Auditions

R II

Text by William Shakespeare
Conceived by Jessica Kubzansky
Directed by Jessica Kubzansky
Casting Director: Julia Flores

Open Call:

Tuesday, April 30, 2013
2pm – 8pm

No appointments - auditioners will be seen on a first come, first serve basis. 
No phone calls please.  If you have a question please email us at:
audition@bostoncourt.com.  Please note we will NOT accept online submissions, nor will we take rain checks or make appointments at this email address.

FOR ALL CHARACTERS: Please bring a headshot and resume.  Please prepare two one-minute Shakespeare monologues.  

Actors of all races and ethnicities are encouraged to audition for all roles.

LOCATION:  Boston Court Performing Arts Center
70 N. Mentor Ave.
Pasadena, CA  91106

Parking located behind the building but please enter through the front of the building into the lobby.  There is also nearby street parking available.
CONTRACT: AEA 99-seat (Non-union okay)

RATE: $400 one-time rehearsal stipend, plus $25 per performance

SCHEDULE:
Rehearsals Begin – July 30
Tech – August 30 – September 1
Dress Rehearsals – September 3 & 4
Previews Begin – September 5
Opening – September 14
Runs through October 13 with possible extension through October 27 TBD
Performance Schedule: Thurs-Sat evenings, Sunday matinees (one added Wed. evening performance on October 9)

Stripped to its very essence, Kubzansky’s Richard II is theatrical, raw, and performed with only three actors. As Richard says: “thus play I in one person many people—and none contented.” Shakespeare’s tale still resonates deeply today, posing the ultimate identity crisis. When arrogant King Richard is deposed by Bolingbroke, who has good reason to lead a rebellion and seize the crown, Richard is left bewildered as he struggles to find a new identity, and Bolingbroke is overwhelmed by how hard it is to be king. After all, who are we without our names or titles?

SEEKING:

ACTOR A (male, mid-20s to mid-30s): plays Richard II primarily.
The essence of this character shares some traits of Hamlet’s. He is, in the beginning, arrogant, callous, sensitive, careless, petulant, imperious, quixotic, brilliant. As time goes on he is also vulnerable, passionate, compassionate, childlike, highly dignified, self-reflective, impelled by rage and grief and moments of being sanguine. His journey is one of invincibility to a keen awareness of mortality. But he never stops seeking to understand each new circumstance he finds himself in.

ACTOR B (male or female, late 20s to early 40s): plays chiefly Bolingbroke, and Queen Isabel, briefly The Duke of York, then Aumerle, Lord Ross, the Groom. 
The essence of Bolingbroke, which will really be the key for this actor, is as follows: Intelligent, honorable, passionate, one who cares how s/he is perceived by the populace, one who understands tools of manipulation to achieve political gain, who actually has empathy for even the arrogant assholes of the world, and finds him/herself shocked and surprised by how difficult it is to achieve kingship, even when right and the people are on his/her side. A master manipulator (in the non-pejorative sense), a person with a powerful sense of right and wrong, one who is not afraid to seek justice/retribution as long as it seems fair, and unaware when the journey starts how difficult it actually is to be a ruler.

ACTOR C (male, 40s – 50s): plays chiefly  The Duke of York, Thomas Mowbray, John of Gaunt, Bushy, Northumberland, Bishop of Carlisle, Salisbury, Scroop, Sir Piers of Exton.
The essence of this actor is one with political and life battle scars, who both has axes to grind and more wisdom than the kids running around making a mess of things. In some cases he is full of righteousness, charismatic power and an absolute sense of right and wrong, in others, being able to see all the shades of grey makes for political weakness. In some cases he is quite mentally powerful, but physically vulnerable. Most of his characters are not above seeking vengeance.

*Designation of characters is preliminary and may shift somewhat as the working language of the production develops in rehearsal. This is an initial guide and is subject to some change.
Also casting understudies for all roles.  Understudies receive a one-time rehearsal stipend of $200 and receive $25 per performance.

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