THE MMAS BLACKBOX THEATRE IS PROUD TO PRESENT:
Directed by: Dori Bryan Ployer
Set Design: Ken Butler
PRELIMINARY AUDITIONS TO BE HELD AT 377 NORTH MAIN STREET
*Sunday, Sept. 24, 2017 4:00pm-7:00pm
Monday, Sept. 25, 2017 7:00pm-10:00pm
ACTORS ARE ASKED TO PREPARE: 1-2-minute monologue that demonstrates ability to portray the temperament of the characters as described below. A monologue that is written for a southern accent is recommended but not required. Either a monologue from Driving Miss Daisy or a play with similar characters is acceptable.
*Actors who are unable to attend the Sunday, Sept 24 preliminary auditions are invited to perform their monologues at 6:30, prior to the Callback, on Monday Sept. 25.
Callbacks will consist of readings from the script. Actors are served to be familiar with the material. At the callbacks actors will also be asked to participate in movement exercises designed to demonstrate age progression. Actors should dress comfortably.
Appointments are not necessary but interested actors are asked to forward a resume and headshot to production stage manager Stephanie Hayes at firstname.lastname@example.org. Type in the header DMD AUDITION REQUEST. In the body of the email advise if you will be able to attend the Sunday audition at 4:00, or the callback at 6:30. If you are not available during the scheduled hours, advise and alternative arrangements will be made.
PERFORMANCE SCHEDULE: Thursday-Sunday December 7-December 17. Thursday, Friday, Saturday 8:00pm Sunday 2:00pm.
REHEARSAL SCHEDULE: Flexible and based on the availability of the cast.
Set in mid-century Atlanta, Driving Miss Daisy tells the story of an elderly Jewish matron, Daisy Werthan, and her chauffeur, Hoke Coleburn. At first, Daisy is none too happy about being forced to rely on a black man to get from one place to the next. Gradually, however, Hoke wins her over, and during the 25-year span of the play, the two develop a deep-rooted affection. This Pulitzer-Prize winning masterpiece is a delicate depiction of racial tensions, the passage of time, and the experience of aging. Playwright Alfred Uhry creates two outsiders who come to a mutual respect grounded in each of their independence, strength, and stubborn integrity.
Hoke Coleburn 55-70 years old
Hoke is sixty years old when the play begins. He is an unemployed, uneducated African American. He has worked as a driver and delivery man previously. He is pleased when Boolie hires him, both for the job and because he likes to work for Jews. He is extremely patient with Daisy and tolerant of her barely disguised prejudices. He also is not afraid to speak up to her, always, however, in a quiet, respectful manner. When his dignity is at stake, he speaks up for his rights. His integrity
Daisy 65-75 years old
Daisy is a seventy-two-year-old widow living alone when the play opens. She is independent and stubborn, but her son Boolie insists on hiring a driver for her after she crashes her car while backing out of the garage. Daisy deeply resents Hoke and the implication that she is no longer able to control her own life. However, Hoke’s mild manner eventually wins her over, and she finally allows him to drive her to the market. He serves as her driver for the next twenty-five years. Through her friendship with Hoke, Daisy loses some of her deep-rooted prejudice against African Americans and even comes to consider herself a supporter of civil rights. Although she becomes unable to care for herself as she gets older, eventually moving to a nursing home, she never loses her determination or her sense of self. Some of the characteristics that identified her at the beginning of the play, such as her bossiness or her sense of humor, are with her as strongly at the end of the play.
Boolie Werthan 40-50 years old
Boolie is Daisy’s son. He is forty years old when the play begins. He has taken over his father’s printing company, and, over the course of the play, he develops into one of the city’s leading business figures. As the years’ pass, he becomes more conscious of how he will be perceived by society, and, consequently, does not want to attend the United Jewish Appeal banquet for Martin Luther King, Jr. Boolie takes good care of his mother, but he sometimes neglects her feelings. When her opinion disagrees with his, he generally overrides her without thinking about what she really wants or why she wants it. However, he humors his mother’s stubbornness rather than try to understand it.