presenting exciting classical theatre since 1984 St. Louis Shakespeare Volunteer
St. Louis Shakespeare is always in need of theater enthusiasts to come pitch in and help with events. Here's what we're currently in need of: Ushers St. Louis Shakespeare is currently looking for volunteer Ushers for our upcoming productions. Performances are Fridays and Saturdays at 8:00 p.m., Sundays at 2:00 p.m., and the 2nd Thursday of the run has a 7:30 p.m. performance. Ushers come early, tear tickets, and help seat patrons, and then can see the show for free! If you can help, please contact Kim Sansone, or call 314-361-5664.
presenting exciting classical theatre since 1984 St. Louis Shakespeare
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St. Louis Shakespeare holds non-equity auditions for its 31st Summer Season:
Wild Oats By James McLure Directed by Shaun Sheley Runs August 21 – 30, 2015
The Further Adventures of Hedda Gabler By Jeff Whitty (the Tony-winning author of Avenue Q) Directed by Artistic Director Suki Peters Runs July 31 – August 9, 2015
WHEN: Tuesday, April 14th from 6:30 p.m. - 10:00 p.m. WHERE: Regional Arts Commission, 6128 Delmar in University City (across from The Pageant) WHAT: You may either prepare a 1 minute monologue from any Shakespearean or restoration style play or do cold readings from the script (scenes will be provided at the audition). Please email to confirm that you will be attending callbacks and what time you’d prefer (morning or afternoon). Bring a headshot, resume and a list of all conflicts from June 1st – August 30th. All roles are open; actors/actresses 18 and older of all ethnicities are encouraged to attend. Cast members will be paid a small honorarium. Actors who have worked with St. Louis Shakespeare previously are invited to attend callbacks on Saturday, April 18th at RAC. Callbacks for The Further Adventures of Hedda Gabler and Wild Oats will be from 9:30 a.m. – 2:30 p.m.  Callbacks for Twelfth Night will be from 1:30 p.m. – 5:30 p.m. Please email to confirm that you will be attending callbacks and what time you’d prefer (morning or afternoon).  Callbacks will also be held at RAC. If you have any questions, please email:
The Further Adventures of Hedda Gabler by Jeff Whitty Beginning immediately after Henrik Ibsen's classic ends, The Further Adventures of Hedda Gabler finds Hedda mired in an alternative hell: a place where death is only possible when a fictional character is forgotten by the real- life public. So what is one of drama's most famous suicides to do? After taking advice from helpful neighbor Medea, Hedda and her servant, Mammy, set out on a perilous quest to return to the imaginative furnace of their creation. Along the way, they meet characters from science fiction, Black feminist theater, TV cop shows, Biblical dramas, as well as a couple of wisecracking characters from the 1960s. Once Hedda and Mammy arrive at their fiery destination, they face a heartbreaking truth about themselves, their creators, and the forces that make them eternal. Roles for 4 women and 4 men. Hedda – (30s) from Ibsen’s Hedda Gabler Mammy – (30s-50s) from Gone with the Wind Medea and others – (30s-40s) from Euripides Medea Woman in Pink and others - (20s-40s) African American woman who describes herself as “Cleopatra and Nefertiti (jammin' down the Nile)” George Tesman – (30s-40s) from Ibsen’s Hedda Gabler, husband to Hedda Patrick and others – (20s-30s) in the vein of characters from The Boys in the Band Steven and others – (20s-30s) in the vein of characters from The Boys in the Band Lovborg and others – (20s-30s) from Ibsen’s Hedda Gabler
Wild Oats by James McLure Switching the locale of the action from the drawing room of Restoration England to the saloons and prairies of the Old West, and transforming the characters from scheming servants and lustful gentry to music hall girls and stalwart cavalrymen, the playwright holds onto the hilariously convoluted structure that has made the original play a timeless delight. As Variety puts it: "Plot elements include standard mistaken identities, long lost son reunited with parents, long estranged parents finding each other, evil landlord foreclosing at the drop of a tumbleweed, an F Troop type of cavalry, an Indian guide who speaks with an Irish brogue, a crusty colonel who's planted progeny all over the wild west, a hero who stops a speeding train with one hand, a lustful and slithery preacher, a foppish son who's been kicked out of more military schools than he can count, ad histrionicum." And so it goes—resulting happily enough, in a slambang, wildly funny farce which provides both a field day for performers and an experience of sheer delight for audiences. 23 men, 6 women (many roles will be doubled for a total cast size of 14-17)
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Shakespeare’s Twelfth Night Directed by Donna Northcott Runs October 2 – October 11, 2015
Shakespeare’s Twelfth Night Viola and her twin brother Sebastian have been shipwrecked off the coast of Illyria. Each believes that the other has been drowned. Viola disguises herself as a boy and, under the name of Cesario, enters the service of the duke Orsino. The duke sends Cesario to woo the lady Olivia on his behalf, but Olivia falls in love with the lovely 'boy'. Viola/Cesario, meanwhile, has fallen in love with Orsino. Sebastian is saved by the sea captain Antonio and he too arrives in Illyria. Malvolio, Olivia's steward, disapproves of the other members of her household – her kinsman Sir Toby Belch, his friend Sir Andrew Aguecheek and the jester Feste. Led by the ingenuity of Maria, Olivia's waiting-woman, these three plot Malvolio's downfall. Olivia meets Sebastian and, mistaking him for Cesario, arranges for them to be secretly married. Further confusion follows upon mistakes as to the identity of the twins. Orsino is furious at the apparent falseness of his page, but, with the eventual meeting of the twins, true identities are revealed and Orsino recognizes his love for Viola. Roles for 11-13 men and 3-4 women