Ashland New Plays Festival Fall 2023 - Portland, OR EPA Ashland New Plays Festival | Ashland, OR
Notice: Audition Call Type: EPA
Sunday, August 20, 2023
2:00 PM - 10:00 PM (P)
Break: 5:00-6:00pm
To schedule an appointment, visit
https://forms.gle/4gSi4MYR5PmNMyLE8 .
Deadline to request an appointment slot is August 17th 11:59pm
SPT
$293 weekly minimum (SPT 1)
Equity actors for roles in Ashland New Plays Festival Fall 2023 (see breakdown).
Please prepare a contemporary dramatic monologue and be prepared to cold read a side of your choosing from
https://drive.google.com/drive/folders/19sgDKj BOu1XJ5Czlp7VhIfovYCy-Qhef?
usp=drive_link
Portland Playhouse
602 NE Prescott St
Portland, OR 97211-3966
Parking: On street or at King Elementary School parking lot. On arrival, enter lobby on NE 6th Ave side to check-in
Viewing Auditions:
Jackie Apodaca, Artistic Director/Producer Danya Torp-Pereda, Portland Casting Coordinator
Rehearsals: October 15-22, schedule varies per play
Performances: October 18-22, schedule varies per play
OTHER
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.
SYNOPSIS: After a young woman is unexpectedly diagnosed with a terminal illness and chooses to pursue Death with Dignity, she and her new partner must navigate the beginning and end of their relationship simultaneously. As the young woman's health rapidly declines, her partner and her two siblings grapple with the absurdity and hilarity of death, what it means to be family, and what it takes to let go.
Vim: She/her. Late twenties to early thirties, several years past completing her PhD, youngest child.
Wes: She/her or they/them. Late twenties to early thirties, Vim’s partner, a chainsaw crew boss, never attended college.
Emily: She/her. Early to mid-thirties, Vim’s sister, a nurse, eldest child.
Sebastian: He/him. Late twenties to early thirties, Vim’s brother, a PhD candidate, middle child. Susan: She/her. Middle aged to older woman, volunteer with Compassion and Choices.
by Westin Gaylord
SYNOPSIS: A forest is growing in Norway, planted to provide paper for a set of texts that will be printed in the year 2114. Each year between 2014-2114, an author is selected to write a text for this Future Library which will be preserved, unread, until the printing. The play tells two intertwining stories of one family: a novelist in 2022 who puts his mother’s life story into words, his great-granddaughter and her son in 2114 who journey from a California farm to a Norwegian forest for the opening of the Library, and a secret that has waited a century to come to light. Examining the voices we choose to preserve and those that are lost forever, A Long Time Coming looks toward a future that holds both disaster and hope.
Helen: ROLE IS CAST. Female, 70s. White. A former oil executive. Steely and pragmatic, with an excellent memory.
Terry: Male, 40s. Helen's son, a renowned novelist. Warmly self-effacing, a bit neurotic.
Liza: Female, 16. Terry's daughter, a high school student. Very Online, follows global news, dry sense of humor.
Ponderosa: Female, 40s. Mixed race. A teller, or vocational memorizer of cultural knowledge with a memory like a database.
Alder: Male, late teens. Mixed race. Rosa's son, training to be a teller.
Cypress/Librarian: Female or nonbinary, 30s-50s. Cypress: a high-ranking teller. Librarian: the custodian of an ancient library.
Joshua/Ticket-taker: Male or nonbinary, 30s-50s. Joshua: a farmworker. Ticket-taker: a train station clerk.
Charlie: a photographer.
*Some ensemble roles may be played by one actor for this reading.
by Bleu Beckford Burrell
SYNOPSIS: The Lyons household struggling to stay afloat doesn’t find itself lacking in pride. A family play, about living, love, identity, and overcoming life challenges the Lyons take you on a journey of what it means not only to be Jamaican and proud but the similarities we have in our families as immigrants in America.
Ivory Lyons: she/her/hers. Jamaican. Mid thirties. Fighter, mother the foundation with a watered-down Jamaican accent but very much so noticeable.
Egypt Lyons: she/her/hers. Jamaican. Late teens. Grounded, oldest daughter moves with keen sensibility. Can switch between patois and American dialect with ease.
Queen Lyons: she/her/hers. Jamaican. Mid teens. Rebellious, oldest twin ready to conquer the world. Optimistic but loyal.
King Lyons: he/him/his. Jamaican. Mid teens. Dreamer, Queen’s twin and pursuer of peace.
Richard Lyons: he/him/his. Early twenties. Jamaican. Ambitious, step-son, begins with a heavy country Jamaican patois and dramatically becomes a forced Northwestern accent.
Marquis McDonald: [Pronounced Mar-Kiss] he/him/his. Black. Late teens. Charming athlete. Everton: Late forties. Jamaican. lovesick optimist with “distinguished” Jamaican accent.
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