Yes, this is a show that is performed a lot. Yes, the playwright has put a few limitations on concept and style. And, Yes, a lot of this is very restraining for those attempting to tell this story in a new way. We are challenged by all these factors, but we will be looking at the script with fresh eyes and in a way that will allow us to explore this story in a new way.
I
had planned to get this post out there sooner, but a decision (Thanks
Jacinda and Geoff) to squeeze in another show before auditions kind of
backfired on me. When
I auditioned for the Dayton Theatre Guild's production of Henrik
Ibsen's GHOSTS, I really didn't think I would be cast. I just thought,
'Hey, I would love to work at the Guild in the future and I'll go and
read and get to know some people there, so I get past the 'first time
auditioning at the Guild thing' I always here about.' Then when the
script was placed in my hand after call backs, my shocked brain
figured.... 'It's a quick 4 to 5 week rehearsal period and won't eat my
life', 'I'll be in production for 3 weeks prior to auditions for
Lockerbie and have plenty of time to take care of administrative stuff',
and ' Hey it's Realism and that's what I do...' What I wasn't prepared
for was the fact that I'd forgotten Ibsen was somewhat of a zombie and
he would eat my brain (as he and Chekov did when I was in college) and
that now at 50, I don't digest text and character as quickly as I did
when I was younger. Or, the emotional rollercoaster this character
would take me on.So, before we get into the experience of LOCKERBIE, why not drop in and see GHOSTS at the Dayton Theatre Guild. Tickets can be secured here.The cast has been amazing to work with.
Now, enough about that and onto the task at hand...
I have had a number of people asking questions about what I am looking for in the actors I will cast in this production of WOMEN OF LOCKERBIE. Well, let me try to answer that by discussing the characters within the show.
THE ROLES
- MADELINE LIVINGSTON - 35 to 50's --- A suburban housewife from New Jersey. Her 20-year old son Adam was killed 7 years ago in the Pan Am 103 crash over Lockerbie, Scotland. The actress chosen for Madeline will fall into that age range. She will need to express both subtle and explosive, raw emotion. She is American so does not require a Scottish accent. She and her husband Bill have been living the same, but parallel lives since the tragedy. In other words, they can't seem to find a common ground, they are at a breaking point. Whatever happens on their visit to Lockerbie will either end them or bring them together.
- BILL LIVINGSTON - 35 to 50's --- Her husband, father of Adam. The actor chosen for Bill will have a strong vocal ability and will fall into the age range listed, but be balanced with the woman chosen for Madeline. He is American. He is suffering just as Madeline is and while she is searching for some aspect of her son, he is desperately searching for the wife he once knew. The two of them are travelling on different planes of the same life and are finding incongruities all along the way. He is heartbroken over his son's death, but he is doubly affected as he has also lost his wife.
- OLIVE ALLISON - 35+ --- Woman from Lockerbie. Leader of the laundry project. The actress chosen for Olive will be required to have a strong, clear Scottish dialect. She, too, has a strong connection to the tragedy, having lost her daughter and husband to falling debris. She is reconciling her feelings of dislike for Americans and their policies, which she feels provoked the attack and her understanding of Madeline's pain. She has yet to resolve her feelings on the loss.
- WOMAN 1 & 2 - 20+ --- Women from Lockerbie. The Women chosen for these roles will also have Scottish accents and need to carry the show as they, along with the Ensemble, are the title characters. They will be strong vocally and handle much of the symbolic aspects of the show. It is likely I will choose actresses who can sing for these roles, as I would like to use live versions of Scottish folk songs, sung by these women during portions of the show.
- HATTIE - 18+ --- A cleaning woman. From Lockerbie. Though written for an older woman, I am open to casting a younger woman, providing she has the timing, technique and feisty attitude needed to play the role. She is the only one clever enough to be able to facilitate the release of the clothing to the women. She requires a Scottish accent and is typical of the British 'char woman' seen in so many British shows and films.
- GEORGE JONES - 20+ --- The American government representative in charge of the warehouse storing the remains from the Pan Am 103 crash. This role is a pivitol one, requiring an American accent. He is seen as unfeeling, just wanting to get the assignment over, but we must be able to see the gentle side of him, which is eventually turned.
- ENSEMBLE - 5 Women, all ages --- These are the women of Lockerbie, as well as representations of the daughters, sisters, mothers of those killed in the tragedy. The women chosen for this group will be an integral part of the performance, yet appearing only in a few scenes toward the end of the play. There are no lines and actresses chosen for the ensemble will not be required to attend rehearsal until March.
- DATE -- Tuesday, January 29 and Wednesday, January 30 7pm
- WHERE -- Turner Studio Theatre at Clark State Performing Arts Center, Springfield
- WHAT TO BRING -- Resume (or list of experience), Headshot, 1 minute Contemporary or classic monologue, List of all potential conflicts from January 29 to April 21.
- SINGERS -- If you sing, and would like to be considered for Woman 1 & 2 (the roles who are likely to sing during aspects of the show), please bring a prepared accapella song to sing during your 1st audition.
Auditions will be held in the black box space that we will be performing in, the Turner Studio Theatre. You will need to park in the parking lot on S. Limestone Street, just across from the Turner entrance.
On Tuesday -- There will be a sign in table in the lobby, where you will pick up an Audition Form and an information sheet. Actors will be sent into the theatre in small groups, in the order paperwork is turned in. Once there, you can expect to perform your prepared monologue and do a little reading from the script. I will be listening to vocal quality and dialect potential, as well as observing physical movement. Once each group is finished, you will either be released, released and called back for the next night's official callbacks or asked to stay and read a bit more. If you are called back, you will be given a script selection to take home and read over for the next night.
On Wednesday -- This audition session will primarily be taken up with Call Backs; however, if new auditionees attend, we will see them first. In the call back session, you will be asked to read the selection you were assigned, as well as additional readings. Some improvisation may be asked of you, as well as some vocal exercises to determine Scottish dialect potential.
CASTING
This is always subject to adjustment, but we are hoping to cast the show that evening, posting the list on the facebook audition event page and on this blog by Friday, February 1. Many things will be taken into account for casting --- Actor chemistry, vocal quality, technique, rehearsal conflicts. Those cast will be asked to accept or decline roles no later than Saturday, February 2, via e-mail.
THE TEAM
Now that the team has been assembled, I can officially announce it. More information about these individuals will be available once the cast has been confirmed.
Lisa Howard-Welch, DIRECTOR
Haley Justice, ASSISTANT DIRECTOR
Geoffrey Moss, STAGE MANAGER
Dan Hunt, LIGHTING DESIGN
Debbie Henderson, COSTUME DESIGN
Geoffrey Moss, SET & SOUND DESIGN
As always, if you have any questions or require an alternative audition time, please e-mail me at lisalhw@att.net. I am also happy to take resumes and photos via e-mail, as well!
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