Like everyone else, I have a life outside of my directing contracts and this past autumn some health issues became the forefront of my focus. But, as I have had to take a break from teaching and keep my activities to a minimum for a few months, I now have a lot of time to focus on R&J...
As I have said before, I have directed, designed and been part of the cast of this play many times. I am a firm believer in the school of 'Classical first', so that one may understand the intended nuances of the words, ideas and text before taking the cast and production on a conceptual adventure. The playwright's intent is sacrosanct. The director must understand it fully, visualize it completely, and work with its depth, long before auditions are even announced. So, by creating a production in a Renaissance or Elizabethan setting for a director's first journey into the text, they can learn and conceive the text, as it was meant to be created. After that, by all means, explore away... develop the universal potential inherent in the 500 year old passages and story. Bring it into the contemporary context, set it in a tree house, on a train, on a desert island, in a white room... whatever, but one must have the deepest understanding and experience of the text in it's original setting first.
So, now to address the flurry of questions and speculation about what the setting and concept will be for this production. And, there have been MANY. So much interest.
In the past, I have been fairly forthcoming about what was going to be done. This time, I decided to keep the concept and setting a little closer to home. The designers know, the directorial team knows, but everyone else will just have to wait and see at the read through or in production.
Thanks to my set designer, Geoff Moss, several bitstrips have been circulated on Facebook, contemplating potential adventures for our two lovers and their feuding families.
No, it will not be Elizabethan (been there, done that 4 times already); No, it will not be set in post-Katrina NOLA or on a pirate ship. And, it most definitely will not see feuding werewolves and shiny vampires.
What I can say is that the text will be handled classically and a lot of care will be put into the language and vocal exploration for this production. While the love story will be the focus, the character dynamics, dysfunction of family issues and the feud will also be explored to an extensive level.
I can assure all interested parties that this production will speak to everyone who has ever been in love --- in a way that is not only contemporary, but classically, as well. I can also say that the setting will be 'across the pond.'
Now, on to the issue at hand.... AUDITIONS. These are just days away and we have had a lot of interest and questions about what I am looking for in a cast this time.
THE CAST: As always, I am looking for an ensemble of actors that connect and work as one. Every role (no matter how small) is as important as the next. But, all actors must also be able to carry their role independently. Characters will be created, both with obvious and subtle elements, just as the actor playing the role; comedy and tragedy in the everyday life; silliness and seriousness... I don't want stereotyped, cardboard performances. I need the human, genuine and natural element in all of us to be transferred onto the stage. Authentic moments are the goal.
ACTOR EXPERIENCE and CASTING: I will be looking for all levels of talent, so don't be afraid to attend one of the sessions - even if you have little or no experience. I hope to see and use new faces for this show (as well as some familiar ones.) My hope is to have a group of some highly experienced and novice actors. That type of ensemble creates a balanced team, a group with great diversity and momentum. I will be casting actors and actresses that are at least 18 years old (sorry, no under 18's in this show) and will be looking for those who show vocal potential, as well as a natural technique that is either already refined or can be easily developed. CHARACTERS: We will be casting a company of 12 to 13 people, plus ensemble. The available roles include:
Escalus - Can be male or female; any age.
Nurse - Likely to be female; At least 30 to 50.
Friar - Likely to be male; 30 to 65+.
Capulet / Lady Capulet- Male / Female; Roles may be combined, if needed. 30 to 50+.
Lady Montague - Female; 30+.
Romeo - Male; 18 to 25+.
Juliet - Female.
Paris - Male; 18 - 40.
Benvolio - Male or Female; 18 to 18.
Tybalt - Male; 18 to 35+.
Mercutio - Male / Female; 18 to 35+.
Peter - Male or Female; highly comic; 18 to 25.
Ensemble - Male and Female; 18-60+; Multiple roles -- Party goers, Apothecary, Capulets.
AUDITION PROCESS:
- OPEN Audition Sessions will be held Monday, January 12th from 6:30 to 10pm and Tuesday, January 13th from 6:30 to 8pm.
- All auditions will be held at the STATE THEATRE on Fountain Ave., Springfield, OH.
- Call backs will be held January 13th from 8 to 10:30pm.
- Registration begins at 6pm each night. Please arrive early to complete paperwork.
- WHAT TO BRING:
- Actors new to StageWorks should prepare a one minute monologue from Shakespeare (any play.)
- All actors should be prepared to read from the script.
- Resume (or experience list) and head shots are recommended, but not required.
- All actors should bring a list of potential conflicts detailing scheduling issues from January 26th to April 12th and June 25th through July 5th.
- The show requires various forms of stage combat, music and dance at the wedding. If you have any skills in these, please be prepared to share with us.
Performances will be April 2 to 11th, Thursday through Sunday. In addition, this production will be a part of the 2015 Springfield Arts Festival in July.
As always, if you have questions, please contact the director HERE. Or, visit the AUDITION EVENT PAGE for more information and updates!
That's it for now.
Watch out for future posts once the rehearsal journey begins...
