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Write Ups / Rundowns / Promo
There is a more detailed thank you to come, but from everyone in the cast, production team and creative leadership, we would like to thank the audience members and collaborators of Mary Shelley Sees the Future. We had a great run and some AMAZING talkbacks to finish out what has to be one of the most politically and culturally pertinent plays presented by The Runaways to date.
Thanks again, and see you soon for our Hellish Holiday Party!
The Runaways Lab Theatre- 2016-2017 Season- Main Stage Productions
Season General Auditions
August 16-17, 6pm-10pm, Kamehachi Sushi Restaurant 2nd Floor, 1531 N. Wells St.
Submit to firstname.lastname@example.org or Via this form.
The Runaways Lab Theatre seeks multi-talented actors of all backgrounds, ages, ethnicities and pronouns to help make our 5th season groundbreaking and thrilling.
Compensation: All actors are guaranteed a small stipend and remaining compensation comes from a percentage of ticket sales, determined beforehand by level of commitment required of the performer. (We will respect the time of our actors during the rehearsal process to reflect these percentages)
*Call Backs for our first production, “Mary Shelley Sees the Future,” will be Sunday August 28th at Kamehachi, 7-9pm. Details to be sent after general auditions.
A site-specific theatre company in many ways, the locations of our productions will be announced soon.
Material to Prepare: 1 contemporary monologue, dramatic or comedic, under 3 minutes. 1 language piece less than 2 minutes, either from a historical or advanced language play, or a poem/piece of text adapted for performance.
Submissions: Interested parties should submit their headshot and resume to email@example.com with the subject General Auditions: ‘Actor Name’
“Mary Shelley Sees the Future”
Written and Directed by Olivia Lilley
Dramaturgy by Malvika Jolly
In July 1822, upon hearing the news that her husband Percy Shelley has drowned, Mary, the young author of Frankenstein, makes a wish. In July 2016, after graduating with her MFA in creative writing and reading Frankenstein for the first time, Mya, a queer Creole author, makes a wish. When they open their eyes, they are someone else, in another time. In this Freaky Friday-esque odyssey, Mary Shelley Sees the Future asks the question, “Has the world really become a better place for female identified artists?”
Rehearsals: 3-4 days a week, September 4-October 13 Tech Week: Oct 17-19
Performances: Thurs, Friday and Saturday Evenings. Sunday Matinee. Oct 20- Nov 13
Pete- Mid 20’s to mid 30’s, all ethnicities. Trans male-identifying.
Loves bro culture and literature.
Juan / Lord Byron- Mid 20’s to mid 30’s, Latinx male-identifying.
Plays a yogi mystic in Act 1, plays the famous English poet in Act 2.
Simone / Jane Williams- Early 20’s to late 30’s, African American female-identifying.
A queer poly-amorous singer / bartender and various roles in Act 1, plays a woman of The Shelley’s inner circle in Act 2, a character role.
Angelica- Early to late 20’s, all ethnicities.
Accountant in training, former singer songwriter, Mya’s poly-amorous partner.
William Godwin- Late 40s to early 70s, all ethnicities, male-identifying.
Intelligent author from French Revolution and early 19th century. Believes in equality, not good with money. Father of Mary Shelley.
Eric / Trelawny- Early 20’s to mid 30’s, African American male.
A Programmer for Google, very sociable and loves old Hollywood in Act 1, plays a gentleman of Shelley and Byron’s inner circle in Act 2.
Percival / Percy Shelley- Late 20’s, Caucasian, male-identifying.
A pretentious Logan Square modern day poet as Percival, plays the ghost of the famous 19th century poet as well, must be able to shift easily between the two.
OF TWO MINDZ
Written by Nathaniel Shane and Gannon Reedy
Directed by Gannon Reedy
At the 1927 Solvay conference a group of brilliant physicists engage in a passionate discussion about the nature of reality and the relationships that define who they are. Then they get interrupted by a time traveling pleasure-surfer with a briefcase full of swords, firearms, and magic bandannas, there to alert them to the hundreds of transdimensional demons hot on their heels and hungry for blood. A play both ambitious in intellect and breathless in stupidity, it pushes the capacity of onstage chaos to radical heights.
Rehearsals: 3-5 days of rehearsal a week. January 2-Feb2. Book work and readings December 19-Jan 2. Tech Week: February 5-9.
Productions: Friday and Saturday Evenings, Sunday Matinee. February 10-26. Possible extension through March 5th.
*Stage combat experience is a plus. Actors of all pronouns, ethnicities, and ages are in equal consideration for all roles.
Albert Einstein- Female-identifying.
Confident and bold. Hand to hand stage combat experience encouraged.
Neils Bohr- Female-identifying.
Pleasant and easygoing. Stage combat experience encouraged.
Wolfgang Pauli– Female-identifying.
Cocky and mischievous. Stage combat experience encouraged.
Paul Dirac- Female-identifying.
Introverted and intellectual. Sword-based stage combat experience encouraged.
Marie Curie- Male-Identifying or female-identifying.
Erudite, curious. stage combat experience encouraged.
Ensemble– Stage combat or dance experience highly encouraged. Actors of all genders, ethnicities and ages are in equal consideration.
Dead Youth, or, The Leaks
Written by Joyelle McSweeney
Directed by Logan Breitbart
Choreographed by Cheryl Nowlin
Aboard a high-jacked containership, Julian Assange leads a troupe of Dead Youth–youngsters killed in violent circumstances like war, factories, and senior prom–to Magnetic Island to upload them to the Internet before they completely decay. They encounter choppy water along the way: a Somali pirate & Antoine de St-Exupery. Politically-charged, filthy, & funny as hell, this lyrical farce digs into the tumor we call the 21st Century & dances in the muck.
Rehearsals: April 3- May 11th Tech week: May 14-18
Productions: Friday, Sat, Sun May 19-21st, possible extension through June 4
Henrietta Lacks- Mid 20’s to late 30’s, African American female-identifying.
The play’s muse, she catalyzes action and stops it when she’s bored. Powerful, intelligent, eloquent.
Abdi Wali Abdulqadir Muse- Early 20’s to late 30’s, African American male-identifying.
Somali pirate who emerges as the play’s tragic hero.
Dead Youth (5 roles)- All ages, all ethnicities.
The soul and oil of the play. Sprightly, naughty (& a little stinky). Dancers and vocalists encouraged, all story telling skills will be employed by this ensemble as they recount their deaths.