THE WOMAN IN BLACK - Chicago EPA
Pemberley Productions
AUDITION DATE
Fri, Apr 20, 2018
10:00 am - 6:00 pm (CDT)
Lunch: 1-2pm.
APPOINTMENTS
Equity Members may sign up for an appointment through the Member Portal beginning Friday, April 13th at noon.
CONTRACT
CAT CAT 6; $886.50/week minimum.
SEEKING
Actors for the roles of THE ACTOR, ARTHUR KIPPS, and THE WOMAN. See breakdown for details.
PREPARATION
Please prepare a brief (2-3 minute) monologue using RP British and/or Yorkshire accents. Please bring a headshot and resume, stapled together.
LOCATION
Acting Studio Chicago
10 W. Hubbard St.
Suite 203
Chicago, IL 60654
Please us the outside callbox to call Suite 203 for entrance.
PERSONNEL
Produced by: Pemberley Productions
Written by: Susan Hill
Adapted by: Stephen Mallatratt
Director: Robin Herford
Casting Director: Laura Stanczyk; Brick Wall Theatrical
OTHER DATES
Rehearsals begin (in Chicago) - 8/20/18
PERFORMANCES:
Cleveland Playhouse - 9/14/18 - 10/7/18
Pasadena Playhouse - 10/17/18 - 11/11/18
Royal George, Chicago - 11/15/18 - 2/17/19
Seattle Rep - 2/22/19 - 3/24/19
Option to return to Royal George - 4/2/19 - open ended
OTHER
THE WOMAN IN BLACK is one of the longest running plays in the West End. The tour of the play and run at the Royal George in Chicago will be the first American production of the original, created by the same team behind the London hit.
Auditions are in Chicago. Point of organization is in Chicago.
EPA Procedures are in effect for this 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
THE WOMAN IN BLACK takes place over three time periods – the 1880’s, the 1920’s and the 1950’s (present day in the play). The two leads take on the telling of the tale of Arthur Kipps playing multiple characters. Each must have great training, have great dialect work and be comfortable in the style of each era above. A sense of humor is essential.
THE ACTOR (YOUNG KIPPS) AND THE ACTOR STANDBY: 28-35 years old, all ethnicities, male. An actor working in the London Theatre of the fifties. He is well-spoken, well-trained and technically proficient in the handling of verse. Not mannered or affected, but not an Actor's Studio naturalistic actor. He is Juvenile Lead, justly confident of his abilities, and of his prospects for success. The performer cast must be all of the things above as well as transformational, charming, charismatic, a brilliant storyteller and be possessed of a great sense of humor.
ARTHUR KIPPS (OLD KIPPS) AND ARTHUR KIPPS STANDBY: 55-65 years old, all ethnicities, male. A man in tremendous pain, very close to an emotional and nervous collapse. Quiet, self-effacing, well-educated with very little in the way of self-confidence. A lawyer, working for an established London firm, he displays little of the ability he doubtless possesses. In the course of the play we are to learn what it is in his personal history that has reduced him to this state. This performer must be a character actor since he needs to portray very distinctly different people sharply and with a minimum of props, costume, etc. He must always remember however that his is KIPPS becoming those people - his default state is that of the nervous lawyer to whom all this actually happened. *It is important that the part is played without a trace of self pity*
THE WOMAN: Caucasian female, 20's to late 30's, minimum 5'5 tall. Slim, angular. Must move well. This performer can come from the dance or modeling world. Otherworldly, haunting, impacts the story through movement and presence. Nonspeaking. Due to the nature of the show, this actress is unbilled.
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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