|Auditions Tuesday December 16th, 6pm - 10pm|
Dead Mans Cell Phone
March 13th – April 19th
Friday & Saturday at 8pm, Sundays at 2pm
By Sarah Ruhl
Directed by Brian Johnson
An incessantly ringing cell phone in a quiet café. A stranger at the next table who has had enough. And a dead man—with a lot of loose ends. So begins Dead Man's Cell Phone, a wildly imaginative new comedy by MacArthur "Genius" Grant recipient and Pulitzer Prize finalist, Sarah Ruhl, author of The Clean House and Eurydice. A work about how we memorialize the dead—and how that remembering changes us—it is the odyssey of a woman forced to confront her own assumptions about morality, redemption, and the need to connect in a technologically obsessed world.
Jean – 20s to 30s. Pretty in a quiet way. Awkward, nervous, but longs to connect with people. Good-hearted, imaginative and knows how to spin a tale when needed. Becomes more self-assured as the play progresses.
Gordon – 30s to early 40s. Dead. Mysterious. People love him even though they don’t know quite why. Knows what he wants and expects to get it. Has a wonderful (and lengthy) monologue at beginning of Act II.
Mrs. Gottlieb – 50s to 70s. Gordon’s mother. Holds herself in high esteem. Can be brash, cruel, outspoken. Can also be exceedingly well mannered. A bit overly dramatic at times.
Hermia – 30s to 40s. Gordon’s widow. A former star of the Ice Follies. Uptight, nervous, straight-laced—until she has a few drinks in her. Lonely.
Dwight – 30s to 40s. Gordon’s brother. Works in a stationery store. Hiding in the shadows of his older brother. Quiet, passionate, sensitive, caring. Knows how to listen.
The Other Woman – 20s to 40s. Mysterious, dominating, vain, direct, and sophisticated. A true femme fatale straight out of a B movie. Requires two different accents: one an unidentifiable worldly accent and the other optimally an Eastern European accent.