Sunday, Jan. 11, 2015, beginning at 7 p.m.
Monday, Jan. 12, 2015, beginning at 7 p.m.
(Callbacks: Tuesday, Jan. 13, 2015, at 7 p.m.)
ABOUT THE PLAY
In this drama by Edward Albee, we meet the wealthy middle-aged couple Agnes and Tobias, who have their complacency shattered when Harry and Edna, their longtime friends, suddenly appear at their doorstep. Claiming that an encroaching, nameless "fear" has forced them to flee their own home, these neighbors bring a firestorm of doubt, recrimination and ultimately solace — upsetting the "delicate balance" of Agnes and Tobias' household. Winner of the 1967 Pulitzer Prize for Drama.
For more information about the play and its notable productions and adapatations, CLICK HERE to visit the show's Wikipedia page.
A Delicate Balance requires an ensemble of six ADULT actors — four women and two men.
(Please note that the suggested ages listed below are meant to represent the age range a person “can play” – not what’s on his or her birth certificate!)
AGNES (approximate age range: late 50s to early 60s) — Agnes is the main female character of the play. She is woman in her fifties, well off, and married to Tobias. She is also the mother of Julia and the sister of Claire. Agnes believes herself to be the fulcrum of the family, keeping everyone in balance. She often maintains this balance, or order, by not confronting issues, not taking a stand, and not processing emotions. She tries to keep the peace by not dealing with anything that might upset it.
CLAIRE (approximate age range: late 50s to early 60s) — Claire is Agnes’s younger sister. She claims that she is not an alcoholic but rather a willful drinker. Of all the characters in the play, whether it is due to the alcohol or not, Claire has the loosest tongue. She speaks her mind and is the least affected by social politeness.
EDNA (approximate age range: late 50s to early 60s) — Edna is Harry’s wife. It is not clear if she is really Agnes’s friend or if she and Agnes know one another only because their husbands are friends. Edna arrives one day at the door of Agnes and Tobias’s home. She takes it for granted that they will let her and Harry stay there for however long it takes them to get over their unnamed fear.
HARRY (approximate age range: late 50s to early 60s) — Harry is Edna’s husband and Tobias’s best friend. At one point in the past, Harry and Tobias, coincidentally, had an extramarital affair with the same young woman. Besides both having been businessmen and meeting at the same club, it is unclear what else Harry and Tobias have in common except that they have known one another for a long time and neither sleeps with his wife. Harry is something of a reflection of Tobias, but he is even more reserved. Of all the characters in this play, Harry speaks the least. And when he does speak, he is a man of few words with lots of pauses around each one. He prefers to talk around things rather than going at them straight on.
JULIA is the thirty-six-year-old daughter of Agnes and Tobias. Three times divorced, she has just recently left her fourth husband and has returned home. Her father calls her a whiner, and her mother has little time for her. Julia, based on a relative of Albee’s, his cousin Barbara Lauder, has set a pattern in her life of marrying for the wrong reasons and then divorcing and returning home. Her parents welcome her, although they make it clear that they wish she would establish an independent life of her own.
TOBIAS (approximate age range: late 50s to early 60s) — Tobias is Agnes’s husband and the father of Julia. He is a well-to-do, retired businessman. Although he is tolerant of people around him, he, like his wife, tends to avoid emotional topics. His tolerance toward his sister-in-law Claire is shown in his non-judgmental attitude toward her drinking. Although he encourages her to return to Alcoholics Anonymous at one point in the play, he does not berate her for drinking. In some ways, he even encourages it or at least does not discourage it. There are a few subtle insinuations that Claire and Tobias might have at one time had an affair, but this is initially only alluded to by script directions that have Claire open her arms to Tobias in a “casual invitation”. Later in the play, Agnes asks Tobias (when he cannot sleep) if he went to Claire.
The auditions for A Delicate Balance will be held by appointment only. On each audition night, audition appointments are available in five-minute intervals.
To schedule your audition appointment, please call the Weathervane Playhouse box office at 330-836-2626. Please call during regular box office hours only: Mondays from 10 a.m. to 4 p.m. and Tuesdays through Fridays from 10 a.m. to 5:30 p.m. Please note: The box office and business office will close at 5:30 p.m. on Dec. 23 and remain closed until 10 a.m. on Monday, Jan. 5, 2015.
WHAT TO PREPARE FOR YOUR AUDITION
Please prepare a two- to three-minute monologue (contemporary, dramatic or comedic). The monologue MAY be from the script, but it does not HAVE to be.
► CLICK HERE to read a portion of the script online via Google Books
► CLICK HERE to buy the script.
► Copies of the script are available for borrowing at the Weathervane Box Office during the following hours only:
• Mondays from 10 a.m. to 4 p.m.
• Tuesdays through Fridays from 10 a.m. to 5:30 p.m.
Please note: The box office and business office will close at 5:30 p.m. on Dec. 23 and remain closed until 10 a.m. on Monday, Jan. 5, 2015.
ABOUT THE PLAY'S REHEARSALS
A complete schedule of the rehearsals will be available at the auditions. Though subject to change, a typical Weathervane rehearsal schedule for a Mainstage production such as this would be Sundays through Thursdays from 7 to 10 p.m.
Please bring your calendar with you to the auditions in order to declare any "conflict dates" between Jan. 18 and April 12, 2015. Conflict dates reported after the show has been cast may result in re-casting.
ABOUT THE PLAY'S PERFORMANCES
A Delicate Balance will play for 11 performances on Weathervane Playhouse's Founders Theater stage between March 26 and April 12, 2015.
Thursday, March 26 at 7:30 p.m.
Friday, March 27 at 8 p.m.
Saturday, March 28 at 8 p.m.
Sunday, March 29 at 2:30 p.m.
Thursday, April 2 at 7:30 p.m.
Friday, April 3 at 8 p.m.
Saturday, April 4 at 8 p.m.
Sunday, April 5 (Easter Sunday) — NO performance today
Thursday, April 9 at 7:30 p.m.
Friday, April 10 at 8 p.m.
Saturday, April 11 at 8 p.m.
Sunday, April 12 at 2:30 p.m.
ABOUT THE PLAY'S DIRECTOR
A native of Canton, CRAIG JOSEPH was bitten by the theater bug at an early age, and could be found producing short plays and puppet shows in the backyard with the neighborhood kids. After receiving a fantastic arts education in Plain Local Schools, Craig pursued his Bachelors in English and Theology at Wake Forest University (all the while acting and directing), and then went on to receive a Masters in Directing from Northwestern University. A ten-year sojourn in Chicago garnered him professional directing credits with Writers Theatre, White Horse Theatre, and TimeLine Theatre, among others. Contemporaneously, he acted occasionally and wrote several plays, short fiction pieces and a screenplay. Never content to just do one thing, the Chicago decade also found Craig working in a variety of church and nonprofit contexts as a youth pastor, associate pastor, arts educator, college professor and church planter. Through these experiences, Craig developed a passion for merging the arts world with social justice concerns. His next career move, which took him to Minneapolis, found him serving as the Creative Director for a progressive congregation which utilized the arts to foster racial reconciliation, poverty awareness and neighborhood revitalization; all the while, Craig continued directing professionally. A surprise move back home to Ohio six years ago has propelled Craig in a new direction. Now serving as the curator of Translations Art Gallery and as the Creative Director for a branding and identity agency called Cassel Bear, he gets to play with the interaction between words and images all day. He continues telling stories on the stage, with recent directing credits of The Elephant Man, Cat On a Hot Tin Roof, A Midsummer Night’s Dream, Other Desert Cities and God of Carnage. He also began acting again, tackling the challenge of a one-man play, Lee Blessing’s Chesapeake, and being very short as Lord Farquaad in Shrek. As ever, Craig would like to thank his family for their support of his multi-directional, oft-indecipherable life and career trajectory. And he thanks you for supporting the arts, so that he can continue to do what he loves.
ABOUT THE PLAYWRIGHT
EDWARD ALBEE is perhaps best known for his association with the artistic movement of the 1950s and early 1960s more popularly regarded as "the theater of the absurd." Born in Washington, D.C., on March 12, 1928, Albee’s parents abandoned him as a baby. A wealthy couple who owned a theatre chain, Reed and Frances Albee, adopted the infant boy. The Albees named their son after his adoptive paternal grandfather, Edward Franklin Albee, a powerful vaudeville producer who had made the family fortune as a partner in the Keith-Albee Theater Circuit. Despite the lavish environment in which he grew up in affluent Westchester, New York, he was, by most accounts, unhappy. He attended Trinity College, a small liberal arts school in Hartford, Connecticut for a year. After failing to show up for the school’s chapel services, as well as certain classes, Albee was dismissed by the school. At the age of 20, Albee left home and settled in Greenwich Village in New York City. He took on various jobs, including the roles of “office boy,” record salesman, and Western Union messenger. During his early years in Manhattan, he also began to meet other writers, including Thornton Wilder and W. H. Auden.
It was Wilder who suggested that he try his hand at plays. At the age of 30, Albee wrote his first play, The Zoo Story, in a quick, three-week period. Albee's first full-length, three-act play was Who's Afraid of Virginia Woolf?, and its 1962 Broadway production won the Tony Award for Best Play. Centered on fractured family relationships, Who’s Afraid of Virginia Woolf? won him international fame and opened new doors of artistic opportunities. Albee’s other plays include The American Dream, Tiny Alice, All Over, Seascape (Pulitzer Prize winner), The Lady From Dubuque, The Man Who Had Three Arms, Finding the Sun, Three Tall Women (Pulitzer Prize winner), Fragments, The Play About the Baby, Occupant and The Goat, or Who is Sylvia? He is a member of the Dramatists Guild Council and president of the Edward F. Albee Foundation. He was awarded the Gold Medal in Drama from the American Academy and Institute of Arts and Letters in 1980 and in 1996 received the Kennedy Center Honors and the National Medal of Arts.
Ever the iconoclast, Albee himself once summed up his career for an interviewer by declaring, "I have been both overpraised and underpraised. I assume by the time I finish writing — and I plan to go on writing until I'm 90 or gaga — it will all equal itself out. You can't involve yourself with the vicissitudes of fashion or critical response."
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