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hscrepsubmissions@gmail.com
PLEASE NOTE YOU MUST PUT UNION AFFILIATION AND THE ROLE (TRACK) YOU ARE SUBMITTING YOURSELF FOR IN THE SUBJECT, OR EMAIL WILL NOT BE OPENED
Personnel
Director of both plays: Darko Tresnjak
Author (Macbeth): Shakespeare
Author (La Dispute): Marivaux
translation: Elizabeth Williamson & Darko Tresnjak
Binder Casting
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Contract
LORT Non-Rep
$765/week minimum
Seeking
Submissions from Actors' Equity Members only for these auditions, men and women for MACBETH and LA DISPUTE, to be performed in repertory.
see breakdown.
NY appointment will be held on an upcoming date TBD by appointment only.`
Other Dates
Rehearse: 8/2 - 9/26
Performances: 9/27 - 11/10
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Breakdown
NOTE: The two plays will be done in repertory with all actors (other than the actor playing Macbeth) appearing in both plays. Macbeth is Shakespeare’s bloodiest tragedy. La Dispute is a dark comedy written by Marivaux in the 18th Centruy. It involves four orphans (two boys and two girls) that have been raised in isolation from the world and from each other. An aristocrat releases the four human guinea pigs into a sinister ‘Garden of Eden’ to cause them to consider the question of whether man or woman is more faithful. It is funny, erotic and cruel, in the style of ‘Les Liasions…’. We are interested in having an extremely diverse company for the repertory. Seeking classically trained actors with great language skills of all ethnicities.
SEEKING (ROLES LISTED FIRST ARE IN MACBETH, SECOND IN LA DISPUTE):
MALE:
MACBETH
(early-mid 40’s) Brave Scottish General, consumed with ambitious thoughts and spurred to action by his wife to become King of Scotland. This is not a starter role in Shakespeare. We are looking for an actor with extensive experience playing Shakespearean leads. Must do justice to the extraordinary verse – but not substitute vocal dexterity for genuine human feeling. Has to be believable as a warrior, but doesn’t have to look like ‘Rambo’ – military men are often efficient and sinewy. He should also be able to project integrity at the beginning of the play. It is much more frightening if he and Lady Macbeth project decency to the world at the outset of the play. Their private reality is quite different. They are not spring chickens, they have been through a lot (including loss of children) and are grasping for something that has eluded them. The transformation into the man that he is at the end of the play should be truly frightening. Will not double into La Dispute.
DUNCAN & AS CAST/MESROU
(late 50’s-60’s):
- DUNCAN: The good King of Scotland whom Macbeth murders in order to attain the crown. He has a saintly, stately and dignified presence but is perhaps not the wisest of rulers, one who trutst all outward appearances.
- MESROU: An intricate role; he has to seem like a warm and supportive tutor to the four young people who are the subject of the Prince’s cruel experiment – but he knows (and the audience knows) that all along he is doing the devil bidding.
MALCOLM & AS CAST / MESRIN
(20’s, but must be believable as a teenager in La Dispute.)
NOTE: the character of MESRIN is being cast as NON-CAUCASIAN
- MALCOLM: The son of Duncan, smart more than heroic, and not nearly as trusting as Duncan. He has learned from his father’s mistakes. A skillful manipulator and orator. Initially weak and uncertain of his own power, he becomes a serious challenge to Macbeth with Macduff’s aid and the support of England.
- MESRIN: NON-CAUCASIAN. Innocent vulnerable and completely open but also smart, temperamental and competitive.
MACDUFF & AS CAST/LORD
(mid-late 30’s):
- MACDUFF: A nobleman hostile to Macbeth’s kingship from the start. Eventually becomes a leader of the crusade to unseat Macbeth. Must be believable as a warrior, he emerges as a heartbreaking, humane and moral compass of the play. He also desires vengeance for Macbeth’s murder of Macduff’s wife and young son.
- LORD: one of the corrupt members of the Prince’s pampered court; mostly a silent role. Some physical training is a bonus for this role.
ROSS, PORTER & AS CAST/LORD
(40’s-50’s):
- ROSS: A nobleman, he connects many of the strands of the plot, and reacts more intellectually while the other characters are more emotional; towards the end he emerges as a compassionate presence.
- PORTER: The drunken doorman of Macbeth’s castle. Funny, earthy, foul- mouthed, and intentionally exasperating.
- LORD: one of the corrupt members of the prince’s pampered court; mostly a silent movement role. Some physical training is a bonus for this role.
LENNOX & AS CAST/AZOR
(20’s, but must be believable as a teenager in La Dispute.)
NOTE: THE CHARACTER OF AZOR is being cast as NON-CAUCASIAN:
- LENNOX; A nobleman, he seems to believe in Macbeth longer than the others. So he is either nto used to questioning authority or is afraid. The clearest choice that suits the actor will work.
- AZOR: NON CAUCASIAN. Innocent, vulnerable and completely open but also smart, temperamental and competitive.
FEMALE:
SECOND WITCH/GENTLEWOMAN & AS CAST/ADINE
(20’s but must be believable as a teenager in La Dispute.)
NOTE: THE CHARACTER OF ADINE is being cast as NON-CAUCASIAN:
- WITCH: The three witches plot mischief against Macbeth using charms, spells and prophecies. They enjoy toying with and destroying human beings. Seeking actresses with strong physical training and imagination and must be comfortable with intricate verse and vocal stylization.
- GENTLEWOMAN: A frightened and devout young woman, dance training is a bonus
- ADINE: NON CAUCASIAN. An ingénue role; innocent, vulnerable and open, but also smart, temperamental and competitive.
THIRD WITCH & U/S LADY MACBETH & AS CAST/EGLE
(20’s but must be believable as a teenager in La Dispute.)
NOTE: THE CHARACTER OF EGLE is being cast as NON CAUCASIAN:
- WITCH: same as above
- EGLE: NON-CAUCASIAN. An ingénue role; innocent, vulnerable and open, but also smart, temperamental and competitive.
The following roles have been cast:
LADY MACBETH &AS CAST/CARISE: CAST
WITCH, LADY MACDUFF &AS CAST/HERMIONE: CAST
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