We will be holding auditions for our fall semester productions of The Wolves and Ordinary Days on Monday, August 26 and Tuesday, August 27, 2019 from 6:00 PM to 10:00 PM in the Henry Heyman Theatre located on the lower level of the Foster Memorial Building.
Callback will be on Wednesday, August 28 and Thursday, August 29
DR. FAUSTUS WILL BE AUDITIONING ON SEPT 3, from 6-8pm
Callbacks to follow immediately.
Auditions for LAB 1:Dr. Faustus Lights the Lights will be on Tuesday, September 3, 2019 from 6:00 - 8:00 PM in the Henry Heymann Theatre located on the lower level of the Foster Memorial Building.
|MONDAY, AUGUST 26||TUESDAY, AUGUST 27||TUESDAY, SEPTEMBER 3|
The Wolves and LAB 2: Ordinary Days
The Wolves and LAB 2: Ordinary Days
LAB 1: Dr. Faustus Lights the Lights
|Henry Heymann Theatre||Henry Heymann Theatre||Henry Heymann Theatre|
|6:00 - 10:00 PM||6:00 - 10:00 PM||6:00 - 8:00 PM|
|WEDNESDAY, AUGUST 28||THURSDAY, AUGUST 29|
|The Wolves Callback||LAB 2: Ordinary Days Callback|
|Location: CL B1618||Location: CL B1618|
|6:00 - 8:00 PM||6:00 - 8:00 PM|
What to Prepare
See Directors' Notes listed for each production
Cold readings will also be available on audition days
- Scripts are on reserve at the Hillman Library Reserves Desk under the title AUDITIONS
- An accompanist will be provided for both audition days
How to Sign Up
- Visit Fall 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 - click here
- Complete the form by 12:00 NOON on Monday, August 26, 2019.
- You can bring one copy of your headshot and resume to the auditions.
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 monologue and music. Cold readings will be available.
- A greeter will brief you on the process and protocol.
If you have any questions, please email email@example.com.
CASTING AND PRODUCTION POLICY
- 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.
For initial auditions, please prepare a 1-2 minute contemporary monologue in the style of the play.
For callbacks, be prepared to show off your soccer skills and cold read from the text in groups. Soccer skills don’t need to be advanced, but basic ball-handling/soccer knowledge is helpful.
The Wolves is a slice of life play exploring the trials and triumphs of an all-girls soccer team in suburban America. Each scene finds the team warming up with succinct precision for their weekly game while discussing everything from college to sex to war to the uncertainty of life.
This play is an accurate, raw depiction of what it is to be an adolescent female in America today. Playwright Sarah DeLappe has crafted a world where the girls are real. Their struggles are real. And their lives unfold, truthfully, beautifully, and, at times, brutally right before our eyes.
“I wanted to see a portrait of teenage girls as human beings - as complicated, nuanced, very idiosyncratic people who weren’t just girlfriends or sex objects or manic pixie dream girls but who were athletes and daughters and students and scholars and people trying to figure out who they were in this changing world around them.” - Sarah DeLappe
#11 - (FEMALE) Midfield. Brainy, morbid, budding elitist, thoughtful. Seventeen.
#25 - (FEMALE) Defense, Captain. Classic (ex)coach’s daughter. Seventeen.
#13 - (FEMALE) Midfield. Stoner, older pot dealer brother, into her wackiness. Sixteen.
#46 - (FEMALE) Bench. New girl. Awkward, different, just wants to fit in. Sixteen.
#2 - (FEMALE) Defense. Innocent, unlucky, kind, skinny. Sixteen.
#7 - (FEMALE) Striker. Too cool for school. Sarcastic, “fuck”, thick eyeliner. Almost seventeen.
#14 - (FEMALE) Midfield. #7’s insecure sidekick. Just switched to contacts. Sixteen.
#8 - (FEMALE) Defense. Plays dumber than she is. Sixteen.
#00 - (FEMALE) Goalie. Intense performance anxiety, perfectionist, high achiever. Seventeen.
*Note that the final performances take place over the weekend immediately before Thanksgiving break. Actors must be guaranteed to stay through this weekend to be cast.
LAB 1: Dr. Faustus Lights the Lights
Written by Gertrude Stein
Directed by Christopher Staley
Rehearsal Dates: September 4 or 5 – October 2, 2019
Performance Dates: October 3 – October 6, 2019
Before the start of the play, Doctor Faustus has already sold his soul to the devil for the ability to create electric light and to master earthly knowledge. He argues with the devil, Mephisto, and rejects their contract on the terms that Faustus does not believe he had a soul to begin with. When the play opens, he becomes trapped with the innocent Little Boy and Dog in an electric prison of his own making, unable to fully master nor contain the illumination he has unleashed upon the world. The natural order of things — the cycle of day and night — is completely disturbed. While walking in nearby woods, the joint-character of Marguerite-Ida-and-Helena-Annabel is bitten by a Viper. A leering old Country Woman suggests that the only way she can be cured is to visit Doctor Faustus. Doctor Faustus at first does not help, but soon becomes infatuated and cures Marguerite Ida and Helena Annabel of the Viper bite. However, his dissatisfaction drives him to demand of Mephisto that he be able to enter Hell, which is an impossibility insofar as Faustus no longer has a soul, and therefore cannot be released into the next life. Mephisto says that the only way Faustus can enter hell is to kill the Little Boy and Dog. Faustus does so, but this does not give him the escape he is looking for. Marguerite Ida and Helena Annabel ultimately reject Faustus, and she falls into the spider-like arms of the Man From Over the Seas. The Boy and Girl are left at the end to live on in the wreckage of what has transpired before.
Notes on the show and casting: The play takes place in the theatre, and the theatre becomes an environmental symbol for unending purgatory. The “style” is meta-theatrical and highly abstract. I am looking for actors who are interested in exploring acting methods that depart from traditional notions of linearity, causality, and psychology. Those with singing, dancing, or movement experience are highly encouraged to audition. Performers with training in ensemble composition (e.g. Viewpoints) or other devising methods will be highly valued, but experience in any of these backgrounds is unnecessary. This casting will reflect an open and non-traditional process intending towards a diverse representation regarding gender, race/ethnicity, disability, et al. Please prepare a combination of contemporary/classical monologues and/or an a cappella song.
Country Woman — A symbol of death, the Crone, earthly wisdom, and the hardships of life, especially life for women.
Man From Over the Seas — Handsome, smooth-talking, sexually hungry, superficial, and somewhat robotic.
LAB 2: Ordinary Days
Music and lyrics by Adam Gwon
Directed by Josee Coyle
Rehearsal Dates: October 21 – November 19, 2019
Performance Dates: November 20 – November 24, 2019*
Ordinary Days is set in 2007 New York City. The story follows Jason, Claire, Deb, and Warren as they go through a variety of changes in their lives. Jason and Claire focus on relationships and how the past can affect growth. Warren and Deb look at goals and how a concentration on a goal can impact your life. This is a beautiful piece that focuses on simplicity and the beauty in something ordinary. I am looking for an ensemble of four actors eager to tell these stories of growth and find the beauty in life. I would like to especially encourage newcomers and people who are excited to learn!
Please prepare a monologue no longer than 90 seconds as well as 16-32 bars from a song (recommended to be from musical theatre).