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Title | American Rusałki | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Playwright/Composer | Christopher Lysik | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Director | Kayla Adams | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Music Director | Olivia Gould | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Dramaturg | Rebecca Weaver | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Stage Manager | Sophie Young | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Category | Production, Thayer Theatre | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
First Rehearsal | March 28 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Load In/Tech /Dress | April 30 – May 1 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Performances | May 2 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Roles to be cast | Age (Presentation) | Gender (Presentation) | Description (Note: Voice ranges are approximate) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Bronisława | Late 20’s | Female | A rusałka; elder sister to Wioletta (ALTO) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Wioletta | Early 20’s | Female | Also a rusałka; younger sister to Bronisława (SOPRANO) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Margaret | Late 40’s or Early 50’s | Female | Been around the block a few times; Jack’s wife (ALTO) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Jack | Early 30’s | Male | Trying his best despite his youth; Margaret’s husband (BARITONE) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Esther | 22 | Female | More than just the daughter of a wealthy landowner (SOPRANO) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Benjamin/Dr. Oliver/Thomas’s Figure | Mid to Late 40’s | Male | One bad dude. (BASS) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Thomas | 15 | Male-presenting, non-binary | A caretaker at their core (TENOR) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Synopsis | Northern Rhode Island, 1830s. The Blackstone River runs through the woods of a small, rural town... and there’s Something in the water. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Notices | American Rusałki is a play with music, based in dark Polish and American folklore. Within this context, there are discussions/depictions of murder, suicide, self-harm, weaponization of religion, animal sacrifice, infant illness/mortality, and the supernatural.
INTIMACY BREAKDOWN
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FIGHT BREAKDOWN
Page | Stage Direction/Planned Action | Characters | Notes |
2 | A man appears in the shadows. One of the women approaches him, and they begin to make love. Over the following lines, we see the woman turn, revealing she has become pregnant. The man, enraged, goes to hit her, but the second woman steps in. A struggle occurs, and the man overpowers them both. We watch as he drowns them in a River. | Benjamin, Bronisława, Wioletta | Stylized, in silhouette |
12 | Wioletta kisses him. BENJAMIN No... And he kisses back. It grows. They go to the ground, beside the River bank. She unbuttons his shirt, takes it off. They continue to kiss. She rolls him over, climbs on top. As she starts to undo his pants, though, she... Begins to tickle him. He’s confused for a moment, but begins to laugh. It continues for a while, even as he starts to lose his breath. He tries to tap out... BENJAMIN Hey... Hey— Stop! She Doesn’t stop, though, and suddenly another pair of hands reaches out of the River, joining in. It takes him a moment to realize, but a glint of terror shoots across his face. He looks back to the original woman, but... she’s changed. Her hair is Green, her skin is peeling flesh. He tries to scream, but the new hands cover his mouth. Together, the women grab him— and pull him Deep into the River. | Benjamin, Bronisława, Wioletta |
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60 | Dr. Oliver never stops moving: performing magic tricks for bystanders, mixing random bottles together, pickpocketing customers. Hell, he probably pisses in a bottle at some point and manages to sell it. | Dr. Oliver | No nudity shown |
72 | THOMAS So after school, I rush home, Lay her down, Gently, on the Stump. | Thomas | Describing the sacrifice of a pet rodent |
92 | They shake hands, and Jack begins to walk away. As he does though, Doctor Oliver snaps his Fingers, and Something causes Jack to Trip— directly into Dr. Oliver, who “drops” the bottle of liquid into the campfire. Feigning concern, Dr. Oliver leaps to the flame and throws his hands in. He fishes the Bottle from the Flames, but as he does— the fire releases a plume of noxious green smoke. This sends him into a trance state, foaming at the mouth, and speaking in tongues. Dr. Oliver plunges his face into the fire. When he emerges, he is holding a red-hot coal between his lips. He tips his head back... and swallows it. When he exhales, smoke comes pouring out. He begins to interpret the smoke cloud. | Jack, Dr. Oliver |
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93 | Jack sprints into action, and sees the pot of coffee nearby. He grabs it, and throws it over the fire and Doctor Oliver. | Jack, Dr. Oliver |
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98 | Thomas rolls up their shirt, revealing a large, gaping wound over their ribcage. From their back pocket, Thomas takes the wooden knife, now covered in Red. | Thomas | Actual act of self-harm occurs offstage— all we see is the wound |
120 | Margaret turns and sees the baby for the first time— and rushes to get up. As she steps, though, her foot immediately gives way and she falls to the ground. | Margaret |
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121 | As she approaches the River, Margaret falls again. She is able to contort her body to protect her child, but she lands hard. | Margaret |
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Important Dates/Holidays
3/24 Purim*, 3/24 Palm Sunday, 3/25 Holi Phagwa*, 3/25 Lailat al Bara*, 3/27 Nuzul Quran*, 3/29 Good Friday, 3/31 Easter, 4/4 Qing Ming Jie, 4/6 Laylat al-Qadr*, 4/9 Ougadi/Ugaadi, 4/10 Eid al-Fitr (End of Ramadan)*, 4/17 Ram Navami, 4/21 Mahavir Jayanti, 4/22-4/30 Passover*, 4/24 Theravada (New Year), 5/1 Beltane-Samhain, 5/3 Good Friday (Orthodox)
Callbacks for American Rusałki
Monday, March 4th from 7:00pm-11:00pm
Location: PAX 154.
CALLBACKS SCHEDULE
7:00pm – 7:25pm | 7:25pm – 7:50pm | 7:50pm – 8:15pm | 8:15pm – 8:40pm | 8:40pm – 9:00pm | ||
Brody Ohm Jason Vernon Parker Lamert Charlie Schmelzer Charlie Duffy Aidan Seville | Jasper Rood Andrew Wilkes Orlando Lopez Joey Lepire Luis Avalos John Stinson | Holland Larned Samantha Mayer Emma Bibb Niyati Deshpande Katie Gucik Jen Hogan Morgan Lally Alice Conroy Roxy Glave Kiley Kennedy | Alice Conroy Fabienne Rink Nicolette Mayer Aleesa Lavrenko Kiley Kennedy Jen Hogan Jasper Rood Andrew Wilkes Orlando Lopez Joey Lepire Luis Avalos John Stinson | Tony Nguyen Luis Avalos Orlando Lopez Charlie Duffy Aidan Seville Samantha Mayer Emma Bibb Katie Gucik Niyati Deshpande | ||
MUSIC CALL 9:00pm – 11:00pm | ||||||
Holland Larned Samantha Mayer Emma Bibb Niyati Deshpande Katie Gucik Jen Hogan Alice Conroy Fabienne Rink Nicolette Mayer | Aleesa Lavrenko Kiley Kennedy Morgan Lally Roxy Glave Tony Nguyen Luis Avalos Orlando Lopez Charlie Duffy Aidan Seville | Jasper Rood Andrew Wilkes Joey Lepire John Stinson Brody Ohm Jason Vernon Parker Lambert Charlie Schmelzer |
Thank you to everyone who auditioned!
Please contact Sophie Young (sophia-g-young@uiowa.edu) with any questions or concerns
Thank you to everyone who auditioned! To accept your role, please email the Stage Manager, Sophie Young, at sophia-g-young@uiowa.edu
Note from Christopher: Hello all! I'm SO excited to have your beautiful voices working on this piece. I know we asked for your vocal ranges on Performer Bank, but I'm going to be spending a lot of Spring Break working on musical arrangements, and I want to tailor the score to your individual voices as much as possible! So, could you please send Sophie the following info when you accept your role:
- What is your vocal range?
- If you put multiple voice parts, where do you feel your voice is strongest (ie, "I put Alto AND Soprano, but I have a much stronger tone in the Alto range.")
Do you know your exact range? Refer to the image below:
Anything else we should know about your voices as we embark on this process?
Questions or concerns?
Sophie Young, Stage Manager: sophia-g-young@uiowa.edu
Addy Taylor, Assistant Stage Manager: audella-taylor@uiowa.edu
Ella Crosby, Assistant Stage Manager: ella-crosby@uiowa.edu
Christopher Lysik, Playwright/Composer: christopher-lysik@uiowa.edu
Kayla Adams, Director: kayla-adams@uiowa.edu