Forest SPRING MAIN STAGE A MIDSUMMER NIGHT'S DREAM
DIRECTED BY ARTIST-IN-RESIDENCE AMY FREED
[ 01 / 02 ]
SPRING SECOND STAGE STONEWALLIN'
WRITTEN + DIRECTED BY KARI BARCLAY
[ 02 / 02 ]
SPRING 2020 AUDITIONS

SPRING 2020 AUDITIONS + ASSISTANTSHIPS

A MIDSUMMER NIGHT'S DREAM | STONEWALLIN'

ABOUT THE SHOWS

MAINSTAGE | A MIDSUMMER NIGHT’S DREAM

William Shakespeare’s 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. We hope you’ll join us in the Forest.

SECOND STAGE | STONEWALLIN’

The witches are up to something in the small-town South. When Marsha moves from Berkeley to Virginia to reconnect with her family’s roots, she finds a barista with an astrology obsession, a Confederate monument gone missing, and the makings of a bisexual love story — if she wants it. With glitter, humor, and as many layers as a biscuit, this new play explores the families we choose, the families we don’t, and the queers making magic in a changing South.

Genderqueer and nonbinary actors and actors of color encouraged to audition. Two roles involve stage kisses, and one role involves partial nudity (a character shirtless). All intimate scenes will have an intimacy consultant and will take consent seriously. Auditionees will get a chance on audition forms to state if they are not interested in roles with stage intimacy.

ABOUT THE DIRECTORS

Amy Freed

Amy Freed (Director, A Midsummer Night’s Dream) 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.

Kari Barclay

Kari Barclay (Director and Playwright, Stonewallin’) [he/him or they/them] is a theater-maker, writer, and educator based at Stanford University’s PhD program in Theater and Performance Studies. Originally from Washington, DC and Durham, NC, he loves making work that advances democracy and tells human stories of sexuality.

Kari has made work regionally and in New York at venues including the San Francisco Mime Troupe Studio, Round House Theatre, and Manbites Dog. Past directing credits include Can I Hold You? (the first full-length piece about asexuality performed in the U.S.), The Bull City Dignity Project (a documentary theater production about civil rights history, gentrification, and LGBT+ politics in North Carolina), and Peter Brook’s The Man Who (a play about disability, neuroscience, and the role of medicine), among others. Kari holds a BA in Theater Studies and Political Science from Duke University, where he was an Angier B. Duke Merit Scholar and recipient of the Samuel DuBois Cook Award for social justice and racial equity work. Kari is a Carl Weber Memorial Fellow, Ric Weiland Fellow, Humanity in Action Fellow, and recipient of the Sudler Award in the Arts.

ABOUT AUDITIONS

STEP #1 | SIGN UP FOR A 10-MINUTE* TIME SLOT

Be advised that you should arrive at least five minutes prior to your scheduled time to fill out necessary paperwork. 

*Actors may also be given additional sides or movement work at auditions and should plan to be on-site for up to 30 minutes.

If you cannot make these audition dates but would like to audition, email TAPSinformation@stanford.edu.

STEP #2 | WHAT TO PREPARE

For auditions, the directors ask each actor to pick two monologues from the provided sides or a different monologue from A Midsummer Night’s Dream; auditionees should pick one monologue they are drawn to, and another that they can’t imagine playing but would have fun trying. Only one piece needs to correspond to their gender identity.

Preference is for memorization if possible, but reading from a hardcopy is acceptable; hardcopies of the audition sides will be available in the waiting room.

Some individuals may be asked to do movement work; please dress accordingly.

ABOUT TAPS 122P: UNDERGRADUATE PERFORMANCE PROJECT

A Midsummer Night’s Dream is a production of 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 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.

ASSISTANT POSITIONS

TAPS is also seeking design assistants for this production. Applications are available for download below:

 

 

 

 

 

AUDITION DATES/TIMES

Wed/Thu Feb 12 + 13 at 6:30-10PM

WHERE TO GO

Auditionees should report to MemAud 129 (enter via the Memorial Way side of the building) at least five minutes prior to their scheduled time.

PERFORMANCE DATES

A Midsummer Night’s Dream
May 21-23 at 8PM in Pigott Theater

Stonewallin’
May 7-9 at 8PM in Roble Studio Theater

IMPORTANT RESOURCES

AUDITION SIDES

Download Sides

READ THE PLAYS

Midsummer | Stonewallin

REHEARSAL SCHEDULES

Midsummer | Stonewallin

TECH SCHEDULES

Midsummer | Stonewallin