A Lost Leonardo - Fort Worth EPA Days
Amphibian Stage Productions
AUDITION DATE
Apr 30, 2017
5:00 pm - 10:00 pm (CDT)
May 01, 2017
12:00 pm - 8:00 pm (CDT)
APPOINTMENTS
Email linsey@amphibianstage.com with subject: YOUR FULL NAME A LOST LEONARDO and attach a resume and headshot to request an audition appointment.
CONTRACT
SPT Minimum - $318/wk
SEEKING
4 men and 2 women. See breakdown.
PREPARATION
Sides will be sent upon confirmation of your audition appointment.
LOCATION
Amphibian Stage
120 S. Main St
Fort Worth, TX 76104
There is free parking in the lot adjacent to our building and on the street
PERSONNEL
See breakdown.
OTHER DATES
First rehearsal: September 19, 2017. Opening: October 13, 2017. Closing: November 5, 2017. Performances are Thursdays - Saturday, 8pm and Sundays, 2pm
OTHER
www.amphibianstage.com
An Equity Monitor will not be provided. The producer will run all aspects of this audition.
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.
BREAKDOWN
Illana Stein (Director) is originally from Fort Worth, Texas and thrilled to be back directing for Amphibian Stage Productions having formerly directed the reading of A Lost Leonardo (previously called Daedalus) last December and Two Rooms by Lee Blessing in 2012. She is a NYC-based director whose credits include: Associate Director on Tamburlaine the Great directed by Michael Boyd, and Pericles directed by Trevor Nunn (Theatre for a New Audience). Associate Director: Fingersmith by Alexa Junge, directed by Bill Rauch (American Repertory Theatre). Assistant Director: Signature Theatre, Pearl Theatre, Oregon Shakespeare Festival, Yale Repertory Theatre, Hangar Theatre, Cincinnati Playhouse in the Park, and Cincinnati Shakespeare Company where she served as Assistant to the Artistic Director, assisted on over 20 plays, directed educational tours, and assisted with casting. NYC directing credits include: A Midsummer Night’s Dream (Queen’s Players), Stop Kiss (Sanguine Theatre Company), Matthew Portraits (Samuel French Off-Off Broadway Festival), and EST/Youngblood/Bloodworks, Working Theater Director’s Salon, New Dramatists, 4 years with Writopia Lab, and recipient of an Overall Excellence Award in Directing for or what she will (FringeNYC’12). She is in the directing company of New York Madness and a member of 2012 LCT Directors Lab.
www.illanastein.com
David Davalos (Playwright) was born in Auburn, Alabama in 1965. He grew up in San Antonio, Texas and attended college at the University of Texas at Austin, where he received his BFA in Theatre in 1988. He subsequently enrolled in Ohio University’s Professional Actor Training Program, where he received his MFA in Theatre in 1991. Shortly thereafter, he moved to New York City, where he spent the next 15 years working as an actor, director and writer before relocating to Colorado with his wife Elaine and daughter Delphi. As an actor, his credits include Master Harold… and the Boys at the Cleveland Play House, Hamlet and Death of a Salesman at the Utah Shakespearean Festival, and Seascape, Red Herring, and Rough Crossing at The Public Theatre in Lewiston, Maine, where he also directed Marvin’s Room. Other directing credits include Picasso at the Lapin Agile at the University of Hartford, The Imaginary Cuckold at the Judith Anderson Theatre in NYC and Richard III at the Blue Room Theatre. He is a member of Actors’ Equity.
Leonardo da Vinci, the quintessential Reniassance man – an artist, inventor, engineer, visionary, etc., in his prime. Restlessly, tirelessly inquisitive about the workings of the natural world. Of his time and far ahead of it.
Cesare Borgia, the Duke Valentino – son of the Pope and the model for Machiavelli’s ideal ruler (See Machiavelli’s The Prince). Lusty, crafty, charismatic, dominating. Out to conquer the world, for starters.
Gonzalo Napolitano/Baldassare Castiglione/Niccolo Machiavelli (Triple Cast)
Gonzalo, an honest counsellor – a good-hearted career court functionary in an extremely unstable job market
Baldassare, a courtier serving Isabella – painstaking, dedicated, learning his trade on his feet
Niccolo Machiavelli, a diplomat in the service of the Duke Valentino – sardonic, ironic, a keen observer of power and its uses. His morals are flexible; one might even call him “Machiavellian.”
Lodovico Sforza/Vitellozzo Vitelli (Double Cast)
Lodovico Sforza, the soon-to-be-ex Duke of Milan – a scheming nobleman whose house of cards is collapsing on top of him. Imposing but shifty, like an oversized ferret.
Vitellozzo Vitelli, a nobleman general in the service of the Duke Valentino – gruff, direct, increasingly ambivalent about his employment.
Primavera/Lucrezia Borgia (Double Cast)
Primavera, a citizen of Urbino in the service of the Duke Valentino – a pulchritudinous peasant.
Lucrezia Borgia, Cesare’s sister – intelligent, steely but sensitive, she is stifled from expression of her gifts by the machinations of her family. A rare jewel in search of the proper setting. 20s.
Cecilia Gallerani Bergamini/Isabella d’Este/Lisa di Tirisio (Triple Cast)
Cecilia Gallerani Bergamini, Lodovico’s mistress, a lady with an ermine (See Leonardo’s Lady with an Ermine).
Isabella d’ Este, the Marchesa of Mantua – “the first lady of all the world” according to her contemporaries. Elegant, regal, passionate. Accustomed to getting her way.
Lisa di Tirisio, an artist – brilliant, exquisite, imaginative, liberated; in short, everything Leonardo would be if he were a woman (see Leonardo’s Mona Lisa).
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.
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