Whakaaturanga Kōwhiri/Auditions.
Development workshop proudly presented by Te Manu Tioriori Trust Inc (TMTT).
Development workshop to be held online in 2022.
Favoured Nations fee structure: ($2000 for 10 day workshop + 1 performance) plus $400 recording buy-out.
Meet the Team
ISAAC SHATFORD
Kaitito Whakaari
Book, Music & Lyrics
HAYDEN TEE
Kaitohu
Director
RICHARD MARRETT
Ringatohu Puoro
Musical Director
CHRISTINE WHITE
Foley Artist
ALLISON HORSLEY
Dramaturg
SAMUEL PARRY
Stage Manager
The development workshop is set to be a thorough and vigorous exploration of the script and score, to workshop further development of RUTH and to test the use of the foley artist soundscape concept on stage.
RUTH is a musical about a whānau in Aotearoa during Covid 19 lockdown in 2020.
When Peter, Gabe and Toni return home with Toni’s fiance Darla for a short trip to support their mother Ruth, the beginning of the pandemic forces this previously distant family together. In lockdown under one roof, tensions rise as old conflicts reopen and the children come face to face with their mother’s deteriorating mental state. Exploring homophobia, racism (particularly due to the pandemic), dementia, mortality and grief, RUTH is a funny and deeply felt exploration of what it is to be whānau.
We're Seeking...
RUTH DOUGLAS
Late-60’s. Quirky, energetic, and incredibly sure of herself. A devout Christian, and devoted wife.
Female, any race/ethnicity, disabled or non-disabled.
(mezzo-sop): G3 - C (head-voice)
PETER DOUGLAS
Mid-30’s. Ruth’s eldest son. Charismatic, but often bossy and hot-headed.
Male-identifying, any race/ethnicity, disabled or non-disabled. (tenor): C3 - G4
TONI DOUGLAS
Early-30’s. Ruth’s only daughter. Wise, calculated, yet intensely self-doubting. Engaged to Darla.
Female-identifying, any race/ethnicity, disabled or non-disabled. (belter): A3 - D5(belted) Eb5 (head-voice). Possible belted Eb.
GABE DOUGLAS
Late-20’s. Ruth’s youngest son. Unemployed, recovering from alcoholism. Brazen and witty.
Male-identifying, any race/ethnicity, disabled or non-disabled. (tenor): Bb2 - G#4
DARLA REN
Late 20’s. A natural people-pleaser and conflict-avoider. Often suspected of holding back how she truly feels. Gabe's Ex, now Toni's fiance.
Female-identifying, Chinese descent, disabled or non-disabled. G#3 - C# (belt) Eb5 (head-voice)
T.J. and WALT DOUGLAS (same actor)
T.J - A plumber.
WALT - Early 70’s. RUTH’s loving husband. A passionate geologist often travelling the country with work.
Male-identifying, any race/ethnicity, disabled or non-disabled. (baritone): B2 - E4
If you would not like your self tape archived for future consideration please let TMTT know with your submission.
TMTT exists to support and encourage the development and commissioning of original Aotearoa New Zealand musical theatre. We want to find Kiwi stories and pair them with creators, guiding them through the development process and introducing creatives at the appropriate time in each project’s development, whilst pursuing new, innovative and creative ways of further developing the art form. TMTT has a board of five trustees who are all passionate and committed kiwi musical theatre professionals.
TMTT believes the arts is an equal opportunity environment and that we work towards a common goal as a team. We also believe artists should be fairly remunerated for their skill, talent and commitment. For these reasons, for this project’s developmental stages we will be contracting all parties; creator, creatives, cast, technical and administrative on a favoured nations system, every person will receive exactly the same fee. After consultation with Equity NZ and in accordance with Creative New Zealand each will receive a total of $2000 for the 2 week period up to a maximum of 30 hours per week.
TMTT puts diversity, equity, and inclusion at the forefront of all productions. TMTT is committed to the practice of colour, gender identity and disability conscious casting. We recognise that considerations of race, identity and disability including how this shapes society and the stories we tell, are vital components to the casting process. Also critical to the casting process are audience perceptions of race, identity and disability on stage. We strive to craft performances in ways that respect, care for, and honour individuals, cultures, identities and communities.
