THE SORCERESS (DI KISHEFMAKHERIN) - NYC EPA
Folksbiene National Yiddish Theatre
AUDITION DATE
Wed, Oct 25, 2017
9:30 am - 5:30 pm (EDT)
Lunch 1 to 2
CONTRACT
Special Agreement AEA Salary pending
SEEKING
Equity actor/singers. All should be excellent singers with strong music reading skills, ability to sing and act in foreign languages (experience with Yiddish and Hebrew a plus) and be able to move well. Need excellent acting skills, strong vocal skills, dance training and a working acquaintance with Yiddish or a great ear for language. The Sorceress is performed entirely in Yiddish (with English supertitles). For various roles. See breakdown.
PREPARATION
Please be prepared to sing a song from light opera, operetta, or legit, traditional musical theater repertoire. Material from the operetta literature is preferred. An accompanist will be provided. Please bring sheet music in your proper key and bring a headshot and resume, stapled together.
LOCATION
Actors' Equity New York Audition Center
165 W 46th St
16th Fl
New York, NY 10036
PERSONNEL
Chris Massimine, CEO/Executive Producer.
Zalmen Mlotek, Artistic Director.
Written By: Avrom Goldfaden.
Director: Motl Didner.
Musical Director: Zalmen Mlotek.
Movement: Merete Muenter.
Casting: Jamibeth Margolis, CSA
OTHER DATES
Rehearsals begin December 18, 2017
Show opens on December 25, 2017 and closes on January 1, 2017.
Venue: Off Broadway’s Safra Hall at the Museum Of Jewish Heritage, NYC
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
Synopsis: This 1879 operetta by the “father of Yiddish theater” was the first Yiddish theater piece produced in America by Boris Thomashevsky—at the age of 14. A fairy-tale-like story of an innocent young heroine, her wicked stepmother, dashing fiancé, an itinerant peddler, and a local witch is set to a delightful musical score full of memorable tunes.
Seeking:
Mirele
– Female. Ingénue, early 20’s. Lyric soprano to a high Bb.
Markus
– Mirele’s fiancée, leading man. 20’s – early 30’s. Tenor with a comfortable G sharp.
Hotsmakh
– An itinerant peddler, comic relief, character role. Male. 40’s-60’s Baritone to a High F.
Basye
– Mirele’s wicked stepmother. Mother 40’s – 50’s. Light singing role, mostly spoken text. Mezzo/ soprano
Bobe Yakhne
– The witch. Traditionally played by a man 30’s – 50’s. Ability to sing using a voice of a Witch.
Avromtshe / Chorus
– Mirele’s father. Male. 50’s or 60’s. Baritone to a High E flat.
Lize / Chorus
- Basye’s daughter. Female. Teens or 20’s. Soprano to a high G.
Komisar (Constable) / Chorus
– Male, big, tough. 30’s – 50’s. Baritone to a High E flat.
Handler (Seller In The Marketplace) / Chorus
– Female. 20’s – 60’s. Has a solo song and needs a strong mezzo-soprano and belt.
A Katsef (Butcher) / Zorekh (A Tavern Owner) / Chorus
– Male. 30’s – 50’s. Baritenor to a High F.
Koyne (Customer) / Chorus
– Female. 20’s – 60’s. Soprano to a High G.
Elyokem / Chorus
– Male. 50’s – 60’s. Baritone to a High E Flat.
Meydl 1, Meydl 2, Meydl 3 / Chorus
– Bobe Yakhne’s assistants. 3 Women. 20’s - 30’s. Mix of mezzo-sopranos and sopranos.
Organ Grinder/Chorus
– Male. 30’s – 50’s. Baritenor.
Khaimets
– A Tavern Owner / Chorus. Male. 30’s – 50’s. Baritenor.
All roles any ethnicity
The cast of 17 requires versatile actors who are excellent singers, strong movers, and outstanding character actors, who are able to portray multiple characters of different ages with age range from 20s- 60s.
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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