Auditions & Opportunities

 

The Umbrella Stage is excited to announce auditions for its 2019-2020 season

WHEN:

Non-Musical:

AEA - May 7th 6 – 10 pm - BOSTON

AEA/Non-AEA - May 9th 6 – 10 pm - BOSTON

Musical:

AEA – May 13th 6-10 pm – BOSTON

AEA/Non-AEA – May 14th 6-10 pm – BOSTON

AEA/Non-AEA – May 15th 6-10 pm – CONCORD

WHERE:

(Boston calls will be held at ImprovBoston’s Training Center, 114 Bishop Allen Dr. Cambridge, MA. 1 block from the Central Sq. Red Line Station. Concord Calls will be held at The Umbrella Annex, 57 Old Road to Nine Acre Corner, Concord MA 01742)

WHAT TO PREPARE:

Please bring 6 copies of a headshot and resume to the audition

For Non-musicals: Please prepare a 1-2 minute monologue of your choosing which best shows your range and ability.

For Musicals: Please prepare 2 contrasting 16 bar selections. You will have 3 minutes to perform. Please bring appropriately marked sheet music for the accompanist.

Musical auditions will include a dance call from 9-10 pm at The Dance Complex (536 Mass Ave. Cambridge), so please bring appropriate footwear (including tap shoes) and clothing. Performers should be prepared to stay or return if interested in dancing roles and asked to the dance call.

CONTRACT DETAILS:

AEA – SPT Tier 2 (pending, 2018 min. $300/wk)

Non-AEA:

For productions with a 4 week performance run: $1500

For productions with a 3 week performance run: $1250

Productions which are extended will be paid an additional $250 per week of the extension.

TO MAKE AN APPOINTMENT:

For appointments and more information, please email auditions@theumbrellastage.org and specifiy a preferred date and time

OTHER INFORMATION:

All auditions by appointment only. Non-AEA actors who choose to attend the AEA call may be seen as time permits.

An Equity Monitor will not be provided. The Producer will run all aspects of this audition.

Equity’s contracts prohibit discrimination. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment 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 attend every audition.

Pursuant to the terms of a concession made to this employer's agreement, the employer has agreed that any Equity member who attends this call will have an opportunity to be seen.

Always bring your Equity Membership card to auditions.

BREAKDOWN

42nd STREET

Music by Harry Warren, Lyrics by Al Dubin, Book by Michael Stewart and Mark Bramble

Directed by Brian Boruta

Music Directed by James Murphy

Choreographed by Lara Finn

First Rehearsal: September 3
First Performance: September 27
Closing Performance: October 20

Available Roles:

Dorothy Brock — an established Broadway star
Peggy Sawyer — young, talented and hopeful
Maggie Jones — co-author of Pretty Lady
Ann Reilly (Anytime Annie) — chorus girl, sub-principal of Pretty Lady
Julian Marsh — Broadway director/producer
Billy Lawlor — juvenile lead of Pretty Lady
Bert Barry — co-author of Pretty Lady

Phyllis Dale — chorus girl
Lorraine Flemming — chorus girl
Gladys — chorus girl; singer, non-speaking
Andy Lee — dance director
Pat Denning — former vaudeville partner of Dorothy’s
Abner Dillon — “angel” for Pretty Lady

Ensemble (4m, 4w) Singers and Dancers of the Chorus

 

AUGUST WILSON'S FENCES

Directed by Michelle Aguillon

First Rehearsal: October 8, 2019
First Performance: November 1, 2019
Closing Performance: November 24, 2019

Available Roles (5m, 4w, all African American):

Troy Maxson – 50’s, a former baseball star working as a garbage man
Jim Bono- Troy's friend
Rose - Troy's wife
Lyons - Troy's oldest son by previous marriage
Gabriel - Troy's brother
Cory - Troy and Rose's son
Raynell - Troy's daughter

TUCK EVERLASTING

Book by Claudia Shear and Tim Federle, Music by Chris Miller, Lyrics by Nathan Tysen, Based on the novel by Natalie Babbitt

Directed by Nancy Curran Willis 

Music Directed by TBA

Choreographed by Lara Finn

First rehearsal: November 12, 2019

First Performance: December 6, 2019

Closing Performance: December 22, 2019 with a possible extension to December 29, 2019

Available Roles:

Winnie Foster - 11 years old
Mother - Winnie's mother
Nana - Winnie's grandmother
Jesse Tuck- the youngest of the Tuck family
Miles Tuck- Jesse's older brother
Mae Tuck - Jesse's mother
Angus Tuck- Jesse's father
Man in the Yellow Suit- a nefarious leader of a traveling carnival, in search of the fountain of youth
Constable Joe- head of the police force in Treegap
Huge- Constable Joe's sidekick and son
Ensemble (4m, 4w)

HUNDRED DAYS

Book by The Bengsons and Sarah Gancher, Music and Lyrics by The Bengsons

Directed by Brian Boruta

Music Directed by David Wright

First Rehearsal: December 30th, 2019

First Performance: January 24th, 2020

Closing Performance: February 16th, 2020

Available Roles:

Abigail – must also play guitar and floor tom

Shawn – must also play guitar

4 performers of any race or gender identity to also play instruments

Note – performers interested in hundred days are encouraged to bring an instrument with them and note this preference when making an appointment. Instruments include keys (provided), guitar, cello, and accordion.

BENT

By Martin Sherman

Directed by Peyton Pugmire

First rehearsal: February 18 , 2020

First Performance: March 13th, 2020

Closing Performance: March 29th, 2020 with possible extension to April 5th, 2020

Available Roles (11m):

Max- 34, homosexual "wheeler dealer" who leads a dissolute life of drink, drugs, and sporadic sex until the horrors of Nazi Germany intervene and effectively put an end to his hedonistic alcoholic life style; a tormented individual, tortured by the memory of his reprehensible actions, but never loses his basic humanity; not at all a coward, but rather a pragmatist
Horst - 20s, relatively muscular physique and a kind nature; a "pink triangle," incarcerated in the death camps of Dacheu because of his homosexuality; a sensitive man, strongly affected by Max's torment
Rudy - 30, bespectacled, homosexual dancer; rather gushy, effusive, homebody type who has a great love for Max and his precious household plants; tends to become a trifle hysterical at times
Greta- late 30s, a man dressed as a woman in a silver dress, top hat, and cane; presents an appearance that is at once elegant and bizarre; tough, practical proprietor of a gay nightclub who entertains patrons by singing in a smoky seductive voice; Nazis' rise to power sends him back to his wife and kids
Uncle Freddie- early 50s, aristocratic, well-dressed; Max's uncle, a "closet fluff"
5 German Soldiers- late 40s, rough menancing, intense

WAR PAINT

Book by Doug Wright, Music by Scott Frankel, Lyrics by Michael Korie, 

Directed and Choreographed by Julia Deter

Music Directed by Dan Rodriguez

First Rehearsal: March 31st, 2020

First Performance: April 24th, 2020

Closing Performance: May 17th, 2020

Available Roles:

Tommy Lewis – Elizabeth’s husband who later works for Helena

Harry Fleming – Helena’s marketing director who later works for Elizabeth

4 Ensemble Women to play multiple character roles

3 Ensemble Men to play multiple character roles

4 Dancing Ensemble Women to play multiple roles

Note: The roles of Elizabeth Arden and Helena Rubenstein have been cast