Hudson Valley Shakespeare Festival 2018 Season - NYC EPA
Hudson Valley Shakespeare Festival
AUDITION DATE
Wed, Nov 29, 2017
9:30 am - 5:30 pm (EST)
Lunch 1 to 2
Thu, Nov 30, 2017
9:30 am - 5:30 pm (EST)
Lunch 1 to 2
CONTRACT
LOA $773/week
SEEKING
Seeking actors for 2018 season. Hudson Valley Shakespeare Festival operates in a rotating reparatory schedule. All actors cast in a minimum of two (2) productions
PREPARATION
Prepare two contrasting one-minute monologues, at least one by Shakespeare.
Bring picture and resume
LOCATION
Pearl Studios NYC (500)
500 8th Avenue
New York, NY 10018-6504
12th floor
PERSONNEL
Artistic Director: Davis McCallum
Associate Artistic Director, Sean McNall
Directors: Davis McCallum, Shana Cooper, Tyne Rafaeli, Seth Bockley
Playwrights: William Shakespeare, David Farr, Seth Bockley
Casting: Stephanie Klapper Casting
OTHER DATES
See breakdown for rehearsal/performance dates.
OTHER
www.hvshakespeare.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.
BREAKDOWN
2018 Season
Richard II
by William Shakespeare
directed by Davis McCallum
1st reh: April 9th, 2018; Opens: June 23, 2018; Closes: August 26, 2018
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The Taming of the Shrew
by William Shakespeare
directed by Shana Cooper
1st reh: April 9th, 2018; Opens: June 15, 2018; Closes: August 24th, 2018
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The Heart of Robin Hood
by David Farr
directed by Tyne Rafaeli
1st reh: April 9th, 2018; Opens: June 17, 2018; Closes: August 25, 2018
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Rip Van Winkle; Or , Cut the Old Moon into Stars
by Seth Bockley
Directed by Seth Bockley
A WORLD PREMIERE COMMISSION
FREELY ADAPTED FROM THE STORY BY WASHINGTON IRVING
1st reh: July 10th, 2018; Opens: August 31st, 2018; Closes: September 3rd, 2018
Seeking the following Actor Tracks: Note: It is IMPERATIVE that we see actors of all ethnicities for all roles
ACTOR 1 (Male 30s) TO PLAY THE FOLLOWING:
- HENRY, DUKE of BOLLINGBROKE in Richard II . Passionate, popular, politically brilliant, and fearless in defense of his honor. Richard’s cousin, almost exactly the same age, and raised together they are almost like brothers more than cousins. He’s not prone to flowery talking, and moves decisively towards his target, like man more at home on the battlefield than the boardroom. Huge emotional resources, both for rage and love. He has the instinct to lead, and has a highly evolved idea of how things should be, and is willing to start a revolution to protect and defend those things. Highly physical actor, great skills with language.
- HORTENSIO, AS CAST in Taming of the Shre w . Suitor to Bianca and Petruchio's best friend. A man with little money because he spends everything he has on looking like he is a man of wealth and means. More of the straight man of the clowns but still a clown at heart. Ideally a transformational actor who could create a strange merchant who turns out to be Tranio's worst nightmare as the person he hires to be the pretend Vincentio.
ACTOR 2 (Male 20s/30s) TO PLAY THE FOLLOWING:
- AUMERLE, AS CAST in Richard II Son to the Duke and Duchess of York and an intimate of King Richard. He’s young, ambitious, a bit selfish and maybe more than a little vain. He craves the admiration of King Richard, and joins a conspiracy to kill Bolingbroke after he ascends to the throne. And then quickly reverses himself when the plot is discovered. A bit of a snake in the grass.
- ROBIN HOOD in The Heart of Robin Hood . A rough outlaw of high status and a true man of the forest. Must be very physically fit and strong, skilled in stage combat (including swordplay). Brooding, forceful, at war with himself, and therefore suspicious of the world around him. Enormous charisma, and potential for courage and generosity when activated by Marion.
ACTOR 3 (Male 30s/40s) TO PLAY THE FOLLOWING:
- MOBRAY/NORTHUMBERLAND, AS CAST in Richard II . Accused of the murder of Gloucester at the beginning of the play, Mowbray is a man stuck in a terrible corner, who is ready to die for his honor, and feels the court may be stacked against him. Nothing more dangerous than a man with nothing left to lose, and that is Mowbray. Northumberland is Bolingbroke’s hatchet-man and bully-in-chief. A kind of wrecking ball of a man, who believes he is
doing the right thing at all times. Practical, and earthy.
- PRINCE JOHN in The Heart of Robin Hood . The villain - evil, dangerous and ruthless, with a very dark sense of humor. A very strong actor.
ACTOR 4 (Male, 30s/40s) TO PLAY THE FOLLOWING:
- EARL OF SALISBURY, BAGOT, AS Cast in Richard II . Character actors with great language skills to distinguish these two parts. Salisbury is a loyal Nobleman, who tries to help Richard and comes up just short. Bagot is one of Richard’s friends, plucked from outside the nobility.
- PETRUCHIO in Taming of the Shrew . Masculine, strong willed, ferocious, and charming. Physically and mentally the strongest person on stage, except for Kate, who might just be his equal. Physically able to lift others.
ACTOR 5 (Male, 50s/60s) TO PLAY THE FOLLOWING:
- JOHN OF GAUNT and BISHOP OF CARLYSLE in Richard II. Richard’s uncle and Bolingboke’s father, as well as the voice of the Greatest Generation that came before. Loyal to King and Country, he is in agony over what he sees happening to the land, and gives a blistering speech about it. CARLYSLE is also a kind of whistle-blower, and gives a speech of prophesy to Bolingbroke, foretelling the Wars of the Roses. Language, character, huge heart.
- GREMIO, AS CAST in The Taming of the Shrew . Hugely wealthy older man who thinks he can buy love. Gremio is a man who is used to getting whatever he wants in life because he lives in a world where money is king. Looking for someone with strong clowning skills who knows how to find comedy through high stakes.
ACTOR 6 (Male, 50s/60s) TO PLAY THE FOLLOWING:
- DUKE OF YORK in Richard II . York is the pivot of the play, and the tipping point for the Kingdom. He finds out to his shame that if you stand for nothing, you’ll fall for anything. Gaunt’s younger brother, and uncle to both Richard and Bolingbroke. He desperately wants not to take a stand, and in failing to do so, he (by omission) causes the whole coup to proceed. Incredible role, poised on the line between a deep portrait of political spinelessness, and a satire of an old man-baby who can’t decide what to order for lunch.
- BAPTISTA, GRUMIO, AS CAST in The Taming of the Shrew . As Baptista, a loving but lost father who has no idea how to raise two girls on his own, so he sells them to the highest bidder as society dictates one should. As Grumio, a servant who has taken care of Petruchio since he was a babe. Authentic clown with a strong point of view about everything.
ACTOR 7 (Male, 30s/40s) TO PLAY THE FOLLOWING:
- DUKE OF SURREY, SCROOP, AS CAST in Richard II . Line of character parts for an actor with great skill with language, and the ability to make iambic pentameter sound like it comes from their own impulsive need in the scene.
- GISBORNE, AS CAST in The Heart of Robin Hood . Prince John’s servant and villain. A strong, fearful actor with high status, able to bring darkness and danger. Needs to be skilled in stage combat/sword-play. Musical ability, and some skill in a brass, woodwind, or stringed instrument is preferred . Actor will also play the roles of George Lebrune and the Duke of York.
ACTOR 8 (Female.) TO PLAY THE FOLLOWING:
- KING RICHARD in Richard II
- BIANCA in Taming of the Shrew . Kate’s younger sister. Ideally as young as possible, seemingly innocent and beautiful by conventional standards but revealed to be “the biggest shrew of all” by the end of the play. Strong comedic actress, able to turn on a dime from sweet to savage. OR
- Alice in The Heart of Robin Hood . Marion’s younger sister. Materialistic and high-maintenance; everything that Marion is, she is not. Requires musical ability, and preferably killed in a brass, woodwind, or stringed instrument.
ACTOR 9 (Female, 40s-50s) TO PLAY THE FOLLOWING:
- DUCHESS OF YORK, AS CAST in Richard II
- WIDOW, TRANIO, AS CAST in The Taming of the Shrew. Transformational actress who can play both a mature opinionated woman in control of everything including her man (as the widow) and long time loyal and playful servant to Lucentio as Tranio. Tranio may be played as a woman or man, but will definitely be in drag as the “pretend Lucentio”. Playful and authentic clowning skills with a razor sharp wit. Strong physical comedy skills.
ACTOR 10 (Female, 30s) TO PLAY THE FOLLOWING:
- QUEEN ISABEL in Richard II
- KATE in The Taming of the Shrew . Fierce, strong willed, but also capable of surprising vulnerability. A strong and nimble physical actor as well as possessing a facility and ease with the language. A unique and unusual woman at odds with the society she has been born into who breaks down/through her walls and defenses over the course of the play as love helps her to find power in vulnerability as well as force.
ACTOR 11 (Male, 30s/40s) TO PLAY THE FOLLOWING:
- MAKEPEACE in The Heart of Robin Hood . Marion’s guardian. A strong and sympathetic actor. Musical ability, and some skill in a brass, woodwind, or stringed instrument would be preferred. Actor may also play the roles of Robert Summers, the Confessor, Townsman, Fat Man, Aristocrat, and Friar.
- RIP VAN WINKLE in Rip Van Winkle; Or , Cut the Old Moon Into Stars . A feckless fool with a lucky streak. A good natured but indolent dreamer. Physical comedy and clowning skills appreciated. Rip appears as both his 34 year old self and his 54 year old self.
ACTOR 12 (Male, 40s) TO PLAY THE FOLLOWING:
- PIERRE in The Heart of Robin Hood . Marion’s clown and servant. Pierre is our guide through the story, who sometimes speaks in direct address to the audience. Must be a strong actor, singer, and a skilled comedian who can access the darker bits as well. A plus if he plays some sort of instrument, but not a must.
- SWING MAN in Rip Van Winkle; Or , Cut the Old Moon into Stars. Multiple larger than life comedic personas including: Diedrich Knickerbocker – a mysterious Dutch historian, and Nicholas Vedder – the old innkeeper, a pompous patriarch.
ACTOR 13 (Female, 20s/30s) TO PLAY THE FOLLOWING:
- MARION in The Heart of Robin Hood . Daughter of the Duke of York. Brave, clever and principled - a force to be reckoned with. Must be a strong actress and strong singer, as well as a skilled fighter (sword-play), who can almost beat Robin in combat.
- SARA in Rip Van Winkle; Or , Cut the Old Moon into Stars . A young woman with sharp mind and a daring spirit. A dreamer, adventurer, and inveterate reader of fictions. She is our narrator and is comfortable in direct address / ‘story theater’ mode.
ACTOR 14 (Female, 30s/40s) TO PLAY THE FOLLOWING:
- GEERTJE in Rip Van Winkle; Or , Cut the Old Moon Into Stars . An energetic, practical woman of rural 18th century New York. She has business sense and a sharp sense of humor. GEERTJE appears as both her 33 year old self and her 53 year old self.
ACTOR 15 (Male, 20s-30s) TO PLAY THE FOLLOWING:
- AS CAST in Richard II
- LUCENTIO in The Taming of the Shrew . A young student who is eager to learn about everything the world has to offer. Intellectual by nature but discovers his heart and the power of infatuation when meeting Bianca. Ultimately more of a boy than a man and quite naive about the reality of life, including lack of true understanding of the woman he marries.
ACTOR 16 (Female early 20s-30s) TO PLAY THE FOLLOWING:
- AS CAST in Richard II
- BIANCA in The Taming of the Shrew . Kate’s younger sister. Ideally as young as possible, seemingly innocent and beautiful by conventional standards but revealed to be “the biggest shrew of all” by the end of the play. Strong comedic actress, able to turn on a dime from sweet to savage. - OR
- ALICE in The Heart of Robin Hood . Marion’s younger sister. Materialistic and high-maintenance; everything that Marion is, she is not. Musical ability, and some skill in a brass, woodwind, or stringed instrument is preferred.
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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