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Auditions

In person auditions will be held on Friday January 17 (6:30PM - 9PM) and Saturday January 18 (10AM - 2PM) Walk-ins are welcome, or you can make an appointment by emailing PhoenixTheatreArtsCo@gmail.com.

 

Video auditions will be accepted via email at PhoenixTheatreArtsCo@gmail.com.

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To audition, please fill out this form. Please prepare a 1-2 minute comedic Shakespearean monologue (you may choose anything linked here (use the tabs on the left!), any other monologue from A Midsummer Night’s Dream, or any other Shakespearean monologue.

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***Preferably memorized as best you can.

 

We will ask that you audition with some variety of a southern accent (do your best! And any type of Southern accent is acceptable!)

 

At auditions, you may also be asked to read some sides or scenes from the script, or additional monologues. Some of them are available here if you would like to peruse in advance.

 

If needed, callbacks will be held by invitation only on Saturday, January 18 from 2PM - 6PM. 

Performance Dates​

Friday May 2, 2025 at 7:30 PM

Saturday May 3, 2025 at 2:00 PM

Sunday May 4, 2025 at 2:00 PM

Friday May 9, 2025 at 7:30 PM

Saturday May 10, 2025 at 2:00 PM & 7:30 PM

Location

Katonah SPACE

44 Edgemont Road

Katonah, NY 10536

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Rehearsal Information

Rehearsals will begin on January 26 (readthrough). Our planned rehearsal schedule is Sundays (2-5), Tuesdays (6:30-9:30), and Fridays (6:30-9:30), with an occasional Thursday evening (6:30-9:30) with increase in rehearsals at the end of April and beginning of May. All cast is required to be at Tech Week rehearsals from Saturday April 26 - Thursday May 1, as well as for all performances (May 2, 3, 4, 9, & 10) and brush (May 8).

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Production Vision​

Our production of A Midsummer Night's Dream will be set in a southern swamp. Imagine a world where the natural elements take on an eerie, enchanting quality, transporting the audience into a mystical swamp filled with secrets, beauty, and danger. The stage becomes an ethereal landscape of twisted trees draped in Spanish moss, patches of marshy ground, and a shimmering, almost hypnotic water feature in the center. The air is thick with fog, and the soundscape is rich with the sounds of croaking frogs, chirping crickets, and distant murmurs that feel like they come from unseen creatures lurking just beyond sight. Everything about the space feels alive, unsettling, and oddly beautiful.

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The Fairies

The fae are the heart of this magical swamp, and their design is crucial to evoking the sense of wonder and danger. Titania and Oberon are regal but wild, their costumes reflecting the untamed beauty of the swamp—elaborate, nature-inspired designs, perhaps with vines, leaves, and bioluminescent touches woven into their clothing. Their makeup is intricate and otherworldly, blending elements of both beauty and menace, as though their allure could draw you in, but crossing them would have dire consequences.

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The attendant faeries should each have distinct looks, embodying different aspects of the swamp’s magic. One might be more water-based, their makeup and costume evoking the fluidity and mystery of the bayou’s depths. Another could be more floral, with a ghostly beauty that feels almost poisonous, like a deadly bloom. Another could represent the forest floor, with earthy tones and textures, while the last embodies the air—light, elusive, and unsettling, her movements sharp and predatory. These faeries constantly prowl the stage, either floating through scenes gracefully or shifting with sudden, unsettling motions, giving the swamp an ever-present, watchful energy.

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Puck, the trickster, is a creature born from the swamp itself, possibly with mud-caked skin or vines woven into his hair. His accent could be rougher, more rural, hinting that he understands both the human and fae worlds but belongs fully to neither. He moves between both worlds seamlessly, his physicality fluid and unpredictable, drawing laughter and fear in equal measure.

 

The Humans

The humans who enter this world come from a more familiar version of the South. For the court, their accents are polished and genteel—Southern aristocracy. Their costumes reflect their status, but as they spend more time in the swamp, subtle changes begin to occur. Their clothing becomes more ragged, perhaps taking on natural elements—mud splatters, twigs, leaves—until they almost blend into the environment. Their hair might loosen, and their skin takes on an otherworldly glow, hinting that the swamp’s magic is slowly creeping into them.

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For the mechanicals, their Southern accents are rougher, more rural, like a group of redneck laborers or swamp-dwellers who bumble their way through the forest with comic ineptitude. Their costumes might initially suggest overalls or work clothes, but as they too become enchanted by the swamp, strange and beautiful transformations start to take place. By the time they perform their play at the end, they are nearly unrecognizable, their earthy appearances imbued with the strange, surreal beauty of the bayou.

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The Swamp's Influence

As the play progresses, the swamp’s magic takes hold of everyone who lingers too long within its borders. The characters who enter it begin to subtly transform the longer they stay—whether it’s a faint glow to their skin, a shimmer in their eyes, or flowers and vines entwining themselves into their hair and costumes. By the time the final act arrives, the divide between the human and faerie worlds is almost gone, as the once-pristine characters now carry the enchantment of the bayou with them. Their speech, movement, and even the way they interact with one another change as they fall deeper under the swamp’s spell, creating a dreamlike atmosphere that is both alluring and haunting.

 

Movement and Choreography

The fae are always present, even when not directly involved in the scene. They lurk at the edges of the stage or move through the background, watching the humans with predatory interest. Their movement is fluid and ethereal, yet with a hint of danger—sometimes graceful and serene, other times sharp and unsettling, depending on the tone of the scene. Their presence should be felt in every corner of the swamp, creating an almost claustrophobic sense that the humans are never alone.

As the non-faerie characters spend more time in the swamp, their movements become more fluid and dreamlike, influenced by the fae’s presence. By the time they leave, they are no longer quite the same people who entered.

 

Lighting and Atmosphere

The lighting design would play a crucial role in enhancing the mystical, dangerous beauty of the swamp. Soft, diffused lights in shades of green, blue, and gold could give the impression of dappled moonlight filtering through the trees. At key moments, the swamp might seem to glow with an inner light, giving it an even more magical feel. Shadows would be deep and mysterious, suggesting that anything could be lurking just out of sight.

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The Swamp​

The swamp itself should feel like a living entity, constantly shifting and changing. As characters move through it, the set might subtly alter—trees and vines shifting as if they have a life of their own, or the water rippling with unseen movement. The overall effect is that the swamp is a magical, sentient force that influences everything that happens within its borders.

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In this bayou-inspired vision of A Midsummer Night’s Dream, the magic of the fae is deeply rooted in the land itself, and the swamp becomes a character in its own right—a place of beauty and terror, where nothing is quite as it seems and where anyone who enters is forever changed.

Cast of Characters

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Royalty

Hippolyta - The legendary queen of the Amazons, engaged to Theseus. She symbolizes order. She appears only at the beginning and the end of the story, removed from the dreamlike events of the forest

 

Theseus - The heroic duke of Athens, engaged to Hippolyta. Theseus represents power and order throughout the play. He appears only at the beginning and end of the story, removed from the dreamlike events of the forest.

 

Hermia - A young woman of Athens. Hermia is in love with Lysander and is a childhood friend of Helena. As a result of the fairies’ mischief with Oberon’s love potion, both Lysander and Demetrius suddenly fall in love with Helena. 

 

Helena - A young woman of Athens, in love with Demetrius. Demetrius and Helena were once betrothed, but when Demetrius met Helena’s friend Hermia, he fell in love with her and abandoned Helena. Lacking confidence in her looks, Helena thinks that Demetrius and Lysander are mocking her when the fairies’ mischief causes them to fall in love with her.

 

Demetrius - A young man of Athens, initially in love with Hermia and ultimately in love with Helena. Demetrius’s obstinate pursuit of Hermia throws love out of balance among the quartet of Athenian youths and precludes a symmetrical two-couple arrangement.

 

Lysander - A young man of Athens, in love with Hermia. Lysander’s relationship with Hermia invokes the theme of love’s difficulty: he cannot marry her openly because Egeus, her father, wishes her to wed Demetrius; when Lysander and Hermia run away into the forest, Lysander becomes the victim of misapplied magic and wakes up in love with Helena.

 

Faeries

Oberon - The king of the fairies, Oberon is initially at odds with his wife, Titania, because she refuses to relinquish control of a young Indian prince whom he wants for a knight. Oberon’s desire for revenge on Titania leads him to send Puck to obtain the love-potion flower that creates so much of the play’s confusion and farce.

 

Titania - The beautiful queen of the fairies, Titania resists the attempts of her husband, Oberon, to make a knight of the young Indian prince that she has been given. Titania’s brief, potion-induced love for Nick Bottom, whose head Puck has transformed into that of an ass, yields the play’s foremost example of the contrast motif.

 

Puck - Also known as Robin Goodfellow, Puck is Oberon’s jester, a mischievous fairy who delights in playing pranks on mortals. Though A Midsummer Night’s Dream divides its action between several groups of characters, Puck is the closest thing the play has to a protagonist. His enchanting, mischievous spirit pervades the atmosphere, and his antics are responsible for many of the complications that propel the other main plots: he mistakes the young Athenians, applying the love potion to Lysander instead of Demetrius, thereby causing chaos within the group of young lovers; he also transforms Bottom’s head into that of an ass.

 

Peaseblossom, Moth, Cobweb, Mustardseed - The fairies ordered by Titania to attend to Bottom after she falls in love with him.

 

The Mechanicals / Players

Nick Bottom - The overconfident weaver chosen to play Pyramus in the craftsmen’s play for Theseus’s marriage celebration. Bottom is full of advice and self-confidence but frequently makes silly mistakes and misuses language. His simultaneous nonchalance about the beautiful Titania’s sudden love for him and unawareness of the fact that Puck has transformed his head into that of an ass mark the pinnacle of his foolish arrogance.

 

Peter Quince - A carpenter and the nominal leader of the craftsmen’s attempt to put on a play for Theseus’s marriage celebration. Quince is often shoved aside by the abundantly confident Bottom. During the craftsmen’s play, Quince plays the Prologue.

 

Francis Flute - The bellows-mender chosen to play Thisbe in the craftsmen’s play for Theseus’s marriage celebration. Forced to play a young girl in love, the bearded craftsman determines to speak his lines in a high, squeaky voice.

 

Robin Starveling - The tailor chosen to play Thisbe’s mother in the craftsmen’s play for Theseus’s marriage celebration. He ends up playing the part of Moonshine.

 

Tom Snout - The tinker chosen to play Pyramus’s father in the craftsmen’s play for Theseus’s marriage celebration. He ends up playing the part of Wall, dividing the two lovers.

 

Snug - The joiner chosen to play the lion in the craftsmen’s play for Theseus’s marriage celebration. Snug worries that his roaring will frighten the ladies in the audience.

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