At the BLUEBARN Theatre, 1106 S. 10th St
Tentative Workshop Dates: January 16th – January 22nd
Rehearsal Dates: April 24th – May 25th
Production Dates: May 26th – June 19th
***All artists working at the BLUEBARN are required to have been vaccinated for COVID-19**
Company members needed:
CATHAY (30s-50s): Alto. Cathay is soft spoken and wise. A lot happens internally before she says anything externally. “Keeping my head down kept me alive.” Cathay is the trained soldier of the group. She knows how to attack and when. And always two steps ahead of their enemies. True historical figure.
BIDDY (30s-60s): Soprano. No-nonsense, intellectual, calculated. Biddy is a natural businesswoman…with big dreams and a rap number. Biddy has been on this type of journey with her own children, she’s the mama, the guider, the financial planner. She’s the Oprah. Hahahaha. True Historical figure.
STAGECOACH MARY (40s-70s): Contralto. Stagecoach is a fearless, cigar smoking, whiskey drinking, rifle carrying, mail carrying bad mamma jamma. She’s Bethulah with experience. True Historical Figure. Mary’s songs range from sexy ballads to high-stepping country.
PLAYWRIGHT (37): The playwright serves as the narrator, the dreamer, the snake, the historian, and the roadmap. Stepping in where context or a new element is needed, the playwright is omnipresent -past, present and future.
The roles of Bethulah and Zadie have already been cast.
What to prepare:
Please come prepared with 16-32 bars of a country or musical theatre song in the style of the show. See the music style reference list below to assist you in choosing your audition piece. Actors may be asked to read scenes from the script and should also come ready to move as there will be a dance portion of the audition as well. Guitar playing is a plus. Feel free to accompany yourself if you are able!
To schedule an audition, contact Chris at: email@example.com
Music Style References
Devil Went Down to Georgia (Charlie Daniels); Raise Hell & The Joke (Brandi Carlisle); All (Miranda Lambert); The Wailin’ Jennys; I Get Out (Lauryn Hill); Oh Jerusalem (Lauryn Hill); Bonnie & Clyde (Frank Wildhorn); Another Life – (Bridges of Madison County); Fugitive Songs (Miller & Tyson).
Casting Notes for Buffalo Women
Though age ranges for each character are listed, ultimately–age doesn’t matter–it’s more about the spirit of where they are in life. It is important that the actors are cast in a wide range of skin tone and body type. The casting must reflect the wide and beautiful variety of Black phenotype and serve to represent many Black women onstage. Dancing ability is a must, but all choreography will be formed around the actors in the production.
From the Playwright
These women have all been enslaved, lost families and lives to chattel slavery and survived it. It does not define them. We see them in their trauma and their freedom. They’re at different points of finding their way, finding themselves. Don’t force trauma on them, it lives within, but never IS who they are. Like so many of us today.
About Buffalo Women
Hot off the saddle from last season’s Bonfire Series, the full production of this trailblazing new musical is our season finale! Juneteenth. New lives. New Freedoms. From the playwright of Red Summer, comes a tale of hidden figures living extraordinary lives on the frontier in 1865.
Casting Statement of Principle
BLUEBARN Theatre acknowledges the historic exclusion and lack of opportunity for artists who identify as Global Majority (Black, Indigenous, and people of color), LGBTQIA2S+, neuro-diverse, and artists with disabilities. We are committed to identity-conscious casting, and actively working against the field-wide implicit bias and systemic inequities that result in default white, cis, heteronormative casting. BLUEBARN is likewise committed to countering ablism, agism, sexism, sizism, lookism and other modes of discrimination in casting that continue to create barriers to participation in the theatre.
For more information, contact Barry Carman at firstname.lastname@example.org or (402) 345-1576 ext 4
BLUEBARN Theatre strives to present programming that is as diverse and inclusive as the communities it serves. We recognize that representation matters and are committed to casting choices that honor a given character’s identity. We are also committed to actively working against implicit bias in casting decisions where a given role is open or neutral. BLUEBARN does not discriminate on the basis of race, color, gender, gender identity or expression, sexual orientation, age, national origin, religion, or disability. Rather, BLUEBARN embraces these distinctions and celebrates these differences.
BLUEBARN Theatre is committed to fostering a culture of civility, dignity and respect as a right and responsibility of all who walk through its doors. Employees, guest artists, volunteers, and patrons are entitled to and responsible for maintaining an environment of mutual trust- free from intimidation, exploitation, harassment and discrimination. Offensive, abusive or unwelcome verbal or physical conduct will not be tolerated. Adhering to this standard is vital to the BLUEBARN’s mission: “to provoke thought, emotion, action, and change.”