Auditions

We will be holding general auditions for our spring semester productions of Oblivion, The Verge, Appropriate and Head Over Heels on Monday, December 2 and Tuesday, December 3, 2019 from 6:00 PM to 10:00 PM in the Richard E. Rauh Studio Theatre located on the basement level of the Cathedral of Learning.

MONDAY, DECEMBER 2, 2019 TUESDAY, DECEMBER 3, 2019
Richard E. Rauh Studio Theatre Richard E. Rauh Studio Theatre
6:00 - 10:00 PM 6:00 - 10:00 PM
Accompanist starting at 6:30 PM Accompanist starting at 6:00 PM

Callbacks will be Wednesday, December 4 through Saturday, December 7, 2019

WEDNESDAY, DECEMBER 4, 2019

APPROPRIATE callback

THURSDAY, DECEMBER 5, 2019

THE VERGE callback

FRIDAY, DECEMBER 6, 2019

OBLIVION callback

SATURDAY, DECEMBER 7, 2019

HEAD OVER HEELS callback

Richard E. Rauh Studio Theatre Richard E. Rauh Studio Theatre Richard E. Rauh Studio Theatre Richard E. Rauh Studio Theatre
6:00 - 8:00 PM 8:00 - 10:00 PM 8:00 - 10:00 PM 12:00 - 4:00 PM
      Accompanist starting at 12:30 PM

What to Prepare

  • See Directors' Notes listed for each production
  • Sides and sheet music for the shows will also be available on audition days
  • Scripts are on reserve at the Hillman Library Reserves Desk under the course title: AUDITIONS and instructor listed is Ashley Martin
    • Head Over Heels director script and Piano Conductor score are available as e-reserves under the link: Scripts for Auditions. The instructor is “Martin” and the password is “auditions”.
  • An accompanist will be provided for both audition days, if you plan to use accompaniment on Monday register for a time slot after 6:30pm.

How to Sign Up

  • Visit 2019-2020 Spring Auditions - click here
  • Register to use the Sign-Up Genius Application
  • Select your audition time slot      ***You are able to swap slots and/or cancel with your login***
  • Complete the Audition Google Form, directions below

Audition Forms

  • After you have picked a time slot, complete the audition form.
  • Audition forms have been changed to a google form - click here
  • Completed applicatoins are due Monday, December 2, 2019 at 12:00 Noon.
  • One copy of your headshot and resume may be brought to your audition.

Day of Auditions

  • Please arrive at least 15 minutes prior to your scheduled time to check in with the registration desk.
  • You may bring a copy of your sides and music, or use the sides available that day.
  • A greeter will brief you on the process and protocol.

If you have any questions, please email audition@pitt.edu.

CASTING AND PRODUCTION POLICY

Theatre Arts Department Casting Statement & Mainstage and Lab Season Mission
  • We are committed to producing stories from multiple cultural perspectives, of diverse styles and structures and from multiple time periods and global locales.
  • In order to tell every story upon our stage, student, faculty and guest artists of all abilities, races, genders, sexualities, nationalities, and religions are needed and welcome for our casts, our crews, and our production teams.
  • As a department and producing organization, we consider our audience to be the Department of Theatre Arts, the University campus and the larger Pittsburgh and regional community.
  • We are committed to analyzing and understanding a playwright’s intentions for location, time and character.
  • We are equally committed to challenging ourselves and our audiences to think beyond the strictures of given circumstances and historical expectations in production.

We are committing to cultivating spaces, theatres and classrooms in which students, faculty, and guest artist can take risks, stretch themselves,and approach each class, audition and production venture as a fresh opportunity for greatness.


Oblivion

Written by Carly Mensch
Directed by Sean Cook
 
Rehearsal Dates:       January 6 – February 4, 2020
Performance Dates:   February 5 – Febuary 9, 2020
 
About the Play:

A touching and funny—and very modern—tale of parents, children, and the gulf that sometimes exists between them. Uber-hip Brooklynites Pam and Dixon take great pride in their secular humanist approach to parenting. But when their 17-year-old daughter, Julie, decides to become a Christian, their laid-back, open-minded facade comes crashing down. Carly Mensch's OBLIVION takes a wry look at Nietzsche, famed film critic Pauline Kael, and the nature of belief in the 21st century.

Character Breakdown:

PAM: female, 40-49, all ethnicities, Dixon’s wife, Julie’s mom, liberal, intellectual and goal-oriented TV Executive, outwardly open-minded and generally the paradigm of a “cool mom.” Artfully disguises a bit of a competitive, “type A” personality streak and a fair amount of inner turmoil with eager rationality and playful sarcasm.  This character will be required to touch other characters during the play. The levels of touch will range from casual to intimate. We will be utilizing the best practices for intimacy choreography created by Theatrical Intimacy Education.

DIXON: male, 40-49, all ethnicities, Pam’s husband, Julie’s dad, the paradigm of a “cool dad.” An artfully disheveled intellectual with fading good looks, a roguish air, and a relaxed, carefree attitude that is masking deeper insecurities and fears. He has boundary issues and often says or does inappropriate things. This character will be required to touch other characters during the play. The levels of touch will range from casual to intimate. We will be utilizing the best practices for intimacy choreography created by Theatrical Intimacy Education.

JULIE: female, all ethnicities, to play 16, Pam and Dixon’s daughter. A little introverted, but also sharp, perceptive and opinionated, definitely her parents’ daughter. She possesses a pragmatic self-awareness rare in someone her age, but is also just a little lost. She is a competitive high school athlete. This character will be required to touch other characters during the play. The levels of touch will range from casual to intimate. We will be utilizing the best practices for intimacy choreography created by Theatrical Intimacy Education.

BERNARD: male, Asian, to play 16. Julie’s only friend. A total film geek who adores Julie and wishes he could be part of her hip Brooklyn family instead of his own Korean immigrant one. Quirky, but whip-smart and disarmingly earnest. One day he will be very cool, but in high school he’s probably struggling a bit. This character will be required to touch other characters during the play. The levels of touch will range from casual to intimate. We will be utilizing the best practices for intimacy choreography created by Theatrical Intimacy Education.

Performers of all ethnic and racial backgrounds are encouraged to audition.

Director’s Notes for Auditions:
All auditionees will be provided with sides from the shows to perform at the time of their audition. Each auditionee can choose either 1 side from any of the shows and 1 cut of music from Head Over Heels or 2 different sides to perform at the time of their audition. Additionally, anyone auditioning for Head Over Heels should also be prepared to sing 16 bars of a pop song of their choice (bring sheet music in your key) if the director asks for it. Sides will be available on Monday, October 28, 2019 and copies can be picked up in 1617 Cathedral of Learning, the Dept. of Theatre Arts Main Office.

 

Please contact Ricardo Vila-Roger (rav31@pitt.edu) it Bria Walker (Bria.walker@pitt.edu) if you have any questions.


The Verge

Written by Susan Glaspell
Directed by Andrea Gunoe

Rehearsal Dates:      January 6, 2020 – February 5, 2020
Performance Dates:  February 6, 2020 – February 16, 2020
 
About the Play:
THE VERGE by Susan Glaspell (Trifles) was first produced by the Provincetown Players in the 1920s. While this non-realism play begins comedically, Glaspell quickly reveals the darker themes at work in early 20th-century society. The Verge follows botanist Claire Archer as she experiments with strange plants in pursuit of creating a new form of life. This mirrors her own need to navigate existence in a changing world, recently devastated by war and altered by women’s suffrage. Her struggle to transcend nature is complicated by her strained relationships with her family and friends, who discourage the experiments. Claire’s husband Harry is concerned that her passion for botanical experiments and her erratic behavior are troubling symptoms that Claire is descending into madness. Tensions rise and reach a tipping point when Claire’s most promising creation the Breath of Life nears its bloom.

 

Character Breakdown:

CLAIRE: Mad Scientist-Feminist-Botanist, obsessed with making things that have never existed.

ANNA: botanist assistant, obsessed with plants and with Claire

HATTIE: The maid

ADELAIDE: Claire’s traditional sister

ELIZABETH: Claire’s often forgotten teen daughter

HARRY: Claire’s rich husband, obsessed with Claire

DICK: Claire’s confident lover, obsessed with Claire

TOM: Claire’s sensitive best friend, obsessed with Claire

DR EMMONS: Old-timey psychiatrist

Director’s Notes for Auditions:
This play is exciting, profound, dramatic, and funny. I’m looking for actors that can push themselves, make bold choices, and are willing to do movement. Much of the play is not realistic so I’m looking for heightened energy and stakes. All actors will also be used as Foley artists (doing live sound effects in front of the audience).

All auditionees will be provided with sides from the shows to perform at the time of their audition. Each auditionee can choose either 1 side from any of the shows and 1 cut of music from Head Over Heels or 2 different sides to perform at the time of their audition. Additionally, anyone auditioning for Head Over Heels should also be prepared to sing 16 bars of a pop song of their choice (bring sheet music in your key) if the director asks for it. Sides will be available on Monday, October 28, 2019 and copies can be picked up in 1617 Cathedral of Learning, the Dept. of Theatre Arts Main Office.

Please contact Ricardo Vila-Roger (rav31@pitt.edu) it Bria Walker (Bria.walker@pitt.edu) if you have any questions.


Appropriate

Written by Branden Jacobs-Jenkins
Directed by Ricardo Vila-Roger

Rehearsal Dates:      January 21, 2020 – February 19, 2020
Performance Dates:  February 20, 2020 – March 1, 2020

 
About the Play:
Every estranged member of the Lafayette clan has descended upon the crumbling Arkansas homestead to settle the accounts and to run the estate sale of the newly-dead patriarch. As his three, estranged adult children sort through a lifetime of hoarded mementos and junk, they collide over clutter, debt, and a contentious family history. But after a disturbing discovery surfaces among their father's possessions, the reunion takes a turn for the explosive, unleashing a series of crackling surprises, confrontations, and brawls. Winner of the 2014–2015 Obie Award for Best New American Play.

*Please note that there is some sensitive and triggering subject matter in this play that deals with racism, antisemitism, and sexuality. Actors are highly encouraged to read the script prior to auditions/callbacks.

Character Breakdown:

Rhys Thurston: Male, 18
Toni’s youngest son. Born and raised in Atlanta, GA. Just beginning to be aware of what people think about him, charismatic but still awkward, shy, has a slightly dark edge. Was doing well in school and was college bound but he “got caught” dealing drugs in this school where his mother was the principal. May be struggling with his sexual identity while living in rural Arkansas. He is very protective of his mother; a bit elusive, a bit cool. Ethnicity: White / European Descent
 
*Please note that this character must act like he is masturbating on stage at the end of one scene. Rehearsal time will be spent working with the individual actor to ensure safety and privacy. Please consider this when auditioning for this role.
 
Beauregard "Bo" Lafayette: Male, 40ish
the middle sibling, publisher for a major magazine in NY, always doing business, always wears a collar and a watch, he has grown into his success. Very smart, very driven, not comfortable being with his siblings and their issues or the anything about the family he grew up in. When he is upset, he can turn--and always has turned--into a bit of a brat.
Ethnicity: White / European Descent
 
Rachel Lafayette: Female, 40ish
Bo’s wife— well-groomed, Yale-educated, “upper west-side wife,” very conscious of being on the outside of this family. A bit of an over-bearing parent, can hold her own in an argument, but would rather not fight unless provoked.
Ethnicity: White / European Jewish Descent
 
Cassidy "Cassie" Lafayette: Female, early-to-mid teens
Bo and Rachel’s oldest child, in the process of developing into a young woman but is still a bit of a “nerd.” She can be awkward and negligent of social cues but not self-conscious—very present, very perceptive, smart.
Ethnicity: White / European Descent
 
Ainsley Lafayette: any gender, 8-12
Bo and Rachel’s youngest child, rambunctious, energetic, intelligent.
Ethnicity: White / European Descent
 
Francois "Franz/Frank" Lafayette: Male, 35ish
The youngest sibling, sort of an aging hippie-type with possibly a slight undercurrent of “redneck.” A little rugged, a little ragged, a sharp edge lays over his deep vulnerability. Charismatic with young people, his disruptive youth, possible substance abuse, and some close brushes with the law have led to a long-term estrangement from the family, which has been marked by bitterness and resentment. But he now hopes to change and find his way if not back than at least to a new sense of self. He is an “appealing project.”
Ethnicity: White / European Descent
 
River Rayner: Female, 23
Franz’s fiancée, the youngest of four girls, daughter of two environmental lawyers, who has become a yoga instructor and “healer.” Grew up outside of Spokane, very outgoing, eager to impress, eager to prove she’s older than she looks, very perceptive, is able to hold her own in tough situations. The “wins more flies with honey” type. She views Franz as a kind of project and really believes in him. Considers herself very much “in touch” spiritually--e.g. might be getting certified in Reiki, believe in spirits, etc.
Ethnicity: White / European Descent
 
Antoinette "Toni" Lafayette: Female, 40ish
The oldest sibling, a former school principal, is used to dealing with others’ children and family conflicts but not her own. Around her family, she can turn into a bit of a bully. She is accustomed to being in charge, and she is losing her grip --mostly due to the fact that she is overwhelmed and tired and doesn’t recognize it. However, she is a compassionate person with a good sense of humor who is dealing with some very difficult emotional issues. Smart, tough-spirited, pretty grounded, maybe a slight trace of Georgian twang but she is not “southern.”
Note: This role is CAST
Ethnicity: White / European Descent
 
Director’s Notes for Auditions:
All auditionees will be provided with sides from the shows to perform at the time of their audition. Each auditionee can choose either 1 side from any of the shows and 1 cut of music from Head Over Heels or 2 different sides to perform at the time of their audition. Additionally, anyone auditioning for Head Over Heels should also be prepared to sing 16 bars of a pop song of their choice (bring sheet music in your key) if the director asks for it. Sides will be available on Monday, October 28, 2019 and copies can be picked up in 1617 Cathedral of Learning, the Dept. of Theatre Arts Main Office.

 

Please contact Ricardo Vila-Roger (rav31@pitt.edu) it Bria Walker (Bria.walker@pitt.edu) if you have any questions.


Head Over Heels

Songs by the Go-Go’s
Conceived by Jeff Whitty
Adapted by James Magruder
Directed by Tomé Cousin
 
Rehearsal Dates:           February 17, 2020 – April 1, 2020
Performance Dates:      April 2, 2020 – April 12, 2020

*** Head Over Heels director script and Piano Conductor score are available as e-reserves under the link: SCRIPTS FOR AUDITIONS. The instructor is “Martin” and the password is “auditions”.

About the Play:
Head Over Heels is the story of what happens when the royal court of Arcadia is threatened by the mystical Oracle of Delphi with the loss of its “Beat,” the divine power that ensures the kingdom’s prosperity. King Basilius, whose own title is at stake, forces the members of the royal family and court on a journey to the woods in an attempt to escape the Oracle’s seemingly unavoidable prophecies.

Through a plot containing usurped kingship, unlikely lovers, and gender-fluid disguises, Head Over Heels preaches unconditional love and acceptance of yourself and everyone you know, no matter their gender or sexual identity, and uses some of the greatest pop rock hits of the late 20th century.

Character Breakdown:

*PAMELA:  Young Adult Female. Princess. Sister of PHILOCLEA. Vain, praised beauty, worries, lesbian, lgbtq, gay, jealous, in her feelings, romantic, sexual awakening / realization, plus-size.     Voice: Mezzo- Soprano  Legit, Pop

*PHILOCLEA: Young Adult Female. Princess, Sister of PAMELA, plain, boring, shy nervous, insecure, kind romantic, determined.               Voice: Soprano

*MUSIDORUS: Young Adult Male. Poor Shepherd, neurotic, nervous, pathetic, appears in drag crossdresser as an amazon, sexy, confident charming, gender-fluid.     Voice: Tenor / Legit / Pop

*BASILIUS:  Mature Adult Male. KING of ARCADIA and husband to QUEEN GYNECIA. Father dad haughty, arrogant, selfish, demanding, reputation usurped,  prideful, posed married traditional.     Voice: Tenor

*GYNECIA:  Mature Adult Female. QUEEN, wife of KING BASILIUS. Bored, disappointed, appreciative, skeptical smart tempted, confident.     Voice: Alto

*DAMETAS: Mature Adult Male. KING BASILIUS’S ROYAL VICE ROY, FATHER TO MOPSA. Loyal, dependable, separated husband, banisher.     Voice: Tenor, Baritone, Bass

*MOPSA: Young Adult Female. Handmaiden to Princess Pamela and Daughter of DAMETAS. Loyal comfortable lesbian, gay lgbtq, angry, discontented.     Voice: Mezzo-Soprano

*PYTHIO: Mira Adult, Either gender

*ORACLE OF DELPHI: Magical, mystical divine wife, mother, genderqueer, genderfluid outcast persona magical.     Voice: Alto / Bass

*ENSEMBLE: Mixed Genders. Royal subjects, lions, magical minions, mermaids.  Voices: Tenors, Basses, Baritones, Sopranos, Mezzo, Altos

 
Director’s Notes for Auditions:
All cast must move well and be very comfortable in their bodies.  The musical features choreography, multiple moments of physical contact, stage combat, heightened themes of LGBTQ exploration, gender identity acceptance and genderqueer fluidity.

All auditionees will be provided with sides from the shows to perform at the time of their audition. Each auditionee can choose either 1 side from any of the shows and 1 cut of music from Head Over Heels or 2 different sides to perform at the time of their audition. Additionally, anyone auditioning for Head Over Heels should also be prepared to sing 16 bars of a pop song of their choice (bring sheet music in your key) if the director asks for it. Sides will be available on Monday, October 28, 2019 and copies can be picked up in 1617 Cathedral of Learning, the Dept. of Theatre Arts Main Office.

All singers auditioning for Head Over Heels should plan to bring their prepared, chosen cut AND a 30 second cut of a pop song.

Please contact Ricardo Vila-Roger (rav31@pitt.edu) it Bria Walker (Bria.walker@pitt.edu) if you have any questions.