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Upcoming Auditions

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Audition Dates:

Friday, May 15 @ 6:30pm

Saturday, May 16 @ 10:30am

Sunday, May 17 @ 5:00pm

Warehouse Gallery, 3 Central Ave., Wellsboro

Performances: July 31, August 1, 2, 7, 8, 9

Directed by Cosy Losinger

 

By Qui Nguyen

Sponsored by David Kenner Boley

with the Sister Jenny Charities

After losing her parents and younger sister in an accident, Agnes Evans embarks on a journey in both this world and her sister's fantasy role playing game in an attempt to find familial bonds that hadn't existed. Qui Nguyen's play is wildly creative, fun, and full of heart. Roles: Agnes Evans (20 - 35 year old female): Agnes is described as striving to live an absolutely average life and grew up in the average town of Athens, Ohio with average parents. Agnes is a 25-year-old English teacher at her and Tilly's former high school. Agnes decides to go on a D&D adventure in order to feel closer to Tilly, as they never had a close relationship. Tilly Evans (15 - 18 year old female): Tilly has a love for D&D adventures and anything classified as nerdy or geeky. Through the D&D module Agnes plays, it is learned that Tilly was facing her own challenges with her sexuality and bullying while she was still alive. Miles (20 - 35 year old male): Agnes's boyfriend of five years who lacks commitment and any sense of what is truly going on within his life. Orcus/Ronnie (15 - 18 year old male): A demon overlord of the underworld that holds onto lost souls or knows where to find them. He is obsessed with watching television. He is based on one of Tilly's friends named Ronnie. Vera (20 - 35 year old female): Agnes's best friend and the school counselor. Chuck (15 - 18 year old male): Dungeon Master for the group and helps guide Agnes on her journey to understand her sister Tilly. Lilith Morningstar/Lilly (15 - 18 year old female): Demon Queen and leather-clad warrior. Based on Tilly's best friend Lilly. Kaliope Darkwalker/Kelly (15 - 18 year old female): Supermodel and super strong Dark Elf. Based on Tilly's friend Kelly who is also the sister to Ronnie. Narrator (15 - 45 years old any age): Describes the events that unfold throughout the story. Has a strong voice like Cate Blanchett from The Lord of the Rings. Steve (15 - 18 year old male): A mage who continuously dies in funny ways. Based on one of Tilly's classmates. Farrah (20 - 25 year old female): A fairy, but do not let your eyes deceive you. She is one of the bosses that the party must face before the Final Boss. Evil Gabbi (15 - 18 year old male/female): A succubi cheerleader who torments the party. Based on one of the bullies that tormented Tilly. Evil Tina (15 - 18 year old female): A succubi cheerleader who torments the party. Based on one of the bullies that tormented Tilly.

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Both plays will be performed in rep—on the same stage on the same weekends.

The auditions will be held together.

Audition Dates:

Thursday, June 25 @ 6:30 - 8:30pm

Saturday, June 27 @ 10:30am - 12:30pm

Sunday, June 28 @ 1:30 - 3:30pm

Warehouse Gallery, 3 Central Ave., Wellsboro

Performances: Sept. 24, 25, 26, 27, Oct. 1, 2, 3 & 4

RED 

By John Logan

Directed by Thomas Putnam

This two-man play is a deep exploration of the nature of art and the artist's role in society, focusing on the mentor-protégé (father/son? creator/creation?) relationship between Rothko and Ken. Their conversations and conflicts drive the narrative and highlight themes of artistic integrity, ambition, and the clash between commercial success and personal fulfillment. Mark Rothko: Rothko is a renowned abstract expressionist painter and the central figure in the play. He is depicted as intensely passionate about his art, deeply intellectual, and somewhat egotistical. Throughout the play, Rothko is working on a series of paintings commissioned for the Four Seasons Restaurant in New York's Seagram Building. He grapples with the nature of art, the commodification of his work, and his legacy. He is often philosophical and contemplative, and his interactions with Ken reveal his inner conflicts and fears about fading relevance in a rapidly changing art world. Ken: Ken is a fictional character who serves as Rothko's young assistant. He is eager, idealistic, Throughout the play, Ken challenges Rothko's ideas and beliefs about art, prompting Rothko to reflect on his own principles and approach. Ken's character development is crucial as he evolves from an impressionable assistant to someone who confidently questions Rothko's motivations and decisions. His presence forces Rothko to confront uncomfortable truths about himself and his work.

THE REMBRANDT 

By Jessica Dickey

Directed by Sarah Lawton

This play is a touching and imaginative play about art, friendship, and finding your way. The story follows a painter who feels stuck in life until she meets the spirit of Rembrandt, who helps her see things in a new way. With moments of humor and heart, this play shows how art can change us and help us grow. As past and present intertwine, the play explores what it means to create, to be seen, and to truly live. Actor One (male, 50s-60s): Henry - museum guard; bookish, grieving but in denial Rembrandt - the painter; brilliant, grumpy, soft-hearted Actor Two (male, early 20s; plays 13-24): Dodger - training to be a guard; subversive, tattooed seeker Titus - Rembrandt's son; clever, loves his father, pragmatic Actor Three (female, early/mid-20s): Madeline - art student; forthright, grieving, not afraid to argue Henny - Rembrandt's partner; loving, practical, grounded Actor Four (male, 30s-40s): Jonny - guard; military background, carries a gun, caring in his way Martin - hospice care nurse; strong, knowing Actor Five (male, 60s-70s): Simon - Henry's husband; a poet, an inherent grace and toughness Homer - the ancient poet; visionary, crude, crazy, brilliant

RED is partially sponsored by Well Crafted Labs and Bill & Peggi Yacovissi

THE REMBRANDT is sponsored by Carol Cacchione, Hilma Cooper, Ardys Boostrom, Melissa Taylor, and Dunkin' of Wellsboro

Both opening night parties are sponsored by Rob & Pam Kathcart

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This is a Women's Project Production

Audition Dates:

Saturday, August 1 @ 10:30am

Sunday, August 2 @ 6:30pm

Monday, August 3 @ 6:30pm

Warehouse Gallery, 3 Central Ave., Wellsboro

If you cannot make an in-person audition, you may record a one minute monologue of your choice and send it to jessie@hamiltongibson.org.

Performances: November 6, 7, 8, 13, 14 & 15

Directed by Jessie Thompson and Hazel James

 

By Morgan Lloyd Malcolm

Sponsored by The Ernest L. and Mildred Roberts Sweet Foundation, Linda Williams, Wellsboro Business and Professional Women, and Leete & Prough, PLLC

EMILIA is a dynamic, high-energy ensemble piece that blends music, movement, and storytelling to celebrate the life and legacy of one extraordinary woman. It is funny, fierce, lyrical, and unapologetic - a rallying cry across the centuries. We are seeking a diverse, committed, and enthusiastic cast of women and non-binary performers to bring this contemporary classic to life. All roles are open. Performers of all backgrounds and experience levels are encouraged to audition. This is an ensemble-driven show requiring a willingness to: •Develop a strong presence onstage and take creative risks •Work with heightened text and develop your vocal skills •Explore physicality and movement •Collaborate with your fellow cast members Audition material will be provided. Links to this material will be posted on the HG website by July 1. Principal Roles: Emilia (Adult) – The central figure. Intelligent, passionate, sharp-witted, and fiercely determined to have her voice heard. We follow her journey from youth to published poet. Person of color. Young Emilia – Emilia as a child/teenager. Curious, observant, imaginative; already questioning the world around her. Person of color. Older Emilia – A reflective, often more direct-address presence who helps frame the story and its legacy. Person of color. Lady Mary Sidney – Countess of Pembroke; educated, literary, politically aware. Represents female intellectual possibility within constraint. Susan Bertie, The Countess of Kent – A noblewoman and patron figure; independent and outspoken. Lady Katherine Howard – A courtly woman who reveals the precarious position of women at court. Lord Thomas Howard - He embodies the patriarchal values of the time, believing that women should be obedient, modest, and silent rather than intellectual or outspoken. Lady Margaret Clifford – A noblewomen who encourages Emilia intellectually and symbolizes women pursuing learning despite societal barriers. Lord Henry Carey (Lord Hunsdon) – Emilia’s patron and lover; powerful, charismatic, entitled. Alfonso Lanier – Emilia’s father, a court musician. William Shakespeare - Famous playwright who appears as one of the men in Emilia’s life. Alfonso Lanier Jr. - Emilia’s husband, through whom the audience sees how Emilia’s talents and ambitions are restricted. Ensemble: The remaining cast members form a highly active ensemble who: •Play courtiers, noblemen, priests, servants, and members of the public •Have dialogue and comment on the action. •Provide choral speech, movement, and musical elements •Frequently step in and out of historical and contemporary voice Important Note for Casting: The script is intentionally designed to be performed by women and non-binary performers only, including roles of male historical figures. Plot: Emilia tells the story of Emilia Bassano, a 16th-century poet widely believed by some scholars to have been the “Dark Lady” of Shakespeare’s sonnets — and one of the first published female poets in England. Plot: The play traces Emilia’s journey from her childhood in a household of court musicians, through her experiences as a young woman navigating the male-dominated world of Elizabethan England. Intelligent, ambitious, and fiercely independent, Emilia becomes the mistress of a powerful nobleman, discovering both the privilege and the limitations placed upon women of her time. Through love, betrayal, and societal expectation, she learns how deeply women’s voices are controlled and erased. After being cast aside, Emilia marries and attempts to conform to the role of obedient wife. Yet her creative fire refuses to be extinguished. In a bold act of defiance, she writes and publishes her own volume of poetry — Salve Deus Rex Judaeorum — becoming one of the first English women to assert her literary voice publicly. Told through a dynamic all-female ensemble, the play moves fluidly between past and present. Modern language, music, and movement collide with period drama as the performers reclaim Emilia’s story from history. The play not only chronicles one woman’s life, but also becomes a celebration of women’s resilience, creativity, and solidarity across generations.

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