OPEN SEASON AUDITIONS
Open auditions for all three Season Shows below:
Friday, March 16 7-9 pm
Saturday, March 17 1-4 pm
Sunday, March 18 Callbacks 1-4 pm
- Auditions at the Hawks & Reed Performing Arts Center, 289 Main Street, Greenfield
- By appointment only. To schedule an audition slot, please call 413-768-7514, or write to firstname.lastname@example.org
- Auditioners should prepare a one to two minute
- Please bring a current resume and headshot, or send electronically to email@example.com when making your appointment
- Equity & non-Equity; all roles paid.
- All types & ethnicities welcome
THE ROAD TO MECCA
by Athol Fugard. Director: Rebecca Daniels.
Performance dates: 6/21, 22, 23, 24, 28, 29, 30
Miss Helen: late 60s, widowed, an artist
Elsa: 30s, politically engaged schoolteacher.
Marius: 60s, Calvinist pastor, good-hearted but deeply conservative.
The Road to Mecca, written by Athol Fugard, is set in 1970s South Africa. It was first
staged in the US in 1984 at Yale Rep, had an off-Broadway run in 1988, and saw its
Broadway premiere in 2012. Fugard is best know for his overtly political plays,
mostly set in his native South Africa in the days of apartheid. While this drama’s
focus on the life and work of an artist might seem like a departure for the
playwright, in the words of New York theatre critic, Ben Brantley, the play “ throbs
with a despairing awareness of the South Africa of the 1970s as a broken and
corrupting nation, a spiritual prison for those who inhabit it. Set in the remote
village of New Bethesda, in the Karoo desert region, this play considers the nature
and possibilities of freedom within such a place.”
Based on a real-life individual, Fugard’s story of Miss Helen, an aging Afrikaner
widow who creates unusual sculptures in order to escape the crushing reality of her
isolated life and the social expectations that accompany that life, brings together
two social and political opposites who each consider themself her friend and take a
strong interest in her welfare according to their own conflicting views about artistic
creativity and the challenges of aging. Her very conservative minister, Marius, wants
to send Helen to an old folks home, where she will be “safe” from both criticism and
harm. Her young friend, Elsa, more politically engaged than Marius, wants Helen to
have the independence as a woman and an artist that society seems to find so
dangerous. Called by the script’s publisher, “a penetrating study of the role of the
artist in any society,” The Road to Mecca also speaks to larger hopes and fears
about aging and independence.
WHITE, BLACK & BLUE
by Steve Henderson & Will Chalmus. Director: Keith Langsdale
Performance dates: 7/19, 20, 21, 22, 26, 27, 28
Joe Renshaw - 65-70, white. Academic type. Divorced.
Walter Jones - 25-35, black. A teacher and musician.
Lou Rankin - 30s, white. A police officer, big, physically formidable
the scene of an altercation with a white off-duty police officer, during which he took the officer’s gun. It is not the way it seems. As Joe and Walter struggle to establish a fragile détente, Officer Lou Rankin finds the house.. A taut life and death stalemate ensues as the three desperate men struggle to stay alive and to protect their families. Issues of race, trust, responsibility and last straws comprise powerful themes in the story.
DELECTABLE DURANG A Collection of Six Unruly Comedies
By Christopher Durang. Director: John Reese
Performance dates: 9/27, 28, 29, 30, 10/4, 5, 6
3 F/ 3 M - various
collection of six hilarious and provocative one-act plays by Christopher Durang. The
production, directed by John Reese, will be an ‘homage to the theatre‘. The six plays
are The Actor’s Nightmare, Women in a Play Ground, Nina in the Morning, For Whom
the Southern Belle Tolls, One Minute Play and Medea. Every theatrical element
(costume and set changes, etc.) will be in full view of the audience throughout, as six
actors function as a mini-repertory company. Reese is seeking skilled and
spirited actors capable of portraying a variety of multi-dimensional characters with
serious personal issues who fearlessly leap into Durang’s world of comic mayhem with
emotional abandon and a bountiful sense of play.