Auditions will be held by appointment
May 13th, 7-9:30pm
Other times available upon request
Shakespeare’s Venice is chock full of fascinating, memorable characters and a
wonderful storyline. Plots, intrigues, peril and narrow escapes intertwine
romance as three different set of lovers face danger and deception in pursuit of
love and one man ventures his life in an act of pure friendship. At the center
of the play is Portia, a woman of intelligence and wit, who risks everything to
save the man she loves. The play also features Launcelot Gobbo, one of
Shakespeare’s funniest clowns, a pair of hilarious (and ill-suited) suitors for
Portia’s hand, and a host of nobles, servants, heroes, and villains ensuring
that there’s never a dull moment. Towering above all, of course, is the epic
presence of Shylock, one the richest and most complex character to ever set foot
up the stage.
A great play with good parts for many different types.
- Among the finest of Shakespeare's
female roles - intelligent, witty, passionate, a formidable feminine
presence in a man's world
Nerissa - Portia's gentlewoman, sharp,
clever - at no disadvantage to her mistress in intelligence or competence
Jessica - Shylock's daughter - ingénue,
pretty, in love with Lorenzo - should be dark-haired
The script calls for two male servants in Portia's
household - these will almost certainly be female parts in this production.
Bassanio - In love with Portia -
leading man looks, passionate to the point of fiscal foolishness
Gratiano - Bassanio's sidekick and
Nerissa's lover - wisecracking second lead
Antonio - The rich merchant -
Bassanio's friend and benefactor - their relationship may be platonic or an
unrequited fascination on Antonio's part - depending on what exploration in
early rehearsals turns up (but I'm leaning toward the latter).
Shylock - Without question the villain
of the piece as the play is structured - equally without question, the
demonstrable anti-Semitism by other characters (notably Antonio) provides
ample explanation for his actions - obviously the most complex and difficult
role in the play (if not in all Shakespeare) - ultimately I would like the
audience to sympathize with Shylock but still be happy that his plan is
thwarted and the lovers united.
Lorenzo - male ingénue - in love with
Tubal - Friend and confidant to Shylock
Launcelot Gobbo - Shakespearean clown -
unlike many others, actually has some genuinely funny stuff.
The Prince of Morocco and The Prince of Arragon
- comic one-scene set pieces - failed suitors for Portia's hand - very broad
The Duke of Venice - One scene - doing
his best in a tough situation - dignified but over-matched by Shylock's
Salerio and Solanio - The "little
winds" who carry gossip and by doing so provide the narration of the plot -
have some fun stuff to do
Other nobles, servants, etc, will
double with abovePlease prepare a monologue, two-minutes or less; the
monologue need not be classical, but should demonstrate an ability to handle
language of some complexity.
Begin May 28 (after Memorial Day)
Performances: July 18-August 3
(Thursday-Saturday Evenings; Matinees Saturday, July 27 & August 3)
TO SCHEDULE AN APPOINTMENT
or get more information for The Merchant of Venice,
please call 508-358-2011 and leave your name, phone, and preferred audition
time. We will call you back.
next to normal
book & lyrics by Brian Yorkey
with music direction by
Auditions will be held by appointment
May 20th, 7-10pm
The Story: next to normal
is a contemporary family drama, about a woman’s struggle with mental illness and
the effects of her illness on her family. As next to normal opens, middle-aged
mother Diana seems to have it all: a handsome, loving husband and two talented
teenage children. It is soon obvious, however, that life for Diana is far more
difficult than it seems. She has been dealing with severe depression and
delusions, plagued with anxieties and mood swings since tragedy struck her
marriage nearly 16 years earlier. Under the care of a therapist, Dr. Madden, she
continues to seek countless treatments, medications and therapies to help her
return to a normal life. Her condition is growing worse with time and Diana’s
family begins to unravel around her, finding their own desperate ways to deal
with her illness and their own loss. Her husband Dan confronts his own confusion
and depression; daughter Natalie deals with isolation and a budding romance with
a fellow music student, Henry; and son, Gabe, serves as Diana’s confidante and
link to a happier past.
next to normal is a considered a rock musical with much of the story told
through song. While primarily rock-based, the score presents a variety of other
musical styles including jazz, country and classical. The melodies are often
interwoven with the action frequently moving back and forth among simultaneous
scenes, as well as between literal and psychological realities. Though serious
in focus, the play is full of surprises and humor as well. This is a unique
musical crammed with emotion from beginning to end; a tour-de-force for any
actor/singer in every role.
NOTE: Age is relative. Characters
are described for their chronological age. We are looking for actors who can
play those ages.
Diana – (Alto with belt/mix to F) – late thirties to early
forties. A sharp, middle-aged wife and mother afflicted with a crippling
depression, bipolar disorder and delusions for nearly 16 years. Despite her
illness, the confusion and the uncertainty it triggers in her life and in the
world around her, Diana is strong-willed, determined and resistant on a deeply
profound level to challenges to what she believes is important.
Dan – (High Baritone/Tenor to B) – late thirties to early
forties. Diana’s husband. He loves his wife deeply, still desiring her while
trying to provide unconditional support despite her debilitating and seemingly
permanent illness. This man is worn, though, and wearied by having to cope with
Diana’s unpredictable mood swings, surges of activity and crashes into despair.
There’s a sense that he is a bit self-important, perhaps passive-aggressive in
spite of his self-effacing, humble surface.
Gabe – (Rock Tenor to B) – almost eighteen. Dan and Diana’s
dashing, gentle and bright son. Vibrant. Playful. Everything a mother could want
in a son and everything Diana is afraid of. Beneath his seemingly blithe yet
energetic exterior lies the determined force of a young man with a Svengali-like
hold on his mother and a passion to never be forgotten.
Natalie – (Alto with belt/mix to F) – sixteen going on seventy.
Dan and Diana’s moody daughter. She tries to be perfect but it is not going
well. Overachieving in her school work she finds that the stress of dealing with
her mother’s illness is too much to handle. Tired of dealing with her mother’s
unpredictable volatility, her father’s half-hearted affection, and the intense
focus that they both place on their son, she acts out with anger, frustration,
sarcasm and eventually drug use.
Henry – (High Baritone/Tenor to B) – seventeen. Musician,
romantic, stoner, slacker and philosopher king, Natalie’s boyfriend, tries to be
supportive as she attempts to cope with her family. His persistent and honest
affection for Natalie finally breaks down her resistance. In spite of his
apparently frequent drug use, he is easily the wisest, most grounded character
in the show.
Dr. Madden/Dr. Fine – (High Baritone/Tenor to G) – on the young
side of ageless. Dr. Madden is Diana’s somewhat unconventional psychiatric
therapist. Unquestionably confident in his abilities and unwaveringly clinical
in his approach to his treatments to alleviate Diana’s depression, he warms as
he gains more insight into her condition. Dr. Fine is Diana’s psycho
pharmacologist. Their few interactions find him focused on jargon and a seeming
enjoyment at making things complicated.
Please prepare a song from a modern musical in the style of the
show – a choice that shows your acting and singing ability via song. Songs with
a “rock” style would be recommended but not required. Callbacks if required will be held on Wednesday, May 22 at 7:00
REHEARSALS: Rehearsals will begin the week of August 25th. Expect three-four
rehearsals/week. There will be a couple of meetings scheduled during the summer.
Dates/times will be worked out with members of the cast.
THE PRODUCTION: Performance dates are 8PM on Thursdays-Fridays-Saturdays,
October 31 – November 16, 2013, with 2PM matinees on Saturday, November 9 and
16. **Possible extension dates: Friday and Saturday, November 22 and 23 at
TO SCHEDULE AN
next to normal, please
send an email to
email@example.com. Please indicate a date
and time (on the hour/half hour) that you would like to be scheduled. Please
include a phone number. You will receive a response promptly.
All Auditions are held at
Beatrice Herford's Vokes Theatre, 97 Boston Post
Road (Route 20) Wayland, MA
HERE for directions.
For your convenience, notification of callbacks and casting is
always posted on a voice answering machine.