. Strong physical comedy and language skills.
[GARRY LEGEUNE/ROGER TRAMPLEMAIN] Male. 30s. Any ethnicity/race. British dialect. Acts as if he’s the show’s lead. He is prone to jealousy and rarely finishes his sentences. He is having an affair with his castmate, Dotty. In “Nothing On” he plays Roger Tramplemain, a real estate agent who is attempting to rent the house to a Sheikh and also use it as a place to secretly cavort with Vicki. Strong physical comedy and language skills.
[FREDERICK FELLOWES/PHILIP BRENT/SHEIKH] Male. 30s. Middle Eastern/North African. British dialect. Sweet, neurotic, and bumbling. He asks many questions and faints at the sight of blood. A bit emotionally unstable as his wife left him during the rehearsal process. In Nothing On, he plays Philip Brent and the Sheikh. Brent owns the house, but is living in Spain to evade taxes. The Sheikh is a wealthy man interested in renting the house. Strong physical comedy and language skills.
[SELSDON MOWBRAY/BURGLAR] Male. 60s+. Any ethnicity/race. British dialect required. An aging actor with an alcohol problem. He frequently falls asleep and is selectively hard of hearing. In Nothing On, he plays a Cockney Burglar. Strong physical comedy and language skills.
[TIM ALLGOOD] Male. 30s. Any ethnicity/race. The stage and company manager. Beleaguered, overworked, and sleep deprived. Earnest and frantic. He understudies Selsdon and Frederick. Strong physical comedy and language skills.
Director and Choreographer: Dann Dunn
Book: Neil Simon
Music: Cy Coleman
Lyrics: Dorothy Fields
This production of SWEET CHARITY will be produced with an intimate 14-person cast. Some actors will be expected to perform various ensemble roles.
First Rehearsal: 3/11
First Preview: 4/6
Opening: 4/10
Closing; 5/4
Possible Extension through 5/11
[CHARITY HOPE VALENTINE] Female, 30s, Any ethnicity/race. Alto/Mezzo E3-C#5. Down-on-her luck, but always hopeful. An optimistic dreamer with a heart of gold, often to her detriment. Charity is a dance hall hostess who dreams of finding true love. Strong physical comedy and excellent dancer.
[OSCAR LINDQUIST AND OTHERS] Male. 30s. B2-Gb4. A repressed, neurotic actuary. He is claustrophobic, educated, shy, and reluctantly romantic. Strong physical comedy. Will double as various ensemble roles.
[HELENE AND OTHERS] Female, 20s-30s, BIPOC/Black/Indigenous/Person of Color. Mezzo with a strong belt (F3-C#5). A sultry dancer at the Fandango Ballroom and one of Charity’s best friends. A confident straight-talker. Strong dancer. Will double as various ensemble roles.
[HERMAN/VITTORIO VIDAL/DADDY BRUBECK AND OTHERS] Male. 30s-40s. BIPOC/Black/Indigenous/Person of Color. Strong bari-tenor. Strong movement/dance. Herman is the grizzled, yet sensitive, owner of the Fandango Ballroom. Vittorio Vidal is a handsome, international film star with an Italian accent. Daddy Brubeck is the charismatic, hippie leader of the Rhythm of Life Church. Will double as various ensemble roles.
[NICKIE AND OTHERS] Female, 30s-40s, Any ethnicity/race. Mezzo with a strong belt (F3-C#5). A brassy New Yorker and dancer at the Fandango Ballroom. She is the mother hen of the hostesses and one of Charity’s closest friends. Strong dancer. Will double as various ensemble roles.
[URSULA AND OTHERS] Female, 20s-30s, Any ethnicity/race. Ursula is the hot-headed and jealous significant other of Italian movie star, Vittorio Vidal. Strong comedic timing and strong dancer. Will double as various ensemble roles.
[ENSEMBLE ROLES] Strong singers who dance extremely well.
Struthers Theatre (studio) LORT D
Director: Risa Brainin
First Rehearsal: October 22, 2024
First Preview: November 10, 2024
Opening: November 14, 2024
Closing: December 15, 2024
[NARRATOR] [THIS ROLE IS CAST] Any age. Any ethnicity/race. Any gender. Must be a natural storyteller, experienced and confident with improvisation and audience interaction. Sincere, charming, curious, and emotionally intelligent.
By Stefano Massini
Adapted by Ben Power
Directed by Jeffrey Binder
First Rehearsal: December 30, 2024
First Preview: January 26, 2025
Opening: January 30, 2025
Closing: March 2, 2025
[HENRY LEHMAN AND OTHERS] [AN OFFER IS OUT FOR THIS ROLE] Male. 40-60. Any race/ethnicity. The eldest brother. German Jewish immigrant from Bavaria; intelligent, resourceful, tenacious and proud of the business he is building; doubles as Philip Lehman, Pete Peterson, and others.
[EMANUEL LEHMAN AND OTHERS] [AN OFFER IS OUT FOR THIS ROLE] Male. 30-50. Any race/ethnicity. German Jewish immigrant from Bavaria; the middle brother; hot-headed, intelligent, takes pride in whichever business venture it is that he is doing; he enjoys the finer things in life – ‘always more, always better’; doubles as Herbert Lehman, Lewis Glucksman, and others.
[MAYER LEHMAN AND OTHERS] [AN OFFER IS OUT FOR THIS ROLE] Male. 30-50. Any race/ethnicity. German Jewish immigrant from Bavaria; the youngest brother; a level-headed and steady thinker; the mediator between his two elder brothers; charming, warm and ambitious; doubles as Bobby Lehman and others.
Written by Lanie Robertson
Directed by Marshall Jones III
First Rehearsal: 2/18
First Preview: 3/16
Opening: 3/20
Closing: 4/19
[BILLIE HOLIDAY] Female. 40s-50s. Black. Sultry, defiant, vulnerable. Her tortured past is apparent in her musical interpretation and phrasing.
[JIMMY POWERS] Male. Black. (Must be a professional-level pianist/accompanist.) Billie’s accompanist who is very caring and supportive towards her. He is often required to think on his feet and musically improvise on the piano around her spontaneous performance decisions.
Weston Theater Company - LORT D
Director: TBD
Playwright: Stephen Mallatratt
Based on the novel by Susan Hill
First rehearsal: 9/10/2024
First preview: 10/2
Opens: 10/4
Closing: 10/20
Note: THE WOMAN IN BLACK takes place over three time periods – the 1880s, the 1920s and the 1950s (present day in the play). Actors in the roles of The Actor and Arthur Kipps will take on the portrayal of multiple characters within the story. Comfort with dialects and period work and a sense of humor are essential.
[THE ACTOR (YOUNG KIPPS)] late 20s-early 40s, any ethnicity/race, male. An actor working in the 1950s London Theatre. He is well-spoken, well-trained, and technically proficient in the handling of verse. A dashing leading man, he has great confidence in his abilities and in his prospects. Not mannered or affected, but not an overly naturalistic actor. Charming, charismatic, a brilliant storyteller, with a strong sense of humor.
[ARTHUR KIPPS (OLD KIPPS)] late 40s-60s, any ethnicity/race, male. A man in tremendous pain, very close to an emotional and nervous collapse, and yet utterly without self-pity. Quiet, self-effacing, well-educated with very little self-confidence. A lawyer, working for an established London firm, in this moment he carries little of the skill he doubtless possesses. A true character actor who will portray very distinctly different people sharply and with a minimum of props, costume, etc. He must always remember however that this is KIPPS becoming those people - his default state is that of the nervous lawyer to whom all this actually happened.
[THE WOMAN] 20s-30s, white, female. A good mover - perhaps from the dance world. Otherworldly, haunting, impacts the story through movement and presence. Nonspeaking.
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