Quantum Theatre Inc | Pittsburgh, PA
Tuesday, December 3, 2024
9:00 AM - 5:00 PM (E)
To schedule an audition appointment, please fill out the form at:
https://form.typeform.com/to/XqZeTVqj
SPT
$800 weekly minimum (SPT 6) + pension and health
Equity actors for roles in Quantum Theatre's 2025-26 season (see breakdown). Local Pittsburgh, PA actors are encouraged to audition.
Please prepare (1) monologue of your choice: no longer than 2 minutes in length; preferably from either Chekhov, or from a contemporary play. Please bring your headshot and resume, stapled together.
Quantum Theatre Offices
212 45th Street
Pittsburgh, PA 15201
THIS SPACE'S VENTILATION HAS NOT BEEN VERIFIED BY ACTORS' EQUITY ASSOCIATION.
See breakdown for production-specific personnel.
EXPECTED TO ATTEND:
Karla Boos (Artistic Director)
Kyle Haden (Director)
Alex Ungerman (Director of Production)
Hazy J (Associate Producer)
Kelley Bowen (Associate Producer)
Callback dates: Friday, December 5, 3 PM - 8 PM,
Saturday, December 7, 12 PM - 7 PM, Sunday, December 8, 9 AM - 3 PM
See breakdown for production-specific dates.
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.
Written by Joanie Schultz; adapted from Chekhov (World Premiere)
Directed by Joanie Schultz
Rehearsals: June 24, 2025
Open: July 25, 2025
Close: August 17, 2025
Performances: Tuesdays, Wednesdays, Thursdays, Fridays, Saturdays @8 PM, Sundays @2 PM
Location: Pittsburgh, PA.
Please note: This production will take place outdoors
WORLD PREMIERE - Joanie Schultz’s new adaptation of Chekhov’s beloved classic brings a fresh exploration of the story’s gender dynamics to the fore: Four artists navigate crises of romance, art, class, and life.
IRINA ARKADINA - She/her, 50s-60s, any ethnicity.
CONSTANTINE - She/her (They/Them), late 20s-30s, any ethnicity.
TRIGORIN - He/him, late 30s-50s, any ethnicity.
SORIN - He/him, 60s-70s, any ethnicity.
NINA - She/her, 18-25, any ethnicity.
MASHA - She/her, 20s-30s, any ethnicity.
MEDVEDENKO - He/him, 20s-30s, any ethnicity.
SHAMRAEV - He/him, 50s-60s, any ethnicity.
POLINA - She/her, 40s-50s, any ethnicity.
DR. DORN - He/him, 50s-60s, any ethnicity.
She/her, 50s-60s, any ethnicity. An accomplished actress, Arkadina is fiercely protective of her career and reputation. She has always lived a non-traditional bohemian life while taking care of herself and Constantine, as a single mother and artist who has climbed the ranks and achieved great success. She deeply fears aging or becoming irrelevant, her relationship with Trigorin is more about retaining status, though she respects him deeply. Her love for her daughter Constantine is complicated, as mother/daughter relationships can be — they have been best friends at times, competitive at times, and their relationship has often been co-dependent, which Constantine taking care of her mother’s needs. Since Constantine has started following her own path and creative work, Arkadina has struggled to support or understand her.
She/her (in today’s language might have been they/them), late 20s-30s, any ethnicity. Constantine is Arkadina’s daughter, a sensitive, passionate aspiring playwright searching for her place in the world. She is queer and fiercely creative, yearning for recognition and validation from her mother and the world at large. As did many gay women of the time, she has taken on a male name and presents more masculine in her dress. She has quietly found acceptance or at the very least tolerance from her family and the bohemian circles that she was brought up in. Constantine feels deeply, often struggling with jealousy, despair, and self-doubt. She fell hard for Nina and felt like she could do and make anything with her, and her need for Nina’s attention mirrors her need for her mother’s attention and love.
He/him, late 30s-50s, any ethnicity. A successful and charismatic writer, Trigorin is Arkadina’s lover, both captivated by and detached from the people around him. He embodies a paradox of being intensely admired yet personally unfulfilled, feeling constrained by his public persona and often haunted by self-doubt. He stands a little outside his life, always writing in his mind. He becomes fascinated by Nina, drawn to her simplicity and ease. Trigorin is both Constantine’s rival and unintentional antagonist, representing the success and status she longs for but cannot attain.
He/him, 60s-70s, any ethnicity. Arkadina’s older brother, Sorin is kind-hearted and gentle, with a nostalgic longing for the life he never lived. Despite his poor health and limited achievements, he remains hopeful, expressing a wistful desire for love, freedom, and excitement. Sorin is sympathetic to Constantine’s struggles, sharing her sense of isolation and dissatisfaction with the constraints of country life.
She/her, 18-25, any ethnicity. Innocent, ambitious, and impressionable, Nina is eager to escape her provincial life, drawn to the idea of artistic fame and glamour. Nina was swept up in Constantine’s passion for the theater and for her, yet with Arkadina and Trigorin’s arrival that bubble is burst, as their success lures her and she falls for Trigorin. Nina is idealistic and romantic, misbelieving the possibility of the complexities of the reality of relationships and artistic careers.
She/her, 20s-30s, any ethnicity. Pragmatic yet deeply melancholic, Masha is gay and closeted, and masks her unhappiness with biting wit and cynicism. She’s passionately in love with Constantine, knowing that her feelings will never be returned, and that perhaps she would never even be brave enough to live that life, who knows, she’d never have a chance. Resigned to her circumstances, she decides to marry Medvedenko, though it offers little solace. Masha is honest, self-aware, and grounded, serving as a stark contrast to the more idealistic characters around her.
He/him, 20s-30s, any ethnicity. A schoolteacher of modest means, Medvedenko is practical, hardworking, and perpetually concerned with money. He is in love with Masha, drawn to her grounded straightforwardness. Medvedenko’s straightforward nature and focus on daily struggles make him an outsider to the more romantic and artistic aspirations around him. Despite his simplicity, he has a quiet persistence, often expressing frustration with the constraints of poverty.
He/him, 50s-60s, any ethnicity. The boisterous and opinionated estate manager, Shamraev is practical and occasionally overbearing, especially in matters of estate management. He takes pride in his work, often clashing with Arkadina, whom he feels does not appreciate his role. He’s married to Polina, is father to Masha (he believes), though he is basically oblivious to the struggles within his own family.
She/her, 40s-50s, any ethnicity. Polina is caught between duty to her husband, her father Shamraev, and her love for Dr. Dorn, with whom she has had a long-standing affair. She longs to be in a real, monogamous relationship with Dorn, and is tortured by knowing she has been one of his many lovers. She clings to him and their relationship as her hope for happiness, and her self-esteem has suffered within the relationship. Her quiet yearning and emotional exhaustion contrast to the other characters’ louder ambitions and frustrations.
He/him, 50s-60s, any ethnicity. An intelligent, charismatic doctor, Dorn is respected and well-liked by the household. He is perceptive, nonjudgmental, and often plays the role of confidant. He has a secret ongoing relationship with Polina, and while he doesn’t claim to be Masha’s father, he has a deep connection with her that is paternal. As the outsider who comes and goes, Dorn skates above much of the drama in these families and represents a calm, philosophical presence amid the chaos, his wisdom tempered with detachment.
Written by Lucy Prebble
Directed by Kyle Haden
Rehearsals: September 30, 2025
Open: October 31, 2025
Close: November 23, 2025
Performances: Tuesdays, Wednesdays, Thursdays, Fridays, Saturdays @8 PM, Sundays @2 PM
Location: Pittsburgh, PA
ENRON is a theatrical and explosive tale of the collapse of a company. Inspired by real events, but told as a sprawling, dynamic tragedy, the play follows CEO and anti-hero Jeffrey Skilling through the journey of Enron’s rise and fall.
(flexible casting, some roles doubled)
Ken Lay - Enron CEO (he/him 30s - 50s)
Jeffrey Skilling - Enron President (he/him 30s - 50s)
Andy Fastow - Enron CFO (he/him 30s - 50s)
Claudia Roe - Enron Executive (She/her 30s - 50s)
Skilling’s Daughter - (She/her - young teen or pre-teen)
Arthur Andersen - accountant (he/him 20s - 60s)
Ramsay & Hewitt - law firm (one male, one female – adults)
Sheryl Sloman - Citigroup analyst (she/her - 20s - 60s)
Lawyer - (any gender, adult age)
Irene Gant - (she/her, 30s - 60s)
Videos
