Dog Sees God

By Bert V. Royal

January 13-22, 2023

Villagers Theatre, Somerset, NJ

Director: Jerise Fogel ([email protected])

Auditions (by appointment): October 24 (in person at theatre), October 25-26 (via Zoom). (Call-backs October 27, in person at theatre).

Tech: January 8-12

Performances: January 13-22

Villagers Theatre is holding open auditions for its Black Box production of DOG SEES GOD, by Bert V. Royal!

Seeking 8 performers, ages 16-30, of all genders, ethnicities, and body and neuro types for all roles.

Strong dialogue and reaction skills a must for all actors; improv experience, knowledge of current teen trends and language, and ability to play an instrument are all big plusses. Ensemble sensitivity is looked for in this intimate view into the sometimes hilarious, sometimes deeply troubling inner life of teens facing barriers as they seek to connect socially, emotionally, and spiritually with one another and the universe.

Themes addressed include high school, friendship, homophobia, identity, violence, love, art, sexuality, and one’s place in the universe. The characters are grounded in imaginative extensions of the characters in the comic Peanuts by Charles Schulz, but they live in the real world of an American high school (let’s say, in New Jersey) in the twenty-first century (let’s say, now). Some questions it asks are: How can we grow without leaving friends behind? How can we confront violence? Are dogs better than cats? How can we live with one another in peace?

For more information on audition requirements and to sign up for an audition slot, please visit: https://www.signupgenius.com/go/30E044CAAAB23A3F49-dogsees

The Play

Bert Royal’s Dog Sees God is a play about living with one another, and oneself. In particular, it’s concerned with high school, friendship, homophobia, identity, violence, love, art, sexuality, and one’s place in the universe. The characters are grounded in imaginative extensions of the characters in the comic Peanuts by Charles Schulz, but they live in the real world of an American high school (let’s say, in New Jersey) in the 21^st century (let’s say, now). Some questions it asks are: How can we grow without leaving friends behind? How can we confront violence? Are dogs better than cats? How can we live with one another in peace? 

Casting

In this production, we’re looking to portray a somewhat “typical” high school mix of characters, reflecting as much as possible the Somerset, NJ, area. All characters are presented as traditional high school age; actors of that age are encouraged to try out; actors in their 20s or possibly 30s who can play younger are also welcome. CB’s Sister is slightly younger than the rest. There are no restrictions on race for any character—again, looking for a mix that reflects reality in the Somerset area; gender identity portrayed is generally cis, and this is sometimes important since homophobia is a theme; but two characters can work as non-binary/trans (see pronouns)—not a requirement, but a possibility. Auditions will take place the week of October 24, in a combination of Zoom and in-person sessions. Please prepare a short monologue from the play—any character is fine, even if it is not a character you would want to play. But do tell me which character(s) you might in fact want to play! 

Rehearsals

Some rehearsals will be done via Zoom—you will need a good internet connection for this. Two read-throughs full-cast; then, paired scenes (scenes with only 2 characters), on Zoom and also in the space when possible. For one read-through, all 4-character and all-cast scenes, and the series of partial and full run-throughs starting in late December, we will be in the space as much as possible. 

Your Schedule

Please share your schedule as much as possible for October, November, December, and the beginning of January; the play goes up on January 13, so please try not to schedule anything for the two weeks before! Evenings will be usual rehearsal times. Block out any times/days that you really cannot be available for. You must be available for the play’s run, and for all-cast rehearsals (which I’ll be scheduling after I see everyone’s schedules).

Character Breakdown (pronouns are the characters’ possible pronouns, not the actors’) 

Note: the interpretations are the director's, not the playwright’s, although they are based on what I see so far in the script; please read the script for yourself and take what you need, discard what you don’t, add or adjust what you see. 

- CB (he/him) was a victim of casual violence as a child, and is now a perpetrator of it, although he is troubled by it as well. He sees violence. He learns slowly but can sometimes be open to new ideas. He does not have a very high opinion of himself; he is smarter than he gives himself credit for. He tends toward aggressive, joking, pushy, remorseful, and anti-intellectual; his deeper thoughts scare him.

- CB’s Sister (she/they; a few years younger than the rest) is experimenting with her life and appearance relentlessly. She is extremely self-conscious although not always self-aware or evolved as she desires. Desperately in love with Beethoven—whom she sees as a fellow artist. She is maybe not as different as she thinks she is—she finds it difficult to live in the present. She tends toward practical, fashionista, conjuror, artist, performer, intense lover.

- Matt (he/him) was a victim of trauma, bullying and violence as a child, and easily turns to violence to solve problems inside and out. He worships CB and suspects the worst of most others. Scared of women; germophobe. He reads sarcasm quickly. He tends toward trapped, cornered, longing, denied, *******, peering through the darkness.

- Van (he/they) has an intelligence that sets him apart, and brings him pain; he soothes the pain by checking out as much as he can—but he continues to be too aware at times, of others and of himself. He’s on a search for cosmic meaning; he understands that others are usually not. He tends to wise, Old Soul, sardonic, open-hearted, open-eyed, non-confrontational. “The things that we think define us, don’t mean **** in the grand scheme of things. Us defines us.”

- Marcy (she/her) is whip-smart and a born manager. She can be breathtakingly distant, especially from her closest friend, Tricia. She has tried to move on by giving up on any search for larger meanings in life, and honing in on success in practical matters; future CEO. She tends to triumphant, condescending, cynical, unreflective, self-and-other-aware, competitive, controlling, forward-looking.

- Tricia (she/her) plays dumb to hide her intelligence, and flirts aggressively to hide her tension around sexuality. She feels left behind by Marcy. She is obsessed with Frieda, and probably lesbian, but running away from that—although she finds it hard to compass “feminine”. She tends to emotional, confused, thoughtful, snarky, un-self-aware, present.

- Beethoven (he/him) was aloof and intense as a child, and was abused by his father. He lives in extremes, but within the world of music; he is a literal thinker. He fears and distrusts ties with others, and has been a victim of persistent peer violence—he does not respond to or perpetrate violence, but prefers the fantasy world of music as emotional expression, and (just barely) holds out hope for friendship and love. He tends to inward, weary, romantic, self-aware, literal thinker.

- Van’s Sister (she/they) was self-promoting, highly intelligent and controlling as a child; she refuses to be shamed. She is honest, playful and curious; learns quickly. Having been constantly encouraged to repress herself, she retains an inner rage that can take her outside social bounds. OK with her. She pretends cynicism. She tends to amused, insightful, fiery, vulnerable, honest, loyal, defiant.