Round House Theatre
CONTRACT
LORT Non-Rep $739 weekly minimum (LORT D)
SEEKING
Equity actors for roles in Round House Theatre 2022-23 Season (see breakdown).
INSTRUCTIONS
SEE PREPARATION INSTRUCTIONS IN BREAKDOWN. Please email you submission with the subject line “EPA submission – DMV LOCAL” or “EPA submission – Out of Town”, accordingly.
Deadline: Mon, Feb 7, 2022
SUBMIT TO
PERSONNEL
Artistic Director: Ryan Rilette
Managing Director: Ed Zakreski
Casting Director: Sarah Cooney, Associate Artist Casting & Producing (viewing submissions)
OTHER DATES
See breakdown for production specific dates.
OTHER
www.roundhousetheatre.org
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 self-tape a one-to-two-minute monologue (classical if submitting for THE TEMPEST, contemporary if submitting for any other production in the season). Slate with the following information:
- Name
- Pronouns, and any other way that you wish to self-identify
- The name of your audition piece
- Any specific roles which you are interested in being considered for
- Please Indicate if you would like to be considered as a local or out of town actor.
NINE NIGHT
(American Premier)
Rescheduled from ’21-’22 season due to Covid-19 cancellation
Written by Natasha Gordon
Directed by Timothy Douglas
Dates:
8/30/22 Rehearsals begin
9/14/22 First Performance
9/19/22 Opening
10/9/22 Closing
ALL ROLES ARE CAST
THE TEMPEST
Written by William Shakespeare
Adapted and Directed by Aaron Posner & Teller
Magic by Teller & Johnny Thompson
Music by Tom Waits & Kathleen Brennen
Movement by Matt Kent, CoArtistic Director of Pilobolus
Dates:
10/11/22 Rehearsals begin
11/23/22 First Performance
11/28/22 Opening
1/29/23 Closing
All roles will be understudied.
[MIRANDA] She/Her, 18-25, Caucasian or mixed ethnicity. Prospero’s daughter, a wild child raised with an acute sense of wonder and an intense curiosity about the world and all it contains. Disarmingly charming, funny without knowing it. A romantic.
[CALIBAN 1] 20’s – 40’s, Any gender, any ethnicity, strong physical Pilobolus-style dancer/acrobat/actor. Caliban will be a duo, who will both move and speak the text in unison and in tandem. The Pilobolus style partnering requires strength, flexibility, balance, and teamwork. Both will lift and be lifted. Both physical and mental stamina and endurance are required. The role highlights the physical challenges presented whenever two unique bodies must work together. Creative problem solving and collaboration.
[CALIBAN 2] 20’s – 40’s, Any gender, any ethnicity, strong physical Pilobolus-style dancer/acrobat/actor. Caliban will be a duo, who will both move and speak the text in unison and in tandem. The Pilobolus style partnering requires strength, flexibility, balance, and teamwork. Both will lift and be lifted. Both physical and mental stamina and endurance are required. The role highlights the physical challenges presented whenever two unique bodies must work together. Creative problem solving and collaboration.
[ALONSO] He/Him, 45-65, African American. Ferdinand’s father. A king that lives in the world of hard reality. A pragmatist in private whose whole emotional life revolves around his love for his son. Not always a good man, but always a passionate father.
[GONZALA] She/Her, 50’s – 70’s, any ethnicity. A lovable, funny, mature individual with a great heart and a good mind. Prone to make others laugh and feel good. This is a person of deep feeling and conscience. They also have some practicality and moral flexibility, as she has continued to serve those that overthrew and put to sea her old master.
[SEBASTIAN] He/Him, 40 - 55, African American. The younger sibling of Alonso who lives (not happily, but perhaps resignedly) in Alonso’s shadow. Easily led and unconsciously funny. As the king's sibling, they are used to the role of complaining and criticizing without having to do anything about the problem.
[FERDINAND] He/Him, 18-28, African American. The young prince of Naples and Alonso’s son. Funny without awareness or effort. Kind, idealistic, and honorable. A physical specimen of youth and strength, while simultaneously a bit of a quirky misfit. Honest, sweet, and unconcerned with his own status in the face of love.
[ANTONIA] She/Her, 40’s-50’s, Caucasian. Prospero’s highly ambitious and traitorous younger sister. Brilliant, funny, engaging and completely without conscience. A person you would trust, even as she cuts your throat.
[STEPHANO/A] any gender, 30-50, any ethnicity. A drunken butler. Very, very funny first and foremost, but also good at comic improvisation. Agile, strong, and flexible mover, able to sing and handle complex Shakespearean text. The dominant half of a classical comic duo (e.g. Laurel and Hardy, Abbott and Costello, etc.); also The Master.
[TRINCULO] He/Him, 20-50, any ethnicity. A drunken jester. Very, very funny, good at improvisation, an agile, strong and flexible mover, able to sing (and hopefully play some small, easily carried instrument as well), and handle complex Shakespearean text. The straight man or put-upon half of the classical comic duo, small stature (even very small) could be a plus; also Boatswain.
THE FOLLOWING ROLES ARE CAST:
[JUNO / ROUGH MAGIC] (This role is cast)
[IRIS / ROUGH MAGIC] (This role is cast)
[PROSPERO] (This role is cast)
[ARIEL] (This role is cast)
JENNIFER, WHO IS LEAVING
(Presented in rep with ON THE FAR END)
Written and Directed by Morgan Gould
Dates:
2/21/23 Rehearsals begin
3/30/23 First Performance
4/11/23 Opening
5/7/23 Closing
[NAN] she/her, 60’s/70’s, Caucasian, a senior employee at Dunkin Donuts with a thick Massachusetts accent. Jovial, empathetic, kind, welcoming, loud in the way that women with thick Massachusetts accents always are. She never misses a goddamn trick and runs the show both at work and at home. She once had dreams of traveling the world, but she’s never gone further than the Dunking Donuts. All body types are encouraged to submit.
[JENNIFER] she/her, 40’s, Caucasian, a nurse's aid. At her wits end. Very tired. She takes care of everyone else but hasn’t taken the time to take care of herself in a while. A giver… women always are, aren't they? All body types are encouraged to submit.
[LILI] she/her, 18+ to play late teens, POC. A high school student and part-time employee at Dunkin Donuts. She is over it before she even arrives. She does not want to be here. She does NOT want to get stuck here. She is smarter than the rest of these people and isn't afraid to let them know. AAPI and Latinx actors are encouraged to submit.
[JOEY] he/him, late 60’s-80’s, Caucasian. An ornery and difficult patient of Jennifer’s who is prone to outbursts. An older gay man without filter, he says what he thinks without regard for anyone around him. A biting wit, he is funny and cruel at the same time. He may be a bit senile… or maybe he’s just mean.
ON THE FAR END
(Presented in rep with JENNIFER, WHO IS LEAVING)
Written by Mary Kathryn Nagle
Director: TBA
Dates:
2/21/23 Rehearsals begin
3/28/23 First Performance
4/10/23 Opening
5/7/23 Closing
[JEAN] She/her, 50’s-60’s, member of the Muscogee (Creek) Nation. A mother, grandchild of the last living survivor of the Trail Of Tears. Forcibly sent to a school to unlearn her heritage, a runaway, a fighter. Holder of an overwhelming brave sadness and stronger than years of abuse. A keeper of stories whose life is lived in the full trauma of her ancestry. A one-woman production, JEAN is all roles in the narrative.
SLAVE PLAY
Written by Jeremy O. Harris
Directed by Reginald L. Douglas
Dates:
5/2/23 Rehearsals begin
6/7/23 First Performance
6/12/23 Opening
7/2/23 Closing
[KANEISHA] She/her, late 20’s-early 30’s, Black. Dark complected, she is unafraid of what she wants. Self-aware, sexy, smart, she is here to advocate for herself. Contains simulated acts of a sexual nature and possible nudity.
[JIM] He/him, 30’s, Caucasian. British, the inheritor of more than he knows how to handle and unsure of what to do with that complicated reality. Well-meaning and charming, but his need for control masks a dark insecurity. Contains simulated acts of a sexual nature and possible nudity. Solid contemporary British dialect.
[PHILLIP] He/him, 30’s, of mixed-race ancestry (a mix of Black and White), he considers himself neither Black nor White and is searching for the place where he comfortably fits. Innocent, affable, and emotionally available to a fault. NOTE: PLAYS THE VIOLIN. Contains simulated acts that are of a sexual nature and possible nudity.
[ALANA] she/her, 30’s-early 40’s, Caucasian. Aware and eager to speak about her experience, she wants more than the world sees fit to give her. Funny, assertive, and hungry for life. Contains simulated acts of a sexual nature and possible nudity.
[DUSTIN] He/him, late 20’s – early 30’s, Caucasian. Frustrated by how the world sees him, he is hungry for recognition and feels overlooked by those that do not recognize his identity or integrity. Has an easygoing charm that makes him at once sweetly likable and tragically forgettable. Contains simulated acts of a sexual nature and possible nudity.
[GARY] He/him, late 20’s – early 30’s, Black. Dark complected, a man whose life has been lived with the full trauma of his color. Self-assured and quick with a jab and joke, his vigor masks a deep loneliness. Contains simulated acts of a sexual nature and possible nudity.
[TEÁ] She/her, 20’s, she has a mix of Black and White ancestry, and she is studied in both her “Black” and her “White” and is ready to shapeshift to fit the situation. Empathetic, supportive, and strategic, she is learning along with the rest of the group but won’t tell you that.
[PATRICIA] She/her, 30’s-40’s, Any ethnicity, this character identifies as non-white. A light brown woman who knows many lives because she has lived many lives, dedicated to her success at any cost. Finds joy in the work and in the win.
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.
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