Please be prepared to read from sides at the audition. Sides will be available for review at www.stagesoc.org prior to the audition.
Casting all roles:
KATHA- Caucasian female mid to late 30s.
Married to Ryu. Katha is worn down by the stress of her job, the city, and lack of sleep. She is looking for a change and wants to be happy, especially after suffering through a miscarriage. She finds hope in reconnecting to her husband and role in life in the 1950s community.
RYU- Japanese-American male mid to late 30.
Married to Katha. Ryu is a plastic surgeon, who is supportive of Katha. He is concerned about her and wants to feel connected again. He is a bit of a skeptic, but supports Katha in wanting to live in the 1950s community.
DEAN- Caucasian male late 30s.
Leader of the 1950s community, charismatic, fit, charming, and married to Ellen. He is torn between his true self and how he appears to others. Must be comfortable with kissing another man.
ELLEN- Caucasian female late 30s, also plays JENNA.
The head of the 1955 Authenticity Committee. She helps her husband Dean run the 1950s community. She is strong and comedic, with a deep emotion hiding underneath her 1950s demeanor.
JENNA is Katha’s co-worker who is bored with her position. She is a nosy body and follows Omar’s lead.
ROGER- Caucasian male mid to late 30s, also plays OMAR.
Roger is a manager at a factory, blue-collar-type, fit, with a bit of a dark side. Must be comfortable with kissing another man.
OMAR is Katha’s snarky gay co-worker (not over the top). He is ambitious.
About our Director, Sarah Ripper:
Sarah Ripper is excited to be a part of STAGEStheatre! She earned her MFA in Directing at California State University Fullerton, a MA in Educational Theatre from NYU, and received a BFA in Musical Theatre from Sam Houston State University. In 2008-2009 she traveled all over Asia in Broadway Asia’s production of Cinderella, starring Tony Award Winner, Lea Salonga. After appearing in the Off-Broadway show, Looking For Billy Haines, she became a proud member of Actors Equity Association. Sarah recently taught at Orange County School of the Arts as the senior class Musical Theatre Acting instructor. She has assisted Jessica Kubzansky at Pasadena Playhouse and Mark Ramont at Ford’s Theatre in Washington D.C. She recently directed Bye Bye Birdie at Camino Real Playhouse as well as co-directed and choreographed Godspell with Craig Tyrl at The Wayward Artist in Santa Ana, where she serves as the Associate Artistic Director. Other directing credits include: Cry-Baby: The Musical, The Drowsy Chaperone, The Merry Wives of Windsor, Dancing at Lughnasa, and Really Really.
Director’s Statement on Maple and Vine:
With the instant gratification of Google and finding an answer at the swipe of a finger, it can be difficult to slow down and appreciate the simpler things in life. In this fast-paced world, I often remind myself to unplug and be present with those around me; to look up and connect with human beings in the flesh. There are so many distractions that I both welcome and loath. Do the modern conveniences of today, and the constant need to be plugged in really mean we are connecting? Do our online profiles reflect our authentic self?
Have you ever daydreamed about living in the past? During a time where social media and modern technology didn’t exist? Do you think you would have less stress in your life? Would you be happier? I’ve always had a fascination with the 1950s and have pondered what life would be like during that time. How would I adapt to that time period, especially after knowing our modern technology and societal norms? Would I be able to mesh well with my new community based on my gender and race? Would the dynamics of my relationships and social interactions change?
Jordan Harrison’s Maple and Vine tells the story of modern day couples in search for authenticity and connection. As the play explores what it would be like to live today in a community set in the 1950s, the characters experience the highs and lows of being “authentic”. Through their journey, we see how the pursuit of connection may come with a price. Will the rules and structure of roles played in the home and workplace be easy to follow? What are they willing to sacrifice in order to be happy?
I am excited to work with Stages on this production, and hope to inspire you all to seek authenticity, connection, and happiness.