Posted by White Mills Theatre Co.
SYNOPSIS
Once upon a midnight dreary, while I pondered, weak and weary, over many a quaint and curious volume of forgotten lore—while I nodded, nearly napping, suddenly there came a tapping, as of some one gently rapping, rapping at my chamber door. “’Tis some visitor,” I muttered, “tapping at my chamber door—only this and nothing more …” In this haunting adaptation of the works of Edgar Allan Poe, join the visitors of the melancholy House of Usher on a candlelit journey into the macabre. Despite their apprehensions, a stubborn doctor, a resentful medium, and a murderer attend the funeral of an eccentric recluse—only to question the circumstances surrounding her untimely death. As they outstay their welcome, they uncover evidence connecting their disturbing pasts to the sinister presence stalking their every move. With their secrets exposed, they must summon their ghosts to survive the supernatural forces at work and confront the meddlesome housekeeper who knows more than she claims. An immersive horror opera, Tales of the Grotesque invites visitors to explore Victorian Toronto through the eyes of literature’s most twisted author, and come tapping at the door to the unknown.
OVERVIEW
In collaboration with Campbell House Museum and the City of Toronto, White Mills Theatre Co. is pleased to announce the upcoming remount of the sold-out 2023 production, Tales of the Grotesque. An audience immersive adaptation of the works of Edgar Allan Poe, the production harnesses verbatim text, movement, opera and live instrumentation to transport audiences to Toronto at the turn of the century. Performing during the Halloween season of 2024, the production explores Poe’s most disturbed and iconic characters, including Roderick and Madeline Usher, Lenore, Annabel Lee, Morella, Frederick Metzengerstein, and the iconic raven. Set within the sprawling halls of the oldest surviving building from the Town of York, the project is sure to awaken the grotesque in us all.
ROLES
RODERICK USHER — Male-identifying, 28-40, any ethnicity. The last of the ancient House of Usher, Roderick has watched as every member of his family has succumbed to the symptoms of an unknown illness. The most recent victim, his twin sister, has left him frail, helpless, and waiting to be claimed by death. Convinced that a sinister presence has overtaken both his bloodline and his home, Roderick has appealed to an unlikely source for help—a past love. But supernatural complications arise as she attempts to provide him with potentially life-saving medical aid. Reunited after decades of heartache, Roderick must decide who he’d rather save from an ancient evil—his sister or the love of his life.
WILHELM BERLIFITZING — Male-identifying, 35-50, any ethnicity. The hardened patriarch of an influential family, Wilhelm’s access to generational wealth has inspired the belief that anyone can be bought for the right price—with the exception of his eccentric sister, Morella. The thorn in his side, Morella’s mental instability and repeat public outbursts have compromised Wilhelm’s social standing, and, ultimately, his control over the people around him. But when an intriguing suitor steps into their lives, Wilhelm devises an unusual arrangement that will either bring an end to Morella’s disgrace or expose the decades-old scandal he’s tried desperately to hide. Based on the character “Wilhelm Berlifitzing” of Poe’s Metzengerstein and the victim of the Tell-Tale Heart, this adaptation explores themes of internalized homophobia and domestic abuse as Wilhelm contends with his demons from beyond the grave.
INSTRUMENTALIST — Gender-inclusive, age-inclusive, any ethnicity. A funerary musician and friend of the House of Usher, this member of the musical trio must have the ability to perform while mobile. Moving alongside the audience throughout Campbell House Museum, the role provides musical accompaniment for opera, oratorio, and art song while remaining in character. Comfortability with improvisation to reference leitmotifs and underscore dialogue is an asset. As this is a non-speaking role, some acting experience is beneficial though not required. Prior collaborations have included clarinetists, violists, and violinists given their ability to locomote while performing, but all interested nonstationary instrumentalists are encouraged to apply.
ELIGIBILITY
This production operates under the Canadian Actors’ Equity Association’s Artists’ Collective Policy. Interested union and nonunion performers are encouraged to audition.
COMPENSATION
White Mills Theatre Co. operates with financial transparency under a profit share agreement in which all members of the ensemble receive an equal portion of net revenue, regardless of the size of an individual’s role(s) or hours logged. Prior productions have facilitated honorariums ranging between $300.00-$1,100.00 depending on audience capacity and the success of ticket sales. For reference, 3 of our last 4 productions with the City of Toronto closed at 100% sold (including the 2023 premiere of Tales of the Grotesque), and 1 at 62% sold.
REHEARSAL SCHEDULE
Thursday September 5th, 2024 | 7:00-11:00 p.m. | Rehearsal 1/Table Read
Monday September 9th, 2024 | 7:00-11:00 p.m. | Rehearsal 2
Thursday September 12th, 2024 | 7:00-11:00 p.m. | Rehearsal 3
Monday September 16th, 2024 | 7:00-11:00 p.m. | Rehearsal 4
Thursday September 19th, 2024 | 7:00-11:00 p.m. | Rehearsal 5
Monday September 23rd, 2024 | 7:00-11:00 p.m. | Rehearsal 6
Friday September 27th, 2024 | 7:00-11:00 p.m. | Rehearsal 7
Monday September 30th, 2024 | 7:00-11:00 p.m. | Rehearsal 8
Friday October 4th, 2024 | 7:00-11:00 p.m. | Rehearsal 9
Tuesday October 8th, 2024 | 7:00-11:00 p.m. | Rehearsal 10
Thursday October 10th, 2024 | 7:00-11:00 p.m. | Rehearsal 11
Tuesday October 15th, 2024 | 6:00-11:00 p.m. | Dress Rehearsal
PERFORMANCE SCHEDULE
Wednesday October 16th, 2024 | 6:00-10:30 p.m. | Performance 1/Preview
Friday October 18th, 2024 | 6:00-10:30 p.m. | Performance 2/Opening
Saturday October 19th, 2024 | 6:00-10:30 p.m. | Performance 3
Sunday October 20th, 2024 | 6:00-10:30 p.m. | Performance 4
Tuesday October 22nd, 2024 | 6:00-10:30 p.m. | Performance 5
Wednesday October 23rd, 2024 | 6:00-10:30 p.m. | Performance 6
Friday October 25th, 2024 | 6:00-10:30 p.m. | Performance 7
Saturday October 26th, 2024 | 6:00-10:30 p.m. | Performance 8
Sunday October 27th, 2024 | 6:00-10:30 p.m. | Performance 9
Tuesday October 29th, 2024 | 6:00-10:30 p.m. | Performance 10
Thursday October 31st, 2024 | 8:30 p.m.-1:00 a.m. | Performance 11
Friday November 1st, 2024 | 6:00-10:30 p.m. | Performance 12
Saturday November 2nd, 2024 | 6:00-10:30 p.m. | Performance 13/Closing
ABOUT US
White Mills Theatre Co. specializes in classical vocal performance and new play development in collaboration with Canadian historic sites. Partnering with the City of Toronto Economic Development & Culture, Museums & Heritage Services, we are best known for our immersive adaptations of Menotti’s The Medium and Dickens’ A Christmas Carol at Spadina Museum: Historic House & Gardens, as well as Edgar Allan Poe’s Tales of the Grotesque and Barrie’s Peter Pan and the Wendy Lady at Campbell House Museum. Featured by BlogTO, Broadway World, CP24, My Entertainment World, No Proscenium, Stage Door, and Theatre Museum Canada, our productions fuse fantasy with history by transporting audiences to the City of Toronto at the turn of the century.
SUBMISSION PROCESS
Interested actors are encouraged to send a 2–5-minute self-tape audition to whitemillstheatreco@gmail.com by midnight on Wednesday, July 24th, 2024 using either the sides below or their choice of text by Edgar Allan Poe. Interested instrumentalists are asked to provide a brief performance of any song that best exemplifies their skill level (links to prior performances are acceptable in lieu of a dedicated audition). Please note, informal or unedited self-tapes filmed using a smartphone are welcome—we understand access to technology and software can pose a barrier to the audition process. For large file transfers, candidates may choose to utilize resources such as WeTransfer or provide a private YouTube link.
SIDES
Once upon a midnight dreary, while I pondered, weak and weary, over many a quaint and curious volume of forgotten lore—while I nodded, nearly napping, suddenly there came a tapping, as of someone gently rapping, rapping at my chamber door. “’Tis some visitor,” I muttered, “tapping at my chamber door—only this and nothing more.” Ah, distinctly I remember it was in the bleak December; and each separate dying ember wrought its ghost upon the floor. Eagerly I wished the morrow; vainly I had sought to borrow from my books surcease of sorrow—sorrow for the lost Lenore—for the rare and radiant maiden whom the angels name Lenore—nameless here for evermore. And the silken, sad, uncertain rustling of each purple curtain thrilled me—filled me with fantastic terrors never felt before; so that now, to still the beating of my heart, I stood repeating, “’Tis some visitor entreating entrance at my chamber door—some late visitor entreating entrance at my chamber door; this it is and nothing more.” Presently my soul grew stronger; hesitating then no longer. “Sir,” said I, “or Madame, truly your forgiveness I implore; but the fact is I was napping, and so gently you came rapping, and so faintly you came tapping, tapping at my chamber door, that I scarce was sure I heard you”—here I opened wide the door. Darkness there and nothing more.