Macbeth In Stride,Equity New Haven, CT EPA
About the project
Whitney White, writer-performer; Taibi Magar and Tyler Dobrowsky, dir.; Raja Feather Kelly, choreo.; Kay Perdue Meadows, assoc. prod.; Andrew Aaron Valdez, artistic coord.; John Bronston, accompanist
Casting Equity actors for "Macbeth In Stride."
Roles in this project
Dates & Locations
Rehearsals begin on or about Nov. 18-30 (Mon.-Sat.; Nov. 28 off) in NYC; tech rehearsals Dec. 2-6 in New Haven; runs Dec. 5-14 in New Haven, CT. Note: Yale Rep’s 2024-25 Will Power! education program will include a 10 a.m. performance of Macbeth In Stride on Dec. 12 for high school students from New Haven Public Schools, entirely free of charge.
Compensation & Contract
Key Details
- Aug 15, 2024: 9:00 Am to 5:00 PM EDT
An Equity Monitor will not be provided. The producer will run all aspects of this audition. Prepare a song or a part of a song, in the style of Tina Turner, and a short bit of classical text. An accompanist will be provided, bring sheet music in the correct key. Email your audition appointment request with "Local EPA" in the subject line to: YaleRepEPA@gmail.com .Yale Rep is committed to an inclusive casting policy and encourages all actors to audition regardless of an individual’s sex, race, color, religion, age, disability, status as a veteran, national or ethnic origin, sexual orientation, or gender identity or expression. All roles will be understudied. There are no Stage Manager positions available at this time. More info at www.yalerep.org. Accommodations are welcome for persons with access needs, contact andrew.valdez@yale.edu. 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. Always bring your Equity Membership card to auditions.
Additional Materials
The Philadelphia Theatre Company, Shakespeare Theatre Company, and Brooklyn Academy of Music Production of: MACBETH IN STRIDE
SYNOPSIS:
The Queen is centerstage. In a stacked setlist of original pop, rock,
gospel, and R&B bangers, OBIE Award winner Whitney White subverts
one of Shakespeare’s most iconic tales. The arc of Lady Macbeth is
reimagined as the story of an ambitious Black woman, told through her
own contemporary perspective of femininity, desire, and power with a
capital P. Dazzlingly theatrical, Macbeth in Stride brings Lady M’s
herstory into the 21st century with energy, humor, and swagger to spare.
SEEKING: one role, understudies (tracks to be configured) and possible replacements:
THIRD
WITCH - Black, she/her. Narrator meets muse. This character provides a
framework for the piece and often connects the dots between what is
happening on stage and the audience's experience. Speaks in direct
address at times and can always find the bright side of things. An
excellent mover and comfortable with classical text. Feels like a friend
or homegirl who is rooting for you. Excellent part singer.
WOMAN
- ROLE CAST. Black, she/ her. Throughout the show this track will play
Lady Macbeth and herself; a 2020-now Black woman grappling with the
triangle of ambition, power, and love. A lover of Shakespeare, who will
spend the production questioning the consequences his narratives have
for women today. Confident with classical language and direct address.
Strong Mezzo and belter. Proficient with piano.
MAN - ROLE CAST.
White, He/him. Throughout the show this track will play Macbeth; a man
engaged in a troubled pursuit of the throne and contending with his
wife's ambition, and himself-- an ensemble member who loves Shakespeare
but is trying his best to aid in the main character's effort to
understand her place, and all Black women's place, in his narratives.
Comfortable with classical text and contemporary language. Strong
baritone tenor and part singer. Plays accordion in the production
however we are open to other instruments.
FIRST WITCH - ROLE
CAST. Black, she/her. Narrator meets muse. This character provides a
framework for the piece and often connects the dots between what is
happening on stage and the audience's experience. Speaks in direct
address at times. Feels like a family member who will never give up on
you and at the same time is not afraid to challenge you or put you in
your place. Captain of the witches. Excellent mover, confident with
classical text. Alto singer.
SECOND WITCH - ROLE CAST. Black
she/her. Narrator meets muse. This character provides a framework for
the piece and often connects the dots between what is happening on stage
and the audience's experience. Speaks in direct address at times and is
never afraid to share her point of view, even when it is salty. Feels
like a rival who could step in and play the WOMAN'S role in a heartbeat.
An excellent mover and comfortable with classical text. High mezzo
singer and strong belter.
