Jobs, Auditions & Submissions

06/14/2016

Thank you for your interest in freeFall Theatre.

We are currently taking appointments for our upcoming auditions on August 9th & 10th from 9am-5pm with a lunch break from 1pm-2pm.

We also attended UPTA and FPTA as well.

If you would like to submit electronically, please see our guidelines below and have your materials to us no later than August 10th.

Season Auditions

AEA SPT Tier 6 Contract (pending approval) $443/wk AEA  minimum

EMC candidates & non-union salaries negotiable

Location:

freeFall Theatre

6099 Central Avenue

St. Petersburg, FL 33710

www.freefalltheatre.com

Personnel:

Eric Davis, Artistic Director

Susan Haldeman, Company Manager

Chris Crawford, Director of Assassins & Peter and the Starcatcher

Michael Raabe, Musical Director

Audition Requests:

Send an email to Susan Haldeman at auditions@freefalltheatre.com and indicate your preferred audition date, approximate time, your union status (Equity, EMC, non-union), and your phone number and email address.  Please include a copy of your headshot and resume, if possible.  If you do not have access to a computer, please call 727-498-5205 ext. 3 and ask for Susan Haldeman or leave a message with your preferred date and time.  Appointments may be made Tuesday-Saturday from 12pm – 5pm EST beginning June15th.  Deadline for requesting an audition time is close of business on August 1st, 2016.  Equity auditions will be given a 5 minute time-slot.

Performers may show up the day of auditions and may be seen as time permits.

Preparation:

Prepare up two selections – a monologue and a 16-32 bar song selection (not to exceed 3 minutes total) OR 2 brief monologues (not to exceed 3 minutes total).  Bring additional music in case we want to hear more from you.  Performing material from the shows is acceptable.  Please make your audition specific to our season.  Bring a picture and resume, stapled together.  Bring sheet music in the correct key.  An accompanist will be provided both days but may not transpose.

Seeking:

Transformational Equity/non-equity actors and actor/singers for our 2016/17 season.

Performers of all ethnic and racial backgrounds are encouraged to attend.

ASSASSINS

Book by John Weidman

Music & Lyrics by Stephen Sondheim

Director: Chris Crawford

Musical Director: Michael Raabe

Rehearses: 9/13/16 – 10/07/16, Runs: 10/08/16 – 11/06/16 (possible extension through 11/13/16)

Assassins lays bare the lives of nine individuals who assassinated or tried to assassinate the President of the United States, in a one-act historical “revusical” that explores the dark side of the American experience. From John Wilkes Booth to Lee Harvey Oswald, writers Stephen Sondheim and John Weidman bend the rules of time and space, taking us on a nightmarish roller coaster ride in which assassins and would-be assassins from different historical periods meet, interact and inspire each other to harrowing acts in the name of the American Dream.

Breakdown:

John Wilkes Booth (1838-1865) Age: 25-35 Baritone F2-G4: Male: tall and distinguished. Assassinated President Abraham Lincoln during a performance at Ford’s Theater in Washington D.C. on April 14, 1865.  Foreman and inspirational celebrity to the other assassins. tall and distinguished; character will need a genteel Southern accent. A political zealot, “Wilkes” is the pioneer of American assassination.

Leon Czolgosz (1873-1901) Age: 25-35, Bass Baritone G#2-G4. Male: slight of build: Assassinated President William McKinley at the Pan American Exposition in Buffalo, N.Y. on September 6, 1901. A young poverty-worn radical.  Czolgosz was an anarchist who, in killing William McKinley, decided to take matters of government into his own hands for the sake of the common man.

Charles J. Guiteau (1841-1882) Age: 35-45, Tenor A2-Ab4, Male: average in stature; Assassinated President James Garfield in the waiting room of the Baltimore and Potomac Railroad Station, Washington, D.C., on July 2, 1881. Dashing but mad. This intense libertine requires a multi-personality characterization and a flair for the dramatic

Giuseppe Zangara (1900-1933) Age: 30-35, Tenor B2-A4, Male: short in stature; speak in heavy Italian dialect; Zangara blamed capitalists and “kings” for his medical conditions and attempted to assassinate President-elect Franklin D. Roosevelt as he greeted well-wishers in Bayfront Park, Miami, FL on February 15, 1933. —instead killing Mayor Cermak of Chicago.

Samuel Byck (1930-1974) Age: 40-45, D3-G4, Male; Heavy set; Byck was disgruntled at government and all it stood for. Attempted to assassinate President Richard Nixon by hijacking a commercial jetliner. Hysterically irate schlep in a Santa Claus suit.

Lynette “Squeaky” Fromme (1948- ) Age: 25-30, Mezzo A3-G5, Female; slender and pretty. Attempted to assassinate President Gerald Ford at the Capitol Park in Sacramento, CA on September 5, 1975. A pixie hippie in love with Charles Manson.

Sarah Jane Moore (1930 – ) Age: 40-45, Mezzo F3-Eb5, Female; middle-aged and frumpy. Moore, a former FBI informant five times married, nearly assassinated Gerald Ford at the St. Francis Hotel in San Francisco, CA, on September 22, 1975— the second such attempt on his life in three weeks. Moore provides much of the comic relief in the show and requires an actress with good comic timing.

Lee Harvey Oswald (1939-1963) Age: 20-25, G3-C4, Male; slight to average build; Assassinated President John F. Kennedy from the sixth floor of the Texas School Book Depository in Dallas, TX on November 22, 1963. A suicidal, dejected shipping clerk.

John Hinckley (1955- ) Age: 25-30, Baritone A2-G4, Male; blond and husky, Hinckley used a sociopathic obsession with Jodie Foster as his excuse to attempt an assassination of Ronald Reagan as he left the Washington Hilton in Washington, D.C. on March 30, 1981.

Ensemble: 2 men & 2 women who will play various roles throughout the show including Emma Goldman, The Proprietor, The Balladeer, David Herold, etc.

Will not be looking for the role of “Billy” at these auditions.

PETER AND THE STARCATCHER in rep with PETER PAN

Book of P&tSC by Rick Elice, Music of P&tSC by Wayne Barker, based on the novel by Dave Barry & Ridley Pearson

Book of Peter Pan by John Caird & Trevor Nunn, Music by TBD

Director: Eric Davis – Peter Pan, Chris Crawford – Peter and the Starcatcher

Musical Director: Michael Raabe

Rehearses: 11/15/16 – 12/09/16: 12/10/16 – 01/29/17

Breakdown:

MRS. BUMBRAKE (will also play TBD role in Peter Pan):
(40’s – Early 50’s) Molly’s Nanny. A brave British widow with a big heart and a love of alliteration. A no-nonsense, good-time gal, who liked a rough shag and a quick drag too, back in the day. Still has enough of her girlish charm intact to turn a sailor’s head and leaven his dreams. Stiff in the lip, loose in the hip, fun on a ship. Also plays TEACHER, formerly a salmon, now an ancient, knowledgeable mermaid. Must have excellent British and Scottish accents.

CAPTAIN ROBERT FALCON SCOTT (will also play TBD role in Peter Pan):
(Late 30’s – Early 40’s) Captain of the sports teams at Trinity School, now commander of the fastest ship in Victoria’s fleet, the Wasp. If you don’t ask, he won’t tell about his school boy crush on Leonard Aster, also a student at Trinity. Years later, he would lead an expeditionary team to the South Pole, freeze to death, and become an iconic British hero, Scott of the Antarctic. Must have an excellent British accent. VOCAL REQUIREMENTS: Baritone/Tenor 2, up to F#

SMEE (will also play TBD role in Peter Pan):
(Early – Mid 30’s) First mate to The Black Stache. Simple-minded but single-mindedly dedicated to his Captain’s every whim. No first name, and, from the day he was out of diapers, packed off somewhere to be subservient to somebody. His motto: “Tis good to be busy.” Must have an excellent British accent. Featured singer. VOCAL REQUIREMENTS: Strong singer, Tenor 2 up to F’s comfortably

THE FOLLOWING ROLES OF PETER, MOLLY, THE BLACK STACHE, BILL SLANK, GREMPKIN, ALF, LORD ASTER, TED, & PRENTISS HAVE BEEN CAST. Actors will be considered as possible replacements, should any become necessary.

PETER:
ROLE IS CAST (will also play TBD role in Peter Pan): (Early – Mid 20’s) A Boy who doesn’t miss much. Nameless, homeless, and friendless at the beginning of the play, and a hero by the end. Feral, brave, competitive, the boy the others will come to look up to. A survivor. More than anything in the world, he wants a home and a family. He will stare at adult life from a distance, but will never understand it, or enjoy it, because he will be forever held back in childhood. If he could grow up, he’d fall for Molly in a big way, but it’ll never happen.

MOLLY ASTER:
ROLE IS CAST (will also play Mrs. Darling in Peter Pan): (Early – Mid 20’s) Raised to believe females can do anything males can. A natural leader at a time when girls are mostly followers. Fearless, passionate, devoted to her father, her country, and her Queen. Willing to risk everything for the sake of doing right. Curious, intelligent, beginning to feel things she doesn’t yet understand – romantic longings that revert to childish tantrums under pressure – because, for the moment, she’s still a thirteen-year-old kid. She’ll be one hell of a woman one day. Must have an excellent British accent. VOCAL REQUIREMENTS: Strong enough singer for featured solos, Mix/Belt to a C#

THE BLACK STACHE
(will also play TBD role in Peter Pan):
ROLE IS CAST (Early – Late 30’s) Long after most everyone else had gotten out of the Pirate business, the Black Stache stuck it out. He searches the seven seas for a hero worthy of his hatred, an opponent worthy of his villainy. Stache is ruthless, heartless, and just a little bit stupid. He’s suspiciously well-read, partial to the poetical and the theatrical, but can’t quite get it right on the night. Blames everyone else for his failures, as pirates do – and with a ferocity from which no good shall ever spring. Must be an excellent comedic actor who is comfortable with featured singing. Strong British accent. VOCAL REQUIREMENTS: Strong singer, Baritone/Tenor up to G#

PRENTISS (will also play TBD role in Peter Pan):
ROLE IS CAST (Early – Mid 20’s) A bit older than Peter. Ambitious, hyper-articulate, logical, yearns to be a leader even as he knows in his heart it’ll never happen, on account of the fact that the boys wouldn’t follow him no matter what. Just the teeny-tiniest touch of cowardice. VOCAL REQUIREMENTS: Baritone/Tenor 2 E’s & F’s

TED (will also play TBD role in Peter Pan) :
ROLE IS CAST (Early – Mid 20’s) An orphan. Obsessed with food: the finding of, the eating of, the pining over, the dreaming about. The most talented of the boys, a natural actor, and easy wit, maybe even a poet. Called “Tubby” by Prentiss, though not due to girth, of which orphans, given their meager diets, have very little indeed. Fed up with Prentiss, but hungry for companionship. Must be funny and real: the comic responsibility is vital. Ability to play an instrument a plus. Particularly interested in violin or viola. VOCAL REQUIREMENTS: Seeking a strong singer (baritone / tenor 2).

LORD LEONARD ASTER (will also play TBD role in Peter Pan):
ROLE IS CAST (Late 30’s – Early 40’s) The very model of a Victorian English gentleman, loyal subject to the Queen, devoted father, faithful friend. Also, and not irrelevant to the story, Lord Aster is a Starcatcher – dedicated to protecting the earth and all who dwell there from the awesome power of Starstuff. Must have an excellent British accent. VOCAL REQUIREMENTS: Baritone/Tenor 2 E’s & F’s

GREMPKIN(will also play TBD role in Peter Pan) :
ROLE IS CAST (Early – Mid 30’s) The mean and malodorous schoolmaster from St. Norbert’s Orphanage for Lost boys. Known as the Angel of Anguish, he keeps his boys in the dark, as sunlight is known to feed rebellious notions. Also plays MACK: A very bad sailor who wants to be anywhere else but under the thumb of Bill Slank. Also plays FIGHTING PRAWN: King of the Mollusk natives, son of Jumbo Prawn and Littleneck Clam. Kidnapped by British sailors and brought in chains to England, he served as sous-chef below stairs in a country estate in Derbyshire, where, for no good reason, he learned Italian wines and mastered Italian cuisine. Since returning to his island kingdom, he has vengefully murdered any English with the temerity to land on his Mollusk Isle domain. Must have an excellent British and convincing Tropical accent. VOCAL REQUIREMENTS: Bass/Baritone

ALF (will also play TBD role in Peter Pan): ROLE IS CAST (35 – 45) Gruff and butch exterior. Should be big, physically imposing, perhaps even overweight, while still agile and comfortable with movement. An “old” seadog who’s prouder of achieving the rank of “Mister” than he should be, given the state of the competition. A white knight in search of a damsel, any damsel. A romantic at heart, without ever having read a poem. Something about him appeals to the feminine sensibility; might be his bow legs, his saucy gait, or his kind heart. Blue-collar English accent a plus. Seeking a tenor to a solid A

BILL SLANK(will also play TBD role in Peter Pan):ROLE IS CAST (Late 30’s – Early 40’s) A vicious Captain without the skill or quality to lead anyone but himself, and always into disaster. Would sell his own mother for a ship to command, would kill his best friend for a leg-up from the stinking hole he calls home. Cheerfully aids the awful machinations of those who would use Starstuff for personal gain, global domination, or worse. An orphan, too. Also plays HAWKING CLAM: Son of Fighting Prawn and Princess Sweetnsour Prawn. Conceived the night his father was captured and whisked off to a British kitchen half a world away. Hawking shares his father’s hatred for the British. One day, he will ascend the Clam throne as head of the Royal Clam Clan. Must have an excellent British and convincing Tropical accent. VOCAL REQUIREMENTS: Bass/Baritone

RED VELVET

Written by Lolita Chakrabarti

Director: Eric Davis

Rehearses: 01/31/17 – 02/24/17, Runs: 02/25/17 – 03/26/17 (possible extension through 04/02/17)

Theatre Royal, Covent Garden, 1833. Edmund Kean, the greatest actor of his generation, has collapsed on stage whilst playing Othello. A young black American actor has been asked to take over the role. But as the public riot in the streets over the abolition of slavery, how will the cast, critics and audience react to the revolution taking place in the theatre?

Breakdown:

Red Velvet is an imagined version of true events. Some of the characters are based on real people – Ira Aldridge (1807-1867), Margaret Aldridge (1798-1864), Pierre Laporte (1799-1841), Charles Kean (1811-1868), Ellen Tree (1805-1880)

CASIMIR/HENRY FORESTER – Casimir: White male, 20’s, German speaking Polish stage-hand. Inexperienced, low status and likes Halina. Henry: White male, 20’s, English actor.   Political, self -interested, ambitious and earnest.

HALINA WOZNIAK/BETTY LOVELL/MARGARET ALDRIDGE – Halina: White female, 20’s. Polish journalist.  Bright, ambitious, frustrated with her life. Betty: White female, 20’s, English, actress.  Self concerned, not clever but pleasant. Margaret: White female, 30’s, English, wife of Ira Aldridge, plain. Solid, trustworthy, Ira’s rock.

TERENCE/BERNARD WARDE – Terence: White male, 50’s, English, Ira Aldridge’s valet and dresser.  Loyal, hard working.  Bernard: White male, 50’s, English, actor. Old school, a bit lazy, opinionated and insecure.

IRA ALDRIDGE (same actor plays Ira at 26, then at 60)– At 26: Black male, 26, American, actor. Ambitious, keen, passionate and optimistic. At 60: Black male, 60, American, a leading actor.  Grand, impatient, ferocious and unwell.

CONNIE – Jamaican female, any age, experienced, servant. Older than her years and the voice of truth

CHARLES KEAN – White male,  30’s,  English, actor (son of Edmund Kean). Grand but without the talent to support it. Suffers from being Edmund’s son.

ELLEN TREE – White female, late 20’s, English, a leading actress. Talented, motivated, classical but progressive.

PIERRE LAPORTE – White male, mid 30’s, French, manager of the theatre.  Gay, revolutionary, entrepreneurial.

END OF THE RAINBOW

By Peter Quilter

Director: TBD

Musical Director: Michael Raabe

Rehearses: 04/04/17 – 04/28/17, Runs: 04/29/17 – 05/28/17 (possible extension through 06/04/17)

A play with music about the final years in the life of Judy Garland, “End of the Rainbow” triumphed in London’s West End in 2010/2011 and on Broadway, at the Belasco Theatre, in 2012. The show received 3 Tony nominations and 4 Olivier nominations, including Best Play.

“Sensational – in every sense of the word” – Ben Brantley, New York Times

Breakdown:

Judy Garland (mid 40s to early 50s) Seeking a strong actress-singer/singer-actress who can credibly play Judy Garland and accurately portray Judy Garland through her songs and the emotional highs and lows of her later life. Physically thin and looks older. This is not to be an impersonation but should be able to sing in the Garland style. Must be able to portray the calm as well as manic periods of Garland’s life physically and vocally.

Mickey Deans (early 30’s) Judy Garland’s newest husband. Tall and physically imposing.  Handsome with an appearance of a “caring” side but is domineering and controlling.  Charming, but can be argumentative and physical.  Definitely has a selfish dark side with the underlying quality of possible violence.

Anthony (late 40’s to early 50’s) – English or Scottish.  Judy’s accompanist and musical advisor as well as sometimes spiritual guide. Gay and soft spoken with a clever edge.  Gentle and caring with an inner strength.  Ethical and honest.  Skilled pianist.  Must be able to accompany Garland in scenes. Is capable of support and understanding, and yet is aware of the inevitable outcome ahead.

BBC Man / Hotel Porter / ASM (30’s – early 40’s) Strong character actor able to play various types and characters.  Must be able to speak various British dialects.

MARIE ANTOINETTE

By David Adjimi

Director: Eric Davis

Rehearses: 06/20/17 – 07/14/17, Runs: 07/15/17 – 08/13/17 (possible extension through 08/20/17)

In David Adjmi’s contemporary take on the young queen of France, Marie is a confection created by a society that values extravagance and artifice. But France’s love affair with the royals sours as revolution brews, and for Marie, the political suddenly becomes very personal. From the light and breezy banter at the palace to the surging chants of “Liberté, Egalité, Fraternité!” in the streets, Marie Antoinette holds a mirror up to our contemporary society that might just be entertaining itself to death.

Breakdown:

MARIE ANTOINETTE – Queen of France

LOUIS XVI – Her husband

JOSEPH/MR. SAUCE/GUARD – Joseph: Her brother, Mr. Sauce: A Shopkeeper

AXEL FERSEN – A family friend she’s attracted to

YOLANDE DE POLIGNAC/MRS. SAUCE – Polignac: A false friend, Mrs. Sauce: Mr. Sauce’s wife

THERESE DE LAMBALLE – A true friend

A SHEEP

ROYALIST

REVOLUTIONARY 1,2,3/GUARD: All played by one man

Will not be looking for the role of THE DAUPHIN (her 10-year-old son) at these auditions.

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If you would like to submit electronically, please see our rules on electronic submissions below.  However, we would prefer to see you in person. We hope to see you at an audition very soon!

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Audition Advice: At freeFall, we’re founded and run by people who have been in the business a long time, and we have very high standards of excellence in performance.  We are only seeking professional AEA and non-AEA performers. That being said, we’re hoping just as hard as you are that you’re the right person to cast.  We want you to do well, so here are a few notes about what we’re really looking for:

  • Acting is being.  It is not merely saying the lines or telling us a story.  It’s making us believe that you’re really in that place, that you’re actually experiencing the thoughts and emotions of the character you’re portraying, and that you’re actually communicating with your “scene partner”.
  • You cannot lie to a freeFall audience.  freeFall is a very intimate theatre – it’s easy for our audiences to see when you’re not telling the truth of the moment.
  • Just because you’re singing doesn’t mean you’re exempt from acting.  If you’re living in a moment through a song, it has to be just as honest as if you were not holding out the vowels.  Of course, we want you to hit the notes, but we’ll cast a better actor over a better singer every time.
  • Your audition starts with your submission:  Make sure your picture and resume are professional quality.  Make sure your email is clear and concise.  If you want to ask a question, make sure it hasn’t already been answered on this page.

FAQ (Frequently Asked Questions):

  • Do you have housing for out-of-town actors? Yes
  • Do you have cars for out-of-town actors? No, but our actor housing is 1/2 block from the theatre
  • When do you rehearse? We only have approximately 80 hours to put up each freeFall production, so we typically rehearse 5-7 hours a day, 6 days a week for 2 1/2 – 3 1/2 weeks.  We prefer to rehearse during daytime hours, but sometimes at night, and can work around actor’s schedules, depending on the situation
  • Do you rehearse during the daytime? Yes.  We are a professional theatre company.  We do this for a living.  We reserve the right to rehearse during the day.  That being said, we are flexible and willing to work around actor’s schedules to a certain extent.
  • Do you hire Non-Equity actors? Yes.  Each cast is a mix of AEA members and professional Non-AEA actors
  • Do you offer EMC points? Yes

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Video Audition Policy: For those unable to attend in person, we will accept a video audition under the following conditions:

  1. Your audition needs to be recorded specifically for freeFall, specifically for the show(s) you’re interested in – in other words, do what you’d do if you were auditioning for us live.
  2. If we want to see more from you, we’ll ask you. Please send one video per audition.
  3. Please send a link to an online video on a hosting site, such as Youtube or Vimeo. E-mailed files will not be downloaded or watched. Make sure your video is set to “unlisted” instead of “private” on Youtube, otherwise we can’t watch it.
  4. In the interest of complete fairness: We prefer casting via live auditions. It’s very difficult for us to get a sense of who you are from just a video screen. And since we do see a fair number of actors live and in person, there may be no need for us to find more via video submission.
  5. Please address your video submissions to auditions@freefalltheatre.com

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Play Submission Policy:

We are always interested in producing new works.  Please submit all plays to our Dramaturg, Timothy Saunders at timothyryansaunders@gmail.com.  He will be in contact if there is further interest in your work.

 

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