Audition (breakdown, go ahead…give it to me)

Wednesday, I posted an audition piece I created last summer that combined both comic and dramatic beats in a single thematically related speech. A little bit of Parolles from All’s Well That Ends Well and a central speech of Angelo’s from Measure for Measure, and both dealing with the conceivable loss of virginity.

Today, I want to share some dramaturgical choices made in the construction of it…

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A different audition monologue…

Monday, I posted some female audition monologues. Today, I’m going to do something a little different.

Last year, I was prepping to audition for two Shakespearean plays, and for each they wanted a monologue that displayed both comedic and dramatic skills, all within two minutes.

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Audition stuff…

A friend of mine, with whom I’d worked on a show last year, messaged me on Friday, asking for some Shakespearean advice. It wasn’t exactly secret or confidential, so let me share.

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Day late, dollar short…

OK, so as the more ravenous readers might know… I’ve been thinking of some possible directorial productions lately.

There are times when the iron is hot, and then…

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How?

So, sometimes there are scenes that make you wonder just how you stage something. You know, like Jupiter in Cymbeline. That’s a big one, an obvious one.

How about something more subtle?

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Cymbeline production questions, part two

A long time ago (OK, it was only three weeks)…I wrote about Cymbeline and the question of casting. As in, “How do you cut the casting requirements from the 40 in the play, to something more manageable?” It was more rhetorical than anything, going off on tangents that took us to experimental 6-actor casts for both Shakespeare’s Globe and Fiasco Theater.

Here’s a different, but related question.

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Cymbeline production questions, part one

With this play, I’m trying to look at Cymbeline from a more production/dramaturgical angle. Where can we double roles? Where can we cast more women?

And in this play, that’s saying something.

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