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


Steven Sabel's Twist on the Trade: A Head Above The Rest

Most head shots are horrible. Mine is. My headshot is a perfect example of a number of things that are wrong with most headshots. Before I get into all that is wrong with my headshot, and many headshots I see on a regular basis, let me give you the really lousy and lazy reasons I don't have a better headshot. I have no excuse. I know several very good photographers who take fantastic headshots, who would give me a great price for a setting session with multiple looks. I don't want to do the work. I don't want to take the time to schedule the session, choose the looks, decide a location, and drive my ass to the location to pose for photographs. I hate posing for photographs. It's a good thing then I'm not trying to build a career in front of a camera. I always laugh out loud at actors seeking film careers, who say they hate posing for pictures. It is sort of a requirement of the trade.

After the arduous work of having to pose for photos in my favorite clothes in front of cool locations, I don't want to have to filter through the scores of photos to narrow them down to the best selection. I mean, I don't want to spend that much time focused on how my own face looks on film. It's a good thing I'm not out there trying to land a national commercial. I don't want the anxiety of having to choose just one photo to be my commercial look, and one photo to be my comedy look, and one for dramas, and one for stage – it's just too much stress! Lucky for me, I'm a producer/director, and those rare times when I do get on stage or (God forbid) in front of a camera, it's for my own productions. I don't have to submit headshots to anyone…

My horrible headshot

I can actually remember the days when the industry standard was to submit hard copy black and white 8 x 10s. I remember composite cards, or “comp cards” for actors: an 8 x 10 composite of multiple black and white shots in different looks. Only print models really use them anymore. If I recall my own comp card, it contained a headshot in the center, surrounded by one shot of me as a gang member, one in business attire, one “sporty” look, and one of my silly grin with a can of generic peanuts in my hand. The goal was to get into the room by showing your various “looks.” Fast forward to less expensive color printing, and suddenly the industry standard was color 8 x 10s, and black and white comp cards disappeared. Show them that beaming white Procter & Gamble smile to get yourself a call, and bring your portfolio of looks with you in case they ask for them.

   The digital age changed everything about headshots, and I mean everything. Most importantly, digital technology has changed how producers and casting directors view headshots. It used to be that they received them in the mail in giant manila envelopes. They (or some assistant of theirs) opened the envelopes one by one, removed the contents, and immediately had your photo, your resume, and your trite little cover letter right in their hands all at once. They were seeing actors for the first time in full 8 x 10 color print, one at a time. Not anymore.

Bring on the digital thumb nail. In today's world, we view actors by the page full, all at once, sometimes as many as 20 to a page on our computer screens. When a producer or casting director sees an actor for the first time, it is in a 1 x 2 photo surrounded by 15 other people who look a lot like you. If we are looking for a very particular type, we can scroll screen after screen of tiny little faces until one catches our eye enough to actually click on it to see more. Oftentimes we simply give each face a number ranking of one through five, and then ask the software to eliminate anything that isn't a one or a two, before diving any deeper into the quest for the right actor. In most cases, an actor has already had to survive at least one or two rounds of digital elimination before anyone actually opens their profile to see their resume or other photos.

   The importance of the headshot has changed. The specifications for a good headshot that does its job, have also changed. My headshot is 10 years old. That's the first thing terribly wrong with it. Your headshot MUST be current. At this point in my life, I almost always have a beard. The only exceptions to that are when I am playing a role that requires me to be clean shaven, which isn't very often. However my age and my facial hair are not the worst parts of my old headshot. The style is completely wrong as well. There was a time in the past when headshots taken from slightly above the subject were the in thing – especially when you have a prominent Roman nose such as mine. Head shots today must be straight on. One of the important reasons for straight on photography is the ability to capture and fill the frame with your face. It is ALL ABOUT your face! If your face isn't filling the frame of your headshot, you are wasting very valuable thumbnail space with content that does not help you get past the first elimination. Here's the good news: you don't have to spend so much time trying to choose which clothes to wear in your headshot, because if there is that much of your clothing showing in your headshot, it ISN'T A HEADSHOT! Here is a good rule of thumb. Pull up a thumb nail of your headshot. Put your thumb up to the picture. If you thumb covers your entire face, then you need a new headshot.

Full bodyshots can be important to have, and you should have at least one or two in the photo gallery of your casting site profile, but never… Let me repeat, NEVER submit a full bodyshot unless you are specifically asked to. Submit a headshot, and make sure your head is the most prominent thing in the picture. Show them your face. Don't show them your fancy shirt, your favorite blouse, that cool sweater, your broad shoulders, your pronounced cleavage, or any other of your “assets.” If that's what they are looking for, they will tell you. If that's what they're looking for, and they didn't tell you, then that's probably not what you're looking for.

   I'm the first person to tell you that this is an aesthetic art. Yes, it is about how you look, and yes, your body is part of how you look. That is definitely something you need to consider when you are submitting for roles. You know if you are truly an ingénue type, hunky guy, or sexy vixen – if that's what they are looking for. If that's what they're looking for, have that available to show them in your gallery, but get their attention with your face. Ultimately it's the close-ups that will matter in the end, and any true casting director knows that the face has to come first. Show them as much of your face as you can possible fit into a thumbnail.

The days of agents, managers, producers, casting directors, and personal trainers telling actors to stay in shape are never going to end. As I said, it is an aesthetic art, but I hope the days of agents and managers telling actresses to show their cleavage or their bust line in their headshots has come to an end. That isn't how any actress wants any job to begin. “He picked out of the digital pack because he liked my bosom,” shouldn't be a thing. If they can see your bosom in the thumb nail, then your head looks like a pinky nail.

   The casting site profile gallery is the modern comp card. That's where actors need to have their “sexy” look, their business look, thug look, sporty look, serious shot, comedic shot, full bodyshot, etc. If they are interested in your face, they'll find the other photos, and hopefully your resume as well. If you're lucky, they will spend a few minutes to look at your reel.

It takes a lot to get ahead in this trade. A good headshot can give you a leg up. A poor headshot can keep you in the fringe. Just like anything else in this industry, if you want a really good headshot, you have to do the work to get the work.

Research good photographers. Actually research, as in visit their websites, look at samples of their work. A Facebook post asking friends for recommendations is something you do when you want good Chinese food, not when you are selecting something as important as this is to your future career. Have friend take some sample shots of you – even on their phone – in the type of looks you are considering, in different types of light, with different make up. Yes, I'm saying REHEARSE you photoshoot. What a novel idea. Look at the “dailies” from your practice shoot, and learn from them before you go for your actual session. Be well rested the night before your shoot. Drink tons of water – its good for your skin. East something light – it's good for your color (a little sugar in the blood). Most importantly – have fun at your shoot. Be an actor there. Do what you do. It will show through in the photos, and make the work of choosing the best shots an easier task to accomplish. When you choose the best shot, use your head.


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]


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


Beware the Audition Gremlins!

Many an actor has been derailed from doing his or her best at an audition by what I call "audition gremlins."

These little monsters are treacherous, relentless, and merciless. Producers and casting directors are most keenly aware of the nasty habit that audition gremlins have of rearing their ugly heads on audition days. We see countless examples with every open call. Through audition calls for well more than 100 productions, representing more than 20,000 submissions, I have seen gremlins strike nearly 2,000 times over the years. In reflection, I should have maintained a file of the documentary evidence of these gremlin strikes – many of which I learned about through email communication.

Gremlins. They love to strike on audition days, and they come in a variety of forms. The most common gremlin is the wicked flat tire. Through each and every audition call, producers and casting directors can practically set their watches to the regularity of the flat tire gremlin. I cannot recall an audition process that did not see at least one strike from that little demon. Sometimes he brings down several actors in the same day!

Though not as frequently seen, the car-broke-down gremlin is a close cousin to the flat-tire gremlin, and far more crafty in his mischief; as he almost always strikes right at audition appointment times. A merciless gremlin for sure, but not as treacherous as the sudden illness gremlin who never sneaks up on his victims throughout the day before, but rather strikes with full shock-and-awe symptoms only on the morning of auditions.

Other gremlins we see strike at a common rate are the family-emergency gremlin, sudden-work-obligation gremlin, and the particularly relentless gremlins of the unforeseen-circumstances variety. They can be the worst of them all.

Producers and casting directors occasionally come across extremely rare gremlins, but we have been dealing with gremlins for so long, that there is rarely a gremlin we haven't seen before. Trust me, you'd be surprised. When one of us does come across a new and unique gremlin, we can sometimes be found enjoying the opportunity to share the tale with our colleagues over a cocktail or two.

The worst thing about gremlins is their apparent ability to strike actors with such ferociousness that nearly nine out of ten times it renders the actor so shaken and stunned they can't even imagine the thought of asking to reschedule their audition. Perhaps the gremlins' most vile trait is their ability to neutralize actors so efficiently, the actors cannot even offer to send a video submission in lieu of attending the audition. Vile beasts.

There is one very common gremlin that we all know exists, but attacks by these gremlins are rarely reported: the unprepared-actor gremlin. Some analysts believe that the unprepared-actor gremlin is actually the most common gremlin, but that his strikes are regularly blamed on other gremlins. He is definitely the gremlin that producers and casting directors actually witness striking in the audition room, where encounters with it can be absolutely brutal.

We all understand that some gremlins just cannot be avoided no matter how prepared an actor may be for an audition. However when a gremlin actually does strike, an actor can avoid looking insincere about it by including with their explanation a request to reschedule or an offer to submit video. There is no other viable reason to send a description of your gremlin attack to a producer or casting director. Certainly if you submitted for the call, received an audition invitation, confirmed the appointment, prepared for the audition, and then were suddenly derailed by a vicious gremlin, you would want nothing more than to avenge yourself by actually fulfilling the audition.

Some actors have actually shown superhero powers in overcoming the attack of gremlins by changing a tire, calling an Uber, jumping on the Metro, or even riding a bus to make it to their audition. Most of them have been pleased to find themselves greeted with pardons upon their explanation of a sent email, or earlier phone call to alert of their tardy arrival ahead of time. On occasion an actor has been met with a greater level of interest through their demonstrating an ability to overcome gremlins by making it in. Some producers and casting directors think that such ability can translate into a hire who will demonstrate the same perseverance when it comes to making it to rehearsals, shoot dates, performances, etc.

The best way to prevent gremlins from derailing your audition appearances is to pay attention to details and properly prepare. First you should fully read casting notices before submitting. That includes rehearsal dates, shoot dates, performance dates, details about the production, etc. Don't shotgun-submit to everything. That's a terrible idea. If you are shotgun-submitting, you place yourself in the position of having to be the person who later withdraws their submission or fails to respond. Enough of those and you get that reputation.

Reread the audition posting before accepting the invitation or confirming the audition appointment. Make sure there isn't anything you failed to overlook, especially scheduling. Do your research on the project – the company, the director, the script, the characters – before you commit to attending. Then truly assess whether or not you are going to be able to spend the necessary time to be fully prepared for the audition. Don't do that to yourself. If you can't learn the monologue in time, if you can't memorize the song, if you can't spend time with the sides – don't confirm the appointment. Gremlins will strike.

Be honest with yourself first. If you're not willing to do the work to prepare for the audition, then you probably aren't capable of doing the work required by the project. Don't be the person sending descriptions of gremlin attacks.

The truth is that once producers and casting directors are in the audition room, they are not paying attention to their emails. They aren't even going to see your account of your victimization-by-gremlin until the auditions are over. If your email doesn't include a request to reschedule, or an offer to submit video, then it only serves as a connection of your name to gremlins.

Here's a secret: if the auditions went well, and you didn't show up – you weren't missed, you're most likely forgotten, and if you submit again in the future, your absence probably won't be remembered. If you sent an email describing a gremlin attack, and then submit again later, you just might be remembered as the actor who is easily derailed by gremlins.


Newly formed ‘Independent Theatres of Los Angeles' to hold citywide auditions

LOS ANGELES (April 28, 2017) — Intimate theater companies in Los Angeles that have been denied membership status by Actors Equity Association, and/or find themselves financially unable to sign AEA's new Los Angeles 99-Seat Theater Agreement, are banding together under the title “Independent Theatres of Los Angeles.” Sixteen theaters have joined ITLA to date, with more companies expected to become members soon. Under the auspices of ITLA,citywide auditions will be held on May 7, May 10, May 13 and May 17 at four different locations.
Ten members of ITLA — Crown City Theatre Company, Matrix Theatre Company, Odyssey Theatre Ensemble, Padua Playwrights, Playwrights Arena, Robey Theatre Company,Skylight Theatre Company, Towne Street Theatre, Victory Theatre Center and Whitefire Theatre — will be represented at each audition call. Additional members of ITLA include Bright Eyes Productions, Collaborative Artists Ensemble, Orpheum Theatre Corp., Santa Monica Playhouse, Teatro de la O and Zubber Dust Playhouse.
“These auditions are a way for us to become familiar with the vast and as yet untapped pool of talent in Los Angeles, and they with us,” explains Odyssey Theatre Ensemble artistic director Ron Sossi. “The auditions are open to both union and non-union actors. However, actors who are members of Actors' Equity and have not declared financial core status should be aware that they could face sanctions for volunteering their services in our productions.”
“The purpose of ITLA is to say to Los Angeles and all other cities listening that our theaters will continue to provide an opportunity for all artists to volunteer their craft,” states Skylight Theatre Company artistic director Gary Grossman.
“Because Equity has arbitrarily chosen to wave its rules for only a select group of theaters does not mean that other 99-seat theater companies won't continue to flourish,” points out Victory Theatre Center artistic producer Tom Ormeny. “That's why we are holding these auditions.”
According to Matrix Theatre Company artistic director Joe Stern, “ITLA theaters will continue to operate with the same high standards we have always championed, protecting the safety and integrity of all the artists in our theatrical families while also providing high quality theater at affordable prices for our growing audiences.”
ITLA auditions will take place on Sunday, May 7 from 11 a.m. – 5 p.m at the Matrix Theatre, 7657 Melrose Ave, Los Angeles, CA 90046; on Wednesday May 10 from 4 p.m. – 10 p.m. at the Odyssey Theatre, 2055 S. Sepulveda Blvd., Los Angeles CA 90025; on Saturday, May 13from 11 a.m. – 5 p.m. at the Victory Theatre Center, 3326 W Victory Blvd, Burbank, CA 91505; and Wednesday, May 17 from 4 p.m. – 10 p.m. at the Skylight Theatre, 1816 1/2 N Vermont Ave, Los Angeles, CA 90027. Open to all ethnicities. Actors wishing to audition should prepare either one 2-3 minute monologue or two 1-2 minute monologues (maximum 5 minute slots for each audition) and bring 10 copies of their picture and resume, one for each participating theater company. Actors need only attend one of the sessions to be seen by all ten theaters. No phone calls please.