Powerhouse -male actors needed
POWERHOUSE will explore the complex artistic life of composer and musical engineer Raymond Scott. The performers will work together with writers and the director to create the play through improvisation, using Viewpoints and found text. We will draw inspiration from his writing, compositions, interviews and other sources, and use a combination of live acting, puppetry and music to tell the story.
Actor/puppeteers in the ensemble will play multiple roles. Swing dancing or puppetry experience a plus but not required for all roles except Raymond Scott. All roles are age-flexible.
RAYMOND SCOTT/Collaborator (Male 25-35): Awkwardly charming, brilliantly talented, but difficult to work with, Scott wants to revitalize the swing dance movement. Has strange ideas about music, technology and the future that don't always mesh with reality. Struggles greatly to connect with people, both personally and through his music.
THE ANIMATORS: CHUCK/MEL/CARL Swing Dancers/Puppeteers/Collaborators (Males 25-35): The director, voice actor, and music director for Warner Brothers studios, at the height of their careers. They are making groundbreaking cartoons, and having a lot of fun.
It's 1936 and 27 year-old Harry Warnow has it all — a beautiful wife, a hit record, a recording company, a publishing company, his very own swing orchestra and a new name: Raymond Scott. His Quintette is all the rage. He moves to Hollywood to be featured in several films, then back to New York to become the music director for CBS. But in 20 years he would be virtually unknown. Secluded in his home studio, he would spend his time writing commercials and inventing futuristic music machines.
Unbeknownst to Scott, however, his music had become imprinted on the minds of millions, not for the Swing revival he dreamed of, but for something else entirely. For years, the animators at Warner Bros. had been scoring their Looney Tunes cartoons with Scott's life's work. This would be his legacy — and he never knew.
The piece will be created over the course of about four months of rehearsal, to culminate with either a full or workshop production in August at one of the summer theater festivals (FringeNYC or ICE Factory, applications pending). The type of production will be based on the evolution of the show up to that point. Because of the length of the development period, we will not be rehearsing full-time, and will be able to work around schedules and jobs within reason.
FOR WHAT IT'S WORTH: We're a small company, and all of us, from our director to our ensemble, are in it for the love of the work. Every cent we raise is put toward the production. On our last show, we broke even, and if we're lucky, we'll do it again. Although we can't pay you, you will be artistically supported. If this sounds like your kind of adventure, please join us.
ABOUT SINKING SHIP PRODUCTIONS: As a company, we are dedicated to the unusual and the surprising. We often choose material that is not overtly theatrical, and take particular delight in finding unexpected ways to tell that story on the stage. We draw from a wide variety of techniques, including puppetry, object manipulation, music and movement, to create distinctly visual work. The main point, however, is never simply aesthetic – we are always most interested in telling the story.
Sinking Ship's last production was There Will Come Soft Rains: A Science Fiction Symphony in Three Acts. Soft Rains, adaptations of stories by Ray Bradbury and others, pla
Location: New York, United States
Payment details: no pay
This job is unpaid
Male, aged 21 to 35
Applications closed 27 April 2009.
- Located in California, USA
- Joined April, 2009