INITIAL AUDITIONS for MCLA THEATRE’S
Fall 2021 SECOND SHOW:
MR BURNS, A POST-ELECTRIC PLAY
by Anne Washburn
Will be held:
TUESDAY, SEPTEMBER 7, 7:00-10:00pm
In Venable Theatre, on the second floor of Venable Hall.
If you would like to audition, but are not able to make the auditions, please contact Laura
Standley at Laura.Standley@mcla.edu for an alternative time.
ACTORS: The audition will consist of a group audition. No need to sign up. Just show up!
Please note that all roles are open to all ethnicities and abilities.
HOW TO SIGN UP
To register for the audition, please see the following link: Link to Register
The MCLA Theatre season is an official part of MCLA coursework. To participate in the shows
requires enrollment in THEA 379-80 Theatre Production: Company. All shows need both actors
and "behind-the-scenes" production/tech personnel, and any MCLA student may audition and/or
interview for either. All students pursuing a Theatre degree are required to take the course four
times. Interviews for production/tech positions for both shows are also 9/7. For more information about
Production Interviews, click here.
The Theatre Program is committed to inclusive casting which promotes diversity in the casting
of roles where race, ethnicity, gender, age, and the presence or absence of a disability is not
essential to the development of the play or characters. All students are encouraged to audition.
Theatre Program students are not given preference in casting decisions.
The audition process is part of the students’ theatre training, and all best efforts will be made to
inform students of the director’s process, and to encourage them to maximize their preparation
and participation. The aim of casting is to select the most able student for a particular role, while
also taking into consideration the relevance of the nature of the role to the student’s continuing
development as an actor.
Guest artist actors are occasionally used in some roles and are always pre-cast. Guest artist
actors enhance the training process by providing professional level models for students to learn
from through observation. Pre-casting of students in roles will not occur.
FOR THE AUDITION
Day of Auditions. It is recommended that you show up early enough so that once we start the event, we can let you in immediately and get started right away.
Call-Backs. If call backs are held and you are called back for a role, you may be asked to come to a Cold-Reading session. Materials will be provided.
Cold reading. A cold reading is when you are handed a script and asked to perform a scene. In call-backs you will be given a side, paired with a partner and allowed a short amount of time to rehearse together. To prepare for cold-readings, be familiar with the plays (see information below) and study the characters you think you are right for.
Clothing. Please dress in clothing appropriate for participating in physical activity.
NOTE. All auditions are private. We find that students do their best and most honest work whenABOUT THE PLAY
parents and guests are not watching. We will bring you in all together for some brief
introductions and instructions. You will then be put into breakout rooms with a partner to work on
exercises that will then be shown to the whole group. In the room will be the director and
MR. BURNS, A POST-ELECTRIC PLAY
Anne Washburn’s imaginative dark comedy propels us forward nearly a century, following a new civilization stumbling into its future. After the collapse of civilization, a group of survivors share a campfire and begin to piece together the plot of "The Simpsons" episode "Cape Feare" entirely from memory. 7 years later, this and other snippets of pop culture (sitcom plots, commercials, jingles, and pop songs) have become the live entertainment of a post-apocalyptic society, sincerely trying to hold onto its past. 75 years later, these are the myths and legends from which new forms of performance are created. A paean to live theater, and the resilience of Bart Simpson through the ages, Mr. Burns is a hilarious exploration of how the pop culture of one era might evolve into the mythology of another.
Looking for a group of versatile and diverse performers who will make up the cast. Cast size is for 5f, 3m, but casting is flexible and could be greatly expanded depending on who comes to auditions. It is an ensemble show with room for double casting and extras.
Typically, the named characters double as Simpsons characters in Act 3. But this is flexible.
Matt: (appears in Acts 1 and 2) The biggest Simpsons fan. A talker from the city.
Sam: (appears in Acts 1 and 2) A problem-solver. More of a listener than a talker – a natural leader. From a small town.
Gibson: (appears in Acts 1 and 2) A newcomer. Gentle spirit. Member of a Gilbert and Sullivan society. From Massachusetts
Colleen: (appears in Acts 1 and 2) A mother (daughter does not appear in play). Something of a loner. An organized hot head.
Maria: (appears in Acts 1 and 2) From rural New Jersey (1st Act takes place in hometown) Concerned for others. Less of a pop-culture maven than Matt or Jenny, but tries to keep up.
Jenny: (appears in Acts 1 and 2) 2nd biggest Simpsons fan. From Baltimore. Energetic.
Quincy: (appears in Act 2) Brought in to perform in the troupe. Focused on the play they are creating, less concerned about the other people in the group.
Homer Simpson: (Act 3) Archetypal bumbling father
Marge Simpson: (Act 3) Archetypal concerned mother
Lisa Simpson: (Act 3) Archetypal smarty-pants sister
Bart Simpson: (Act 3) Archetypal trouble making brother and survivor
Mr. Burns: (Act 3) Archetypal evil villain
Itchy: (Act 3) joyfully violent anthropomorphized mouse
Scratchy: (Act 3) joyfully violent anthropomorphized cat
Edna Krabapple: (Act 3) leader of the chorus, a storyteller
Questions? Need access to scripts for preparation?
Contact: Laura Standley Laura.Standley@mcla.edu