Warehouse Theatre 2018-19 Season - Greenville SC EPA
Warehouse Theatre
AUDITION DATES
Fri, Mar 30, 2018
3:00 pm - 10:00 pm (EDT)
Sat, Mar 31, 2018
10:00 am - 6:00 pm (EDT)
APPOINTMENTS
AEA members may email Jason D. Johnson at jason@warehousetheatre.com to set up an appointment. Make sure you leave contact information, specify if you are singing, and preferred time slots. AEA members without appointments will be seen as time permits. Non-AEA may not request an appointment, but may be seen as time permits.
CONTRACT
SPT SPT 3; $344/week min
SEEKING
Equity actors and actor/singers for various roles in the upcoming season
PREPARATION
Actors are asked to prepare a 60 second monologue. If singing, please prepare a 45 second monologue and a song. The song should be no longer than 16 bars. Total time for the mono/song audition should not last longer than 90 seconds.
An accompanist will be provided.
LOCATION
Warehouse Theatre
37 Augusta St
Greenville, SC 29601-3501
PERSONNEL
Jason D. Johnson, Managing Director
EPA Attendance: Mike Sablone (PAD Warehouse), Jason D. Johnson (MD Warehouse), Jenna Elser (Director – RHS), Kerrie Seymour (Director – Menagerie), Jay Briggs (Director – Pride), Rebekah Suellau (tentative – Director – Cry). Potential TBD directors for Sweat and Power.
OTHER DATES
Performance weeks for each show are Thursday – Saturday at 8p and Sunday at 3p.
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.
BREAKDOWN
THE ROCKY HORROR SHOW:
Music, Lyrics, Book by: Richard O’Brien
Director: Jenna Tamisiea Elser
1st Rehearsal: July 31, 2018
Run: August 31, 2018-September 16, 2018 (possible extension to September 22nd)
Show Description: One fateful night, Brad Majors and his fiancée, Janet Weiss — a wholesome, well-behaved, utterly normal young couple in love — innocently set out to visit an old professor. Unfortunately for them, this night out is destined to be one they will never forget. A thunderstorm and a flat-tire force them to seek help at the castle of Dr. Frank ’N’ Furter, an alien, self-proclaimed transvestite scientist with a manic genius and insatiable libido. Brad, Janet, and Frank’ N’ Furter’s cohorts are swept up into the scientist’s latest experiment. The night’s misadventures will cause Brad and Janet to question everything they’ve known about themselves, each other, love, and lust.
Character Descriptions (all characters are flexible on age, gender, and race):
Frank ‘N’ Furter (Male, 30-45, Range: Baritone, D3-G4): Incredibly charming, a master of seduction, Frank is the kind of person you want to make your best friend. Or potentially marry him. Definitely want to get a beer with him. Also maybe have a few kids with him? Look, we’re saying it’s all on the table. Also, to top it all off for good measure, a freaky scientist intent on creating the perfect man.
Magenta (Female, Age Flexible, Range: Mezzo Soprano Belt, Bb3-Eb5): One of Frank’s servants. Also a devious maid. No nonsense and powerful. Into things you haven’t even heard of.
Riff Raff (Male, 25-40, Range: High Rock Tenor, D3-B4): Frank’s personal butler. Not your average handyman. The kind of guy who makes harmless conversation seem super awkward and intensely foreboding. Magenta’s brother.
Columbia (Female, Age Flexible, Range: Mezzo Soprano Belt, E4-E5): One of Frank’s servants, she kinda has a groupie vibe to her. Energetic with crazy good burlesque skills. Was Frank’s lover for a while.
Brad (Male, 26-35, Range: Bari Tenor, Bb2-G4) A good, normal, American guy. Straight hero type. I mean he’s a little quirky, but very much in love with his fiancé, Janet. Overly optimistic at times.
Janet (Female, 26-35, Range: Mezzo Soprano Belt, A3-Eb5) Good girl who is madly in love with Brad. Always seems to be frightened of something. Initially shy and demure, but turns into a bonafide sex goddess.
Eddie/Dr. Scott (Male, 28-40, Range: Baritone, E3-F#4): Eddie is a delivery man who greatly misses the rock and roll life. Biker look. Dr. Scott is Eddie’s uncle.
Rocky (Male 18-30, Range: Tenor, A3-G4): Frank’s magnificent creation. Sexually appealing, incredible physique, not afraid to show it off.
Narrator (gender, age, range, all flexible)?: Narrates our tale (duh). Non-singing role.
Phantoms (gender, age, range, all flexible): Various Singers, Citizens, Freaks, Hangers On.
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SWEAT:
Playwright: Lynn Nottage
Director: TBD
1st Rehearsal: September 18, 2018
Run: October 12, 2018-October 28, 2018
Show Description: Filled with warm humor and tremendous heart, SWEAT tells the story of a group of friends who have spent their lives sharing drinks, secrets, and laughs while working together on the factory floor. But when layoffs and picket lines begin to chip away at their trust, the friends find themselves pitted against each other in a heart-wrenching fight to stay afloat.
Character Descriptions:
Evan, African-American 40s: No-nonsense parole officer.
Jason, white American of German descent, 21/29: Young worker at the factory, friend of Chris. Tracey, his mom, locked him out of the house at 21. Has his eyes on a Harley that he is strangely attracted to.
Chris, African American, 21/29: Worker at the factory, friend of Jason, son of Cynthia. He is going to go to college to get out of the factory life. Has aspirations and doesn’t want to apologize.
Stan, white American of German descent, 50’s: Good natured bartender who got out of the factory after an injury and owns the bar. A flirt, specifically with Tracey. Tries to keep some order in the bar when the drinking gets out of hand.
Oscar, Columbian-American, 22/30: Barback at Stan’s bar, no one really pays attention to him as he goes about handling his business.
Tracey, white American of German descent, 45/53: Her ancestors built the town. She’s worked at the factory her whole life. Jason’s mother, her husband died and she’s been raising him on her own.
Cynthia, African-American 45/53: Angling for a job that will take her off the floor and into management. Has split things off with Brucie for his drinking, proud of her son Jason.
Jessie, Italian-American 40s: Once had dreams of backpacking through Europe, has now spent over 20 years working at the factory. Hits the bottle a little hard.
Brucie, African-American, 40s: In his prime, smooth as satin, but has problems with alcohol. Trying to stay clean (but still has the occasional drink), was married to Cynthia, Chris’ father, but they’re not that close. Worked at a textile mill and has been locked out for two years
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CHRISTMAS ON THE ROCKS:
Playwright: John Cariani, Jenn Harris & Matt Wilkas, Jeffrey Hatcher, Jacques Lamarre, Theresa Rebeck, and Edwin Sanchez
Director: Chip Egan
1st Rehearsal: November 13, 2018
Run: December 6, 2018-December 23, 2018 (possible extension to December 29, 2018)
Note: This is a remount of a previous production, so all roles are cast. Actors will be considered as possible replacements.
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THE GLASS MENAGERIE:
Playwright: Tennessee Williams
Director: Kerrie Brown Seymour
1st Rehearsal: January 2, 2019
Run: January 25, 2019-February 10, 2019 (possible extension to Feb 16, 2019)
Show Description: Tom lives with his overbearing mother Amanda and quiet younger sister Laura. Amanda knows Tom wants out of his life and implores him to set Laura up with one of his coworkers. He does and the two have a beautiful reconnection. But it is too late for not just Laura but Tom and Amanda as well to improve their lives, or are they forever stuck with the memories of the past?
Character Descriptions:
Amanda Wingfield (pre-cast): A little woman of great but confused vitality clinging frantically to another time and place.
Laura Wingfield (20’s): A childhood illness has left her crippled. Stemming from this, Laura’s separation increases until she is like a piece of her own glass collection, too exquisitely fragile to move from the shelf.
Tom Wingfield (30’s-50’s): The narrator of the play. A poet with a job in a warehouse. His nature is not remorseless, but to escape from a trap he has to act without pity.
Jim O’Connor (20’s): A nice, ordinary, young man.
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POWER OF SAIL
Playwright: Paul Grellong
Director: TBD
1st Rehearsal: February 19, 2019
Run: March 15, 2019-March 31, 2019
Show Description: Harvard professor Charles Nichols is afraid that the younger generation of college professors is passing him by, so he takes a calculated risk in inviting an incredibly controversial White Nationalist speaker to campus. The student body immediately protests, so Charles takes one grad student with him to the interview, with disastrous results.
Character Descriptions:
Charles Nichols (50s, White): A tenured history professor held in extremely high regard, his family has been associated with one of the nation’s most prestigious universities for five generations. He’s not shy about sharing that fact. A good liberal, he would say. A free speech absolutist, he would say even more forcefully. Sailing is a lifelong passion. Divorced last year. He’s been drinking more these days.
Baxter Forrest (30s, Black) - A brilliant scholar whose work has gained him some degree of national renown. TV appearances are not uncommon; MSNBC, and one memorable visit to Real Time. A former student of Charles’ who excelled. Looks up to Charles, but only to a point. Sagacious. His father recently passed away, so he’s back in Boston to straighten out family affairs in his childhood home. Unmarried.
Amy Katz (50s, Jewish) - She always loved school. There was never any question that academia was the world in which she wanted to spend her life. A tenacious feminist scholar, she rose through the ranks of American universities as a Target of Opportunity pursued by one great institution after another. She soon began writing more, teaching less, and embracing a role as Dean in which she found rewarding, closer relationships with the students she mentored. Devoted to the university, its mission, and its reputation. Her beloved husband is ill, and it’s not looking good, and he’s been a trooper, and so has she.
Lucas Poole (late 20s, White) - One of Charles’ graduate students. Charles isn’t blowing smoke when he says Lucas is a gifted young historian. But he’s an indoor kid. Lucas plays video games. He has come of age online, so if you need someone to explain Bitcoin or 4chan to you, Lucas is your man. He’s on the job market, with employment plans that might surprise people in his immediate circle. He’s funny -- it’s a self-deprecating sense of humor that is often deployed as a weapon of deflection. Lucas has a dark side. He lets no one see it. But it drives him.
Maggie Rosen (late 20s, Jewish) - Another of Charles’ graduate students. Like Lucas, she’s quite gifted. She’s involved with the campus Hillel, but up until recently would have professed some ambivalence about it. She’s on record saying Dean Katz is the best professor she’s ever had. By nature she’s a peacemaker. Wants to bridge divides. Had to do it in her house growing up with those parents. That said, a peacemaking nature does not prevent her from taking bold, decisive action when necessary. A half-marathoner.
Harris (40s or 50s) - No-nonsense FBI agent. Been with the bureau over 20 years. Used to work the dangerous stuff, the run and gun life, but he was never much of a marksman. He’s slowed it down in recent years. A good talker. A great interviewer.
Frank (40s or 50s; played by the actor playing Harris) - Bartender. A Boston townie. Bleeds Bruin black and yellow. Been behind the stick at Charles’ favorite dive bar for a long time. He lionizes Charles. Frank has an atrociously corny sense of humor. Old time joke book stuff.
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CRY IT OUT
Playwright: Molly Smith Metzler
Director: Rebekah Suellau
1st Rehearsal: April 2, 2019
Run: April 26, 2019-May 12, 2019
Show Description: Four months ago, Jessie was a corporate lawyer with a glamorous Manhattan life. Today, she is in dirty yoga pants, covered in breast milk, trying to comfort a screaming newborn. Isolated in a sleepy Long Island suburb while her commuter husband works long hours, Jessie is desperate to talk to anyone besides the Food Network. So when she spies a fellow new mom and neighbor, Lina, at the local Stop & Shop, she vaults over the cantaloupe to introduce herself. Happy to have found each other, the two moms agree to meet for coffee during naptime in the sweet spot behind their adjoining yards where both their baby monitors get reception, and a fast friendship is born. Jessie and Lina may be from vastly different financial backgrounds—Jessie is Ivy-educated and of the manor born; Lina has a night-school nursing degree and terrible credit—but they have one huge thing in common: they’ve been cracked open by the love they feel for their newborns. One coffee quickly becomes a daily coffee, as Jessie and Lina laugh through the highs and lows of motherhood. But their intimacy is punctured when a stranger who lives in the mansion up on the cliff appears in the yard, asking if they would include his wife, a new mom who is having “a hard time,” in their coffee klatch. Reluctantly, the duo tries to become a trio, but with very mixed—and surprising—results. A comedy with dark edges, CRY IT OUT takes an honest look at the absurdities of being home with a baby, the power of female friendship, the dilemma of going back to work, and the effect class has on parenthood in America.
Character Description:
Jessie (mid 30’s, any ethnicity): Married to a North Shore native; recently relocated to Port (from Manhattan) to raise her family. Educated, articulate, lovely, warm. From the Midwest and has that Midwestern ready-smile. Beloved by every teacher she's ever had. Always gives the perfect toast; always organizes the group gift. But in private, Jessie bends towards anxiety. She doesn't like empty days on calendars, or being alone. Works 90 hour weeks in the city as a corporate lawyer -- or did, until Allie was born. Now she's in yoga pants.
Lina (late 20’s, early 30’s, any ethnicity): From Long Beach (on South Shore of Long Island) and you can tell immediately -- she is very South Shore. Acrylic nails, big hoops, velour track suits, Mets trucker hats -- and a huge Italian family. Lina failed out of community college, curses too much, and blasts Kanye too loudly in the car. But she is also fantastically winning. She's fun, funny and refreshingly genuine. Works at St. Francis Hospital.
Adrienne (mid/late 30’s, any ethnicity): Elegant, powerful, aloof, and slightly rock n roll. Has eyes that are cat-like and assessing. The kind of woman you see climbing out of a dark sedan at JFK who you just know is going somewhere cool. Adrienne grew up on Central Park West, attended posh boarding schools, studied art abroad, and could give you the best-ever guided tour of MoMA. She has never signed an e-mail with an x or an o, but she is loyal and ferocious in both business and life. A successful jewelry designer.
Mitchell (late 30’s/early 40s or slightly older, any ethnicity): Adrienne's husband, works in investment capital. A math nerd who is amazing with numbers, but not people. Serious, shrewd, sensitive. The kid who ate lunch in the library because he was so shy. Mitchell grew up in a tough house in a tough part of Utica and scholar-shipped his way to where he is now, so grades, status, and success are his currency. But becoming a father has changed him. He makes goofy faces now. He stares out windows during meetings. His sentences end in question marks.
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PRIDE AND PREJUDICE
Playwright: Kate Hamill, based on the novel by Jane Austen
Director: Jay Briggs
1st Rehearsal: May 14, 2019
Run: June 7, 2019-June 30, 2019
Show Description: The outspoken Elizabeth Bennet faces mounting pressure from her status-conscious mother to secure a suitable marriage. But is marriage suitable for a woman of Elizabeth’s intelligence and independence? Especially when the irritating, aloof, self-involved… tall, vaguely handsome, mildly amusing, and impossibly aristocratic Mr. Darcy keeps popping up at every turn? Literature’s greatest tale of latent love has never felt so theatrical, or so full of life than it does in this effervescent new adaptation.
Character Breakdown (all are flexible on age, race, and gender):
Female:
Jane (late 20s early 30s): The eldest and most beautiful Bennet daughter. Kind, idealistic, diffident. Always tries to do the right thing. Doubled with MISS DE BOURGH (Lady Catherine’s daughter. A gremlin.).
Lizzy (year or two younger than Jane): Clever, spirited; can be sharp-tongued. Gets flustered, which makes her klutzy. Prides herself on good judgement.
Lydia (14): Youngest Bennet. Lively, prone to imitating others’ behavior and eavesdropping. Doubled with LADY CATHERINE (patrician Caesar-meets-drill sergeant).
Charlotte Lucas (same age as Lizzy): Practical girl with good sense of humor. Doubled with MR. BENNET. (The patriarch of the Bennet family who finds amusement in absurdity. Often looks for respectable escape from the chaos of his family life. Disappointed in marriage)
Mrs. Bennet (40+): The matriarch of the Bennet family. Mostly a silly woman, of mean understanding and variable temper. Hypochondriac. The business of her life is to get her daughters married.
Male:
Mr. Darcy (late 30s-40s): One of the richest men in England. Too proper for his own good; awkward in most social contexts. Prides himself on self-control and good judgment.
Mr. Bingley (late 30s-40s): Loves the world and the world loves him. Mr. Darcy’s particular friend. Almost literally a dog. Doubles with MARY (The third Bennet girl. Bit of a monster; prone to pedanticism and sulking. A dark goth Bronte character trapped in an Austen world.)
Mr. Collins: A pedantic, obtuse man. Rector to Lady Catherine. May double with WICKHAM/MISS BINGLEY (Wickham is an unfairly handsome and charming gentleman, raised with Darcy. Miss Bingley is a very rich young woman who fancies herself witty.)
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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