Gulfshore Playhouse 2018-19 Season - NYC EPA
Gulfshore Playhouse
AUDITION DATE
Tue, May 29, 2018
9:30 am - 5:30 pm (EDT)
Lunch 1:00-2:00 pm
CONTRACT
SPT Cat. 10; $749/week AEA minimum
SEEKING
Equity actors and actor/singers for various roles in the upcoming season.
PREPARATION
Please prepare a brief one-minute monologue in the style of something in the season, OR a brief song in the style of FORUM. Please choose to do only a song OR a monologue for this audition, not both.
LOCATION
Actors' Equity New York Audition Center
165 W 46th St
16th Fl
New York, NY 10036
PERSONNEL
Producing Artistic Director: Kristen Coury
Associate Artistic Director: Jeffrey Binder
Expected at the EPA:
Casting Director: Michael Cassara, CSA and/or Stephanie Cowan, Casting Associate
OTHER DATES
See breakdown for production dates.
OTHER
If unable to attend EPA, please send picture/resume to submissions@michaelcassara.net (preferred), or via mail, to Michael Cassara Casting, 333 W. 39th Street - Suite #800, New York, NY 10018.
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.
BREAKDOWN
Gulfshore Playhouse 2018-19 Season
AN ILIAD
Playwright: Lisa Peterson and Denis O’Hare – based on Homer’s Iliad, Translation by Robert Fagles
Director: Kristen Coury
Rehearsal period: September 25th- October 19th, 2018
Performance period: October 20th- November 4th, 2018
[THE POET] - male, 40s; A weary traveler who tells the epic poem. CAST.
A FUNNY THING HAPPENED ON THE WAY TO THE FORUM
Book by: Burt Shevelove and Larry Gelbart
Music and Lyrics by: Stephen Sondheim
Director: Darren Katz
Choreographer: Adam Cates
Rehearsal period: October 16th- November 16th, 2018
Performance period: November 17th-December 30th, 2018
Please note: all character descriptions describe the characters. This production will likely employ gender bending, some of which is outlined below. We are eager to see performers of all genders and ethnic/racial identities for all roles.
[PSEUDOLUS] 30s and up, any gender, any ethnicity. Quick-witted, crafty, scheming and a brilliant thinker-on-his-feet. The ultimate, loveable trickster. Starring role for a brilliant, comic, musical theatre performer.
[SENEX] 40s – 50s, male, any ethnicity. A submissive man dominated by his wife and desperate for any kind of amorous experience. Impeccable comedic timing. Baritone B2-G4.
[DOMINA] 40s - 50s, female, any ethnicity. A dominating shrew of a wife. Impeccable comedic timing. Mezzo-Soprano B3 - F5.
[PHILIA] 20s, female, soprano. A courtesan in the house of Lycus, and Hero’s love interest – this performer will ALSO play [MILES GLORIOSUS] (male character) early 20s to early 30s, any ethnicity. A Roman captain. Strong, pompous, almost as in love with himself as everyone else is. Impeccable comedic timing.
[LYCUS] 40+, any ethnicity, any gender. Lycus runs the house of Courtesans. Entrepreneurial, enterprising, always on the look-out for a good deal. Impeccable comedic timing. Character singer.
[HERO] 20s, male, any ethnicity. The handsome child of Senex and Domina, Hero is a lovesick juvenile who schemes with Pseudolus how he can win the hand (and body) of Philia.
[HYSTERIUM] 30s-50s, male any ethnicity. A slave of Senex and Domina, Hysterium is the frantic and frenetic straw boss of all the slaves in the household. Pseudolus cons him into helping him in his plots, including dressing Hysterium up as the corpse of Philia.
[ERRONIUS] 50s and up, male, any ethnicity. A befuddled old man who is partially blind and always confused, Erronius spends most of the play bemoaning his two children who were kidnapped by pirates years ago. However, he is overjoyed when it is revealed that Philia Miles Gloriosus are the long-lost children.
[PROTEANS] – Plays a dizzying array of characters throughout the show, including courtesans, soldiers, and others. Must have physical and vocal range as well as solid comic timing.
________________
THE REVOLUTIONISTS
Playwright: Lauren Gunderson
Director: Kristen Coury
All performers need tremendous comic ability.
Rehearsal period: December 18th-January 11th, 2018
Performance period: January 12th-February 3rd, 2018
[OLYMPE DE GOUGES] female, 30s-40s, any ethnicity; A revolutionary playwright who feels passionately about the power of the pen. She is bold and courageous, with a tough edge, but held back by her insecurities.
[CHARLOTTE CORDAY] female, 20s, any ethnicity; A young woman with a singularity of purpose: to assassinate extremist newspaperman Jean-Paul Marat. She is righteous, likeable and lethal.
[MARIE ANTOINETTE] female, 30s-40s, any ethnicity; The ill-fated former queen of France. She is graceful, bubbly, and opinionated but often behaves obliviously. However, she is not a caricature and is wiser than she seems. Should have excellent comedic timing.
[MARIANNE ANGELLE] female, 30s, black; A Caribbean woman fighting against the French occupation of her country and for gender equality. Marianne is tough and classy, and by far the most sane of the four.
___________________
IN THE NEXT ROOM, OR THE VIBRATOR PLAY
Playwright: Sarah Ruhl
Director: Jeffrey Binder
Rehearsal period: January 22nd- February 15th, 2018
Performance period: February 16th-March 17th, 2018
[DR. GIVINGS] male, 40s; A specialist in gynecological and hysterical disorders. Dr. Givings is intellectually curious, but emotionally repressed. He is very much a man of his time and often fails to see past the constraints of his time. He is stoic and focused on his work which makes him often unavailable to his young wife. A moment of partial nudity is anticipated.
[CATHERINE GIVINGS] female, Late 20s-30s; The wife of Dr. Givings and a new mother. Insecure in her role as a new mother. Catherine is full of energy but has few outlets for it and her husband’s inattention keeps her idle and dissatisfied. A moment of partial nudity is anticipated.
[SABRINA DALDRY] female, 30s; A patient of Dr. Givings, brought by her husband because of her listlessness. Sabrina doesn’t know how to assert herself, or even that she could if she wanted to. Puts on airs of being buttoned up in public, but allows her true self to come through in private.
[ANNIE] female, Late 40s-50s; Dr. Givings’ assistant and the only one who knows what’s going on in the next room. Annie is very salt of the earth, intelligent, officious, but guarded.
[LEO IRVING] male, 20s-30s; an English patient of Dr. Givings. Leo is an artist and much more worldly than the others. He does not play by the rules of society, and is bold, quirky, but also sensitive.
[ELIZABETH] female, 30s, African-American; a wet nurse, hired shortly after the loss of her own child. Elizabeth is a natural who develops a close connection with the Givings baby, complicated by her class, race, and grief. Elizabeth is reserved, but wise.
[MR. DALDRY] male, 30s-40s; Sabrina’s husband. Disappointed that his wife doesn’t have more pep and joie de vivre, but fails to realize his own role in her malaise. A man of his time.
________________
HOLMES AND WATSON
Playwright: Jeffrey Hatcher
Director: Andrew Paul
Rehearsal period: March 5th- March 29th, 2018
Performance period: March 30th- April 21st, 2018
All Must have expertise in British dialects.
[WATSON] male, 40s; CAST. A mustachioed “classic” Watson.
[DR. EVANS] male, 40s; Dr. Evans is in charge of the mysterious asylum. He is clean-shaven, officious, clever, and seems to be hiding something. Dr. Evans is revealed to be the true Watson at the end of the play.
[HOLMES 1] male, 30s-50s; Tall, thin, angular. The first Holmes is acerbic and aggressive, and eventually revealed to be a Captain in the navy. He is still an extremely convincing Holmes. Also plays Signor Fonesca, a masked character.
[HOLMES 2] male, 30s-50s; Tall, thin, angular. This Holmes is more anxious and vulnerable due to his guilty conscience. At the end is revealed to be an actor hired to portray a convincing Holmes.
[HOLMES 3] male, 30s-50s; Tall, thin, angular. Absolutely impenetrable. This Holmes appears to be both mute and deaf apparently due to severe trauma. However, he is none of those things and is yet again, a fake Holmes. Also plays the non-speaking role of “The Client.”
[ORDERLY] male, 40s-50s; Tall and well-built. The Orderly is rough, abrupt, and physically intimidating. Also plays Moriarty, a tall, cold, menacing man in his 60s. Actor must be able to do a cockney and RP dialect. The Orderly is the true Sherlock Holmes.
[MATRON] female, 30s, any ethnicity; Prim, stoic, and efficient. Also plays The Woman who is mysterious and tortured. She is revealed at the end to be the femme fatale, Irene Adler.
______________________
SKYLIGHT
Playwright: David Hare
Director: Kristen Coury
Rehearsal period: April 9th- May 3rd, 2018
Performance period: May 4th- May 16th, 2018
London dialects necessary.
[TOM SERGEANT] male, 50s; Charming and handsome, he is very comfortable with his power, and accustomed to the best of everything. His politics lean heartily to the right. Tom is a sometimes charismatic and extremely wealthy London restaurateur whose wife has recently passed away.
[KYRA HOLLIS] female, early 30s, any ethnicity; An idealistic, left-leaning teacher at an East London public school. Kyra is strong-willed, opinionated, and will not back down easily. Previously, Kyra was a waitress at one of Tom’s restaurants and was having an affair with him. Kyra is strong-willed, opinionated, and will not back down easily.
[EDWARD SERGEANT] male, 20s, Tom’s son. Somewhat shy, seeking love and approval, and unsure of his future path. He seeks Kyra’s aid in understanding his father’s emotional distance while he grieves the loss of his mother.
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.
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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