Auditions

Auditions for Kentucky will be held January 19 – 21, 2024.

Kentucky by Leah Nanako Winkler

When Hiro is called back to her previously estranged and dysfunctional family in Kentucky for her sister's wedding, they are forced to confront themes of identity, religion, and love in this singular coming-of-age story.

Casting Content Notice:

Please be aware that Kentucky includes depictions of familial domestic abuse, including verbal and physical abuse, and berating. This play features a father character with substance use issues, including alcohol and marijuana, as well as abusive behavior toward his wife and daughters. Kentucky also includes death of a family pet (old age, puking up blood, cat played by human), grief, and discussion of death by suicide, motorcycle accident, and drug overdose.

The show includes dialogue about and narratives connected to the following:

• abusive parent (father), physical and verbal, to children and spouse
• anxiety, depression
• substance use and abuse (alcohol and drug), addiction
• misogyny
• racism, racist bullying
• suicide (by hanging, by gunshot)
• molestation
• drug overdose (heroin, pills)
• sex
• intergenerational trauma
• PTSD from childhood abuse
• fat shaming, fatphobia
• self-harm, cutting

Some roles will require physical intimacy, which is noted specifically in the character descriptions below. All intimacy will be staged with an intimacy director and any fight choreography will be choreographed with a fight choreographer.

Transgender, non-binary, and gender non-conforming actors who feel comfortable playing cisgender characters are welcome to audition for any of the roles in Kentucky.

The chorus of Bridesmaids can be cast with folks of any gender and the roles will be adapted to fit the gender of the actors playing the Bridesmaids.

Note from the Playwright:

“Although I encourage the appropriate ethnicities of each cast member to be honored, there is very little in this play written specifically for a singular race. Which means, for educational purposes:

Hiro and her family (the Rose family) [and Da’Ran and his family (the Williams family)] can be a family of any race— played by actors of any race…A colorblind cast is also definitely a possibility as long as colorblind doesn’t mean 'all white.'”

Please note: Script adjustments are available to enable flexibility in casting.

Feel free to ask any questions about the charged content in this show if you need more information in order to consent to a role/being a part of this production.

Character list including intimacy/violence/charged language notices for casting Kentucky.

Please read the following so that you can make informed consent if you are offered a role in this production. We will be working with an intimacy director (Carly DW Bones) in rehearsal.

(Pre-Cast for Senior Project) HIRO—late 20s. Means well. Smart and driven. Makes sixty thousand dollars a year.

Content/Intimacy Notice: Hiro and Adam lock eyes, it’s charged (p.23); Hiro and Adam kiss 3 times, on a roof, drunk on bourbon (24-25) (later it’s mentioned that this led to them having sex on the roof but that part of the scene is not staged); Hiro climbs on top of Sophie and pretends to fart on her (“I’ll fart on Jesus!”), Sophie climbs out pissed and heaving (p.29); Masako slaps Hiro hard after Hiro tells her mom that she should leave their abusive dad, is sad and needs help (p.33); “Death has taught me that the world isn’t something you shrink from.” Adam kisses Hiro, it’s hot (p.41); Hiro and Adam appear together in bed the morning after having sex (no simulated sex staged) (p.56-57); Adam says he loves Hiro and then they kiss (p.69)

SOPHIE—early 20s. Hiro’s sister. A born-again Christian. Elegant. Smart. Earnest. Passionate. This role is ideally for actors who identify as BIPOC.

Content/Intimacy Notice: Sophie is verbally abused by her father James. Sophie experiences sibling conflict with Hiro. Sophie is engaged to Da’Ran, and they get married over the course of the play. Possible choreography includes simulated romantic kissing, simulated romantic caressing and gestures, and simulated sibling rough-housing. Hiro climbs on top of Sophie and pretends to fart on her (“I’ll fart on Jesus!”), Sophie climbs out pissed and heaving (p.29); probably shares some affectionate romantic loving touch with Da’Ran in Scene 11 (p.52-53); Da’Ran and Sophie kiss after the wedding ceremony (p.66)

JAMES—50s to 60s. Hiro and Sophie’s father. White. This character is often portrayed as mean, sad, drunk, high, and scary.

Content/Intimacy Notice: James is verbally and physically abusive to his daughters and wife. James struggles with substance use issues, including alcohol and marijuana. Possible choreography includes alcohol and marijuana use and kicking inanimate objects violently. Has many verbally abusive misogynist lines, most charged ones listed here: “And just you wait a few years. That pussy might taste good now but soon the woman’s gonna get old and flappy. Like her mother…TRY LIVING WITH THREE WOMEN WHEN THEY ALL BLEED TOGETHER OUT OF THEIR C*NTS.” (p.47); “Don’t disrespect me, b*tch! I should f*ck you up!!!!!!” (p.48)

MASAKO—50s to 60s. Japanese. Speaks with a Japanese accent. Hiro and Sophie’s mother, and wife to James. Her spirit is bright, though there is a deep sadness and horrifying anger within her that comes out when triggered. This role is ideally for actors who identify as BIPOC.

Content/Intimacy Notice: Masako is verbally and physically abusive to Hiro and slaps Hiro in one scene after Hiro tells her mom that she should leave their abusive dad, is sad and needs help (p.33). She is also verbally abused by her husband James. Masako grieves the loss of her cat Sylvie. Possible choreography includes a simulated slap. 

DA’RAN—mid-20s, Sophie’s fiancé. Kind, adorable, and strong. This role is open to actors who identify as BIPOC.

Content/Intimacy Notice: Da’Ran is engaged to Sophie, and they get married over the course of the play. Possible choreography includes simulated romantic kissing and simulated romantic caressing and gestures/affectionate romantic loving touch with Sophie in Scene 11 (p.52-53); Sophie and Da’Ran kiss after the wedding ceremony (p.66).

ERNEST—50s-60s. Da’Ran’s father. Rational. Charming. Unbelievably charismatic. A pastor with a deep understanding of humanity and God. This role is open to all actors of all ethnicities.

Content/Intimacy Notice: Ernest nearly engages in a physical fight with James. Possible choreography includes escalating anger and conflict.

AMY—40s or 50s. Da’Ran’s mother and Ernest’s wife. Kind of a ham. Must be a strong singer comfortable performing a solo song. This role is open to actors of all ethnicities.

LARRY—30s or 40s. Hiro’s therapist. Friendly and approachable but direct. Has a sense of humor. This role is open to actors of all ethnicities.

NICOLE—late 20s. Genuine and giving. Hiro’s friend from high school who has remained in Kentucky. This role is open to actors of all ethnicities.

Content/Intimacy Notice: Nicole discusses the death of friends with Hiro and Laura. Those deaths include suicide, motorcycle accident, and drug overdose.

LAURA—late 20s. Can get sassy. Hiro’s friend from high school who has remained in Kentucky. This role is open to actors of all ethnicities.

Content/Intimacy Notice: Laura discusses the death of friends with Hiro and Nicole. Those deaths include suicide, motorcycle accident, and drug overdose.

ADAM—late 20s. Handsome and adoring. Really wants to settle down. This role is open to actors of all ethnicities.

Content/Intimacy Notice: Adam and Hiro kiss multiple times over the course of the play, and there is a scene in bed the morning after with the implication that they have just slept together. Adam discusses the death of his friend from drug overdose. Possible choreography includes simulated romantic kissing, simulated affectionate caressing, and simulated tickling. References: Hiro and Adam lock eyes, it’s charged (p.23); Hiro and Adam kiss 3 times, on a roof, drunk on bourbon (24-25) (later it’s mentioned that this led to them having sex on the roof but that part of the scene is not staged); “Death has taught me that the world isn’t something you shrink from.” Adam kisses Hiro, it’s hot (p.41); Hiro and Adam appear together in bed the morning after having sex (no simulated sex staged), he tickles her, they probably share some other kind of affectionate touch (p.56-57); Adam says he loves Hiro and then they kiss (p.69)

GRANDMA—a messed-up grandma. The mother of James. This role is open to actors of all ethnicities.

Content/Intimacy Notice: Grandma is verbally abusive toward her son James and her granddaughter Hiro, and says racist things (p.44).

SYLVIE—an old, sickly cat. The actor playing Sylvie will be playing a cat. This role is open to all genders and ethnicities.

Content/Intimacy Notice: Sylvie dies. Possible choreography includes simulated vomiting and death.

BRIDESMAIDS 1, 2, 3—a trio of Christian bridesmaids who can sing and dance. They function as a sort of “Kentucky Greek Chorus.” The actors playing the bridesmaids must feel comfortable singing onstage. These roles are open to actors of all ethnicities and genders.

Note: Some roles may be doubled.

Kentucky

Seaver Theatre

February 12^th through April 7^th

(March 11^th through 15^th Spring Break; March 29^thCesar Chavez Day observed)

Auditions: January 19^th – 21^st, 2024

Rehearsals: February 12^th – March 28^th (6 weeks), 20 hours over 7 days; typically M-F 6-10pm

Designer Run: March 22, 23, or 24 - TBD

Tech: Saturday, March 30^th

Dress Tech: Sunday through Tuesday - March 31^st, April 1^st, 2^nd

Preview: Wednesday, April 3^rd

Performances: Thursday, April 4^th, Friday, April 5^th, Saturday, April 6^th at 7:30pm; Saturday, April 6^th and Sunday, April 7^th at 2pm

Strike: Sunday, April 7^th, following the performance

Here is the script.

Margaret Starbuck is joining us as a guest artist to direct Kentucky. 

Margaret Starbuck (she/her) is an LA-based director and arts administrator. Her recent directing projects include the world premiere production of Unrivaled by Rosie Narasaki with Boston Court Pasadena and Playwrights’ Arena; the world premiere Frankel & Bloom chamber musical We Three Sisters and Shakespeare's Measure for Measure with Method & Madness Theater Co., a classical theater company she co-founded; as well as workshops and staged readings of new plays for Meet Cute, Company of Angels, Playwrights Union, EST/LA, the Road Theatre, Occidental College's New Play Festival, SkyPilot, and Actor's Circle Ensemble. She has assistant directed on shows at Pasadena Playhouse, The Geffen Playhouse, and the Getty Villa among others. She moonlights as Boston Court Pasadena’s Associate Artistic Director.

A modern adaptation, satire of a 15th century Christian morality play in which Everyman wrestles with a daunting visit from Death...

Content Advisory: Topics of death and dying in a humorous way, strong language, suggestions of nudity, racialized language and implied racialization of characters within the narrative; there are no explicit racial slurs used.

This play is written for a company of 9 performers of varying generations and gender and ethnic identities. This show is a modern day, sometimes very funny, sometimes poignant satire of a 15th century Christian morality play.  It is important to note that most actors cast in the show will have to memorize a large chunk of the play because, each night, there is a lottery with the audience's participation to determine who will play which role. This is meant to symbolize the randomness of life/death. 

Available Roles:

- USHER (also plays GOD and UNDERSTANDING)

- DEATH

- GIRL (also plays TIME)

- LOVE

- SOMEBODIES 1, 2, 3, 4, and 5 (5 actors who play numerous roles as determined by chance each night)

NOTE: The Somebody roles are the ones that will be chosen by lottery every night. Actors cast in these roles will have to memorize a large chunk of the play and majority of the blocking.

The only roles that do not change every night are the USHER/GOD/UNDERSTANDING, DEATH, GIRL/TIME, and LOVE.

All Auditioners are encouraged to read the play before auditioning to understand its unique nature.

This production will not include nudity, though actors determined to play EVERYBODY and LOVE may be asked to disrobe no further than undergarments​ in the production. Should this cross a boundary for an actor, the director will work with them to identify alternative choreography.

Actors will not be asked to disrobe at any level during their audition.

The script calls for a dance number; performers will be expected to move but no prior dance training is necessary.

Roles could contain possible fight choreography and possible staged intimacy including embracing.

Come prepared with a monologue, and possibly a cold-reading of sides from the play. 

Everybody

Allen Theatre

January 22^nd through March 3^rd

Auditions: December 1^st – 3^rd, 2023

Rehearsals: January 22^nd – February 23^rd (5 weeks), 20 hours over 7 days; typically M-F 6-10pm or M-Thursday 6-10pm and Saturday afternoons.

Designer Run: February 16, 17, or 18 - TBD

Tech: Saturday, February 24^th

Dress Tech: Sunday through Wednesday - February 25^th, 26^th, 27^th

Preview: Wednesday, February 28^th

Performances: Thursday, February 29^th, Friday, March 1^st, Saturday, March 2^nd at 7:30pm; Saturday, March 2^nd and Sunday, March 3^rd at 2pm

Strike: Sunday, March 3^rd, following the performance

Here is access to the script.

Fran de Leon joins as a guest artist to direct Everybody. Born in Downtown Los Angeles, ulti-hyphenate artist Fran de Leon is an actor, writer, director, and educator, raised in Hollywood and Manila. Her one person show, Faces of America, toured to over 500 venues across 49 states, including keynote performances for the United Nations Associations, California and New York. She is the Co-Artistic Director of Will & Company, Director of New Talent for Playfair, an ensemble member of Critical Mass Performance Group, and Adjunct Faculty at the University of Southern California.

​​Most recently, Fran helmed Into the Woods for Pasadena Playhouse in a landmark partnership with Pasadena Unified involving 200+ student performers, pit musicians, stage crew, costume and set designers to work alongside industry professionals. Fran's work is also featured on Center Theater Group’s Digital Stage with her video short “Valor,” a documentary short of her research and process in writing a play about the Filipino-American veterans of World War II.

​Other companies with whom she has worked include: the Geffen Playhouse, South Coast Rep, East West Players, Playmakers’ Rep, Artists at Play, Playwrights’ Arena, and the Garry Marshall Theater. Additional writer/director credits include commissioned work for Segerstrom Center’s Arts Teach, TreePeople, and Twelfth Night Rep. TV credits include recurring roles on For All Mankind and For All the People, as well as guest stars on Criminal Minds, Speechless, and the upcoming Michelle Yeoh led Netflix series, The Brothers Sun.