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BOSTON COURT PASADENA

Audition Information
"at the very bottom of a body of water"

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It is both a joy and an honor to be collaborating once again with my dear friends at Boston Court Pasadena.

If you’re not yet familiar with the brilliant creative team behind this extraordinary space and the soul-stirring work they bring to life,

prepare to be truly in awe.

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Benjamin Benne has gifted us with a beautiful play and we appreciate your time and interest!

 

All updates will be posted here, so please check back for the most current information.

 

This website is designed to make this audition process as transparent and supportive as possible.

If you have any additional questions (after reading through the 411 below),

please email me directly Julia@Florescasting.com 

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With Gratitude Always,

Julia Flores

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FAQ/UPDATES:

All updates will be posted here. The newest information will be listed at the top.

We will also date and time any new details so that you know you have the most current information.

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Please check back before your audition to make sure that you have the most current information. ​​

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    • AUDITION SCHEDULE MASTER PLAN:

      • Submissions will be viewed

      • Video audition invites will be sent on our about May 26th.

      • Live audition invites will start to be sent on or about 6/2. ​

    • NO UNDERSTUDIES: We deal with emergencies, illnesses, and other employment on a case by case basis. We have added covers in the past but typically only when another employment opportunities arise once we're already in production. The weekday matinees are not negotiable, all cast must have full availability. Blackout dates (Tech-Opening): October 15-30

We respect you and your time/lives; therefore, we are 100% transparent as to what our contract/offer will be.

What you see listed below (see Contract/Dates/Comps, etc.) is what your offer will be.

There are no driving stipends, housing or agent fees.

If this is acceptable, we so look forward to seeing you!​​

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Please clear any/all conflicts with Flores Casting prior to your audition Julia@Florescating.com

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Thank you!

DATES:

Rehearsal: 9/22 Preview: 10/22  Opening: 10/30  Closing: 11/29  Possible Extension: 12/6

CONTRACTS

  • AEA Los Angeles 99-seat Theatre Agreement.

  • Rate of Pay: Actors are paid $19.00 per hour.

  • There is no pension and health under this agreement.

  • 36 hours of rehearsal maximum / one, and occasionally two days off per week. 

 

REHEARSAL AND PERFORMANCE SCHEDULE

  • Rehearsal Schedule: Generally, this is a “nights and weekends” rehearsal schedule. Mondays are off, but weekday daytime rehearsals are possible depending on cast availability, and weekday afternoon rehearsals during previews a few days a week are required.

  • Performance weeks after opening are some combinations of Thursday through Monday eves with 7:30 pm curtains, and 2 pm matinees possible on both Saturdays and Sundays, and a number of daytime student matinee performances, usually 10:30 a.m. on some Wednesdays, Thursdays, and Fridays.

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   COMPS:

  • Each actor will receive six complimentary tickets: two for opening night and four to use throughout the run. Boston Court Pasadena is an intimate 99-seat venue.

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    NO UNDERSTUDIES:

  • We deal with emergencies, illnesses, and other employment on a case by case basis. We have added covers in the past but typically only when another employment opportunities arise once we're already in production. The weekday matinees are not negotiable, all cast must have full availability. Blackout dates (Tech-Opening): October 15-30

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AUDITION MATERIAL:​​​​

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​AUDITION DATES/LOCATION/WHO WILL BE THERE/ETC.:

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  • DIRECTOR AUDITIONS:

    • Monday, June 15th, Tuesday, June 16th and/or Wednesday, June 17th

    • LOCATION:  Boston Court Theatre (70 North Mentor in Pasadena. Parking lot is behind the theatre. Please use the the main entrance on Mentor and make yourself comfortable in the lobby.)

    • WHO WILL BE THERE: Juliette Carillo (Director), Benjamin Benne (Playwright), Julia Flores (Casting Director) and Tayler Mettra (Casting Assistant/Reader)

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  • CALLBACK AUDITION:

    • Monday, June 22nd

    • LOCATION:  Boston Court Theatre (70 North Mentor in Pasadena. Parking lot is behind the theatre. Please use the the main entrance on Mentor and make yourself comfortable in the lobby.)

    • WHO WILL BE THERE: Jessica Kubzansky (Artistic Director), Juliette Carillo (Director), Benjamin Benne (Playwright), Julia Flores (Casting Director) and Tayler Mettra (Casting Assistant/Reader)

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LIVE AUDITION CHECKLIST:

  • Please clear ANY AND ALL conflicts with Julia Flores Julia@Florescasting.com BEFORE you audition

  • Please bring a stapled copy of your Headshot and Resume

  • Please be sure that your name is on your headshot (we write them in if they are not). So helpful to see your name on the front too! 

  • Please bring a copy of your Actor Contact Sheet (see Dropbox for document)​​

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VIDEO AUDITION CHECKLIST/411:​

  • Video Auditions are by invitation only

  • PLEASE INCLUDE:

    • ​A full body view. You can introduce yourself, tell us where you're from/where you live, etc. while you do this so it's not 100% awkward ;)

    • Requested audition material (TBD)​

    • Contact Sheet (see Dropbox for document)

    • Headshot and Resume​ (if not sent via Eco Cast) 

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BREAKDOWN:

STORYLINE (PLEASE read the script...)

Every week, Marina returns to the same fish store, buys a catfish, and makes soup—a quiet, methodical act masking devastating grief. But when her usual fishmonger suddenly vanishes, her fragile routine shatters and Marina is forced to confront the wreckage of her carefully constructed world when something unexpected breaks through: the stirrings of romance and a tidal wave of magic. Paper cranes begin to fly, and Marina enters uncharted, terrifying waters. Is the unraveling of her comfort a curse, or the beginning of something wondrous, wild, and entirely new? Poignant, surprising, and darkly unconventional, at the very bottom of a body of water poetically explores how we navigate life after the unexpected.

 

 

MARINA: 40-50s. Character is female identifying. Latina. Strong, stubborn and feisty, with a sense of humor. Marina has experienced great loss in her life but has found creative ways to cope. She’s at a point in her life where her grief can no longer be contained.

 

ROSA LUZ: 20’s to play 5 and 15. Character is female identifying. Latina. Marina’s daughter--- A sensual, playful and taunting ghost that shifts from age 5 to 15. (role may be doubled with LULU. See breakdown.)

 

LULU: 20-30s. Character is female identifying. Latina or Black. Marina's pregnant daughter-in-law.  Kind and pragmatic. She is an unexpected healer for Marina. This role may be doubled with Rosa Luz. See breakdown. This role may also occasionally function as a puppeteer from time to time. Some movement/puppeteering experience is ideal, but not an absolute requirement.

 

HIROSHI (大志): 40-50s. Character is male identifying. Japanese or AAPI. A fishmonger married to Yoko--- Recently lost his father and is looking for ways to reinvent himself. Loyal and devoted, but he is very attracted to Marina and unsure how to express it.

 

YOKO (夜雨子): 40-50s. Character is female identifying. Japanese or AAPI. A hikikomori (in social isolation). Yoko is deeply emotional and most comfortable living in a dream-like world. Married to Hiroshi. This role may also occasionally function as a puppeteer from time to time. Some dance/puppeteering experience is ideal, but not an absolute requirement.

 

PUPPETEERS: any gender/ethnicity/age – Bunraku-style puppeteers wearing masks, operating flying paper cranes and catfish puppets. Movement and puppeteering experience needed. 

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