Auditions
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LOVE IN RESERVE - Equity/Non-Equity video submissions
CONTRACT SPT $271 weekly minimum (SPT 1) Non-Equity contract $500 stipend for show. SEEKING Equity/Non-Equity actors for roles in LOVE IN RESERVE (see breakdown). One Equity contract available. Local actors particularly encouraged to submit. SUBMISSION INSTRUCTIONS Please prepare two contrasting 30 second monologues that best show your range. Please email video in an unlisted YouTube [or similar platform] link along with headshot and resume to casting@rubbercitytheatre.com. Deadline: 03/11/2021 SUBMIT TO: casting@rubbercitytheatre.com PERSONNEL Auditions will be viewed by: Dane CT Leasure (He/Him/His) - Executive Artistic Director/Director Eric Mansfiled (He/Him/His) - Playwright Sarah Bailey (She/Her/Hers) - Director of Artistic Coordination OTHER DATES Callbacks: Saturday 3/13/21 12 pm-7 pm ET (break 3-4 pm); if needed, additional callbacks on Monday 3/15/21 First Rehearsal: 4/06/21[Virtual]; First In-Person Rehearsal: 04/10/21 Tech: 4/24/21 Run: 4/30 - 5/15/21 [Possible Extension through 05/22/21] OTHER Show pending Equity health and safety approval. Equity’s contracts prohibit discrimination. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit. |
BREAKDOWN
*** In reference to the character descriptions - most characters we encounter currently are on the binary and are written with the he/him or she/her pronouns and you will see that are in the following descriptions. But, however limiting the descriptions are, our casting seeks to be as inclusive as possible and we invite gender non-conforming, genderqueer, transgender, non-binary actors to submit for the roles they most identify with. We will also list race/ethnicity when specific to the character but are otherwise seeking all races and ethnicities. As an ADA compliant theatre, we welcome performers of all abilities and will make all reasonable accommodations in order to cast performers, regardless of disability, in any role possible. Please let us know if you have any questions, concerns, or if there are any accommodations we can provide. (Language developed by Kevin Kantor and Emily Tarquin from the Actors Theatre of Louisville). Ray Strong: A man in his mid 20's who joined the Army immediately after high school. He chose the military in part because he didn't see many other options to making a mark in his life. While he never set out to make the Army a career, the military seems to be his calling now that he has overachieved to become an officer. He is hopeful that Kate, his high school sweetheart who recently became his wife, will embrace the role of Army wife, and while he doesn't intentionally make Kate's life more complicated, he takes for granted that she "knew what she was getting in to" when she married a soldier. Kate Strong: A woman in her mid 20's who adores Ray, and while others in high school thought he was a middle-of-the-road, vanilla local boy, she saw his potential and has often worshipped the ground he walked on. She has made his success and happiness her priority, which has sown seeds of frustration and resentment as Kate has delayed following her own path. Alone in a military officer's apartment, Kate never thought she would feel stranded in an unfamiliar state with her own life on hold while waiting for Ray yet again, this time to return from war. She is a stubborn worrier who uses sarcasm and humor in confronting her fears and frustration. In her heart, Kate is convinced that if she and Ray can just survive the war, her own time to shine will come, and together, their future will be amazing. In the meantime, she has never felt more alone and is constantly fearing that she will become a widow. |
A Note on Casting Notices:
In reference to the character descriptions - most characters we encounter currently are on the binary and are written with the he/him or she/her pronouns and you will see that are in the following descriptions. But, however limiting the descriptions are, our casting seeks to be as inclusive as possible and we invite gender non-conforming, genderqueer, transgender, non-binary actors to submit for the roles they most identify with. We will also list race/ethnicity when specific to the character but are otherwise seeking all races and ethnicities. As an ADA compliant theatre, we welcome performers of all abilities and will make all reasonable accommodations in order to cast performers, regardless of disability, in any role possible. Please let us know if you have any questions, concerns, or if there are any accommodations we can provide. (Language developed by Kevin Kantor and Emily Tarquin from the Actors Theatre of Louisville).
In reference to the character descriptions - most characters we encounter currently are on the binary and are written with the he/him or she/her pronouns and you will see that are in the following descriptions. But, however limiting the descriptions are, our casting seeks to be as inclusive as possible and we invite gender non-conforming, genderqueer, transgender, non-binary actors to submit for the roles they most identify with. We will also list race/ethnicity when specific to the character but are otherwise seeking all races and ethnicities. As an ADA compliant theatre, we welcome performers of all abilities and will make all reasonable accommodations in order to cast performers, regardless of disability, in any role possible. Please let us know if you have any questions, concerns, or if there are any accommodations we can provide. (Language developed by Kevin Kantor and Emily Tarquin from the Actors Theatre of Louisville).
Design Openings
Rubber City Theatre, Akron’s only Equity Theatre, is searching for designers for productions in its 2021 season of world premieres. RCT is looking for inspired professionals to join their productions as a Costume Designer, Sound Designer, or Lighting Designer. Duties for each of the following are listed below. Applicants should be within the Northeast Ohio region and willing to drive to the theatre space for necessary rehearsals during the production period. Designers should be comfortable working with IATSE Union crews throughout the process. All interested personnel please email our Director of Artistic Operations, Brian C. Seckfort at Production@rubbercitytheatre.com and include a resume, portfolio, and website if applicable, also include in the subject what position you are interested in. These are paid positions and can open to future designs with the emerging company! For more information on our current season and company visit our website rubbercitytheatre.com.
Costume Designer
1. To provide a costume plot and complete sketches or representations necessary for execution of costumes and to design, select or approve all accessories.
2. To supply color schemes/sketches or outline sketches with examples of materials for each costume including ornaments and detail.
3. To design, select or coordinate all contemporary costumes, including selections from the performer’s personal wardrobe when necessary.
4. Select appropriate costumes from stock, rental or other resources and coordinate their adaptation for the production.
5. To supply specifications for competitive bids for costume shops or other suppliers mutually satisfactory to the Producer and the Costume Designer.
6. To supply specifications for the shop to make, sew, construct/and or paint costumes and costume accessories.
7. To oversee the fittings and attend appropriate rehearsals.
8. To approve hairstyles and/or select of wigs, hairpieces, mustaches, beards, prosthetics and special make-up.
9. To attend the rehearsals as necessary to design the production.
10. Respect the physical property of the production and RCT.
Costume Design for Play (up to 10 actors) $750.00; Costume Design for a Play (more than 10 actors) or Musical $1,000.00 (1/2 paid after 2nd design meeting, 1/2 paid after Opening of show)
Sound Designer
1. To provide all designs for pre-recorded music and or sound effects and enhancement of “live” voices, musical instruments and sound elements.
2. To provide technical drawings and specifications as required for the production.
3. To design a sound delivery system that will properly execute the needs of the production.
4. To attend the dress rehearsals and coordinate the sound rehearsals therefore.
5. To supply specifications for competitive bids for sound equipment and studio time from suppliers mutually satisfactory to the Producer and the Sound Designer.
6. To coordinate the installation of the sound delivery system and the setting of the sound cues.
7. Respect the physical property of the production and RCT.
Sound Design for a Play $500.00; Sound Design for a Musical $750.00 (1/2 paid after 2nd design meeting, 1/2 paid after Opening of show)
Lighting Designer
1. To provide full lighting equipment lists and a light plot drawn to scale from Scenic Design and theatre drawings provided by Producer.
2. To provide color, hook-up plots and instrument schedule including all information required for the realization of the design.
3. To coordinate and plot special lighting effects.
4. To supply specifications for competitive bids for lighting and special effects suppliers mutually satisfactory to the Producer and the Lighting Designer.
5. To oversee focusing of the lighting equipment and setting of lighting cues.
6. To attend the rehearsals as necessary to design the production and to conduct the lighting rehearsals.
7. Respect the physical property of the production and RCT.
Lighting Design for a Play $500.00; Lighting Design for a Musical $750.00 (1/2 paid after 2nd design meeting, 1/2 paid after Opening of show)
Costume Designer
1. To provide a costume plot and complete sketches or representations necessary for execution of costumes and to design, select or approve all accessories.
2. To supply color schemes/sketches or outline sketches with examples of materials for each costume including ornaments and detail.
3. To design, select or coordinate all contemporary costumes, including selections from the performer’s personal wardrobe when necessary.
4. Select appropriate costumes from stock, rental or other resources and coordinate their adaptation for the production.
5. To supply specifications for competitive bids for costume shops or other suppliers mutually satisfactory to the Producer and the Costume Designer.
6. To supply specifications for the shop to make, sew, construct/and or paint costumes and costume accessories.
7. To oversee the fittings and attend appropriate rehearsals.
8. To approve hairstyles and/or select of wigs, hairpieces, mustaches, beards, prosthetics and special make-up.
9. To attend the rehearsals as necessary to design the production.
10. Respect the physical property of the production and RCT.
Costume Design for Play (up to 10 actors) $750.00; Costume Design for a Play (more than 10 actors) or Musical $1,000.00 (1/2 paid after 2nd design meeting, 1/2 paid after Opening of show)
Sound Designer
1. To provide all designs for pre-recorded music and or sound effects and enhancement of “live” voices, musical instruments and sound elements.
2. To provide technical drawings and specifications as required for the production.
3. To design a sound delivery system that will properly execute the needs of the production.
4. To attend the dress rehearsals and coordinate the sound rehearsals therefore.
5. To supply specifications for competitive bids for sound equipment and studio time from suppliers mutually satisfactory to the Producer and the Sound Designer.
6. To coordinate the installation of the sound delivery system and the setting of the sound cues.
7. Respect the physical property of the production and RCT.
Sound Design for a Play $500.00; Sound Design for a Musical $750.00 (1/2 paid after 2nd design meeting, 1/2 paid after Opening of show)
Lighting Designer
1. To provide full lighting equipment lists and a light plot drawn to scale from Scenic Design and theatre drawings provided by Producer.
2. To provide color, hook-up plots and instrument schedule including all information required for the realization of the design.
3. To coordinate and plot special lighting effects.
4. To supply specifications for competitive bids for lighting and special effects suppliers mutually satisfactory to the Producer and the Lighting Designer.
5. To oversee focusing of the lighting equipment and setting of lighting cues.
6. To attend the rehearsals as necessary to design the production and to conduct the lighting rehearsals.
7. Respect the physical property of the production and RCT.
Lighting Design for a Play $500.00; Lighting Design for a Musical $750.00 (1/2 paid after 2nd design meeting, 1/2 paid after Opening of show)
EMPLOYMENT
No Opportunities at this time.
Volunteer With Us!We are looking for a strong group of volunteers to help usher at our performances. If you are interested please fill out the form and we will get back to you soon!
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