SHAKESPEARE'S HENRY VI - NYC EPA
National Asian American Theatre Company
AUDITION DATE
Mon, Feb 12, 2018
10:00 am - 6:00 pm (EST)
Lunch 1 to 2
CONTRACT
Transition weekly min: $342 (rehearsals); $423 (performances)
SEEKING
A company of 16 actors to portray 64 roles in SHAKESPEARE'S HENRY VI, Parts 1 - 3, condensed into 2 parts. All characters are intended to be cast as Asian.
PREPARATION
Actors will read from sides, provided at the audition. Bring picture and resume.
LOCATION
Ripley-Grier Studios (520)
520 8th Ave
New York, NY 10018-6507
Studio 17A
PERSONNEL
Expected to be in attendance:
Mia Katigbak, Artistic Producing Director, NAATCO
Stephen Brown-Fried, Director
Peter Kim, Associate Producer, NAATCO
OTHER DATES
First rehearsal: June 26; First performance: August 11; Closing: September 10. Parts 1 and 2 performed in Tu - F, back-to-back Sa, Su
OTHER
EPA Procedures are in effect for this 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
All characters intended to be cast as Asian
KING HENRY VI (and other roles) — male, 20 - 30 — A pious and thoughtful young man; highly philosophical, intellectual, and idealistic; a child of incredible privilege whose idealism blinds him to the treachery of others; priest-like. Goes from being a teen to middle-age over the course of the play.
WINCHESTER / OLD CLIFFORD (and other roles) — any gender, 60 or older — A powerful and corrupt cleric, and later, a seasoned military leader. Savvy, strategic, with extreme gravitas. Holds themselves above the rest. Cunning and dangerous.
SOMERSET / LADY BONA (and other roles) — female, 40 - 55 — An elitist proud of her own pedigree; an experienced politician; confident and businesslike.
YORK (and other roles) — male, 45 - 60 — A climber who believes he’s entitled to more than he’s been given, and seeks it out.
WARWICK (and other roles) — any gender, 45 - 60 — The ‘king-maker.’ A savvy politician and warrior, careful to ally himself with the winning side. Incredibly powerful in terms of influence and authority, but more eager to install his allies in positions of leadership than to occupy those positions himself. Plotting and sophisticated in his strategies.
SUFFOLK / CLARENCE (and other roles) — male, 35 - 45 — The romantic of the court. Keenly ambitious and intent on running the country, he uses his sexual magnetism tactically. Somewhat over-confident in the extent of his own authority.
TALBOT / NORTHUMBERLAND (and other roles) — male, 50s — A celebrated war hero, noble, embodying old world values and nobility, a warrior who has led many heroic campaigns. A father.
JOAN / RUTLAND / ELIZABETH (and other roles) — female, 20s-30s — As Joan, a teenager who hears the voices of gods and angels; passionate in her faith; able to inspire faith, hope, and confidence in others, and bring others to her side, a warrior who fights courageously, other-worldly in her attention to angelic voices, and stalwart in her convictions. Will also play the child, Rutland, as well as adult roles (such as Elizabeth) so must be flexible in terms of age.
MARGARET (and other roles) — female, 30s — “a tiger’s heart wrapped in a woman’s hide.” Begins as a charismatic woman who believes she’s entitled to more than she was born into. Becomes a passionate lover. After having her lover torn from her, calcifies into a violent warrior hellbent on vengeance and control. Impulsive and highly manipulative. Does not suffer fools. Willing to use any tactic necessary to get what she desires.
DAUPHIN / CLIFFORD (and other roles) — male, 30s — As Dauphin, a rich kid who’s used to getting what he wants; enraged when he doesn’t get his way; desirous of global power. As Clifford, the archetypal marine — a perfect soldier, a machine on the battlefield, but emotionally ill-equipped to handle the emotional chaos of war; able to show the crisis of a man experiencing harrowing trauma who, unable to process what he is experiencing, spirals into PTSD and bloodlust.
BURGUNDY / KING EDWARD IV (and other roles) — male, 30s - 40s — As Burgundy, a warrior king; a strong leader and general. As Edward, a proud son, eager to lead his family after his father’s death; a womanizer and chauvinist who becomes king.
BASTARD / RICHARD OF GLOUCESTER (and other roles) — any gender, 30s - 40s — As bastard, a boisterous nationalist; as Richard, one who’s physical deformities have led to his being looked down upon throughout his life, which, in tern, has given birth to deep wells of anger and rage; sociopathic and duplicitous; deeply malevolent, but skillful in concealing this malevolence.
REIGNIER / MORTIMER / JACK CADE / KING LEWIS (and other roles) — male, 50s-60s — Able to convey different forms of gravitas, experience, authority, and world-weariness. As Jack Cade, an energetic rabble-rouser who enflames populist rage and leads people to riot and rebel.
JOHN TALBOT / VERNON / PRINCE EDWARD (and other roles) — male, late teens to early 20s — a noble young man, still in his adolescence, eager to impress those around him with his courage and nobility.
BEDFORD / ELEANOR (and other roles) — female, 40s-50s — as Bedford, an aged and experienced politician and military leader; noble, embodying old-world virtue. As Eleanor, an ambitious woman frustrated by her lot in life and eager to increase her status; suspicious of those around her (for good reason)
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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