Seattle Repertory Theatre 2018-2019 Season - Seattle EPA
Seattle Repertory Theatre
AUDITION DATE
Mon, Jun 11, 2018
10:00 am - 6:00 pm (PDT)
Lunch: 1:30PM - 2:30PM
APPOINTMENTS
Please set up your appt in person by signing up at the Seattle Rep Stage Door during business hours.
CONTRACT
LORT Non-Rep Minimum - $914/wk
SEEKING
All Equity Actors are encouraged to audition at our season generals.
PREPARATION
Please prepare two contrasting monologues of your choice.
LOCATION
Seattle Repertory Theatre
155 Mercer St
Seattle, WA 98109-4639
Please enter through the stage door at 540 Warren Ave.
PERSONNEL
Kaytlin McIntyre- Casting Director
Hoejeong Yoo - Casting Intern
OTHER DATES
See breakdown.
OTHER
No stage management positions available.
www.seattlerep.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
A Thousand Splendid Suns
Bagley Wright Theatre
Adapted by Ursula Rani Sarma
Based on the book by Khaled Hosseini
Directed by Carley Perloff
1st Rehearsal – September 25, 2018
Opening - October 10, 2018
Closing – November 10, 2018
ZALMAI: Middle-Eastern or South Asian Actor age 7-12; feisty and tough, Zalmai is a precocious young boy who also experiences sorrow and guilt over the betrayal of his mother.
A People’s History
Leo K. Theatre
Created and Performed by Mike Daisey
1st Tech Rehearsal – October 16, 2018
Opening – October 24, 2018
Closing – November 25, 2018
In the Heights
Bagley Wright Theatre
Music & Lyrics by Lin-Manuel Miranda
Book by Quiara Alegria Hudes
Conceived by Lin-Manuel Miranda
Directed by May Adrales
A co-production with Milwaukee Repertory Theatre
1st Tech Rehearsal – November 16, 2018
Opening – November 28, 2018
Closing – December 30, 2018
Last of the Boys
Bagley Wright Theatre
By Steve Dietz
Directed by Braden Abraham
1st Rehearsal – December 18, 2018
Opening – January 23, 2019
Closing – February 10, 2019
ROLES OPEN TO ALL RACES AND ETHNICITIES
BEN (Male, 50s) –Benjamin Lee Holloway. a Vietnam vet. He lives in an old rusted trailer, somewhere in the Great Central Valley of California. A loner, who is haunted by ghosts of a past he can’t change.
JEETER (Male , 50s) – Stephen Willoughby Stark. Ben’s friend. Also a Vietnam veteran. At turns professorial and jovial, Jeeter is an old hippie who idolizes Ben’s father and adores his new girlfriend, Salyer.
SALYER (Female, 35) – Jeeter’s girlfriend. She has a fierce charm on her and she covers herself with layers of dark clothing to hide mysterious tattoos. She’s recently made a big discovery about her father’s identity
LORRAINE (Female, 50s) – Salyer’s mother. Straight-talking and tough, she tries to care for her restless daughter, who she had young. Lorraine is still grieving the loss of Salyer’s father, but uses sarcasm and alcohol to cope.
THE YOUNG SOLDIER (Male, 20) – The ghost of Salyer’s father.
The Woman in Black
Bagley Wright Theatre
Adapted by Stephen Mallatratt
1st Tech Rehearsal – February 19, 2019
Opening – February 27, 2019
Closing – March 24, 2019
A Doll’s House, Part 2
Leo K. Theatre
By Lucas Hnath
Directed by Braden Abraham
1st Rehearsal – February 15, 2019
Opening – March 20, 2019
Closing – April 28, 2019
ROLES OPEN TO ALL RACES AND ETHNICITIES
ANNE MARIE (Female, 70s) – A Nursemaid. She gave up her own daughter in service to the Helmer household. She is mother figure to Nora. Aware of her position as a servant but still unafraid to speak the truth.
EMMY (Female, 20s) –Nora and Torvald’s daughter, who has little memory of her mother. Clever, confident, and quick witted, she wants to get married to Jorgen, despite her mother’s disdain of marriage. A talented scheme maker, like Nora.
Nina Simone: Four Women
Bagley Wright Theatre
By Christina Ham
A Co-production with Denver Center
1st Rehearsal – March 26, 2019
Opening – May 1, 2019
Closing – June 2, 2019
NINA SIMONE (Female, African American, 30) – A.K.A. “Peaches”. The playwright describes her as:
“Timeless. A woman of dark skin and temperament that cloaks wounds both present and historical. Bach and the Blues infuse her life. She is a tornado…of vulnerability. Complexity is her complexion and resistance and rebellion her anthem. She should boast the agility of improvisation on the keys and the polyvocality of a herald. She should be able to hear a song only once and be able to not only perform it, but to lift the song to another level of being. She lives hard and loves the same. She has a high school education, but possesses well-rounded music training both self-taught and by private music teachers. Whatever her mood swings they should never be so pronounced to upstage her accomplishments. She should posses the attributes of a modern-day prophet.”
SARAH (Female, African American, 40s) – A.K.A. “Auntie”. The playwright describes her as:
“Also of dark skin. Her hands are rough. Molded from years of working in the white folks home since she was yea high. Groomed to put others before herself. This type of welding has created the invisible woman that she has become. Her smile is inviting never letting on that trouble lives on her horizon. Her dark skin has determined how she will be treated by the outside world. Her life has been defined by black and its volatile relationship to white. She has a remedial education at best as she comes from a large family where everyone had to work and carry their weight. She possesses the tender shoulder you can cry on and a honeysuckled voice of pain. She doesn’t sing the blues, but has lived it.”
SEPHRONIA (Female, African American, 30s-40s) – The playwright describes her as:
“Her skin is yellow. She is of a softer disposition because that is what her hair type and skin color warrant. She’s never been dark enough to cause offense, but she’s just light enough to offend herself at times. She’s the painful reminder that she is a child of violence. She’s not light enough to be white nor dark enough to be black leading to an inescapable purgatory. She’s joined the Civil Rights Movement hoping this will make her black enough and create an acceptance. Her mother doesn’t understand her and her father’s disowned her. Her mother holds her accountable for why she wasn’t able to find a man of her own. She’s opened her heart to many men who’ve made her empty promises. She is a D minor key, the saddest of them all.”
SWEET THING (Female, African American, Late 20s) – The playwright describes her as:
“ Her skin is tan. She’s enticing whether she wants to be or whether she’s paid to be. She’s been tossed to and fro by life and the blows that its delivered by the men that have come and gone from her life. She’s lived on the streets for quite some time and been in and out of trouble most of her life. She’s a pistol, but has still never gotten what she really wants—love. She is the kind of woman that will steal your man when you’re not looking. Her looks have been the bane of her existence since she was a little girl.”
SAM WAYMON (Male, Afican American, 20s) – The playwright describes him as:
“Nina’s younger brother. Plays piano, Hammond B-3 Organ, and tambourine. Stays out of her way.”
Lydia and the Troll
Leo K. Theatre
By Justin Huertas
1st Rehearsal – April 16, 2018
Opening – May 22, 2018
Closing – June 23, 2018
LYDIA (Female, 20s) - A singer-songwriter who recently quit her serving job in order to focus on her writing. She just moved into a new apartment in Fremont with her boyfriend, PETE. She meets JANE under the Aurora bridge and finds special a connection with her.
PETE (Male, 20s) – Lydia’s boyfriend. Works at Amazon. Introverted and dependent. He mostly spends his free time with Lydia or he expects her to spend her most of free time with him in return for his financial support.
JANE (Female, 20s-30s) – a troll in disguise of human. JANE needs to gain Lydia’s trust to trick her into trading places.
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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