THE TEMPEST, by William Shakespeare
directed by D. Schweppe
Sunday, February 23 from 4 pm to 8 pm (extended)
Monday, February 24 from 7 pm – 10 pm
Callbacks on Wednesday, February 26 at 7 pm
To sign-up for an audition slot, go to: https://www.signupgenius.com/go/5080D4EAEAF2CA2FF2-thetempest
Auditions will consist of your choice of monologue (memorization not required). Please include your email address so we can send you the monologue options in advance. There might be a short reading from the script, so familiarity is encouraged. If you have a conflict with the audition dates, please contact the director.
The Tempest is one of William Shakespeare’s most fascinating plays. A man who was betrayed and then marooned on an island with his daughter for 12 years, seeks revenge but finds forgiveness. This story is about Prospero. Every other player is a reflection of an aspect of the personality that makes up this man. Which is why, and for once it really is true, all of the other characters are quite important in understanding the dynamics of the story.
Note: Except for Miranda and Ferdinand, casting will NOT be gender specific.
Prospero, the rightful Duke of Milan (40+) – The play’s protagonist, and father of Miranda. The audience must see his/her struggle between what he/she wants (wishing for revenge) and what he/she comes to learn and accept (forgiveness) as he/she witnesses the love and hope within his/her daughter. There is no doubt that Prospero is totally in charge of what happens, and he/she must project this, while baring his/her own all too human frailties.
Miranda, daughter to Prospero (16-22) –She is smart, compassionate, generous, and loyal to her father. Miranda’s perceptions of other people tend to be trusting and non-judgmental as she has only seen her father and Caliban. If you are under 18, please email producer, Tara Stepanian, at firstname.lastname@example.org.
Ariel, Prospero’s spirit helper (20+) –Ariel is Prospero’s willing attendant. He/she is mischievous and ever-present, able to traverse the length of the island in an instant and to change shapes at will. He/she carries out virtually every task that Prospero requests
Caliban, an uncivilized brute (20+) –Prospero’s other servant, Caliban believes that the island rightfully belongs to him/her and has been usurped by Prospero. While uncivilized, and sometimes coarse, he/she is actually intelligent and can be eloquent and sensitive.
Ferdinand, son to the King of Naples, Alonso (18-25) –He is a kind, and naive young man who spends most of his time trying to win the affection of Miranda. His heart is true and he displays a kind demeanor in all of his interactions with others.
Antonio, Prospero’s brother, the usurping Duke of Milan (35+) A power-hungry and conniving character, who shows no remorse for his/her schemes and is unrepentant.
Alonso, King of Naples, and father of Ferdinand (40+) –He/she aided Antonio in unseating Prospero. However, he/she becomes genuinely repentant for the pain he/she has caused Prospero. He/she is a good person who has made mistakes in the past
Sebastian, Alonso’s brother (35+) – Like Antonio, he/she is both aggressive and cowardly. However, is repentant at the end.
Gonzalo, an honest councilor (45+)- He/she helped Prospero and Miranda as he/she arranged for them to have provisions for survival in exile. Gonzalo makes the best of every situation, and always maintains his/her dignity.
Stephano, Alonso’s butler (20+) –A comical character who spends the whole play drunk. When Caliban mistakes him/her for a god because he/she gives Caliban wine and gets him/her drunk, Stephano begins to fancy himself/herself a king.
Trinculo, a jester (20+)- A comical character, and like Stephano, he/she is drunk for much of the play. Trinculo is less charismatic and more cowardly than Stephano.
Boatswain (25+) - The Boatswain is a “working class” person who is intent upon his/her responsibilities to the ship and its passengers. Appearing only in the first and last scenes, he/she will also play a large role in the transitions between scenes, as well as “live effects”.
Director’s Note: Elizabethan audiences didn’t listen to radio, blogs, watch TV, read newspapers…. Shakespeare’s use of language and rhythm are vital to understanding who the characters are and help create the world of the play. It is essential to appreciate these aspects, and to showcase them in your audition.
PERFORMANCE DATES: May 1 – 16, 2020
Friday, 5/1 at 8:00 pm
Saturday, 5/2 at 2:00 and 8:00 pm
Thursday, 5/7 at 8:00 pm
Friday, 5/8 at 8:00 pm
Saturday, 5/9 at 2:00 and 8:00 pm
Thursday, 5/14 at 8:00 pm
Friday, 5/15 at 8:00 pm
Saturday 5/16 at 2:00 and 8:00 pm
Dependent on cast availability. Tentative first readthrough on Sunday, March 1.
Director, D Schweppe, at email@example.com with questions.
Vokes Players auditions are open to anyone, and are generally (although not always) by appointment.
Audition notices are posted on StageSource and New England Theatre 411.