Philadelphia Theatre Company 18-19 - Philadelphia EPA
Philadelphia Theatre Company
AUDITION DATE
Mon, Mar 19, 2018
10:00 am - 6:00 pm (EST)
Lunch 1 to 2
APPOINTMENTS
No appointments. Actors will be seen on a first come, first seen basis.
CONTRACT
LORT Non-Rep LORT D; $676/week min.
SEEKING
Equity actors and actor/singers for various roles in the upcoming season. See breakdown.
PREPARATION
Please prepare a brief monologue or brief musical selection in the style of the show. Or one of each.
In addition, you may sing or read from the show - songs and sides are available for download through PTC's website. (See Job Opportunities, scroll to Casting & Auditions, click on Character Breakdowns.)
An accompanist and a reader will be provided. Please bring music in a binder.
LOCATION
Philadelphia Theatre Company
480 S Broad St
Philadelphia, PA 19146
Auditions will be in the 2nd floor studio
PERSONNEL
The following are expected to be in attendance at the EPA:
Paige Price, Producing Artistic Director
Justin Emeka, Director, Sweat (Pls note Mr. Emeka must leave by 3 pm)
Mark Martino, Director, Bridges of Madison County
Amanda Morton, Musical Director, Bridges of Madison County
Nell Bang-Jensen, Local Casting Consultant
OTHER
http://philadelphiatheatrecompany.org/
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
Philadelphia Theatre Co. 18-19
SWEAT
By Lynn Nottage
Director: Justin Emeka
1st Rehearsal 9/18/18 (Rehearsals in Philadelphia)
1st Preview 10/12/18
Opening 10/17/18
Closing 11/4/18
Seeking:
Jessie:
Female 40s, a Caucasian, salt-of-the-Earth, working class woman who has been on the floor at the Olstead's factory since she was 18 years old; stands all day at the factory; perhaps she has a heft to her from the strength it takes to work so hard; she gets through the days by drinking through the nights, and by maintaining a dry sense of humor about the whole situation; our heart goes to her; she wanted more from life and it passed her by.
Cynthia:
Female 40s-early 50s, a Black American steel worker; starting at the plant as a teenager, she and Tracey have been best friends ever since, and have given their lives to the line; focused, ambitious and sturdy; despite the derision of her colleagues, she applies for a promotion and finally escapes the line and becomes a floor manager; Cynthia’s loyalty to her colleagues and friends is tested when the closing of the plant is announced; ultimately she can’t save them or herself.
Tracey:
Female 40s-early 50s, a Caucasian steel worker and true company loyalist. She has given her life to the line; funny, brassy, bossy, opinionated and fiercely loyal; as her life begins to spiral out of control she can no longer manage the cocktail of disillusionment and anger that simmers below her surface.
Jason:
Male 20s, a Caucasian young man who went from high school graduation straight to the production line; a steel worker with deep working class roots. Though he is a hard worker, he is a bit of trickster with a wild streak. He is proud of his blue collar heritage and still has faith that his livelihood will always be supported by the factory; he is youthful, tough, funny but a little insecure compared to his buddy, Chris; in prison he hardens into a white supremacist, his optimism transforming into rage. The actor must be a strong mover and be prepared to learn fight choreography quickly and accurately.
Chris:
Male 20s, Jason’s best friend; muscular, charismatic, youthful, warm; a Black American steel worker, with aspirations to educate himself and find a life beyond the steel plant; eventually hardened into a disillusioned ex-con; he turns to religion to help him fight his darkness within. The actor must be a strong mover and be prepared to learn fight choreography quickly and accurately.
Brucie:
Male, 40s, Chris’ father and Cynthia’s estranged husband. Handsome, but fading fast; a Black American former textile factory worker, now a smooth-talking heroin addict. He was once charismatic, but has fully succumbed to his addiction; still capable of being charming, but as his circumstances become increasingly desperate so does his behavior.
Evan;
Male 30s or 40s, firm, direct and no-nonsense; a Black American career parole officer with strong intuition for what’s really going on with a person; he is committed to helping his parolees succeed through a mixture of tough love and challenge; he is not easily shaken and knows when to apply pressure, when to smile, and when to show no fear.
Stan:
Male 50s, friendly but stern, a Caucasian former steel worker who was injured at the plant; is now the bartender at the local bar that the plant workers frequent; he has watched the lives of his customers play out and is deeply empathetic with their struggles. In the bare, his word is the rule of law; it would be a mistake to cross this man.
Oscar:
Male 20-30, Colombian-American; a busboy at the local bar; he keeps to himself, he is quiet but alert and listens more than people realize. He is smart and methodical and wants a better life than he has. Although he was born in Berks County, he is still considered an outsider and is always conscious he is at the bottom of the heap. When the steel plant locks out the workers, Oscar is willing to risk everything to cross the picket lines and seize the opportunity to better his life; The actor must be a strong mover and be prepared to learn fight choreography quickly and accurately.
___________________
THE BRIDGES OF MADISON COUNTY
Book by Marsha Norman
Music & Original Lyrics by Jason Robert Brown
Director: Mark Martino
Musical Director: Amanda Morton
1st Rehearsal 1/15/19 (rehearsals in Philadelphia)
1st Preview 2/8/19
Opening 2/13/19
Closing 3/3/19
SEEKING: Actors with serious contemporary musical theatre voices for this 8-cast member production. There is no ensemble in this version of the musical. Please prepare vocal material in the style of the show or you may request material from the show, which will be available.
Francesca:
Female 35-49. A beautiful, luminous, and funny Italian woman now married to a farmer and living in Ohio. Bud's wife, Carolyn and Michael's mother, lived in Italy, meets a photographer who’s come to take pictures of the local bridges, soprano range, G3-Gb5. Principal.
Robert Kinkaid:
Male 35-49. A ruggedly handsome, worldly visionary photographer finally getting his own life in focus; classic folk balladeer, Range, B2-A4, strong high baritone (belt G). Principal.
Richard Bud Johnson:
Male 40-50. Francesca's husband. An Iowa farmer, a good guy, diligent and dependable. He recognizes and is resigned to the fact that things haven't gotten easier and won’t. Country high baritone up to high G (belt F#; e.g. Clint Black). Principal.
Charlie:
Male 50-65. Marge's husband, Francesca’s neighbor. Dry but friendly. Vocal range: High baritone, E3-C4.Principal.
Marge:
Female 50-65. Francesca's neighbor, sassy and nosy. Vocal range: Warm alto, G3-C5. Principal.
Carolyn:
Female 16+ to play 15; Francesca and Bud's daughter; country/rock belter with fluid soprano; range, A3-C5. Principal.
Michael:
Male 18+ to play 16; Francesca and Bud's son, a strong farm boy who doesn't want to be a farmer when he grows up; country/rock tenor; range, E3-G#4, goes up to a high A. Principal.
Marian:
Female 25–35, Marian is Robert's former wife and a musician. Chiara is Francesca's sister still living in Italy. Range, A3-D5.
________________
HOW TO CATCH CREATION
By Christina Anderson
Director: TBD
*Co Production with two other LORT theatres, one LORT B and one LORT D. (full information on other runs forthcoming once those theatres have announced their seasons - below are dates)
LORT Theatre TBA Dates: 1st Rehearsal 12/18/18 (at LORT Theatre TBD. Rehearsals begin in a theatre in a large city in the midwest). 1st Preview 1/19/19. Opening 1/28/19. Closes 2/24/19.
PTC Dates: First rehearsal on or about 3/12 or 3/19, Opens 3/27/19, Closes 4/14/19
LORT Theatre TBA Dates: First technical rehearsal 4/27/19, Opens 5/9/19, Closes 6/2/19
Seeking:
GRIFFIN
late 40s, Black American man. Compassionate, considerate, and intelligent. Has a sense of humor. It’s been a year since he was exonerated from prison after serving 25 years. While serving time he read a great deal and discovered works written by Black women. While in prison he became a Black feminist.
TAMI
Early 40s; Black American woman. Queer. Very quick wit. Smart. A painter. She’s an academic who runs the painting department at an arts conservatory. Met Griffin when they were both teenagers. She has stayed close with him throughout the years and has been his family for a long time. She can be a bit cynical, but still compassionate. Dates and meets women, but hasn’t let herself fall in love for a very long time.
RILEY
Late 20s, Black American woman. Queer. Also very quick wit. Smart. A go-getter. She’s into computers and technology. Works at a boutique tech repair shop. Often sees the world in black and white. Stokes’s partner.
STOKES
Late 20s, Black American man. He often leads with his heart. Genuine. Reflective. Smart. A painter who’s disconnected from his art. Riley’s partner.
G.K. MARCHE (pronounced “mar-shay”)
Early 30s & early 80s, Black American woman. Queer. A writer. Partners with Natalie. As a younger woman G.K. is charming, playful but focused (obsessed?) with her commitment to writing. When she’s in her 80s, she’s joyful, gives and receives love easily. The performer should have a timeless quality. Plays G.K. in the 1960s, 1980s, and present day.
NATALIE
Early 30s; early 50s, Black American woman. Queer. Seamstress, tailor, clothes-maker. Compassionate. Hard worker. She doesn’t identify as an artist but there is an art to the care and skill she puts into her work. Has a hard time expressing her feelings and wants. Smart. Endearing. G.K.’s partner.
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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