Equity Principal Auditions

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.

Yale Rep is committed to an inclusive casting policy and encourages all actors to audition regardless of an individual’s sex, race, color, religion, age, disability, status as a veteran, national or ethnic origin, sexual orientation, or gender identity or expression. Please refer to the character breakdown and description of roles below.

CHARACTER BREAKDOWN OF AVAILABLE ROLES

The Philadelphia Theatre Company, Shakespeare Theatre Company, and Brooklyn Academy of Music Production of:

MACBETH IN STRIDE

December 5–December 14
University Theatre, 222 York St, New Haven, CT 06511

Written and Performed by Whitney White
Directed by Taibi Magar and Tyler Dobrowsky
Choreographed by Raja Feather Kelly

Rehearsal in NYC: On or about Nov. 18 – 30, 2024, Mon-Sat (Nov. 28 OFF)

Tech Rehearsals in New Haven: Dec. 2 – 6, 2024, Mon – Fri

Previews: Dec. 5 & 6, 2024

Opening: Dec. 7 (evening)

Performance week: Dec. 10 – 14 (Tues – Sat) 8 performances, including 3 matinees

Closing: Dec. 14, 2024

SEEKING: one role, understudies (tracks to be configured) and possible replacements:

THIRD WITCH – Black, she/her. Narrator meets muse. This character provides a framework for the piece and often connects the dots between what is happening on stage and the audience’s experience. Speaks in direct address at times and can always find the bright side of things. An excellent mover and comfortable with classical text. Feels like a friend or homegirl who is rooting for you. Excellent part singer.

WOMAN – ROLE CAST. Black, she/ her. Throughout the show this track will play Lady Macbeth and herself; a 2020-now Black woman grappling with the triangle of ambition, power, and love. A lover of Shakespeare, who will spend the production questioning the consequences his narratives have for women today. Confident with classical language and direct address. Strong Mezzo and belter. Proficient with piano.

MAN – ROLE CAST. White, He/him. Throughout the show this track will play Macbeth; a man engaged in a troubled pursuit of the throne and contending with his wife’s ambition, and himself– an ensemble member who loves Shakespeare but is trying his best to aid in the main character’s effort to understand her place, and all Black women’s place, in his narratives. Comfortable with classical text and contemporary language. Strong baritone tenor and part singer. Plays accordion in the production however we are open to other instruments.

FIRST WITCH – ROLE CAST. Black, she/her. Narrator meets muse. This character provides a framework for the piece and often connects the dots between what is happening on stage and the audience’s experience. Speaks in direct address at times. Feels like a family member who will never give up on you and at the same time is not afraid to challenge you or put you in your place. Captain of the witches. Excellent mover, confident with classical text. Alto singer.

SECOND WITCH – ROLE CAST. Black she/her. Narrator meets muse. This character provides a framework for the piece and often connects the dots between what is happening on stage and the audience’s experience. Speaks in direct address at times and is never afraid to share her point of view, even when it is salty. Feels like a rival who could step in and play the WOMAN’S role in a heartbeat. An excellent mover and comfortable with classical text. High mezzo singer and strong belter.