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The Studio Theatre Tierra Del Sol (a flexible black box space located in The Villages, Florida) will hold General Auditions in Chicago for their third season on June 3rd and 4th from 1pm - 9pm
We are currently casting both AEA (under the OAT contact) and non-union talent.
Non-Union Pay: $250 per week with housing available.
AEA Pay: $413/week per the OAT contract.
Show Listing and Breakdown:
The Story Of My Life By Neil Bartram and Brian Hill:
THOMAS WEAVER: A successful and charismatic writer who embraced success at the expense of his personal life. Alvin's lifelong best friend. 35-45 Vocal range top: G4 Vocal range bottom: B2
ALVIN KELBY: A sensitive, free-spirited man who neglected his career to care for his father. He is Thomas' lifelong best friend. 35 - 45 Vocal range top: Gb4 Vocal range bottom: Bb2
Stop Kiss By Diana Son:
CALLIE: She is a traffic reporter in New York City, where she has lived for eleven years. Callie helps Sara learn her way around the city, and, in the process, develops strong feelings for her. She is strong and independent and really knows the ropes. Late 20's - early 30's.
SARA: Sara, recently moved to NYC from St. Louis to accept a teaching fellowship at an elementary school in The Bronx. She looks to Callie to learn how to fit in while in the Big Apple. She is sweet and somewhat sheltered but is eager to begin her city life. Late 20's - early 30's.
GEORGE: George is Callie's "friend with benefits." He works as a bartender in the city, and is jealous of Sara's relationship with Callie.
PETER: Sara's ex-boyfriend from St. Louis. Peter is still in love with Sara. Mid 20's - early 30's.
MRS. WINSLEY/NURSE: Mrs. Winsley is a witness to an attack against Sara and Callie. The nurse is Sara's nurse while she is in the hospital. Late 30's - Mid 50's.
DETECTIVE COLE: The detective assigned to Callie and Sara's case. They are the first to hear the story of what happened to Callie and Sara the night they were attacked. Late 30's - Mid 40's.
It Shoulda Been You By Barbara Anselmi and Brian Hargrove:
The Roles of Jenny Steinberg and Rebecca Steinberg are cast, but we will be casting understudies.
JUDY STEINBERG: Mother of the Bride. 50s/60s. She will stop at nothing to get what she wants. She is forceful and domineering, but at heart a kind and loyal person - and a fierce advocate for her friends and family.. She's also very funny, but not in a jokey way, being one of those people who never realize just how funny they are; Alto/mezzo.
JENNY STEINBERG: Co-Maid of Honor/Bride's older sister. Early 30s. The driving force behind this soon to be perfect wedding. She has done everything as if she were getting married today. Although she's overweight and not comfortable with that fact or anything else about herself, she hides behind a wicked sense of humor, which serves her well as armor against her mother's constant attacks or "helpful suggestions." Although she can be cutting and acerbic, she is rarely mean or spiteful to others because her barbed comments are usually directed at herself; Mezzo-soprano with a great belt and mix.
GEORGETTE HOWARD: The Mother-of-the-Groom from hell- uptight, waspy, one of those "ladies who lunch," with an acerbic wit and fondness for drink - especially gin. She is not happy about her son getting married and her unhappiness is a force to be reckoned with; Alto/mezzo.
BRIAN HOWARD: The Groom. 30. Is going to be a great guy as soon as he grows up, but unfortunately he's still trying to find himself. That can only happen when he gets out from under the thumbs of his domineering father and manipulating mother, which is one of the reasons he's getting married today; Tenor with good low notes
ALBERT: The Wedding Planner. 50s/60s. He is a nuptial Houdini, who has seen and done it all before, and who is therefore ready with the solution before anyone else even realizes there's a problem; Baritone.
REBECCA STEINBERG: The Bride. 30. Is the "perfect daughter". Unfortunately, wedding jitters are causing her to be emotionally unstable - one minute she's laughing, the next she's crying, and sometimes she's doing both at the same time, which make her seem like a mess; Soprano with a high belt or strong mix on an E.
MARTY KAUFMAN: The Bride's ex-boyfriend. Early 30s. Is the quintessential Jewish boy next door - the kind of young man every mother dreams of for her daughter. If he were any closer to the Steinbergs, he'd be related. Instead, he's just in love with them. Well one of them in particular.Tenor with a strong Ab.
MURRAY STEINBERG: Father of the Bride. 50s/60s. Loves his wife, loves his daughter - and if he has any negative feelings about this wedding, he would never show them. If this is what his daughter wants, then it's what he wants for her because he only wants what's best for his family. Bass/baritone.
GEORGE HOWARD: Father of the Groom. 50s/60s. Is a Master of the Universe who is used to getting his way. His one soft spot is his wife. He loves her and would do anything to make her happy, and does so because she's got him wrapped around her little finger. It's almost like he's two different people - his wife gets the teddy bear and his son, the grizzly; Baritone with good F above middle C.
GREG MADISON: Best Man. 30. If anyone marches to the tune of a different drummer, it's Greg Madison. He sees the world in a way that no one else does. He's cute and likable, always means well, and would fight to the death for a friend; Tenor with strong pop styling.
ANNIE SHEPS: Co-Maid of Honor, this character is Non-Caucasian, 30. She is the calm in the storm. An observer who does her best to help where she can, but that doesn't mean she's not just as emotionally invested as everyone else. She's also a strong influence on the wedding party because she's one of the few who could stand up to Judy Steinberg and tell it like it is.; Mezzo or soprano with strong pop styling.
UNCLE MORTY/WALT: 30s/40s/50s. Should be an actor who can play lots of different people believably, (as real people, not caricatures) since along with his female counterpart, (Aunt Sheila/Mildred) this person will also play various wedding guests and hotel employees. The most important role he will play is Uncle Morty - the absent minded Uncle who may or may not be senile, but who is definitely hard of hearing. Baritone with strong high notes.
AUNT SHEILA/MILDRED: 30s/40s/50s. Should be an actress who can play lots of different people believably, (as real people, not caricatures) since along with her male counterpart (Uncle Morty/Walt), this person will also play various wedding guests and hotel employees. The most important role she will play is Aunt Sheila - a grabbing clasping woman who is full of spite and jealousy for her sister-in-law, and would love nothing more than to see the whole wedding go up in flames. Mezzo-soprano, belter.
A Doll's House By Henrik Ibsen (translated by Christopher Hampton):
The Roles of Nora Helmer and Dr. Rank are cast, but we will be casting understudies.
TORVALD HELMER: Nora's husband 40's/50's. He is a spend thrift, and holds Nora on a tight financial leash. But he does adore her and dotes on her however he can. He is a former lawyer who has just been given the job of General Manager at The Joint Stock Bank.
MRS. KRISTINE LINDE: Nora's old friend from school who has returned to look for work after the passing of both her husband and mother. She is the polar opposite of Nora, she is practical, down to earth and hard working. She has no husband, children or other family to speak of. She must make her own way in the world. 30's.
NILS KROGSTAD: A bank employee of Torvald's looking to scrape by anyway he can. He will stop at nothing to hold on to his job and make a buck, even if it means blackmail. 40's/50's
ANNE-MARIE/MAID: These roles are doubled. Anne- Marie is the nursemaid to the three Helmer children. Any age.
Material To Prepare:
To be considered for plays and musicals please prepare a 90 second monologue and a 16 bar cut of a musical theatre song in the style of the shows. Please have a second contrasting monologue ready if requested and bring your book as you may be asked to sing another selection.
To be considered for the plays only please come prepared with two contrasting 90 second monologues.
All auditioners should come with two copies of their headshot and resume stapled together and trimmed.
A note on casting: At The Studio we practice Non-Traditional Casting. Non-Traditional Casting is a method designed to increase artistic options by expanding casting opportunities for women, actors of color, seniors and actors with disabilities in roles where race, gender, age or the presence or absence of a disability are not germane. To that end we encourage all actors to audition
For an audition slot please email firstname.lastname@example.org before May 31, 2018. Please include "Chicago Auditions" in the subject line.
1225 W Belmont Ave
Jun 3 1-9pm
Jun 4 1-9pm