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Korda Artistic Productions’ is holding auditions for the company’s 2019 production of MOTHER COURAGE AND HER CHILDREN.

Auditions will take place Wednesday, January 16 and Thursday, January 17 at 7:30 PM each night, at The KordaZone Theatre, 2520 Seminole Street. Those interested in auditioning are not required to book a time, but are asked to arrive promptly at 7:30 PM and to be prepared to stay for at least one hour. Auditions will be cold reads from the script, with sides provided onsite.

The production was written by Bertolt Brecht, translated by Tony Kushner, directed by Tracey B. Atin and co-directed by Tova Perlmutter.

Brecht’s greatest work and a powerful indictment of war and social injustice, MOTHER COURAGE AND HER CHILDREN is a drama set in the 17th century during the Thirty Years’ War. The plot follows the resilient Mother Courage who survives by running a commissary business that profits from all sides. The play’s theme is that no one can profit from war without being subject to its terrible cost.

This is a play with music, and Korda’s production will feature an original score and a live band. The characters Eilif, Swiss Cheese, Yvette, the Chaplain and the Cook and some of the soldiers sing, so if you are auditioning for these parts you will be asked to sing “Oh Canada” at the audition. All parts are available except the role of Mother Courage. Some actors will play more than one role.

Rehearsals will take place Wednesday and Thursday evenings, and either in the afternoon or evening on Sundays, February through May. We can cast performers who are available regularly for at least two of these three rehearsal dates (an occasional conflict is ok); please do not audition if you cannot work with this schedule.

Performance dates have been changed from Korda’s original Press Release! Performances will now be May 17-19, 23-25, 30-31 and June 1, 2019.

The play’s events take place over twelve years (sometimes with a gap of several years between consecutive scenes). Ages listed below reflect the length of time covered by each character.

Available roles include:

  • MOTHER COURAGE has been cast (Tracey B. Atin)
  • KATTRIN, Mother Courage’s daughter. Female, late teens – late twenties. Mute; performers with dance or other experience silently conveying character are especially encouraged. Has been through trauma; has strong feelings and concern for others.
  • EILIF, Mother Courage’s older son. Male, late teens – mid-twenties. Brash, aggressive, full of energy.
  • SWISS CHEESE, Mother Courage’s younger son. Male, late teens – early twenties. Simple, honest, not too bright.
  • THE COOK, a charming and cynical man who always has his eye on the main chance. Males, mid-thirties to late forties.
  • THE CHAPLAIN, a hypocrite who represents Brecht’s view of religion as exploitative. Nevertheless, seeks and maintains human connection. Male, mid-thirties to late forties.
  • YVETTE, a woman who gets by through selling sex to soldiers. Pragmatic, attractive, cooperates with Mother Courage when she can. Female, mid-thirties to late forties.
  • OLD COLONEL, an officer who is besotted with Yvette and wants to buy a business for her. Male, fifties or older.

Ages designated for Cook, Chaplain and Yvette may be flexible for the right combination of actors.

The ensemble consists of multiple speaking parts for peasants, soldiers and officers. We will cast seven or eight people to play 14-16 roles. Seeking at least two women, five men; age range from 20-70. The play’s power comes from the vignettes of the named characters against an epic canvas of war, poverty and ordinary people’s practical hopes and fears. Members of the ensemble will be on stage for most or all of the play, creating a sense of the tapestry of human life and need.

The directors are eager to cast a diverse group of performers by race, age, ethnicity and other characteristics. As such, genders above are for convenience and reflect how the play’s characters are written. The directors are open to considering actors who may not identify with the gender labeled.

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