Auditions - As You Like It/Jew of MaltaPosted on Jan 09, 2018 by William Shakespeare
AS YOU LIKE IT by William Shakespeare
Directed by Philip Leone-Ganado - July 2018 at San Anton Gardens
The play will be staged with live music. Performances will take place between July 13 and 22, 2018 at San Anton Gardens. Rehearsals will begin in late May 2018.
Auditions will be held on January 20th and 21st, 2018. To book an audition slot email email@example.com and indicate a preferred day as well as which character/s you are interested in reading for.
Please prepare a suitable monologue from the play. You may be asked to read additional scenes.
NB: All roles will be doubled with the exception of Rosalind, Celia, Orlando and Touchstone. The age ranges indicated refer to playing age and are flexible in most cases.
ROSALIND (Female, 18-25) Daughter of the banished Duke. Banished from court, she escapes to the Forest of Arden disguised herself as a young man, Ganymede. There, she finds herself tutoring her beloved Orlando in love and life. She is clever, kind-hearted and strong-willed, but still young and prone to immaturity, with as much to learn as to teach. Singing ability is an asset.
CELIA (Female, 18-25) Daughter of the new Duke, and Rosalind’s cousin and best friend, with whom she escapes to Arden. She is loyal, playful and grounded, but finds herself sidelined as Rosalind and Orlando’s romance progresses, until she finds love in Arden herself. Singing ability is an asset.
ORLANDO (Male, 18-30) Raised as little more than a servant by his older brother Oliver. He challenges and defeats the renowned wrestler Charles to prove his worth, but is forced to escape to Arden shortly after. He is noble-minded and a hopeless romantic, but naive and rough round the edges.
TOUCHSTONE (Male, Any) The court jester, he tags along with Rosalind and Celia on their journey to Arden. Impossibly clever and the play’s comic heart. His romance with the rough and rude Audrey is a foil to the more high-minded romances around him.
OLIVER (Male, 25-35) Orlando’s older brother. He engages the wrestler Charles to kill him and later chases after him into Arden. Disdainful to his inferiors and obsequious to his superiors, although this changes, after Orlando saves his life and he falls in love with Celia.
DUKE FREDERICK (Male, Late 40s – 50s) Celia’s father and Rosalind’s uncle. He has usurped his older brother’s dukedom and is a volatile, dictatorial figure in court. He banishes Rosalind and forcing Orlando to flee court on the slightest of whims.
CHARLES (Male, 20s – 40s) A renowned wrestler, challenged by Orlando to a wrestling match and engaged to kill him, but defeated.
ADAM (Male, 60s upwards) Orlando’s elderly retainer, he has served the family his whole life. He is kindly and devoted, giving Orlando the little money he has saved up and helping his escape to Arden.
LE BEAU (Male/Female, Any) A high-ranking courtier in Duke Frederick’s court. He appears an uncritical supporter of the new regime, but reveals a different side when he warns Orlando of the threat against his life.
DUKE SENIOR (Male, Late 40s – 50s) Rosalind’s father. After his brother usurped his position, he set up a court-in-exile in Arden. Serene and contented in his new life, kindhearted and good-spirited.
JACQUES (Male, 30s – 40s) One of the Duke’s lords-in-exile, renowned for his melancholic disposition and cynical outlook, a role he clearly enjoys performing. He serves the role of moody philosopher, commenting on the goings-on around him, while offering some of the play’s more striking and entertaining insights.
CORIN (Male, Late 40s upwards) A kindly shepherd, of simple pleasures, who helps the younger Silvius in his quest for love and welcomes Rosalind and Celia to Arden.
SILVIUS (Male, 18-30) A young shepherd, madly in love with Phebe, who does not return his feelings. He becomes increasingly desperate and love-sick as the play goes on.
PHEBE (Female, 18-30) A young shepherdess. She dismisses Silvius’s advances out of hand and without much regard for his feelings, before she herself falls for Rosalind-as-Ganymede.
AUDREY, a Country Wench (Female, 18-40) A straightforward, none-too-bright shepherdess. She falls in love with Touchstone, in an unlikely romance that seems doomed to everyone but them.
Others: Dennis (a servant), William (a country fellow), Sir Oliver Martext (a country vicar), Jaques De Boys (brother to Orlando and Oliver), lords at court, lords in Arden, servants and foresters. These roles will be played by members of the ensemble.
Audition Info for THE JEW OF MALTA
In October 2018 the Club is planning to produce The Jew of Malta by Christopher Marlowe at Teatru Manoel 5th, 6th, 7th, 12th, 13th, 14th October 2017. Auditions will be held in conjunction with those of As You Like It (see above). That is on: Saturday 20th January from 4pm and Sunday 21st January from 10am. To book an audition slot email firstname.lastname@example.org and indicate a preferred day as well as which character/s you are interested in auditioning for. Please prepare piece as for the Shakespeare. Should you be interested in auditioning for both productions, you only need to audition once.
The Jew of Malta is one of Christopher Marlowe’s lesser known plays. This may be because of its strange amalgam of tragedy and fiercely black comedy.
In many ways it was ahead of its time and today reads more like a Quentin Tarantino script where violence and bloody slapstick comedy clash in one vibrant, fast-moving play. It expects a lot from its actors who are sent rushing in and out of scenes with breakneck alacrity in a plot which has so many twists and knots you could construct a macrame basket out of it .
You want to know more about the plot? Sure you do. Ok, here goes: We meet Machiavel, the amoral philosopher who believed that the end always justifies the means. He acts as godfather to the play. Because this is a play where every character is totally working to their own very selfish agenda. Sound familiar?
Then there is the governor of Malta who, forced to pay a tribute to the Turkish Sultan Calymuth in order to stave of war, decides that the easiest way to do this is to take it off the Jewish community based in Malta. One particular fellow is silly enough to protest and immediately sees all his goods and wealth (worth more than all of Malta’s GDP) seized along with his house. Barabbas, for that is his name, retaliates by tricking the Governor's son and his friend into fighting over the affections of his daughter, Abigail. When they both die in a duel, Barabbas becomes further incensed when Abigail, horrified at what her father has done, runs away to become a Christian nun. In retribution, Barabas then goes on to poison her along with the whole of the nunnery, strangles an old friar who tries to make him repent for his sins and then frames another friar for the first friar's murder. Get the picture?
It is a play difficult which refuses definition: at turns political, satirical, farcical and even tragic.
It brings together characters of the three major monotheistic faiths, and roundly condemns all three. It is, in short,and typically of Marlowe, a revolutionary play which stings and hurts even as it entertains. For those interested, visit this link for a detailed synopsis: https://www.shmoop.com/jew-malta/summary.html
Barabbas (The Jew of Malta) pre-cast
Ferneze Governor of Malta
Ithamore Slave bought by Barabbas, becomes his ‘evil’ side-kick
Abigail Daughter of Barabbas
Calymath Son of the Turkish Sultan, leader of the Turkish army
Bellamira A Maltese prostitute. Well we all have to make a living.
Pillia-Borza Her pimp
Jacomo A friar responsible for the conversion of Abigail.
Bernadine Another friar, friend of Jacomo, until, of course they argue about money.
Lodowick Son of the Governor Ferneze, who fancies Abigail
Mathias A Maltese young man, who unfortunately for him, is the lover of Abigail. (After all no one wants the Governor’s son as your rival. Oh and he’s also a Christian, so Barabbas is not keen on him either.)
Katherine Mathias’ mother
Assorted Jews, Maltese, Governor’s attendants, Calymath’s attendants
Please note that this is an ensemble production with most actors taking on several roles. Also the production will include elements of gender fluidity, that is roles will not necessarily be assigned according to the gender of the character.