Auditions for The Normal Heart will be held on Sunday, Aug. 17 and Monday, Aug. 18 at 6:30 PM. Call-backs on Tues., Aug. 19.
About the Play: The Normal Heart is a searing drama about public and private indifference to the AIDS plague and one man's lonely fight to awaken the world to the crisis. The Normal Heart follows Ned Weeks, a gay activist enraged at the indifference of public officials and the gay community. While trying to save the world from itself, he confronts the personal toll of AIDS when his lover dies of the disease.
CASTING 1 FEMALE & 8 MALE ROLES (6 lead & 2 ensemble) :
Female Role (age range: 35 to 55):
Dr. Emma Brookner, a physician who has devoted her practice to helping gay men infected with the virus eventually identified as AIDS. Besides being a pioneer in the treatment of AIDS, Emma spearheads early efforts to conduct research on the disease, although the medical establishment does little to support her efforts. Strong, angry, and relentless, Emma tries to reach the gay community, through Ned and others, to warn gay men about the disease and to urge them to stop having sex.
Male Roles (age range: 21 to 55):
Ned Weeks, a writer and passionate activist who becomes obsessed with the AIDS (acquired immune deficiency syndrome) epidemic in its early stages and founds an organization to help gay men who have the disease. Angry, aggressive, and relentless in his tactics, Ned is criticized by most characters in the play, especially for his view that homosexuals should refrain from having sex until a cure is found for AIDS. In spite of his offensive behavior, Ned is the hero of the play. It is clear that he is upset by the deaths of young, gay men and that he is committed to warning those who have not yet been infected, no matter how much he must fight or what price he must pay.
Ben Weeks, Ned’s straight brother, a partner in a prestigious New York City law firm. Ned needs Ben’s help in setting up the organization for gay men, support Ben is reluctant to give because he does not want his name or the name of his firm associated with homosexual causes. When Ben refuses to be on the organization’s board of directors, Ned vows not to speak to him until Ben can accept him as his “healthy equal.” The brothers remain estranged until Felix’s death at the end of the play.
Bruce Niles, Ned’s nemesis. Although both Ned and Bruce are on the board of directors of the gay men’s organization, they have very different ideas about how the organization should respond to the AIDS epidemic. Bruce, as opposed to Ned, is conservative in his approach and is apolitical. Although the two fight about almost everything pertaining to the organization and although Bruce eventually kicks Ned out of the organization, they are also friends (at times), and Ned supports Bruce when his lovers die of AIDS. Ironically, Ned is romantically attracted to Bruce at the beginning of the play. Bruce is more self-conscious about his homosexuality than any other character in the play.
Mickey Marcus, an accomplished journalist, liberated in his private life but closeted in his public/work life.
Felix Turner, a fashion reporter for The New York Times who becomes Ned’s lover. He is a hopeless romantic and brings the softer romantic side out of Ned.
Tommy Boatwright, one of the younger volunteers with the organization for gay men. Hardworking, enthusiastic, and innovative, Tommy also is diplomatic, often trying to solve conflicts between Ned and the other members of the organization. If anyone provides comic relief in the play, it is Tommy. He is romantically interested in Ned until Felix and Ned begin dating.
ENSEMBLE (2 actors)
Hiram Keebler, Uptight closeted bureaucrat who works for Mayor Koch.
Craig Donner, AIDS patient
Grady, phone bank volunteer
David, AIDS patient
Medical Staff, doctors, orderlies
Rehearsals will begin in September. Show dates are Nov. 6 (preview), 7, 8, 14, 15, 16, 21 & 22.
From Samuel French:
Winner! 2011 Tony® Award - Best Revival of a Play
Winner! 2011 Drama Desk Award - Outstanding Revival of a Play
Winner! 2011 Drama League Award - Distinguished Revival of a Play
Winner! 2011 Outer Critic's Circle Award - Outstanding Revival
"An angry, unremitting and gripping piece of political theatre." -New York Daily News
"Like the best social playwrights, Kramer produces a cross fire of life and death energies that illuminate the many issues and create a fierce and moving human drama."-Newsweek
"Run to The Normal Heart if you want to be reminded of how alive you are!" –The Village Voice
"Hits you like a jackhammer. A powerful example of theater at its most direct, passionate and urgent. Devastating." –AM New York
"Riveting theater!" – Newsday
"...This is essentially Ibsen for our times. The play's complexity is brought to pulse-pounding life!...Raw, scary and galvanizing." –Time Out New York
"Scalding and poignant. It is a breathtaking achievement. Period." –Daily News
"The Normal Heart is breathing fire again! A great cathartic night at the theater!" –The New York Times
"One harrowing meltdown seems to incite another — a cascade of anguish as a terrifyingly unknowable killer bears down on a great metropolis… A theatergoer of any age or background can relate....You come to understand in the naked fury of The Normal Heart that the voices of history can, in fact, feel as if they are speaking directly to you." –The Washington Post
The Normal Heart opened on April 21, 1985 at the Public Theater in New York City, New York; a New York Shakespeare Festival Production, it was produced by Joseph Papp. The performance was directed by Michael Lindsay-Hogg. The revival of The Normal Heart opened on Broadway in April 27, 2011 at the John Golden Theatre in New York City, New York; it was produced by Daryl Roth, Paul Boskind and Martian Entertainment; in association with Gregory Rae and Jayne Baron Sherman/Alexander Fraser. The performance was directed by Joel Grey and George C. Wolfe.
Please watch for a "Call for Submissions" for our 2015 season in Sept./Oct..
For more information contact firstname.lastname@example.org.
For myself, as a director who has conducted auditions in a variety of venues, the most important aspect of your audition is your ENERGY and ENTHUSIASM. There are however, some simple DO’s and DONT’s that can help you to maximize your potential, show off your talent and get the most out of your experience. This is a general list; please see the show’s audition notice for any specifics.
DO — come prepared with a picture and concise resume.
DO — dress in comfortable, but professional attire; this is a job interview.
DO — arrive early to get settled and sign in before the audition time.
DO — choose an audition song in your vocal range that shows off your voice.
DO — choose an audition song similar in style to the show for which you are
auditioning. It is usually best to avoid singing from the show itself unless otherwise
DO — have your music neatly secured in a binder or taped together accordion style to avoid page turns. (the accompanist is your best friend in this situation)
DO — take a moment to set tempo with the accompanist.
DO — have your song memorized.
DO — become familiar with the music from the show.
DON’T — ask to sing a cappella.
DON’T — ask the accompanist to transpose your music.
DON’T — choreograph your song. If you are auditioning for a dance role, there will be a separate dance audition.
DON’T — apologize or make excuses for your performance. Enjoy the experience and present your piece to the best of your ability.
DO — have appropriate dance attire.
DO — realize that not everyone is expected to be a trained dancer, but if you are auditioning for musical theatre, chances are that the director or choreographer will want to see you move.
DON’T — apologize; perform the choreography to the best of your ability.
DO — check the audition notice to see if you should prepare a monologue or if you will be given sides to read at the audition.
DO — become familiar with the script.
If a monologue is required:
DO — choose something age and gender appropriate.
DO — choose something from a play rather than a monologue book.
DO — come well prepared with your piece memorized.
DONT — choose a monologue from a movie or one associated too strongly with a specific actor.
MOST IMPORTANTLY — this is community theatre. We are looking to build community through the arts. If all of the above fails, still SHOW UP! Every audition is a learning experience and a chance for you to grow as a performer. Directors are looking for directability first and foremost. Be flexible. Be willing to take healthy risks. A directable performer with positive energy, who will clearly be a team player, is far more valuable to a production than someone who is just technically proficient.
HAVE FUN! SEE YOU AT THE THEATRE!
TBTA Artistic Director