Geffen Playhouse 2019-2020 Season - Los Angeles EPA
Geffen Playhouse
AUDITION DATE
Wed, Jun 05, 2019
9:00 am - 4:30 pm (PDT)
Lunch: 1:00PM - 1:30PM
APPOINTMENTS
EPA rules in effect. In-person sign-ups begin at 8:00AM on 6/5/19.
CONTRACT
LORT Non-Rep LORT B, D Minimums - $941/wk, $696/wk
SEEKING
Actors for 2019/2020 Season. See breakdown.
PREPARATION
Please prepare a 2-minute monologue.
LOCATION
Geffen Playhouse
10886 Le Conte Ave
Los Angeles, CA 90024-3021
PERSONNEL
Phyllis Schuringa - Casting Director
OTHER DATES
Witch - July 23 to September 29, 2019 ASK Theater
Skintight - August 6 to October 13, 2019 Gil Cates Theater
The Thanksgiving Play - September 24 to December 1, 2019 ASK Theater
Macbeth - October 8 to December 15, 2019 Gil Cates Theater
OTHER
Additional day of EPAs for remaining shows in the season will be held at a later date.
EPA Procedures are in effect for audition.
An Equity monitor will be provided.
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
An additional day of auditions for the remaining shows in the season will be held at a later date. Not seeking understudies.
WITCH by Jen Silverman, directed by Marti Lyons
ELIZABETH (f, late 30s-60s range.) Elizabeth is an outsider. She is pragmatic, dry, funny, armored. She deflects with sharp humor. Her loneliness is a wound, but it is deeply buried. When we see glimpses of this wound, it is still raw. She discovers a steel core inside herself by the end of the play – a certainty that is stronger than anything she has ever felt.
SCRATCH (m, 20s-40). Scratch is the quintessential young salesman – charismatic, charming, funny. He could talk anyone into anything, and he usually does. Over the course of the play he falls in love for the first time, and by the end he is questioning everything he’s known about himself, and living in a place of raw despair. We’re looking for someone who can nail both ends of this arc.
SIR ARTHUR (m, 50s-60s). Authoritative, entitled, kind, used to being obeyed. He misses his dead wife, and the loneliness he feels is an engine propelling him through the play. He is a man who is rooted in tradition, conventionality. He loves his son deeply, but doesn’t understand him.
FRANK (m, same age-range as Cuddy). Frank was a working-class guy who has lucked his way into a different class bracket, a different kind of access. He is attractive and ambitious, charming but capable of flashes of real ruthlessness. He knows what people want to hear from him, and he doesn’t mind serving it. He knows what it’s like to not have enough, and he has set his sights on a different future. His entire core is built on something that is a mix of ruthlessness and desperation.
WINNIFRED (m, 20s). When we meet her she is hopeful, naïve, but with a dry sense of humor. She loves Frank and she’s still waiting for him to be his best self again. By the end of the play, she has become someone who is coldly pragmatic, stripped of hope, and comfortable with this state of affairs. There should be something eerie or frightening in this steely resolve.
SKINTIGHT by Joshua Harmon, directed by Daniel Aukin
Orsolya: 50's/60's, Elliot's long time Hungarian housekeeper. She knows how to make herself nearly invisible in the room, and yet we can't take our eyes off her when she's present. Able to read Hungarian.
Jeff: 40's/50's, a former paramour of Elliot's, now his full time assistant. He was once a Trey (his current lover) for Elliot; this is what happens when Trey grows up. If he's lucky.
THE THANKSGIVING PLAY by Larissa FastHorse, directed by Michael John Garces
LOGAN: Female, Caucasian looking, the high school drama teacher that's always pushing the envelope in potentially inappropriate ways. Earnest about theater and proving herself.
JAXTON: Male, Caucasian looking, yoga practitioner/actor. Politically correct to a fault, a big one. He's that confident guy everyone loves, but his logical PC thinking takes weird turns.
ALICIA: Female, brunette Caucasian looking but has looks that would have been cast as ethnic in 1950's movies. Without guile. Sexy and hot, but not bright.
CADEN: Male, Caucasian looking, the academic. Awkward elementary school history teacher with dramatic aspirations but no experience.
MACBETH by William Shakespeare, directed by Matt Shakman
These roles will be played by 13 actors:
DUNCAN, King of Scotland.
MALCOLM, his Son.
DONALBAIN, his Son.
MACBETH, General in the King's Army. – already cast
BANQUO, General in the King's Army.
MACDUFF, Nobleman of Scotland.
LENNOX, Nobleman of Scotland.
ROSS, Nobleman of Scotland.
MENTEITH, Nobleman of Scotland.
ANGUS, Nobleman of Scotland.
CAITHNESS, Nobleman of Scotland.
FLEANCE, Son to Banquo.
SIWARD, Earl of Northumberland, General of the English Forces.
YOUNG SIWARD, his Son.
SEYTON, an Officer attending on Macbeth.
BOY, Son to Macduff.
LADY MACBETH.
LADY MACDUFF.
Gentlewoman attending on Lady Macbeth.
HECATE and three Witches.
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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