Arizona Theatre Company
NON-EQUITY LOCAL AUDITIONS
2021/2022 Season
https://arizonatheatre.org/auditions-submissions/
If you would like to audition via video submission only, please fill out this form and upload your headshot, resume and video audition, which is located at the bottom of the form. Please do not schedule an in-person audition if you are submitting a video submission audition only. Please submit your completed audition requirements no later than August 18th, 2021, 11:59 PM (Mountain Time).
If you have any questions regarding auditions please contact Eddie Diaz, Artistic Producer at ediaz@arizonatheatre.og
EQUITY PERFORMERS:
Currently, Actor's Equity Association performers will be asked to audition at another time. More details to
come soon.
STAGE MANAGERS:
AEA Stage Managers and non-AEA Stage Managers may submit their resume to Sean Daniels,
sdaniels@arizonatheatre.org and Becky Merold, bmerold@arizonatheare.org
Arizona Theatre Company is an Equal Opportunity Employer committed to non-traditional and multicultural casting. Artists of all ethnicities, genders, and abilities are encouraged to audition.
Audition Submission Requirements:
- All video submission will only be viewed and accessible to the Artistic Leadership Team which consist of the Artistic Director, Associate Artistic Director and the Artistic Producer at Arizona Theatre Company. All submissions will not be distributed, sold or used or marketing purposes. Audition submission will be protected and will be destroyed after casting has been completed.
- All performers auditioning virtually must submit their completed audition form, resume/headshot and video audition no later than August 18th, 2021, 11:59 PM (Mountain Time).
- Please upload your headshot, resume and, if you are auditioning virtually, your video online through the link provided above. Please note that we will not accept any physical copies of your resume and/or headshot. They should be uploaded prior to your audition once you register.
- Prepare one monologue and one song, or two contrasting monologues totaling no more than three minutes combined. This is for both in-person and virtual auditions.
- The three minutes begins with the first word of your first piece.
- There will not be a pianist present. Performers shall sing acapella if you are auditioning in person.
- Formatting for virtual auditions:
- Please record/export in an mp4 or mov format
- Please record both selections in a single tape, as though you are in the room with us.
- Auditions are limited to actors above the age of 18.
If necessary, callbacks for specific productions will be held at later dates throughout the season.
Artists of all ethnicities, genders, and abilities are encouraged to audition.
We will be considering actors for principle and understudy roles for all our productions this season.
MY 80-YEAR-OLD BOYFRIEND
Created by Charissa Bertels, Christian Duhamel and Edward Bell
9/25/21-11/07/21 (1 principle)
Directed by Sean Daniels
CHARISSA BERTELS: 20s-30s. Female-identifying. Any ethnicity or race. Charissa is a determined young woman negotiating the thrills and pitfalls of being an actress in New York City. A chance encounter with a little old man, and the friendship that blossoms thereafter, cause her to see the world and her ambition differently. The same performer also plays eight other roles including Milton, the incorrigible, irascible, and flirtatious 80-year-old Upper-Eastsider. Versatility with playing multiple characters, comedic timing, and strong vocal stamina are highly encouraged.
MISS BENNET: CHRISTMAS AT PEMBERLY
By Lauren Gunderson and Margot Melcon
11/06/21-01/02/22 (8 principles)
Directed by Sean Daniels
MARY BENNET-20. Finally coming in to her own, she is no longer the plain, boring girl she once was. She has a fire in her now. She is intelligent, curious, and lively, but her family only sees her as a future spinster. She does not suffer fools. She wants to live.
ARTHUR de BOURGH-25. A studious, unsociable only child who has never been around women or large families. He is a loner who prefers books to people. He has recently inherited a large estate and has no idea what to do next.
ELIZABETH DARCY-22, married to Mr. Darcy. Confident, charming, and witty. She makes a fun and surprising lady of the house. She is best friends with her sister Jane.
FITZWILLIAM DARCY-30. A loving, generous, and smart (if slightly stiff) husband. He is quiet and vigilant and thus sees what others often miss. He knows what being lovelorn is like.
JANE BINGLEY-24, married to Mr. Bingley. She is seven months pregnant with her first child and is sweet and optimistic as ever. The kindest heart in the house.
CHARLES BINGLEY-25. Gracious, happy, and ever focused on the love of his life, Jane. A good friend and always ready with a smile.
LYDIA WICKHAM-17. Flirtatious, youthful, self-centered. Her marriage to Mr. Wickham is a sham but she will not admit this. She is the person you want to have at your party: energetic, engaging, unstoppable.
ANNE de BOURGH-20s. Only daughter of the late Lady Catherine de Bourgh. Lived in her mother's very large shadow, never having to ask for anything or speak for herself her entire life. Judgmental and impatient, just like her mother.
WOMEN IN JEOPARDY
by Wendy MacLeod
01/15/22-02/27/22 (6 principles)
Directed by Sean Daniels
MARY - 40's, divorced, a librarian, "still" pretty, motherly.
JO - 40's, divorced, her best friend, a publicist, sardonic.
LIZ - 40's divorced, Mary's other best friend, boy-crazy, a bit of a drama queen.
AMANDA - 19, Liz's daughter, an exceptionally pretty college student whose SATs were in the single digits (the exceptional breasts can be accomplished by costume).
TRENNER - 19, a snowboarder, sweet but not too bright.
JACKSON - 40's, a dentist, Liz's new boyfriend, creepy, given to strange pronouncements about death and disease, he may or may not look like Christopher Walken or another appropriately creepy celebrity)
SGT. KIRK SPONS0LLAR (SAME ACTOR AS JACKSON) - 40's, a police sergeant, a John Wayne type, courtly, a man of few or entirely obfuscated words
NINA SIMONE: FOUR WOMEN
by Christina Hamm
02/26/22-04/10/22 (5 principles)
Directed by Tiffany Nichole Greene
NINA SIMONE (30) A.K.A. "Peaches". Timeless. A woman of dark skin and temperament that cloaks wounds both present and historical. Bach and the Blues infuse her life. She is a tornado...of vulnerability. Complexity is her complexion and resistance and rebellion her anthem. She should boast the agility of improvisation on the keys and the polyvocality of a herald. She should be able to hear a song only once and be able to not only perform it, but to lift the song to another level of being. She lives hard and loves the same. She has a high school education but possesses well-rounded music training both self-taught
and by private music teachers. Whatever her mood swings they should never be so pronounced to upstage her accomplishments. She should possess the attributes of a modern-day prophet.
SARAH (40s) A.K.A. "Auntie". Also, of dark skin. Her hands are rough. Molded from years of working in the white folk's home since she was yea high. Groomed to put others before herself. This type of welding has created the invisible woman that she has become. Her smile is inviting never letting on that trouble lives on her horizon. Her dark skin has determined how she will be treated by the outside world. Her life has been defined by black and its volatile relationship to white. She has a remedial education at best as she comes from a large family where everyone had to work and carry their weight. She possesses the tender shoulder you can cry on and a honeysuckled voice of pain. She doesn't sing the blues, but has lived it.
SEPHRONIA (30s-40s) Her skin is yellow. She is of a softer disposition because that is what her hair type and skin color warrant. She's never been dark enough to cause offense, but she's just light enough to offend herself at times. She's the painful reminder that she is a child of violence. She's not light enough to be white nor dark enough to be black leading to an inescapable purgatory. She's joined the Civil Rights Movement hoping this will make her black enough and create an acceptance. Her mother doesn't understand her and her father's disowned her. Her mother holds her accountable for why she was not able to find a man of her own. She's opened her heart to many men who've made her empty promises. She is a D minor key, the saddest of them all.
SWEET THING (Late 20s) Her skin is tan. She is enticing whether she wants to be or whether she is paid to be. She's been tossed to and fro by life and the blows that its delivered by the men that have come and gone from her life. She's lived on the streets for quite some time and been in and out of trouble most of her life. She's a pistol but has still never gotten what she really wants—love. She is the kind of woman that will steal your man when you're not looking. Her looks have been the bane of her existence since she was a little girl.
SAM WAYMON (20s) Nina's younger brother. Plays piano, Hammond B-3 Organ, and tambourine. Stays out of her way.
JUSTICE
by Lauren Gunderson, Music and Lyrics by Bree Lowdermilk and Kait Kerrigan
04/09/22-05/22/22 (3 principles)
Directed by Melissa Crespo
SANDRA - White woman, 60
Headstrong, classy, by the book, no nonsense, a formidable and decisive leader. Everyone's big sister.
RUTH - Jewish woman, 60
Calm, thoughtful, strategic. Enjoys a laugh, a good meal, a good opera. Defies assumptions of her
firebrand personality by being generous, kind, and friend to all.
VERA - A woman, a truth teller, a truth seeker
Eager, curious, and wise. O'Connor and Ginsberg are icons to her.
HOW TO MAKE AN AMERICAN SON
by Christopher Oscar Pena
06/04/22-07/17/22 (6 principles)
Directed by Kimberly Senior
MANDO- Honduran immigrant in his late forties / early fifties "the father" ORLANDO- American born Honduran — reeks of privilege "the son." MERCEDES- American born Mexican woman in her thirties "the help." RAFAEL- a newly arrived Mexican immigrant "the refugee."
SEAN- American born white boy who thinks he's hot shit "the dream." DICK- straight white guy in his early forties "the enemy."
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