AUDITION: The Wedding Singer

Book by Chad Beguelin and Tim Herlihy
Lyrics by Chad Beguelin
Music by Matthew Sklar

Directed by Kristie Mattsson
Music Directed by Daniel Koh
Choreography by Niko Montelibano
Produced by Spencer Johnson

SYNOPSIS

Based on the hit Adam Sandler movie, The Wedding Singer takes us back to a time when hair was big, greed was good, collars were up and a wedding singer might just be the coolest guy in the room.

It's 1985, and once a rock star wannabe, Robbie Hart, is now New Jersey's favorite wedding singer. He's the life of the party until his own fiancée leaves him at the altar. Shot through the heart, Robbie suddenly starts making every wedding as disastrous as his own. Enter Julia, a winsome waitress who wins his affection. But Julia is about to be married to a Wall Street shark, and, unless Robbie can pull off the performance of a decade, the girl of his dreams will be gone forever.

The Wedding Singer features a wacky ensemble with a dizzying array of fun, featured roles for actors who sing and dancers who act.

AUDITION DATES

Saturday, April 13, from 1:00 to 5:00 p.m (Stage)
Sunday, April 14, from 1:00 to 5:00 p.m. (Rehearsal Hall)

No appointment needed. Actors only need to attend one day of initial auditions.

CALLBACKS on Monday, April 15, from 6:00 to 11:00 p.m. (Stage)

You will be notified by email if you will be needed for callbacks.

PREPARE

For the vocal audition, please prepare two 16-32 bar musical theater selections, at least one of which needs to be in the style of the show (i.e. 80's pop.) Please bring sheet music in the correct key with cuts clearly marked; an accompanist will be provided. Auditionees may be asked to only sing one selection based on time constraints. For this show, all singers must be comfortable singing in 80's pop styles.

Dance audition will take place on the day of callbacks. A combination will be taught.

LOCATION

Santa Monica's Morgan-Wixson Theatre, 2627 Pico Boulevard, Santa Monica, CA 90405. Street parking available. Venice Family Clinic's parking lot is available on weekends and on weekdays after 6 p.m. Do not park at our neighbors AAMCO/Viking Motors or SGI or you will be towed.

PERFORMANCE DATES

June 29 through August 3, Fridays & Saturdays at 8:00 p.m. and Sundays at 2:00 p.m. Please note that actors MUST be available for all performances.

REHEARSAL DATES/TIMES

Rehearsals begin Sunday, May 12 and are held Monday through Thursday evenings from 7:00 pm to 10:00 pm, Saturdays from 1:00pm to 6:00 pm and Sundays from 6:00 to 10:00 pm. Actors are not called for all rehearsals - only rehearsals when they are being used for a scene.

BRING

Picture, resume and list of all conflicts for the rehearsal period (May 12 - June 29). All conflicts MUST be submitted prior to callbacks. If additional conflicts arise after casting, it may result in an actor being replaced.

CHARACTER DESCRIPTIONS

In reference to the character descriptions that follow—most characters we encounter currently are on the binary and are written with he/him or she/her pronouns and you will see that in the following descriptions. But, however limiting the descriptions are, our casting seeks to be as inclusive as possible and we invite gender non-conforming, gender fluid, transgender and non-binary actors to submit for the roles they most identify with.

We will also list race/ethnicity when specific to the character but are otherwise seeking all races and ethnicities; we encourage Arab, Asian, Black, Caucasian, Latino, Native, and Multiracial actors to audition for all roles. In addition, we will list disability when specific to a character, but are otherwise seeking actors with disabilities as well as non-disabled actors for all roles. Please let us know if you have any questions, concerns, or if there are any accommodations we can provide.

We are actively committed to casting an inclusive show that reflects the community.

CHARACTER BREAKDOWNS

This is a high energy show with many upbeat numbers. Accordingly, all cast will be expected to perform some degree of movement and dance.

Ensemble
We are seeking a wild, eclectic, brilliant assortment of brides, grooms, bridesmaids, groomsmen, banquet servers, wedding guests, parents, strippers, Wall Street executives, club goers, bartenders, waiters, priests, old folks, maitre'd, best men, bums, shopkeepers, engaged couples, airline agents, valets and Las Vegas impersonators including Cyndi Lauper, Mr. T, Billy Idol and others. The ensemble is a vital part of this show, chock full of hilarious, scene-stealing potential. Everyone is encouraged to audition and bring your most hilarious character choices.

Robbie Hart
The charismatic lead singer of the in-house wedding band in a chintzy wedding hall in New Jersey. A truly 'nice' guy that has the classic lead singer aura and personality. Also a bit of a dreamer. A true romantic at heart until his fiancée, Linda, leaves him at the altar and shatters him to pieces. Movement required.
Gender: Male
Age: 25 to 35
Vocal range: very strong, HIGH tenor (B2-A4, falsetto to C5) Note: Ability to play the guitar is a plus, but is not necessary.

Sammy
The bass player in the wedding band and one of Robbie's best friends. The epitome of a Monster Ballad, Sammy is a total guy's guy. However, beneath his bad boy bachelor antics, he is actually sensitive and very in love with Holly. Movement required, dancing ability a plus.
Gender: Male
Age: 25 to 35
Vocal range: Tenor/High baritone (C3-G4)

George
The wedding band's keyboardist and one of Robbie's best friends. He is sensitive, flamboyant and endearing. Out of all the characters, he is living life to his truest self. The perfect counterpart to Sammy's super guy attitude. Movement required, dancing ability a plus.
Gender: Male
Age: 25 to 35
Vocal range: Tenor, including comfortable falsetto; must also be able to rap (C3-A4)

Julia Sullivan
A starry-eyed waitress at the banquet hall, she is a sweet and quirky “girl next door" in looks and personality. So in love with the idea of love, she gets engaged to her long term boyfriend, Glen, but, ultimately, truly falls for Robbie and is conflicted as to who to choose. Movement required.
Gender: Female
Age: 25 to 35
Vocal range: Strong and flexible Mezzo/Alto, must have versatility between belt and lighter head voice (A3-E5)

Holly
Julia's cousin and also a waitress at the banquet hall. Holly is sassy, in control of her body and mind, and always up for a good time. Deep down she dreams of romantic fulfillment, but for now she's having fun in looking for love in all the wrong places. She ultimately reignites the flames with her ex, Sammy. Dancing required.
Gender: Female
Age: 25 to 35
Vocal range: Mezzo/Alto, must belt high (A3-E5)

Glen Guglia
Julia's fiancé. A Wall Street broker. Sexy, seductive, and charming. He is rich, shallow, and materialistic. He is a bit of a womanizer. Movement required, dancing ability a plus.
Gender: Male
Age: 30 to 40
Vocal range: Tenor/High baritone (D3-G4)

Rosie
Robbie's grandmother who raised him. Motherly but adventurous and always trying to remain "hip" regardless of her age. Movement required, some dancing ability a plus. Performs a rap number with George.
Gender: Female
Age: 55 to 75
Vocal range: Alto, must be able to rap (C4-C5)

Linda
Robbie's fiancée who leaves him at the altar. Keeps Robbie around as a back-up plan. Is more in love with the idea of Robbie being a rock star than she actually is with Robbie.
Gender: Female
Age: 20 to 30
Vocal range: Alto/Mezzo, maybe with a rock edge; must belt high (A3-D5)

Questions or requests for additional information should be directed to Kristie Mattsson at [email protected]

OTHER

Non-Equity, no pay


AUDITION: RICHARD III

A New Richard III from theatreANON
April 2019 will see the premiere of Richard III: Hour of the Tyrant, edited by David MacDowell Blue from Shakespeare's play about the last Plantagenet King (with additions from several other of Shakespeare's works). Auditions are scheduled for Saturday, January 26 starting at 11am until 3:45pm, on OMR, 6468 Santa Monica Blvd. (four blocks west of Vine), Hollywood CA 90038. Anyone wishing to try out should contact Mr. Blue at [email protected] to schedule a time. An overwhelming response has filled up all the blocs for January 26, so a second bloc is available on Sunday February 3,  at 1pm, 2pm, 3pm, and 4pm at Studio 100, 900 East 1st Street Los Angeles, 90012. This lies just east of Little Tokyo Gold Line Station.
Actors of all ages groups, genders and ethnic types are welcome. Everyone may be considered for any role. At least two performances will involve all the understudies and the leads switching roles!
Blue, a graduate of the National Shakespeare Conservatory in NYC, has been writing a successful blog reviewing Los Angeles Theatre since 2012. His past directing credits include Heartbreak House by George Bernard Shaw and The Public Eye by Peter Shaffer. He also helped co-direct (with well known actor-writer-reviewer Mark Hein) his own adaptation of Sheridan Le Fanu's Carmilla. He was recently interviewed by the New York based podcast The Stage Door at BlogTalkRadio.com.
Richard III: Hour of the Tyrant makes for a radical edit of Shakespeare's most popular play about a “bad king.” Blue cut the almost- four hour play in half, removing extraneous characters, fusing other characters together, re-arranging some events, even introducing speeches and lines from other plays such as Romeo and Juliet, Henry V, Julius Caesar, and Titus Andronicus. His avowed purpose in the edit was to emphasize the story as a tragedy of a man who destroyed himself as well as all around him.
This marks the first full scale production by theatreANON, a new company aiming to bridge past and present into the future by re-imagining classics, while fostering original works which echo the classics in some way. Had they been produced today, theatreANON would have produced Eugene O'Neill's re-telling of the ancient Greek Oresteia, titled Mourning Becomes Elektra. Others works in development are a modern, politically aware tale a la the works of Edgar Allan Poe, and a (hopefully) mind-blowing version of Shakespeare's most controversial comedy.
Right now theatreANON has found a home at Oh My Ribs Theatre, on Theatre Row, next to the Complex. It stands at 6468 Santa Monica Blvd. , Hollywood CA 90038


AUDITION: 42nd Street

The Morgan-Wixson Theatre's
YES (Youth Education/Entertainment Series)
announces auditions for
performers ages 10 through 18 for
the 23rd Annual Youth Musical

42nd Street

Music by Henry Warren
Lyrics by Al Dubin & Johnny Mercer
Book by Michael Stewart & Mark Bramble
Produced by Special Arrangement with Music Theatre International
Directed by ANNE GESLING
Music Directed by DANIEL KOH and ANNE GESLING
Choreography by KRYSTAL COMBS
Produced by TRACY SALTZMAN and MIRIAM BILLINGTON

SYNOPSIS
The ultimate show-biz musical, 42ND STREET celebrates Broadway, Times Square, and the people who make the magic of musical theatre. Aspiring chorus girl Peggy Sawyer comes to the big city from Allentown, PA, and soon lands her first big job in the ensemble of a glitzy new Broadway show. But just before opening night, the leading lady breaks her ankle. Will Peggy be able to step in and become a star?
The score is chock-full of Broadway standards, including “You're Getting To Be A Habit With Me,” “Dames,” “We're In the Money,” “Lullaby of Broadway,” “Shuffle Off to Buffalo” and “Forty-Second Street.”
***Please note: this casting call is for our annual Youth Musical. Only performers ages 10 through 18 will be considered.***
AUDITION DATES
Saturday, August 25, from 1:00 to 5:30 p.m (Stage)
Sunday, August 26 from 5:30 to 8:30 p.m. (Stage)
No appointment needed. Actors only need to attend one day of auditions.
CALLBACKS on Wednesday, August 29 from 6:30 to 10:00 (Stage)
You will be notified by email if you will be needed for callbacks.
PREPARE
32 bars of a song (verse and chorus) from standard musical theatre (no pop or rock, which means no song written after 2000, no Disney songs). Accompanist is provided. You may bring your accompaniment on IPhone or IPad or the Android equivalent as we do have playback ability for those devices. Be prepared to dance.
LOCATION
Santa Monica's Morgan-Wixson Theatre, 2627 Pico Boulevard, Santa Monica, CA 90405. Street parking available. Venice Family Clinic's parking lot is available on weekends and on weekdays after 6 p.m. Do not park at our neighbors AAMCO/Viking Motors or SGI or you will be towed.
PERFORMANCE DATES
November 10 through December 15, Saturdays and Sundays at 2:00 p.m., including Thanksgiving weekend. Actors will also perform in the Geoffrey Awards the evening of December 16. Actors must be available for all performances. NON-NEGOTIABLE!!
REHEARSAL DATES/TIMES
Rehearsals begin Saturday, September 8 and are held Monday through Thursday evenings from 6:30 pm to 9:00 pm, Saturdays from 1:00 pm to 6:00 pm and Sundays from 6:00 to 9:00 pm. Saturdays and Sundays are strictly dedicated to dance. More than 2 conflicts on those days may result in an actor not being cast. Actors are not called for all rehearsals, only rehearsals where they are being used for a scene/dance. Rehearsals will be worked around children's schedules as much as possible. As always, we consider homework a priority!
BRING
A picture (school picture or snapshot is fine), resume or list of shows done, and your conflicts for the rehearsal period. All conflicts MUST be submitted prior to callbacks. If additional conflicts arise after casting, it may result in an actor being replaced. Bring both jazz and tap shoes (if you tap).
CHARACTER DESCRIPTIONS
Male Roles
Julian March: 14-18, Baritone, a tough, frazzled, and tyrannical director. He is gruff but as the show progresses you see how Peggy's charm touches him. Keeps his thoughts and feelings close to his chest. This is a strong acting role, and the role underpins the whole show.
Billy Lawlor: 14-18, Tenor, a leading man type, cheeky and charming with an eye for the ladies, excellent singer/dancer, tap a plus.
Bert Berry: Character baritone, half of the writing duo, must sing and move well and be able to play comedy with vaudeville timing.
Abner Dillon: Non-singing role, the producer of the show and Dorothy's current boyfriend, pompous, throws his weight (and money) around.
Pat Denning: Baritone, Dorothy's suave ex-vaudeville partner and the love of her life. He likes to stir up trouble. A little bit of a “player” but obviously really loves Dorothy.
Female Roles
Peggy Sawyer: 14-18, Alto/Soprano, extraordinary tap dancer who can sing like a Broadway leading lady and play the ingenue believably. At the beginning of the show we must see Peggy is nervous and quirky but eager and keen. As the show progresses, we see her talent shine through and her inner steel and strength of character to remain true to herself stand out.
Dorothy Brock: 14-18, Alto, a past-her-prime Broadway diva. Must possess a strong send of comic timing. While very selfish and mean to everyone at first, she comes to understand what's really important in life after breaking her ankle and therefore unable to perform. The actress cast must be able to play age (40+).
Maggie Jones: 14-18, Character alto, half of the writing duo; must sing and move well and be able to play comedy with great warmth and charm, good dancer.
Anytime Annie: 14-18, Alto Belt, one of the girls in the "chorus;" must be a first rate tap dancer and natural comedienne.
Larraine, Phyllis: 12-18, Alto/Soprano, two other girls in the “chorus”, featured in “Go Into Your Dance” excellent singers/dancers (tap).
Male or Female Role
Andy Lee: 12-18, Non-singing role, the choreographer of the show, excellent tap dancer.
Ensemble
Ages 10 to 18, must sing and dance well. Strong tap skills recommended. The more you tap, the more you do. Great ensemble parts with lots of lines.
Musical Numbers
Audition: Ensemble (opening tap number)
Young & Healthy: Billy/Peggy
Shadow Waltz: Dorothy & Girls
Go Into Your Dance: Peggy, Maggie, Annie, Lorraine, Phyllis
You're Getting To Be A Habit With Me: Dorothy/Billy
Getting Out of Town: Ensemble
We're In The Money: Peggy, Annie, Lorraine, Phyllis and Ensemble
Dames: Billy & Ensemble
Sunny Side to Every Situation: Annie, Lorraine, Phyllis and Ensemble
Lullaby of Broadway: Julian and Company
About A Quarter to Nine: Dorothy/Peggy
Shuffle Off to Buffalo: Peggy, Billy & Ensemble
42nd Street: Peggy, Billy & Ensemble
42nd Street Reprise: Julian
OTHER
Non-Equity, no pay.
Questions? Email director Anne Gesling at [email protected]


Awards, Interviews, Trigger Warnings, the Middle-Aged Female Voice, and More Local, National, and International News to Inspire, to Stir, and to Entertain

LOCAL

The Better Lemons Fringe Awards

CONGRATULATIONS TO ALL THESE WINNERS who have registered their shows on Better Lemons and encouraged audiences and critics to voice their opinion about their show, regardless of the outcome, and to those who submitted all the reviews from online publications! read more here


The Blank Theatre's Founding Artistic Director Daniel Henning Named a 2018 Pride Honoree by California Legislative LGBT Caucus

Daniel Henning, the Founding Artistic Director of Hollywood's Blank Theatre, has been named a 2018 Pride honoree by the California Legislative LGBT Caucus. A special floor ceremony was held on June 18 during the California State Assembly floor session in Sacramento. Honorees were presented with resolutions in commemoration of their accomplishments and contributions to the LGBT community. read more here


Audio Interview: The cast of “The Blade of Jealousy” at Whitefire Theatre by Ashton Marcus

Dashing Melchor moves to Los Angeles to court his online dating connection but unexpectedly falls in love with a mysterious veiled lady (Magdalena), and she with him. He later meets her sans veil but is unimpressed, thus igniting Magdalena's jealousy–of herself! A madcap comedy of disguise and deception, Henry Ong's modern take on a 17th century Spanish play is surprisingly relevant today, in light of society's obsession with outward beauty and how it relates to self-worth. listen to the podcast here


AUDITION: She Loves Me

Set in a 1930s European perfumery, we meet shop clerks, Amalia and Georg, who, more often than not, don't see eye to eye. After both respond to a “lonely hearts advertisement” in the newspaper, they now live for the love letters that they exchange, but the identity of their admirers remains unknown. Join Amalia and Georg to discover the identity of their true loves… and of all the twists and turns along the way! get the breakdown here


Audio Interview: The cast of “THEIR FINEST HOUR: CHURCHILL AND MURROW” at Write Act Rep's Brickhouse Theatre by Ashton Marcus

This full-length play sheds light on the unique relationship between Winston Churchill and Edward R. Murrow during the early years of WW II when England was under attack by Hitlers air-force. Murrow, who was covering the war for CBS Radio News, not only became friendly with Churchill, but had a passionate and adulterous love affair with the Prime Ministers daughter-in-law. listen to the podcast here


A Conversation with June Carryl by Roger Q Mason

I met June Carryl back in 2010 when the two of us were participants in Directors' Lab West. Her ideas about theatre mesmerized me because of their narrative specificity and rootedness in sound dramaturgical practices. In 2011, June was part of my playwright renaissance: I'd taken about 3 years off of writing in order to find out why I still told stories through this medium. When Son of SemeleTheatre invited me to present my play ONION CREEK, an Adam and Eve tale set in rural Texas, I immediately called June because she was an exciting theatrical mind whom I knew would direct the HELL out of that piece. My instinct was right – her work on the show was wonderful. But more importantly, I learned that she was a fellow writer, and her mentorship of my creative development process (as a burgeoning post undergrad finding his way in LA's theatre scene) helped mold the writer I am today. read more here


Audio Interview: The cast of "The Foreigner" at Little Fish Theatre

Charlie, a pathologically shy Englishman, accompanies his friend Froggy on a trip to rural Georgia. Charlie is overcome with fear at the thought of having to make small talk with strangers, so Froggy informs the locals that Charlie is from an exotic foreign country and speaks no English. From the author of The Nerd comes another sidesplitting and heart warming comedy brimming with misunderstanding and mischief. “one comic surprise after another.” — THE NEW YORKER listen to the podcast here


Audio Interview: The cast of "The 39 Steps" at International City Theatre

The 39 Steps — Hitchcock meets hilarious in this fast-paced comedy mystery thriller for anyone who loves the magic of theater. Train chases, plummeting planes and old-fashioned romance lead to a death-defying finale as a cast of four actors breathlessly reenacts hundreds of characters, locations and famous scenes from Alfred Hitchcock's 1935 film of the same name. Winner of the 2007 Olivier Award for Best New Comedy and the 2008 Drama Desk Award for Unique Theatrical Experience. listen to the podcast here


A White House without art

This White House has been, and is likely to remain, home to the first presidency in American history that is almost completely devoid of culture. In the 17 months that Donald Trump has been in office, he has hosted only a few artists of any kind. One was the gun fetishist Ted Nugent. Another was Kid Rock. They went together (and with Sarah Palin). Neither performed. read more here


Fountain intern Saif Saigol is passionate about theatre and social activism

Hello Fountain community! My name is Saif Saigol and I am the new Development Intern at The Fountain Theatre this summer.

A little bit about me: I am an Indian-Pakistani-Canadian raised in Montreal, Quebec. I came to the US in 2012 to pursue my high school studies at a boarding school in Connecticut. Currently, I'm an undergrad student with a Music Major and Gender & Sexuality Studies Sequence, and I'll be graduating from Claremont McKenna College next Spring, in 2019. Music, theater, and all performing arts are my passion and source of comfort in life. As a performer, I've trained classically as a vocalist for 6 years, and specialize in the Lied and operatic traditions. I'm also a proud member of the Claremont Shades, a co-ed a cappella group of the Claremont Colleges. read more here


2018 Stage Raw Theater Awards Announced

The fourth annual Stage Raw Theater Awards – celebrating the best work in L.A.'s intimate theater scene as determined by StageRaw's jury of critics will take place on Monday night, August 20, 2018 at Los Angeles Theatre Center, 514 S. Spring Street in downtown Los Angeles. read more here


Bringing boring theatre to the masses

We're into the thick of the summer theatre season, so lets see what's on offer down the road at Stratford.

The cover of this year's Stratford Festival playbill features "The Music Man." And you can't help but notice the title role of Harold Hill, the shyster who bamboozles the 1912 white-bread midwestern town of River City is, unconventionally, played by a black actor. read more here


NATIONAL

At One California High School, Gender Neutral & Color Conscious Casting in “1776”

The musical 1776 has been a favorite of my family's for decades, but I never considered it for my high school's annual musical until I realized the opportunity that lay in gender-neutral, as well as color conscious, casting. read more here


14 Theatre Stars to See on the Big Screen This Summer

Catch stage favorites Daveed Diggs, Brian Tyree Henry, Carrie Coon, and more at the movies.

Whether you're a Hamilfan who's been waiting with bated breath for Daveed Diggs and Rafael Casal's lauded film Blindspotting, or you've been looking for a romantic comedy starring your stage favorites, here are 14 stage stars taking their talents to the big screen from now until Labor Day. read more here


‘I'm determined to leave this landscape in better condition than when I found it,' writes theatre-maker Mish Grigor. Photograph: Caiaimage/Martin Barraud/Getty Images

Theatre shuts out the working class. I'm devastated to think of the voices silenced

Middle-class stories about middle-class problems continue to dominate the stage. That needs to change

In 2015, I made a theatre show, The Talk, about my working class family and their working class sex lives. I interviewed them about their sexual histories, and edited their stories into verbatim scenes that I get audiences to read. read more here


INTERNATIONAL

Dame Gillian Lynne obituary

Choreographer and dancer who breathed new life into musical theatre with the hit shows Cats and The Phantom of the Opera

Since the 1970s, British musical theatre has boasted a professionalism and audacity once thought exclusive to Broadway. Much of the credit, entrepreneurial and creative, has gone to Cameron Mackintosh and Andrew Lloyd Webber, but an equally vital force was the choreographer, director and dancer Gillian Lynne, who has died aged 92. She pioneered a striking fusion of ballet, jazz and vaudeville dance, most famously in Cats (1981). read more here


Theatre binge-watching: how long could you sit in a theatre?

Another two-part stage play has opened in the West End, just down the road from the Harry Potter double bill. But how long could you sit in a theatre - and is theatrical binge-watching here to stay?

Seven hours is a long time to sit anywhere, not least in a West End theatre with limited legroom. read more here


A theatre experience for babies, performed in a tent

You've heard the one about the bull in the china shop, but what about the crowd of babies in the theatre?

A trio of Christchurch women have launched a theatre company offering shows aimed at babies and toddlers.

Cubbin Theatre Company's first show Up and Away opens on July 3 in the Isaac Theatre Royal's Gloucester Room. read more here


Edgy theatre content sparks off-stage debate about trigger warnings

New audience advisories warn of specific plot points that could trigger emotional trauma

If you want to trigger a strong response from theatre folk, ask them how they feel about trigger warnings: The debate about if and when to use them has the theatre community deeply divided.

These new type of audience advisories warn of specific plot points that may provoke psychological trauma in some audience members. read more here


Playwright Charlotte Jones: ‘The middle-aged female voice is not heard enough in theatre

After a string of early hits, Charlotte Jones abandoned stage writing for TV, radio and film. Now returning to theatre with The Meeting, she tells Holly Williams how women writers are still marginalised in the industry

A pacifist, Quaker community during the Napoleonic wars may not be the obvious setting for a thriller or passionate love story. But Charlotte Jones is a playwright used to pulling off unusual juxtapositions and her first play in seven years, The Meeting, brings together all those elements. read more here


A view of the Globe Theatre, Bankside, London circa 1600, the first Globe Theatre was built in 1599 by Shakespeare's playing company, the Lord Chamberlain's Men but was destroyed by fire on 29 June 1613. A second Globe Theatre was built on the same site by June 1614. (Photo by Epics/Getty Images)

The Globe theatre fire of 1613: when Shakespeare's playhouse burned down

On 29 June 1613, the original Globe theatre in London, where most of William Shakespeare's plays debuted, was destroyed by fire during a performance of All is True (known to modern audiences asHenry VIII). But what caused the fire and when was the new Globe theatre rebuilt? read more here


A history of theatre in 30 quotations: ‘Acting's just waiting for the custard pie' by The Irish Times

‘Beckett is a confidence trick perpetuated on the 20th century by a theatre-hating God' read more here


Antaeus Academy Classes Open for Enrollment

Antaeus Academy is offering now 12 classes and this is the time to enroll for these summer sessions!
If you're interested in any of the classes below, visit http://antaeus.org/arts-education/academy/academy-3/ and click on the "Enroll Now" button to use the enrollment form on the website.
If you take more than one class, you can get a "buy one, get one 50% off" discount.
Friends and Colleagues: Harold Pinter & Simon Gray
Moderated by Nike Doukas
Mondays 12-4pm, June 25-August 27 (10 weeks)
$450 (Early Bird Discount $400, due by June 11)
Class Size: 14-16
Harold Pinter and Simon Gray wrote very different kinds of plays: Pinter is terse and mysterious; Gray is verbose and more naturalistic - but they are both darkly comic and subversive. They were great friends and Pinter directed Gray's perhaps most popular play, Butley. In this class, the class will focus on the plays of Pinter (Betrayal, Lovers, The Birthday Party, The Homecoming, etc) but also take a look at some by Gray: Butley, Otherwise Engaged, Quartermaine's Terms, and others. Both men are dazzling masters of language who demonstrate those skills with vastly different approaches. Prepare to be thrilled by the experience of interpreting their work.
Myth, Superstition & the Blues: The Poetry of August Wilson
Moderated by Gregg Daniel

Mondays 7-11pm, June 11-July 16 (6 weeks)
$310 (Early Bird Discount $280, due by May 28)
Class Size: 14-16
Two-time Pulitzer Prize winner August Wilson is arguably one of the great playwrights of the 20th century. His ambitious ten-part play series known as “The Century Cycle” chronicles the African American experience during each decade of the 20th century. His work has garnered a Tony Award as well as the New York Drama Critics Circle Award.
In this workshop, the class will examine the themes, sources and personal history that make the playwright's work so resonant. Through scene and monologue work, you will delve into the musicality, rhythm, prose and poetry which distinguishes Wilson's text. As Wilson stated, “the more my characters talk, the more I find out about them.”
This class is open to students of all ethnicities, races and backgrounds.
An Amuse-Bouche of Masters: A Scene Study/Technique Class
Moderated by Daniel Blinkoff

Tuesdays 2-6pm, June 12-August 14 (10 weeks)
$450 (Early Bird Discount $400, due by May 29)
Class Size: 14-16
This 10-week Intensive will focus on Chekhov, Stanislavski, and Earle Gister's technique of acting developed at The Yale School of Drama. Whether you have a lot of experience with any of these innovators of the theatre, or none at all, it doesn't matter. Your curiosity and passion is all that is required. Just like the Master's Program at Yale, this class will start exactly where you are and work from there. With a main focus on Chekhov's plays and short stories, the class will focus on The Moscow Art Theatre's approach to Chekhov, examining Stanislavski's scene analysis while combining it with the exercises that The Moscow Art Theatre utilizes in interpreting Chekhov's plays so the actor is no longer thinking about the play but experiencing it in a kinesthetic physical manner. Once this is established, Earle Gister's technique of acting will be introduced as an aid in releasing the work. Through this scene study, focusing on Chekhov and then possibly bridging out towards more modern texts, the class will experience the common threads between all of these master teachers and how they resonate in all different kinds of texts. This class is an opportunity to strip away our own misconceptions with these three masters of the theatre and to experience their approaches in a positive and beneficial way that we can use today.
Mind the (Gender) Gap
Moderated by John Sloan

Tuesdays 7-11, June 5-August 21 (12 weeks)
$550 (Early Bird Discount $500, due by May 24)
Class Size: 16-18
Every word a woman writes changes the story of the world, revises the official version.--Carolyn See
In the 21st century, female playwrights are taking center stage (and creating some of our favorite television shows too). But for so many years, the work of female playwrights hasn't been given the attention it deserves. In this class the company will focus their scene study work on plays written by women from all over the world, from the earliest days of the theater to the rich and varied works of contemporary times. Through the exploration of what dramaturg Susan Jonas called "the other canon," the class will challenge our assumptions, expand our horizons, enrich our craft, and add depth to our experience as actors and as people.
The Dive In: Othello
Moderated by Elizabeth Swain

Tuesdays 1-5, July 3-31 (5 weeks)
Tuition: $280 (Early Bird Rate $250, due no later than June 19)
Class Size: 14-16
How well do you really know this play? Through deep textual analysis, set against knowledge of Shakespeare's times, the class will dig and dive and gain more understanding of Shakespeare's meanings. In the long held Antaean tradition the actors will read the play together, playing any parts they choose. Occasionally the class participants might stage a scene to clarify (he did intend the plays for performance!) but the intention is to gain a new understanding of Shakespeare's text through extended table work, readying them all for a production. The final class will include a reading of the play, all participants alternating roles.
A Holistic Look at Dialects: UK Edition
Moderated by Lauren Lovett-Cohen

Wednesdays 1-4, July 11-August 29 (8 weeks)
Tuition: $310 (Early Bird Rate $280, due no later than June 27)
Class Size: 14-16
It's 2018, and thankfully there are more and more TV/Film/Web and theater projects that include roles from all over the world. The idea of a Standard American dialect or RP or the “correct” way to speak is giving way to the specificity of the who/what/where and the history of each character.
Join Antaeus for this class where they open up a new way of looking at dialects -- with a concentration on the UK for this round -- to give you the tools for getting more work in today's projects. There will be monologues and scene work from various plays penned by British authors from the turn of the 20th century through today.
Shakespeare: Making the Bard's Words Your Words
Moderated by Rob Nagle

Wednesdays 7-11, June 6-August 29* (12 weeks)
$550 (Early Bird Discount $500, due by May 25)
Class Size: 16-18
*no class the week of July 4
Why is Shakespeare such a challenge to so many, not only to perform, but also to comprehend? Could it be that we get caught up in the academic, an analytic study of the text through reading it, and then find ourselves neglecting the characters, the people we are attempting to bring to life. In this class, through action and scene study, participants will find a way to use the scansion and the poetry to make them bolder actors — and in so doing, participants will find his words coming out of their mouths as conversational and current, but not casual or contemporary.
Fitzmaurice Voicework
Moderated by Scott Ferrara

Thursdays 1-5pm, July 19-September 6 (8 weeks)
$350 (Early Bird Discount $300, due by June 7)
Class Size: 14-16
Whether you work in theatre, film or television, all mediums of our craft call for vocal strength, flexibility, and specificity. This class uses a holistic approach to body/mind/ voice work, to help the participant explore the dynamics between body, breath, voice, imagination, language, and presence.This approach liberates the mind, body and voice by strengthening the connection between what the participants are feeling and what they're expressing. By integrating physical exercises with mental focus, the class will bring the full richness of the actors' experiences to their work. By strengthening the “support” for the participants voice, the class will also add more variety to the expression of the performers use of it, be that in pitch, volume, singing – all without straining the voice or vocal chords. And then the class will combine Classical Text with the voice work, further developing the awareness, trust and freedom with the actors' breathing, body, feelings, imagination, and voice and add more vibrancy and presence in performance.
Shaw, Wilde & Coward
Moderated by Kitty Swink

Thursdays 7-11, June 7-August 30* (12 weeks)
$550 (Early Bird Discount $500, due by May 19)
Class Size: 14-16
*no class on July 12
"This suspense is terrible. I hope it will last." Oscar Wilde
This class will engage participants in the wit, craft and social commentary of three of the English language's most celebrated playwrights, Oscar Wilde, George Bernard Shaw and Noel Coward. Participants will learn to contextualize their times, manners and behaviors, and using scene work they will embrace truthfulness, imagination, concentration and living in the actor's body while performing biting satire and high comedy. The powerful combination of technical expertise and emotional truth brings each of the playwrights to life and makes the participants understand why these three have been performed for more than a century. Open to actors of all ages.
Shakespeare 2.0
Moderated by Armin Shimerman

Saturdays 10am-2pm, June 9-July 28 (8 weeks)
$400 (Early Bird Discount $350, due by May 24)
Class Size: 14-16
This class is a further exploration of Shakespearean acting skills for people who have already studied with Armin at Antaeus. This class will further intensify the actor's awareness of the text and how to clearly communicate that to an audience. To enroll, participants must apply and be approved.
Real, Safe, and Kicka**: Stage Violence for Actors
Moderated by Ned Mochel

Saturdays 10am-2pm, July 7-August 25 (8 weeks)
Tuition: $350 (Early Bird Rate $300, due no later than June 22)
Class Size: 14-16
This class focuses on an exciting, new approach toward stage violence in the American theater that's rougher, tougher, and more realistic. This is not your traditional stage combat class; this class prepares the modern actor to engage in a more realistic, intense style of stage action.
Ned Mochel has been building stage violence for over 25 years. His violence design has been showcased in plays at Steppenwolf Theatre Company in Chicago, on and off Broadway in NYC, Geffen Playhouse, as well as at Antaeus Theatre Company. He's been changing the way audiences perceive stage violence one production at a time. If you've been immersed in stage action in the past or if you're interested in diving in for the first time, this is the class for you. It's a rough, tough, fun approach--an experience you'll never forget. Learn how to make it real, stay safe, and kick ass. From hand to hand fighting and gun work to detailed sword training, you'll find yourself building new skills to set you apart from the others. This is new cutting edge stage action and it's happening at Antaeus.
Shakespeare: Getting Started - WAIT LIST ONLY
Moderated by Armin Shimerman

Wednesdays 1-5pm, June 13-August 8* (8 weeks)
$400 (Early Bird Discount $350, due by May 30)
Class Size: 14-16
*no class the week of July 4
This class is designed for those who have never studied Shakespeare with Armin before. It will include monologue/scene study and a thorough approach to acting, understanding, and communicating through language, history, religion, social mores, and - the Rosetta stone to performing Shakespeare - Elizabethan rhetoric. Any fear of performing/reading Shakespeare will be cured. You may laugh as well.


Audition notice: Little Women, The Musical

Little Women, The Musical

Book by Allan Knee
Music by Jason Howland
Lyrics by Mindi Dickstein
Based on the book by Louisa May Alcott
Directed by: ANNE GESLING
Music Directed by: DANIEL KOH
Choreography by: KRYSTAL COMBS
Produced by: MEREDITH WRIGHT

SYNOPSIS

This timeless, captivating story is brought to life in this glorious musical filled with personal discovery, heartache, hope and everlasting love. Based on Louisa May Alcott's life, Little Women follows the adventures of sisters, Jo, Meg, Beth and Amy March. Jo is trying to sell her stories for publication, but the publishers are not interested – her friend, Professor Bhaer, tells her that she has to do better and write more from herself. Begrudgingly taking this advice, Jo weaves the story of herself and her sisters and their experience growing up in Civil War America.
Little Women embodies a complete theatrical experience, guaranteeing a night filled with laughter, tears and a lifting of the spirit. The powerful score soars with the sounds of personal discovery, heartache and hope – the sounds of a young America finding its voice.

AUDITION DATES

Saturday, January 20, from 1:00 to 5:00 p.m (Stage)
Sunday, January 21, from 5:30 to 8:30 p.m. (Stage)
No appointment needed. Actors only need to attend one day of auditions.
CALLBACKS on Monday, January 22, from 7:00 to 10:00 p.m. (Stage) You will be notified by email if you will be needed for callbacks.

PREPARE

Please prepare two contrasting songs (16-32 bars each) from standard musical theater repertoire. Do not sing a pop/rock song. You may only be asked to sing one song, so do the “best one” first. An accompanist will be provided; bring sheet music in the key you will be singing. You may bring pre-recorded accompaniment on CD or Iphone/Android equivalent although we would prefer that you sing with the accompanist. Be prepared to dance at the initial audition.

LOCATION

Santa Monica's Morgan-Wixson Theatre, 2627 Pico Boulevard, Santa Monica, CA 90405. Street parking available. Venice Family Clinic's parking lot is available on weekends and on weekdays after 6 p.m. Do not park at our neighbors AAMCO/Viking Motors or SGI or you will be towed.

PERFORMANCE DATES

March 16 through April 14, Fridays & Saturdays at 8:00 p.m. and Sundays at 2:00 p.m.. Please note that actors MUST be available for all performances. This is non-negotiable!

REHEARSAL DATES/TIMES

Rehearsals begin Sunday, January 28 and are held Monday through Thursday evenings from 7:00 pm to 10:00 pm, Saturdays from 1:00pm to 6:00 pm and Sundays from 6:00 to 10:00 pm. Actors are not called for all rehearsals, only rehearsals where they are being used for a scene.

BRING

Picture, resume and list of all conflicts for the rehearsal period. All conflicts MUST be submitted prior to callbacks. If additional conflicts arise after casting, it may result in an actor being replaced.

CHARACTER DESCRIPTIONS

Jo March: 18-26, Mezzo with strong belt, high belt & soprano range, E3 to A5, the story's protagonist, passionate, adventurous, and brave, ability to play comedic and dramatic scenes.
Amy March: 15-20; Mezzo, A3 to Gb5, the youngest, most energetic sister with a rather pompous air about her. She later marries Laurie. Doubles as Troll.
Meg March: 21-28, Soprano with strong low range, A#3 to Bb5, the world-weary, yet hopeful, oldest sister who yearns for a great life. Doubles as Clarissa.
Beth March: 17-24, Mezzo, A3-G5, the second youngest sister who tragically dies of scarlet fever, peace-maker, sweet, a homebody, and an optimist who is always encouraging her sisters to dream. Doubles as Rodrigo II.
Marmee March: 45-55, Mezzo, Eb3 to Eb5, the girls' mother, she is the strong backbone of the family, courageous in spite of the difficult odds she faces, she only breaks down when she is alone. Doubles as Hag.
Aunt March: 45-60, Contralto with soprano range, E3 to F5, a formidable, over-bearing matron and great-aunt to the March sisters, the wealthy socialite in town. Doubles as Mrs. Kirk.
Professor Bhaer: 30-45, Bari-tenor, G2 to F#4, a German Professor who exemplifies proper manners, he is a boarder in Mrs. Kirk's boarding house and eventually falls in love with Jo.
Laurie Laurence: 19-26, Tenor, Bb2 to Bb4, the bright-eyed boy-next-door with considerable charm, he is Jo's best friend but later falls in love with Amy. Doubles as Roderigo.
Mr. John Brooke: 30-40, Baritone, C#3 to F#4, Laurie's tutor and a rather stiff man who initially shows very little emotion, he later marries Meg and warms up considerably. Doubles as Braxton.
Mr. Laurence: 50-60, Baritone, C3 to E4, Laurie's grandfather, gruff and sour, but with a heart of gold. Doubles as The Knight.

CONTACT

Questions or requests for additional information should be directed to Anne Gesling at [email protected]

OTHER

Non-Equity, no pay

WEBSITE

www.morgan-wixson.org