Institutional Off Broadway Theatres Combined NYC EPAs
Various Producers
AUDITION DATES
Tue, Aug 07, 2018
9:30 am - 5:30 pm (EDT)
Lunch 1 to 2
Wed, Aug 08, 2018 **MUSICAL DAY**
9:30 am - 5:30 pm (EDT)
Lunch 1 to 2
Thu, Aug 09, 2018
9:30 am - 5:30 pm (EDT)
Lunch 1 to 2
CONTRACT
Off Broadway Various rates. See each theatre's breakdown for info.
SEEKING
Equity actors and actor/singers for various roles in the following theatres seasons:
Playwrights Horizons
New York Shakespeare Festival/Public Theater
WP Theater
PREPARATION
Prepare a brief monologue of choice, preferably no longer than 2 minutes in length.
Please bring THREE copies of your picture and résumé, each stapled together.
**On Wed 8/8
Prepare a brief song. Bring sheet music; accompanist provided. No a cappella singing.
Please bring THREE copies of your picture and résumé, each stapled together.
LOCATION
Actors' Equity New York Audition Center
165 W 46th St
16th Fl
New York, NY 10036
PERSONNEL
See each theatre's breakdown for personnel info.
OTHER DATES
See each theatre's breakdown for production dates.
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
WP THEATER – 2018-2019 - General
Producing Artistic Director: Lisa McNulty
Managing Director: Michael Sag
Attended by one or more of the following: Lisa McNulty (Producing Artistic Director), Tamilla Woodard (Associate Artistic Director), Rachel Karpf (Artistic Producer)
WP Theater is committed to diverse casting. We are seeking qualified actors of all ages 18+; all ethnicities; disabled and non-disabled; and all gender identities including trans, non-binary, and cis, for consideration for season projects.
While WP’s 2018-19 season has not yet been announced, it is expected to include two or more premiere Off-Broadway productions of contemporary new works by female or trans writers and directors. Recent WP productions that reflect our artistic point of view include Martyna Majok’s Ironbound, Kate Benson’s [PORTO], and Sundown, Yellow Moon by Rachel Bonds and The Bengsons.
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PLAYWRIGHTS HORIZONS 2018-19
Equity Off-Broadway BB Contract; $715/week min
Artistic Director: Tim Sanford
Casting Director: Alaine Alldaffer, attending auditions
Associate Casting Director: Lisa Donadio, attending auditions
Casting Assistant: Gail Quintos, attending auditions
“I WAS MOST ALIVE WITH YOU” by Craig Lucas
Director: Tyne Rafaeli
Director of Artistic Sign Language: Sabrina Dennison
Mainstage Theater
Off-Broadway BB
Dates:
1st Reh: 7/24/18. Performs: 8/31/18- 11/4/18
ALL ROLES ARE CAST:
ASH: 50s. Hearing, signs quite well for a hearing person (rarely needs to revert to spoken English); recovering alcoholic and addict; TV writer, born into Hollywood royalty; Knox’s adopted father. Suffering from painful stress-induced skin ailments in the present-tense scenes. CAST
KNOX: Early to mid-30s. Adopted son of Ash and Pleasant; Deaf, signs fluently, speaks and reads lips well; does not have an implant. Lives in constant contact with many different individuals within the Deaf community and the hearing world; he’s learned the hard way what works for him in life; works as an ASL educator and loves it. He is in recovery from heavy drug and alcohol dependency in his youth. CAST
ASTRID: 40s/50s. Ash’s writing partner, hearing, knows quite a bit of sign from both spending time with Ash and Knox and from study; her tendency is to flip in and out of ASL and back into spoken English when she reaches something she doesn’t know how to sign; she knows that both Knox and Farhad read lips well; has had to learn how to fight for what she wants; this has taken her a long time and she is not about to give up any of what she’s won; wit and tenacity have gotten her through most of life’s scrapes. Atheist. CAST
PLEASANT: 50s. Ash’s wife; knows very little sign; in certain ways she is the hearing equivalent of Farhad – doesn’t like any kind of Group-think – actively dislikes religion, AA, middle-class values among the hearing and Deaf community equally; has always been a loner. The smartest, funniest one in the room. CAST
FARHAD: Early- mid 20s. Lebanese. Deaf; reads lips well, speaks (if infrequently) but seldom signs, though he certainly knows how to; has a cochlear implant, but seldom uses it; has quite a few tattoos, maybe some piercings; if you boil things down, you might say he has equal contempt for the hearing and Deaf communities: an equal opportunity offender; he’s quite a looker – both men and women find him attractive – and that has been his primary source of power up until now. CAST
CARLA: Late 70s/80s. Ash’s mother, widowed; a hearing person, knows some sign; graceful, cultured, appropriate, no bullshit; raised Christian, converted to Judaism when she married Ash’s father. CAST
MARIAMA: 50s. Hearing, fluent in ASL as taught to her by the Jehovah’s Witness; a former addict, a private person. The one person in the play who would appear to have appropriate boundaries and tact. CAST
SHADOW PLEASANT: Female. Any age. Any race. Fluent ASL. Shadow interpreters will provide ASL translations of all spoken lines. CAST
SHADOW ASH: Male. Any age. Any race. Fluent ASL. Deaf or hearing. Shadow interpreters will provide ASL translations of all spoken lines. CAST
SHADOW ASTRID: Female. Any age. Any race. Fluent ASL. Deaf or hearing. Shadow interpreters will provide ASL translations of all spoken lines. CAST
SHADOW KNOX: Male. Any age. Any race. Fluent ASL. Deaf or hearing. Shadow interpreters will provide ASL translations of all spoken lines. CAST
SHADOW FARHAD: Male. Any age. Any race. Fluent ASL. Deaf or hearing. Shadow interpreters will provide ASL translations of all spoken lines. CAST
SHADOW CARLA: Female. Any age. Any race. Fluent ASL. Deaf or hearing. Shadow interpreters will provide ASL translations of all spoken lines. CAST
SHADOW MARIAMA: Female. Any age. Any race. Fluent ASL. Deaf or hearing. Shadow interpreters will provide ASL translations of all spoken lines. CAST
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“THE THANKSGIVING PLAY” by Larissa FastHorse
Director: Moritz von Stuelpnagel
Peter Jay Sharp Theater
Off-Broadway BB
Dates:
1st Reh: 9/14/18. Performs: 10/12/18- 12/30/18
ALL ROLES ARE CAST:
LOGAN: Female, 30s. The director-creator of a new politically correct Thanksgiving play for kids, and the high school drama teacher that’s always pushing the envelope in ways she doesn't realize will be potentially inappropriate for her midwestern community. Earnest about theater and proving herself, but not always terribly self-assured. She is deeply sensitive and wants everyone's voice to be heard, but sometimes lets her anxiety and controlling nature get the best of her. Very aware how important it is to be politically engaged, to shop locally, and to be racially sensitive, at this critical moment in history. Ability to carry a tune necessary. CAST
JAXTON: Male, 30s. A yoga practitioner and street performer at the local farmer's market. His side hustle is acting in school assemblies, and there's a natural clown in him that helps him relate to kids. Politically correct to a fault, he is obsessed with making sure people recognize he's more woke than white. He’s that confident guy everyone loves, but his logical PC thinking takes weird turns, and his sanctimoniousness does lead to mansplaining on occasion. Very proud to be a political mentor (and lover) to Logan. CAST
ALICIA: Female, 20s/30s. An LA actress without guile (or even talent) beyond the ability to cry on command. Has looks that would have been cast as ethnic in 1950’s movies, and her agent has arranged for her to have headshots as different ethnicities. Sexy and hot, but not bright, she doesn't care about really anything beyond the opportunity to act. She has happily traded flirtations for acting jobs, and sees no problem with doing so. Though she is often confused, especially about Logan's process of devising rather than handing out parts, she is always unshaken and happy in her bubble. Ability to carry a tune necessary. CAST
CADEN: Male, 40s/50s. The academic. Awkward elementary school history teacher with secret dramatic aspirations but no experience. A stickler for facts, his inner obsessive researcher is at odds with his artist spirit, so he ends up being pretty obstinate as a collaborator. Geeks out about lesser known historical details, especially gory ones. Lonely for female attention, he is aglow around Alicia's extroverted femininity. CAST
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“NOURA” by Heather Raffo
Director: Joanna Settle
Mainstage Theater
Off-Broadway BB
Dates:
1st Reh: 11/7/18. Performs: 11/27/18- 1/20/19
ALL ROLES ARE CAST:
NOURA: Mid 40s. Female. Married to Tareq. An architect. CAST
TAREQ: Mid 40’s to early 50’s. Male. Christian Iraqi. Noura’s husband. A former surgeon originally from Baghdad. Living in New York for eight years, he is passionate about his new status as an American Citizen. Intellectual and progressive, he now works as a hospitalist after years struggling as a refugee in America. Charming, appealing, sexual. Deeply in love with his wife. A committed and passionate husband and father. He tries hard to bury the years of trauma and war to which he was witness as a surgeon in Iraq. Every decision he makes is for the benefit of his family. CAST
RAFA'A: Mid 40’s to early 50’s. Muslim Iraqi. Noura’s childhood neighbor from Mosul. A close friend of the family and a surrogate uncle to their young son, Yazen. A progressive, feminist, OBGYN. Introspective, empathetic, intelligent. Has an intensity to him, and a playful sense of humor. In love with Noura and her true confidant but has been prevented from ever having a romantic relationship with her because of their different faiths. Torn between expressing his love for Noura and staying in close relationship to her family. CAST
MARYAM: 20s. A young woman from Mosul. Now in her first semester of studies in America. A refugee. Survivor. Feminist. CAST
YAZEN/ ALEX: 11- 13 years old. Noura and Tareq's son. Middle Eastern. Joyful, with ease. A little messy. Can have long hair. Very free and expressive. Mostly interested in playing video games, has been almost fully Americanized, somewhat to the consternation of his parents. An innocent. CAST
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“IF PRETTY HURTS UGLY MUST BE A MUHFUCKA” by Tori Sampson
Director: TBD
Mainstage Theater
Off-Broadway BB
Dates:
1st Reh: 1/18/19. Performs: 2/15/19- 4/21/19
AKIM: 17, a witty, intelligent dark-skinned Black woman deemed the most beautiful in her community. Warm, yet prideful, she yearns to feel connected to the people around her and experience life to the fullest, but doesn’t want to have to give up the privileges her beauty confers in order to do so.
MASSASSI: 17, a beautiful Black woman who wants to be the queen bee of her small community. Massassi is bold, yet insecure; she will stop at nothing to be at the top and to relieve the envy that’s burning her up. She is both ashamed and proud of her body: embarrassed by her thick hips and butt as a child, she has learned how to use her body to her advantage.
ADAMA: 17, a cerebral, observant Black woman. Wants to be seen a whole, free person, appreciated for her full personality not judged by her looks. Recognizing that her society will not allow that, she plays by its rules. When push comes to shove, she does the moral thing and dies trying to protect Akim from the friends seeking to destroy her.
KAYA: 17, a meek, easy-going Black woman who wishes she could escape the drama and competitions within her circle of friends and focus on her happiness instead. When Massassi will not let her just fade into the background, she is forced to choose sides, and follows whoever pulls the strongest.
CHORUS: Ageless, Akim’s smart pad device. The chorus is a male comedian with a devious, sarcastic streak who wants to deliver the juiciest story to the audience and, with jokes and games, shove some hard truths down their throats.
KASIM: 17, a confident, passionate, witty young Black man whose hormones tend to get the better of him. He wants to be with the most beautiful woman in the village, and falls in love with one girl, then another, deeply. He didn’t make the ranking system that eventually ensnares everyone, yet he is happy to participate in it and wants the clout it confers on him.
MA: 40s, a refined, pragmatic Black woman whose biggest priority is her daughter Akim. She wants to give her daughter the tools to become an independent, kind, adult woman. She wants to shield her from hurt, but realizes that she has to let her make her own mistakes.
DAD: 40s, a Black man obsessed with protecting his daughter from harm, who has built his entire life around her. He takes a pride in Akim’s beauty which, when challenged, turns into arrogance. Willful, unyielding, and self-righteous, he will let nobody challenge his opinion and compromise his standards.
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“THE PAIN OF MY BELLIGERENCE” by Halley Feiffer
Director: Trip Cullman
Peter Jay Sharp Theater
Off-Broadway BB
Dates:
1st Reh: 3/1/19. Performs: 3/29/19- 6/16/19
Cat: 30 - 38. White. A rising journalist. Intelligent and ambitious. Also, insecure and mistrustful of her own instincts. Prone to isolation, desperate for validation. Hungry for love and willing to subjugate her own values — or even change them — in order to get it. Struggles with chronic illness, which makes her all the more hungry, desperate, mistrustful and insecure. A good heart who is lost. CAST
Guy: 40 - 44. White. A famous architect in a famous marriage to a famous female chef. Wealthy, brilliantly talented, handsome — with an ego to match. Troubled — and to hide this fact, he leans on his charisma and resume to help him get what he wants. He tends to always get what he wants. Often it makes him miserable. Enchanted by Cat. Trapped.
Yuki: 50. Asian. A giantess in the culinary world — founder and Executive Chef of a massively successful collection of high-end Ramen restaurants with an international presence. Married to Guy, whom she brought on as co-owner to her empire. Dazzling in her intelligence and accomplishments. Fiercely protective of what she has worked so hard to build.
Olive: 9. Mixed-race. Guy and Yuki’s daughter. Shy. Scared. Sweet. Bullied by her older sister. Trying to stand her ground — at home, in life. Also prone to isolation and hungry for love.
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“A STRANGE LOOP”
Book, Music and Lyrics by Michael R. Jackson
Director: Stephen Brackett
Musical Director: Rona Siddiqui
Mainstage Theater
Off-Broadway BB
Produced in association with Page 73
Dates:
1st Reh: 4/19/19. Performs: 5/24/19- 7/28/19
USHER: Black. 20s. Overweight to obese cisgender queer, male who carries a self-conscious femme energy. Extremely self-aware and extremely insecure with a deeply ironic sense of humor. An usher by day, musical theater writer by night. Tenor. Eb3 – D6
THOUGHT #1: Black. Mid-20s- Mid- 40s. Trans-femme, non-binary, or cisgender femme male. Plays several characters including but not limited to an elderly woman tourist and Usher’s niece’s ratchet mother. High tenor. B2 – C7
THOUGHT #2: Black. Mid-20s- Mid- 40s. Femme, cisgender male who is as or less femme than Thought #1. Plays several characters including but not limited to Usher’s Doctor and the first incarnation of Usher’s mother. First tenor. B2 – C6
THOUGHT #3: Black. Mid-20s- Mid- 40s. Cisgender Male who balances femme and masculine energy. Plays several characters including but not limited to Usher’s agent and Usher’s niece Nala. Second tenor. B2 – C#6
THOUGHT #4: Black. Mid-20s- Mid- 40s. Cisgender Male who balances butch femme and masculine energy. Plays several characters including but not limited to the second incarnation of Usher’s mother. Baritenor. G2 – A5
THOUGHT #5: Black. Mid-20s- Mid- 40s. Cisgender Male who carries more masculine energy. Plays several characters including but not limited to Joshlet and Usher’s Dad. Bass-Baritone. G2 – G5
THOUGHT #6: Black. Mid-20s- Mid- 40s. Cisgender Male who carries the most masculine energy in the play. Plays several characters including but not limited to Inwood Daddy. Bass. E2 – G5.
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THE PUBLIC THEATER – 2018-2019 SEASON EPA ANNOUNCEMENT
Artistic Director: Oskar Eustis
Executive Director: Patrick Willingham
Directors of Casting: Jordan Thaler/Heidi Griffiths
Attended by one or more of the following: Jordan Thaler (Director of Casting), Heidi Griffiths (Director of Casting), Kate Murray (Casting Director), Rebecca Feldman (Casting Associate), Chalin Tulyathan (Casting Assistant), and Claire Yenson (Casting Assistant)
The Public Theater is committed to casting diverse companies. For ALL PROJECTS, we are seeking qualified actors of all ages and ethnicities; disabled and non-disabled; and all gender identities including trans, non-binary, and cis.
GIRL FROM THE NORTH COUNTRY
Written and Directed by Conor McPherson
Music and Lyrics by Bob Dylan
First Rehearsal: 7/30/18
First Performance: 9/11/18
Closing: 11/4/18
Possible Extension: 12/23/18
Contract: EE ($1,167/wk)
GIRL FROM THE NORTH COUNTRY is a musical about the survivalist strength of our country. In the Winter of 1934 in Nick Laine’s soon-to-be foreclosed guesthouse in Duluth, MN, the Great Depression has left its mark on the struggling residents, all of whom are one piece of bad luck removed from disaster. With little to be thankful for except for the kindness (and sometimes the deceit) of strangers, they gather together as a group of survivors for their last Thanksgiving together before scattering to whatever is next for them.
This show is fully [CAST]
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MOTHER OF THE MAID
Written by Jane Anderson
Directed by Matthew Penn
First Rehearsal: 8/21/18
First Performance: 9/25/18
Closing: 11/18/18
Extension Closing: 12/23/18
Contract: DD ($1,020/wk)
Jane Anderson’s humorous and heartbreaking new play tackles an ancient story from a fresh perspective—the tale of Joan of Arc from the point of view of her mother, Isabelle. When Joan receives her heavenly calling to lead the army of France, Isabelle and the rest of Joan’s peasant family is thrust into an unfamiliar circumstances as they watch Joan mature from a teenage girl into a soldier, a celebrity, and ultimately, a heretic.
This show is fully [CAST]
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A MIDSUMMER NIGHT’S DREAM
Written by William Shakespeare
Directed by Jenny Koons
Mobile Shakespeare Unit
First Rehearsal: 9/10/18
Tour: 10/5/18 – 10/27/18
First Performance (Public Theater): 10/29/18
Closing: 11/18/18
Contract: Off-Broadway – Special Agreement, equivalent to Off-Broadway AA ($697/wk
This production of A MIDSUMMER NIGHT’S DREAM is set in contemporary New York City and is populated with characters who are deeply recognizable as the New Yorkers we see every day. The crisp summer sneakers crowd, janitors, baristas, the 9-to-5 commuter crowd, Queens College students, and everyone in between. The company of actors will collaborate with audience members to create a pop-up block party, the center of which is the collective dream of the play. All actors must be comfortable interacting with audience members in and out of character to create the environment for the production.
Now in its eighth year, The Public Theater’s MOBILE SHAKESPEARE INITIATIVE is focused on bringing Shakespeare to non-traditional venues such as community centers, prisons, homeless shelters, and centers for underserved youth around the tri-state area. Actors travel by company van and participate in set-up and striking of small scenic elements, props, and costumes. The company will present approximately six performances per week during the tour. The final three weeks will be played at The Public Theater with eight performances per week, and will be open to the general public.
We are seeking a dynamic ensemble of collaborative, hilarious, language-oriented actors who enjoy working in a physical style. Most roles will double with multiple characters. The ability to transform and disappear into character will be key. We are seeking qualified actors of all cultures, ages, gender identities, disabled and non-disabled.
PUCK. CAST.
BOTTOM. CAST.
DEMETRIUS/FLUTE. CAST.
EGEUS/FAIRY/QUINCE. CAST.
SEEKING:
THESEUS/OBERON. Male. Any ethnicity. 40s. As THESEUS, Duke of Athens, a man who’s used to getting what he wants. Commanding, charismatic, and authoritative. Thrown off both by his love for Hippolyta and her refusal to acquiesce to his rule. As OBERON, King of the Fairies. He can be expansive and playful, but also unyielding. Blustering and powerful. He plays games to entertain himself and to maintain control over his kingdom and his wife/favorite sparring partner, Titania.
HIPPOLYTA/TITANIA. Female. Any ethnicity. Late 30’s-40s. As HIPPOLYTA, A captured Amazon warrior Queen, betrothed to Theseus. Regal, powerful, witty. Takes control of her circumstances and position. As TITANIA, Queen of the Fairies, a dreamy and passionate woman who loves her kingdom and subjects. Comfortable with her position and status. Will spar and go head to head with her husband, unwilling to hold back her opinions.
HERMIA/STARVELING. Female. Any ethnicity. 20s-30s. As HERMIA, spunky, headstrong, decisive. Knows her own mind, and ready to begin her adult life with or without her father’s permission or input. Outspoken, sharp, quick-witted, and physically bold. As QUINCE, a carpenter, and the leader in name only of the mechanicals in their effort to put on a play for Theseus’ marriage celebration. A clipboard carrying spreadsheet maker, organized and precise. Determined to lead her company, yet often pushed to the side by Bottom, she remains ever-hopeful that she can create order out of chaos.
HELENA/SNOUT. Female. Any ethnicity. 20s-30s. As HELENA, Hermia’s devoted best friend. Used to being the sidekick and the second choice. She has a healthy sense of humor about her social position but it masks her insecurities, which come raging forth when provoked. Intelligent, clever, and funny. Fiercely independent. Deeply feeling. As SNOUT, a welder and part of the company of mechanicals. A woman of few words. Easygoing and not the deepest thinker. Winds up playing the Wall in the mechanicals’ play, with a straightforwardness so literal it becomes humorous.
LYSANDER/SNUG. Male. Any ethnicity. 20s-30s. As LYSANDER, a young man in love with Hermia. Bold, funny, confident. Self-absorbed and lovesick. Blissfully ignorant in some ways, and very devoted to Hermia. As SNUG, a laborer and member of the mechanicals’ company. A gentle spirit with difficulty staying in character or remembering lines, he plays the Lion in the company’s play—and worries that his roaring will frighten the faint-hearted in the audience.
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EVE’S SONG
Written by Patricia Ione Lloyd
Directed by Jo Bonney
1st Rehearsal: 9/18/18
1st Performance: 10/23/18
Closing: 12/2/18
Possible Extension: 12/9/18
Contract: CC ($783/wk)
Lauren is desperate for a girlfriend. Mark is desperate not to be a nerd. Deborah is desperate for her kids to talk to her at the dinner table. On the surface they are a pretty typical family. It would all be remarkably normal if it wasn’t for the fact that their house is possessed by the restless spirits of some long ago and some recently dead women.
This play is a dark comedy and all roles are for actors with great wit and comedic skills.
This show is fully [CAST]
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WILD GOOSE DREAMS
Written by Hansol Jung
Directed by Leigh Silverman
Music by Paul Castles
Music direction by Charity Wicks
First Rehearsal: 9/25/18
First Performance: 10/30/18
Closing: 12/9/18
Possible Extension: 12/16/18
Contract: CC ($783/wk)
Minsung is a “goose father”; a South Korean man whose wife and daughter have moved to the United States for a better life. Deeply lonely, he escapes onto the internet and meets Nanhee, a defector forced to leave her family behind in North Korea. Amidst the endless noise of the modern world, where likes and shares have taken the place of love and touch, Minsung and Nanhee try their best to be real for each other. But after a lifetime of division and separation, is connection possible?
CHORUS/FATHER: CAST.
CHORUS/WIFE: CAST.
GOOK MINSUNG: CAST.
DIGITAL NANHEE/ CHORUS: CAST.
DIGITAL MINSUNG/CHORUS: CAST.
HEEJIN/ CHORUS: CAST.
MALE CHORUS: CAST.
FEMALE CHOURS: CAST.
SEEKING:
YOO NANHEE: 40’s. Female. A North Korean defector living in South Korea. Tough, headstrong. Lonely, adrift, anxious. She feels like a stranger in a new and unfamiliar community. Guilty about her choice to leave her family, and haunted by not knowing what has become of them. Wants to make something of her life in order to make the sacrifices that were made for her freedom worthwhile. Has a vivid imagination and tries to keep herself busy and distracted in order to keep her darker thoughts and fears at bay. Action and solution oriented, but still a dreamer, even if she considers dreams to be a luxury her situation cannot afford.
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WHITE NOISE
Written by Suzan-Lori Parks
Directed by Oskar Eustis
First rehearsal: 1/21/19
First performance: 2/19/19
Closing: 3/31/19
Possible Extension: 4/28/19
Contract: DD ($1,020/wk)
Following her critically acclaimed trilogy Father Comes Home From The Wars, Parts 1, 2, & 3, Pulitzer Prize-winning playwright and The Public’s Master Writer Chair Suzan-Lori Parks returns with a world premiere play about race, friendship, and our rapidly unraveling social contract. Long-time friends and lovers Leo, Misha, Ralph, and Dawn are educated, progressive, cosmopolitan, and woke. But when a racially motivated incident with the cops leaves Leo shaken, he decides extreme measures must be taken for self-preservation. The Public’s Artistic Director Oskar Eustis directs this fierce new drama about what happens when the unspoken and the unspeakable come head-to-head.
RALPH: CAST.
SEEKING:
MISHA. Female. Black. Early 30s. Incredibly smart, from a wealthy family, graduated summa cum laude from her liberal arts college. The host of a live webseries, “Ask a Black,” she’s made a career of being comfortable with the uncomfortable and promoting civil discourse. Committed to the path she’s laid out for herself and willing to stick with it regardless of the changes happening around her.
DAWN. Female. White. Early 30s. A lawyer fighting for the disadvantaged, raised by two therapists. She’s in a relationship she isn’t sure she wants, in a job she isn’t sure she wants, and struggling to stay afloat. Haunted by guilt of all kinds and doing her best to show up every day for the people in her life, while also looking for someone who will show up for her.
LEO. Male. Black. Early 30s. A lifelong insomniac, haunted by the realities of being a Black man in America. An artist. At his wit’s end and desperate for solutions. After a personal experience with police brutality, he makes a drastic choice that upends his life in every way, and finds salvation—maybe—in choosing to forego freedom.
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AIN’T NO MO’
Written by Jordan E. Cooper
Directed by Stevie Walker-Webb
First Rehearsal: 2/11/19
First performance: 3/12/19
Closing: 4/21/19
Possible Extension: 5/5/19
Contract: CC ($783/wk)
The American government has given Black citizens a choice: leave the United States on a one-way “Reparations Flight,” or stay and become somebody else. In a series of wildly imaginative vignettes—which run the gamut from uproariously funny to darkly chilling, those that remain scramble to pack their belongings and deal with unfinished business. But when it comes to identity and culture, what do you take with you? And what do you leave behind?
PASSENGER 6. CAST
SEEKING:
PASSENGER 1: Male. 20’s – 50’s. Black. To play PEACHES: A drag queen and stewardess on African American Airlines. Bombastic, deeply charismatic. Adept at code-switching and knows effortlessly how to work an audience. Our emcee for the evening, and we’re happy to be in her capable hands. Witty, tells it like it is. Tough and no-nonsense, but also possesses a deep warmth and love for her community. This is a role for an actor who with strong language skills, possessing both humor AND emotional truth.
PASSENGER 2: Female. Early-mid 20’s. Black. A role for an actor with humor and emotional range. To play a line of roles including, but not limited to TRISHA: A young woman, pregnant, and recently widowed as a result of police brutality. She may be young, but tragedy has forced her to grow up quickly. Pragmatic. Resilient but exhausted. Also plays MARIE: The eldest child of a wealthy, conservative family. Poised, elegant, restrained. Regal. Able to keep her siblings in line without appearing to exert the slightest effort. Also plays KEISHA: An inmate in a maximum security prison. Young, sincere, direct, and somehow still hopeful. Naïve and open, she’s excited and curious to learn more about the outside world. Also plays KENDRA: A cast member on the “Real Baby Mamas of the South Side.” Young, pretty, privileged, and clueless. No filter. Over the top. Think Portia from The Real Housewives of Atlanta.
PASSENGER 3: Male. Late 20’s – early 30’s. Black. A role for an actor with STRONG language skills, and access to humor and range. To play a line of roles including, but not limited to PASTOR FREEMAN: A fire and brimstone preacher. Hopeful. Energetic, charismatic, adept at rallying a crowd. A natural showman. Could talk anyone into anything. Also plays DAMIEN: A young man cut down in the prime of his life. Stuck between this world and the next, he is desperate to not be erased and forgotten. Full of love, anger, and untapped potential he’ll never be able to explore. Also plays JONATHAN: Wealthy, privileged. Educated in the best schools. The child of immigrants, he believes in hard work and the American Dream.
PASSENGER 4: Female. 20’s – 30’s. Biracial/Black. A role for an actor with humor and emotional range. To play RACHONDA: The first “transracial” cast member of “The Real Baby Mamas of the South Side.” A white woman who believes that she is black. Excited to explore her new identity. Loud, outspoken, takes up space. Not a bashful bone in her body. Also plays ZAMATA: An activist. Passionate, outspoken. Fed up with the inequality of the status quo, and unafraid to resort to the most difficult and radical forms of protest to make her voice heard. Also plays Also plays SUSAN: A wealthy, conservative woman, who has dealt with her unhappy marriage and her boredom with her life by repressing her darker feelings. When a bad dinner party unearths hidden grievances, she begins to find some freedom in watching the carefully constructed world around her crumble.
PASSENGER 5: Female. 30’s. Black. This is a role for an actor with impeccable comic timing, strong language skills and emotional range. To play a line of roles including, but not limited to WOMAN: A woman waiting in line at an abortion clinic. Frank, she tells it like it is, with a take-no-prisoners sense of humor. Chatty, and not one to bother about personal space, she’ll talk to anyone for as long as she wants. Although her stories are ones of trauma and violence, to her they’re unremarkable. Not one to dwell, she delivers them with humor and candor. Also plays OFFICER BROWN: A prison warden. Empathetic & maternal, but in no way a pushover. Treats the inmates under her watch with patience and dignity. And KATIE: The youngest sibling in a wealthy and privileged family. Sweet, bright and bubbly. A bit naïve. Happy to let others take the lead in situations, and a bit sheepish when it comes to owning her own voice.
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SOCRATES
Written by Tim Blake Nelson
Directed by Doug Hughes
First Rehearsal: 2/25/19
First Performance: 4/2/19
Closing: 5/19/19
Possible Extension: 6/30/19
Contract: CC ($783/wk)
SOCRATES is a witty and endlessly fascinating new drama about a complicated man who changed how the world thought. This powerful new play by actor, director, and writer Tim Blake Nelson is an intellectual thrill ride from the philosopher’s growing prominence in democratic Athens through the military and social upheavals that led to one of the most infamous executions in Western history. Tony Award winner Doug Hughes directs SOCRATES, a timely and timeless new work that serves as a passionate tribute to the man who continues to inspire us to question authority and defend freedom of belief.
SOCRATES: CAST.
SEEKING:
PLATO. Male. Any ethnicity. 40s-50s. Socrates’ student and devotee. A philosopher looking back on his own life as well as Socrates’ and examining his own beliefs against the backdrop of the creation and refinement of democracy.
A BOY. Male. Any ethnicity. 18+ to play a teen. The young Aristotle. Petulant, cool, and too smart for his own good. Interested in learning and hard work, but suspicious of anyone who claims they’re smart enough to teach him anything.
XANTHIPPE. Female. Any ethnicity. 30s-40s. Socrates’ wife and intellectual equal. Tough, quick, and bold. Constantly at odds with her husband, but loves him deeply.
MEN OF GREECE. Seeking men of all ages and ethnicities to play followers of Socrates, accusers, interlocutors, and other citizens of Greece who will populate the story of Socrates’ life.
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SPRING MOBILE UNIT – PLAY TBD
Written by William Shakespeare
Director TBD
Mobile Shakespeare Unit
First Rehearsal: 3/11/19
Tour: 4/8/19 – 4/28/19
First Performance (Public Theater): 4/29/19
Closing: 5/19/19
Now in its eighth year, The Public Theater’s MOBILE SHAKESPEARE INITIATIVE is focused on bringing Shakespeare to non-traditional venues such as prisons, homeless shelters, and centers for disadvantaged youth around the tri-state area. Actors travel by company van and participate in set-up and striking of small scenic elements, props, and costumes. The company will present approximately six performances per week during the tour. The final three weeks will be played at The Public Theater with eight performances per week, and will be open to the general public.
We are seeking a diverse group of collaborative, language-oriented actors who enjoy working in a physical style. All roles will double with multiple characters. Please submit qualified actors of all cultures, ages, gender identities, disabled and non-disabled.
[WE WILL BE SEEKING A NINE MEMBER COMPANY, ROLES TBD]
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MOJADA
in collaboration with THE SOL PROJECT
Written by Luis Alfaro
Directed by Chay Yew
First Rehearsal:
First performance: 7/2/19
Closing: 8/11/19
Possible Extension: tbd
Contract: Off-Broadway TBD
MacArthur Genius Award-winning playwright Luis Alfaro returns with the New York premiere of his stirring drama about love, immigration, and sacrifice, inspired by the Ancient Greek story of Medea. Helmed by Chay Yew, this play masterfully combines ancient storytelling with the most pressing issues facing our country today, following a young Mexican mother who gives up everything to bring her son to America, only to find America demands even more. Alfaro’s Oedipus El Rey, produced last season in collaboration with The Sol Project, was hailed by The New York Times as a “dynamic reminder that we are living in a political moment when stories matter.” With great poetry, humor, and heart, MOJADA is a bold new telling of a story as old as tragedy itself.
SEEKING:
MEDEA. Female. Latinx. 20s. A young woman who has fled a life of limited opportunity in Mexico in search of a better life. Overwhelmed by the culture shock of life in Los Angeles and yearning for her home country, she has locked herself away in her house and yard, interacting only with her family and making money as a seamstress. Fiercely loyal and protective. Her outward timidity belies a hidden strength and passion that simmer beneath the surface.
HASON. Male. Latinx. 30s. A go-getter with a taste for all life has to offer. He has brought his family from Mexico to Los Angeles in order to broaden their worlds. Ready to acclimate to his new city and new country, and willing to do whatever it takes to create a better life for himself and his son.
ACAN. Male. Latinx. 18+ to play younger. A teenager torn between childhood and growing up, and likewise torn between his mother’s need to hold onto the past and his father’s need to assimilate and fit in. Searching for his place in every way.
TITA. Female. Latinx. 60s. Medea and Hason’s housekeeper, and Acan’s nanny. A part of the family, who came with them from Mexico to California. A gossip and old-world healer. She pays attention and sees the world around her clearly. She wants the best for her family, whom she loves, and she tells it like it is.
JOSEFINA. Female. Latinx. 30s. Outgoing, friendly, and talkative. Knows everyone in the neighborhood. A fellow Mexican immigrant, and a baker and street vendor who doesn’t mind playing a part for the white hipsters who frequent her cart in order to make more money.
ARMIDA. Female. Latinx. 50s. Hason’s boss. No-nonsense, sharp, and practical. Elegant and commanding. Has built a real estate empire and takes pride in her skill and success as a Mexican immigrant who’s made a name for herself in LA. Used to getting what she wants and believes she deserves it; she has no qualms about taking what is available to her.
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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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