Emerging Artists Development Program @Stage 74
The Emerging Artists Development Program @Stage 74 at the Suffolk Y JCC is proud to present the Tony Award-winning musical, “Spring Awakening.” Directed by Jaiden Leo Riley, Stage Managed by Maxwell Friedman. Seeking performers ages 16 +. Non-union, no pay, no fee.
Audition Info
Please fill out the audition information form here: tinyurl.com/Spring-AwakeStage74
Submit a video audition with a 32-bar cut of a song from or in the style of the show. In your audition video please state your name, age, and where you are from. Video submissions should be sent to springawakeningstage74@gmail.com. Audition videos are due by midnight on May 8th, but are welcome any time before.
Callbacks will be held May 15 from 12-3:30 PM. Callback material will be provided. Be prepared to sing songs from the show, do some movement and read sides. Rehearsals will be Monday, Tuesday & Thursday from 6-9 PM starting at the end of June. Possible Wednesday and Sunday rehearsals. Any Sunday rehearsal would be from 11 AM-3:30 PM.
Show dates are July 30 & 31st 2022
Anyone under 18 must have a parent fill out a waiver if cast, acknowledging their awareness of the issues raised that includes suicide, rape, abuse, abortions, and sex.
The Carriage House Players – Summer Shakespeare Season
The Carriage House Players
180 Littleneck Road
Centerport, NY 11721
https://carriagehouseplayers.org/
Please email a 1-2 minute Shakespearean monologue to: info@carriagehouseplayers.org
When submitting auditions, please indicate which show or shows you would like to be considered for! All roles and performance information is listed below.
Mandatory attendance is required for all performances and all rehearsals during tech week. We do not believe in discrimination based on race, color, creed, gender, national origin, veteran status, sexual orientation, age, or disability. ALL performers are encouraged to audition and will be given full consideration.
MUCH ADO ABOUT NOTHING
Directed by Jordan Hue
Performances: June 5th-June 26th | Wednesday and Friday at 8 pm | Sunday at 7 pm
BEATRICE: Leonato’s niece and Hero’s cousin. Intelligent, generous, and loving but also sharp-tongued and contentious. She has sworn off of love, so naturally she falls in love with Benedick.
BENEDICK: An arrogant, sly, and quick-witted soldier of noble birth. He has sworn he will never fall in love, so naturally he falls in love with Beatrice.
HERO: The beautiful young daughter of Leonato and cousin of Beatrice. Lovely, gentle, and kind.
CLAUDIO: A handsome young soldier who has fallen in love with Hero.
DON PEDRO: The Prince of Aragon and a military commander. Longtime friend of Leonato. Close with the soldiers who have fought under his command, namely Claudio and Benedick. Don Pedro is the character with the highest status in the play.
LEONATO: A governor of Messina, father of Hero, and uncle of Beatrice. His home hosts the action of the play.
DON JOHN: The bastard half-brother of Don Pedro. Sullen, bitter, and melancholy; he is the villain of the play.
MARGARET: Hero’s bawdy young waiting woman and lover of Borachio. She unwittingly helps Don John.
BORACHIO: Associate of Don John and Margaret’s lover. A drunkard.
URSULA: One of Hero’s young waiting women. Also plays Sexton.
CONRADE: Don John’s intimate and personal confidante. Also plays Boy.
ANTONIO: Elderly brother of Leonato and father of Beatrice. Also plays First Watchman.
BALTHASAR: A servant in Leonato’s household and a musician. Also plays Second Watchman.
DOGBERRY: The buffoonish chief policeman of Messina. Also plays FRIAR FRANCIS.
VERGES: Dogberry’s deputy.
TROILUS AND CRESSIDA
Directed by Michael Limone
Performances: July 1st-July 24th (excluding July 15th and 22nd)
Wednesday and Friday at 8pm | Sunday at 7pm
TROILUS: A prince of Troy. The younger brother of Hector and Paris, he is a valiant warrior and an honorable man. He is also desperately in love with Cressida.
CRESSIDA: A beautiful young Trojan woman. The daughter of Calchas, a Trojan priest who defected to the Greek camp, she becomes Troilus’s lover.
HECTOR: A prince of Troy. The greatest warrior on the Trojan side—and matched in might only by Achilles himself—he is a hero to his entire city and is respected even by his enemies.
ULYSSES: One of the Greek commanders. A highly intelligent, even philosophical man, he is renowned for his cunning.
PANDARUS: Cressida’s uncle. He serves as a go-between for Troilus and Cressida, acting as a kind of cheerful, bawdy pimp for his niece.
THERSITES: A deformed slave serving Ajax who has a vicious, abusive tongue.
ACHILLES: The greatest of the Greek warriors, he is also an arrogant, vicious thug, who refuses to fight in the war whenever his pride is injured.
AJAX: A Greek warrior, he is as proud as Achilles, but less intelligent and less skilled in battle.
AGAMEMNON: The Greek general, and the elder brother of Menelaus.
DIOMEDES: A Greek commander who seduces Cressida.
PARIS: A prince of Troy. His theft of Menelaus’s wife, Helen, precipitated the Trojan War.
MENELAUS: A Greek commander, Agamemnon’s brother, and the abandoned husband of Helen.
HELEN: Menelaus’s wife. Her elopement with Paris led to the Trojan War.
CALCHAS: A Trojan priest, and Cressida’s father. He defected to the Greeks in the early days of the war.
AENEAS: A Trojan commander.
NESTOR:The oldest of the Greek commanders.
CASSANDRA: A Trojan princess and prophetess; she is considered mad.
PATROCLUS: A Greek warrior. Achilles’s best friend—and, it is suggested, his lover.
*PRIAM: The king of Troy, and the father of Hector, Paris, and Troilus, among others.
ANTENOR: A Trojan commander, he is exchanged for Cressida after his capture by the Greeks.
HELENUS: A prince of Troy.
ANDROMACHE: Hector’s wife.
*HECUBA: Adding the character Hecuba- King Priam’s wife- Queen of Troy. Will be splitting some of Priam’s lines with Hecuba.
THE COMEDY OF ERRORS
Directed by Mary Caulfield
Performances: July 29th-August 21st | Wednesday and Friday at 8pm | Sunday at 7pm
EGEON: A merchant from Syracuse. He is the father to twin brothers Antipholus of Syracuse and Antipholus of Ephesus. He has been searching for his sons for five years when he is arrested in Ephesus for being from Syracuse.
SOLINUS, DUKE OF EPHESUS: He arrests and sentences Egeon to death but takes pity on him when Egeon tells his sad story. He is proud, orderly, and sympathetic.
ANTIPHOLUS OF SYRACUSE: A traveler in search of his mother and his twin brother. He is a bit paranoid and cruel towards his servant Dromio yet more lighthearted than the brother he was separated from. When he arrives in Ephesus, he blames magic and witchcraft for the confusionhe gets caught up in not knowing, of course, that his twin brother lives there. Naturally, mishaps and mistaken identity with his twin brother ensue.
ANTIPHOLUS OF EPHESUS: A wealthy merchant of Ephesus and twin to Antipholus of Syracuse. He is separated from his father and brother during the shipwreck that sets the conflict (and comedy) of the play. He is more serious than his twin brother. He is feared by his servants and mistrusted by his wife Adriana. This Antipholus doesn’t know he has a twin brother and thus when his twin arrives in town, he too encounters mishaps and moments of mistaken identity, leading everyone to think that he’s crazy.
DROMIO OF SYRACUSE: Servant to Antipholus of Syracuse. He and his twin brother were sold to Egeon as servants shortly after they were born. He and Antipholus of Syracuse set out in search of their twin brothers. He is witty, quick, and bawdy. He and his brother experience
surmounting confusion as the play progresses due to their mistaken identities.
DROMIO OF EPHESUS: Servant to Antipholus of Ephesus. He and his twin brother have very
similar personalities. He tries to follow orders but often fails. He is a prankster and uses words
and wordplay to make fun of himself and his suffering. Like his twin brother, once he falls victim to mistaken identity, he becomes more and more ridiculous because he receives conflicting commands from the two Antipholus brothers.
EMILIA: Long-lost wife to Egeon and mother to the twin Antipholus brothers. Both her husband and sons have no idea what has happened to her since the shipwreck. At the end of the play, Emilia reveals who she is to her husband and sons. She is the head of the faith in Ephesus and is also referred to as the Abbess. She has a brief yet domineering presence.
LUCIANA: Adriana’s sister. She is a dutiful wife although Antipholus of Syracuse tries to woo her throughout the play. She is Adriana’s confidant and often dishes out marital advice to help ease Adriana’s frustrations with Antipholus of Ephesus.
FIRST MERCHANT: A citizen of Ephesus yet a friend to Antipholus of Syracuse.
LUCE (also called Nell): Adriana’s kitchen maid. She is engaged to Dromio of Ephesus and has little time for nonsense.
MESSENGER: Devoted servant to Antipholus of Ephesus and Adriana.
ANGELO: An Ephesian goldsmith in debt.
FIRST MERCHANT: An Ephesian merchant who holds a debt over Angelo.
BALTHAZAR: An Ephesian merchant. Friend and frequent dinner guest of Antipholus of Ephesus.
COURTESAN: A friend to Antipholus of Ephesus. She hosts him for dinner.
DR. PINCH: A schoolmaster, a conjurer, and part-time exorcist.
OFFICER (also called Jailer): A reluctant Ephesian law officer
*The role of ADRIANA has been cast and is closed*
HENRY V
Directed by Evan Donnellan
Performances: Aug 26th-Sept 18th | Wednesday and Friday at 8 pm | Sunday at 7 pm
KING HENRY V: The ruling monarch, who is presented in the play as the ideal Christian king. The main purpose of the play is to convey the idea that Henry V represents in all aspects the model of the ideal ruler.
CHORUS: The narrator of the play who frequently comments on the action and criticizes the staging. The Chorus will also take on several minor roles.
DUKE OF BEDFORD: A brother to Henry, he is used to suggest the close familial bonds between the two brothers.
DUKE OF GLOUCESTER: Henry’s youngest brother.
DUKE OF YORK: Henry’s cousin, whom he is very fond of; upon learning of his death during the Battle of Agincourt, Henry is moved to tears when he hears of the duke’s courage and his last words of loyalty to the king.
ARCHBISHOP OF CANTERBURY: He is a man of great learning and a master of the English language. He is one of the first persons who brings forth Henry’s claim to the French lands, and by so doing, he protects the church’s own property from being taken for royal expenditures. He is an extremely astute man, supporting Henry’s army with heavy levies from the church; because of this, he is able to retain for the church the basic lands from which the levies are derived.
BISHOP OF ELY: An assistant to the Archbishop, he functions mainly as a sounding board for the Archbishop’s ideas.
EARL OF CAMBRIDGE, LORD SCROOP, and SIR THOMAS GREY: The conspirators who accept money from France to assassinate Henry V. They are discovered and immediately executed for treason. Their betrayal of Henry evokes from the king a bitter denunciation of their intentions and causes him to wonder whom he can trust. Lord Scroop and the Earl of Cambridge had been especially good friends and confidants of the king.
EARL OF WESTMORELAND: Another of Henry’s administrators who, early in the play, urges him to press for his claims in France.
CAPTAIN FLUELLEN: An intensely loyal Welshman who provides much of the humor in the play by his eagerness to argue and to show off his knowledge of the classics, even though he gets most things mixed up. He is a very proud, opinionated, conceited, testy person who is willing to argue with anyone about anything.
CAPTAIN GOWER: A friend of Fluellen’s, he often serves merely to draw out Fluellen’s eccentricities. He is a good soldier who is actually more perceptive about human nature than is Fluellen, and he realizes quickly that Pistol is a cowardly braggart.
CAPTAIN JAMY: A Scotsman who appears only briefly in Act III, Scene 2, and seems immensely to enjoy arguing.
BARDOLPH: This character is retained from the earlier Henry IV plays, in which he was distinguished by having a bad complexion, a fiery red nose, and carbuncles on his cheeks. For some reason, he is now a lieutenant in this play, but he is still a coward and a thief. He is hanged during the course of the play for stealing a communion plate from a French church.
PISTOL: Like Bardolph, Pistol also appears in the Henry IV plays and thus would be a character whom the audience would be familiar with. He is a ranting and raving coward, a “swaggering rascal,” a “fustian rascal,” and a “bottle-ale rascal.” At the end of Act V, Scene 1, Pistol is finally dispensed with, thus bringing to a close a series of characters that began three plays earlier in Henry IV, Part I.
NYM: A corporal who is as much of a coward as Bardolph and Pistol are, and he is also an accomplice in their thefts. Like Bardolph, Nym ends up on the gallows.
THE BOY: One of Shakespeare’s magnificent minor characters, he is younger than the others, and yet he has the quick wit and intelligence to discern the cowardice of Bardolph, Nym, and Pistol. When they try to teach him how to pick pockets, he is outraged and threatens to leave their service. Unfortunately, he is killed when the French raid King Henry’s supply area during the Battle of Agincourt.
HOSTESS QUICKLY: A simple, uneducated woman who is married to Pistol but has an unabashed admiration for Sir John Falstaff. She dies of the French malady (syphilis) just before Pistol is to return to England.
MICHAEL WILLIAMS: One of the three soldiers whom King Henry, in disguise, meets the night before the Battle of Agincourt. He questions the king’s rightness to wage this war, but he never questions his own obedience to the crown. He wonders if the king doesn’t have a heavy moral obligation for the souls of those who die in battle. Williams even wonders if the king could not use himself for ransom so that the rest of them will not get killed. When Henry, in disguise, challenges Williams, Williams accepts and they promise to fight each other if they are both alive after the Battle of Agincourt. They exchange gloves so as to recognize each other. Afterwards, when it is discovered that he was arguing and challenging the king, Williams defends himself in such an honest and straightforward manner that the king rewards him with a glove filled with money.
JOHN BATES and ALEXANDER COURT: Along with Williams, these two men represent the average or common English soldier. Court has only one line, but Bates has a slightly larger role; for example, he does not share Williams’ concern as to whether or not the king’s cause is a just one; it is sufficient enough for him to know his duty, and his duty is to fight for the king.
CHARLES VI: The quiet and dignified King of France, who is able to sense the impending danger caused by the approaching English forces, but whereas he grasps the significance, he cannot communicate his fears to the French nobility. He orders his son, the Dauphin, not to go to battle, but apparently this order is ignored since the Dauphin is at the Battle of Agincourt. In the final scene of the play, Charles delivers a gentle speech which is conciliatory as he looks forward to a time of peace and a prosperous union with England through the son whom he hopes his daughter Kate will provide King Henry.
THE DAUPHIN: Next in line for the throne of France, the Dauphin is insolent, opinionated, and stubborn. He knows of Henry’s wild, youthful escapades, but he is not perceptive enough to realize that Henry has changed. He still thinks of Henry as a mere wastrel, a young man to whom no attention should be paid. Therefore, he sends Henry a barrel of tennis balls, implying that Henry should content himself with playing ball and not waging war. At the Battle of Agincourt, the Dauphin is more concerned with singing the praises of his horse than he is with the serious business of war.
CONSTABLE OF FRANCE: The official commander-in-chief of the French forces, he stands out as one of the most capable of the French forces. Yet ultimately, he too succumbs to the temptation of not taking the English seriously; as a result, he is soundly beaten by them.
DUKE OF BURGUNDY: One of the powerful French noblemen and one of the officials of the court, he is responsible for drafting the treaty at the end of the play; he delivers a splendid speech on the virtues of peace.
DUKE OF ORLEANS: Like the other French lords, he is boastful and contemptuous of the English forces, but he does defend the Dauphin when the Constable suggests that the Dauphin might not be as brave as he would like people to believe.
DUKE OF BOURBON: One of the French lords who is terribly ashamed about the “ready losses” of the French to the English: “Shame and eternal shame, nothing but shame.”
MONTJOY: The French herald, or messenger, in charge of delivering the various ultimatums from the French to the English. After the defeat of the French, he comes humbly to ask for peace and request permission for the French to be allowed to collect their dead.
QUEEN ISABEL: The French queen who joins in the negotiations for peace in the hope that her feminine voice will help soothe certain matters in the negotiations. She is pleased with the union between Henry and her daughter, Kate, and hopes for a strong union of the two kingdoms as a result of the marriage.
KATHARINE: A young girl who accepts the fact that she will be given to Henry as his bride; consequently, she is beginning to learn English for that day when she will be Queen of England.
ALICE: Katharine’s lady-in-waiting; she is the well-mannered companion of the young princess.
*Some roles may be combined*
*The role of the DUKE OF EXETER has been cast and is closed*