|Edward Albee One Acts|
|Fee:||$175 due at audition.|
No refunds after start of auditions.
|Registration:||Aug 15–Sep 18|
|Auditions:||Mon & Mon September 25th 5–7 PM. Callbacks Oct 2nd.|
Mon & Wed, 5–8 PM starting October 11th at ACT/Trinity
Dress Rehearsals: Dec 11 & 13
2 PM Sat Dec 16|
7 PM Thu Dec 16
3 PM Sun Dec 17
Arlington Masonic Temple
Welcome to ACT's 2017 Fall production for teens featuring 3 one act plays written by influential contemporary playwright, Edward Albee.
Guides: Only one of the following paragraphs will be displayed at a time. Please make sure the information is accurate for each case.
regpreview: Registration for this production will be open from August 15th through September 18th.
regopened: Registration for this production is open now and will remain open through September 18th.
regclosed: Registration for this production is now closed. E-mail notifications will be sent after the lottery, and we will update this page at that time.
regclosed_mailed: Registration for this production is now closed and acceptance e-mails have been sent. If you have not received a notification, please contact the producers.
At the end of the registration period, acceptance into the production will be decided based on a lottery. Children of ACT Board members have a limited guarantee of acceptance into the production. All ACTors accepted into the production, including board children, must audition for casting. Specific roles are offered to ACTors at the sole discretion of the artistic staff.
Please note the rehearsal schedule for the show. You will not be required for every rehearsal, only for those where your character is called. You can look at the schedule links for this summer's productions to see how this works. Absences are strongly discouraged throughout the production, and attendance is mandatory from the beginning of dress rehearsals on, so please plan accordingly. All actors and at least one parent are also expected to attend the first meeting on Monday, September 11th, where we will share more details about the production and have sign-ups for volunteer committees.
All payments or payment arrangements must be secured before auditions. There are no refunds after the start of auditions. Although we often have a waitlist, bringing actors into the production after auditions presents numerous challenges for the staff and does not give the late arrivals a fair start to the production.
More details regarding the audition process will be posted after acceptances are mailed out.
As is now our standard policy, final casting decisions will not be made until after the first week of rehearsals. The staff will use this time to get to know the cast and explore the show.
Running into each other at the beach, Cordelia and Abigail do all they can to hide their dislike for one another, probably because their husbands, Daniel and Benjamin, aren't doing so well at hiding the fact that they themselves were once in love before ever deciding to marry Cordelia and Abigail instead. Gertrude and Henden (Daniel and Cordelia's parents by previous marriages) play witness to their step-childrens' passions which inevitably excite their own, despite their age. Gertrude acts upon her curiosity by investigating what she imagines to be a relationship between Edmee and Fergus, a mother and son whom she meets at the beach that day. Henden, in his own time, approaches the sixteen-year-old Fergus and finds himself answering the boy's discomforting questions about the nature of Daniel and Benjamin's past relationship. All together, these chance meetings and forays into frankness offer a kaleidoscopic view of passion which spans all the ages of man and woman and all the varieties of love we know.
Mommy and Daddy sit in a barren living room making small talk. Mommy, the domineering wife, is grappling with the thought of putting Grandma in a nursing home. Daddy, the long-suffering husband, could not care less. Grandma appears, lugging boxes of belongings, which she stacks by the door. Mommy and Daddy can't imagine what's in those boxes, but Grandma is well aware of Mommy's possible intentions. Mrs. Barker, the chairman of the women's club, arrives, not knowing why she is there. Is she there to take Grandma away? Apparently not. It all becomes evident when Grandma reveals to Mrs. Barker the story of the botched adoption of a "bumble of joy" twenty years ago by Mommy and Daddy. Mrs. Barker appears to have figured it out when Young Man enters. He's muscular, well-spoken, the answer to Mommy and Daddy's prayers: The American Dream. Grandma convinces him to assist in her master plan. She puts one over on everybody and escapes the absurdly realistic world which she finds so predictable.
Beginning with brightest day, the Young Man is performing calisthenics (which he continues to do until the very end of the play) near a sandbox at the beach. Mommy and Daddy have brought Grandma all the way out from the city and place her in the sandbox. As Mommy and Daddy wait nearby in some chairs, the Musician plays off and on, according to what the other characters instruct him to do.
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Last updated: Mon Nov 13 2017 12:45 EST