Kansas City Rep 2018-19 Season - Kansas City EPA
Kansas City Repertory Theatre
AUDITION DATES
Mon, Mar 26, 2018
12:00 pm - 7:00 pm (CDT)
Tue, Mar 27, 2018
10:00 am - 7:30 pm (CDT)
Break from 1:30-4pm.
APPOINTMENTS
Email Stacy Myers, Director of Artistic Operations for an appointment: kcrepauditions@gmail.com
CONTRACT
LORT Non-Rep LORT B & D; See breakdown for show-specific salaries and contracts.
SEEKING
Performers from all different backgrounds, including race, ethnicity, national origin, gender identity, age, sexual identity, and disability. See breakdown for details.
PREPARATION
Please bring a headshot/resume (stapled) and prepare a three-minute package that includes either a monologue and song or two monologues. Please bring sheet music. An accompanist will be provided.
LOCATION
Kansas City Repertory Theatre
4949 Cherry St
Kansas City, MO 64110-2229
Room 116/119, Bottom Floor.
PERSONNEL
Jason Chanos: Associate Artistic Director
OTHER DATES
See breakdown for rehearsal/performance dates.
OTHER
EPA Procedures are in effect for this audition.
An Equity Monitor will not be provided. The producer will run all aspects of this 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 attend every audition.
Always bring your Equity Membership card to auditions.
BREAKDOWN
2018 – 2019 Season
The Last Days of Summer
Book and lyrics by Steve Kluger, adapted from his novel Music by Jason Howland Directed by Jeff Calhoun.
The world premiere of a new musical based on the best-selling novel, produced in association with Daryl Roth Productions Spencer Theatre;
LORT B; $914 Minimum
First Rehearsal: August 14 First Preview: September 7 Opening: September 14 Close: September 30
JOEY MARGOLIS - Twelve years old, Jewish, intelligent and fearless—despite the fact that he and his best friend are the neighborhood punching bags for the bullies who live in the vicinity. Joey is also tough and tenacious: when he sets his mind to something, it gets done—no matter how improbable that might seem.
CHARLIE BANKS - The third baseman for the New York Giants and a rough and tough bruiser from Racine, Wisconsin, who’s free with his fists (“whenever anybody gives me lip or such other good reasons”), he’s a softy at heart. We get a sense early on that he’s been through a lot more in 25 years than most other people have had to endure in a lifetime.
HAZEL MacKAY - Brainy, beautiful, and a terrific singer, Hazel takes no crap from anybody, but she does so in such a beguiling way that you have no idea what you’re up against. Her unwavering confidence in herself allows her to wear her heart on her sleeve without any fear that it’s going to be damaged.
CRAIG NAKAMURA - Twelve years old and Joey’s best friend, Craig’s Japanese American heritage makes him more of a visible target than Joey is, but he doesn’t let it get in his way—mostly because he thinks he’s the Green Hornet. Fiercely loyal and the only one in Joey’s life who can rein him in, his unshakable faith in Joey makes Craig the prototypical best buddy.
IDA MARGOLIS - Joey’s mom is laid back to the point of being an omniscient observer—until you cross somebody in whom she believes. Then watch out. She has no patience for prejudice of any stripe; her pride in her Jewish heritage and her comfort in her own skin allows her to treat everyone exactly the same.
AUNT CARRIE - On the other hand, there’s Aunt Carrie. Far more forcefully Jewish than Ida (in a room full of police officers, she’ll only speak to Sgt. Greenberg), she’s sharp and opinionated, and it takes a lot of effort to break through her armor—but once that’s been accomplished, her devotion is unassailable.
RABBI LIEBERMAN - While probably not the most patient man who ever lived, he’s nonetheless deeply pious and committed to caring for those in his charge. Like Aunt Carrie, he isn’t an easy person to get to know—until you get to know him.
STUKE - If he isn’t left?handed, he ought to be—because he’s got an oddball way of looking at things that’s unique to most lefties. A second baseman by trade but a philosopher at heart, he’s naturally drawn to unusual people, especially those who have a lot of moxie. A calming influence on even the most intractable of his friends, he’s a Xanax in human form.
RACHEL PANITZ - She’s thirteen years old, utterly appealing in a stubborn and high?maintenance way, and she’s got a full?time job on her hands trying to hide the fact that she finds Joey unbearably cute. She even almost succeeds.
GORDON BIERMAN - Your typical neighborhood punk. Dark?haired and German, he’s ruthless with kids who are weaker than he is—unless a world?famous baseball player happens to talk him out of that particular endeavor. But once he’s on the right track, he’s not entirely incapable of turning into one of the good guys.
Female Ensemble #1 Elsie McKeever/Understudy Hazel
Male Ensemble #1 Stage Manager/Conductor #1/Colonel/Giants manager
Male Ensemble #2 Ballplayer #1/Marine #1/Messenger/Corporal/Radio Operator #1
Male Ensemble #3 Ballplayer #2/Marine #2/ Radio Operator #2/ Understudy Stuke
Male Ensemble #4 Cop/Psychologist/Waiter/Conductor #2/Bishop/Understudy Rabbi
Of Mice and Men By John Steinbeck Directed by Jason Chanos and Eric Rosen
A Co-Production with the UMKC Department of Theatre Copaken Stage;
LORT D; $676 Minimum
First Rehearsal: September 25 First Preview: October 19 Opening: October 26 Close: November 11
Lennie – A childlike migrant worker who doesn’t know his own strength.
George – Lennie’s devoted caretaker and travel companion.
Candy – An aging ranch handyman who lost his hand in an accident. Concerned about his future on the ranch, he offers his life’s savings to George and Lennie to buy land.
Curley’s wife – Steinbeck depicts Curley’s wife not as a villain, but rather as a victim. Like the ranch-hands, she is desperately lonely and has broken dreams of a better life.
Crooks – Crooks, an African-American stable-hand who gets his name from having a crooked back.
Curley – The boss’s son. Rumored to be a champion prizefighter, he is a confrontational, mean-spirited, and aggressive young man who seeks to compensate for his small stature by picking fights with larger men. Recently married, Curley is plagued with jealous suspicions and is extremely possessive of his flirtatious young wife.
Slim – A highly skilled mule driver and “prince” of the ranch. The other characters often look to Slim for advice.
Carlson – A fellow ranch-hand.
The Boss – The fair-minded man in charge of the ranch, and Curley’s father.
Whit – A ranch-hand.
A Christmas Carol By Charles Dickens Adapted by Eric Rosen Directed by Marissa Wolf
Spencer Theatre;
LORT B; $914 Minimum
First Rehearsal: October 30 First Preview: November 15 Opening: November 24 Close: December 30
Scrooge
Dickens
Soprano Quartet Artist
Alto Quartet Artist
Tenor Quartet Artist
Bass Quartet Artist
Marley
Ghost of Christmas Past
Ghost of Christmas Present
Ghost of Christmas Future
Mrs. Cratchit
Bob Cratchit
Fred/Young Eb
Belle/Mrs. Fred
Martha/Fan
Caroline
Andrew
Charwomen
Topper
Dick
Wilkins
Ms. Dilber
Youth Ensemble #1 - 10
Indecent By Paula Vogel Directed by Eric Rosen
A Co-Production with DC’s Arena Stage and Baltimore’s Center Stage. Casting by Arena;
LORT B; $914 Minimum
ARENA: First Rehearsal: October 23 First Preview: November 23 Opening: November 29 Close: December 30 KANSAS CITY REP: First Rehearsal: January 8 First Preview: January 18 Opening: January 25 Close: February 10 BALTIMORE’S CENTER STAGE: First Rehearsal: February 23 First Preview: February 28 Opening: March 7 Close: March 24
LEMML: (40s, Male) A working man, from a little shtetl outside Balut. Naïve in his youth, over time as Asch’s company manager, he experiences the good and the terrible that the world has to offer, but he is never consumed by cynicism; holds fast to his belief in the transformative power of performance.
MADJE/RUTH/VIRGINIA/ENSEMBLE: (20s-30s, Female) Madje: Asch’s wife, has a discerning mind for literature and an enviable depth of feeling. Ruth: Jewish actor living in Greenwich Village, in love with Dorothee; speaks English poorly; outspoken. Virginia: American ingénue; energetic, eager to please. Plays the brides, grooms, writers, and socialists. So ardent in their beliefs, so passionate in their lovemaking.
ASCH/JOHN ROSEN/ENSEMBLE: (20s-30s, Male) Young Asch: Brilliant Polish Jewish playwright; passionate, rebellious, hungry for change. John Rosen: Connecticut-born Jewish idealist; has written a new translation of Asch’s original manuscript and wants to revive the play for a new generation. Plays the brides, grooms, writers, and socialists. So ardent in their beliefs, so passionate in their lovemaking.
FREIDA/DOROTHEE/ENSEMBLE: (30-40s, Female) Freida: A respected German actor, speaks frankly and with an air of sophistication. Dorothee: Jewish actor in Greenwich Village, in love with Ruth; sensitive and full of feeling, she wants to assimilate into American culture. Plays the members in the troupe in their prime. Plays the vamps, all the vice, the scarred, the schemers, the still married.
NAKHMEN/HARRY/ENSEMBLE: (30-40s, Male) Nakhmen: Lemml’s cousin, traditional Jewish man and member at the Polish Yiddish literary salon. Harry Weinberger: Producer at the Greenwich Theatre, proud to produce a play on Broadway by a fellow Jew. Plays the members in the troupe in their prime. Plays the vamps, all the vice, the scarred, the schemers, the still married.
MRS. PERETZ/ESTHER/ENSEMBLE: (40s-60s, Female) Mrs. Peretz: Wife of the literary lion I. L. Peretz; strong literary opinions, dismissive of upstart young writers. Esther: a seasoned and professional actor, she is good at what she does and is frustrated by amateurism. Plays the mothers, the sagest of characters or the ones who remain fools at any age.
OLDER ASCH/PERETZ/ENSEMBLE: (40s-60s, Male) Older Asch: Has retreated entirely from public life; bitter and cynical, he disavows his masterpiece. Peretz: Leader of a prestigious Polish Yiddish literary salon; upper-crust, educated, fussy traditionalist. Plays the fathers, the sagest of characters or the ones who remain fools at any age.
ADDITIONAL ENSEMBLE: (20s-60s) Actor-musicians who play any of the following instruments: Clarinet, Bass Clarinet, Tin Whistle, Violin, Mandolin, Accordion, Baritone Ukulele, Percussion.
School Girls or; The African Mean Girls Play By Jocelyn Bioh Directed by Chip Miller
First Rehearsal: January 29 First Preview: February 22 Opening: March 1 Close: March 17
PAULINA SARPONG – 18 years old; most popular girl in school and knows it. She is beautiful, talented, vindictive yet somehow loveable.
ERICKA BOAFO – 18 years old; the sensible, smart one of Pauline’s pack. Is not afraid to say it like she means it.
NANA – 16 years old; the simple pseudo dumb one of Paulina’s pack. She struggles with her love of food and snacks. Very sensitive.
MERCY – 16 years old; the witty sidekick to Gifty and will do and say anything to stay a member of Paulina’s pack.
GIFTY – 16 years old; the ‘Frick’ to Mercy’s ‘Frack’; loves being a part of Paulina’s pack and will do anything to be considered cool.
HEADMISTRESS FRANCIS – 40’s; the Headmistress of Aburi Girls Boarding School; loves the girls but is also constantly exhausted by them.
ELOISE AMPONSAH – 40’s; extremely poised and well-mannered former Miss Ghana 1976. She now is a recruiter for the Miss Ghana Pageant. She speaks with a slightly affected British accent and prides herself in always being a lady.
Pride and Prejudice Adapted by Kate Hamill from the novel by Jane Austen Directed by Marissa Wolf
Spencer Theatre; LORT B; $914 Minimum
First Rehearsal: February 26 First Preview: March 22 Opening: March 29 Close: April 20
JANE - Late 20s/ early 30s. The eldest and most beautiful Bennet daughter. Kind, idealistic, diffident. Always tries to do the right thing. May be doubled with MISS DE BOURGH.
LIZZY - A year or two younger than Jane. Clever, spirited; can be sharp-tongued. Gets flustered, which makes her klutzy. Prides herself on good judgment. Not especially beautiful.
LYDIA - 14. The youngest Bennet. Lively, prone to imitating others’ behavior and eavesdropping. May be doubled with Lady C.
CHARLOTTE LUCAS - Same age as Lizzy. A practical girl with a good sense of humor. May be doubled with Mr. Bennet.
MR. DARCY - Late 30s-40s. One of the richest men in England. Too proper for his own good; awkward in most social contexts. Prides himself on self control and good judgment.
MR. BINGLEY - Late 30s-40s. Loves the world and the world loves him. Mr. Darcy’s particular friend. May double with Mary.
MR. COLLINS - A pedantic, obtuse man. Rector to Lady Catherine. May double with Wickham/ Miss Bingley.
WICKHAM - An unfairly handsome and charming gentleman. Raised with Darcy. May double with LADY CATHERINE / MISS BINGLEY.
Male or Female, depending on doubling and actor:
MRS. BENNET - The matriarch of the Bennet family. Mostly a silly woman, of mean understanding and variable temper. Hypochrondriac. The business of her life is to get her daughters married.
MR. BENNET - The patriarch of the Bennet family. Finds amusement in absurdity; often looks for respectable escape from the chaos of his family life. Disappointed in marriage. May double with Charlotte.
MARY - The third Bennet girl. Bit of a monster; prone to pendanticism and sulking. May be doubled with Bingley.
MISS BINGLEY - A very rich young woman. Fancies herself witty. May be doubled with Wickham.
LADY CATHERINE - Patrician Caesar-meets-drill sergeant. May be doubled
MISS DE BOURGH - Lady Catherine’s daughter; may double.
OriginKC FESTIVAL OF NEW WORK (In rotating rep)
Copaken Stage; LORT D; $676 Minimum
First Rehearsal: March 26 First Preview: April 19 Opening: April 26 Close: May 19
Frida by Vanessa Severo Directed by Joanie Schultz
Unreliable by Dipika Guha Directed by Marissa Wolf
HATTIE - 72 years old, Caucasian, American
GRETCHEN - 34 years old, Caucasian, American
YUSUF - 32 years old, Jordanian-Arab
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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