To The Moon – Equity Video Submissions (Deadline 01.08.21)
Creede Repertory Theatre
(ref. LORT ) Salary: $517 for the work week + Pension and Health. $300 fee for up to 4 weeks of streaming + Pension and two weeks health contributions (per AEA COVID Media Rules).
Submissions will be viewd by:
John DiAntonio, CRT Producing Artistic Director
Kate Berry, CRT Associate Artistic Director
Brittni Shambaugh Addison, Co-Chair of CRT’s Equity Diversity, Inclusion Committee
Betty Hart, Director, To the Moon
First rehearsal will be Monday, March 1, 2021. The production period will consist of one week of rehearsals with two live public (digital only) performances at the end of the work week, followed by four weeks of archival streaming.
Access to a computer or laptop with a camera and internet connection (support for direct ethernet connection is available) is required for the production.
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.
Actors for TO THE MOON by Beth Kander, a stand-alone, remote, digital event, developed under CRT’s Headwaters New Play Program. One third of the productions CRT has produced over the last 20 years have been World Premieres. Why are new plays so important to CRT? Because they are the lifeblood of the American theatre. They share with us the diverse, yet universal, human experience. Headwaters incorporates its annual play festival, commissioned work for young audiences, and a new mainstage commission program beginning in 2022.
Creede Repertory Theatre is an equal opportunity employer and strongly encourages artists from marginalized communities to apply.
Content Warning: this play is about domestic abuse.
To the Moon is a fierce and tender docu-drama about domestic abuse. Almost 200 survivors contributed stories that shaped this script; knowing that such abuse impacts people from all walks
of life, five diverse women collaborated to interview survivors and distribute surveys. Playwright Beth Kander weaves these survivors’ stories into a tough and moving play, documenting and dramatizing the tragic realities of domestic abuse in America.
Casting Information and Breakdown
From the Playwright: For several of the characters, flexibility and multiple casting options are noted. Altering of language to authentically represent the ethnicity/race of the actor is also encouraged. However, in order to honor the stories of the survivors who participated in interviews and surveys, and to accurately reflect the reality that domestic abuse impacts all communities, care and attention should be given to ensure inclusive, diverse, and authentic casting for these roles.
A (female-presenting, 30s): A is based primarily on interviews with young, struggling artists who found themselves broke and in bad intimate relationships in their twenties. A is now in her 30s, artistic, still financially struggling, animated, several years past the abusive relationship described. Casting for this role is fairly flexible, as embodying the artistry and animation is most important to this role.
B (female-presenting, White, 40s): B is based on two interviews with two professional, high-earning white Southern Christian women in their forties. The role should be portrayed by someone who can be sympathetic while also projecting a privilege most of the others in this piece do not share.
C (female-presenting, Latinx, 20s-30s): C is based on responses and interviews with multiple mothers/women still not fully disentangled from the complicated relationships with their abusers. These women were of all backgrounds, mostly in their twenties and thirties. In this script, C is written as a young Latinx mother. Her lines may be altered/language can be shifted to reflect a more specific identity/experience depending on the casting and local community. Most important is her strength and vulnerability as she balances protecting her children and navigating her own uncertain future.
D (female presenting, Chinese or Jewish, 50s-70s): D is based on one full-length interview and several lengthy survey responses from women over sixty. Some of these women were first-generation Americans; all spoke to the notion of “not in my community,” “we don’t talk about things like this,” and “this wasn’t supposed to happen to me.” Ultimately this story arc was designed to work as either the story of an elderly Jewish woman or an elderly Chinese woman, and the writer gives full permission to alter some lines to skew the role more specifically one way or another depending on the casting or if another older population is more representative of the community producing this piece.
E (female presenting, 20s-30s): E is based on multiple interviews with and survey responses from deeply religious Christians (white Protestant/Evangelical, Latinx Catholics and Evangelicals, other deeply religious women). In this script, E is written as a white evangelical woman, but language/casting may be altered to more accurately reflect the community producing the piece.
F (female-presenting, Black, 40+): F is based primarily on interviews with and survey responses from women who currently or previously sought refuge in women’s shelters. These interviewees were primarily African American women in their 40s and 50s, and most were interviewed by a Black woman who used to work at a DV shelter.
G (Trans-female or non-binary, 40+): G is based on survey responses from individuals who identified as LGBT; specifically, from accounts shared by a subset who identified as trans or gender nonconforming. Trans women and nonbinary actors are strongly encouraged to submit for this role and to use their own pronouns/identity in the presentation of this role.
H (female-presenting, 20+): H is kept hidden from the audience until the end, including in the program. She represents the approximately 1,100 – 1,400 women murdered by an intimate partner in the U.S. every year— three or four women, every day. This play focuses primarily on survivors, and on domestic abuse that does not always entail physical abuse, but ignoring abuse can allow it to escalate, and sharing the voice of the voiceless felt important to this process.
CRT’s Commitment to Equity, Diversity, Inclusion, and Access
We want all people to thrive in our Creede theatre community. When they do, we can create theatre of exceptional quality. Over the past several years, we’ve brought a wider variety of perspectives to CRT’s stages. Although there are many forces that profit from dividing us, this extraordinary mountain town gives us an opportunity to come together. CRT is committed to creating a Culture of Belonging for everyone. Whoever you are, wherever you come from, whoever you pray to or vote for, whoever you love, however you look on the outside, whatever abilities or disabilities you hold in your body, we are committed to CRT being a place you call home.
About Creede Repertory Theatre
Founded in 1966, Creede Repertory Theatre (CRT) is a professional theatre company located at 9,000 feet in a spectacular location in the San Juan Mountains of Colorado. The historic town of Creede offers beautiful mountain views, hiking trails and stunning campsites. In a typical season, CRT produces 7-11 plays in rotating repertory, hosts numerous musicals events and concerts, develops new works through the Headwaters New Play Program, and creates nationally recognized educational programs. As part of its values, Creede Repertory Theatre is dedicated to Equity, Diversity, Inclusion and Access in every aspect of the company and is an equal opportunity employer. We celebrate diversity and are committed to creating an inclusive environment for all employees.
Please visit https://creederep.org/work-with- us/ to submit online. Please submit a headshot, resume, and two contrasting, contemporary monologues. Submissions close end of day Jan. 8th, 2021.