Alley Theatre 2018-2019 Season - Houston EPA Day
Alley Theatre
AUDITION DATES
Fri, May 18, 2018
10:00 am - 5:30 pm (CDT)
Lunch: 1:00PM - 2:00PM
Sat, May 19, 2018
9:30 am - 2:00 pm (CDT)
APPOINTMENTS
auditions@alleytheatre.org
CONTRACT
LORT Non-Rep LORT B, C Minimums - $914/wk, $848/wk
SEEKING
See breakdown.
PREPARATION
Please prepare 2 contrasting monologues, 1 classical and 1 contemporary. Total audition not to exceed 3 minutes.
LOCATION
Alley Theatre
615 Texas St
Houston, TX 77002-2710
4th Floor of the Alley Theatre Building in the Louisiana Room
PERSONNEL
Interim Artistic Director - James Black; Artistic Associate - Brandon Weinbrenner
OTHER DATES
See breakdown.
OTHER
No stage management positions available.
www.alleytheatre.org
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.
BREAKDOWN
SKELETON CREW by Dominique Morisseau
Neuhaus Theatre (LORT C)
First rehearsal August 7, 2018. Performances August 31 to September 30, 2018
FAYE
DEZ
SHANITA
REGGIE
TWELFTH NIGHT by William Shakespeare
Directed by Jonathan Moscone
Hubbard Theatre (LORT B)
First Rehearsal September 4, 2018. Performances October 5 to October 28, 2018
ORSINO, DUKE OF ILLYRIA
SEBASTIAN, BROTHER OF VIOLA
A SEA CAPTAIN, FRIEND TO VIOLA
VALENTINE, GENTLEMAN ATTENDING ON THE DUKE
CURIO, GENTLEMAN ATTENDING ON THE DUKE
SIR TOBY BELCH, UNCLE TO OLIVIA
SIR ANDREW AGUECHEEK
MALVOLIO, STEWARD TO OLIVIA
FABIAN, SERVANT TO OLIVIA
FESTE, A CLOWN
OLIVIA, A COUNTESS
VIOLA, SISTER OF SEBASTIAN
MARIA, OLIVIA’S WOMAN
A PRIEST
LORDS, SAILORS, OFFICERS, MUSICIANS, ATTENDANTS
*ACTORS MAY PLAY MULTIPLE ROLES
A CHRISTMAS CAROL by Charles Dickens, adapted by Michael Wilson
Directed by James Black
Hubbard Theatre (LORT B)
First rehearsal October 16, 2018. Performances November 15 to December 30, 2018
EBENEZER SCROOGE
MRS. DILBER/JACOB MARLEY
BOB CRATCHIT
FRED/SCROOGE AT TWENTY-ONE
FIRST SOLICITOR/FIDDLER
SECOND SOLICITOR/MR. FEZZIWIG
MARY PIDGEON/CHRISTMAS PAST
BERT/CHRISTMAS PRESENT
MR. MARVEL
MRS. CRATCHIT/MRS. FEZZIWIG
FRED’S WIFE/BELLE
OLD JOE/UNDERTAKER
12TH C. APPARITION/RICH LADY/PATRICIA
HENRY V APPARITION/LAMPLIGHTER/TRAVIS
MARY STUART APPARITION/BEGGAR WOMAN/SISTER-IN-LAW
RESTORATION APPARITION/DICK WILKINS/MR. TOPPER
MEDIEVAL APPARITION/PARTY GUEST
THE CARPENTER by Robert Askins
Hubbard Theatre (LORT B)
First Rehearsal December 18, 2018. Performances January 18 to February 10, 2019
GENE - Late 30s. Wears a red plaid pearl snap shirt. Dark Jeans. Work boots. His head is close shaved. He’s bearded. He’s got gold rimmed Dad glasses. He’s country. He’s smart, likes to take chances. Gets a little rowdy, a little aggressive. He and Dan share a Father.
DAN - Early 30s. Dan is bald. He has a studied fancy casual look to him. He’s wearing a nice kind of sweater, soft, Rag and Bone, maybe. Dark jeans. Nice thick nerd glasses. He’s a little neurotic. A little ‘Mansplainy’. He comes from not much, but it’s a little bit more than Gene.
STEVE - Early 30s. Steve is a to-the-manor-born version of Dan. He is not bald, in fact, he should have a glorious mane of hair. He is not afraid to wear pink. He is a tall thin charming bro of a man. He is a little bit gross, a little bit fun, a little bit too much. He’s pure Dallas.
TERRY - Early 30s. Terry is a Highland Park princess, but the kind of princess that went through a goth phase and starred in a slasher flick before deciding she’d rather be a mid-level executive at a tech start up. She looks like a million bucks, literally, like all the care wealth can afford.
CLAIRE - Early 30s. Terry’s best friend. She is bigger than life. Her clothes are wild, the height of fashion. She should not look like Dallas but like the worst excesses of LA. When she enters she does a little dance… it’s like “Did Coachella throw up in here?”
CHERYL - 60s. Dan’s Mother. She is pure country lot and can sure give a backhanded compliment. She is the kind of conflicted Mom that wants her babies to do good, but maybe not too good. She shops a Marshall’s.
JESSE - late 20s. Dan’s sister. She’s wearing a ‘back to the woods hipster’ flannel and maybe has a ring in her nose. She lived in Austin until too many ‘Claires’ showed up, so she moved to Asheville, NC. She’s an eye roller, very dry.
KIP - 60s. Terry’s Father. Smoking Jacket. Scotch. A shotgun. You remember when they opened up a Yale club in Permian because every jerk in New England had to come to Texas to take money out of the ground? Yeah, like that.
VENUS - Any age. Venus is not messing around. She is a big woman. She strips. She owns a gun. She probably has two houses and a very nice car. She also likes men that are maybe a little shady (Gene) but is trying to like men who are less shady (Dan).
QUACK by Eliza Clark
Neuhaus Theatre (LORT C)
First Rehearsal January 8, 2019. Performances February 8 to March 10, 2019
DR IRVING BAER – White; early 50's, a very successful, famous, TV doctor who has been a household name for twenty years. To the outside world, he is a model feminist, a generous and charming man. To those in his inner circle he is a charming narcissist with an easily bruised ego.
KELLY HENNING – Non-White (Female); 30s. Studious, sensible, his assistant and a registered nurse. She’s an idealist who left Oklahoma to work for Dr. Baer because she believed in his vision and the work he was doing. She is very good at managing her boss’s fragile ego and trying to carefully and sensitively guide him toward the version of himself she wants him to be, but lately she has started wanting to use her own voice a little more.
MEREDITH BAER – White; 40’s - 50's. Dr. Baer’s wife. She's tightly wound and tightly muscled, the empress of a diet empire. Her business is directly tied to her husband’s fame and success and she helps to manage his career with a tight fist. She is shrewd, business savvy, with a tough facade.
RIVER THUMBOLT- Non-White; 20's. A journalist whose career is on an upswing. She has spent years toiling in fashion and teen magazines, always wanting to be taken seriously. After losing two hundred pounds, she wrote a memoir that was well-reviewed and got her taken seriously by the literati. She covers her youth by maintaining a serious veneer — she is non-plussed, not easily baited.
BROCK SILVER – White; 30's. He once managed a trucking company, but after being unceremoniously fired, he has found a new calling as a blogger for the alt right. He is unassuming, affable, surprisingly reasonable, even charming at times, but his outward appearance (fastidious, tightly maintained) belies a dark underbelly capable of acts of extreme cruelty, and a pessimistic, bigoted worldview.
THE HUMANS by Stephen Karam
Directed by Brandon Weinbrenner
Hubbard Theatre (LORT B)
First rehearsal January 29, 2019. Performances March 1 to March 24, 2019
ERIK BLAKE
DEIRDRE BLAKE
RICHARD SAAD
FIONA “MOMO” BLAKE
AIMEE BLAKE
BRIGID BLAKE
CRIMES OF THE HEART by Beth Henley
Directed by Theresa Rebeck
Hubbard Theatre (LORT B)
First Rehearsal March 12, 2019. Performances April 12 to May 5, 2019
LENNY MAGRATH
CHICK PORTER
DOC PORTER
MEG MAGRATH
BABE BOTRELLE
BARNETTE LLOYD
CONSTELLATIONS by Nick Payne
Directed by Leslie Swackhamer
Neuhaus Theatre (LORT C)
First Rehearsal April 9, 2019. Performances May 3 to June 2, 2019
MARIANNE
ROLAND
THE THREE MUSKETEERS by Ken Ludwig
Hubbard Theatre (LORT B)
First rehearsal April 30, 2019. Performances May 31 to June 30, 2019
D’ARTAGNAN
SABINE
FATHER
ATHOS
PORTHOS
ARAMIS
CARDINAL RICHELIEU
ROCHEFORT
RAVANCHE
MILADY
MONSIEUR DE TREVILLE
ADELE
CONSTANCE
KING LOUIS XIII
QUEEN ANNE
SEPTIME
SOPHIE DELACROIX
MOTHER SUPERIOR
INNKEEPER
FACHE
THE DUKE OF BUCKINGHAM
STANLEY
THE ABBESS
*ACTORS MAY PLAY MULTIPLE ROLES
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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