Suscribe to Weekly RiverCitiesReader.com Updates
* indicates required

View previous campaigns.

Local Theatre Auditions/Calls for Entry PDF Print E-mail
Theatre - Auditions/Calls for Entry
Written by Administrator   
Thursday, 14 April 2016 08:40

Area Auditions and Calls for EntryUpdated: Thursday, April 14

 

AUDITIONS

April 30 & March 1: Checkmate and The Fantasticks - Richmond Hill Barn Theatre. Auditions for Leslie Sands' comedy whodunit Checkmate, directed by Joe DePauw (running July 7 - 17), and Tom Jones'  musical romance The Fantasticks, directed by John Donald O'Shea (running August 11 - 21). Seeking nine male and four female adult actors of varying ages. Be prepared to read from the scripts; those auditioning for singing roles in The Fantasticks should be prepared to sing a song from the show that indicates the role for which you feel you are best suited. Richmond Hill Barn Theatre (600 Robinson Drive, Geneseo, IL). For information, call 309-944-2244. Saturday, April 30 (2 - 4 p.m.), Sunday, May 1 (2 - 4 p.m.).

May 21: The Full Monty - The Center for Living Arts' Ghostlight Productions. Adult auditions for the fall production of the male-stripper musical comedy running October 7 - 15, directed by Jeff Ashcraft. Prepare 16 bars from a musical (an accompanist will be provided) and prepare to learn a short dance routine and read from the script. The Center for Living Arts. 2008 Fourth Avenue, Rock Island, IL. For information, contact Dino Hayz at 563-340-7816 or  This e-mail address is being protected from spambots. You need JavaScript enabled to view it . Saturday, May 21 (3:30 - 6 p.m.).

May 21, 22, 25, 28, 29, and June 1 - Genesius Guild Summer Productions. Auditions for outdoor-theatre presentations of Aaron Copland's and Opera @ Augustana's "The Tender Land" (June 11 - 19), Aeschylus' "Seven Against Thebes" and Sophocles' "Antigone" (July 9 - 17), Shakespeare's "Much Ado About Nothing" (July 23 - 31), and Aristophanes' and adapter Don Wooten's "The Birds" (August 5 - 7). Be prepared to read from the scripts. Lincoiln Park. 11th Avenue & 38th Street, Rock Island, IL. For information, e-mail  This e-mail address is being protected from spambots. You need JavaScript enabled to view it . Saturday, May 21 (1 p.m.), Sunday, May 22 (1 p.m.), Wednesday, May 25 (7 p.m.), Saturday, May 28 (1 p.m.), Sunday, May 29 (1 p.m.), Wednesday, June 1 (7 p.m.).

June 25 & 26: Deathtrap - Playcrafters Barn TheatreAuditions for Ira Levin's Tony-nominated comedy thriller, directed by Patti Flaherty (running September 9 - 18). Be prepared to read from the script. Playcrafters Barn Theatre (4950 35th Avenue, Moline). For information, call 309-762-0330. Saturday, June 25 (2 p.m.), Saturday, June 26 (7 p.m.).

June 25 & 26: Stocking Stuffers - Playcrafters Barn Theatre. Auditions for the play of short, comedic, holiday-themed vignettes, directed by Jacque Cohoon (running November 11 - 20). Be prepared to read from the script. Playcrafters Barn Theatre (4950 35th Avenue, Moline). For information, call 309-762-0330. Saturday, June 25 (5 p.m.), Saturday, June 26 (4 p.m.).

July 18, 19, & 20: Deathtrap Starlighters II TheatreAuditions for Ira Levin's Tony-nominated comedy thriller, directed by Basilio Light, running Sept. 30 - Oct. 9. Be prepared to read from the script. Starlighters II Theatre (200 East Main Street, Anamosa, IA). For information, call 319-462-4793. Monday, July 18 (7 p.m.), Tuesday, July 19 (7 p.m.), Wednesday, July 20 (7 p.m.).

July 18: Honk Jr.: Student Auctions - Ohnward Fine Arts Center. Auditions for ages 8-18 for the family-themed version of the musical-comedy fairytale, running August 13 & 14, directed by Richard Hall and Angie Ruley. A $35 participation fee covers scripts, a Honk Jr. T-shirt,. and workshops. Rehearsals begin July 19, and are 10 a.m. - noon Mondays through Fridays until performance night. Ohnward Fine Arts Center (1215 East Platt Street, Maquoketa). For information specifics, call 563-652-9815. Monday, July 18 (10 a.m. and 1 p.m.).

September 5, 6, & 7: Miracle on 34th Street: The Musical Starlighters II TheatreAuditions for the stage adaptation of the beloved holiday movie, directed by Katherine Bergman and Janet Bergman, running Dec. 2 - 11. Be prepared to sing and read from the script. Starlighters II Theatre (200 East Main Street, Anamosa, IA). For information, call 319-462-4793. Monday, September 5 (7 p.m.), Tuesday, September 6 (7 p.m.), Wednesday, September 7 (7 p.m.).

 

CALLS FOR ENTRY

Quad City Playwrights Festival - Augustana College. Seeking original 10-minute scripts (maximum 10 pages) for a staged reading in the Bergendoff Hall of Fine Arts; Potter Theatre on Saturday, May 14, at 1:30 p.m. Playwrights may submit one original script of any genre by a single author, scripts may not be excerpts from larger works, and adaptations and musicals and plays with copyrighted music or lyrics will not be considered. To enter, include a cover sheet with the playwright’s name, address, and phone number; high school and college students should identify their schools. Scripts will not be returned. Mail or e-mail your play to: QCPF, c/o Department of Theatre Arts, Augustana College, 639-38th Street, Rock Island, IL 61201 or  This e-mail address is being protected from spambots. You need JavaScript enabled to view it . Through Sunday, April 17.

2016 Iowa Playwrights Workshop - Tallgrass Theatre Company. Currently accepting script submissions from Iowa-connected playwrights. Writers may submit one-acts, full-length plays, and plays that are in still in process and need additional modification. Several finalists will be announced in June, each of which will receive workshop sessions with local actors, directors and writers, and a public reading at a Des Moines venue. For information, e-mail  This e-mail address is being protected from spambots. You need JavaScript enabled to view it or call 515-505-3504. Through Sunday, May 15.

 

Send information on calls for entry and forthcoming auditions to This e-mail address is being protected from spambots. You need JavaScript enabled to view it .


What if Woody Allen and Mia Farrow had stayed together?

Three things that might not have happened:

1. The Woody Allen-Diane Keaton reunion. This, we know, definitely wouldn't have happened. Allen wrote "Manhattan Murder Mystery," his fizzy 1993 Hitchcock homage, with Farrow -- as usual -- in mind for the female lead, the neurotic wife-turned-amateur-sleuth of Allen's even more neurotic New York literary editor. That, of course, was before their relationship collapsed, so when the time came to make the film in the immediate aftermath of the breakup, Allen called in a favor from his former muse Diane Keaton. Their first film together since "Manhattan" 14 years previously, it was a fun nostalgia trip that earned Keaton a Golden Globe nod, though Allen admitted he'd have written the film differently for Keaton: "[Mia's] not as broad a comedian as Diane is... Diane made this part funnier than I wrote it." Might the Farrow-starring "Manhattan Murder Mystery" have been a more dramatic affair? In any event, the Woody-Diane reunion proved to be a one-night-only deal. She's not doing much these days -- how about it, guys? 

2. Woody's Eurotrip. Given that Allen didn't make a single film without Farrow in the 12 years they were an item, it seems reasonable to project that she would have remained a fixture in his ensembles as long as they'd remained together. That opens pretty much a limitless realm of "what if" questions regarding Allen's subsequent filmography. It's easy enough to see where Farrow would've slotted into, say, "Mighty Aphrodite" (sorry, Helena Bonham Carter); "Sweet and Lowdown," not so much. But it's his European phase of the new century -- his diversions into London, Barcelona and Paris -- that is hardest to imagine with Farrow on board: the liberated production focus and youthful focus of those films feel very much the result of a set-in-his-ways auteur consciously making a fresh start. Could he have made them with a partner of over 25 years' standing? An older-skewing "Midnight in Paris" could conceivably have been made with Allen and Farrow in for Owen Wilson and, perhaps, Rachel McAdams -- but would "Vicky Cristina Barcelona" have been written at all? 

3. Farrow suffers the curse of "The Omen." Working with Allen, along with raising their rambling family, was pretty much a full-time job for Farrow: in the time they were together, the only non-Allen feature she appeared in (voice work in "The Last Unicorn" excepted) was 1984's "Supergirl." Having only been served her partner's scripts for over a decade might have dulled her project-choosing abilities a bit -- not that Hollywood producers were likely giving the actress much choice as she headed into her fifties. A continued routine of annual Woody joints may well have removed Farrow from such projects (for better or worse) as Zac Braff's "The Ex," the "Arthur" animated franchise and sundry second-rate TV movies -- but she'd surely have been spared the indignity of chewing the scenery in 2006's limp remake "The Omen." She was the best thing in it, but still: better off out of it. 

Three things that might have happened:

1. Farrow does a whole lot more feature films... and perhaps gets that elusive Oscar nomination. With the exception, of course, of Roman Polanski, no filmmaker had a better idea than Allen of what to do with Farrow's fragile screen presence -- whether playing up to it in melancholy character studies like "The Purple Rose of Cairo" and "Another Woman," or casting her brashly and sucessfully against type in "Broadway Danny Rose." It'd have been interesting to see what roles he'd have written for her had they grown older together -- Farrow wrote in her autobiography that she felt disengaged from her ensemble roles in the later, sourer years of their relationship, but might a happier outcome have yielded more devoted valentines in the "Alice" or "Purple Rose" vein? And if so -- with her Allen collaborations having yielded multiple BAFTA and Golden Globe nods for the actress, as well as a National Board of Review win -- the Academy would have had to relent sometime, right?

2. Woody produces more dramatic fare. Allen's aforementioned comment Farrow's subtler comic style is a telling one: the early years of their relationship produced fleeter comic exercises like "Broadway Danny Rose" and "A Midsummer Night's Sex Comedy," but as the 1980s wore on, he seemed increasingly attuned to the inner dramatist that had previously written "Interiors" -- whether fused with comedy in films like "Crimes and Misdemeanors" and "Hannah and Her Sisters," or given to outright Bergmania in "Another Woman" and "September." It's speculative, of course, to say that the sensitive, serious-minded Farrow inspired this phase of his career, but it's worth noting that their breakup was immediately followed by a return to lighter comedies like "Bullets Over Broadway" and "Everyone Says I Love You." Would this tonal break have occurred had his personal life stayed on course? Perhaps, but we also might have waited a little less long for his return to dramatic writing in 2005's "Match Point" and this year's "Blue Jasmine" -- a film it's easy to imagine him writing for Farrow 20 years ago.

3. Woody gets Twitter. Okay, this is a silly one. But Farrow has proved surprisingly active on Twitter, using her feed both to abet her humanitarian work and to show off an unexpected streak of droll humor -- her dry, casual tweet a couple of weeks ago about watching "Sharknado" with Philip Roth fooled a lot of people and spawned a short-lived Twitter meme. If she's embraced it, could she have talked Woody into doing the same? Probably not. One senses he'd regard social media much as he does cars, Los Angeles or the Oscars -- with a mixture of disdain and terror. Still, a regular feed of mordant Woody one-liners would be a must-follow. And even if he couldn't be persuaded, there's the hope that Farrow would share some choice domestic tidbits.

Did history work out for the best?

Well, yes and no. One is loath to say that any breakup that hurts as many associated parties as this one -- and in such a public manner -- is "for the best," though both seem to have effectively moved on: Allen's marriage to Farrow's now-estranged daughter is still going strong, while Farrow has further filled her life with children and humanitarian work. But we're not passing a verdict on anyone's personal life: are their careers better for the way things turned out? Certainly not in Farrow's case, though perhaps she'd simply have lost her taste for screen acting anyway. Allen's filmography may have followed an uneven trajectory in the last 20 years, but it had never been blemish-free: I'd argue that his Farrow period was the richest and most adventurous of his career, but it still produced the occasional misfire. With "Midnight in Paris" having brought him a fourth Oscar last year, and "Blue Jasmine" currently earning him rave reviews, history has worked out pretty well for him -- though I'd say cinema is a little poorer for having fewer Allen-Farrow collaborations than it could have done.


blog comments powered by Disqus