Yale Repertory Theatre / Drama Productions Inc. | New Haven, CT
Center for Collaborative Arts and Media
149 York St
Yale School of Drama
New Haven, CT 06510
Audition - Rehearsal Room Studio Room 107.
Holding/warm up Room 109.
Written by: Zora Neale Hurston
Directed by: Tamilla Woodard
Choreography by: nicHi douglas
Traditional music and hymns by many artists with new songs and arrangements by Nehemiah Luckett
Music Direction by: John Bronston
Expected to attend:
Associate Artistic Director: Chantal Rodriguez
Senior Artistic Producer: Amy Boratko
Associate Producer: Kay Perdue Meadows
Artistic Coordinator: Andrew Aaron Valdez
Accompanist: John Bronston
First Rehearsal: August 7, 2025
Tech Begins: September 25, 2025
First Preview: October 3, 2025 (Previews on October 3, 4, 6, 7, 8)
Opening: October 9, 2025
Closing: October 25, 2025
Yale Repertory
Artistic Director: James Bundy
Senior Artistic Producer: Amy Boratko
Associate Artistic Director: Chantal Rodriguez
Managing Director: Florie Seery
Associate Producer: Kay Perdue Meadows
Artistic Coordinator: Andrew Aaron Valdez
www.yalerep.org
Notice: Audition Call Type: EPA
Monday, April 7, 2025
2:00 PM - 10:00 PM (E)
Break 5:00 PM - 6:00 PM
To schedule your audition appointment, please email your request to
YaleRepEPA@gmail.com with LOCAL EPA SPUNK in the subject line.
LORT Non-Rep
$839 weekly minimum (LORT D) - Paid at $1450 weekly
+ Pension and Health.
Housing in New Haven and economy travel is provided for actors outside a 50-mile radius from New Haven, CT.
Equity actors for roles in SPUNK (See breakdown). Yale Rep is committed to an inclusive casting policy and encourages all actors to audition regardless of an individual's sex, race, color, religion, age, disability, status as a veteran, national or ethnic origin, sexual orientation, or gender identity or expression. Please refer to character breakdown and descriptions for more details. Accommodations are welcome for persons with access needs, please contact
andrew.valdez@yale.edu.
Please prepare a 2-minute monologue preferably from an American writer from the early 20th-century AND a 16-bars selection of music in the musical tradition of gospel, folk blues (John Lee Hooker, Robert Johnson, Sun House) and work songs of the Black American South. An accompanist will be provided, but singing a capella is also welcome. Also, bring your headshot and resume stapled together.
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.
Spunk, written by Zora Neale Hurston in 1935, is an early American play with music crafted from text adapted from her 1925 short story alongside the music of the Black South. This music is based on Hurston’s vast recordings of folk tunes, spirituals, and hymns from her cultural anthropology work in rural towns, work sites, chain gangs, and places of worship and leisure.
Set in an all-Black town in Florida in the 1930s, Spunk tells the story of a tall handsome guitar-playing stranger, who comes to town looking for work. When he falls in love with Lina, who is already married, the laws of man, the power of hoodoo and divinity of love all collide in this fable about the triumph of love over evil.
NB: This production is not the 1989 George C. Wolfe play of the same name, based on three Hurston short stories.
An ensemble of singer/multi-instrumentalists as well as understudies for all roles. Some tracks also require strong movers including Tap. The sound is gospel, folk blues (John Lee Hooker, Robert Johnson, Sun House) and work songs of the Black American South. There is flexibility within the character tracks for what instruments may be played. Looking for Guitar, Banjo, Violin/Fiddle, Upright Bass/Washtub Bass. Harmonica, Hand Drums (Cajon/Box Drum/Djembe), and auxiliary Percussion (Washboard, Spoons) are also welcome.
Spunk: Mid 20s-30s, Black, Male. Plays guitar. Sings. A newcomer to town, he is tree-top tall and able to tame the circle saw at the Mill with his singing and guitar playing alone. Described as a giant of a man, who is scared of nothing, Spunk immediately wins over the women in the town with his magnetic presence and good looks, and the respect and admiration of the men, with his integrity and charisma. Ideally a Bari-tenor; authoritative vocal quality; the role has flexibility between Baritone/Tenor.
Evalina: Mid 20s-30s, Black, Female. Sings. Light Guitar. Married to Jim but finds her true love in the charismatic Spunk. She’s strong-willed and tries to do right by everyone, and herself. Soprano/Mezzo Soprano: Clear/Crystalline Sound. Strong harmony. Good mover.
Ruby: Late 20s-30s, Black, Female. Sings and harmonizes. Desperately wants a partner and is the first to try to woo Spunk when he arrives in town. She is a little older than the other unmarried women of the town. Mezzo/Soprano-Alto. Strong harmony/strong mover. Doesn't need to play an instrument.
Jim Bishop, As-cast: Late 20s-30s, Black, Male. Evalina’s husband and Hodge Bishop’s son. He lacks his father’s power but depends on his influence in the town. Impulsive, proud. Slight build and stature — in comparison to Spunk. Additional roles as-cast require tuneful singing mostly with the community; a distinctive voice would be welcome. Strong mover.
Mrs. Watson: 50s-60s, Black, Female. Strong singer. Gospel inflections. Big Belt/ Strong sense of rhythm. Comfortable with Rhythm Instruments. Most importantly a large voice that can command the room/community. Mrs. Watson is an Elder of the town. She teases and challenges the young folk freely, incites the partying, and commands respect. Open to vocal part. Most important a large voice that can command and lead the community.
Hodge Bishop, As-cast: 50s-60s, Black, Male. Jim Bishop’s father, town Elder, spiritual leader and conjure man. He holds considerable power and influence. Uses hoodoo to seek revenge on Spunk. Does not need to sing solos but may participate in community singing. Dance background useful.
Admiral, As-cast: 30s-40s, Black, Male. Townsperson who owns a leaky boat he tries to sell rides in. A bit of a hustler. Needs to sing and harmonize. Percussion skills helpful. Ideally plays string bass or low brass instrument. Useful if strong mover. May also understudy HODGE BISHOP or another role.
Nunkie, As-cast: 20s-40s, Black, Male. Townsperson and part of the railroad spiking gang. Talks a big game. Likes to tease Ruby. Doubles as Nixon, who leads the convict’s work songs. Sings and harmonizes. Baritone or Bass preferred. Useful if he plays an instrument. Strong mover. May also understudy.
Blue Trout, As-cast: 20s, Black, Male. Townsperson and part of the railroad crew. One of the youngest. Not the sharpest tool in the shed. Sings and harmonizes; ideally a multi-instrumentalist. Strong mover including tap. May also understudy.
Willie Joe, As-cast: 20s-30s, Black, Male. He is a bit of a ladies man. Riles up Jim. Ideally plays an instrument. Harmonica skills helpful but not required. Doubles as Singing Liner, who sets the pace of the railroad crew with the rhythm of songs he sings. Background singing a capella preferred. Good relative pitch. Townsperson and community song leader. May also understudy.
Oral, As-cast: 20s-40s, Black, Male. Hard working, quick witted, good natured, big joker. In love with Maggie Mae. Sings; good relative pitch/harmonize/useful if he plays an instrument; Excellent dancer including strong Tap. May also understudy.
Daisy, As-cast: 20s-30s, Black, Female. Townsperson. Sings and harmonizes. Open to vocal part, though Soprano and instrument ability ideal. Strong mover. May also understudy EVALINA or another role.
Teazie, As-cast: 20s-30s, Black, Female. Townsperson. Good natured but tells it like it is. Sings and harmonizes. Open to vocal part though alto ideal. Useful if she plays an instrument. Strong dancer. May also understudy RUBY or another role.
Maggie Mae, As-cast: 20s-30s, Black, Female. Townsperson. Sings and harmonizes. Useful if she plays an instrument. Excellent dancer, also Tap. May also understudy.
Boss, As-cast: 30s-50s, White, Male. Oversees the men working on the railroad line and the chain gang. Does not need to sing solos but may participate in ensemble singing.
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