Kansas City Repertory Theatre
CONTRACT
LORT Non-Rep See breakdown for production-specific salaries.
SEEKING
Equity actors for roles in 2021-22 season (see breakdown). Roles will be understudied internally by other actors.
We encourage participation of performers from all different backgrounds, including race, ethnicity, national origin, gender identity, age, sexual identity, and disability.
INSTRUCTIONS
Please send resume and cover letter for consideration. Please submit tapes in Vimeo or unlisted YouTube format. Please send an email with video link. Video submissions due by JUNE 30, 2021 5PM CDT. Headshot and resume should be submitted to https://form.jotform.com/yetunde2/headshotresume-submission.
Deadline: Tue, Jun 29, 2021 (CST)
SUBMIT TO
PERSONNEL
Viewing auditions:
Associate Artistic Director Jason Chanos
Artistic Associate Yetunde Felix-Ukwu
See breakdown for production-specific personnel.
OTHER DATES
See breakdown for production dates.
OTHER
Kansas City Repertory Theatre pursues theatrical excellence and advances the art form, creating and sharing stories at the center of the nation’s creative crossroads. KCRep cultivates passionate audiences, artists, and advocates who are invested in our region’s future. We build community by connecting people through productions and programming that educate, entertain, challenge and inspire.
www.KCRep.org
To receive notices of future auditions:
https://ticketing.kcrep.org/account/register.aspx
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 submit.
BREAKDOWN
PREPARATION INSTRUCTIONS:
Please film your audition beginning with a slate/introduction. Prepare a package that includes either a monologue or two contrasting monologues. Total video not to exceed 3 minutes. If you are auditioning for The Old Man and The Old Moon, please prepare 1-2 minutes of self-accompanied song in the folk/singer-songwriter tradition of your choosing on your lead instrument.
Mary’s Wedding
Written by Stephen Masicotte
Directed by Artistic Director Stuart Carden
South Grounds of National WWI Museum and Memorial;
LORT D $739 (AEA PERFORMERS); $911 (AEA SM); $749 (AEA ASM)
First Rehearsal: August 3, 2021
First Preview/Opening: August 27, 2021
Close: September 19, 2021
Tonight is just a dream...it begins at the end and ends at the beginning.” On the night before her wedding, Mary dreams of a thunderstorm, during which she unexpectedly meets Charlie sheltering in a barn beside his horse. With innocence and humor, the two discover a charming first love. But the year is 1914, and the world is collapsing into a brutal war. Together, they attempt to hide their love, galloping through the fields for a place and time where the tumultuous uncertainties of battle can’t find them. A play with a heart as big as the skies that serve as its stage, Mary’s Wedding is an epic, unforgettable story of love, hope, and survival.
Charlie – Any ethnicity male (early to late 20’s) – This role has been cast
Mary – Any ethnicity female (early to late 20s) - This role has been cast
A Christmas Carol
By Charles Dickens
Directed by Jason Chanos
Spencer Theatre;
LORT B; $1008 (AEA PERFORMERS); $1202 (AEA SM); $1020 (AEA ASM)
First Rehearsal: October 19, 2021
First Preview: November 19, 2021
Opening: November 28, 2021
Close: December 26, 2021
Storyteller
Scrooge
Bob Cratchit
Fred
Mrs. Cratchit
Marley/Old Joe
Charwomen
Ghost of Christmas Past
Ghost of Christmas Present
Ghost of Christmas Future
Mrs. Fred
Mr. Fezziwig
Mrs. Fezziwig
Male Ensemble 1
Male Ensemble 2
Young Ebenezer
Belle
Female Ensemble 1
Ms. Holmes & Ms. Watson – APT. 2B
Written by Kate Hamill
Adapted from stories by Sir Arthur Conan Doyle
Directed by: TBA
Copaken Theatre;
LORT D; $739 (AEA PERFORMERS); $911 (AEA SM); $749 (AEA ASM)
First Rehearsal: January 11, 2022
First Preview: February 1, 2022
Opening: February 4, 2022
Close: February 20, 2022
MS. HOLMES & MS. WATSON – APT. 2B is an irreverent, darkly comic, modern take on Sir Arthur Conan Doyle’s famous sleuth and sidekick – a fast-paced feminist farce, re-examining the classic adventure stories you love with a fresh lens. In this highly theatrical, small-cast romp, oddball female roommates Sherlock (yes, it’s also a girl’s name – wait, is it a girl’s name? Is it even a name?) Holmes & Dr. Joan Watson join forces to become a deeply codependent, quasi-dysfunctional, Odd Couple adventure duo…solving mysteries and kicking butts, until they come face to face with the Original Supervillain: Professor James Moriarty. Steampunk. Feminist. Radical. Extremely Thrilling. Occasionally shocking. Highly Amusing. By Jove, we’ve done it.
Most of the characters have British accents; Watson and Elliot Monk are American. This play takes place in 2021, in London. Actors should have great language skills, energy, and comic chops. PGM (people of the global majority) / BIPOC actors, as well as actors of all gender identities, encouraged to submit.
SHERLOCK HOLMES / as cast (30s-40s): female-identifying. A leading “independent deductive consultant.” A true once-in-a-generation genius. Eccentric. Focused, to a fault. Kind of a nightmare as a roommate, actually; leaves half-decomposed bones and poisoned coffee creamer around the apartment. Can be less-than-sensitive. Always playing psychological 3-D chess; operating on a totally different level than civilians. Has found a way to turn her eccentricities into strengths. Like many geniuses, has a bit of a megalomaniac streak. Gets bored easily; likes applause; smokes weed to relax; sometimes accused of being unfeeling. LOVES costumes and drama. Flatmates with Watson, whom she eventually develops a codependent friendship with.
DR. JOAN WATSON female-identifying - (30s-40s): American. A formerly type-A high-achieving doctor, running away from trauma and resulting burnout. Recently divorced; struggling to find herself, feels broken. Has panic attacks at the sight of other people’s pain, which is…a problem. Reflexively defensive. Once had great bedside manner. Sometimes accused of being a loser; is not a loser. If Holmes, Moriarty, and Adler are playing psychological chess, she is admittedly playing checkers. Flatmates with Holmes, whom she eventually develops a codependent friendship with.
IRENE ADLER / MRS. HUDSON / MRS. DREBBER – female-identifying (late 20s-40s): A whip-smart, super-charming sex worker finding success at the highest levels, with powerful clientele. Follows her own code; bit of an anarchist, ethically speaking. 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. If anyone is Sherlock’s equal, it’s her. She is casually amused by Watson, who loathes her, possibly out of jealousy. Her sexual energy is powerful; people don’t think clearly around her. You may want to be Irene, or you want to be with Irene. She’s, shall we say, self-interested - Irene is not a feminist; she’s an Adlerist. Mrs. Hudson – Holmes & Watson’s long-suffering landlady. Terrified of what’s going on in the flat upstairs; much of Holmes’ work goes over her head. Always trying to call Sherlock “Shirley.” Mrs. Drebber – seemingly an ordinary housewife, but hiding a great deal of rage and strength. Dangerous. Somebody you would be very wise not to underestimate.
MORIARTY / LESTRADE / ELLIOT MONK – male-identifying (30s-50s): 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 totally different level than civilians. Wears many, many masks. A professional. Amoral, of course, but you’d like him. Lestrade – an inspector newly promoted to his position at Scotland Yard. Not very imaginative. Often says the wrong thing. Likes to indulge in grand theories, which are often wrong. Seems to have a bit of a thing for Watson. Elliot Monk – an amoral, spotlight-seeking tech billionaire from Texas, specializing in start-up software that sells secrets. He is bent on running for public office. But first, he has to clean up a potential scandal involving Irene Adler…
The Royale
Written by Marco Ramirez
Directed by Steph Paul
Copaken Theatre;
LORT D; $739 (AEA PERFORMERS); $911 (AEA SM); $949 (AEA ASM)
First Rehearsal: February 15, 2022
First Preview: March 8, 2022
Opening: March 11, 2022
Close: March 27, 2022
Two-week local tour: March 28, 2022-April 10, 2022
Jay “The Sport” Jackson dreams of being the undisputed heavyweight champion of the world. But it’s 1905, and in the racially segregated world of boxing, his chances are as good as knocked out. When a crooked boxing promoter hatches a plan for “the fight of the century,” “The Sport” just might land a place in the ring with the reigning white heavyweight champion.
JAY: Black, Male-identifying (late 20s to early 30s) - athletic/powerful physique of a champion heavyweight boxer. Minimum height 5’10”. He has the energy of a boxer but the style and swagger of an artist. Like Muhammad Ali, he has charm, intellect, bravado and fire. He spars beautifully with both words and fists. Seeming impenetrability that covers a raw vulnerability.
WYNTON: Black, Male-identifying (50s-60s) - Former competitive boxer and trainer/mentor/father figure to Jay. He’s been around and wears that history both on his face and in his heart. He has true old school energy but stays young by mentoring the next generation of boxers. He’s an expert on the sport and knows Jay better than anyone else. He’s tough, passionate and stubborn, but he can undercut a moment of tension with a sly look and a laugh. He wants this title fight as much as Jay but knows from experience what it may cost.
FISH: Black, Male-identifyng (early 20s) - athletic/powerful physique of a heavyweight boxer. Minimum height 5’9” - amateur boxer who becomes Jay’s sparring partner. He’s green and naive but ambitious, has true guts and real fight in him. Wears his emotions on his sleeve and attempts to cover that up with a likeable bravado.
NINA: Black, Female-identifying (late 20s to late 30s) - Jay's fierce older sister, immovable, stern, smart, loving. She is not to be messed with and takes the lead before she is asked. If she were born in a different era she would lead a political movement, but for now she’ll lead her brother and the other children around her.
MAX: White, Male-identifying (late 20s to late 40s) - a fight promoter and referee. He hitched his wagon to the train in which he saw potential--an African-American boxer named Jay Jackson. He likes making money, but more importantly, he likes the sport of it all. He believes what they're doing is important - but not in a social sense. He doesn't care that he's arranging a fight that'll break racial boundaries. He cares more for the fact that this'll go down in history.
The Old Man and the Old Moon
Book, Music and Lyrics by PigPen Theatre Company
Directed by Artistic Director Stuart Carden
Spencer Theatre;
LORT B; $1008 (AEA PERFORMERS); $1202 (AEA SM); $1020 (AEA ASM)
First Rehearsal: March 29, 2022
First Preview: May 3, 2022
Opening: May 6, 2022
Close: May 22, 2022
Possible 1-week extension: closing May 29, 2022
The Old Man and The Old Moon tells the tale of an old man who tends to the leaking moon by refilling it nightly with liquid light. But when his wife hears a tune on the wind and leaves their home, The Old Man abandons his post and plunges the world into darkness and chaos. His epic journey across land, air and sea to find her, reminds him the perils and pleasures of change and the unwavering power of love.
The story of The Old Man and The Old Moon is told by a seven actor-musicians ensemble who play over 30 roles. All actors sing and must be proficient on one of the following instruments: Piano, Accordion, Banjo, Guitar, Bass, Violin, Dulcimer, Drums, Percussion. The theatrical language of the play includes indie-folk music, acapella song, movement, puppetry, dialogue and traditional storytelling. British, Scottish, and Irish dialects. This is a physical production and includes movement that navigates multiple platforms and levels.
Casting is open to all genders, races, ages and ethnicities.
If you are auditioning for The Old Man and The Old Moon please prepare 1-2 minutes of self-accompanied song in the folk/singer-songwriter tradition of your choosing on your lead instrument.
THE OLD MAN: An old man whose job it is to fill the moon with liquid light. His journey in pursuit of his missing wife forces him out of his complacent lifestyle.
THE OLD WOMAN: An old woman who’s growing tired of her life filling the moon with her husband. She leaves her home in search of a forgotten memory. And multiple ensemble roles as cast.
LLEWELLYN: The youngest, somewhat naïve, spirited sailor whom the Old Man mentors and takes on as an apprentice towards the end of his journey. And multiple ensemble roles as cast.
CALLAHAN: An ardent sailor. Never loses a fight. And multiple ensemble roles as cast.
MABELU: A sailor who has a good sense of humor and the best of intentions. He lost his precious dog years ago. And multiple ensemble roles as cast.
COOKIE: An unhinged cook. Might be afraid of fire. And multiple ensemble roles as cast.
MATHESON: The first-mate of the ship and the narrator of the tale. Matheson loves telling stories so much that he commands the attention of the audience and the respect of his sailors. And multiple ensemble roles as cast.
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 submit.
Videos
