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Seeking
Equity actors for 3 workshop** productions in the 2015 Season.
see breakdown for more info.
Actors must be comfortable with physical and vocal improvisation.
Preparation
Bring picture/resume.
Prepare a short classical monologue, comic or dramatic. (No Shakespeare or verse, please.) Or, you may prepare a short speech or scene from one of the season’s plays. If a scene, a reader will be provided.*
Other Dates
**These Workshops Productions will be non-traditional, inventive explorations of these classic texts, performed before an audience at the weekend of each rehearsal week as works-in-progress.
Other
* Time permitting, you may be asked to do a cold reading from one or more of the season’s plays.
Personnel
Executive Director/Artistic Director: Carmela Marner
· A monitor will not be provided. The producer will run all aspects of this audition.
Appointments
AEA members email info@franklinstagecompany.org. if unable to email, call 607-829-3700. see breakdown for more details.
Performers of all ethnic and racial background are encouraged to attend.
Always bring your Equity Membership Card to auditions.
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Breakdown
To make an Appointment:
AEA members email info@franklinstagecompany.org; or call 607-829-3700. If leaving voice message, speak slowly & clearly; repeat phone #. Emails/calls will be returned within 24 hours.
AEA Members without appointments seen as time permits.
Non-AEA actors will also be seen as time permits.
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AN IDEAL HUSBAND
by Oscar Wilde
Dir: Lauren Unbekant
Date: 6/23-7/5
Sir Robert Chiltern
The play's tragic hero. Government official. Owes his success/fortune to secret scandal. A personality of mark with a manner of impeccable distinction; separates thought & emotion. Extremely ambitious but driven by love to hide his past in desperate hope of remaining the ideal husband to his wife.
Lady Gertrude Chiltern
Embodies the Victorian new woman: upright, virtuous, educated, politically engaged, active in her husband's career. A sort of moral absolutist who worships her ideal husband; cannot brook the revelation of his secret past.
Mrs. Cheveley
One of the wittiest & most well-dressed characters. The vicious, opportunistic villainess. Stands as foil to virtuous & earnest Lady Chiltern. Cast throughout the play as a sort of monstrous femme fatale.
Lord Goring
Of impeccable dress & inimitable wit. Dandified philosopher, an idle aristocrat who serves as a thinly veiled double for Wilde himself. Irreverent, wry, dangerously clever. Plays with the world; in doing so rejects ideals of duty, respectability, and responsibility.
Mabel Chiltern
Sir Robert's younger sister. Embodies what Wilde describes as the fascinating tyranny of youth and astonishing courage of innocence. Pert , clever. Flirtatiously matches Lord Goring's wit throughout the play. Their somewhat unconventional union serves as a foil to other marriages & would-be engagements that compose the plot.
Lord Caversham
Father to Lord Goring. Stuffy, serious, respectable. Opposed to the excesses of his dandified son. Continually urges son to marry & adopt a career, posing Sir Robert as model. Appears as figure for the old-fashioned against a son who makes & masters the art of modern living.
Lady Markby
Pleasant, popular woman with gray hair à la marquise and good lace. Emblematic of older generation of Society women, bemoaning the effect of politics and the higher education of women on married life. Counterpoises the Victorian new woman embodied by Lady Chiltern.
Lady Basildon and Mrs. Marchmont
Described as types of exquisite fragility with an affection of manner of delicate charm, ideal subjects for the French Rococo painter Watteau. They frivolously banter on a number of topics throughout Act I. Like Watteau's figures, they are perhaps more decorative than anything else, though—as the insightfulness of their conversations suggests—one can never underestimate the decorative on Wilde's stage.
Vicomte de Nanjac
Attaché at the French Embassy in London. Young man famous for his ties & Anglomania. Sort of comic figure; his malapropisms & awkward speech are posed against the polished repartee of the other guests.
________
THE COUNTRY WIFE
By William Wycherley
Dir: Leslie Noble
Dates: 7/28-8/9
Mr. Horner
Notorious London rake. In order to gain sexual access to respectable women, spreads rumor that venereal disease has rendered him impotent. In course of play, manages liaisons with several women. The most insightful of all the “wits”, often drawing out & commenting on moral failings of others, but in his sexual conduct he is the most depraved.
Mr. Harcourt
Rakish friend of Horner. Meets Alithea early in play. Flirts with her in front of Sparkish; soon falls in love with her. His devotion to the meritorious Alithea bespeaks his basic good nature; in course of the play is converted to a vision of marriage based on mutual love & esteem.
Mr. Pinchwife
Middle-aged London man, newly married to rustic Margery. A rake before his marriage, now the archetypal jealous husband: lives in fear of being cuckolded, not because he loves his wife but because he believes that he owns her. Is a latent tyrant, potentially violent.
Mr. Sparkish
Shallow, foolish playboy. Considers himself, wrongly, a wit. Engaged to Alithea, attracted primarily by her money. Appears to Alithea incapable of jealousy (true only insofar as the envy of other men increases the value of his prospective wife, whom he thinks he owns)
Sir Jaspar Fidget
Man of business; derives no end of amusement from rumor of Horner’s impotence. Happy to entrust wife to Horner’s company, on theory that the presence of the supposed eunuch will keep her occupied and discourage the advances of other, more potent men.
Mrs. Marjery Pinchwife
Attractive, young. Wife of title. Newly married to Jack Pinchwife; visiting London for first time for Alithea’s wedding. Unaccustomed to city ways, largely guileless & not overwhelmingly bright; perhaps not so incapable of intrigue as first appears. Her unrefined sexual vitality & all-around naturalness contrast with the hyper-civilized corruption of the Londoners around her.
Alithea
Younger sister of Jack Pinchwife, who wants to marry her off for financial reasons. Engaged to Sparkish, whom she values because he appears incapable of jealousy. She attracts amorous attentions of Harcourt, whom she begins to value for his intelligence & gallantry. Most straightforwardly admirable person: her London residence & enjoyment of pleasures of the town have sharpened her wits but not dulled her morals.
Lady Fidget
Wife of Sir Jasper Fidget. Much younger than her husband. Leading figure in the virtuous gang. Utterly hypocritical, piques herself on her virtue in public & avails herself of Horner’s physical charms in private. She articulates a defense of the hypocrisy of high-born ladies.
Mrs. Dainty Fidget
Unmarried sister of Sir Jasper Fidget. Member of the virtuous gang and secretly a conquest of Horner’s.
Mrs. Squeamish
Young unmarried woman related to the Fidgets; granddaughter to Old Lady Squeamish. Member of the virtuous gang and secretly a conquest of Horner’s.
Old Lady Squeamish
Grandmother of Mistress Squeamish; strives in vain to preserve her granddaughter’s purity.
Lucy
Alithea’s clever, sensible maidservant. Skeptical of her mistress’s plans to marry vapid Sparkish; is resourceful in coming up with schemes to encourage a match with Harcourt.
______
THREE SISTERS
by Anton Chekhov
Dir: Carmela Marner
Dates: 8/11-8/23
Olga
Eldest sister. The matriarchal figure. Teacher at the high school, where she frequently fills in for the headmistress whenever absent. A spinster; at one point tells Irina she would have married any man, even an old man if he had asked her. Very motherly even to the elderly servants. Longs to return to the Moscow of her childhood. Disappointed, hardworking, honorable, an obligated caretaker.
Masha
Middle sister. Married Kulygin when she was 18, just out of school. Disappointed in the marriage & falls completely in love with the idealistic Lieutenant-Colonel Vershinin. They begin a clandestine affair. When he is transferred away, she is crushed, but returns to life with her husband, who accepts her back despite what she has done. Has a short temper. Onstage, her directness often serves as a tonic to the melodrama; her wit comes across as heroic. Her vitality provides most of the plentiful humour. Trained as a concert pianist. Intelligent, passionate, disillusioned.
Irina
Youngest sister. Though insists she is grown-up she is still enchanted by things like the toy top brought to her as a gift. Only desire is to go back to Moscow. Believes she will find true love in Moscow. When it becomes clear they are not going back, agrees to marry Baron Tuzenbach, whom she admires but does not love. Gets her teaching degree; plans to leave with the Baron but he is shot in a duel. Decides to leave anyway to dedicate life to work & service. Innocent, searching, hopeful.
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