Theatre North Carolina

Flat Rock Playhouse Seeks Producer

Flat Rock Playhouse, The State Theatre of North Carolina is seeking a full time Producer to manage a new touring venture for the Playhouse in North Myrtle Beach, South Carolina.

The Producer will report directly to the Producing Artistic Director and will be responsible for the successful execution of the theater's first major touring initiative. Position will require at least part-year relocation to Myrtle Beach, South Carolina.

Job responsibilities include: managing production transfers from North Carolina to South Carolina, interfacing with series sponsor and local marketing/pr firm, representing FRP in the local and regional community, managing the touring budget, developing strategic partnerships with local businesses, managing local technical, box office, musician and house management staff, and collaborating with the Producing Artistic Director on programming choices.

The successful candidate will be a charismatic, outside-the-box theater professional with strong public speaking skills, and experience in managing theatrical related activities with budgets in excess of one million dollars. Salary is negotiable 43k-50k with enormous growth potential in subsequent years.

Please submit resume and letter of interest with "Producer" in the subject line to: hr@flatrockplayhouse.org. FRP is an Equal Opportunity Employer. No snail mail please.

Flat Rock Playhouse Seeks Production Stage Manager

Flat Rock Playhouse, The State Theatre of North Carolina is seeking a full-time Equity Stage Manager who can serve as Production Stage Manager for a new satellite series in North Myrtle Beach, South Carolina.

Candidate must be experienced calling and managing complex musical theater productions with large to mid-sized casts. Production Manager experience essential as successful candidate will be also be managing all day to day communication among performers, directors, designers and on-site production staff. Production duties include: supervising  load in/out of theater (six times annually), supervision of local crew, oversight of all theater equipment, rehearsal/show reports, hiring of tech staff, calling cues for all performances, etc.

Position requires relocation to Myrtle Beach area. Salary starts at $35k-$40k annually with huge growth potential in future seasons.

Resumes due February 15 for start date no later than May 1. Please submit resume and letter of interest with "Production Stage Manager" in the subject line to: hr@flatrockplayhouse.org. FRP is an Equal Opportunity Employer. No snail mail please.

Summer Camp Counselors and Admin Assistants Children’s Theatre of Charlotte

Summer Camp Counselors and Administrative Assistants

Now hiring Summer Camp Counselors and Summer Administrative Assistants!

Children’s Theatre of Charlotte has summer employment opportunities available to graduate and undergraduate students. CTC is a national leader among theatres by placing equal emphasis on innovative educational initiatives for elementary, middle and high school students, making summer camp an exceptional educational opportunity for young people.

Timeline: June 1 - August 20, 2012
Monday-Friday 8:00 a.m. – 5:30 p.m.

Compensation
$7.25/hr (40 hours per week minimum). Partial housing stipend provided at partner organization for non-Charlotte residents.

Application and resumes may be e-mailed (preferred), mailed or faxed. To be considered please submit Children’s Theatre of Charlotte’s General Employment Application (see link on the left sidebar of this website) and résumé. Send information to humanresources@ctcharlotte.org (email is preferred) or 300 East 7th Street, Charlotte, NC 28202, Fax 704.973.2850. (Incomplete applications will not be considered).

Application Deadline: February 1, 2012

Summer Camp Counselor
Camp Counselors will have direct supervision responsibilities working with children ages 3 -18 during Children’s Theatre of Charlotte Summer Camp. Duties include classroom assistance, drop-off and pick-up, snack time, post care and some administrative duties. In addition to the daily duties, the Counselors will have the opportunity to observe and collaborate with Children's Theatre Teaching Artists.
Job Requirements
• Minimum of two years of college required with a background in theatre or theatre education.
• Experience working with a variety of ages.
• Reliable transportation is required.
• Comfort with administrative duties.
• Experience with customer service and/or interacting with parents of young people.

Application instructions - please include the following in your application packet:
1) Completed Summer Camp Counselor application: (Word) (PDF).
2) Résumé and headshot.
3) References: List 2-3 employers and/or peers that we may contact in reference to your past experience with children or teens.
4) One letter of recommendation.
5) Responses to the following:
a) Describe your philosophy of theatre education.
b) Describe your strengths and challenges in working with children.
c) Describe the unique contribution you would make to the Education Staff of Children’s Theatre of Charlotte as a Camp Counselor.

Summer Administrative Assistant
The primary roles of a Summer Administrative Assistant are to complete administrative duties in relation to summer camp. These duties include generating camp materials such as roll sheets, story handouts, programs, name tags, and mailings while maintaining communication with parents, teachers, and summer staff. Administrative Assistants will also work directly with Summer Camp Counselors and Teaching Artists to offer support, as necessary, with supervision of students during camp operations.

Job Requirements:
• Minimum of two years of college required with a background in theatre, theatre education, or administration.
• Knowledge of Microsoft Office and phone etiquette.
• Experience working with children.
• Detail oriented and organized.
• Interest or experience in Graphic Design preferred but not required.
• Experience with customer service and/or interacting with parents of young people.

Application instructions - please include the following in your application packet:
1) Completed Summer Administrative Assistant Application: (Word) (PDF)
2) Résumé describing any work experience, administrative skills and experience working with children.
3) Two References.
4) One letter of recommendation.
5) Headshot.
6) Responses to the following questions:
a) Can you provide an example of a time you had to deal with an irate customer, client or peer? How did you handle the conflict? How was it resolved?
b) What organizational techniques and tools have you learned to make school or a job easier, or to make yourself more effective? Give an example of a time in which you used these tools or techniques.
c) Describe your strengths and challenges in working with children.

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Summer Camp Junior Interns
Children’s Theatre of Charlotte is now accepting applications from current high school students for Junior Intern positions with our summer camp programs. These are volunteer positions which require a minimum three week commitment.

Application deadline is May 1, 2012.

Applicants will be contacted by May 15, 2012. Incomplete applications will not be considered.

Applicants should submit by mail the Junior Intern Application (available here as a Word or PDF document) with required attachments, which are listed on the application. Send the application and attachments to:

Andrea Derreberry, Early Childhood and Workshop Coordinator
Children’s Theatre of Charlotte
300 E. 7th Street
Charlotte NC 28202

Children's Theatre of Charlotte OnStage 2012 - Stage Manager and ASM Positions

Children's Theatre of Charlotte

OnStage 2012 - Stage Manager and Assistant Stage Manager Positions

OnStage is a unique performance opportunity available to 3rd-12th grade students who participate in the School of Theatre Training. This event consists of four productions with a cast of approximately 40 students per production. Each production has its own stage management crew. Rehearsals occur over a five-week period with one weekend of performances at ImaginOn.

Stage Manager – Compensation $1,000/project

Candidates must be able to commit to the following schedule:

Auditions:	March 4, 1:00-4:00 p.m., March 14, 5:00-9:00 p.m., March 15, 5:00-9:00 p.m.
Productions Meetings:	Wednesdays 3:00-4:00 p.m. on the following days: March 14, April 18, April 25, May 2, May 9.
Casting Meeting:	March 16, 5:00 p.m. – until complete.
Callbacks:	March 19, 5:00-8:00 p.m.
Parent Orientation:	April 10, 5:30-7:30 p.m.
Rehearsals:	April 16-May 17, Monday thru Thursdays, 5:00-9:00 p.m. May 11, 5:00-9:00 p.m., May 12, 8:00 a.m. -9:00 pm
Performances:	May 18, 4:00-9:00 pm, May 19, 12:00-9:00 pm, May 20, 12:00-8:00 pm

Stage Manager Application Requirements

1. CTC General Employment Application (see link on this page in the upper left sidebar).
2. Resume that includes all technical theatre experience.
3. Cover letter that includes answers to the following:
   1. Provide stage management or related experience that would qualify you for this unique project.
   2. Briefly describe your previous work with youth including ages you have worked with and the largest number of youth you have worked with at one time.
   3. Do you anticipate any scheduling conflicts based on the required availability?

Assistant Stage Manager - Compensation: $650/Project

Candidates must be able to commit to the following schedule:

Parent Orientation:	April 10, 5:30-7:30 pm
Rehearsals:	April 16-May 17, M-Th, 5:00-9:00 pm, May 11, 5:00-9:00 p.m., May 12 8:00 a.m.-9:00 pm
Performances:	May 18 4:00-9:00 pm, May 19 12:00-9:00 pm, May 20 12:00-8:00 pm

Assistant Stage Manager Application Requirements

1. CTC General Employment Application (see link on this page in the upper left sidebar).
2. Resume that includes all technical theatre experience.
3. Cover letter that includes answers to the following:
   1. Provide stage management or related experience that would qualify you for this unique project.
   2. Briefly describe your previous work with youth including ages you have worked with and the largest number of youth you have worked with at one time.
   3. Do you anticipate any scheduling conflicts based on the required availability?

Submit all information by email (preferred) to humanresources@ctcharlotte.org, fax at 704.973.2845 or mail to Human Resources, Children’s Theatre of Charlotte, 300 East 7th Street, Charlotte, NC 28202. Application deadline: February 1, 2012.

Flat Rock Playhouse Seeks Associate Artistic Director

Flat Rock Playhouse, The State Theatre of North Carolina, is the largest professional producing theater in North Carolina. The theater has a sixty-year history of artistic achievement and is now seeking an Associate Artistic Director to take a leading role in furthering the organizations artistic goals.

Job responsibilities include: directing mainstage and second stage productions, managing the theater's recently launched New Works Initiative, season planning, oversight of visiting artists, New York and local casting, interfacing with the Apprentice Director and YouTheatre Artistic Director, managing the artistic associate and artistic interns, and supporting the artistic vision of the Producing Artistic Director.

The successful candidate will be an accomplished Director or Director/Choreographer of musicals and plays, with experience in new work development. He/she must possess a collaborative spirit, a commitment to developing work that emotionally engages an audience, and a desire to be a part of a wonderful community in the Blue Ridge Mountains of North Carolina, 30 minutes from Asheville.

Applications due by February 7 to begin work in late March or early April. Salary will be competitive with other mid-sized regional theaters in the United States.

Please submit resume and letter of interest with "Associate Artistic Director" in the subject line to: hr@flatrockplayhouse.org. FRP is an Equal Opportunity Employer. No snail mail please

Adam Faw: NCTC Board Member In The News!

We were thrilled to see this profile of NCTC Board member and Pinecrest High School teacher Adam Faw in the The Pilot. Check it out!

High School Theater: Adam Faw Sets the Stage

Almost everyone has at some point uttered the phrase "I don't know what I want to do when I grow up."

While such an attitude is often stigmatized as -indicative of sloth and -dispassion, it is in fact a key characteristic of the so-called "Renaissance Man": an -intelligent, creative individual with a myriad of talents and interests. In -general, the longer it takes someone to make up his or her mind about a career, the more unique and socially valuable that career will be.

"I still have no idea what I want to do when I grow up," says Adam Faw, the 31-year-old theater teacher at Pinecrest High School. Having taught at Pinecrest for the better part of the past decade, Faw has worked long and hard to increase public appreciation of the arts.

Faw became involved in theater "late in the game," he says, "at least compared with some people. I hung out with some of the theater kids through high school, even though I was a jock; they dragged me to my first audition the summer before college, which was for 'West Side Story,' and I fell in love."

Read the rest.

Mt. Tabor Theatre Students Raise Money and Awareness

The Mt. Tabor theatre department is active in their community and in raising money for worthy causes. Not only are they NCTC Fundraising Partners, but they are also are making headlines for this great project! Read about it below!

 

The play's the thing. And so is the cause.

On Monday afternoon, 12 actors met at the home of their director, Rioghnach Robinson, to rehearse Reginald Rose's "Twelve Angry Men." It's a courtroom drama in which 12 jurors debate whether to convict a man of murder and send him to the electric chair.

The show opens Friday for a weekend run in the Mount Tabor High School Auditorium. Proceeds from this show will go to the Innocence Project of New York, a program that works to exonerate wrongfully convicted people through DNA testing and to reform the criminal justice system "to prevent further injustice." For information, see www.innocenceproject.org.

Robinson — whose Gaelic first name (pronounced Ree-Oh-Knock) honors her father's native Ireland — and the actors attend different Forsyth County high schools. They belong to The Baker's Dozen, a troupe that Robinson and Noelle Wells founded in spring 2010. The group presents a show each fall, winter and spring, and there's a succession plan to replace college-bound seniors with younger actors.

Read the rest.

"Professional" Theatre in the North Carolina

We wanted to make sure you saw this article in the Charlotte Observer. It's an interesting commentary on the meaning of professional theatre and the state of the theatre in our great state. What do you think? Where do the pros go to act?

 

Where do the pros go to act?

Read more here: http://www.charlotteobserver.com/2012/01/22/2944310/where-do-the-pros-go-to-act.html#storylink=cpy

The word "professional" starts us down a slippery slope. If we define it as "paying some amount of money to the entire cast and/or crew," Actor's Theatre of Charlotte certainly qualifies. Other producers pay small salaries, provide honoraria or share box office receipts, and we have one company with paid, full-time performers and technicians on its staff: Children's Theatre of Charlotte, which has a touring arm in Tarradiddle Players.

Nor does "professional" automatically designate any level of quality: Davidson Community Players offered a "Ragtime" last year that was comparable with some touring musicals I've seen at Ovens, and those people - some of whom had been paid to sing elsewhere - worked for love of the art.

Stewart means a company that performs for adult audiences and pays enough of a living wage to let actors stay here year-round, without taking nonacting work.

It need not be a member of the League of Resident Theaters, operating on a fixed pay scale. (The Rep was, but only one remains in the Carolinas: Playmakers Repertory Company in Chapel Hill.) This imaginary theater would have to employ mostly local talent and develop an audience that followed it through seasons fat and lean. That we haven't had since 2005.

When the Rep collapsed, some people assumed another company would step into its big shoes. The admirable Actor's Theatre of Charlotte was the only realistic candidate, but ATC was content with its smaller budgets, cozy venue, small staff and loyal fans.

Read the rest.

Read more here: http://www.charlotteobserver.com/2012/01/22/2944310/where-do-the-pros-go-to-act.html#storylink=cpy

Flat Rock Playhouse 2012 – Equity Performer Auditions by Appointment in NC

Flat Rock Playhouse

Audition Information

When:

Equity Performer Auditions (Principal/Chorus) by APPOINTMENT:
Monday, January 30, 2012
12:30 PM – 8:30 PM
Break from 4 – 5.

Where:

Flat Rock Playhouse
2661 Greenville Highway
Flat Rock NC

Description:

Flat Rock NC SPT (approval/salary level pending; 2011 weekly minimum: $472) and CORST ($769/week minimum).

Artistic Dir: Vincent Marini
NYC CD: Alan Lane, Clemmons/Dewing Casting


Callbacks are planned for Wednesday, February 1, 2012, from 12 Noon – 6 PM.

Flat Rock Playhouse is the State Theatre of North Carolina.

All dates are in 2012. Seeking actors and singers (M/F), 18+, all ethnicities. All roles/positions are available.

The Playhouse Downtown season (SPT):

SAY GOODNIGHT GRACIE by Rupert Holmes. Dir: Michael Marotta. 1st reh: 4/3. Runs 4/18-5/6.

George Burns:
Caucasian man, 60s. The prolific comedian, actor and writer.


NUNSENSE Dan Goggin. Dir/Choreo TBA. 1st reh: 5/1. Runs 5/16-6/10.

Sister Mary Regina:
Late 30s. Mother Superior. Feisty, overweight Sophie Tucker-type. Can’t resist the spotlight. Mezzo.

Sister Mary Hubert:
30s. Second in command. Always competing with Mother Superior. Alto.

Sister Robert Anne:
Late 20s. Streetwise and tough, with a heart of gold. From Brooklyn. Constant source of aggravation for Mother Superior. Great belt.

Sister Mary Amnesia:
20s. Lost her memory after a crucifix fell on her head. Very sweet and simple. Soprano.

Sister Mary Leo:
Early 20s. The novice. Just entered the convent. Wants to become the first nun ballerina. Soprano.


RED by John Logan. Dir: Angie Flynn-McIver. 1st reh: 6/5. Runs 6/20-7/8.

Rothko:
Man, late 50s. Successful and established artist. Self-absorbed and not very sociable.

Ken:
Early 20s. Rothko’s assistant. Midwesterner. Aspiring painter. Self-conscious, passionate and youthful.


PROOF by David Auburn. Dir: Paige Posey. 1st reh: 7/3. Runs 7/18-8/5.

Catherine:
25. Dropped out of college to care for her ailing father, Robert. While not mean-spirited, she is a little socially awkward and can be short and sarcastic to others.

Robert:
50s. Brilliant mathematician. Catherine and Claire’s father.

Hal:
28. Former student of Robert’s. Socially clueless, awkward. Nerdy, but not in an exaggerated way.

Claire:
29. Catherine’s older sister. Breezy and businesslike. Can come across as cold and shallow, but cares very much about Catherine.


THE MARVELOUS WONDERETTES Book: Roger Bean. Dir/Choreo: Amy Jones. 1st reh: 7/31. Runs 8/16-9/9.

Cindy Lou:
Appears at ages 18 (Act I) and 28 (Act II). Prettiest girl at Springfield High. A little conceited. Mezzo soprano with belt. Must be capable of singing in a bright, old-fashioned pop-belt style.

Missy:
Appears at ages 18 (Act I) and 28 (Act II). Over-achiever. Very controlled. Soprano with belt. Must have a large range. Must be capable of singing in a bright, old-fashioned pop-belt style.

Betty Jean:
Appears at ages 18 (Act I) and 28 (Act II). The class clown. Tomboy, always vying for attention. Alto with strong low range. Must be capable of singing in a bright, old-fashioned pop-belt style.

Suzy:
Appears at ages 18 (Act I) and 28 (Act II). Happy go-lucky and a little ditzy. Could be your stereotypical blonde. Always smiling, nothing seems to bother her. Mezzo-alto. Must be capable of singing in a bright, old-fashioned pop-belt style.


STRIKING 12 by GrooveLily. Dir: Vincent Marini. 1st reh: 11/20. Runs 11/15-12/22.

Man 1:
Great actor and singer. Needs to be proficient on the piano/keyboard.

Man 2:
Great actor and singer. Needs to be proficient on the drums.

Woman:
Great actor and singer. Needs to be proficient on the violin.


Flat Rock Playhouse Mainstage season (CORST):

OUR SHOW OF SHOWS Based on the original 1950s NBC variety show. Dir: Vincent Marini. 1st reh: 4/17. Runs 5/3-5/20.

Man 1:
Plays characters early 30s - mid 40s. Rubbery-faced, versatile comic actor with strong physical comedy and improvisation skills. Must play multiple characters in a “Saturday Night Live”-style format, and have the ability to carry a vaudeville-style tune.

Man 2:
Plays characters early 30s - mid 40s. Versatile character actor who often plays the straight man or the authority figure. Handsome, with a leading-man presence. Aggressive, confident and sometimes mean, but always likable. Strong physical comedy and improvisational skills a must.

Man 3:
Plays characters late 30s - early 50s. Versatile, smallish character actor to play the long-lost uncle, the perpetual private in the US Army or the annoyed theater-going patron. Unique and quirky-looking. Slight build a plus.

Woman 1:
Plays characters late 20s - late 30s. Versatile comedic actress who can jump from character to character on a moment's notice. Uniquely and somewhat unusually pretty. Very expressive face and body, with a unique voice. Carol Burnett-type. Strong physical comedy and improvisational skills a must.

Man 4:
Plays characters 30-50. Must play multiple characters in a “Saturday Night Live”-style format.

Woman 2:
Plays characters 25-40. Extremely attractive. Must be able to play multiple characters in a “Saturday Night Live”-style format.


THE SPITFIRE GRILL Music: James Valcq. Lyrics: Fred Alley. Book: Valcq & Alley. Dir TBA. 1st reh: 5/10. Runs 5/30-6/24.

Percy Talbott:
Woman, early 20s. Pretty, if a bit rough-edged, her face declares the strength of her youth and a sadness beyond her years. Her accent has a southern Appalachian cadence. Strong folk/country belt to D, some head voice required.

Hannah Ferguson:
Almost 70. Tough-skinned and flinty old bird with a short, no-nonsense manner bordering on the bitter. Mezzo/alto chest range.

Shelby Thorpe:
Woman, mid 30s. Plain, soft-faced creature with a shy, almost ethereal manner. Pure, shimmering folk soprano with strong, full high belt to D.

Caleb Thorpe:
Early 40s. Out-of-work foreman of the stone quarry. Frustrated working man clinging to the past. Solid folk/rock voice with an edge. Baritone (top G).

Sheriff Joe Sutter:
Mid - late 20s. Young small-town policeman with an appealing intensity and a restless nature. Strong folk tenor to G.

Effy Krayneck:
Woman, 50s. Postmistress and busybody. Narrow eyes and a sour tongue. Solid singer in mezzo/alto chest range. Must be capable of easily harmonizing.

The Visitor:
Man, mid 40s. Mysterious figure who never speaks. Requires an actor with powerful eyes and a very strong sense of his body. Strong presence required.


THE FOX ON THE FAIRWAY by Ken Ludwig. Dir TBA. 1st reh: 6/12. Runs 6/28-7/15.

Note: All must be skilled comedic actors, capable of farce comedy.

Justin:
23. Offbeat and smart. Very sweet and likable, but too nervous.

Louise:
23. Waitress at the club. A knockout. Good-natured, innocent and a little ditzy.

Henry Bingham:
40s. Executive Director at Quail Valley Golf Club. Confident, relatively refined, handsome and affable.

Pamela:
40s. Sophisticated and elegant. VP to Bingham.

Dickie Bell:
Man, 40s. Executive Director of Crouching Squirrel Country Club. Offbeat. Lacks taste and class. Unpleasant and annoying.

Muriel:
40s. Tough as nails. Humorless and all business.


GUYS AND DOLLS Score: Frank Loesser. Book: Jo Swerling & Abe Burrows. Dir: Vincent Marini. Choreo: Nick Kepley. 1st reh: 7/3. Runs 7/25-8/19.

Sky Masterson:
Late 20s-30s. Charismatic and handsome. Quintessential smart-talking gambler. Good singer. Baritone.

Sarah Brown:
20s. Prim and innocent yet beautiful and strong. Proud, hardworking leader, but also vulnerable and naïve. Excellent singer. Soprano with belt.

Nathan Detroit:
Mid 30s-40s. Lovable/charming yet feckless gambler. Excellent comic timing. Baritone.

Miss Adelaide:
30-40. Showgirl. Sweet, endearing and sexy, with a lot of personality. Great comic timing. Mezzo soprano.

Nicely-Nicely Johnson:
Late 20s-40s. Comic gangster. Nathan's sidekick. Strong character actor with a great voice. High tenor.

Benny Southstreet:
25-50. Small-time gambler. Comic timing is a must. Baritone.

Arvide Abernathy:
60-70. Sarah’s kindhearted and wise guardian. Gentle. Lyric baritone.

Rusty Charlie:
24-50. Small-time gambler. Comic timing is a must. Baritone.

Big Jule:
35-50. Large, tough gangster. Short temper, intimidating. 6’3” and up. The taller the better. Baritone/bass-baritone.

Gen. Matilda B. Cartwright:
35-55. Save-a-Soul Mission matron. Uptight and set in her ways. Mezzo soprano.

Harry The Horse:
24-50. Featured gangster. 5’8” and under. Heavyset. Baritone.

Lt. Brannigan:
30-65. A frustrated policeman, trying to stop floating crap games. Non-singing.

Ensemble.


NOISES OFF by Michael Frayn. Dir: Don Stephenson. 1st reh: 8/7. Runs 8/23-9/9.

Lloyd Dallas:
35-45. Director of “Nothing On”. Passionate, suave, hot-tempered and extremely harried.

Dotty Otley:
45-55. Aging prima donna. Her money is funding the show. Capable of using spite or self-pity to get her way. Plays Mrs. Clackett, a housekeeper, in “Nothing On”.

Garry Lejeune:
25-35. Well-meaning actor. Stuttering problem, but off-stage only. Gets flustered easily. Plays Roger, a real estate agent, in “Nothing On”.

Frederick Fellows:
35-45. Neurotic actor. Sweet, but bumbling and filled with self-doubt. Serious fear of violence and blood. Plays Philip Brent, a wealthy man and Sheikh, a possible renter, in “Nothing On”.

Belinda Blair:
35-45. Charming, cheerful and experienced actress. Good-hearted busybody who always has all the gossip. Plays Flavia Brent, Philip’s wife, in “Nothing On”.

Poppy Norton-Taylor:
20s. ASM for “Nothing On”. Overworked and often on the verge of tears. Emotional and over-sensitive.

Selsdon Mowbray:
60s. Cheerful, elderly, alcoholic actor. Forgets lines and misses entrances. Plays Burglar, a burglar, in “Nothing On”.

Timothy Allgood:
20s. Stage manager for “Nothing On”. Exhausted and completely sleep-deprived. Overworked. Understudies all the men in “Nothing On”.

Brooke Ashton:
20s. Young and sexy actress from London. Inexperienced and not very good. Plays Vicki, who works for the British government, in “Nothing On”.


ZELDA: AN AMERICAN LOVE STORY Music: Frank Wildhorn. Lyrics/Book: Jack Murphy. Story: J. Murphy & Vincent Marini. Dir: V. Marini. Choreo: Andy Blankenbuehler. 1st reh: 9/11. Runs 10/3-10/28.

Zelda Fitzgerald:
Seeking strong actor capable of playing 18 years old to late 40s. Zelda is very beautiful. Elegant yet brazen, intelligent yet emotional. Accustomed to being the center of attention, and knows how to find the spotlight. Along with Scott, the first modern American celebrity. Strong mover. Mezzo – wide vocal range with strong belt.

Scott Fitzgerald:
30-40. Actor must be able to play Scott as he evolves from a young, handsome writer full of promise to a tired, frustrated man who is washed up by the age of 35. Scott is driven by his love for Zelda, his passion for fame and his desire to fulfill the promise attached to him after his first novel. Can be charming, bold and a bastard all in the same sentence. Along with Zelda, the first modern American celebrity. Strong mover. Modern Broadway tenor/baritone.

Ben Simon:
30-45. Reporter for the “Journal-American”. Always looking for the story that will set him apart. Ambitious, detached and focused on his work to the point that the rest of his life is suffering. Modern Broadway tenor/baritone.

Mrs. Minnie Sayre / Nurse:
Minnie: 50-55. Quintessential Southern mother. Loves her daughter, but controlling her is another matter. Nurse: Takes care of Zelda at Highland Hospital. Strong singer/character actor.

Peyton Mathis:
Man, 40s. Strong, tall and powerful figure. Starts out as the picture-perfect World War I soldier courting Zelda. Scarred in the war, lives hard in the 20s and falls fast in his 30s, by which time he is somehow darker of soul than the young soldier we met earlier. Strong singer/character actor.

The Editor / Director:
Editor: Man, 40-55. Hard-nosed newspaper editor of the “Journal-American”. Director: Impatient, overcompensating, under-talented Hollywood director. Strong singer/character actor.

Ensemble.


CAT ON A HOT TIN ROOF by Tennessee Williams. Dir TBA. 1st reh: 10/16. Runs 11/1-11/18.

Maggie:
23-33. Lonely, hard and sometimes bitchy. Very attractive and charming.

Brick:
25-35. The favorite son. Maggie’s husband. Masculine, handsome. Former athlete, current alcoholic.

Big Daddy:
50-65. Brick’s father. Large, brash and vulgar.

Big Mama:
50-65. Brick’s mother. Large, sincere. Earnest and crude at the same time.

Mae:
25-35. Schemes with her husband, Gooper, to secure Big Daddy’s real estate.

Gooper:
28-38. Successful lawyer. Big Daddy’s eldest son. Resents his parents’ love for Brick. Ruthless.

Dr. Baugh:
Man, 35-55. Big Daddy’s physician.

Rev. Tooker:
Man, 35-60. Tactless and opportunistic clergyman. Hypocritical.


Producer and Casting Director’s statement: “Flat Rock Playhouse is an Equal Opportunity Employer. All ethnicities and types are strongly encouraged to attend.”

For a 5-minute appointment, e-mail Brenna Yeary at brenna@flatrockplayhouse.org or call 828/693-2353, x225. If e-mailing or leaving voicemail, give AEA status and preferred audition time. Equity Members without appointments will be seen throughout the audition day, as time permits.

 

Company:

Flat Rock Playhouse

 

Address:

FLat Rock , NC
US

 

Contact:

[Name Withheld]
brenna@flatrockplayhouse.org
Phone: 828/693-2353, x225

Response Method(s):
By Email
By Phone
At Audition

Notes/What to bring:

Sides and a non-auditioning reader will be provided at the audition. Visually-impaired performers may request an advance copy of sides when making an audition appointment. Theatre also offers to provide sides in advance to non-visually-impaired performers who request them.

Performers may also sing as all/part of their auditions. Prepare a brief song in the style of one of the season’s musicals, showing range. Bring sheet music in the correct key; an accompanist will be provided throughout the audition day.

Please bring a photo and resume, stapled back-to-back.

Did You Miss The National Arts Marketing Project?

Did You Miss The National Arts Marketing Project this fall? No worries! Through the use of social media, the organizers have created an interesting and engaging overview of the conference!

Click here for "thoughts, content, zingers, multimedia, and more from the 2011 National Arts Marketing Project Conference in Louisville, Kentucky."

Also, check out this e-book of 50 Winning Tweets and enjoy some of the best tweets from the conference.