AUDITIONSOn this page you'll find all currently available information about auditions at Workshop Theatre. This information, which includes dates, times, locations, roles available and audition requirements, is typically available at least one month in advance of the audition itself. For information about the shows themselves, please visit our Season page.
Auditions for OTHER DESERT CITIES
by Jon Robin Baitz
Directed by Jeffery Schwalk
Sunday, January 13 at 7 pm
Monday, January 14 at 7 pm
Auditions will be held at Workshop Theatre School of Performing Arts (Located at 635 Elmwood Ave. Columbia, SC 29201)
In Jon Robin Baitz’s critically acclaimed and Pulitzer Prize nominated play, Brooke Wyeth returns home to her family in Palm Springs after a six-year absence and announces she’s about to publish a book. Instead of the novel everyone is expecting, Brooke’s book is a memoir dredging up a pivotal and tragic event in the family’s history —a wound they don’t want reopened. The play takes place during Christmas 2004, at the Wyeth family home in Palm Springs, California, and explores complex family dynamics, the sharp political differences which can cause a family divide, the loss of a family member and the impact of grief, the role and responsibility of a writer as a chronicler of historical events, as well as themes of addiction, deception and ultimately, triumph.
The play features five fully realized characters, and is written as an ensemble piece. NOTE: Age ranges given below are the ranges the character should realistically be played within, not necessarily the age of the actor cast in a role.
Brooke Wyeth (age range - early to late 40s) is the central character. She has recently recovered from a clinical breakdown, for which she was hospitalized and is still taking medication. She has written a “tell-all” memoir about the death of her older brother Henry, and the impact that his death and the reasons behind it have had on her, and the rest of her family. She knows the publication of her book could have serious consequences for her political and socially prominent family. She doesn’t like weakness in herself or others, although she doesn’t admit this to herself. She is more like her mother than she realizes.
Polly Wyeth is Brooke’s mother and Lyman’s wife. (age range 60’s to early 70s). Once a screenwriter, then married to a successful politician and ambassador, she is elegant, outspoken and very smart. She is also controlling, manipulative, calculating and an observer of people’s behavior. She has strong conservative views, believes in tough love, and can make people —including her family—nervous. A realist, she is fiercely dedicated to her family, their image, and their survival.
Lyman Wyeth (age range 60s – early 70s) is a rock solid man, with a strong belief in traditional American values. He used to be a movie actor, but became a politician and eventually and ambassador. He is a staunch Republican. He is more diplomatic than his wife, loves his family, and is overprotective of Brooke since her breakdown. He often tried to relieve family tensions through compromise, but has a core of steel when backed into a corner.
Silda Grauman (age range mid-50s to mid-60s) is Polly’s sister. Like Polly, Silda was a screenwriter, although her life did not turn out as well as Polly’s. She is a recovering alcoholic and is currently living with Lyman and Polly, which is causing some tension. She stands up to her sister, and points out how harsh Polly has become. She has helped Brooke with the memoir, although she did not tell the complete truth when recounting events from the past, and her part in them. She has a volatile, but loving, relationship with her sister.
Trip Wyeth (age range 30s) is Brooke’s brother. He is bright, funny, articulate and is a TV producer. He is caught in the middle between Brooke and his family and understands both sides of the conflict. He wants to be the peacemaker. He’s way of surviving is to adopt a “let it go – everything will be fine” attitude. Trip feels he has always lived in the shadow of the memory of the brother he never knew. He also isn’t as happy as he seems.
NOTE: Casting considerations will include chemistry between respective family members, their ability to effectively fit within and support the ensemble, and individual suitability for the roles. The relationships and character portrayals will be driven by both script context and by the subtext we will develop as a team. A huge part of our rehearsal work will focus on these areas, along with using the written language, combined with other production elements, to tell the story the author imagined