OLD GLOBE 2019 SUMMER SEASON - Los Angeles EPA
Old Globe
AUDITION DATE
Tue, Dec 18, 2018
10:00 am - 6:00 pm (PST)
Lunch: 1:00PM - 2:00PM
APPOINTMENTS
EPA rules in effect. In-person sign up begins at 9:00AM on 12/18.18 If unable to attend this EPA, send pic and res to casting@theoldglobe.org
CONTRACT
LORT Non-Rep Minimum - $1033/wk
SEEKING
Equity Male, Female, and Non-Binary Actors of All Ethnicities
PREPARATION
Singers please prepare 16-32 bars of a contemporary musical theater song. An accompanist will be provided.
Actors prep (2) one-min contrasting monologues and singers may prep one monologue and 16-32 bars.
Please bring sheet music organized.
Bring picture and resume stapled or glued together.
LOCATION
Actors' Equity Association LA Audition Center
5636 Tujunga Ave
North Hollywood, CA 91601
PERSONNEL
Old Globe Associate Artistic Director Justin Waldman will be present at auditions.
OTHER DATES
See breakdown.
OTHER
No Stage Management positions available.
SM's may submit resume to:
Leila Knox
1363 Old Globe Way
San Diego, CA 92101
EPA Procedures are in effect for 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.
BREAKDOWN
AS YOU LIKE IT
Written by: William Shakespeare
Directed by: Jessica Stone
Ist Reh: May 14, 2019, 1st Prev.: June 16, 2019, Closes: July 21, 2019 (Opening Night: June 22)
Lowell Davies Festival Theatre, Old Globe Theatre, Conrad Prebys Theatre Center.
Roles will be understudied. Seeking all ethnicities.
The magical forest of Arden is the play’s famous setting, where a gallery of eccentric characters comes together to find love, fortune, redemption...and themselves. Banished from the court by her deceitful and treacherous uncle, Rosalind disguises herself as a boy, not knowing that the man she loves, also on the run, is behind the next tree. Bucolic Balboa Park is the ideal spot for Shakespeare’s enticing tale of mistaken identity, heartfelt romance, and the endearing fumbles and foibles of love.
Available roles:
ORLANDO, youngest son of Sir Rowland de Boys
OLIVER, his elder brother
SECOND BROTHER, brother to Orlando and Oliver, named Jaques
ADAM, servant to Oliver and friend to Orlando
DENNIS, servant to Oliver
ROSALIND, daughter to Duke Senior
CELIA, Rosalind’s cousin, daughter to Duke Frederick
TOUCHSTONE, a court Fool
DUKE FREDERICK, the usurping duke
CHARLES, wrestler at Duke Frederick’s court
LE BEAU, a courtier at Duke Frederick’s court
Attending Duke Frederick:
FIRST LORD
SECOND LORD
DUKE SENIOR, the exiled duke, brother to Duke Frederick
Lords attending Duke Senior in exile:
JAQUES
AMIENS
FIRST LORD
SECOND LORD
Attending Duke Senior in exile:
FIRST PAGE
SECOND PAGE
CORIN, a shepherd
SILVIUS, a young shepherd in love
PHOEBE, a disdainful shepherdess
AUDREY, a goat-keeper
WILLIAM, a country youth in love with Audrey
SIR OLIVER MARTEXT, a parish priest
HYMEN, god of marriage
Lords, Attendants, Musicians
ENSEMBLE
Roles will be doubled and tripled.
World premiere
THE TALE OF DESPEREAUX
Based on the novel by Kate DiCamillo and the Universal Pictures animated Film
Book, Music, and Lyrics by PigPen Theatre Co.
Directed by Marc Bruni and PigPen Theatre Co.
1st Reh: May 21, 2019 1st Prev: July 6, 2019 Closes: August 11, 2019 (Opening Night: July 13)
Donald and Darlene Shiley Stage, Old Globe Theatre, Conrad Prebys Theatre Center
The acclaimed PigPen Theatre Co. charmed and astonished Old Globe audiences with The Old Man and The Old Moon. Now they return to San Diego, bringing their one-of-a-kind theatrical and musical inventiveness to Kate DiCamillo’s beloved, Newbery Medal–winning modern fable, The Tale of Despereaux. Despereaux is a courageous mouse who dreams of becoming a knight. He sets off on a noble quest that will take him down into dungeons and up to the heights of a castle tower to rescue a beautiful human princess—but the dark-hearted rat Roscuro has other ideas. The Boston Herald proclaims, “PigPen Theatre Co. is already a phenomenon,” while The New Yorker says, “It’s like watching child geniuses at play!” Full of gorgeous music, stunning stage effects, witty performances, and a message of optimism and community, The Tale of Despereaux is an inspiring and beguiling story for all ages.
Seeking all ethnicities. Available roles:
MIGGERY SOW – Late 20’s female soprano. A new serving girl in the palace, clumsy but well-meaning, she’s survived a troubled life without losing her cheerful demeanor, more than anything she wants to be a princess. ROLE HAS BEEN OFFERED
ANTOINETTE – Late 30’s alto. Despereaux’s mother, delightfully vain. Dramatic for a mouse. A worrier, like most mice.
KING PHILLIP – Late 20’s to mid 30’s baritenor. A genial King, morose and distant after the loss of his wife. Quick to anger when rats or soup are mentioned (he holds them responsible for the Queen’s death). ROLE HAS BEEN CAST
FURLOUGH – Late 20’s to mid 30’s tenor. Despereaux’s brother, anxious, prone to saying “cripes!” ROLE HAS BEEN CAST
LOUISE – Late 20’s to mid 30’s tenor. The formidable Castellan/Chef of the palace. Stern and sometimes fearsome, with a biting wit. More than anything wants to make soup again. ROLE HAS BEEN CAST
PRINCESS PEA – Late 20’s soprano. A young Princess, she’s had to grow up too fast. Burdened with running the kingdom after her mother’s death and her father’s withdrawal. She’s good at it: smart, kind and charming, but frustrated by having to live up to everyone else’s image of what a good princess should be. Miggery Sow is one of the only people she feels like she can talk to.
DESPEREAUX – Late 20’s female mezzo soprano with a strong belt. A small mouse of unusual courage, his curiosity and fearlessness makes him a pariah of mousedom, though he may be the only one actively trying to solve the severe problems facing his community. Wide-eyed and big-eared, he wants to use his senses for more than just sniffing crumbs. When he discovers a story about a brave knight who rescues a princess and fights a dragon, he thinks he’s discovered the perfect how-to guide for life. He decides to become a knight himself and sets off on a quest of his own. But when he is seen breaking the number one mouse rule of not talking to humans, he is banished from mousedom and condemned to the dungeon.
LIBRARIAN/PRISONER – Late 20’s to mid 30’s baritenor. Our mystical narrator. Verbose and highly literate but with an earthiness that hints at his humble origins. His previous life of bad decision making led him to a very dark place. He tells “The Tale of Despereaux” partly because it tells the story of his own salvation. ROLE HAS BEEN CAST
BOTTICELLI – Early to mid 30s baritenor. A delightfully wicked rat, Roscuro’s “friend” and “mentor”, sees the humor in everything - especially suffering. He comes down hard on Roscuro for his unsightly love of light. ROLE HAS BEEN CAST
ROSCURO – Early to mid-30’s baritenor. A rat who loves light (which is un-ratlike to say the least), at first he is noble and optimistic (also un-ratlike) but when his attempt to join the upstairs world of light ends in disaster and rejection, his heart breaks and heals back crooked. He becomes obsessed with revenge. Witty, charming, expertly manipulative. Roscuro’s plan to kidnap the Princess pits him against Despereaux.
MERLOT – Late 20’s to early 30’s soprano. Despereaux’s sister, opinionated, constantly annoyed, her anxiety is more outward facing than Furlough’s. She makes a game effort at knocking some mouse-sense into Despereaux.
QUEEN ROSEMARY – Mid 30’s alto. A beloved queen with a weak heart. Beneficent and jolly. Her death is a dark day for the kingdom.
LESTER – Late 30’s baritenor. Despereaux’s father, anxious and often flustered. His allegiance to mousedom leads him to turn in his own son for breaking their sacred laws. He lives to regret this choice. ROLE HAS BEEN CAST
STAINED-GLASS KNIGHT – Mid 30’s baritenor. The living embodiment of the universal Hero’s myth Despereaux’s slightly irresponsible (possibly imaginary) mentor. Lots of swagger, slightly less self-awareness. ROLE HAS BEEN CAST
ROMEO & JULIET
Written by: William Shakespeare
Directed by: Barry Edelstein
1st Reh: July 8, 2019, 1st Prev: August 11, 2019, Closes: September 15, 2019 (Opening Night: August 17)
Lowell Davies Festival Theatre, Old Globe Theatre, Conrad Prebys Theatre Center.
Roles will be understudied. Seeking all ethnicities.
After his smash-hit Othello and record-breaking Hamlet, Barry Edelstein returns to the Shakespeare Festival to take on the greatest love story of all time, Romeo and Juliet. Verona’s Montague and Capulet families have been feuding for ages, and whenever they meet, violence breaks out. But when Romeo glimpses Juliet across a crowded dance floor, something different happens. Can starcrossed love survive in a world of rivalry and rage? With a plot featuring a masqued ball, sleeping potions, and all-out brawling in the street, wrapped in a text full of soaring poetry, it’s no wonder Romeo and Juliet has inspired countless adaptations, from ballets to movies to musicals like West Side Story. Young love has never been as dangerous or delightful as it is in Shakespeare’s romantic masterpiece, brought to vivid life on our outdoor stage under the stars.
Available roles:
ROMEO
MONTAGUE, his father
LADY MONTAGUE, his mother
BENVOLIO, their kinsman
ABRAM, a Montague servingman
BALTHASAR, Romeo’s servingman
JULIET
CAPULET, her father
LADY CAPULET, her mother
NURSE to Juliet
TYBALT, kinsman to the Capulets
PETRUCHIO, Tybalt’s companion
Capulet’s Cousin
Servingmen:
SAMPSON
GREGORY
PETER
ESCALUS, Prince of Verona
PARIS, the Prince’s kinsman and Juliet’s suitor
MERCUTIO, the Prince’s kinsman and Romeo’s friend
Paris’ Page
FRIAR LAWRENCE
FRIAR JOHN
APOTHECARY
Three or four Citizens
Three Musicians
Three Watchmen
ENSEMBLE
CHORUS
Attendants, Maskers, Torchbearers, a Boy with a drum, Gentlemen, Gentlewomen, Tybalt’s Page, Servingmen.
Roles will be doubled and tripled.
THE UNDERPANTS
Written by: Steve Martin
1st Reh: July 1, 2019, 1st Prev: July 27, 2019, Closes: September 8, 2019 (Opening Night: August 1)
Sheryl and Harvey White Theatre, Conrad Prebys Theatre Center.
Seeking all ethnicities.
Legendary comedian and writer Steve Martin is back with a riotously funny farce. Newly married Louise is bored with her demanding and uptight bureaucrat husband. Then one day at the royal parade, she jumps up on a bench to see the king go by, and oops—wardrobe malfunction!—her bloomers come loose and fall down around her ankles. Her husband is frantic that her faux pas will cost him his job and reputation. But suddenly the room they’ve been trying to rent out has plenty of takers, and it just might have something to do with…the underpants. Steve Martin, who gave Globe audiences hits like Picasso at the Lapin Agile, Bright Star, and Meteor Shower, brings us a hilarious look at sudden fame and the crazy things people do when they’re in the grip of romantic fever. The New York Times calls the play “laugh-out-loud funny!” and “an amalgam of comic book and social commentary made out of sex jokes, slamming doors, and sophisticated repartee.”
THEO MASKE: (30–40 yrs.) – A burly muscular fireplug of a man with a buzz cut! A man of his time and his country!
LOUISE MASKE: (20-30 yrs.) – Very pretty, mid twenties, Theo’s wife. Delightful, charming, and warm. She is an ideal woman of her time.
GERTRUDE DEUTER: (30-40 yrs.) –The neighbor upstairs. A busy body who lives vicariously through Louise.
FRANK VERSATI: (30-50 yrs.) – An elegant gentleman and poet who seeks out Louise.
BENJAMIN COHEN: (30-40 yrs.) - Sickly, thin, asthmatic.
KLINGLEHOFF: (60-80 yrs.) - An elderly man. An extremely old fashion widower and a prude!
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.
Videos
