Casting Call – Tucson Premier of Theatrical Stageplay “Elevator”
A 9/11 Tenth Anniversary Event Performed at the Proscenium Theater,
Pima Community College Center for the Arts, West Campus
Produced by Elevator Stage Play International
…a character study of six lives trapped in a WTC elevator during 9/11
Casting Call: June 18th, & 19th, 2011
Time: Saturday: 9 am – 4 pm
Sunday (Callback): 11 am
Location: 7650 East Broadway, Suite 212 (first building of complex, second floor)
Performance: Proscenium Theater, Pima Community College Center for the Arts, West Campus
Dates: September 1st, 2nd, 3rd, 4th, 2011
Comp: Stipend Per Performance & Percentage of Box Office Tickets
Rehearsal: Multi-Weekly, Non-paid, Drinks & Snacks Supplied
DAY OF CASTING ONLY PHONE NUMBER (Please don’t call otherwise, only email): 520-477-PLAY (7529)
SEEKING only performers dedicated, committed and responsible and can perform to a crowd of up to 400.
OPEN CALL: The producers of Elevator are having an open call for this play. Actors and understudies will be considered for each of the six roles available.
Visit www.elevatorstageplay.com for more details. Email us at firstname.lastname@example.org and tell us what character you are auditioning for and approximate time you will be there. You will be emailed back a more exact time as close to your request as possible. Actors may show up cold at date of audition but may be delayed until a time is available between scheduled auditions. Scene scripts will be available at audition.
Email – email@example.com (must send appr. time you want to come and character you’re auditioning for)
DO NOT EMAIL HEADSHOT & RESUME: BRING WITH YOU TO AUDITION
BASED ON THE MOTION PICTURE, “ELEVATOR.”
“Elevator” is a character study of six lives trapped in a World Trade Center elevator on the day of 9/11. It is driven by the facts of the elevator system and what happened to the system on that day. The play begins a few minutes before the first plane hits the first tower, and runs in real time for the one-hundred and two minutes until the tower collapses. This play explores layers of humanity in times of crisis as the play moves forward--the victim’s situation continually disintegrating--until finally the improbable understanding that their very existence is in jeopardy.
This play, ultimately, examines the best and worse of our humanity.
Jeffrey is sixtyish, an all American, remnants of an athlete still showing through his good living, wearing a five-thousand dollar suit and carrying a briefcase as he enters the elevator. He is the pivotal antagonist of the film, a control freak, rude, loud, a bigot, and someone entirely unaware of what makes him operate. It is his avoidance of his own fear, and worth, that drives him. Ultimately he learns just how much he doesn’t know about himself. The others in the elevator, while at first appalled, eventually understand that though his flaws are real, he is also a man with moments of great heroism, and simply a man who did the best of what he had to work with as he made his way in life.
Tina is younger and dressed well but not as an executive, is extremely attractive, carrying a cup of coffee and nothing else at the start of the play. She is a secretary; having emancipated herself after the drunk driving death of her parents. She has taken care of herself since that time. Tina has found God, but is uneducated and doubts her own abilities. She dates rarely, and most of the time focuses on things that are in front of her. Trapped now with the others, her insecurities arise, but the fear of her own mortality is finally balanced by the understanding of the things that makes her life worthwhile.
Swedish, near retirement age, Bart is a maintenance worker in the twin towers though not in uniform, carrying a lunch box. He has worked there for twenty-five years and has intimate knowledge of the engineering and mechanics of the towers. Through him, we learn many facts of the elevator system. He is pleasant, comfortable, and as the smoke continues to permeate, Bart begins to have heath issues.
Edie is an older executive, also expensively dressed, and carrying a purse and briefcase in one hand when she enters the elevator. She and Jeffrey are the only two who know each other. She is nurturing, a positive force always looking at the bright sides of the issues, and is almost completely un-judgmental. Only when the secret of her divorce, and her own sexuality, is revealed do we see the battle she has waged with herself and those around her. It is in this moment of crisis that she completely acknowledges, and accepts, who she is.
British, late forties, longer hair, well dressed with a sport coat, but more artsy, a cane in one hand and a pair of gloves in the other. Sidney begins as Jeffrey’s foil, and a sense of humor, but later he discovers an understanding of how he might be, in his own way, very much like Jeffrey. He is unmotivated, living on family’s trust, avoiding any semblance of reality in his lack of commitments and relationships. It is only here, in this environment, that he tears down his walls and finds a desolate man, a man racked by his own feelings of incompetence.
Erina is an Amercan Muslim, a woman in her late twenties, dressed in slacks, a linen top, wearing a headscarf. She is married to a Jewish husband who works at the tower, who she was on her way to see. She loves America, but is diminished by Jeffrey’s hate, and reveals in part what it is like to be a Muslim in this country even before 9/11 as a result of the first WTC bombing in 1993. She is strong, yet caring, and is probably the only one who eventually smashes through Jeffrey’s veneer. She in due course shares that she is pregnant with her first child.
EACH ROLE IS AN ACTOR’S SHOWCASE AND EACH ACTOR IS DEPENDENT ON EACH OTHER AS THE ENTIRE CAST OF SIX ARE IN EVERY MOMENT OF THE PLAY.
ONLY VERY RESPONSIBLE APPLY.
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