2021/2022 Production Auditions

Fall Auditions Sept 21+22 As Soon As Impossible
Fall Developmental Stage Graduate Repertory Sept 23
Winter Auditions November 15+16 Pali/Altaf
Spring Auditions Feb 22-24 A Midsummer Night's Dream

Fall Main Stage

ABOUT THE PRODUCTION

As Soon As Impossible

A New Play by Betty Shamieh

As Soon As Impossible is a comedy that explores the relationship between two older men, Ramsey and Arthur, an Iraqi-American and a WASP. Their annual summer fishing trip is interrupted by the unexpected appearance of Ramsey’s granddaughter, Layla, who claims to be on the run. With Arthur’s suspicions raised, Ramsey may get more than he bargained for when he begins to plan Arthur a surprise birthday party. A play about friendship in a time of war.

This play was originally commissioned by Second Stage with support from the Time Warner Commissioning Program. Theaterworks of Silicon Valley workshopped this play in preparation for the Stanford production in the first half of 2021, under the direction of Samer Al-Saber and New Works director Giovanna Sardelli. 

Please note that in addition to its scheduled performances, this production may be live-streamed or recorded for public viewing.

 Stanford TAPS seeks to build a diverse cast for this production and encourages members of any race, gender identity, and ability to audition. If any accessibility accommodations are needed please email tapsinformation@stanford.edu for assistance.

 

ABOUT THE PLAYWRIGHT

Betty Shamieh

BETTY SHAMIEH (Denning Visiting Artist for Spring 2021) is an Arab-American playwright. Her American premieres include: The Black Eyed (New York Theatre Workshop), Fit for a Queen (Classical Theatre of Harlem), The Strangest (The Semitic Root), Territories (Magic Theatre) and Roar (The New Group). Selected as a New York Times Critics Pick, Roar is widely taught at universities throughout the United States. A graduate of Harvard College and the Yale School of Drama, Shamieh was named a Guggenheim Fellow, UNESCO Young Artist for Intercultural Dialogue, and a Radcliffe Playwriting Fellow. A Mellon Playwright in Residence at the Classical Theatre of Harlem, her works have been translated into seven languages.  www.bettyshamieh.com

 

ABOUT THE DIRECTOR

Samer Al-Saber

Professor SAMER AL-SABER, Assistant Professor at TAPS, is a director, writer, and scholar. As director, his work was seen in the U.S., Canada, Europe, and the Middle East and includes the Middle Eastern premier of Arthur Milner’s Facts and an Arabic adaptation of A Midsummer Night’s Dream. His written work appeared in Alt.Theatre, Performance Paradigm, Critical Survey, Theatre Survey, and other academic and trade venues, including the anthology Stories Under Occupation and Other Plays from Palestine, co-edited with Gary English.

 

 

 

ABOUT THE COURSE

Co-taught by Samer Al-Saber and Rush Rehm, Fall TAPS 122P is required for all student actors participating in this production. Available for a variable unit amount (2 to 5) the class will meet by consensus – twice per week during the day 3 hours for each session. 

 

HOW TO AUDITION

These auditions have passed. Scroll down to see upcoming auditions and to sign up to receive audition notices!

WHAT TO PREPARE

The Director has prepared sides, available for viewing/download on this page under “Resources.” Actors should familiarize themselves with all parts on the sides provided. Actors will read in small groups, and should expect to be on-site for 1 hour.

CHARACTER BREAKDOWN 

Multiple casting of characters is under consideration. In this case, actors would play their character “in rep.” Understudies are necessary and needed in this rehearsal process for all four roles.

  • Layla, Ramsey’s granddaughter, age 18 [might appear black, brown, or white]
    Extroverted, confident, and funny. Quick witted with astute, sharp, and sometimes cutting observations of others. Often uses her intellect to deflect her feelings around not belonging and being scared of the future. Layla enjoys playing pranks, seeking revenge, trying to lose her virginity, and fantasizing about marrying rich.
  • Drew, Arthur’s grandson, age 18 [any ethnicity]
    Drew is an old soul who would much rather hang out with grandpas than people his own age. Gentle, starting at Berkeley in the fall, in the closet. Not quite comfortable in his own skin; booksmart and looking forward to finding more of himself at college
  • Ramsey, an Arab-American man in his late sixties [might appear black, brown, or white]
    Your quintessential professor – gentle, proper, and possibly a little elitist. From the Middle East, teaches Arabic at Berkeley. Just wants his granddaughter to graduate from high school. Sees the generation and cultural gap between him and his granddaughter more and more each day.
  • Arthur, an American man in his mid-seventies [will be played by Professor Rush Rehm]
    Relies on street and business smarts since college wasn’t for him. Owns a construction business and is doing quite well. Set in his ways, but finds excitement in seeing Layla grab life by the horns. May have voted for George W. Bush — but did he vote for Trump?

 

ASSISTANT POSITIONS

TAPS is also seeking design and rehearsal assistants for this production. Applications are due via email to Production Manager Jane Casamajor (janecasa [at] stanford.edu). General crew and behind the scenes inquiries are welcome as well!

ASSISTANT APPLICATIONS 

SIGN UP

These auditions have passed. Scroll down to see upcoming auditions and to sign up to receive audition notices!

Be advised that you should arrive at least five minutes prior to your scheduled time to fill out necessary paperwork. If you cannot make these audition dates but would like to audition, email TAPSinformation@stanford.edu. 

IMPORTANT DATES

Audition Dates

Tue+Wed, Sept 21+22
7-10PM PT
Roble Gym

Performance Dates

Nov 11-17 and 17-20, 2021
Harry J. Elam, Jr. Theater

RESOURCES

Must be logged in on an @stanford.edu account to view

SCRIPT
THEATER STANDARDS
SIDES
TECH SCHEDULE
REHEARSAL SCHEDULE

ACCESSIBILITY NOTE

If any accessibility accommodations with auditions or callbacks are needed please email tapsinformation@stanford.edu for assistance.

Access to technology (or lack thereof) will in no way be a barrier or hindrance to being a part of this production, and the artistic team will work together to ensure that everyone who is accepted into the cast may participate.

SPONSORS

This production was made possible in part by The Pigott Fund for Drama, the May Ellen Ritter Fund,  and The Drs. Ben and A. Jess Shenson Fund.

 

Winter Developmental Stage

ABOUT THE PRODUCTION

Graduate Repertory 2022

Featuring the directing work of TAPS Second Year Grad Students: Marina J. Bergenstock, Westley Montgomery, Zoe Ryu, and Adin Walker

Graduate Repertory runs over two weekends in the Harry J. Elam, Jr. Theater in Mid-Winter Quarter. Productions will be slotted into one of the two weekends sometime during Fall Quarter. In addition to its scheduled performances, this production may be live-streamed or recorded for public viewing. Read more about the productions below:

Les Illuminations de Rimbaud

Lead-Curator/Tenor: Westley Montgomery 

Les Illuminations (The Illuminations) is a song cycle on poetry by Arthur Rimbaud by Benjamin Britten. In this new production of Britten’s work for vocalist, electric-orchestra, and ensemble, the cast will work together to curate a staging that celebrates the works Queerness while also deconstructing and critiquing its imperialists, orientalist, and primitivist fantasies. Think Night at the Museum meets Slave Play at a Beyoncé concert.  

Casting: 

Four performers. ‘Special skills’ are a plus: Instruments, dance, movement, drag lip-synch, clowning, juggling, circus, gymnastics, etc. Casting will seek to center the work of performers of historically marginalized identities, backgrounds, bodies, and expressions. 

Shakespeare’s Sisters 

Directed by Marina J. Bergenstock

Shakespeare’s Sisters by Pietro Floridia, centers around Samira, a driven professor who lives alone in Palestine where she has dedicated her life to teaching and research. One night, Nesma, a young dressmaker, appears at Samira’s doorstep seeking freedom from her family’s traditional expectations. Living together produces a chaos of its own, but Samira and Nesma’s friendship begins to flourish. The women are struck by an idea in Virginia Woolf’s “A Room of One’s Own” — if Shakespeare had a sister, how would the patriarchy have affected her life? Nesma’s dreams and ambitions propel her to create a space inspired by this imagined sister, a space to recharge, regroup and, if necessary, to revolt. Shakespeare’s Sisters interrogates the impact of patriarchal structures on women while providing captivating moments of friendship and joy.

Casting:

  • Samira, 40, a professor at a university (she/her)
  • Nesma, a dressmaker (she/her)
  • Ensemble (Narrator, Fiancé, Dean) (he/him)
  • Ensemble (Narrator, Professor) (he/him or she/her)

Blue Jeans

Directed by Adin Walker

Blue Jeans meshes dance, puppetry, and stand-up comedy to explore queer ephemeralities and futurities. Working together as a tight ensemble of collaborators, the process will involve movement composition work, writing stand-up sets, building puppets out of various materials including denim, and conducting archival research grounded in queer ephemera.

Casting:

5-7 collaborators/performers who are interested in merging their own creative and scholarly practices, who are interested in exploring puppetry, and who enjoy dancing to songs like “Lost in Music” (Sister Sledge), “Why” (Fleetwood Mac), “Runaway” (Janet Jackson), and “Where Does the Good Go” (Tegan and Sara)

Madame Ong

Directed and Written by Zoe Ryu

The original story of Madame Ong is called Byeon Gangsoe Taryeong and it is one of the most famous pansori (musical storytelling) performances in Korea. Unlike the original piece, this adaptation focuses specifically on the heroine Ongnyeo who is kicked out from her village because all the men she marries end up dying. The villagers think she’s cursed with a dreadful destiny of widowhood. On the road, she meets Byeon Gangsoe and they live together. One day, Byeon Gangsoe goes out to collect firewood and cuts off a Jangseung. The outraged Gods of Jangseung condemn Byeon Gangsoe with all sorts of diseases, killing him in the end. The men who visit Ongnyeo’s house to get rid of Byeon Gangsoe’s dead body also die gruesome deaths. In the end, Ongnyeo leaves the shelter by the road. I am looking to explore ideas of female sexuality, homelessness, death and disease through this project. Actors of diverse backgrounds are encouraged to audition.

Casting: 

This production aims to curate a diverse cast of many backgrounds; singers are favored.

 Stanford TAPS seeks to build a diverse cast for this production and encourages members of any race, gender identity, and ability to audition. If any accessibility accommodations are needed please email tapsinformation@stanford.edu for assistance.

 

HOW TO AUDITION

These auditions have passed. Scroll down to see upcoming auditions and to sign up to receive audition notices! 

Audition Time-Slots will be 45 minutes long, consisting of solo-reading section, and a group dance call. Be advised that you should arrive at least five minutes prior to your scheduled time to fill out necessary paperwork. If you cannot make these audition dates but would like to audition, email TAPSinformation@stanford.edu. 

WHAT TO PREPARE

The Directors have prepared sides, available for viewing/download on this page under “Resources.” Auditioners should prepare one side of their choice for reading.

For the Dance Call portion, Auditioners should dress in clothes and shoes they can move in. Those with long hair should consider bringing hair ties.

 

SIGN UP

These auditions have passed. Scroll down to see upcoming auditions and to sign up to receive audition notices!

Be the first to know when audition slots open up! We’ll send you an email notification once that happens.

IMPORTANT DATES

Audition Dates

Thu Sept 23
7-10PM PT
Roble Gym

Performance Dates

JAN 27-29 + FEB 3-5, 2022
Harry J. Elam, Jr. Theater

RESOURCES

Must be logged in on an @stanford.edu account to view

SIDES
THEATER STANDARDS
TECH SCHEDULE

ACCESSIBILITY NOTE

If any accessibility accommodations with auditions or callbacks are needed please email tapsinformation@stanford.edu for assistance.

 

SPONSORS

This production was made possible in part by The Pigott Fund for Drama and The Drs. Ben and A. Jess Shenson Fund.

 

Winter Main Stage

ABOUT THE PRODUCTION

Pali/Altaf

Inspired by the story “Pali” by Bhisham Sahni

Four-year-old Pali is separated from his Hindu family during the chaos of India’s 1947 Partition. Left behind in newly-formed Pakistan, he is adopted by a kind Muslim couple, with whom he lives for seven years — until one day, his biological father arrives to bring him back to India. Caught between two nations, two religions, two families, and two names, Pali/Altaf embodies the violence of colonialism and its aftermath. Originally published in 1989, renowned Indian writer Bhisham Sahni’s powerful critique of communalism in India speaks as much to the post-Independence moment as it does to the present. Pali/Altaf explores the trauma of forced migration, the cruel nature of national borders, and the power of human connection: all through the eyes of one little boy.

 

In addition to its scheduled performances, this production may be live-streamed or recorded for public viewing.

 

 Stanford TAPS seeks to build a diverse cast for this production and encourages members of any race, gender identity, and ability to audition. If any accessibility accommodations are needed please email tapsinformation@stanford.edu for assistance.

 

ABOUT THE DIRECTOR

Suhaila Meera

Suhaila Meera is a PhD candidate in Theater and Performance Studies at Stanford. Her research explores the intersections between childhood, statelessness, and performance. Recent projects include dramaturging Branden Jacobs-Jenkins’s Everybody at Stanford and directing Nandita Shenoy’s Baby Camp at TheatreWorks.

 

 

 

 

 

ABOUT THE COURSE

Students cast in Pali/Altaf are required to enroll in TAPS 122P: The Undergraduate Performance Project in the Winter Quarter. Students will learn to form an artistic ensemble, develop dramaturgical materials, learn professional arts protocols and practice, devise within the ensemble, and develop live performance ability. May be repeated for credit (3 maximum completions allowed; if repeated, 15 total units allowed).

 

HOW TO AUDITION

WHAT TO PREPARE

Actors will read from sides in small groups and engage in impromptu theatrical exercises.

Auditionees do not need to prepare anything in advance and should expect to be on-site for 1 hour. Please come dressed prepared to move. 

The production script will be devised over Fall — adapting Bhisham Sahni’s short story “Pali” for the stage. The director encourages anyone interested in being involved with the project to read it. Available for viewing/download on this page under “Resources.”

CHARACTER BREAKDOWN 

While all the characters in this story are South Asian, casting will be coalitional. People of all genders, races, ethnicities, castes, abilities, and religious and national affiliations are encouraged to audition. As Patricia Ybarra writes, “being onstage in these roles is not only an act of becoming a culturally different person, but an act of committing to the cause of telling a marginalized story; it is committing to doing the work it takes to get over one’s trepidation over telling someone else’s story. And it requires realizing that no single story is universal unless everyone’s story is.” The director invites you to take some time, ahead of the audition, to reflect on your personal/familial connection(s) to histories of migration, displacement, and statelessness.

  • Younger Pali: 4, male-identifying
  • Older Pali: 11, male-identifying
  • Kaushalya: Pali’s biological mother, female-identifying
  • Zenab: Pali’s adoptive mother, female-identifying
  • Manohar Lal: Pali’s biological father, male-identifying
  • Shakur: Pali’s adoptive father, male-identifying
  • Maulvi: Muslim religious leader, male-identifying
  • Chaudhri: Hindu community leader, male-identifying
  • Social Worker: Representative of the state, female-identifying
  • Ensemble: All genders, ethnicities, abilities, ages. A dance/movement background of any kind is a plus.

 

ASSISTANT POSITIONS

TAPS is also seeking design and rehearsal assistants for this production. Applications are due via email to Production Manager Jane Casamajor (janecasa [at] stanford.edu). General crew and behind the scenes inquiries are welcome as well!

ASSISTANT APPLICATIONS 

SIGN UP

IMPORTANT DATES

Audition Dates

Mon+Tue, Nov 15+16
7-10PM PT
Roble Gym 137

Performance Dates

Mar 03-05, 2022
Harry J. Elam, Jr. Theater

RESOURCES

Must be logged in on an @stanford.edu account to view

SHORT STORY
THEATER STANDARDS
TECH SCHEDULE
REHEARSAL SCHEDULE

ACCESSIBILITY NOTE

If any accessibility accommodations with auditions or callbacks are needed please email tapsinformation@stanford.edu for assistance.

 

SPONSORS

This production was made possible in part by The Stanford Center for South Asia, The Pigott Fund for Drama, The May Ellen Ritter Production Fund, and The Drs. Ben and A. Jess Shenson Fund.

 

Spring Main Stage

ABOUT THE PRODUCTION

A Midsummer Night’s Dream

by William Shakespeare

A Midsummer Night’s Dream has delighted the world for over four-hundred years. It has been performed indoors and outdoors, as dance, as opera, and has served as inspiration for music, painting, translation and adaptation around the world. Although the play has had its critics — Samuel Pepys called it “the most insipid ridiculous play I ever saw” — the joys of its lyric and open-hearted beauty and straight-up foolery have outlasted its detractors. In its intoxicated poetry, some of the loveliest in all of Shakespeare, A Midsummer Night’s Dream is in a fever over the living world and finds love at the heart of nature’s force and mystery. 

In addition to its scheduled performances, this production may be live-streamed or recorded for public viewing.

 

 Stanford TAPS seeks to build a diverse cast for this production and encourages members of any race, gender identity, and ability to audition. If any accessibility accommodations are needed please email tapsinformation@stanford.edu for assistance.

 

ABOUT THE DIRECTOR

Amy Freed

Amy Freed (TAPS Artist-in-Residence) is the author of Shrew!, The Monster Builder, Restoration Comedy, The Beard of Avon, Freedomland, Safe in Hell, The Psychic Life of Savages, You, Nero, and other plays. She‘s a recipient of the Charles McArthur Playwriting Award (D.C.), The New York Arts Club’s Joseph Kesserling Award, a several-times winner of the LA Critics Circle Award, the Bay Area Critics Circle Award, and is a Pulitzer Prize finalist. Her work has been seen at South Coast Repertory Theater, New York Theater Workshop, Seattle Repertory, American Conservatory Theater, Yale Rep, California Shakespeare Theater, Berkeley Rep, the Goodman, Playwright’s Horizons, Woolly Mammoth, Arena Stage, and other theaters around the country. She has held playwriting residencies at South Coast Rep, the Arena Stage, and San Diego’s Old Globe. She is currently working on a commission for South Coast Rep.

Freed received a BFA in theater from Southern Methodist University, and an MFA in Acting from the American Conservatory Theater. She has taught acting and directed for ACT’s MFA program. She’s also taught playwriting at San Francisco State and for the MFA playwriting program at UCSD.

 

ABOUT THE COURSE

A Midsummer Night’s Dream is a production of Spring’s TAPS 122P Undergraduate Performance Project — a unique offering of the TAPS department. It allows student actors the opportunity to participate in a major mainstage work of lasting significance as performers, and receive academic units for the work. There is a required seminar component (see rehearsal schedule) of relevant study for the acting and artistic company. 

Past Performances of the 122P include Everybody, The Seagull, Life is a Dream, The Crucible, Hamlet, The Tempest, and Our Country’s Good.

Actors report that the quality of the experience has made it one of the high points of their time at Stanford. Our goal is to deliver high-quality canonical theater work within containable and limited rehearsal hours. In order to do that, all actors must be able to fulfill the rehearsal schedule before they accept a role. Actors who are selected by auditions must enroll in the 122P Undergraduate Theater Performance class on Axess at the end of the winter quarter to finalize their participation in the play and seminar.

ACADEMIC CREDIT

The Spring 122P Production/Class can be taken for units ranging from 1-9 depending on level of participation. (For actors generally 3-9 units.) Priority consideration in casting major roles may go to TAPS Majors and Minors, where there are equally suitable candidates.

 

HOW TO AUDITION


Be the first to know when audition slots open up! We’ll send you an email notification once that happens.

WHAT TO PREPARE

For Auditions, The Directors ask each actor pick 2 monologues from the provided sides or a different monologue from A Midsummer Night’s Dream. Auditionees should do one they are drawn to, and another one that they can’t imagine playing but would be fun to try. Only one piece needs to correspond to their gender identity.

Preference for memorization when possible, but bringing the page to read from is acceptable — hard copies of the audition sides will be available in the waiting room.

Actors may also be given additional sides or movement work at auditions and should plan to be on-site for 30 minutes. Please dress in clothing and shoes you can move in.

 

ASSISTANT POSITIONS

TAPS is also seeking design and rehearsal assistants for this production. Applications are due via email to Production Manager Jane Casamajor (janecasa [at] stanford.edu). General crew and behind the scenes inquiries are welcome as well!

ASSISTANT APPLICATIONS 

SIGN UP

Be the first to know when audition slots open up! We’ll send you an email notification once that happens.

 

IMPORTANT DATES

Audition Dates

Tue-Thu, Feb 22-24
7-10PM PT
Roble Gym

Performance Dates

May 19-21, 2022
Roble Gym Courtyard

RESOURCES

Must be logged in on an @stanford.edu account to view

SCRIPT
TECH SCHEDULE
REHEARSAL SCHEDULE

ACCESSIBILITY NOTE

If any accessibility accommodations with auditions or callbacks are needed please email tapsinformation@stanford.edu for assistance.

 

SPONSORS

This production was made possible in part by The Pigott Fund for Drama, The May Ellen Ritter Production Fund, and The Drs. Ben and A. Jess Shenson Fund.