Outré Announces Its 2013-14 Season Auditions

Outré Theatre Company is proud to announce season auditions for its 2013-14 season! Auditions will be held August 4 from 12-5 pm and August 5 from 5-10 pm. Please prepare 2 contrasting monologues, not over 1 minute each (if auditioning for Much Ado About Nothing, one monologue should be classical). If you are auditioning for a musical, please also prepare 16 bars that show off your range.

Auditions are by appointment. To schedule an audition, please email Skye Whitcomb at skye@outretheatrecompany.com or call 954-300-2149.


Bloody Bloody Andrew Jackson – September 20-22

ANDREW JACKSON – A roguish, man’s president who is deeply charming and sexy, yet is also an extremely violent, arrogant, bigoted idiot that fights for what he believes in. Male, 22-32 yrs old. Range: Bb2 – Bb4
BLACK FOX – Native American chief who is intelligent and somber with a hint of danger. He used to have an alliance with Jackson. Male, 25-35 yrs old. Speaking Role
FEMALE SOLOIST – Self-confident, attractive singer with powerful, emotive indie rock voice. Dark, mysterious, hip vibe. Doubles as other roles. Female, 20-30 yrs old. Range: G3 – B4
HENRY CLAY – An over-the-top, vivacious, tall, cadaverous, and villainous senator with greasy hair who wears weasel pelts. Doubles as other roles. Male, 28-36 yrs old. Range: D3 – A3
JAMES MONROE – Foppish and overwhelmed old-school President of the United States. Doubles as other roles. Male, 30-40 yrs old. Speaking Role
JOHN C. CALHOUN – A sinister, good-looking, charming, and brilliant gentlemen senator from the South who is a vain mastermind. Doubles as other roles. Male, 25-35 yrs old. Range: B2 – F3
JOHN QUINCY ADAMS – The former President’s whiney, spoiled, and demanding son who really wants to be president. Doubles as other roles. Male, 22-32 yrs old. Range: B2 – E4
LYNCOYA – Adopted Native American son of Andrew Jackson who has a sweet disposition with a wild streak. Male, 5-8 yrs old. Speaking Role
MALE SOLOIST – Brooding, intense rocker with powerful, emotive indie rock voice. He is angsty, good-looking, young, and hip. Doubles as other roles. Male, 18- 25 yrs old. Range: D3 – E4
MARTIN VAN BUREN – Jackson’s right hand man who is in over his head. He is a well-intentioned buffoon who is utterly lovable. Doubles as other roles. Male, 25-35 yrs old. Speaking Role
RACHEL JACKSON – Jackson’s deeply religious and devoted wife who is strangely alluring, yet not overtly sexual. Doubles as other roles. Female, 25-35 yrs old. Range: A3 – B4
THE STORYTELLER – A milquetoast, oppressively good-natured, history-loving narrator that has not had much excitement in her life. Female, 35-55 yrs old. Speaking Role

Much Ado About Nothing – November 1-17

DON PEDRO – A powerful man who knows it; quietly and confidently in control of every situation. Male, 35-55.
BENEDICK – A charming and witty virtuoso of language; wealthy but not ostentatious. Male, 25-35.
CLAUDIO – A young man searching for something to dedicate himself to, something that will give him purpose. Male, 22-28.
DON JOHN – Cunning and amoral. Feels that he has been wronged by his brother, Don Pedro. Male, 25-45.
BORACHIO – A sycophant of Don John’s. Cruel in a careless sort of way. Male, 25-45.
LEONATO – A politician, smarter than most, but also smart enough to hide it. Male, 55-75.
HERO – Leonato’s daughter, she has been born to wealth and prestige. Female, 18-25.
BEATRICE – Leonato’s niece. Highly intelligent and quick-witted, fiercely independent. Female, 25-35.
MARGARET – Hero’s not-quite-bright “attendant.” Female, 18-30.
DOGBERRY – A beach cop. Has watched way too many reality cop shows. Male, 30-50.
VERGES – Dogberry’s partner. Personifies the “bright-eyed and bushy-tailed” junior cop. Male, 25-35.
THE WATCH – two beach cops under Dogberry’s command

Mr. Marmalade – March 28-April 13

LUCY – A 4-year-old little girl, with a vivid imagination, an absent father, a neglectful mother, and an imaginary friend. Female, 18-30.
MR. MARMALADE – Lucy’s imaginary friend. Debonair, stylish, addicted to cocaine, and physically abusive. Never has any time for Lucy. Male, 25-45.
SOOKIE – Lucy’s mom. Relies on men for more than they’re good for. Tends to forget about Lucy. Female, 25-35.
EMILY – Lucy’s babysitter. The first girl in her class to get boobs, and is quite proud of it. Female, 18-25.
GEORGE – Emily’s boyfriend. A stereotypical high-school male. He also is quite proud of Emily’s boobs. Male, 18-25.
LARRY – A 5-year-old little boy. He has bandages on his wrists, and is the youngest suicide attempt in the history of New Jersey. Male, 18-30.
BRADLEY – Mr. Marmalade’s personal assistant. Can sing like an angel. Slightly effeminate. Male, 25-45.
A CACTUS AND A SUNFLOWER – Talking plants. Played by the actors who play Emily and George.
A MAN – Sookie’s one-night stand. Played by the actor who plays George.

Grey Gardens – May 23-June 8

EDITH BOUVIER BEALE/”LITTLE” EDIE BEALE – Plays mother Edith in act one and daughter Edie in act two. Female, 45-55. Vocal range: legit soprano or mezzo-soprano to F-sharp 5, mix/belt to D5. Highly recommended that this actress be familiar with the film, as Little Edie is a unique character with many specific traits.
“BIG” EDIE BEALE – An eclectic woman who fondly recalls her days of glory entertaining guests at lavish parties in the heyday of Grey Gardens. Female, 65-75. Vocal range: character alto E3-C5. It is recommended that this actress also be familiar with the documentary film.
YOUNG “LITTLE” EDIE BEALE/ENSEMBLE – Portrays young Edie in act one, and participates in the ensemble in act two. Female, 22-28. Vocal range: mix/belt to D5, soprano to B-flat 6.
JOSEPH KENNEDY, JR./JERRY – Plays Joseph Kennedy, handsome and suave, in act one, and plays handyman Jerry in act two. Male, 22-32. Vocal range: tenor, C3-G4.
GEORGE GOULD STRONG/ENSEMBLE – Plays pianist and confidante Gould in act one, and participates in the ensemble in act two. Ability to play the piano is helpful, but not necessary. Male, 40-50. Vocal range: baritone or tenor, C3-F4.
MAJOR BOUVIER/NORMAN VINCENT PEALE – Plays the strict, domineering patriarch of the Bouvier family in act one, and the beloved minister and author of “The Power of Positive Thinking” in
act two. Male, 60-75. Vocal range: baritone, C3-E4.
BROOKS SR./BROOKS JR. – African-American actor. Portrays loyal family servant Brooks Sr. in act one, and landscaper Brooks Jr. as well as a member of the ensemble in act two. Male, 30-40. Vocal range: baritone, C3-E4.
JACQUELINE BOUVIER/ENSEMBLE – Thirteen years old – lovely, poised, and well-mannered, although dearly in love with her wacky Aunt Edith and her performances. In the second act she participates in the ensemble. Female, 13-18. Vocal range: juvenile mix belt, C4-E5
LEE BOUVIER/ENSEMBLE – Ten years old – tomboyish, energetic, and joyful, sharing her sister Jackie’s love of her Aunt Edith. In the second act she participates in the ensemble. Female, 10-18. Vocal range: juvenile mix belt, C4-E5.

“An Iliad” Wins New Times’ “Best Of” for Solo Show!

Broward-Palm Beach New Times Awards Outré’s An Iliad Best Solo Show!

For its first full-length-play production, emerging Mizner Park company Outre chose a work that was both minimalist (in its cast and production requirements) and maximalist (in its broad thematic umbrella). A modern retelling of Homer’s similarly named epic poem, An Iliad dramatized the narrative of the Trojan War through the eyes of a road-weary itinerant storyteller, played by Avi Hoffman. Slinging an occasional guitar and swilling the more-than-occasional guzzle of booze, Hoffman broke many a fourth wall while colloquially inhabiting Agamemnon, Achilles, Petroclus, Hermes, and the rest of them in an exhausting exercise running more than 90 minutes. Set designer Sean McClelland provided him with a morbid playground — a bombed-out, multitiered war zone that bridged the gap between battles past and present, which is the ultimate message behind the play’s antiwar monologue. Stefanie Howard’s lighting design proved equally instrumental in creating the show’s electric atmosphere, and ditto for Danny Butler’s soundscape, which merged ancient sword-and-sandals sound effects with present-day war reports. This may be remembered as Hoffman’s finest hour, not to mention an artistic breakthrough for Outre; I dare say Homer has never been this engaging.

Read the original article here.

“An Iliad” – The Miami Artzine Review

An Iliad

by Roger Martin

Hey boys and girls, moms and dads! Anyone want to be an actor? Lead a life of riches, glamor and excitement? Great, then scoot right on up to Boca Raton and watch Avi Hoffman in An Iliad. Ninety minutes in Outré Theatre with Avi and you’ll learn it all. Fame awaits.

It’s a one man show, An Iliad, and a terrific show it is. Avi Hoffman is Homer, regaling the audience with this updated version of the classic tale of the siege of Troy. And of course you all remember how that went, Paris stealing Helen from the King of Sparta, thoroughly ticking off the Greeks who then spent ten years trying to get her back. Hero versus Hero, God versus God. Cue the carnage.

So in this updated version by Denis O’Hare and Lisa Peterson, Hoffman is dressed and booted in quasi battle fatigues, unshaven and exhausted, becoming the heroes, telling their tales, strutting the stage, killing and lamenting.

This is a timeless piece, performed 3000 years ago and, in this version, still very much alive, vibrant and utterly intriguing. As Hoffman speaks, voice overs and sound fx delineate the battles old and new and videos flash upstage but nothing detracts from Hoffman’s performance. It’s a rare actor who can enthrall an audience with tales of endless violence and the utter stupidity of war, but Hoffman does this, not with ease but with his belief in himself and the characters into whom he disappears. Hoffman drags us onto the blood stained beaches and before the battlements of ancient Troy and we are there, completely, as Achilles destroys Hector and the gods weave their petty plots. An acting lesson, indeed.

The set by Sean McClelland is a red stained multi-level rendering of the detritus of war, the battlefield and the battlement. It’s well done and effective but seems almost too large for the performance. It reaches far upstage and when Hoffman is up there he is far from the audience. Six inch risers rather than eight inch hinder the sight lines. This is not the fault of Outré but rather that of the theatre designers. So be warned, when you go to see An Iliad, and you most certainly should, go for the front few rows.

Hoffman is excellent from any seat in the house but if you’re close to him you can see the subtleties, the glint of an eye, the lapse of a lip, his true sense of being, that contribute so much to his performance.

Well and imaginatively directed by Skye Whitcomb, An Iliad is a piece that requires attention but offers myriad rewards. It’s a brave choice for a relatively new theatre, the artistic over the commercial, and it’s a choice to be applauded. Well done, Avi Hoffman and Outré Theatre.

The rest of the production team: sound designer Danny Butler, lighting designer Stefanie Howard and assistant director/stage manager Sabrina Lynn Gore.

‘The Wild Party’ review on Talkin Broadway

By John Lariviere

The Outre Theatre Company opens its inaugural season with the musical The Wild Party featuring book, lyrics, and music by Andrew Lippa. The musical is based on a narrative poem of the same name written by Joseph Moncure March in 1928. Like the poem, the musical tells the tale of two vaudeville performers named Queenie and Burrs who live a decadent life of indulgence. They decide to have one of their parties complete with the couple’s eclectic mix of eccentric and self-absorbed friends. Fueled by passion, regret, drugs and alcohol, the party unfolds into a night they will long remember.

Read more of John’s review for Talkin Broadway, here.



Upcoming Events!

Hey, folks!  Things are pretty busy over here, as we gear up for the upcoming staged reading of Rosencrantz and Guildenstern are Dead over at New Theatre on October 24!  First, this Tuesday, October 4, we’ll be headed up to Palm Beach to be interviewed by Jason Fisher on “Five Minutes to Curtain,” on W4CY Radio.  The show will be broadcast at 12 noon on Tuesday, and then rebroadcast again at noon on Friday, so listen in to hear us discuss the future of Outré, what it’s like to run a theatre company, and our upcoming shows!

Then, the very next day, we’ve been invited to participate in a Florida Press Club Luncheon, along with our friends over at Infinite Abyss, as well as Alliance Theatre Lab and a few other area theatres, where we’ll discuss small theatres in South Florida with members of the media.  It’s a great opportunity to get some exposure before Ros and Guil goes up, and we’re looking forward to sharing the podium with some very talented people.

Finally, of course, is Rosencrantz and Guildenstern are Dead itself!  We’re less than four weeks out, and we can’t tell you guys how excited we are!  We have an amazing cast, and we owe our undying love and gratitude to New Theatre for hosting us.  We’re only asking for an $8 contribution at the door, which will go towards helping us put on our very next staged reading, which will be Buried Child by Sam Shepard on December 12 at Broward Stage Door.

So a lot of things are going on!  As always, we thank all of you who are accompanying us on this wild ride – we couldn’t do it without you!  See you on the 24th!

Behind the Curtain, Part 1: The Staged Reading

As we approach Outré’s first foray into the public eye, the staged reading ofRosencrantz and Guildenstern are Dead to be performed at New Theatre on October 24, we thought we’d give you a little bit of insight into the process behind the production.   This will be the first in a series of intermittent blog posts in which we show you, our friends and colleagues, a little of the magic and madness that goes on before the lights go up.


Nori and Skye chose Rosencrantz and Guildenstern because of Stoppard’s humorous and incisive look at how we deal with the nature of reality.  The show fits our stated goals of bringing to life theatre that is thought-provoking and action-inducing.  Once we chose the script, it then had to be adapted to fit the nuances of a staged reading, as opposed to a full production.  Because we don’t have set or costumes for a staged reading, and because our props and blocking are minimal, we use a narrator to deliver the stage directions to the audience.  So we have to decide: what actions will the actors perform?  Which will be described by the narrator?  How do we convey the intent of the playwright, who wrote this to be fully performed?  What props are absolutely necessary?  What blocking should be kept, and what should be cut?


We’re lucky enough to know many, many talented South Florida actors, so when it came time to cast the show, we were able to call our friends and invite them to accompany us on this grand adventure of ours.  Unlike a full performance, there were no auditions for this production; instead, we asked people we knew, whose work we had seen and loved, to lend their talents to this project.  Once all nine actors had confirmed, Skye went to work on retyping the script, editing for the nuances of the staged reading and adding the narrator.  The script is now in the hands of the actors, who are looking it over, and discussing with Skye the meanings and intentions behind Stoppard’s beautifully hilarious scenes.


Our next steps now include getting the word out about the reading, which will also serve as a fundraiser for Outré, and preparing for our rehearsal time.  Look for upcoming mentions in the media about Outré and its productions, and if you’ve liked our page on Facebook or are following us on Twitter, look for the event invitation coming up very soon!  If you’d like to help us out, drop us an email, either through the blog or at info@outretheatrecompany.com.