Artistic Opportunities

2022 SEASON CASTING BREAKDOWNS

Please read all information below carefully to make sure you don't miss important details before submitting.

SitW is seeking non-union Northeast and New England-based actors with a strong handle of Shakespeare's language and verse to build a dynamic company of performers for the season. Unless otherwise stated, all roles are open to actors of all ethnicities and races who are 18yrs+. Shakespeare in the Woods celebrates the Transgender and Gender Non-Conforming community: Actors of any and all genders are strongly encouraged to audition for desired roles.

Contract: Pays $200/wk stipend for the duration of their contract, regardless of role size or the number of roles. If an actor is hired for an additional creative job (fight choreographer, intimacy director, sound design/composer) they will receive an additional $20/hr. pay for their time spent working on these responsibilities. The contract also includes housing and roundtrip transportation to/from VT. 

**Rehearsals begin virtually July 11th, then in person in VT August 1st (Monday-Friday, 10 a.m.-6 p.m.); Performances run August 24th-September 11th in Manchester, VT.

For consideration: Submit a self-tape of a classical monologue that speaks to you (pieces from the season’s plays are welcome), max 2 mins in length, your headshot, and résumé, as well as specific roles and shows you're interested in being considered for to sitwcasting@gmail.com. Note if you'd like to be considered for fight choreographer, intimacy director, or sound design/composer in your cover letter. In-person callbacks will be held May 19-20 in NYC.

CORIOLANUS OVERVIEW

Amidst the dregs of a contemporary empire, the displaced widows and daughters of Rome reconstruct the past to build a better future. They tell the story of the war hero Coriolanus, a pawn in others’ political machinations, whose anger shatters the veneer of civility, plunges the republic into chaos, and creates the potential for a new world order.​ Since this adaptation examines the impact of toxic masculinity and its outgrowths, fear-mongering and militarism, on the rest of the population through the eyes of the witnesses rather than perpetrators of these violences, ***this production invites only women, femmes, nonbinary and genderfluid performers to audition. ***

 

Please note: Each actor except the ones playing Volumnia and Virgilia (who play themselves throughout) will play at least two characters – a primary character who is one of the refugees displaced by the war between the Romans and Volscians, and secondary characters who are the politicians, soldiers, rioters who populated the story of Rome’s downfall. The primary characters will be developed in the course of the rehearsal process. The secondary characters are predominantly men, so performers who audition should be comfortable playing with gender in the process of trying to understand the mistakes that led to the destruction of their world. 

 

SPECIAL SKILLS: Since the ensemble will be creating the soundscape and score of the performance with a combination of portable instruments and found objects, performers with musical skills are encouraged to apply (however, those skills are not a requirement to be considered for the production). The production will also include choreographed combat that takes actors’ physical abilities and access needs into account. Trained & skilled Fight Choreographers and Intimacy Directors are also encouraged to make note of interest in filling these positions.

 

CHARACTERS:

VOLUMNIA: a member of Rome’s elite and Coriolanus’s ambitious, demanding mother. She resents the misogyny of the state that won’t allow women access to political power, so she has groomed her son to ascend the military ranks by building walls between himself and other people. She believes showing emotion and vulnerability is weakness. 

VIRGILIA: Coriolanus’s wife, mother of his son, and the only person able to get Coriolanus to drop his defenses. Virgilia struggles enormously with the death machine that her husband is a part of and aspires to raise her child differently. She has free access to the courage found in vulnerability and is an advocate for peace and understanding.

AUFIDIUS: The general of the Volscian forces and Coriolanus’s primary military rival. He is consumed by the desire to beat Coriolanus and conquer Rome once and for all and will stop at nothing to accomplish that. 

MENENIUS: a renowned Roman career politician respected for his strategic thought and quick wit; the first to be called to resolve diplomatic crises. He has a soft spot for Coriolanus, who reminds him of his own youth. 

BRUTUS: a newly elected Roman senator eager to gain favor with the masses by taking down Coriolanus, against whom he has a personal vendetta. 

SICINIUS: a newly elected Roman senator ready to do whatever it takes to ensure his standing and political longevity. He doesn’t have leadership aspirations himself; he is happy to follow the man with the plan. 

COMINIUS: A member of the wealthy elite called on to serve in the military advisory council against the Volscians.  

TITUS LARTIUS: A seasoned Roman general and former secretary of state. He has come out of retirement to advise the military on how to answer the threat of the Volscians.

YOUNG MARTIUS: Coriolanus and Virgilia’s child, teen; gender TBD. A young person feeling a strong pressure to conform to the standard established by their father, and yet in essence more in tune with the openness and pacifism of their mother. In the course of the events, Martius must decide which path to choose. 

*Please note, the role of CORIOLANUS has already been cast.

A MIDSUMMER NIGHT'S DREAM OVERVIEW

Days before a royal wedding, four young lovers, oppressed by Athenian Law, flee to the forest in search of freedom. The lovers, as well as an amateur acting troupe preparing for the wedding,  find themselves trapped in a lovers quarrel between the Fairy Queen, King, and their mischievous servant. As relationships get further entangled, and chaos ensues we see the foolishness of humans and their impossible fight for control on comedic display. 

 

Told by an ensemble of storytellers this production will explore the universality and complexity that has made A Midsummer Night’s Dream one of the most popular Shakespeare plays and certainly comedies. In addition, it will investigate the restorative and therapeutic nature of telling stories with a community and why at the most severe times it is vital to tell your story, tell any story, and laugh till you cry! 

 

Seeking actors to be part of an active ensemble with the potential of playing multiple roles. A strong command of language, comfort with experimentation and a positive attitude are necessary as well as an interest in building worlds as a company. These actors will collectively play the following characters. 

 

CHARACTERS:

HERMIA: In love with Lysander and best friends with Helena

HELENA: In love with Demetrius and best friends with Hermia

DEMETRIUS: In love with Hermia

LYSANDER: In love with Hermia

TITANIA: Queen of the fairies

OBERON: King of the fairies

PUCK: Oberon’s servant

PEASEBLOSSOM: Fairy

COBWEB: Fairy

MOTH: Fairy

MUSTARDSEED: Fairy

PETER QUINCE: Director of Pyramus and Thisbe

NICK BOTTOM: Plays Pyramus

FRANCIS FLUTE: Plays Thisbe

SNUG: Plays the lion

TOM SNOUT: Plays the wall

ROBIN STARVELING: Plays Thisbe’s mother

PHILOSTRATE:Theseus’s Master of the Revels

EGEUS: Hermia’s father

THESUS: The duke of Athens, engaged to Hippolyta

HIPPOLYTA: The legendary queen of the Amazons

TITUS ANDRONICUS OVERVIEW

Titus Andronicus is a tragedy about revenge and the consequences of violence. At the start of the play, an election takes place as the victorious Roman army returns from war with the Goths. Titus, the Roman General, sacrifices the eldest son of Tamora, Queen of the Goths, in return for the death of his sons in battle. Some characters seek revenge and some are victims to it. By the end of the play, few are left and we’re left to ask, at what point does the killing stop?

 

This production of Titus will live in a world of heightened realism and will utilize symbolic imagery and movement. 

 

Seeking 13 actors with a strong handle of Shakespeare’s language and verse to build an ensemble for this story. The subject matter of Titus Andronicus contains extreme violence and sexual assault. Actors are encouraged to familiarize themselves with the play prior to submitting. All roles are open to any gender. 

CHARACTERS:

TITUS ANDRONICUS: An aging war hero struggling for control and honor. Titus is brutal and cunning-- going so far as to bake Tamora’s sons into pies and serve them to her before murdering her in cold blood. 

TAMORA: Queen of the Goths. Enacts a path of revenge when Titus murders her eldest son at the beginning of the play. She is strong, wise, vulnerable, and ruthless. 

MARCUS ANDRONICUS: Brother of Titus and a voice of reason in Rome.  

AARON *(Black, Indigenous, Person of Color, 18+)*: Tamora’s lover. Brilliant. A mastermind. Duplicitous. Aaron’s involvement in the bloodshed is further complicated when Tamora births Aaron’s child. 

SATURNINUS: Emperor of Rome. Brother of Bassianus. Marries Tamora after Lavinia rejects him. Kills Titus after Titus kills Tamora. 

BASSIANUS: Brother of Saturninus. Marries Lavinia. Murdered by Chiron and Demetrius. 

LAVINIA: Daughter of Titus. She is with Bassianus at the beginning of the play and disobeys her fathers’ command to marry Saturninus, sparking his rage. Lavinia has to overcome her amputation so that she may report her abusers. 

LUCIUS: Oldest son of Titus. Exiled from Rome. Joins forces with the Goth army and returns at the end of the play to take over as Emperor. 

CHIRON: Tamora’s son. Violent. Loyal to his mother. Childish. Sadistic. 

DEMETRIUS: Tamora’s son. Violent. Loyal to his mother. Childish. Sadistic. 

QUINTUS/SWING: Son of Titus. Framed for murdering Bassianius. 

MARTIUS/SWING: Son of Titus. Framed for murdering Bassianius.
ALARBUS/CLOWN/MUTIUS/NURSE: a versatile actor adept at character work.

Additional Opportunities

Intern, educational, and volunteer opportunities will return in 2022 with our next live performance season. Thank you for your interest in working with us! 

A word on SitW's creative culture:

Safety (noun) : freedom from harm or danger : the state of being safe


Shakespeare in the Woods is committed to creating and maintaining a safe work environment, and as such holds a zero tolerance policy against racism, sexism, transphobia, antisemitism, ableism, xenophobia, homophobia, islamophobia, fatphobia, and ageism. 

 

In the event that a transgression occurs during a production, SitW reserves the right to immediately remove the offender(s) from employment, regardless of position/power dynamic.

 

If the individual(s) who were subject to the transgression feel strongly that they would like to attempt accountability and restoration versus immediate removal of the offender(s), SitW will facilitate the opportunity for resolution, if possible.  The outcome/decision will ultimately rest with the individual(s) subject to transgression and if they feel genuine accountability and resolution has occurred. 

When in SitW's employment, you are entering into the mutual agreement of creating and maintaining a safe work environment for yourself and your fellow artists.  You are committed to upholding a zero tolerance for any and all forms of prejudice, bigotry, hate, and bias, and understand that if you engage in any such behavior, you are subject to immediate unemployment.

 

It is not enough to state the desire for a safe and welcoming work environment, accountability is required.  We each must commit to creating a communal space that welcomes the uncompromising fullness of all individuals and their artistry, and be willing to hold ourselves to a standard that enables trust and vulnerability with one another.