[NEohioPAL] Feb 12 & 13: Casting 2 men/9 women for MEDEA & BOSTON MARRIAGE with Mamai Theatre Company

[Bernadette Clemens]

*Mamaí Theatre Company **announces Equity and Non-Equity male/female
auditions:*
*
*

*Euripides’  MEDEA*

*Translation by Brendan Kennelly*

*Directed by Bernadette Clemens*

* *

Production dates: Thursdays-Saturdays @7:30pm, Sundays @2:30pm,
June 13 - 30, 2013

Rehearsal period: evenings and some weekends, April 29 – June 12

and

*BOSTON MARRIAGE*

*Written by David Mamet*

*Directed by Christine McBurney*

* *

Production dates: Thursdays-Saturdays @7:30pm, Sundays @2:30pm,
July 18 - August 4, 2013

Rehearsal period: evenings and some weekends, June 15 – July 17



*AUDITION DATES*

Tuesday, Feb. 12th, 6:00 – 9:00 pm by appointment

Wednesday, Feb. 13th, 6:00 – 9:00 pm by appointment

*Callback dates/times: *Sunday & Tuesday, Feb. 24 & 26, 6:00-10:00pm* *

*Location: *Ensemble Theatre, enter at 2843 Washington Blvd.
                 at corner of Euclid Hts Blvd & Coventry Rd, Cleveland
Heights, OH 44118

*AUDITION PREPARATION*

Sides will be emailed upon scheduling an audition appointment. Prepared
classical monologues are welcome but not required. Bring 2 copies of
headshot & resume if auditioning for both season productions. Auditioning
actors should be comfortable with dense language, period and comedic
style. Please
email clemens.bernadette at gmail.com and identify the following:

à *your name, AEA /Non-AEA status, whether you are auditioning for one or
both productions, and availability within the audition dates & times above.
*

*AEA Contracts: *AEA Special Appearance Agreement (Level I) contracts will
be considered for the season. Non-AEA contracts will pay a professional
stipend. Mamaí Theatre Company welcomes non-traditional casting
opportunities.

*ABOUT THE PLAYS / CASTING REQUIREMENTS*

*MEDEA*

Our season opener, Euripides’ ancient Greek tragedy of *MEDEA*, is the U.S.
professional premiere of Irish literary legend Brendan Kennelly’s
translation. In this raw, reeling rendition conceived by director
Bernadette Clemens, Medea’s taboo crime—the tragic murder of her
children—plays out against the backdrop of ‘Corinth’ as a contemporary,
wealthy, suburban community. Four principal chorus members carry much of
the staging in the guise of TV newscaster, neighbor, psychiatrist, local
barista, divorce attorneys, EMS workers, and maid.  Medea, her estranged
husband Jason, their two children, the household’s tutor, the nanny, and
regional men of power and authority, Creon and Aegeus, round out the
company. Medea’s iconic descent into despair and violent act of revenge has
transcended thousands of years, remaining prevalent in modern times. A
dramatic text that has reverberated through every age of the theatre, the
voice of Medea echoes from the dawning of theatre to the most recent CNN
headlines and within every era in between—such as in William Congreve’s
1697 *The Mourning Bride*: "Heaven has no rage like love to hatred turned,
Nor hell a fury like a woman scorned."

*
*

*Six women, three men, two children: *

MEDEA, 30’s-40’s female, a once powerful woman  transplanted to husband
Jason’s community, abandoned by him after ten years making a new life
together in a new town, betrayed by his affair with Creon’s daughter,
overwhelmed by despair and rage, seeks revenge

NURSE, 50’s-70’s female, Medea’s nanny to her two children, lives in
Medea’s household.

TEACHER / AEGEUS, 30’s-50’s male, tutor to Medea’s children. Double cast as
Aegeus, ‘King of Athens’, powerful authority of a neighboring town,
sympathetic to Medea and eventually re-married to her after she murders her
children and flees ‘Corinth’

*CAST*  - CREON, 60’s-70’s male, ‘King of Corinth’, powerful authority in
the town where Jason and Medea have made their home of the last ten years,
father to the young woman Glauce, for whom Jason has abandoned Medea and
his two children**

JASON, 30’s-40’s male, a successful and celebrated man (‘Jason of the
Argonauts’, winner of the Golden Fleece), who has recently left his wife
Medea and their two children for a younger woman, the daughter of
Creon

CHORUS A, 30’s-40’s female, portrays Medea’s neighbor, divorce attorney,
and EMS worker

CHORUS B, 30’s-50’s female, portrays a reappearing TV newscaster / reporter

CHORUS C, 20’s female, portrays a local barista and Medea’s maid

CHORUS D, 40’s-50’s female, portrays Medea’s psychiatrist, 2nd divorce
attorney, and EMS worker

*CAST*  - CHILD 1 & CHILD 2, ages 7-10, Medea’s and Jason’s two children

*BOSTON MARRIAGE*

Our second production, *BOSTON MARRIAGE*, is the Cleveland professional
premiere of David Mamet’s answer to his critics’ charge that he “can’t
write women.” In this Wildean romp set in the late 19th-Century, Mamet
dives beneath petticoats and protocols -- examining the personal and
political, turning his gaze on female agency in the world and female
sexuality at home. One of America's most revered and provocative
dramatists, David Mamet conquers new territory with this droll comedy of
errors set in a Victorian drawing room. Anna and Claire are two bantering,
scheming ladies of fashion who have long lived together on the fringes of
upper-class society. Anna has just become the mistress of a wealthy man,
from whom she has received an enormous emerald and an income to match.
Claire, meanwhile, is infatuated with a respectable young lady and wants to
enlist the jealous Anna’s help for an assignation. As the two women
exchange barbs and take turns taunting Anna’s hapless parlor maid, Claire’s
young inamorata suddenly appears, setting off a crisis that puts the
valuable emerald at risk and threatens the women’s future.

*Three women:*

ANNA – 30’s-50’s, witty, sharp, glamorous but a slightly fading beauty.
Shrewd, calculating, attractive, upper middle-class woman of fashion.
Master of language and wicked banter. Will stop at nothing to hang on to
her lover, a character akin to Margo Channing in *All About Eve.
*
CLAIRE – 30’s-40’s, a bit younger than Anna, also witty, sharp, glamorous.
Anna’s fickle, sexy companion, not quite ready to settle down. An
embodiment of the combination of straight-backed social refinement and
predatory lust.

CATHERINE – 20’s, Scottish maid, slightly frumpy but determined. Accused of
being an Irish peasant and abused mercilessly by Anna and Claire. Ability
to do or learn a Scottish dialect is a must.

*Mamaí Theatre Company is in residency at Ensemble Theatre courtesy of the
2013 Ensemble Theatre Summer Space Grant.*

*COMPANY OVERVIEW & ADDITIONAL INFORMATION*

www.mamaitheatreco.org



http://www.facebook.com/MamaiTheatreCo
-------------- next part --------------
An HTML attachment was scrubbed...
URL: <http://lists.neohiopal.org/pipermail/neohiopal-neohiopal.org/attachments/20130203/3f8b165c/attachment-0004.htm>