Various Producers
Monday, August 26, 2024
9:30 AM - 5:30 PM (E)
Lunch 1:00 PM - 2:00 PM
LORT Non-Rep / Special Agreement
$1400 weekly minimum (LORT D) - Yale Repertory + pension and health. Housing in New Haven and economy travel is provided.
$1318 weekly minimum (Special agreement) - Brooklyn Academy of Music - (pending negotiations and to be confirmed) + 1.25% bump for media
Equity actors for roles in MACBETH IN STRIDE for Yale Repertory and Brooklyn Academy of Music (BAM) (See breakdown). Yale Rep is committed to an inclusive casting policy and encourages all actors to audition regardless of an individual's sex, race, color, religion, age, disability, status as a veteran, national or ethnic origin, sexual orientation, or gender identity or expression.
All roles will be understudied.
There are no Stage Manager positions available at this time.
Please prepare a song, in the style of Tina Turner, no more than 1 minute in length, and please prepare a short bit of classical text, no more than 1 minute in length. An accompanist will be provided, please bring sheet music in the correct key. Also bring your headshot and resume stapled together.
Pearl Studios (500)
500 8th Ave
New York, NY 10018-6504
Holding room - Studio 312
Written by Whitney White
Directed by Taibi Magar and Tyler Dobrowsky
Choreographed by Raja Feather Kelly
Expected to attend:
Casting Director: Taylor Williams
See breakdown for production specific dates.
www.yalerep.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.
Notice: Audition Call Type: EPA
MACBETH IN STRIDE
The Philadelphia Theatre Company, Shakespeare Theatre Company, and Brooklyn Academy of Music Production of: MACBETH IN STRIDE
Please note: There are two legs to this production and the hope is to cast performers who are available for both runs.
Rehearsal in NYC: On or about Mon - Sat, November 18 - 30, 2024 (Nov. 28 OFF)
Tech Rehearsals in New Haven: Mon - Fri, December 2 - 6, 2024
Previews: December 5 & 6, 2024
Opening: December 7 (evening)
Performance week: December 10 - 14 (Tues - Sat) 8 performances, including 3 matinees
Closing: December 14, 2024
Rehearsals: April 8-9, 2025.
Tech: April 10-12, 2025
1st Perf.: April 15, 2025
Student Mat. Perf.: April 22, 2025 @ 11
Closing: April 27, 2025
Venue: BAM Harvey Theater
The Queen is centerstage. In a stacked setlist of original pop, rock, gospel, and R&B bangers, OBIE Award winner Whitney White subverts one of Shakespeare’s most iconic tales. The arc of Lady Macbeth is reimagined as the story of an ambitious Black woman, told through her own contemporary perspective of femininity, desire, and power with a capital P. Dazzlingly theatrical, Macbeth in Stride brings Lady M’s herstory into the 21st century with energy, humor, and swagger to spare.
One role, understudies (tracks to be configured) and possible replacements.
Black, she/her. Narrator meets muse. This character provides a framework for the piece and often connects the dots between what is happening on stage and the audience's experience. Speaks in direct address at times and can always find the bright side of things. An excellent mover and comfortable with classical text. Feels like a friend or homegirl who is rooting for you. Excellent part singer.
Black, she/her. Throughout the show this track will play Lady Macbeth and herself; a 2020-now Black woman grappling with the triangle of ambition, power, and love. A lover of Shakespeare, who will spend the production questioning the consequences his narratives have for women today. Confident with classical language and direct address. Strong Mezzo and belter. Proficient with piano.
White, He/him. Throughout the show this track will play Macbeth; a man engaged in a troubled pursuit of the throne and contending with his wife's ambition, and himself-- an ensemble member who loves Shakespeare but is trying his best to aid in the main character's effort to understand her place, and all Black women's place, in his narratives. Comfortable with classical text and contemporary language. Strong baritone tenor and part singer. Plays accordion in the production however we are open to other instruments.
Black, she/her. Narrator meets muse. This character provides a framework for the piece and often connects the dots between what is happening on stage and the audience's experience. Speaks in direct address at times. Feels like a family member who will never give up on you and at the same time is not afraid to challenge you or put you in your place. Captain of the witches. Excellent mover, confident with classical text. Alto singer.
Black, she/her. Narrator meets muse. This character provides a framework for the piece and often connects the dots between what is happening on stage and the audience's experience. Speaks in direct address at times and is never afraid to share her point of view, even when it is salty. Feels like a rival who could step in and play the WOMAN'S role in a heartbeat. An excellent mover and comfortable with classical text. High mezzo singer and strong belter.
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