This will be our fall blackbox production running October 3-5 & 10-12, 2025
Oliver Adams is on the brink of a major success. His novel The Angel Next Door is set to be published, and famed Broadway playwrights Charlotte and Arthur Sanders have already adapted his book for what is sure to be a huge stage hit. And who do they have their eye on as the leading lady? Margot Bell, of course, the very person Oliver adores and about whom he has written his novel (though he hasn’t told her yet). When they all converge for a weekend in Newport, Rhode Island, the thin walls of the well appointed mansion reveal that the angel may not be angelic, and only the power of theatre can save the play, Oliver’s novel, and perhaps most importantly, his heart.
Casting Call
Ages can be adjusted slightly either up or down depending on the ages of those who audition.
CHARLOTTE SANDERS, a successful Broadway playwright. Quick-witted, resourceful, optimistic, the engine of the play. Female fifties to early seventies
OLIVER ADAMS, a young novelist. Naive, sincere; a romantic with both the brilliant mind and unwary heart of a poet. Male, early to mid-twenties
ARTHUR SANDERS, Charlotte's husband and co-playwright. A pessimist to her optimist who delights in being her foil; a skilled writer of quips, both on the page and in life. Male, fifties to early seventies.
OLGA, the housekeeper. A nebulous Eastern European accent from the Old Country; a proudly uncaring, unhelpful servant; intimidating if not frightening. Female, forties to seventies
MARGOT BELL, a Broadway singer and actress. Easily cast as the sweet and beautiful ingenue, but realizing she's wiser and stronger than the characters she plays. Female, mid-twenties to early thirties.
VICTOR PRATT, a Broadway leading man--and an idiot. Impressively self-involved; the handsomest, sexiest, manliest man on Broadway according to him; always a beat behind. Male, mid-thirties to forties.
Audition Information
Auditions will be cold readings from the script and will be read with other auditioning actors. If possible, it would be helpful if actors could be present for the full two hours of the audition period. Attendance at both of the first two nights of auditions - while not necessary - would be helpful so as to allow the director to see as many possible actor/character combinations as possible. The third night of auditions will be reserved for callbacks if necessary. Accommodations can be made for anyone who is unable to be present at the scheduled audition times.
