MAUDITIONS

EMMA by Kate Hamill

directed by Shelli Koffman

Emma Woodhouse is clever, educated, and energetic… and in imminent danger of going mad with idleness. In a time when respectable ladies are expected to sit quietly at home, she desperately needs projects—and prides herself on matchmaking, much to the chagrin of her friend Mr. Knightley. But where Emma’s considerable energies focus, screwball comedy follows… A fresh feminist take on a treasured classic, this Emma breaks down convention, expectation, and even the fourth wall with vibrant comic flair—leading audiences “forward, onward, and upward!”

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ROLES:

EMMA — Late 20s-30s. Almost unbelievably charming; a natural comedienne. Bouncily flirty; possesses more power of manipulation than even she understands; has a certain sunny, charming self-regard — it’s what allows her to get away with so much.

HARRIET SMITH — 20s. A deeply likable girl from the lower classes, who’s been given a basic education. A sweet, naturally affectionate human being, but not the brightest flame in the stove. 

MRS. WESTON — Mid 30s-late 40s. Emma’s former governess. A very smart woman with a good sense of humor; very perceptive and grounded. Not afraid to tell it like it is.

MISS BATES — 40s+. Headmistress of a struggling school for girls. An incredibly good-natured, if motor-mouthed and daft, woman.

ANNE FAIRFAX — 20s-30s. You know that girl who always seems to do everything right? Jane is that girl. An overachiever. Very composed. Very beautiful. Very discreet. Very accomplished. Very smart.

MRS. ELTON — 20-30s. Not bright. What’s more, she has a laugh that’s the auditory equivalent of nails being torn out of your fingers. Is delighted by everything. Her libido is…. quite active.

Men

MR. KNIGHTLEY — 30s-40s. A handsome man; a super charming man; an upright fellow. He’s also a bit of a rule-follower; maybe sometimes a bit of a stick in the mud. 

MR. WOODHOUSE — 60s+. An over-anxious, melancholy hypochondriac, but people humor him, as he’s a nice man under it all. Obsessed with the healing powers of gruel.

MR. ELTON — Any age. A clergyman who sometimes gets the wrong idea. ADORES poetry. A born social climber. Fancies himself a great romantic.

FRANK CHURCHILL — 20s-30s. An incredibly charming, handsome, mischievous flirt of a man—the kind of man who gets away with almost everything, because he’s so irresistible. Not a bad guy, really; just a bit too likable for his own good. Ladies love him.

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RESOLVING HEDDA by Jon Klein

directed by Patricia Charbonneau

Ibsen’s characters from HEDDA GABLER, who know the play insanely well after centuries of performances, try desperately to keep the play afloat. At the same time Hedda, just as desperately, tries to sabotage the plot in order to avoid her demise. The misadventures that ensue continue to raise the stakes of hilarity to a fevered pitch. And if Hedda succeeds in her quest to live, will this classic theatrical work ever be performed again?

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ROLES:

Hedda (Hedda Tesman): The bored, manipulative, and sharp-witted 19th-century heroine from Henrik Ibsen’s Hedda Gabler who breaks the fourth wall, speaks with modern awareness, and actively tries to sabotage the original script to avoid her tragic suicide.

 

George (George Tesman): Hedda’s scholarly, proper, and slapstick-hapless husband who is blissfully oblivious to her rebellion.

 

Eilert (Eilert Lovborg): Hedda’s earnest, brash, and smoldering old flame and scholar, caught between past wildness and reform.

 

Thea (Thea Elvsted): Hedda’s schoolmate and Eilert’s earnest, blonde, and hilariously confused collaborator who tries to keep Eilert on the straight and narrow.

 

Judge Brack (Judge Brack): The quietly devious, randy, and stereotypically villainous confidant who tries to use blackmail to exert power over Hedda.

 

Aunt Julia (Miss Juliana Tesman): George’s dotty, adoring, and traditional aunt who is utterly baffled by Hedda's erratic modern behavior.

 

Bertha: The Tesman family's sharp and loyal maid—though Hedda famously tries to give her the night off because she considers the role too small. 

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WOMEN ("Little") by Chiara Atik

directed by Rachel Ekstrom

Jo March really thinks she could be the voice of her generation, or at least, a voice of a generation. But being a “little woman” in 1800s New England is just so hard, you know? Showing the world of the beloved March sisters through the lens of HBO's hit series Girls, Women is a hilarious, fast-paced contemporary spin on a timeless classic.

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ROLES:

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Jo: the glue of the family and aspiring writer of all genres, Jo's uncompromising nature fuels the drama and the pace of the story. 

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Meg:  bogged-down-by-motherhood and yearning for a trad-wife life, Meg's uncertainty about her role in the family heightens her anxiety when faced with the smallest of decisions. 

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Amy: shallow and naturally pretty, Amy is the baby of the family, and easily slips between scenes, vapid yet clever.

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Beth: a sickly girl who coughs through most of the play, Beth's death is used more for comic relief than the usual grim moment in the lore of Little Women.

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Marmie: Matriarch, widow-in-waiting, and complex model for her four girls.

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Mr. Brooks: upstanding and oblivious, a tepid suitor for the Women.

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Laurie: roped into the play acting of the four girls, Laurie is disregarded until he finds his satirical footing. 

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Clovis: A 19th century hipster, he pretends to smoke a pipe for the look and loves to lecture to people who did not ask anything. Too cool and educated to engage with those who are not on his level. 

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Mr. Laurence: A conservative, proper man, he cares about the social rules of the era. Though he is easily persuaded. 

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Professor Baer:  A German writing professor who shares his misguided wisdom with Joe.

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ART by Yasmina Reza

directed by Amy Scheibe

How much would you pay for a white painting? Would it matter who the painter was? Would it be art?

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One of Marc’s best friends, Serge, has just bought a very expensive painting. It’s about five feet by four, all white with white diagonal lines. To Marc, the painting is a joke, but Serge insists Marc doesn’t have the proper standard to judge the work. Another friend, Ivan, though burdened by his own problems, allows himself to be pulled into this disagreement. Eager to please, Ivan tells Serge he likes the painting. Lines are drawn and these old friends square off over the canvas, using it as an excuse to relentlessly batter one another over various failures. As their arguments become less theoretical and more personal, they border on destroying their friendships. At the breaking point, Serge hands Marc a felt tip pen and dares him: “Go on.” This is where the friendship is finally tested, and the aftermath of action, and its reaction, affirms the power of those bonds.

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Director's note: we are open to all genders in casting, though the play is traditionally played by three male-identifying actors.

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ROLES:

 

Serge – A successful dermatologist who proudly buys an expensive, nearly all-white modern painting (by the artist Antrios) for a huge sum. He defends modern aesthetics and feels judged by his friends' lack of taste.

 

Marc – An engineer with a rational, traditional outlook. He is shocked and deeply angered by Serge’s purchase, viewing the white canvas as a pretentious joke.

 

Yvan – A stationery salesman who is overwhelmed by his upcoming wedding and daily stress. He acts as a well-meaning peacemaker caught miserably in the middle of his two friends' arguments. ​​​​​​​​​​​​​​​​​​​​​​​​

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