Ogunquit Playhouse
CONTRACT
COST $826 weekly minimum + health/pension/travel/lodging/transportation
SEEKING
Equity actors for roles in MR HOLLAND'S OPUS (see breakdown).
The world premiere of this joyous new musical lights up the Ogunquit Playhouse stage with music by Tony Award-nominee Wayne Barker (Peter and the Starcatcher) and book, lyrics & direction by Tony Award-winner BD Wong. Adapted from the beloved film written by Patrick Sheane Duncan, this funny and moving show is a buoyant love letter to the essential joy of making music, parenthood, and the special place we keep in our hearts for our most memorable teachers.
INSTRUCTIONS
SEE PREPARATION INSTRUCTIONS IN BREAKDOWN. All submissions will be via video, and submitted through this form: https://form.jotform.com/220544827493158 . If you encounter any technical difficulties, you may submit via e-mail to submissions@michaelcassara.net – but please only use that if you are unable to use the form or have any questions/encounter any errors. Submissions are due by 6 PM (US/Eastern) on Wednesday, March 16th, 2022.
Deadline: Wed, Mar 16, 2022
PERSONNEL
Producer: Ogunquit Playhouse (Bradford T. Kenney, Executive Artistic Director)
Producing Director: Brian J. Swasey
Based upon the Metro-Goldwyn-Mayer motion picture MR. HOLLAND’S OPUS written by
Patrick Sheane Duncan
Director/Book/Lyrics: BD Wong
Music: Wayne Barker
Choreographer: Darren Lee
Music Director: Kevin Stites
Associate Music Director: Andrew Bourgoin (viewing auditions)
Casting Director: Michael Cassara, CSA (viewing auditions)
OTHER DATES
Callbacks will be held (via video and/or in person) in March and April – once you have submitted your materials, we will not follow up with you unless we need anything further.
First rehearsal (in NYC) - 7/18
Opens: 8/20
Closes: 9/17
OTHER
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 prepare a brief traditional or contemporary musical theatre song that you love to sing, a brief cut about one minute in length is ideal.
If you are also an instrumentalist, PLEASE also submit any footage you have playing your instrument(s).
Existing footage (reels, etc.) are fine, but we do ask for them to be as current as possible. Please don't submit anything over a year old.
Equity Required Accompaniment Tracks:
In the event that a performer does not have access to audition accompaniment tracks of their own, we have provided audition accompaniment cuts of Irving Berlin's Always, now in the public domain, which you are welcome to use as a general singing audition. Per Equity rules, it has been provided in 4 separate keys (Soprano/Alto/Tenor/Bass) and tracks/sheet music can be obtained from: https://www.dropbox.com/sh/1a4ff2936tn2wcf/AAALsljpkIdBCzETdyi6ulVna?dl=0 – please do NOT feel obligated to use these tracks, they are here solely to satisfy Equity’s requirement that tracks be provided – we are most interested in hearing you perform whatever suits YOU best. You are welcome to use any material of your choosing, but we do strongly prefer that you sing with accompaniment or an accompaniment track. Additionally, feel free to submit supplementary footage (reels, etc.) that you think may be of use.
SEEKING:
NOTE: In general, we are looking to hire actors with performance caliber instrumental musicianship across the board. The playing of multiple instruments, on top of voice, dance and acting skills is advantageous! Quadruple threats. Those who “played well years ago” are welcome to audition, but it’s helpful if any “brushing up” needed to get up to speed happens before we meet, as it’s difficult to give auditionees the “benefit of the doubt,” or imagine the level one might end up at.
The action of the musical spans 40 years and each character will be played by one actor who grows older theatrically.
[GLENN HOLLAND] Person of color, ages from late 20s to late 60s, male. Extremely strong singer - strong high baritone. Will also speak in ASL during pivotal moments (this will be coached during rehearsals, but ASL familiarity is a big plus). A very creative man with an intellectual, neurotic, youthful wit. He is also the awkward father of a son who has special needs and relies heavily upon his patient and intuitive wife, Iris. Barely ever off stage and must carry the entire show. Must have access to a very rich gamut of emotions, great humor, and reach a place of deep vulnerability. Instrumental music ability of any sort (piano proficiency, ideally) is a plus, but NOT required.
[EUGENE WOLTERS] white, 40s-60s, male. The antagonist. A by-the-book Vice Principal/Principal. Mean and roundly unpopular - but amusing to the audience. If played properly, we'll feel for him - partly because he's twisted up inside about any number of personal issues. A true clown, an inspired comedian. Not a big singing role but musicianship is required. An imposing, intimidating stature might be a plus. Instrumental music ability of any sort is a plus, but not required - please specify instrument(s) and proficiency level with submission, if you play anything.
[LOUIE, JR./STUDENT] Black, 18+ to play teens, male. Strong tenor/high baritone. Charismatic musical theater performer with dynamic, star-quality energy. Louie is a disadvantaged kid struggling to graduate who is mentored by Holland. He is extremely scared and mistrustful of Wolters (a white man in a position of authority) and this fear fosters “stage fright” that he conquers in his story. Louie first seems “hopeless,” but, with some “TLC,” he overcomes his fears and ends up on top of the world - performing for a huge crowd. He's a “dazzling drummer,” so instrumental music ability of any sort (especially drums/percussion) is a plus, ...but not required - please specify instrument(s) and proficiency level with submission, if you play anything.
[BOBBY TIDD/STUDENT] any ethnicity, 18+ to play teens, transgender (transmasc), gender nonconforming, or non-binary. A cool trans boy in 1972, when there aren't names or protocols for trans people. He is finding his way in a world of teenage confusion, gender identity conflict, and bullies, and uses the vernacular of hip 1940s jazz musicians to adopt a persona of easy masculinity. Deep down he's scared, and constantly dodging judgment or threats of violence. His deep trust in Holland allows him to open up in his own way – a first step toward liberation. A cracker-jack brass player: trumpet or cornet ability a major plus - please specify instrumental experience, if applicable.
[LOUIE RUS, SR./TEACHER] Black, 40s-50s, male. High baritone or Tenor to a solid G#. Father of LOUIE. In one scene the proud parent, and in another suddenly sensitive and bereft, he gives a soaring eulogy for his son in song. Powerful, emotional singer. Instrumental music ability of any sort is a plus, but not required - please specify instrument(s) and proficiency level with submission, if you play anything.
[STADLER'S MOM/TEACHER] any ethnicity, late 30s-50s, female. Strong seamless belt. Seen as a figment of Stadler’s imagination. She is a hardworking mom who is shut out by her surly, teenaged son: he imagines her singing heartbreakingly at his funeral. Instrumental music ability of any sort is a plus, but not required - please specify instrument(s) and proficiency level with submission, if you play anything.
[ROWENA MORAGA/STUDENT] Person of color, Latina/Latine, 18+ to play teens, female. Very strong seamless belt. A promising musical theater nerd with special energy and a hopeless crush on Holland. She obsessively fantasizes about running away with him, putting him in an awkward position. She plays the titular role of Cleopatra in the school musical (an awful rock opera) with great earnestness (not slick or camp) - and it's unintentionally, charmingly funny. Instrumental music ability of any sort is a plus, but not required - please specify instrument(s) and proficiency level with submission, if you play anything.
[NATALIE ANDERSEN/TEACHER] any ethnicity, 20s-60s, female. *Must be fluent in American Sign Language/ASL*. Natalie is Cole’s no-nonsense and very capable teacher at the School for The Deaf. She has the potentially awkward role of having separate relationships with each member of the Holland family during their greatest hour of need and plays a crucial role in steering them toward harmony with humor and warmth. Instrumental music ability of any sort is a plus, but not required - please specify instrument(s) and proficiency level with submission, if you play anything.
[JIM STAHLEN/TEACHER/AND OTHERS] any ethnicity, 30s-40s, male. Attractive baritone with a smooth easy-rock voice and a “down home” persona (city OR country). A long-lost childhood friend of Holland’s, Jim Stahlen is a popular folk-rock singer/songwriter, with a song climbing the charts throughout the show. He has a warm, amusing presence as we see him in various vignettes that illustrate his enviable career. Instrumental ability a plus - particularly guitar.
[STADLER/STUDENT] any ethnicity, 18+ to play teens, male. Tenor with a solid G. Stadler is a sullen, bitter teen, who undergoes a great change of heart. He's introduced as a bully from a troubled home, and eventually reveals inside an emotional, contrite little boy in great need of love. Very good, very emotional with a soaring voice who can play a sour meanness and then undergo a transformation to become emotionally vulnerable. Instrumental ability is crucial - brass instrument (trombone is ideal) - but also open to other brass instruments or even percussion, sax player or bassist.
[SHAUGHNESSEY/RADIO VOICES/AND OTHERS] any ethnicity, 30s-40s, male. Shaughnessey is a very tall and handsome young teacher at Kennedy High with an easy, affable manner, like a vintage Rock Hudson. He reminisces with Wolters, making Wolters squirm with discomfort stemming from his powerful latent attraction to Shaughnessey – though Shaughnessey himself is oblivious. This track also provides all the voices on the radio for everything from an NPR classical live broadcast host to AM weatherman, to morning show “Wolfman Jack” type DJ. Instrumental music ability of any sort is a plus, but not required - please specify instrument(s) and proficiency level with submission, if you play anything.
[MANNY ESCOBAR/STUDENT] Latino/Latine; Person of color, 18+ to play teens, male. Baritone/High Baritone. Class clown. Typical smart-ass kid who gives the teacher a hard time, then turns out to be one of the brightest in the class. Instrumental music ability of any sort is a plus, but not required - please specify instrument(s) and proficiency level with submission, if you play anything.
[STUDENT 2/HOLLAND’S MOM/SHONDI/KAYLA] Black, 20s-30s, female, strong belt (or any vocal classification). This is a small, featured ensemble track with several nice little moments. Any body shape/size with a great voice and a warm, vibrant, expressive, wise cracking/funny quality. Instrumental music ability of any sort is a plus, but not required - please specify instrument(s) and proficiency level with submission, if you play anything.
[LEONARD/STUDENT] any ethnicity, 18+ to play teens, the character may be genderqueer, non-binary, gender nonconforming - sings in a tenor or baritenor range. LEONARD enthusiastically sings back up for his classmate GERTRUDE on a popular Motown song, with his bestie SHONDI. LEONARD could be skinny or plus sized, femme/genderqueer, super nerdy, or pretty much anything…he only needs to have a great voice, a game, joyful performing spirit, and be interesting to watch - here and throughout the show. This is a very small, but noticeable, moment in the show. Instrumental music ability of any sort is a plus, but not required - please specify instrument(s) and proficiency level with submission, if you play anything.
[ENSEMBLE (ACTOR-INSTRUMENTALISTS)] 18+ to play students (and/or teachers) of different ages/in different eras. All ethnicities, all gender identities, all shapes and sizes. Strong singers, and strong actor-singer-instrumentalists who play orchestral or band instruments. Piano and guitar are not super helpful here. Please specify instrument(s) and proficiency with submission.
[ENSEMBLE (STRONG DANCERS who play an instrument)] 18+ to play students (and/or teachers) of different ages/in different eras. All ethnicities, all gender identities, all shapes and sizes. Strong dancers, and anyone with an instrumental background (orchestral or band instruments). Piano and guitar are not super helpful here. Please specify instrument(s) and proficiency with submission.
[THE FOLLOWING ROLES ARE CURRENTLY CAST - please submit for future/replacement possibilities only:]
[BILL MEISTER] Any Ethnicity, male, 30s-50s, High Baritone or Tenor with a solid G#. Bill Meister. The Best Friend. An intellectual equal to Holland, not your average gym teacher. Cannot resist a kid in need. Nurturing and wise cracking, he has a fantastic, dry sense of humor and can be wonderfully understanding and insightful. He harmonizes above Holland (a high baritone) in their “Billy Joel inspired duet. CAST.
[IRIS HOLLAND] Any Ethnicity, female, 30s-50s, Strong seamless belt. Must perform in ASL. Practical, she has years of experience living with a difficult boyfriend/husband and knows how to motivate him and keep him focused through humor and by sometimes taking a pseudo-parental approach. Funny and sexy in an earthy, bohemian way. Very conflicted as a co-parent with a baby daddy who is dead set on doing things his way when she knows he's wrong. CAST.
[HELEN J. JACOBS] Any Ethnicity, female, 40s-60s, Strong belt. The formidable Principal of Kennedy High (in Act One), Jacobs is feared by all, mostly because she takes great pains to remain unreadable to all in every situation. Very strong, ethical woman. Serious, but also has strong comic ability. CAST.
[GERTRUDE LIANG] Asian-American, South-Asian or Pacific Islander, female,18+ to play teens: Light mix-y belt. A bundle of energy with attention deficit and audio processing challenges at a time when there was no such thing as either, Gertrude is at first sad and terrified of her own learning disability until Holland unlocks her potential, revealing a vibrant, productive, talented and vivacious teen beneath. CAST.
[KENJI WILTSHIRE] Asian-American, 18+ to play teens, male. Effortless, high lyric tenor. An edgy art student who labors over the sculptural mural that pays tribute to all art forms which figures throughout the show. He is passionate and energetic and stylish and is heartbroken when his work is vandalized. Has a solid high B. CAST.
[COLE HOLLAND] Any Ethnicity, 18+ to play early teens, male. Cole is a bright, mischievous Deaf teen who is saddened by his own father’s inability to connect with him but extremely resilient and patient, trusting that his turn will come as he waits in the queue for Holland’s affections. Extremely charismatic, emotionally connected, and able to sign lyrics with a great sense of musicality. We see this character young, and at 38. NOTE: Deaf or hard of hearing actors fluent in ASL encouraged to submit. CAST.
Videos
