International City Theatre | Long Beach, CA
Thursday, November 14, 2024
9:00 AM - 5:00 PM (P)
SPT
$379 weekly minimum (SPT 2)
Equity actors for roles in International City Theatre's 2025 Season (See breakdown).
Please prepare a short monologue appropriate to the show/role you wish to be considered for OR prepare a short cut of a song (for DESPERATE MEASURES consideration) in either a country western or traditional musical theatre style and bring sheet music in the proper key (An accompanist will be provided) OR you can prepare a short monologue and a short cut of a song, meeting the above instructions. Also, please bring your headshot and resume stapled together.
Actors' Equity Association - Los Angeles
5636 Tujunga Ave
North Hollywood, CA 91601
Expected to attend:
Casting Director(s): Michael Donovan, CSA, Richie Ferris, CSA
See breakdown for production specific personnel.
See breakdown for production specific dates.
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.
International City Theatre 2025 Season
Book & Lyrics: Peter Kellogg
Music: David Friedman
Director: Todd Nielsen
Music Director: Dr. D. Gary Busby
Rehearsals Start: 1/28/25
Previews: 2/19/25 & 2/20/25
Opens: 2/21/25
Closes: 3/9/25
2018 Best Musical Winner - Outer Critics Circle and Best Music & Lyrics - Drama Desk Awards. Set in the late 1800s in a local barn somewhere in Arizona. A group of entertainers gather to present their own version of a tale adapted from Shakespeare's “Measure For Measure” told as a wild and wooly Western. With dialogue presented in rhyming couplets, the story is funny, bawdy and has a lot of heart. Good triumphs over evil and true love, as always, wins in the end. The show will be performed with live music adding to the rollicking fun of the storytelling.
JOHNNY BLOOD – Male, 21–25, any ethnicity. Hot-headed young cowboy: killed a man in self-defense who was makin’ moves on his gal, Bella. Now in jail awaiting his dire fate. Western style dialect. VOCAL RANGE: Tenor.
FATHER MORSE – Male, 40s–50s, any ethnicity. Franciscan priest, loves his drink, sleeping it off, occasionally accidentally inspirational. Doubles as Big Swede in opening number and Bartender in saloon. Irish dialect. VOCAL RANGE: Baritone.
SHERIFF MARTIN GREEN – Male, mid to late 30s, any ethnicity. Straight-laced, a bit stuffy, but a good guy. Just out of touch with his emotions. Perplexed and put off his guard by the strong-willed Susanna. Western style dialect. VOCAL RANGE: Baritone.
SUSANNA AKA SISTER MARY JO – Female, early to mid 20s, any ethnicity. A sweet novice, righteous, straight-laced, strong-willed nun and Johnny’s sister. Desperate to do anything to save her brother. No dialect, speaks perfect English (not Western Style) VOCAL RANGE: Soprano.
GOVERNOR VON RICHTERHENKENPFLICHTGETRUBER – Male, 40s–50s, white. German, strict and by-the-book, power hungry. His long-repressed passions are unleashed by the beauty of Susanna. German dialect (high Germanic, militaristic). VOCAL RANGE: Baritone.
BELLA ROSE – Female, 23–28, any ethnicity. A free-spirited “saloon girl” with a heart of gold in love with Johnny. Impersonates Sister Mary Jo for a “lights out” fling with the Governor in order to save Johnny’s life. Western style dialect. VOCAL RANGE: Mezzo-soprano Belt.
By Lisa Pearl Rosenbaum and Ronda Spinak
Music Curation by Dr. Noreen Green
Director: caryn desai
Rehearsals Start: 4/1/25
Previews: 4/23/25 & 4/24/25
Opens: 4/25/25
Closes: 5/11/25
The Israeli violin maker, Amnon Weinstein, founder of the Violins of Hope collection, restored violins played during the Holocaust. He died in 2024 at age 84, but his extraordinary story, and the true stories of the violins are masterfully interwoven with music in this powerful and uplifting play.
AMNON WEINSTEIN – Male, late 50s, Israeli/Jewish. A proud Israeli, robust and direct, that belies his family trauma.
MOSHE WEINSTEIN – Male, 35, Israeli/Jewish. Passionate about music and his work but uses it to distract him from the past or anything upsetting. Doubles as multiple roles.
GOLDA WEINSTEIN – Female, 35, Israeli/Jewish. Idealistic but pragmatic and tough-skinned; fiercely protective of her family. Doubles as multiple roles.
ASSI WEINSTEIN – Female, late 40s, Israeli/Jewish. Feisty, intelligent, curious, open to new ideas, but sensitive to the pain of others. Doubles as multiple roles.
GUNTHER HAAS – Male, 20s, white. Effusive and energetic. German with an accent, whose enthusiasm for himself and violins often gets him in trouble. Doubles as multiple roles.
TRACK 1 – Female, 30s–60s, Israeli/Jewish. Multiple roles old and young.
TRACK 2 – Male, 30s–60s, Israeli/Jewish. Multiple roles old and young.
Playwright: Paul Slade Smith
Director: Cate Caplin
Rehearsals Start: 5/20/24
Previews: 6/11/24 & 6/12/24
Opens: 6/13/24
Closes: 6/29/24
Young Oliver Adams is on the brink of a major success. His novel The Angel Next Door is set to be published, and famed Broadway playwrights Charlotte and Arthur Sanders have already adapted his book for what is sure to be a huge stage hit. As leading lady, they have their eye on Margot Bell, the very person Oliver adores and about whom he has written his novel. When they all converge for a weekend in Newport, Rhode Island, the thin walls of the mansion reveal that the angel may not be angelic. Only the power of theatre can save the play, Oliver’s novel, and his heart.
Director’s note: All the characters have a vintage glamour and gleefully frivolous flair about them. It is a screwball comedy, very much with the style and flavor of an Oscar Wilde or Noel Coward madcap romp.
CHARLOTTE SANDERS – Female, 50s–60s, any ethnicity. A successful Broadway playwright. Smart, resourceful, optimistic.
OLIVER ADAMS – Male, 21, any ethnicity. A young novelist. Handsome, full of promise, still unsure of himself.
ARTHUR SANDERS – Male, 50s–60s, any ethnicity. Charlotte's husband and co-playwright, a pessimist to her optimist, delighted to be her foil.
OLGA MOLNAR – Female, 40s–70s, any ethnicity. The Housekeeper. A nebulous Eastern European accent - from the Old Country; an unabashedly unhelpful servant.
MARGOT BELL – Female, mid-20s, any ethnicity. A Broadway singer and actress easily cast as the beautiful ingenue, but realizing she's wiser and stronger than the characters she plays.
VICTOR PRATT – Male, mid-30s, any ethnicity. A Broadway leading man. An impressively self-involved idiot and - in his mind - the handsomest, sexiest, manliest man on Broadway. Always a beat behind.
Playwright: Wendy Graf
Director: TBD
Rehearsals Start: 8/5/25
Previews: 8/27/25 & 8/28/25
Opens: 8/29/25
Closes: 9/14/25
Secrets, lies and unresolved conflicts play out against a background of familial memories of food and cooking in MASALA DABBA, a deeply felt family drama where food is love, loss and a portal into the past. Long-buried truths surface through stories inspired by each of the spices in a grandmother’s masala dabba, an Indian spice box. Though Masala Dabba focuses on an Indian/African American family, all families can see themselves in the stories about the past, culture, identity and the choices we make.
ADITI DOSHI – Female-identifying, 60s, South Asian. Born and raised in Gujarat, India. Originally from a village and moved to the city at a young age. Fell in love with a man during the riots, and he lost his life, forcing her to deal with a miscarriage and arranged marriage to hide her past after her love’s loss. Loves to cook and holds pride in her culture but has a severely torn relationship with her daughter. Going through illness, she returns to the US in hopes of making amends.
CHARLIE BYRD – Male-identifying, 40s, Black. Black American. Married to Nisha. Holds strong knowledge about India and respects his wife’s choice to push her culture away. Cares deeply about his daughter, Tina.
NISHA BYRD – Female-identifying, 30s–40s, South Asian. Born and raised in America, Indian heritage. Has a fraught relationship with her mother and her culture. Her mother pushed her away as a child and throughout her life as a result of an unwanted marriage, and Nisha is paying the price of that severance, in the form of dislike toward her mother. When her mother returns with something to profess, she has the choice to listen or carry on without her. She also has a food podcast/vlog - but has never covered Indian food.
TINA BYRD – Female-identifying, 18+ to play 12–15, biracial Black/South Asian. Has been raised with connection to the Black/African American side of her family but has very little knowledge about her Indian half. When her grandmother appears out of the blue, she runs at the opportunity to learn, to her mother’s dismay.
Playwright: Kate Hamill
Director: Amie Farrell
Rehearsals Start: 9/23/25
Previews: 10/15/25 & 10/16/25
Opens: 10/17/25
Closes: 11/2/25
An irreverent, darkly comic, modern take on Sir Arthur Conan Doyle’s famous sleuth and sidekick, this fast-paced romp re-examines the world’s most famous detective story with a bold new feminist lens. In this highly theatrical small-cast escapade, oddball female roommates Sherlock Holmes & Joan Watson join forces to emerge as a deeply codependent, quasi-dysfunctional Odd Couple adventure duo — solving mysteries and kicking butts, until they come face to face with a villain who seems to have all the answers.
All roles require great physical comedic ability and expert facility with various dialects. Dialogue is modern and fast-paced. Seeking a diverse cast.
SHERLOCK HOLMES – Female-identifying, 30s–40s, any ethnicity. A once-in-a-generation genius. Eccentric. Focused, to a fault. Can be less-than-sensitive. Always playing psychological 3-D chess; operating on a totally different level than civilians. Like many geniuses, has a megalomaniac streak. Gets bored easily; likes applause; sometimes accused of being unfeeling. LOVES costumes and drama. British accent. Stage combat/weaponry a plus.
DR. JOAN WATSON – Female-identifying, 30s–40s, any ethnicity. American. Formerly type-A high-achiever. Recently divorced; struggling to find herself, feels broken. Reflexively defensive. Once had great bedside manner. Sometimes accused of being a loser; is definitely not a loser. Wry. Smart.
IRENE ADLER/MRS. HUDSON/MRS. DREBBER – Female-identifying, late 20s–50s, any ethnicity. Irene Adler: A whip-smart, super-charming sex worker finding success at the highest levels. Always playing psychological 3-D chess; operating on a totally different level than civilians. Has incredible charm, confidence, and wit, and she knows it — uses it without mercy. You may want to be Irene, or you may want to be with Irene; but you can’t ignore her. British accent. Mrs. Hudson: Holmes & Watson’s long-suffering landlady. British accent. Mrs. Drebber: Seemingly an ordinary housewife. Somebody you would be very wise not to underestimate. British accent. Stage combat/weaponry a plus.
MORIARTY/LESTRADE/ELLIOT MONK – Male-identifying, 30s–50s, any ethnicity. Moriarty: A criminal so great you’ve never heard of him. A master blackmailer; knows just when to play his cards. Always playing psychological 3-D chess; operating on a different level than civilians. Wears many masks. A professional. Amoral, but you’d like him. Cockney accent. Lestrade: An inspector new to his position at Scotland Yard. Not very imaginative. Often says the wrong thing. British accent. Elliot Monk: An amoral tech billionaire from Texas.
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