Auditions and Rehearsals

Synopsis
Described by Edward Albee as “the greatest American play ever written,” Our Town follows the Webb and Gibbs families as their children fall in love, marry and eventually – in one of the most famous scenes in American theatre – die. Narrated by a stage manager and performed with minimal props and sets, Our Town depicts the small town of Grover’s Corners, New Hampshire, through three acts: “Daily Life,” “Love and Marriage” and “Death and Eternity.”

In the next step for a play that Wilder conceived from the beginning as a play about everywhere, Our Town is published here for the first time in three languages—English, Spanish and Creole. Infused with layers of culture and community, this new Acting Edition celebrates Grover’s Corners as an international address.

Character Descriptions

Stage Manager
The host of the play and the dramatic equivalent of an omniscient narrator. The Stage Manager exercises control over the action of the play, cueing the other characters, interrupting their scenes with his own interjections, and informing the audience of events and objects that we cannot see. Although referred to only as Stage Manager and not by a name, he occasionally assumes other roles, such as an old woman, a druggist, and a minister. Interacting with both the world of the audience and the world of the play’s characters, he occupies a godlike position of authority.

George Gibbs
Dr. and Mrs. Gibbs’s son. A decent, upstanding young man, George is a high school baseball star who plans to attend the State Agricultural School after high school. His courtship of Emily Webb and eventual marriage to her is central to the play’s limited narrative action. Wilder uses George and Emily’s relationship to ponder the questions of love and marriage in general.

Emily Webb
Mr. and Mrs. Webb’s daughter and Wally’s older sister. Emily is George’s schoolmate and next-door neighbor, then his fiancée, and later his wife. She is an excellent student and a conscientious daughter. After dying in childbirth, Emily joins the group of dead souls in the local cemetery and attempts to return to the world of the living. Her realization that human life is precious because it is fleeting is perhaps the central message of the play.

Dr. Gibbs
George’s father and the town doctor. Dr. Gibbs is also a Civil War expert. His delivery of twins just before the play opens establishes the themes of birth, life, and daily activity. He and his family are neighbors to the Webbs.

Mrs. Gibbs
George’s mother and Dr. Gibbs’s wife. Mrs. Gibbs’s desire to visit Paris—a wish that is never fulfilled—suggests the importance of seizing the opportunities life presents, rather than waiting for things to happen. At the same time, Mrs. Gibbs’s wish for the luxurious trip ultimately proves unnecessary in her quest to appreciate life.

Mr. Webb
Emily’s father and the publisher and editor of the Grover’s Corners Sentinel. Mr. Webb’s report to the audience in Act I is both informative and interactive, as his question-and-answer session draws the audience physically into the action of the play.

Mrs. Webb
Emily’s mother and Mr. Webb’s wife. At first a no-nonsense woman who does not cry on the morning of her daughter’s marriage, Mrs. Webb later shows her innocent and caring nature, worrying during the wedding that she has not taught her daughter enough about marriage.

Mrs. Soames
A gossipy woman who sings in the choir along with Mrs. Webb and Mrs. Gibbs. Mrs. Soames appears in the group of dead souls in Act III. One of the few townspeople we meet outside of the Webb and Gibbs families, Mrs. Soames offers a sense of the interrelated nature of the lives of the citizens of Grover’s Corners.

Simon Stimson
The choirmaster, whose alcoholism and undisclosed “troubles” have been the subject of gossip in Grover’s Corners for quite some time. Wilder uses Mr. Stimson’s misfortunes to explore the limitations of small town life. Mr. Stimson appears in the group of dead souls in Act III, having committed suicide by hanging himself in his attic. He is perhaps most notable for his short speech in Act III, when he says that human existence is nothing but “[i]gnorance and blindness.”

Rebecca Gibbs
George’s younger sister. Rebecca’s role is minor, but she does have one very significant scene with her brother. Her remarks in Act I—about the location of Grover’s Corners in the universe—articulate an important theme in the play: if the town is a microcosm, representative of the broader human community and the shared human experience, then this human experience of Grover’s Corners lies at the center of a grand structure and is therefore eternal.

Wally Webb
Emily’s younger brother. Wally is a minor figure, but he turns up in Act III among the group of dead souls. Wally dies young, the result of a burst appendix on a Boy Scout trip. His untimely death underscores the brief and fleeting nature of life.

Howie Newsome
The local milkman. Howie’s reappearance during every morning scene—once each in Acts I, II, and III—highlights the continuity of life in Grover’s Corners and in the general human experience.

Joe Crowell, Jr.
The paperboy. Joe’s routine of delivering papers to the same people each morning emphasizes the sameness of daily life in Grover’s Corners. We see this sameness continue when Joe’s younger brother, Si, takes over the route for him. Despite this sameness, however, each of the conversations Joe has while on his route is unique, suggesting that while his activities are monotonous, daily life is not.

Si Crowell
Joe’s younger brother, also a paperboy. Si’s assumption of his brother’s former job contributes to the sense of constancy that characterizes Grover’s Corners throughout the play.

Professor Willard
A professor at the State University who gives the audience a report on Grover’s Corners. Professor Willard appears once and then disappears. His role in the play is to interact with the audience and to inform theatergoers of the specifics of life in Grover’s Corners. His reference to Native Americans reflects Wilder’s understanding that the European ancestors of the current population in Grover’s Corners replaced and extinguished the existing Native American populations.

Constable Warren
A local policeman. Constable Warren keeps a watchful eye over the community. His personal knowledge of and favor with the town’s citizens bespeaks the close-knit nature of the town.

Sam Craig
Emily Webb’s cousin, who has left Grover’s Corners to travel west, but returns for her funeral in Act III. Though originally from the town, Sam has the air of an outsider. His unawareness of the events that have occurred in Grover’s Corners during his absence parallels the audience’s own unawareness.

Joe Stoddard
The town undertaker. Joe prepares Emily’s grave and remarks on how sad it is to bury young people. This statement emphasizes a theme that grows ever more apparent throughout the play and receives its most explicit discussion in Act III: the transience of human life.

CALLBACKS – OUR TOWN

Hello everyone, 

Thanks for amazing audition session. Once again, the talent at Moorpark College continues to amaze us! 

We will be casting the following roles.  The roles labeled (SP) will be speaking Spanish to some degree throughout the show:

-              Stage Manager, George and Emily (SP) who will be double cast 
-              Mr. Gibbs & Mrs. Gibbs, Mr. Webb (SP) & Mrs. Webb (SP)
-               Supporting Townsfolk:

• Rebecca Gibbs: George's younger sister.
• Wally Webb (SP): Emily's younger brother.
• Simon Stimson: The troubled local church choir director.
• Howie Newsom (SP) : The local milkman.
• Constable Warren: The town police officer.
• Professor Willard: A teacher who gives facts about the town.
• Joe Stoddard: The town undertaker.
• Mrs. Soames: A local town gossip and choir member.
• Sam Craig (SP) : Emily's cousin who returns to town for her funeral.

-              8 – Ensemble roles to play the choir and play various roles throughout the play

Everyone that auditioned is welcome to attend the callbacks beginning at 6:00pm with EVERYONE learning a short passage of a hymn and performing that in small groups.  That should take until 7:30pm.  At this point, we will start reading for the other roles. All are welcome to stay to watch the remainder of auditions, but time will be limited with this many roles to cast. We will be having reading for principal roles sometime around 7:30pm.  If you are only called back for one role, this doesn’t mean you will not be considered for other roles.  Time is limited and we will read as many people as possible.

For the roles that have sides already posted online, please chose ONE side that you would like to read for Callbacks and, time willing, you may be asked to read more throughout the night. I hope to post sides for Constable Warren in the morning so be on the look out for those after 9:00am. 

Having a STRONG ENSEMBLE is critical to the success of this amazing play.  We need strong and committed actors in EVERY ROLE.  “Our Town” is the kind of show that you will want on your resume. To be part of this cast in ANY capacity will be a tremendous learning and growth experience.  I will assume that you will take any role in which you are cast, unless you tell us otherwise. 

IMPORTANT NOTE: The role of Stimson deals with potentially triggering mental health issues.  It is a key role, but will require emotional intensity that may not be for everyone.  If there is anyone that does NOT want to be considered for this role, please let one of the ADs know before you leave the Callbacks. 

Finally, we need assistance on ALL crews for this production!  If you are interested in any of these crews, please contact Ariana Burrell ariana_burrell1@vcccd.edu , Melissa Lay mlay@vcccd.edu or Orly Ruiz oruiz@vcccd.edu for more information.  Thank you all for your patience, talent, and interest in this show. 

See you tomorrow, 

John, Lauren, Josh and Addy

These Sides Will Be Used For Preliminary Auditions.  

There Will Additional Sides Provided At Callback Auditions.

OUR TOWN SIDES 1

Our Town by Thornton Wilder

No curtain. No scenery.

The audience, arriving, sees an empty stage in half-light. Presently the Stage

Manager. When the Stage Manager reaches his place, the lights come to black.

After one count, the lights come to full.

Stage Manager

This play is called "Our Town." The day is May 7, 1901. The time is just before dawn.

(A rooster crows.)

The sky is beginning to show some streaks of light over in the East there, behind our mount'in. Well, I'd better show you how our town lies. Up here is Main Street. Way back there is the railway station. Polish Town's across the tracks.  Over there is the Congregational Church; across the street's the Presbyterian. Methodist and Unitarian are over there. Baptist is down in the holla' by the river. Catholic Church is over  beyond the tracks. Here's the Town Hall and Post Office combined; jail's in the basement. Here's the grocery store and here's Mr. Morgan's drugstore. Most everybody in town manages to look into those two stores once a day. Public School's over yonder. High School's still farther over. Quarter of nine  mornings, noontimes, and three o'clock afternoons, the hull town can hear the yelling and screaming from those schoolyards. This is our doctor's house, Doc Gibbs'. This is the back door. This is Mrs. Gibbs' garden. Corn…peas...beans...hollyhocks…heliotrope… and a lot of burdock. And this is Mrs. Webb's garden. Just like Mrs. Gibbs'. Only it's got a lot of sunflowers, too. Nice town, y'know what I mean? Nobody very remarkable ever come out of it, s'far as we know. The earliest tombstones in the cemetery up there on the mountain say 1670-1680. 

There are Grovers and Cartwrights` and Gibbses and Herseys;  same names as are around here now.

Well, as I said; it's about dawn.

George and Emily #1

 

George Gibbs enters.

George

Hello, Emily.

Emily

H'lo.

George

You made a fine speech in class.

Emily

Well... I was really ready to make a speech about the Monroe Doctrine, but at the last minute Miss Corcoran made me talk about the Louisiana Purchase instead. I worked an awful long time on both of them.

George

Gee, it's funny, Emily. From my window up there I can just see your head nights when you're doing your homework over in your room.

Emily

Why, can you?

George

You certainly do stick to it, Emily. I don't see how you can sit still that long. I guess you like school.

Emily

Well, I always feel it's something you have to go through.

George

Yeah.

Emily

I don't mind it really. It passes the time.

George

Yeah. Emily, what do you think? We might work out a kinda telegraph from your window to mine; and once in a while you could give me a kinda hint or two about one of those algebra problems. I don't mean the answers, Emily, of course not . . . just some little hint...

Emily

Oh, I think hints are allowed. So…ah…f you get stuck George…you whistle to me and I'll give you some hints.

George

Emily, you're just naturally bright, I guess.

Emily

I figure that it's just the way a person's born.

George

Yeah. But, you see, I want to be a farmer, and my Uncle Luke says whenever I'm ready I can come over and work on his farm and if I'm any good I can just gradually have it.

Emily

You mean the house and everything?

Mrs. Webb enters.

George

Yeah. Well, thanks. I better be getting out to the baseball field. Thanks for the talk, Emily. Good afternoon, Mrs. Webb.

George and Emily #2

 

George

Hssst! Emily!

Emily

Hello.

George

Hello!

Emily

I can't work at all. The moonlight's so terrible.

George

Emily, did you get the third problem?

Emily

Which?

George

The third?

Emily

Why, yes, George. That's the easiest of them all.

George

I don't see it. Emily, can you give me a hint?

Emily

I'll tell you one thing…the answer's in yards.

George

In yards? How do you mean?

Emily

In square yards.

George

Oh…in square yards.

Emily

Yes, George, don't you see?

George

Yeah.

Emily

In square yards of wallpaper.

George

Wallpaper. Oh, I see. Thanks a lot, Emily.

Emily

You're welcome. My, isn't the moonlight terrible? And choir practice going on. I

think if you hold your breath you can hear the train all the way to Contoocook.

Hear it?

George

M-m-m…what do you know!

Emily

Well, I guess I better go back and try to work.

George

Good night, Emily. And thanks.

Emily

Good night, George.

George and Emily #3

 

George, enters.

George

Can I carry your books home for you, Emily?

Emily (Coolly)

Why . . . uh . . . Thank you. It isn't far.

Silence

George

I'm awfully glad you were elected, too, Emily.

Emily

Thank you.

George

Emily, why are you mad at me?

Emily

I'm not mad at you.

George

You've been treating me so funny lately.

Emily

Well, since you ask me, I might as well say it right out, George, I don't like the whole change that's come over you in the last year. I'm sorry if that hurts your feelings, but I've got to—tell the truth and shame the devil.

George

A change? Wha…what do you mean?

Emily

Well, up to a year ago I used to like you a lot. And I used to watch you as you did  everything… because we'd been friends so long…and then you began spending all your time at baseball…and you never stopped to speak to anybody any more. Not even to your own family you didn't… and, George, it's a fact… you've got awful conceited and stuck-up, and all the girls say so. They may not say so to your face, but that's what they say about you behind your back, and it hurts me to hear them say it; but I've got to agree with them a little. I'm sorry if it hurts your feelings…but I can't be sorry I said it.

George

I…I'm glad you said it, Emily. I never thought that such a thing was happening to me. I guess it's hard for a fella not to have faults creep into his character.

Emily

I always expect a man to be perfect and I think he should be.

George

Oh, I don't think it's possible to be perfect, Emily.

Emily

Well, my father is, and as far as I can see, your father is. There's no reason on earth why you shouldn't be, too.

George

Well, I feel it's the other way round. That men aren't naturally good; but girls are.

Emily

Well, you might as well know right now that I'm not perfect. It's not as easy for a girl to be perfect as a man, because we girls are more…more…nervous. Now I'm sorry I said all that about you. I don't know what made me say it.

George

Emily…

Emily

Now I can see it's not the truth at all. And I suddenly feel that it isn't important, anyway.

George

Emily…would you like an ice-cream soda, or something, before you go home?

Emily

Well, thank you…I would.

• Auditions will be the 8/17, 8/18, 8/19

• The main audition days are the first two days of auditions with callbacks on the last day of auditions.

• If you are unable to make the first two days of auditions, feel free to come the last day of auditions.

• If you can't make any of the audition days but would still like to be considered, please pick a side and email a self-tape to sfagan@vcccd.edu.

• Sides (a small section of the script actors are given before an audition for either a play, film or television show) will be posted on this website closer to the dates of auditions.

• Pick a side or two that interests you and bring it to the auditions.

• There will be a sign in sheet at the auditions.

• You do not have to stay for the whole duration of the audition time but you are free to stay and watch.

• You do not have to come right when the audition starts.

• If cast, you will enroll in the production class that is 3 units.

• The show runs from Wednesday December 2nd-Saturday December 5th.

• Rehearsals will begin Monday, August 24th

• Rehearsals will be MTWTH 3:30-5:45

• If you are a supporting character, you will not be called to all of those rehearsals but you are free to stay and watch

To Lay Me Down by Noah Cohen

Director: Noah Cohen

Assistant Director: Caitlyn Flores

More than 30 years ago, Jim Obergefell and John Arthur fell in love. When John developed ALS, Jim began the fight to have their partnership legally recognized before his husband’s inevitable end. To Lay Me Down chronicles how one man, against overwhelming odds, fulfilled a promise to his dying husband and helped bring about the most important gay rights case in U.S. history. 

Character Breakdown

Jim Obergefell: “The type of guy to wear a sweater vest to the club.” Jim graduated from Sandusky High School in 1984 and went on to attend the University of Cincinnati, where he earned a degree in secondary education and German. He attended graduate school at Bowling Green State University. Out of college, he was a high school German teacher. In his mid-twenties, Obergefell came out, first to his eldest sister. His mother's death preceded his coming out, but the rest of his family were largely "unsurprised and unperturbed”. While his father was not always supportive, Obergefell found a strong relationship with his aunt Paulette. 

What I’m looking for: 

• Someone sensitive and empathetic 
• Nervous and unsure at first, later becomes emboldened by the desire to improve circumstances he’s in for, not only his husband, but the lives of same-sex couples around the country. 
• Initially insecure about his feelings. By the end he is strong willed and independent. 
• Chemistry between him and John should be clear from the start, and John brings out the fun-loving and positive side of Jim’s personality. 
• Throughout the show, he holds back his tears despite everything he goes through. Until the end. He lets the weight of it all hit him at the end, staring at the empty bed his husband had spent his final, agonizing days in. We should feel that alongside him. 
• Loves dance music, absolutely cannot dance to save his life lol. 

John Arthur: “A hit of pain behind the smirk.” It was always clear that John was gay. John had a turbulent childhood that had given way to an unsteady life and a string of dead-end jobs and late nights dressed in black at Cincinnati’s gay bars. Jim and John met in one of these bars, and John briefly introduced himself to Jim, before turning away to challenge the woman next to Jim to a drinking contest. He was charming, well-spoken, and when he laughed, Jim felt the world around him slip away. He was diagnosed with ALS in 2011 and passed away in October 2013. 

What I’m looking for: 

• Someone who immediately attracts the eye with just their presence. 
• Positive attitude despite it all. 
• Feels a deep sense of pain and fear about his life and situation but never shows it outwardly. 
• The two men were together for two decades before John’s ALS developed fully. I want to see an arc of their relationship in the short time they’re together. 
• Hates how his disease has affected his husband and feels like a burden to him. The mental back and forth of needing so much help and feeling helpless wearing him down but keeping that positive energy til the end. And he LOVES to dance. :D 

Sides

Big Iron by Finn Schwartz

Director: Finn Schwartz

Assistant Director: Evelyn Adams

In the small western town of Agua Fria lives its citizens, there also lives a reckless outlaw whose evil shadow looms over the poor town. Until one day a stranger shows up to take care of business with the big iron on his hip.

Character Breakdown

The Stranger: An Arizona Ranger. Menacing, focused, formidable. On his hip he carries what everyone assumes is a gun… it’s not… It is a tire iron. An enormous, comically large tire iron. He also keeps, somewhere on his person, a gun so long, so incredibly long. He treats both with total seriousness.

Texas Red: A vicious outlaw, 24 years old, twenty notches on his pistol, and an enormous ego to match. Surprisingly sensitive about the notches.

The Sheriff: Nervous, deeply unqualified intermediary between the law and the lawless. 

The Bartender: A weary observer in Agua Fria who has seen everything and is exhausted by all of it.

Citizen 1: Extremely dramatic. Treats every event like it is the end of the world.

Citizen 2: Agrees with everything Citizen 1 says, but slightly, wrong each time.

Narrator: Offstage or at the edge of the stage or on the catwalk. Sings adapted verses of "Big Iron" at moments.

Sides

Springtime with the Smiths by Artimis Ott

Director: Faye Diaz

Assistant Director: Lauren Ptolemy

While caring for her family and a newborn a mother struggles to maintain her sanity and sense of self as she navigates this new time in her life.

Character Breakdown

Mom: F, 30s, The loving mother of the household who is always trying her best.

Frank: M, 40s, The breadwinner and husband who tries, but certainly not hard enough.

Henry: M, 12, The pre-teen son of the family, who is in the stage of life where he is a complete and total asshole.

Allie: F, 16, The teenage daughter of the family, in her rebellious stage, feels like she doesn't fit in with them.

Sides

Available at the auditions

Between Floors by Shannon Alvarez

Director: Emilee Kenney

Assistant Director: Dalana Green

Between Floors, written by Shannon Alvarez, tells the compelling story of a young woman, Maya, and her journey of self-discovery, exploring her past, eventually coming to terms with who she is.

Character Breakdown

Maya: Mid-Twenties, main character; Lives in an apartment building where CARMEN, her love interest, works. Awkward and down to earth. She is a closeted homosexual who is apprehensive to come to terms with who she is.

Carmen: Mid-Twenties, works at the apartment where MAYA lives. She is dating Valentina, her girlfriend of 3 years. Laid-back, humorous, and kind.

Valentina: Mid-Twenties, girlfriend of CARMEN for 3 years.

Sarah: Teen (Flashback) MAYA’S childhood crush whom she had an intimate moment with but rejected the idea almost immediately.

Sides

The Right Look by Dan Lisi Jr.

Director: Dan Lisi Jr.

Assistant Director: Rogelio Lara

It is Halloween night and Liz is frantically trying to create a costume last minute that will impress the head of a sorority, and Victor offers to create the ultimate look for her. The only issue is that due to familial strain and difference of options, Victor and Liz have drifted apart. Hopefully now that they're older, Victor and Liz will be able to see through the past and mend their relationship.

Character Breakdown

Victor: 30 something male, who is a somewhat successful makeup artist. He would be a mix of The Dude from The Big Lebowski and a goth. Someone that everybody wants to hang with but can gross everyone out with gore at the same time, very carefree.

Liz: Early 20s female, and Victor's sister. Liz is an engineering major currently working on her BA. Liz is very mathematical and practical. She keeps to her schedule and plans every detail.

Sides

Love and Blood by Lili Lang

Director: Cianna Wilkins

Assistant Director: Lili Lang

Set in gritty modern-day Chicago a notorious serial killer called The Chicago Maniac paces the streets… very loudly complaining. A new killer is in town and taking credit for The Chicago Maniacs work. That just won’t do so in retaliation he does the only rational thing. Hunt down and attempt to kill the head editor responsible for spreading this bad information. But after breaking into the editor's home he finds someone else beat him to it. Enter Bella the butcher, the lovely and heartless psychopath who also refuses to let this misunderstanding continue any longer. Between the two of them sparks fly and blood trickles as they try to answer the question, can two maniacs really fall in love? A thriller meets rom com mashup.

Character Breakdown

The Chicago Maniac: 34-year-old man, long time serial killer and Chicago native. Has a bit of a chip on his shoulder. Incredibly egotistical bordering on delusional. Fancies himself a lone wolf but in reality, he’s looking for love.

John Spellinsky: 46-year-old man, Editor in Chief of the Chicago Paper. A divorcee who lives alone. Excellent corpse.

Bella the Butcher: 28-year-old woman, new to town serial killer with something to prove. She’s learned from the best and is as cruel as she is beautiful. She has no time for romance, not when there's bodies to bury.

Sides

Hurry! Ten Minutes to Solve the Murder or a Bomb Explodes! by Artimis Ott

Director: Carter Garcia

Assistant Director: Robin Rebbe

After receiving invitations to an extravagant dinner party, five strangers find themselves connected not only to each other, but to the murder of millionaire Charles Robertson. Now, they only have 10 minutes to figure out ‘whodunnit’ lest a bomb explodes, leading to their untimely doom. Everyone has a motive, but only one can be accused.

NOTE: This show has five different endings. Each character should have a reason for suspicion.

Character Breakdown

Detective Flo Hendrix: Female. A world-famous detective, with the likes of Poirot and Holmes. Firm, a little vain, and works well under pressure. She’s smarter than most and definitely knows it.

Laurence: Female. Butler and personal assistant to murder victim, Charles Roberston. Eerily calm. Deeply protective of those she cares about, to the point of creating a literal Saw Trap. Preferably speaks with an English accent.

Marcus Barrett: Male. Loud, obnoxious, and runs his own right-wing, alpha male podcast. With all that personality, he’s definitely compensating for something. In fact, he just might be harboring a dark secret that threatens to ruin his entire career.

Chelsey Jones: Female. Marcus’ girlfriend. Ready to settle down. Your typical valley girl, but that doesn’t mean she’s an idiot. Can and will use her looks and personality to her advantage.

Sam Gregory: Any gender. A sly journalist whose work toes the line between fiction and fact. Sarcastic. They’re not afraid to resort to desperate measures in order to get what they want.

Larry Key: Male. A Late-Night Talk Show Host. Older, and a little washed-up. He’s been in the business for a very, very long time, and isn’t keen on letting go of the show that made him so successful.

Sides

For All our Bright Days by Amanda Desoto

Director: John P. Brewer

Assistant Director: Amanda Desoto

George is finding life to be full of drudgery, but he doesn’t remember always viewing it like that. As he considers that life might just be dull by nature, Sunny, a mysterious figure from his past, appears. As Sunny takes him on a brief sailing adventure through the skies, George experiences both malevolent and benevolent individuals and learns which type of people he values and whether creative benevolence or jaded malevolence is truly impotent.

Character Breakdown

George: Male; adult; at risk of being jaded; questioning whether life is dull by nature.

Sunny: Male; not quite human (almost supernatural yet casual and familiar); imagination and whimsy incarnate; benevolent, pensive, and charismatic; uses a sword in some moments.

The Shade: A humanoid cloaked figure; malevolent; uses a sword.

Tawny: Female; adult; unjaded; has a sunny personality.

Sides

Available at the auditions.