THE PLAY THAT GOES WRONG Equity Principal Auditions - National Tour Auditions

Posted July 18, 2019
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THE PLAY THAT GOES WRONG - National Tour

THE PLAY THAT GOES WRONG - NYC EPA

Producing Org TBD


AUDITION DATE

Sat, Aug 10, 2019

10:00 am - 6:00 pm (EDT)

Lunch 1:30 to 2:30

Sun, Aug 11, 2019

10:00 am - 6:00 pm (EDT)

Lunch 1:30 to 2:30

Tue, Aug 13, 2019

10:00 am - 6:00 pm (EDT)

Lunch 1:30 to 2:30

CONTRACT

Short Engagement Touring $1,219/week

SEEKING

Equity actors for various roles in the upcoming SETA Tour.

There are no stage management positions currently available

PREPARATION

Sides from the play will be provided at the EPA. Please bring a picture/resume to auditions.


LOCATION

Pearl Studios NYC (500)

500 8th Ave

New York, NY 10018-6504

4th floor, Studio 405. Check lobby upon arrival for any changes.

PERSONNEL

Producers:
Kevin McCollum, J.J. Abrams, Kenny Wax, Mark Bentley & Catherine Schreiber,

Authors: Henry Lewis, Jonathan Sayer, Henry Shields

Original Direction: Mark Bell;
Director Matthew DiCarlo;
Stephen Kopel, Casting.

expected in attendance: Stephen Kopel or Mike Miller, casting directors.

OTHER DATES

1st reh: September 23, 2019
1st perf: October 18, 2019

OTHER

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

ABOUT THE PLAY
Cornley Polytechnic Dramatic Society presents ‘Murder At Havesham Manor’, and everything that could go wrong, does. We are looking for truthful, funny, physically adept performers who can commit to the style of the play and fully inhabit the characters. It is vital to believe in the characters who are performing the play within the play, as that is where the heartbreaking comedy comes from. With that in mind, we are looking for actors with a keen ability and understanding of comedy, but are able to play the truth of the scenes.

Actors of all ethnicities strongly encouraged to audition for all roles.


SEEKING
CHRIS (Male, 25 - 35) High status clown. Rigid, uptight, everything really matters. He is the director of the show and this is the biggest day of his life. Everything is riding on this. It is a nerve wracking and exciting night. His pain is evident and every time someone laughs the pain deepens. He has equal amounts of contempt for his fellow actors & the audience watching the play. RP ACCENT.

ROBERT (Male, 25 - 35) Wants to be Richard Burton, as evidenced by his declamatory style. He is, however, not a parody of a bad actor. He is unaware of others around him. He does not feel badly when things go wrong and never learns from his mistakes. There is a power struggle between Robert and Chris to be president of the Cornley Poly Drama Society (a position that matters a great deal to Robert). Seeking an actor with real vocal power. RP ACCENT.

MAX (Male, 25 - 35) He has never been on stage before. He learned his lines and does exactly what he's told to do. He has zero connection with any of the other actors, but when he gets a laugh he breaks the
4th wall and engages with the audience. Childlike and naïve. His mistakes are fundamental. He doesn't think anything through, just looks for approval. RP ACCENT.

DENNIS (Male, 25 - 35) He has no real desire to be involved in the theatre, he just wants to make friends (of which he has none). He believes if he does well in the show, he will be more successful socially. Laughter from the audience is agony for him. He may be slightly oblivious, but understands when he gets things wrong. The laughter is a personal tragedy/failure. RP ACCENT.

TREVOR (Male, 25 - 35) The play’s lighting and sound operator. He simply wants to get on with the show. Curmudgeonly and doesn’t care for actors. He is easily distracted and does many things he shouldn’t, including engaging with the audience. When things go really sideways he is forced to act in the play. He hates acting. AMERICAN ACCENT.

JONATHAN (Male, 25 - 35) A bit bland, but sees himself as a James Bond type. Excited and having fun, but not naïve. He technically has to drive the show. He cares about the play, but not to the same extent as the others. Very Physical role. RP ACCENT.

SANDRA (Female, 25 - 35) She is vain and possess a huge ego. Wants to be loved. Has ambitions to go to Hollywood and will hurt anyone standing in the way of what she wants, but is smart enough to stay on the good side of someone who can help her (like the director). You know the type. The stakes are high for her. Very physical role. RP ACCENT.

ANNIE (Female, 25 - 35) The stage manager. She has the biggest journey of any of the characters. When Sandra is indisposed Annie, who cannot bear to be on stage, must step in. Initially terrified by acting, she is willing to kill for it by the end of the play. Her initial terror turns to joy, and then to fury. She starts small, but grows and grows. AMERICAN ACCENT.

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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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