Lincoln Center Theater | New York, NY
Friday, October 25, 2024
9:30 AM - 5:30 PM (E)
BREAK: 1:00 PM - 2:00 PM
LORT Non-Rep
$1100 weekly minimum (LORT B)
Equity actors for roles in GHOSTS (see breakdown). All roles will be understudied.
Please prepare the sides for the character you are interested in. Sides will be available on the morning of the audition at the audition site. Please bring your headshot and resume stapled together.
Actors' Equity New York Audition Center
165 W 46th St
16th Fl
New York, NY 10036
DIRECTOR: JACK O'BRIEN
WRITER: HENRIK IBSEN - A new version by Mark O'Rowe
CASTING DIRECTOR: DANIEL SWEE
EXPECTED TO ATTEND:
CASTING ASSOCIATE: CAMILLE HICKMAN
1ST REHEARSAL: January 9, 2025
1ST PREVIEW: February 13, 2025
OPEN: March 10, 2025
CLOSE: April 13, 2025
www.lct.org
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.
Notice: Audition Call Type: EPA
HELENA ALVING: 40s. A well-to-do widow struggling to break free from the oppressive moral and social conventions of her time. She is a vibrant, intelligent, and compassionate woman, who spent her married life in denial, preserving the façade of her late husband’s reputation, yet burdened by the secrets of his debauchery and cruel behavior. Since her husband’s death, she has ostensibly found freedom and independence and is forward-thinking and modern in her attitudes. Although she wrestles with guilt and regret for staying in a marriage that stifled her spirit, her attempts to protect her son Oswald from the truth of their family history cause irrevocable damage.
PASTOR MANDERS: L40s – L50s. Longtime minister of the town church, around which the society revolves. He seems well-meaning, but he is narrow-minded and preoccupied with maintaining appearances. Manders advises Helena Alving to uphold traditional values, often dismissing her more progressive ideas. His fear of scandal and obsession with reputation make him blind to the complexities of human suffering. Although Manders sees himself as a moral guide for Helena Alving, his advice often conflicts with her desire for personal freedom and truth. While he respects her and holds her in high regard, he harbors guilt over his feelings toward her years earlier when she sought refuge from her unhappy marriage and he often uses his moralism as a shield for unresolved feelings.
OSWALD ALVING: E 20s. Helena’s son, a sensitive and troubled young artist who returns home after living abroad in search of freedom and fulfillment. Bursting with ideas and desire, he has found himself increasingly constrained and disillusioned by the conventional morality and hypocrisy of his world at home. Attracted to Regina, he sees her as a lifeline to his oppressive life. He is closely bound to his mother, who has tried to protect him from the truth of his circumstances, and he is in complete despair when he finally understands his past and future.
REGINA ENGSTRAND: E-M20s. A young, ambitious maid who works for the Alving family. She is strong-willed, practical, and determined to improve her social status, hoping to escape her circumstances. Raised by her father, Jacob Engstrand, Regina harbors dreams of a better life and is quite interested in Oswald. To Helena, Regina initially seems a very ordinary young woman, but as the play builds, her self-confidence, beauty, and strength become apparent. Although she has ambitions, she is clear-eyed about the world’s hypocrisy and knows she must make tough choices to survive.
JACOB ENGSTRAND: L-40s – L50s. Regina’s father, a carpenter. He’s known the Alving family for years. Ambitious and amoral, he portrays himself as a humble victim of circumstance, while creating schemes to make money and gain stature. Engstrand’s astute awareness of social mores and his lack of position allow him to leverage others’ fears and misfortunes to his own gain. He has no qualms about doing this and sees it as an enjoyable opportunity. He expects Regina to be an accomplice, even if she is unwilling, and tries to position himself as a caring father, despite his exploitive nature.
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