Audition Information

Auditions for Antigone by Jean Anouilh

Flat Earth Theatre seeks a diverse ensemble of actors for an inclusive and accessible production of Antigone by Jean Anouilh, and directed by Lindsay Eagle. This production aims to focus on the play’s theme of power dynamics in a collaborative environment involving director, actors, and production team. Actors of color, actors with disabilities, queer actors, and actors of all body types are strongly encouraged to audition. Although certainly not required, a background in ASL, or the ability to quickly pick it up, is a plus.

A small stipend for cast members will be offered.

Show Summary:

Tyranny, demagoguery, and absolute power are disrupted in Jean Anouilh’s modern adaptation of Antigone, written in 1940s France as a form of resistance against Nazi occupation. In an act of treason punishable by death, Antigone acts on her moral duty to bury her brother, defying the will of the ruthless King Creon. What transpires is a timeless exploration of when to accept authority in order to maintain the status quo and when to confront it, no matter the consequences.

Show Info:

  • Performance Dates - March 16 – 31, 2018
  • Performance Location - The Mosesian Center for the Arts, 321 Arsenal Street, Watertown.
  • Rehearsal Details - All rehearsals prior to tech week will be held at the Church of the Good Shepherd, 9 Russell Ave., Watertown. Rehearsals aim to start on or near January 14th. Expect to rehearse about 4 times per week on evenings and weekends.

Audition Info

Auditions will be held on Monday, December 11th and Tuesday, December 12th, 2017 in the Parish Hall at the Church of the Good Shepherd, 9 Russell Avenue, Watertown. Callbacks will be held on Thursday, December 14th.

The following half-hour audition slots are available:

  • Saturday, 12/9 4:00pm (Added!)
  • Saturday, 12/9 4:30pm (Added!)
  • Saturday, 12/9 5:00pm (Added!)
  • Saturday, 12/9 5:30pm (Added!)
  • Monday, 12/11 7:00pm (FULL)
  • Monday, 12/11 7:30pm (FULL)
  • Monday, 12/11 8:00pm (FULL)
  • Monday, 12/11 8:30pm (FULL)
  • Monday, 12/11 9:00pm (FULL)
  • Monday, 12/11 9:30pm (FULL)
  • Tuesday, 12/12 7:00pm (FULL)
  • Tuesday, 12/12 7:30pm (FULL)
  • Tuesday, 12/12 8:00pm (FULL)
  • Tuesday, 12/12 8:30pm (FULL)
  • Tuesday, 12/12 9:00pm (FULL)
  • Tuesday, 12/12 9:30pm (FULL)

Please email your headshot and résumé, your top two preferred audition times, and any accessibility requests to [email protected] (see Accessibility Information below for more info).

Auditions will consist of monologues and scenes from the script, which will be e-mailed to you. If you have any experience with ASL, please prepare a demonstration of your abilities, either as part of your monologue from the script or as a short separate piece. Sides may be performed in voice, sign, or a combination thereof. Callbacks will include sides from the play, ensemble work, and signing. Again, a background in ASL, while helpful, is not required.

Accessibility Information:

  • ASL interpretation will be available in the audition room by request. Please indicate that you would like an interpreter for your audition in your initial e-mail to us and one will be provided for you. (Note from the Director: Unless requested, I would prefer your audition piece(s) not be interpreted in real time as you are performing so I may focus entirely on your performance. An interpreter will be present so we may more easily communicate before and after you perform.)
  • The audition room is accessible via a ramp and 5 steps. Rehearsals will be held in the same location as auditions, and are accessible via a ramp and 5 steps. The performance location is wheelchair accessible.

Note from the Director:

Anouilh’s version of Antigone is very much about power dynamics—who has the power, and how is that power wielded to control and oppress others—and it is my goal with this production to address and unpack those dynamics in a collaborative environment. I seek a cast of actors who want to join me as collaborators and partners, who want to work together to empathetically and honestly discuss issues of power (in the world of the play and our world at large), and how they relate to race, gender, ability, etc.; who seek to make theatre that is not only artistically beautiful, but that also makes an important statement.

If you have any questions or comments, please feel free to contact me directly at [email protected].

Character Descriptions

  • Chorus (any gender, any age): Comprised of three actors, the Chorus grounds the audience through the action of the play, providing context and commentary and sometimes interacting with other characters. Ideally, the chorus will speak in a combination of English and ASL, and between the three of them, will sign the entire production to each other and to the audience. A background in ASL is helpful although not required for this role.
  • Antigone (female, 20s-30s): Serious, pragmatic, intelligent, brave. Quiet until she finds she cannot stay quiet anymore. Committed to the course of action she knows is right even though we see her struggle with the emotional impact of the consequences.
  • Creon (male, late 40s+): Uncle to Antigone and the new king of Thebes. Intelligent, charismatic, meticulous, ruthless, manipulative. An eloquent and convincing speaker. Willing to do whatever it takes to establish order in a country recently wracked by tragedy and civil war.
  • Ismene (female, 20s-30s): Antigone’s sister. Charismatic, materialistic, emotionally-driven. Afraid to disrupt the comfort of her life by standing up for what is right. Loves her sister, and desperately tries to talk her out of her fateful decision.
  • Haemon (male, 20s-30s): Son of King Creon, engaged to marry Antigone. Gentle, romantic, light-hearted, jocular, easy-going. Loves Antigone but may not understand her very well. Reveres his father.
  • Nurse (female, 40s+): Caregiver to Antigone and Ismene. Empathetic, loving, nostalgic, effusive, prone to worry, overly-dramatic. A source of comfort for Antigone and a source of comic relief for the play.
  • Three Guards (any gender, any age): Creon’s officers. Blue-collar, simple, do what they’re told without going above and beyond, don’t question authority. Also a source of comic relief.
  • Messenger (any gender, any age): In Creon’s employ. Delivers tragic news at the end of the play.
  • Creon’s Page (male, 20s): Errand-runner for Creon. Sticks close by Creon at all times. Always obeys.
  • Eurydice (female, 40s+): Creon’s wife and Queen of Thebes. A non-speaking role. Spends the entire play knitting, sequestered and silent. Potential for a dance or movement piece at the end of the play.