SPRING 2023 DEVELOPMENTAL STAGE AUDITIONS

Snow in Midsummer is a tragicomic, experimental, and anachronistic take on the original medieval Chinese play of the same name. It bridges the traditional Confucian past of China with contemporary struggles of entering adulthood, filled with absurdity, TikTok dances, and Chinese EDM music against the backdrops of Yuan Dynasty China. An exploration of generational divide, familial relationships, and obligations, Snow in Midsummer is a story about the struggle of amending the individual with the collective. The play explores how to find your own voice and how to seek your own footing in a violently suppressible world that keeps trying to tell you who and what you are.

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

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

Mai Lan Nguyen is a recent graduate of Stanford’s Theater and Performance Studies Department and is currently pursuing a Masters degree in Computer Science. She has written and directed multiple short performance pieces and one acts, including Contract, Coffee, and Harmonized Code. She has worked as an Assistant Director to Haruna Lee’s Beyond the Wound Is A Portal and a Production Assistant in New York’s Target Margin Theater. Her most recent work includes writing and directing a staged reading of Snow in Midsummer. As an actor, she has performed in AATP’s peerless (M), TAPS’s The Seagull (Understudy for Arkadina/Masha) and Everybody (SOMEBODY), as well as Stan Shakes’s Measure for Measure (Duke Vincentio), and Midsummer Night’s Dream (Moth/Snug). She is a recipient of the Louis Sudler Prize for Excellence in the Performing Arts (2022). 

Winter Quarter Week 5/6

• Rehearsals begin. Rehearsals will take place three hours a day four days a week during Winter Quarter. You will not be called for every hour of every rehearsal. 

Spring Quarter Weeks 1-5 

• Regular rehearsals. Rehearsals will take place three hours a day up to five days a week during Spring Quarter. You will not be called for every hour of every rehearsal. 

Spring Quarter Week 2 [Date TBD]

• Design Run

Spring Quarter Week 4 [April 28-May 3]

• Tech Week 

Spring Quarter Week 5 [May 4, May 5, and May 6]

•  Shows 

Spring Quarter Week 5 [May 6 and May 7]

• Strike 

SIGN UP FOR A TIME-SLOT HERE

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

WHAT TO PREPARE

Please come in with a prepared short monologue, or read one provided to you at your audition! No memorization necessary but if you feel that memorizing will help you connect with your character more, feel free to do so.

CHARACTER BREAKDOWN

NOTE: Casting for this show will be identity conscious. Please don’t be afraid of auditioning if you don’t identify as specified below. These roles are for auditionees of every identity, background and experience.

• MOTHER (early 50s) – Woman (Asian). The only thing she truly believes in is repaying one’s debt. Though her son died only three years ago, she is ready to move on. 
• OLD (early 50s) – Man (Asian). Father of YOUNG. Loves his son in his own way. He really wants YOUNG to finally get married. 
• YOUNG (early 20s) – Man (Asian). Son of OLD. A little more mischievous and much less perfect. He struggles to find his own voice and reconcile it with his ambition to be a good son. He really wants his father to know that he likes chicken feet. 
• JUDGE – Is responsible for executing the law and the will of the Heavens. Loves receiving monetary expressions of gratitude and loves doing TikTok dances. 
• DOCTOR – Despite best efforts, specializes in murder.