Equity Principal Audition—Bay Street Theater Mainstage Productions

CONTRACT

LORT Non-Rep

$926.00 per week

 

CONTRACT DATES

Windfall: May 9–June 15

Anna in the Tropics: June 2–July 24

Ragtime: July 7–September 4

 

CALL TYPE

Equity Principal Auditions

 

SEEKING

Equity actors for our 2022 Mainstage Season.

Due to the pandemic, Bay Street Theater is currently accepting video submissions only from January 24–February 7. Audition Deadline is February 7.

 

PERSONNELL

Reviewing submissions will be:

Scott Schwartz, Artistic Director
Will Pomerantz, Associate Artistic Director
John Sullivan, Associate Producer

 

SEEKING

M/F Actors. See below.

 

Submission Instructions

Due to the pandemic, Bay Street Theater is currently accepting video submissions only from January 24–February 7 (deadline). Please prepare a contemporary monologue and choose 16 bars of music using your own accompaniment or use the accompaniment provided here:

Please slate your name and the name of your audition piece. Please include picture & resume with your submission. 

All submissions should be sent to the Equity Principal Auditions - Bay Street Theater - Actor Submission Form.

 

Stage Manager Submissions

Stage Managers who wish to be considered for the season may submit materials with this Equity Principal Auditions - Bay Street Theater - Stage Manager Submission Form, which will allow you to upload your resume and cover letter.  

 

Equity contracts prohibit discrimination. Equity is committed to diversity and encourages all its employers to engage in a policy of equal opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities and ages, as well as performers with disabilities, to submit.

 

Windfall
By Scooter Pietsch
Directed by Jason Alexander
Contract Dates: May 9–June 19

Glenn Brannon—The conniving, overlord/owner of Brannon Data Entry. Their managerial skills and philosophies may be aggressive but they are usually correct and always effective. But their personality and maniacal quest for perfection from their “workers” just might be the root cause of the medical issues they are struggling with. And when Glenn wants the spotlight to lecture and condescend, they take it, and there are rarely any survivors. Female or Male Identifying, late 40s, 50s, 60s. All ethnicities welcome.

Kate Rearden—The office manager and mother hen who dresses a little too age-inappropriately because she still fancies herself a spring chicken. An aging party girl who can seemingly pull it all together to be the most responsible and organized person in the room. Wild teenager on the inside and house mom on the outside. Far too frequently single, Kate still manages to be enthusiastic about her life, but can’t quite figure out why life doesn’t feel quite the same way about her. Female Identifying, 40s-50s. All ethnicities welcome.

Hannah Higley—The sweet girl next door who secretly hates that mediocre assessment and fiercely yearns for the extraordinary while barely hiding her contempt and jealousy for those who seem to have more. She is a woman capable of very big dreams but living in a nightmare world she can’t escape from. She spends her days mindlessly entering data on a computer and her nights in a loveless marriage with a controlling husband.
Although attractive, it appears she’s given up on “dressing for success” or happiness. Female Identifying, late 20s, 30s, early 40s. All ethnicities welcome.

Galvan Kidd—A man of great ego who forces humility into himself via religious service and beliefs. A walking, talking contradiction of a man, who on one hand seeks his guidance from the Bible and on the other loses his shit when the prophecies predicted by scripture don’t quite add up to his desired Promised Land. He is ambitious, driven and laser-focused on being the best at everything and crushed when he is less than that. African American male Identifying, 30s-40s, data entry employee.

Chris Hart—If it was possible to win the lottery by doing a whole lot of nothing but wishing, Chris would have won years ago. The only things he puts any effort into are drinking with his coworkers, chasing women and bemoaning his unfulfilled life. He’s charming and friendly but sometimes his motives are less than noble. a man child who plays the cuddly innocent but craftily does so to make others carry his burdens. Male Identifying, late 20s, 30s or early 40s, data entry employee. All ethnicities welcome.

Jacqueline Vanderbilt—the new data entry employee who can type 200 words per minute while dressed in couture. She is nothing like your typical data entry employee, either in name or appearance. But appearances can be deceiving for this single mother desperate to improve her station in life, any way she can. a femme fatale who has been humbled but whose dark side could always rise if given the right fuel. Female Identifying, late 20s, 30s, early 40s. All ethnicities welcome.

 

ANNA IN THE TROPICS
By Nilo Cruz
Directed by Marcos Santana
Contract Dates: June 2–July 24

Santiago—The owner of a cigar factory in Ybor City, Tampa with his wife Ofelia. He is the half brother of Cheché, to whom he owes a large debt. Santiago has a problem with gambling that has driven a physical and emotional wedge between him and his wife. He is also the father to Marela and Conchita, and though his family members dislike his gambling and failure to take responsibility for the factory, they find an ally in him insofar as he advocates for the lector tradition and seeks to expand their business by introducing a new Anna Karenina line of cigars.

Ofelia—The powerful wife of Santiago, and she spends a great deal of time relieving him of all of the problems that he brings upon himself (drunkenness, excessive gambling). Nonetheless, she is not at all a stern woman, but rather someone who enjoys fantasizing about a better life and indulging in romantic daydreaming. Ofelia is responsible for bringing the lector, Juan Julian, to Ybor City from Cuba, having paid for his fare with money she took from her husband. She believes that having a lector at the factory is an absolute necessity and thus strongly opposes Cheché's efforts to modernize the factory.

Conchita—The elder daughter of Santiago and Ofelia, as well as the sister to Marela. She is married to Palomo, but she doesn't really spend much alone time with him outside of the factory, where they both work as cigar rollers. Though they dream of one day opening their own shop together, their marriage is going through tumultuous times due to infidelity and loss of passion for each other. Conchita defends the need for a lector at the factory because, in her opinion, money can't buy the places and things that occupy her dreams. For her, literature offers a way of learning about the world.

Juan Julian—A young and handsome lector from Cuba who is hired to work for the factory by Ofelia, against the wishes of Cheché. As a lector, Juan Julian sees himself as a descendent of the cacique, a Taino Indian chief, who translates the "sacred words of the deities." He is a man who believes in eternal verities. For this reason he chooses to read Anna Karenina because "Tolstoy understands humanity like no other writer does." Juan Julian becomes involved in an adulterous affair with Conchita even though he knows that Palomo is aware of his wife's infidelity.While Juan Julian involves himself with Conchita and teaches her how to love herself and others in a new way, and while he enraptures the workers in general with his beautiful words and reading, he also captures the heart of the young Marela.

Marela—The younger daughter of Santiago and Ofelia, and the younger sister of Conchita. Although she is shown throughout the play to be totally consumed by her romantic fantasies as well as a certain youthful naïveté, Marela has an old soul and inherited her mother’s strength. Like the other women in her family, she believes that Juan Julian should continue reading at the factory because "the words he reads are like a breeze that breaks the monotony of [the] factory." She is in love with Juan Julian. When her father announces the production of a new cigar inspired by the pages of Anna Karenina, Marela models for the label that bears the Russian heroine's name.

Cheché—Santiago's half brother, a man of dubious origins who showed up one day at the factory with a birth certificate claiming to be related to the old man. He is from the North, and since he differs from the others in this way (i.e., since the others come from Cuba, to the south of Florida), he is often set against the others in arguments. Ever since Cheché's wife Mildred left him for a lector, he has expressed nothing but disdain for the love stories the lector reads because he believes that these tales of romance influenced his wife's decision. Despite strong opposition from his family and the rest of the factory workers, Cheché wants to modernize the cigar factory's operations with machinery that will perform production tasks more efficiently.

Palomo—A cigar roller, is Conchita's husband. Even though his marriage is in jeopardy, he seems possessive of Conchita whenever they are among other workers, especially Juan Julian. Palomo sides with Cheché when he tries to have the lector fired even though he. Palomo finds answers to his own questions in the story of Anna Karenina. He is angry when he discovers his wife's affair with the lector, but, rather than insist that she end it, he asks her probing questions about her lover, living vicariously through his wife's sexual exploits.

Eliades—A street smart individual. Fast talker He runs the bets at the cockfight, keeping the action under control. When not in the cockfights, Eliades works at the tobacco factory.

 


Ragtime
Book by Terrence McNally
Lyrics by Lynn Ahrens
Music by Stephen Flaherty
Directed by Will Pomerantz
Choreographed by Christopher and Lauren Grant
Music Director TBD
Contract Dates: July 7–September 4

MOTHER—30’s/40’s, White. A strong, intelligent woman, with inklings of independence that are unusual for a woman in this period. She makes a big internal journey in the course of the show, allowing her heart to lead her to new vistas. Legit soprano with strong belt.

COALHOUSE—30’s/40’s, African American. Powerful, charming and charismatic, Coalhouse understands his own worth as a musician and a human being, and expects to be treated accordingly. He also has a sense of humor and fun, as well as a deep capacity for love. Must have strong vocal ability. Legit Baritone with solid high notes/extension.

SARAH—20’s/30’s, African American. Although perhaps less worldly and sophisticated than Coalhouse, Sarah possesses a powerful goodness and a strong belief system. She is not quick to trust, but once she does, she is fiercely loyal and passionate. Must have very strong upper range, as well as strong belt.

TATEH—30’s/40’s. A recent Jewish immigrant, Tateh is fiercely protective of his young daughter. He initially strongly believes in the American Dream, but eventually becomes aware of the need to fight for what is fair and right. Has direct access to his emotions, and is able to convey to others his excitement for life and work. High Baritone.

FATHER—40’s-50’s, White. Although not a bad man, he is a clear product of a time when men and whites ruled society. Although he is not demonstrative with his feelings, he has ability to perceive the changes going on around him and question his own ability to cope with them. High Baritone or Bari/Tenor.

YOUNGER BROTHER—20’s/early 30’s. Talented and impulsive, with a passion for love and fireworks. A young man searching for meaning and a purpose in life, and willing to sacrifice to get them. Tenor or High Baritone.

BOY—White, should read between age 8 and 10. The BOY is the child of MOTHER and FATHER. He is observant, and very aware of everything that goes on around him. He is good boy, but has a bit of mischief in him. He loves his parents, and sometimes has visions of the future he can’t explain. Should be able to sing a bit.

GIRL—Should read between age 8 and 10. The GIRL is the child of TATEH. Her mother is gone, and her father is all that she has. She is initially overwhelmed and frightened by the new world she and her father have arrived in, but trusts her father to protect her. Should be able to sing a bit. MOTHER – 30’s/40’s – White –A strong, intelligent woman, with a streak of independence unusual for many women in this period. Generous, loving, and accepting, she makes a profound internal journey in the course of the show, allowing her heart to lead her to a more expansive view of the world. Legit soprano with strong belt.