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CASTING BREAKDOWN

Seeking all ethnicities for all roles.

• MEN ON BOATS

  By: Jaclyn Backhaus
  Director: Dawn M. Simmons
  Rehearsals: Starting on Aug. 14th
  Performances: Sep. 8th – Oct. 7th, 2017 possible extension to Oct. 14th
  A note from the Playwright: MEN ON BOATS is a piece that begs to be cast gender-fluid, outside of the realm of the white cisgender male who would normally play these characters. It is important to populate the world of the play with people who would not have originally been on these boats, people who stand outside of the realm of the white male conquest storyline, and who are normally not allowed to tell stories like these. All of the roles are open to any race or gender.

  JOHN WESLEY POWELL
  Any ethnicity. Gender fluid, outside of the realm of the white cisgender male. 18-80, Lost one arm in a previous battle, the leader of the expedition, one of the greatest geologist, had experienced both physical and mental hardship. Fiery temper. Hates suits, loves adventure.

  WILLIAM DUNN
  Any ethnicity. Gender fluid, outside of the realm of the white cisgender male. 18-80, loyal, trustworthy, hunter and trapper, Powell’s right hand man.

  JOHN COLTON SUMNER
  Any ethnicity. Gender fluid, outside of the realm of the white cisgender male.18-80, brash, explorative, former soldier, current explorer, type of person who does something because “no one had done it yet”.

  OLD SHADY
  Any ethnicity. Gender fluid, outside of the realm of the white cisgender male. 18-80, Powell’s older brother, Civil War vet. Oldest person on the boat. Hates people.

  BRADLEY
  Any Ethnicity. Gender fluid, outside of the realm of the white cisgender male. 18-80, lieutenant, manic with youth. Genuinely loves people. Earnest, so very earnest.

  O.G. HOWLAND
  Any ethnicity. Gender fluid, outside of the realm of the white cisgender male. 18-80, printer and hunter. Stern, reserved, stoic, proud/ TSAUWIAT- a Ute chief (doubles with OG HOWLAND) tobacco-addled, calm.

  SENECA HOWLAND
  Any ethnicity. Gender fluid, outside of the realm of the white cisgender male. 18-80, OG’s quiet little brother. Loyal, reserved, will defend his brother to the end/ THE BISHOP- Tsauwiat’s wife (doubles with SENECA HOWLAND) tobacco-addled, calm, like his brother.

  FRANK GOODMAN
  Any ethnicity. Gender fluid, outside of the realm of the white cisgender male. 18-80, British, so excited/ MR. ASA- a desert settler (doubles with GOODMAN) red-faced, eccentric, uncomfortably positive

  HALL
  Any ethnicity. Gender fluid, outside of the realm of the white cisgender male. 18-80, mapmaker, old soul, teams up with Hawkins bro/dude

  HAWKINS
  Any ethnicity. Gender fluid, outside of the realm of the white cisgender male. 18-80, the cook, teams up with Hall, bro/dude

• THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME

  Based on the novel by Mark Haddon
  Adapted by Simon Stephens
  Director: Paul Daigneault
  Rehearsals: Starting on Sep. 25th
  Performances: Oct. 20th – Nov. 18th, 2017 possible extension to Nov. 25th

  CHRISTOPHER BOONE: Male, 18+ to play a teenager.
  ROLE CAST. An English teenager who is an outsider due to his unique perception of the world, which he sees in surprising and revealing ways. He notices things in minute detail yet has difficulty understanding social and emotional cues and difficulty empathizing with others. This lack of understanding often makes the world seem frustrating and frightening to him, and he can become agitated and even violent when he has to deal with too many overwhelming external stimuli. Incredibly intelligent but shy and mistrusting of strangers, Christopher feels things deeply but doesn’t know how to express or articulate them. He has a brilliant mind, can be fixated on certain topics, and thinks in a highly logical way, which makes him excel in math and science, but because he perceives language literally, he does not understand sarcasm or metaphors; Must be physically very fit and agile. English accent. This role has been cast; actors may audition for possible replacements.

  ED BOONE/OTHER: Male, 35-55
  Christopher’s father; estranged from his wife, Judy and struggling as a single parent trying to raise his son the best he can. A working class man. Proud, gruff, and brusque, he is unable to convey his emotions and feelings but loves his son deeply. He is a good man but there is a lot on Ed’s shoulders when he first enters the play in pain and near breaking point, though he does not openly express it. He has trouble communicating with Christopher, who often frustrates him. And though he’s naturally practical and much more patient in dealing with Christopher than Judy, a difficult situation can make him lose it, sometimes violently. A plumber and heating engineer by trade, naturally good with his hands; English accent appropriate to working middle class.

  JUDY BOONE/OTHER: Female, 35-55
  Christopher’s mother; estranged from her husband, Ed after having an affair with her neighbor Roger. She works as a secretary and is a working class woman with a tough exterior who has no support system to raise her son and blames herself for her inability to cope with him effectively. She has had a hard life and had to fight for things, which she is ready to do, as she is feisty and doesn’t take anything lying down. Loving, yet impatient, she has felt very alone in her situation with Christopher and it frustrates her to a point of absolute desperation. She wishes she knew how to truly reach and care for Christopher. Independent, lonely and proud, she doesn’t easily ask for help and has never had the proper social resources to help her. English accent appropriate to working middle class;

  SIOBHAN/OTHERS: Female, 25-49
  Christopher’s teacher and mentor, the only person in Christopher’s life with an understanding of his situation. She strives to teach Christopher how society works and how to behave within its guidelines. Constantly negotiating around Christopher’s anger, she is professional, warm, caring, calm, gentle and self-possessed and also sensitive to his strained relationship with his father. She often serves as the narrator of Christopher’s story and of his feelings; English or Irish or Welsh or Scottish accent.

  MRS.SHEARS/MRS. GASCOYNE/OTHERS: Female, 35-39
  Mrs. Shears is Rogers’s ex-wife and Christopher’s neighbor, she is rough around the edges. She is furious at the world as a result of being betrayed and abandoned by her husband. Worn out by life, disappointed, haggard. It is her dog, Wellington that was found killed in the night. Mrs. Gascoyne is the headmistress of the school for ?special needs? children that Christopher attends; condescending and lacking in sensitivity, nuance and imagination. English accents appropriate to class.

  ROGER SHEARS/ DUTY SERGEANT/OTHERS: Male, 35-39
  Roger Shears is Mrs. Shears ex-husband, a middle class man who works at a bank. Has left his wife as a result of his relationship with Judy, which not built on sturdy ground. Doesn’t have a clue or any interest in understanding Christopher. Duty Sergeant is a local Swindon desk sergeant (policeman) who releases Christopher to Ed’s custody after Christopher’s been arrested. Firm, experienced, tough but fair-minded; English accents appropriate to class; must be strong, fit and agile.

  MRS.ALEXANDER/OTHERS: Female, 60-79
  one of Christopher’s neighbors who has probably lived in Swindon her entire life. May be middle class or middle working class. She is a lonely older woman without a lot of means. She is kind, and so hungry for a connection with Christopher that she tries to help him and ultimately reveals information to him about his mother that he did not know. English accents appropriate to class.

  POLICEMAN 1/MR.THOMPSON/MAN WITH SOCKS/ OTHERS: Male, 20-36
  Policeman 1 is a Swindon policeman who arrests Christopher after Christopher hits him while being questioned about the death of Wellington, the dog. He has no patience or understanding of Christopher’s way of thinking. Mr. Thompson is a neighbor that Christopher interviews during his investigation of who killed Wellington, the dog. Doesn’t have patience for Christopher’s line of questioning. Man with Socks is a guy waiting for the tube in London who suddenly has to help convince Christopher to get up from the train tracks; English accents appropriate to class; must be strong, fit and agile.

  NO.40/INFORMATION/PUNK GIRL/OTHERS: Female 20-36
  No. 40 is a woman who is a neighbor of Christopher’s who he interviews during his investigation of who killed Wellington the dog. She tries to gently suggest to Christopher that he should talk to his father before asking these questions. Information is a busy information clerk in a London Railroad Station who Christopher asks for directions. Punk Girl is a young woman in the tube station who tries to help Christopher; English accents appropriate to class; must be strong, fit and agile.

• SHAKESPEARE IN LOVE

  Screenplay by Marc Norman & Tom Stoppard
  Adapted for the stage by Lee Hall
  Director: Scott Edmiston
  Rehearsals: Starting on Dec. 18th
  Performances: Jan. 12th – Feb. 10th, 2018, possible extension to Feb. 17th

  Seeking team players who are able to make heightened language feel personal and spontaneous, contribute strong comedic skills, and move extremely well. It is essential that our cast bring a sense of youthfulness, sexiness, exuberance, and edge to this piece. Ability to sing and play an instrument a plus but not required
  WILL SHAKESPEARE – Male, 20s-30s. Poet currently suffering from writer’s block. Romantic, intelligent, fiery, sexy, and dreamy (in all senses of the word). A romantic rebel rock star genius. Swordfights with Wessex. Onstage for nearly the entire play. Seeking performers who have exceptional skill with language and comedy. Actor must be a skilled swordsman.

  VIOLA DE LESSEPS – Female, 20s. Noblewoman woman who loves poetry, language and the theatre. Passionate, full of life, desirous of adventure. Dresses up as a man to be part of Shakespeare’s world. She is Juliet, Rosalind, and Viola all rolled into one effervescent, intelligent, beautiful dynamo. Must have great ease with language and physical humor. Seeking performers who have exceptional skill with language and comedy.

  KIT MARLOWE –Male, 20s-30s. Will’s best friend, also a poet. Intelligent, creative, lovable. and reckless with a punk rock idol quality. He helps Will write some of his most famous poetry and acts as Will’s sounding board and confidante. Seeking performers who have exceptional skill with language and comedy. Singing a plus, instrument abilities, especially guitar or drums, a strong qualifier..

  HENSLOWE– 40-50. Philip Henslowe is the owner of the Rose Theatre. Bold, generous fellow who will work any angle to keep his theatre afloat. He has lots of spirit and cheekiness but questionable personal hygiene. Requires a fearless comic character actor.

  FENNYMAN– Male, 40s-50s. Henslowe’s creditor. Big, Intimidating business man who is all about the numbers. The last person you would expect to be a theatre lover. Is overjoyed to be cast as the Apothecary in Romeo and Juliet. Joins Shakespeare’s company in Act II. Seeking performers who have exceptional skill with language and comedy.

  NED ALLENYN – Male, 20s-40s. A quick-witted and dashing matinee idol. Member of Shakespeare’s company, plays Mercutio- and all that suggests. Seeking performers who have exceptional skill with language and comedy. Actor must be a skilled swordsman.

  LORD WESSEX–30s. Lord Wessex is William Shakespeare’s opposite in almost every way. He’s humorless. He’s an aristocrat. He’s arrogant. He’s petulant. Requires an actor who understands how to play a dignified comic fool. Must be a skilled swordsman.

  RICHARD BURBAGE –Male, 30-40. An actor and a grand theatre impresario. Owner of the Curtain theatre. Lovable actor-manager with a larger than life presence with a larger than life presence. Seeking performers who have exceptional skill with language and comedy. Actor must be a skilled swordsman..

  QUEEN ELIZABETH I – 50+. Regal. imposing. Tough. See through everything. Does not suffer fools, loves theatre and dogs.

  NURSE – Female, 40s-50s. Viola’s nursemaid, servant, and ally. Motherly. A great comedienne with a huge heart. Seeking performers who have exceptional skill with language and comedy, and a beautiful singing voice.

  TILNEY/SIR ROBERT LESSEPS– Male, 40s-60s. Elizabeth’s Lord Chamberlain and advisor. Pompous and rigid, he is the inspiration for Malvolio. Doubles as Viola’s father, Seeking performers who have exceptional skill with language and comedy.

  MISTRESS QUICKLY/MOLLY – 25-45. Wardrobe Mistress, fun, playful.
  Molly is sultry, a silly bar wench

  RALPH – Male, 30s-50s. A waiter at the tavern, and also a member of Shakespeare’s company. Plays the Nurse in Romeo and Juliet. Funny, sweet and great with physical humor. Seeking performers who have exceptional skill with language and comedy. ?

  4 Ensemble Actors- Male/Female, 18-60+ will play the following roles JOHN WEDSTER, WABASH, SAM, ADAM/BOATMAN, NOL, PETER/BARMAN and ROBIN/FREES. Actor need to be playful, and versatile.

• EVERY BRILLIANT THING

  Written by Duncan MacMillan with Jonny Donahoe
  Rehearsals: Starting on Feb. 5th
  Performances: Mar.2nd – Mar. 31st

  THE NARRATOR—Male/Female 30-55, warm, personable, ability to feel comfortable and interact with audience.
  This role has been cast; actors may audition for possible replacements.

• ALLEGIANCE

  Book by Marc Acito, Jay Kuo & Lorenzo Thione
  Music and Lyrics by Jay Kuo
  Director: Paul Daigneault
  Rehearsals: Starting on April 9th
  Performances: May 4th – June 2nd, 2018 possible extension to June 24th

  SAM KIMURA/KAITO KIMURA (“OJII-SAN”):
  Male, 70-79. Asian, South Asian, Southeast Asian / Pacific Islander.
  Both roles are played by the same actor, but they are complete opposites. Sam is a World War II hero, and Ojii-san is his grandfather. Sam is American-born, resolute and stern, military in bearing, a person who shut down a lifetime ago and has steadfastly refused to open up since. Ojii-san, or Ojii, is Japanese-born, sweet-natured and observant, quick to make a joke, even quicker to laugh at one. Uneducated, he is as free in spirit as Sam is locked up, though he does rely on the precepts of Japanese tradition to order his life and sustain him. Bass-baritone to classic baritone. Not a “singer” role, but more of an actor who sings.
  KEI:
  Female, 30-35. Asian, South Asian, Southeast Asian / Pacific Islander
  A single woman at the start of World War II, having dedicated her life to serving her family; having lost her mother as a girl, she is the obedient daughter to her domineering father and the only mother her much younger brother has ever known; a hard-working farm girl, there’s a sturdy dependability to her, as if she’s constructed a solid well around a deep, dark reserve of emotion; paradoxically, the internment provides her a liberation she’s never experienced, a chance to make up for the adolescence she lost and finally find love and become politically outspoken; mezzo; solid belt/mix to Eb.

  SAMMY KIMURA:
  Male, 25-29, Asian, South Asian, Southeast Asian / Pacific Islander
  An industrious and dutiful son but longs to find his own way in the world; whip-smart and irrepressibly friendly, he secretly fears he will never measure up, particularly since he disappoints his father when he doesn’t get into law school; the internment provides him the opportunity to become an enthusiastic and effective community leader; he goes on to face unthinkable carnage as a platoon sergeant in World War II, earning him a Purple Heart; strong tenor with solid A.
  FRAMKIE SUZUKI:
  Male, 30-35. Asian, South Asian, Southeast Asian / Pacific Islander
  a Japanese-American graduate student; bookish and serious; a natural-born leader; his inherent sense of justice is catalyzed by the internment to the point of open rebellion in the name of liberty; high baritone to Ab.

  TATSUSO KIMURA:
  Male, 50-59
  a Japanese born (Issei) farmer, father of Kei and Sammy, faithful, conservative. Striving to uphold what he believes are American ideals, his resistance to their internment drives a wedge between him and Sam, and leads to his segregation from his family. Classic baritone to F. Principal.

  MIKE MASAOKA:
  Male, 20-29. Asian, South Asian, Southeast Asian / Pacific Islander.
  A real life historical figure, Mike is the newly appointed 26-year-old national spokesman for the Japanese American Citizens League. At the outbreak of war, he finds himself thrust onto the national stage, so he must summon the fortitude to speak on behalf of his people. He is sincerely determined to do what is best and turns to his deeply held faith in God to eventually find the confidence. But that zeal and certainty will eventually blind him to moral compromises that sacrifice lives. This is a non-singing role. Singing is a plus but not necessary. Principal.

  HANNAH CAMPBELL:
  Female, 20-29. Caucasian.
  A small-town girl with big dreams, Hannah’s sense of justice motivates her to volunteer at the internment camps; her forthright bravery bonds her with Sammy, in whom she finds an unexpected kindred spirit; mezzo with belt to D/Eb; classic Broadway with a contemporary twist; strong mix to E.

  3 FEMALE ENSEMBLE:
  Female, 20-69. Asian
  Strong singers. Excellent movers. Possible principal understudy assignments.

  3 MALE ENSEMBLE:
  Male, 20-69. Asian
  Strong singers. Excellent movers. Possible principal understudy assignments.

  3 MALE ENSEMBLE:
  Male, 20-40. Caucasian.
  Strong singers. Excellent movers

Local Readings & Workshops
We understand that the best way to experience a script is live and on its feet, and so we try to see as many local staged readings, workshops and world premieres as possible. If your play is receiving a public reading or performance, e-mail information on the date, time, and responsible theatre company to submissions@speakeasystage.com, and we’ll make every effort to have a representative attend.

Unsolicited Submissions from New York & Non-Local Playwrights
SpeakEasy Stage accepts submissions from agents and development organizations in the United States, Canada, and the UK. Please send all inquiries to submissions@speakeasystage.com.

There are no job openings at this time. 

• Arts Administration

  Administrative Interns gain exposure to all facets of managing a mid-sized non-profit theatre company, working closely with the Artistic, Development, Marketing, and Production departments as they:

  • Prepare dramaturgical and marketing materials for upcoming productions
  • Coordinate and assist with special events, readings and benefits
  • Lay the groundwork for donor and audience engagement initiatives
  • Read and Assess script submissions from local and national writers
  • Build relationship with audiences and volunteers

  Interns will be expected both to help with general office duties, and also take on and manage a wide variety of necessary tasks throughout the semester. Candidates with a passion and love of theatre, good writing and computer skills, and a gregarious, outgoing, and enthusiastic personality will be the best fit for this position. Administration internships are directly supervised by Jennifer Morris, Administrative  Associate.

  To apply, please submit:

  • A cover letter indicating your areas of interest and experience, your preferred start date, weekly availability (if available), and whether you plan to receive college credit for your internship
  • A resume or resumes detailing both your administrative and theatrical experience
  • The names and contact information of two references
  • A writing sample (optional)

  Application materials should be e-mailed to info@speakeasystage.com, with the position to which you are applying in the subject heading.

• Marketing

  Marketing Interns assist SpeakEasy’s marketing team as they:

  • Plan production marketing campaigns, including poster and postcard design, web design, ad placement, promotions, group sales, special events, business partnerships and more
  • Work with the press to ensure a show gets maximum exposure, including photos, preview articles, reviews, and features
  • Enact public relations efforts, including community building and outreach, educational efforts, and charity donations Interact with patrons and subscribers, and help the public learn about a production from all sides

  Candidates for this internship should be motivated, with good people skills, computer literacy and experience with Microsoft Office (familiarity with Adobe Photoshop is a plus). The ideal applicant will have a basic knowledge of common social networking devices, such as Facebook and Twitter, and will possess superior writing skills. Some graphic design experience is preferable. Marketing internships are directly supervised by Jim Torres, Director of Marketing & Communications.

  To apply, please submit:

  • A cover letter indicating your areas of interest and experience, your preferred start date, weekly availability (if available), and whether you plan to receive college credit for your internship
  • A resume or resumes detailing both your administrative and theatrical experience
  • The names and contact information of two references
  • A writing sample (optional)

  Application materials should be e-mailed to info@speakeasystage.com, with the position to which you are applying in the subject heading.

• Production Management

  Production Management interns assist SpeakEasy’s production management staff as they coordinate, design and execute mainstage productions, special events and auditions. Interns have the opportunity to assist with multiple facets of the season, including:

  • Hands-on work alongside technical and production management staff on our mainstage shows*
  • Coordinate schedules and meetings with production team
  • Plan, organize, and execute load-in and strike of productions
  • Maintain production stocks and supplies
  • Attend rehearsals and design/production meetings as needed

  Candidates should have some experience in theatre production (either professional, community, or educational), knowledge of Microsoft Office apps (especially MS Excel), as well as strong self-management and organizational skills.

  Production Management interns are supervised directly by Paul Melone, General & Production Manager and Dominique Burford, Associate Production Manager.

  To apply, please submit:

  • A cover letter indicating your areas of interest and experience, your preferred start date, weekly availability (if available), and whether you plan to receive college credit for your internship
  • A resume or resumes detailing both your administrative and theatrical experience
  • The names and contact information of two references

  Application materials should be e-mailed to dominiqueburford@speakeasystage.com, with the position to which you are applying in the subject heading.

• Stage Management

  Stage Management interns work alongside our professional stage managers and run crew on our mainstage productions, gaining essential knowledge in the responsibilities of a stage management team for professional plays and musicals. Internships in stage management are offered on a show-by-show basis.

  Stage Management interns must be able to commit to a full 8-week production schedule, which includes rehearsals, tech, and performances. A mix of daytime, evening, and weekend availability is required based on the particular show to which you are assigned. Production schedules will be listed below to indicate when applications are open for that show.  

  Prior experience in Stage Management at the community, professional, or educational level is required, though certain candidates with extensive training in theatre arts will be considered.

  To apply, please email dominiqueburford@speakeasystage.com with a resume and cover letter detailing your previous experience and what interests you about the show to which you are applying. You should also include your full availability and any potential conflicts with the production schedule. You may be asked to complete a short survey to give us a fuller sense of your strengths and experiences in theatre production.

   

• Artistic Fellowship

  Working under the Producing Artistic Director, the Artistic Fellow will spend the season gaining experience in high-level theatrical administration, with responsibility in multiple areas, including auditions and casting, dramaturgy and literary management, season development, special event production, and general administrative duties. Applicants for this fellowship should be interested in pursuing a career as an artistic director of a theatre company.

• Marketing Fellowship

  Working under the Director of Marketing, the Marketing Fellow will gain both high level and hands-on experience in theatrical publicity and communications, with responsibility in multiple areas, including press outreach and promotion, audience engagement events, group sales, e-blasts and social media, subscription campaigns, budgeting and finance management, and audience relations. Applicants interested in this fellowship should be interested in pursuing a career in marketing, public relations, and/or arts administration.

• Production Fellowship

  Working under the General and Production Manager, the Production Fellow will spend the season gaining experience in both the hands-on and day-to-day administrative operations and hands-on implementation of a five-show production cycle. The fellow will play a key role in the production of SpeakEasy’s fall benefit and spring gala, and take the lead on producing the spring Boston Project workshops and staged readings. Applicants for this fellowship should be interested in pursuing a career as the production or general manager of a theatre company.

Application Requirements

To apply for any of the fellowships, please prepare:

• A cover letter detailing which fellowship you are applying for
• A resume containing relevant job history and theatre experience
• A narrative of no more than three pages addressing:
  • Why you are interested in the fellowship to which you are applying
  • The qualities, skills, and interests that make you the best candidate
  • What you are hoping to gain from the fellowship experience
  • A description of your broader career goals, and what impact or transformation you would like to have in the Boston theatre community
• A brief description (no more than one page) of either the most moving piece of theatre you’ve ever seen, or an artist who inspires you
• Two letters of recommendation from former employers, professors, or supervisors (with at least one being from a staff member of an arts organization or a theatre professor). These letters may be sent separately via e-mail to fellow@speakeasystage.com, but must be received by the application due date.

Application materials should be saved in .pdf format and submitted via e-mail to fellow@speakeasystage.com. Please indicate the fellowship to which you are applying in the subject heading of your e-mail.

Any questions regarding SpeakEasy, the Fellowship program, or the application process may be directed to fellow@speakeasystage.com.