Laughing Stock (Morey) Auditions

Roles (9 men, 5 women):
Gordon Page, 40's-50's. Artistic Director. (Leader of the pack, he's in most scenes)
Jack Morris, 20's. Actor. (The Juvenile. Should he quit acting, and go to law school?)
Susannah Huntsman, 30's. Director. (We've all had directors like this one, unfortunately)
Mary Pierre, 20's. Actor. (The ingénue. Earnest to a fault)
Tyler Taylor, 30's-40's. Actor. (Leading roles only, please)
Vernon Volker, 40's-50's, Actor. (Summer stock may be beneath him.)
Richfield Hawksley, 70's. Actor. (Done it all, played them all, if he could only remember.)
Daisy Coates, 60's-70's. Actor. (Has been ready to play Ophelia for 40 years)
Craig Conlin, 30's-50's. Business Manager. (Someone has to watch the money)
Sarah McKay, 40's-50's. Stage Manager. (Efficient, acerbic, never without her drink mug.)
Henry Mills, 30's-40's. Designer. (Must he really create it all with paper and scissors?)
And the inexperienced, overworked, and faithful apprentices:
Karma Schneider
Braun Oakes
Ian Milliken

Play Description:

In writing Laughing Stock, Charles Morey has drawn on his experiences as the acclaimed director of Salt Lake City's Pioneer Theatre Company. This hilarious farce gives the audience a back-stage look at a struggling third-rate theatre company performing summer stock in an old barn in New England. Faced with eccentric directors, a limited budget, and a challenging schedule, the troupe valiantly tries to keep the theatre afloat. The pragmatic, but weary, artistic director has scheduled three plays to run in repertory (all in rehearsal, to run on alternate nights in the barn theatre): Hamlet, Charley's Aunt, and a new adaptation of Dracula.

Laughing Stock is a farcical send-up of summer stock theatre, combined with an affectionate look at the magic that holds theatre companies together. As Morey states in his introduction to the play, "The humor derives not from the disasters that befall (the characters), but from the manner in which they attempt to cope with those disasters, cover their miscues, and right the sinking ship."

Although the characters in the play will be recognized as types generally found in theatre repertory companies (the juvenile, the ingenue, the leading man, older character actors, etc., they should be portrayed as "real people with real concerns for which we have empathy." The play's characters are members of a true ensemble company, and we hope to assemble a true ensemble cast for Laughing Stock at Country Playhouse to celebrate their misfortunes and their successes.

Auditions 1pm Monday March 7 & Tuesday March 8, at SFCC's Spartan Theatre in Bldg 5.

Richard III hair

So apparently for Queen Elizabeth and other older ladies, we will be doing a hairstyle similar to these pictures:

...which to me, scream Gibson Girl, not Renaissance Dowager. But what do I know? Anyway, I am NOT excited about this hairstyle, since I have GINORMOUS ears. Bah humbug.

And I realized my second, no, third character (1-Mistress Shore, 2-Qn Eliz understudy, 3-random girl in one scene) doesn't have a headress/hat/hair covering. Which needs to be addressed - I'm thinking just a simple wimple/veil or coif. At least I finally have a shirt & skirt to go with the bodice! And I'm excited about my corset!! Woo!!! Mine is the last to be finished, and once I do, I can finally get my dress fitted properly! No more sexy carpet bag dress for me.

Auditions!

Auditions coming up in the Spokane area:

Feb 21-22: LAKE CITY PLAYHOUSE: Dearly Departed
March 6-7: THEATRE ARTS FOR CHILDREN: Treasure Island (M)

March 7-8: SFCC: Laughingstock

March 13-14: SPOKANE CHILDREN'S THEATRE: Snow White and the Seven Dwarves (M)

March 14-15: LAKE CITY PLAYHOUSE: Urinetown (M)
March 19: CDA SUMMER THEATRE: CDA Auditions (Wizard of Oz, A Little Night Music, Once on This Island, Sound of Music)
March 21-22: CIVIC: The Full Monty (M)
May 15-16: LAKE CITY PLAYHOUSE: Fiddler on the Roof (M)
March 25: CYT: Alice in Wonderland (M)

March 28-29: CIVIC: Frost/Nixon

April 7: IGNITE! COMMUNITY THEATRE: West Moon Street

??: INTERPLAYERS: Race?

Know of any others? Let me know!

(FYI, (M) denotes Musical.)

shitshitshit

It's starting to sink in. We open Richard III in TWO weeks. I have 2/8 corsets done, and several people still are missing complete pieces of costumes, AND stumbling over lines, AND are unaware of the meaning of what they are saying AND WE OPEN IN TWO WEEKS.

Eeep.

Meaning, I better get any deep dirty character work I intend to do, done NOW. And finish the damn corsets.

Here's a link to our Facebook event page for the show: SFCC's Richard III. It runs from March 3-13; the understudy show (in which I will be playing Queen Elizabeth) is the second Thursday (March 10th). All info is on the event page.

The Vagina Monologues

Presented by Spokane Falls Community College, Associated Women Students.

Shows: Feb. 9 at 11:30 a.m. in SUB Lounges A, B and C, Bldg 17;
AND Feb. 11 at 7:30 p.m. in the Spartan Theatre, Bldg 5.

Cost: Free on Feb. 9;
$3/general admission, $1/students, and free/SFCC students on Feb. 11

Location: Spokane Falls Community College,
3410 W. Fort George Wright Drive
Spokane, WA

The Vagina Monologues is a celebration of female sexuality in all its complexity and mystery. In this stunning phenomenon that has swept the nation, Eve Ensler gives us real women's stories of intimacy, vulnerability, and sexual self-discovery. Witty and irreverent, compassionate and wise, Eve Ensler's Obie Award-winning masterpiece gives voice to women's deepest fantasies and fears, guaranteeing that no one who reads it will ever look at a woman's body, or think of sex, in quite the same way again.

The Vagina Monologues is made up of a varying number of monologues read by a varying number of women. Every monologue somehow relates to the vagina, be it through sex, love, rape, menstruation, mutilation, masturbation, birth, orgasm, the variety of names for the vagina, or simply as a physical aspect of the body. A recurring theme throughout the piece is the vagina as a tool of female empowerment, and the ultimate embodiment of individuality.

Every year a new monologue is added to highlight a current issue affecting women around the world. The monologue is performed at thousands of local V-Day benefit productions of the play that take place annually in February and March raising funds for local groups, shelters, crisis centers working to end violence against women.