Summit Performance Indianapolis is currently accepting auditions for an outdoor, staged reading of
THE CONVENT by Jessica Dickey
We are casting both equity and non-equity actors. All positions paid.
For consideration, self-tape must be received by 11:59pm June 1, 2021.
Callbacks will be conducted virtually (subject to change depending on AEA Covid-19 guidelines).
*See Character Descriptions below
First rehearsal: August 9th
Performances: August 13th - 15th
Director: Kelsey Leigh Miller
Lauren Briggeman - Artistic Director
Kelsey Leigh Miller - Director
Prepare a one-minute, contemporary monologue
Include a slate
Keep video no longer than 90 seconds total
Upload your audition video to YouTube
Send in the link (you can set the video to “private” so that only those with the direct link can view)
Link to your video audition
Role(s) for which you would like to be considered
JILL (female-identifying, early-mid 30s, any race/ethnicity)
Open, naïve, in crisis in her marriage. Smart, but has trouble with consequences. A sudden, intense sexual attraction to Patti. In the midst of a massive cracking open of her life and her self. On the verge of major change and deeply conflicted.
MOTHER ABBESS (female-identifying, late 50s, any race/ethnicity)
Wise, truth-telling, powerful and can definitely cut a bitch, runs the convent as her spiritual platform to raise women’s sense of intrinsic divinity. Has her own darkness to carry.
PATTI (female-identifying, 30, any race/ethnicity)
Sexy, dark, damaged, charismatic, truth-telling, manipulative, but also searching for the light and meaning. Deserves to be saved. A propensity for cutting. And Mother Abbess’ daughter.
WILMA (female-identifying, 60, any race/ethnicity)
A nun. Frank, earthy, very self-possessed. Not what you’d expect. Very present, authentic. A juxtaposition to all the neurosis and drama around her. Possesses the wisdom that comes from a lot of time alone and silence. Came to the convent because she has lost God.
DIMLIN (female-identifying, late 40s - early 50s, any race/ethnicity)
From a wealthy British family, but in a way that it makes her orphaned, lives off her trust fund. Deeply codependent with Bertie, in love with her but has no concept that women can be together. Or cannot bear the idea of how that might affect her life. Appears perhaps stuffy, even nosey and prudish, but really is just sheltered.
BERTIE (female-identifying, 30s, any race/ethnicity)
Younger than Dimlin, sillier, more flirtatious, truly an innocent. Raised in a compound. Has nothing of her own. Throughout the play uncovers her own longing to know love, to know sex, to know more of the world.
TINA (female-identifying, 20s, any race/ethnicity)
Raised in southern California, lost, stoner, psoriasis. Slightly immature, has come to the Convent out of a fetish for Renaissance Fairs. A deep longing for her dead mother and to find her place in the world.