Actors' Shakespeare Project
CONTRACT
NEAT $546 weekly minimum (Category 6)
SEEKING
Equity actors for roles in Actors Shakespeare Project 2022-23 Season (see breakdown).
Local actors are encouraged to submit.
We are actively seeking actors of all genders, ethnicities, and abilities. Those from traditionally underrepresented groups are encouraged to submit for any role.
Actors’ Shakespeare Project (ASP) is committed to actively examining and combating the multidimensional nature of racism in our company, our community, and the theater industry in the United States. Racism is dehumanizing to everyone it touches and creates an environment that is not conducive to creative expression. Actors’ Shakespeare Project endeavors to dismantle organizational systems, processes, structures, and cultures that discourage any person from engaging with us. We pledge to foster diversity, inclusivity, and equity across all of our Board, staff, artists, productions, educational programming, and business operations.
INSTRUCTIONS
SEE PREPARATION INSTRUCTIONS IN BREAKDOWN. Please submit at https://forms.gle/nVuDN35Pk9iTbAd56
Deadline: Wed, Jun 1, 2022
PERSONNEL
Viewing auditions:
Artistic Director: Christopher V. Edwards
Casting Associate: Lyndsay Allyn Cox
OTHER DATES
LET THE RIGHT ONE IN
Rehearsals start – 9/20/2022
Previews start – 10/20/2022
Opens – 10/22/2022
Closes – 11/06/2022
SEVEN GUITARS
Rehearsals start – 1/10/2023
Previews start – 2/08/2023
Opens – 2/10/2023
Closes – 3/05/2023
CORIOLANUS
Rehearsals start – 2/28/23
Previews start – 3/29/23
Opens – 3/31/23
Closes – 4/23/23
AS YOU LIKE IT
Rehearsals start – 5/02/23
Previews start – 5/31/23
Opens – 6/02/23
Closes – 6/25/23
OTHER
Dates & times subject to change. Rehearsal schedules vary between weekday daytime/evening and weekends.
Performance schedule includes weekdays and weekends as well as weekday school matinees from time to time.
Actors’ Shakespeare Project is committed to dismantling the 6-day rehearsal work week and 10 out of 12 rehearsals.
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 submit.
BREAKDOWN
PREPARATION INSTRUCTIONS
Please prepare two contrasting monologues - one Shakespearean (verse preferred) and one contemporary. Your submission should be no longer than five minutes in length.
Most characters we encounter currently are on the binary and are written with he/him or she/her pronouns and you will see that in the following character descriptions. However limiting the descriptions are, our casting seeks to be inclusive as possible and we invite gender non-conforming, genderqueer, transgender, and non-binary actors to submit for the roles they most identify with.
LET THE RIGHT ONE IN, by Jack Thorne
In collaboration with Boston University
Directed by: Christopher Edwards
Synopsis: Oskar is a bullied, lonely teenage boy living with his mother on a housing estate at the edge of town when a spate of sinister killings rock the neighborhood. Eli is the young girl who has just moved in next door. She doesn’t go to school and never leaves the flat by day. Sensing in each other a kindred spirit, the two become devoted friends. What Oskar doesn’t know is that Eli has been a teenager for a very long time.
SEEKING:
ELI: (ROLE CAST) Seems like a (admittedly perhaps rather eccentric) normal young person. Is in fact a centuries old non-binary vampire. Extremely agile. Can seem somewhat cold and distant, but finds a profound connection with Oskar. Note: Athletic/acrobatic capabilities are a huge plus but NOT a must.
OSKAR: (ROLE CAST) Male. A fairly typical lonely, bullied kid. Maybe on the heavier side. His troubled home life and struggles with school bullies render him a quiet and vulnerable boy. Finds a profound connection with Eli.
HAKAN: Male. 50s+. Eli's sort-of guardian. Neighbors believe him to be their father, but this is not the case. He loves Eli very deeply, and consequently kills people for blood to feed them. Will do anything for Eli. Anything.
JONNY: (ROLE CAST) Male. Classic school bully. Enjoys making Oskar's life miserable.
MICKE: (ROLE CAST) Jonny's sidekick. Joins in bullying Oskar, but with less relish than Jonny. There is a sense that the two have probably been friends at some point, but Micke has decided to join the winning side in becoming a bully, probably at least for reasons of self-preservation.
KURT: 20s-30s A world-weary sweetshop owner who doesn't really have much time for annoying children, but still looks out for Oskar a little and regards him with sympathy. Also JOCKE.
HALMBERG: 30s-50s. Police. Thoroughly perplexed by the goings-on but trying to keep everyone safe and calm.
JIMMY: (ROLE CAST) 20s. Walking testosterone. The bully to end all bullies. Even scarier than Jonny. May double as Torkel and Janne.
OSKAR'S MUM: Female identifying. 30s-40s. Long-suffering, alcoholic. Loves Oskar and is well-meaning, but struggles with looking after him and resents his father's post-divorce lack of involvement in his life
MR. AVILA: Male identifying. Physical education coach. Also DAD.
JANNE: (ROLE CAST) 20s-30s. Female identifying. Dad’s girlfriend.
NILS: (ROLE CAST) 20s-40s. Male identifying. Hospital receptionist.
STEPHEN: (ROLE CAST) 30s. Train conductor.
SEVEN GUITARS, by August Wilson
Directed by TBA
This Pulitzer-prize nominated play is fifth in Wilson’s theatrical saga. A bawdy comedy that is part elegy, and part mystery infused with bluesy lyricism takes an intimate look at seven African-American characters and the events leading up to the untimely death of an up and coming blues musician. Who or what killed Floyd “Schoolboy” Barton?
Synopsis: Released from the workhouse, Floyd Schoolboy Barton returns to the Hill District to discover that he has a hit record! Even though the bluesman does not have two nickels to rub together, nothing is going to stop him from taking advantage of this opportunity... until he is found dead. Schoolboy's story becomes the bass line to the many melodies - lively, menacing, brooding - that rise from this vibrant community.
SEEKING:
FLOYD BARTON: 30’s. Black, African American. A man with an electric ripe dream. A blues singer/guitarist with big aspirations and flaws.
HEDLEY: 50-60’s. Black, African American. Walks the machete's edge between dignity and rage. Keeps, butchers, and sells chickens. Suffers from tuberculosis and possible dementia, desirous and disturbed.
LOUISE: 40-50’s. Black, African American. A hearty woman who describes herself as forty-going on sixty. The matriarch with astringent wit and tamped-down tenderness.
VERA DOTSON: 20’s-30’s. Black, African American. Stoic. Not swayed by romance. Forlorn and self-knowing. Strong willed. Faithful, and wary.
RED CARTER: 30s-40s. Black, African American. Floyd’s friend and drummer. An expansive, laid-back fellow. Superstitious, simpler, steadier, balanced.
RUBY: 20s-30s. Black, African American. Free-spirited niece of Louise. Stubborn, young, and fatally attractive, won’t belong to anyone, but needs someone to help care for her unborn child.
CANEWELL: 30s-40s. Black, African American. One of Floyd’s closest friends. An edgy and quick tempered harmonica player. Tired of playing second fiddle to Floyd.
CORIOLANUS, by William Shakespeare
Adapted by Sean San Jose
Directed by TBA
This Play On modern verse translation of Coriolanus, a political thriller, explores the play through the lens of women, non-binary and BIPOC actors. This translation gives us insights into what significance violence and political power have on marginalized populations and the power of advocacy and who is able to speak for whom?
Synopsis: Roman general Coriolanus makes a name defeating the enemy army and defending Rome. The Senate nominates Coriolanus as consul but Coriolanus has a reputation for hating the people, and the people banish Coriolanus from Rome. Coriolanus allies with Rome’s enemy and plans to attack Rome.
SEEKING:
Note: Actors of all gender identities ar encouraged to submit for all roles.
CORIOLANUS: Roman General.
MENENIUS / ENSEMBLE: Patrician and friend to Coriolanus.
VOLUMNIA / ENSEMBLE: Mother to Coriolanus.
AUFIDIUS / ENSEMBLE: Volscian General. Rival in warfare to Coriolanus.
COMINIUS / ENSEMBLE: Patrician and friend to Coriolanus. A General.
VIRGILIA / ENSEMBLE: Wife to Coriolanus.
As You Like It, by William Shakespeare
Directed by: Brooke Hardman / TBA
One of Shakespeare’s most enduring comedies. Told through a gender expansive lens, this production will explore what it means to find oneself while discovering true love. Love is love.
Synopsis: Unable to act on their feelings and forced into exile in the Forest of Arden, lovers Rosalind and Orlando become entangled in a beguiling game of love, lust and mistaken identity. As You Like It subverts the traditional rules of romance. Gender roles, nature and politics are confused in a play that reflects on how bewildering yet utterly pleasurable life can be.
SEEKING:
Note: Actors of all gender identities ar encouraged to submit for all roles.
ROSALIND: Child of Duke Senior. Looking to express themselves and find true love.
ORLANDO: Romantic match for Rosalind. Looking to find themselves and find true love.
CELIA: Best friend to Rosalind.
SILVIUS: Young, in love, a lone Shepard.
PHOEBE: Young Shepard disdainful of Silvius’ affections. In love with Rosalind.
DUKE SENIOR: Parent of Rosalind. Usurped Duke. Also: DUKE FREDERICK, Usurping Duke. Sibling to Duke Senior.
TOUCHSTONE / ENSEMBLE: A clown. Friend to Rosalind and Celia.
JAQUES / ENSEMBLE: Faithful friend of Duke Senior.
ADAM / ENSEMBLE: Older, faithful friend to Orlando.
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 submit.
Videos
