SPRING MAIN STAGE AUDITIONS
JANUARY 23 + 24, 2017 AT 7-10:30PM | ROBLE GYM | Open to all Stanford Students
SPRING MAIN STAGE PRODUCTION
AUDITIONS TUE JAN 23 + WED JAN 24 at 7-10:30PM
CALLBACKS SATURDAY, JAN 27 at NOON-5PM
about the good person of szechwan
Is it possible to exist as a 'perfectly good' and 'consistently generous' person considering all of the challenges one faces on a daily basis? What about when eking out an existence in a community overrun by poverty, where you have to remain vigilant and resourceful simply to stay alive? What if one must choose between goodness and survival... what then?
This Spring, TAPS will be transforming Roble Studio Theater into a cabaret full of café tables and surrounded by an immersive performance of Bertolt Brecht's The Good Person of Szechwan which will vet these questions in a gymnastic and pop-up parable. We will breathe new life into our hero and prostitute, Shen Te, gifted wealth by the gods in exchange for remaining good hearted in a world where circumstances cause her neighbors to take advantage of her. A world where she must create a ruthless alter ego, as a man, to survive.
ABOUT THE DIRECTORMina Morita is the Artistic Director of Crowded Fire Theater, a critically acclaimed, intrepid, female-led company dedicated to developing a fierce contemporary theater canon that reflects the plurality of our world. Previously, she served as the Artistic Associate at Berkeley Repertory Theatre—and a founding member of its Ground Floor program; as Board President of Shotgun Players; as a 2014 Lincoln Center Director’s Lab participant; as one of the founding members of Bay Area Children's Theatre; as Community Arts Panelist with the Zellerbach Family Foundation; and Guest Artist at UC Berkeley and Stanford University. She is a recipient of Theatre Bay Area’s 2014 award for Best Director of a Musical: Tier II and TBA's 2016, 40@40 award for her impact on Bay Area Theater. In 2015, Mina was honored to share her story on TEDx, and in 2016, she was chosen as one of the YBCA100, for "asking questions and making provocations that will shape the future of culture." She has had the privilege of directing the following plays among many: AULIS: AN ACT OF NIHILISM IN ONE LONG ACT by Christopher Chen @ Zellerbach Playhouse, SISTERS MATSUMOTO by Philip Kan Gotanda @ CenterRep (Shellie nominated for best direction and best production), BY AND BY by Lauren Gunderson & THE GREAT DIVIDE by Adam Chanzit @ Shotgun Players, and co-directed THE SHIPMENT by Young Jean Lee (TBA award recipient for best ensemble, and nomination for best direction), BLACKADEMICS by Idris Goodwin, and A TALE OF AUTUMN by Christopher Chen @ Crowded Fire. Special assistant directing credits include Tony Kushner’s THE INTELLIGENT HOMOSEXUAL’S GUIDE... and Sarah Ruhl’s Tony-nominated IN THE NEXT ROOM… @ Berkeley Rep. In 2012, Mina worked with Anna Deavere Smith as the artistic coordinator for ON GRACE.
ABOUT THE REHEARSAL PROCESS
Once the production is cast, There will be a first read-through with cast and staff on Saturday, Feb 3rd from 4-6:30pm. Rehearsals start Week 1 of Spring Quarter, rehearsing nights and some weekends. Academic credit may be available.
SIGN UP FOR A TIME SLOT
Click the button on the right to sign up. If you cannot make these audition dates but would like to audition, email TAPSinformation@stanford.edu. Be advised that you should arrive at least ten minutes prior to your scheduled time to fill out necessary paperwork.
WHAT TO PREPARE
Bring a prepared contemporary monologue two minutes in length that you have a real connection with, and like to perform. We encourage you to choose something that allows you to make full-body choices.
For callbacks you will receive other instructions. Callbacks will be held Saturday, Jan 27th between 12pm-5pm in 30-min group timeslots.
WHAT WE'RE LOOKING FOR
We will be looking for an all-inclusive roster of 16 actors to embody over 24 characters with a willingness to explore character through archetype and movement, transformative acting in embodying multiple characters, audience interaction, as well as strong grasp of music and song. For the role of Shen-Teh/Shui-Tah we will also be looking for an individual who is willing to explore gender constructs and work within a grounded, naturalistic acting approach, and who is also a strong singer.