Seat of the Pants is excited to invite actors to audition for our 2019-2020 season, The KINDNESS OF STRANGERS, four plays that all pose questions about how we interact with and what obligations we have to the stranger, foreigner, alien, or person who is different in our midst.
Auditions will be held Saturday, May 11th, from 2-5 PM, and Monday, May 13th, from 7-10 PM, at Akron Christian Reformed Church, 50 Marshall Avenue in Akron, OH.
Those interested in auditioning should prepare two contrasting monologues, one comic and one dramatic, totaling no more than 3 minutes. You should also bring a single copy of your resume and headshot, along with a calendar to address known conflicts.
Role breakdowns for each show are below. All roles are open to all races and ethnicities, except for a few roles specified parenthetically.
3-4 Equity contracts are available for the season. These are Tier One Special Appearance contracts.
All actors, Equity and non-Equity, will be compensated.
If interested in auditioning, please send an e-mail to email@example.com that includes:
Preferred Hour of Slot
Someone will get back to you to confirm your appointment.
A WORD ABOUT LOCATION: As our name suggests, Seat of the Pants produces theatre wherever and whenever - throughout NE Ohio - in Canton, Akron, and Cleveland. While we enter auditions with a rough idea of the four slots for our shows (November 2019, February 2020, May 2020, and August 2020), exact determination of which show where and when will be decided based upon who is cast. At auditions, each actor will have an opportunity to check boxes about which cities he or she would be willing to drive to for both rehearsals and performances.
WHEN WE WERE YOUNG AND UNAFRAID
by Sarah Treem
In the early 1970s, before Roe v. Wade, before the Violence Against Women Act, Agnes has turned her quiet bed and breakfast into one of the few spots where victims of domestic violence can seek refuge. But to Agnes’s dismay, her latest runaway, Mary Anne, is beginning to influence Agnes’s college-bound daughter Penny. As the drums of a feminist revolution grow louder outside of Agnes’s tiny world, Agnes is forced to confront her own presumptions about the women she’s spent her life trying to help.
AGNES, proprietor of the bed and breakfast, tough, maternal, devoted, no-nonsense, resolute (40s-50s)
PENNY, her daughter, a teenager, smart and a little self-absorbed, trying to figure out who she wants to be, mature for her age, but also a little unsure (late teens - young 20s)
MARY ANN, a runaway fleeing her marriage, street smart, but fragile, highly conflicted about leaving her husband, a bit self-destructive and manipulative (20s-30s)
PAUL, a boarder - kind and sympathetic, looking for a place to belong, awkward among those who are less conventional, ideally a guitarist who can sing (20s-40s)
HANNAH, a feisty lesbian on her way to join a separatist female commune, handy, quick-tempered, brash, very intuitive, with a great sense of humor (30s-40s)
RIPCORD, by David Lindsay-Abaire
A sunny room on an upper floor is prime real estate in the Bristol Place Senior Living Facility, so when the cantankerous Abby is forced to share her quarters with new-arrival Marilyn, she has no choice but to get rid of the infuriatingly chipper woman by any means necessary. A seemingly harmless bet between the old women quickly escalates into a dangerous game of one-upmanship that reveals not just the tenacity of these worthy opponents, but also deeper truths that each would rather remain hidden.
The role of Abby Binder has already been cast.
MARILYN DUNNE, resident of Bristol Place Senior Living Facility, cheery, pleasant (60s-80s)
SCOTTY, a resident aide at Bristol Place Senior Living Facility, an actor with a 2nd job (20s-30s)
COLLEEN, Marilyn’s daughter, friendly, enjoys a little S&M (also WOMAN IN WHITE) (30s-40s)
DEREK, Marilyn’s son-in law, not the brightest guy, but kind (also ZOMBIE BUTLER) (30s-40s)
BENJAMIN, Abby’s estranged son, wounded but hopeful (also LEWIS and CLOWN) (30s-40s)
WATCH ON THE RHINE, by Lillian Hellman
1940. Washington D.C. Well-to-do Fanny and David Farrelly are awaiting the arrival of their daughter and sister Sara, who has fled Germany with her three children and husband, a member of the Anti-Nazi Resistance. When another Farrelly houseguest discovers their identity, he threatens to expose them, setting off a series of events that will stretch and test everyone's loyalties. Published in 1941 by Lillian Hellman, a brilliant activist in her own right, this political thriller is a timely examination of moral obligation and sacrifice.
ANISE, Frenchwoman, housekeeper, dry and sardonic, but devoted (50s-60s)
JOSEPH, a middle-aged butler, imperturbable, a bit lippy (40s-60s)
FANNY FARRELLY, an aristocrat, boisterous, full of verve, a bit vain (60s)
DAVID FARRELLY, Fanny’s son, bickers with her, but otherwise pleasant and handsome (30s)
MARTHE DE BRANCOVIS, attractive, a bit of a flirt, but strained, anxious underneath (20s-30s)
TECK DE BRANCOVIS, her husband, a count, Romanian, charming, but desperate (40s)
SARA MULLER, Fanny’s daughter, home after years away, strong, serious, watchful (30s-40s)
KURT MULLER, Sara’s husband, German, large and powerful, but gentle (40s)
JOSHUA MULLER, a young man, coming of age, starting to understand many things (14-16)
BABETTE MULLER, a pretty little girl, empathic and sensitive, German (12-14)
BODO MULLER, precocious and chatty, 8-10 years old, German (8-10)
OUR COUNTRY’S GOOD, by Timberlake Wertenbaker
June 1789. In the penal colony that will later become Sydney, Australia, a marine lieutenant is tasked with putting on a play to celebrate the king's birthday. The only catch? His cast members are the English convicts who populate this distant Australian prison camp. Few of them can read, let alone act, and the play is being produced against a background of food shortages and barbaric punishments. Will this theatrical endeavor have the desired civilizing influence, or will everything implode before the curtain goes up?
All actors (except the actor playing Ralph)) in our OUR COUNTRY’S GOOD will play multiple characters; everyone plays at least one British officer and one convict. Roles will be double cast in such as way as to have the parts comment on one another. “Planned” casting calls for 6 males and 4 females, aged 20s-60s, and at least one of the males must be Black. That being said, the director is amenable to adapting these proportions based on what he sees in auditions.