We are holding auditions for the following productions in our season:
Don’t Dress for Dinner: September 23rd from 9:30 AM- 5:30 PM.
Annapurna: September 24th from 9:30 AM- 5:30 PM
These are Equity Auditions, but we will also see non-union performers.
Email [email protected] for an appointment and/or inquiries or call (828) 239-0263 Monday through Friday from Noon to Five. Email is preferred.
Performers should be familiar with the play and will be provided information on the sections to prepare. Copies of sides will be provided at the time of audition. Please bring a hard copy of your headshot and resume to the appointment.
Rehearsal and Production Dates are listed below. Rehearsals are 6 days per week with a minimum of 30 hours per week. Performances are Wednesday through Saturday at 7:30 and Sunday at 2.
Don’t Dress for Dinner by Marc Camoletti: September 23rd from 9:30 AM- 5:30 PM
Rehearsal and Production Dates
Show runs at North Carolina Stage company as part of their 2014-2015 season. Rehearsals start October 21st, 2014, first public performance November 12, 2014. Closing is December 7th with a possible extension to December 14th, 2014.
Breakdown
A feverishly fast paced farce that naturally features extra marital affairs, plot twists, mistaken identities and deceptions. It is a physical comedy that requires excellent comic timing and verbal word play.
Seeking:
BERNARD
Male, mid-late 40’s. Jacqueline’s husband. He’s a not-so-faithful husband who’s planning a weekend with his mistress, Suzanne, at his home in the country. Eager to please and not make waves but longs for excitmement and the way attention from the opisite sex makes him feel.
JACQUELINE
Female, 30’s – 40’s. Bernard’s wife. A not-so-faithful wife but ultimately loves Bernard. Likes things the way she likes them and is strong willed. American, French, or British dialect.
ROBERT
Male, mid-late 40’s. Bernard’s single friend and Jacqueline’s lover. As Bernard’s alibi, he gets tangled up in his own affair, stumbling into a number of lies in an attempt to get what he wants without destroying his friendship. Ever so slightly bumbling but has an honest heart.
SUZETTE
Female, late 20’s – 40’s. George’s wife. She is a Cordon Bleu, private cook. She is a quirky plain Jane who later transforms into a rather flamboyant mistress. She plays the part asked of her with practical independence and an assumption of her great acting skills. She further complicates and assists in the affairs of Bernard and Robert as she shifts roles while collecting tips. British accent.
SUZANNE
Female, late 30’s – 40’s. She’s a bombshell, and she’s Bernard’s mistress. Though she’s a model and actress, she’s forced to play the cook upon her arrival to the country home. We’ll experiment with a French, American or British dialect.
GEORGE
Male 20’s-40’s. Suzette’s husband and a man of intimidating stature. He is jealous and very protective of his wife. However, he is more brawn than brain. We’ll experiment with French, British, or American dialect.
Annapurna by Sharr White: September 24th from 9:30 AM- 5:30 PM
Rehearsal and Production Dates
Show runs at North Carolina Stage company as part of their 2014-2015 season. Rehearsals start January 6th, 2015 first public performance January 28, 2015. Closing is February 22nd, 2015.
Breakdown
Seeking performers for this brutally honest yet bitingly funny story about the reconciliation of an estranged couple as they wind their way toward their futures and come face to face, 20 years later, with the repercussions of a long ago event.
SEEKING:
ULYSSES
Fifties. An expert at gleeful, devil-may-care self-denial. A dedicated (and now ex-) drinker who in a past life was a Western cowboy-poet and professor of English. Mischief maker. Sharp, quick-tongued, potty mouthed northern Colorado/Wyoming/Montana dialect. Ex-husband to Emma.
EMMA
Also fifties. Ulysses’ ex-wife of twenty years. An urbane, often fierce, always protective New Englander. A fighter in times of trouble, and a dedicated anti sentimentalist yet whose weakness resulted in falling for Ulysses. Doesn’t take crap from anyone but still finds herself unable to resist a certain dangerous charm of Ulysses.
Amadeus by Peter Shaffer: September 25th from 9:30 AM- 5:30 PM
Rehearsal and Performance Dates
Show runs at Asheville Community Theatre’s Heston Auditorium as a special addition to their 2014-2015 season. Rehearsals start February 4th, 2015 first public performance March 11th, 2015. Closing is March 22nd, 2015.
Breakdown
SEEKING:
ANTONIO SALIERI
Ages 35 – 77 in the play. Italian composer and musician in the court of the Austrian Emperor Joseph II. He is proud, proper, restrained, ambitious. He has spent his life doing what is expected of him, and he wants the reward of being a magnificent composer, but his talent fails him. He is deeply and corruptingly jealous of Mozart.
WOLFGANG AMADEUS MOZART
Ages 25 – 35 in the play. Silly, passionate, absurd, and a genius composer, he comes to the court of Joseph II at the age of 25, and his reputation precedes him. His impolitic, frantic, mocking behavior makes enemies of the courtiers around him, and he and his family suffer from poverty and indignity. He is crude and brilliant.
CONSTANZE WEBER
Mozart’s wife. She is lower class, out of her depth at court, but principled and loves Mozart. She can be silly with him, but also admires his talent. She is shrewd when she needs to be.
JOSEPH II
The Emperor of Austria. His every opinion is supported and magnified by those around him. He is never challenged or questioned. He is a fundamentally uninteresting man made fascinating by his position.
COUNT JOHANN VON STRACK
COUNT FRANZ ORSINI-ROSENBERG
BARON VAN SWIETEN
These three men are in the Emperor’s inner circle. They are extremely skilled in the art of politics; they are wealthy, and they are knowledgeable. They are unused to making mistakes, or to admitting to making them. They hold themselves carefully, as if their power were a fragile thing.
THE VENTICELLI
These two men are Salieri’s spies—they are everywhere and bring him all the news and gossip. They blend in with everyone everywhere. They function as a chorus in the play.
