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Working with the Goats

CARLOTA PROJECT AUDITIONS

A New Original Musical About Cuba and New Orleans

Developed by Goat in the Road Productions and Denise Frazier  

ABOUT THE PROJECT

Carlota is a new play with music that tracks five generations of a family across Cuba and New Orleans.

WE ARE SEEKING

Male, female, and non-binary individuals who are interested in helping to bring a new play to life for premiere in March 2026. We are only seeking fluent and native Spanish speakers at this time.

AUDITION INFORMATION

First-Round Audition:

Callbacks:

We will be in touch with some performers to request they attend an in-person callback. Callbacks will most likely occur on the following dates: Saturday, August 16th (daytime), or Tuesday, August 19th (evening).

COMMITMENT & COMPENSATION

Rehearsal Schedule:

  • 13-15 weeks of rehearsal from December- March, 2026, approximately 10 hours/week

  • 180 total hours (mainly nights and weekends)

Compensation:

  • $3,000-$4,000 per performer

Goat in the Road Productions is committed to inclusive casting and encourages artists from all backgrounds to audition. For more information about our company, visit our home page at: www.goatintheroadproductions.org

CARLOTA AUDICIONES DE PROYECTO

Un nuevo musical original sobre Cuba y Nueva Orleans

Desarrollado por Goat in the Road Productions

SOBRE EL PROYECTO

Carlota explora las ricas conexiones culturales entre Cuba y Nueva Orleans a través de la música, la narración y la actuación. El nuevo musical sigue a cinco generaciones de una familia cubana/de Nueva Orleans mientras viajan entre los dos lugares. 

ESTAMOS BUSCANDO

Personas masculinas, femeninas y no binarias que estén interesadas en ayudar a darle vida a una nueva obra que se estrenará en marzo de 2026.
En este momento sólo buscamos hablantesde español que hablan con fluidez.  

INFORMACIÓN DE AUDICIÓN

Opciones de audición de primera ronda:


Call Backs:

Los Call Backs van a ser en persona para algunos artistas.

COMPROMISO Y COMPENSACIÓN

Horario de ensayos:

  • 13-15 semanas de ensayo de diciembre - marzo de 2026, apróximadamente 10 horas/semana

  • 180 horas totales (principalmente tardes y fines de semana)

Compensación:

  • $3,000-$4,000 por artista

Goat in the Road Productions está comprometida con el casting inclusivo y alienta a artistas de todos los orígenes a realizar audiciones. Para más información sobre nuestra empresa, visite: www.goatintheroadproductions.org

SELF-TAPE AUDITION GUIDELINES

Below are the instructions about what to include in that video and best practices for self-taping. Here is the link to fill out the audition form and submit your self-tape by Thursday, July 31st 2025 at 11:59pm.  The audition form has a few additional questions, and places for you to upload an acting resume and photo/headshot. Reach out to chris@goatintheroadproductions.org if you have any questions.

[A continuación se encuentran las instrucciones sobre qué incluir en ese video y las mejores prácticas para auto-grabar. Aquí está el enlace para completar el formulario de audición y enviar su video por jueves 31 de julio de 2025 a las 23:59 horas.  El formulario de audición tiene algunas preguntas adicionales y lugares para que usted cargue un currículum de actuación y una foto u retrato. Comuníquese con chris@goatintheroadproductions.org si tiene alguna pregunta.]

THE VIDEO [EL VÍDEO]:

We ask that you offer three things with the self-tape video: 

  1. Read one of the two sides provided below (the monologue OR the scene. You don’t need to do both)

  2. Sing a short song, in Spanish or English. 

  3. The video should be 4 minutes or less.

[Le pedimos que ofrezca tres cosas con el video auto-grabado: 

  1. Lea uno de los dos lados que se proporcionan a continuación (el monólogo u la escena. No es necesario hacer ambas cosas)

  2. Cantar una canción corta, en español o inglés. 

  3. El vídeo debe durar 4 minutos o menos. ]

THE SIDES [LOS LADOS]:

Sides are below. You only need to choose ONE of these to submit with your video audition. 

  • In the SCENE from the play, you can choose to read the part of Carlota James or Suzette.

  • In the MONOLOGUE, you will be reading the part of Puri.

[Solo necesitas elegir UNO de estos para enviar con su audición en video. 

  • AQUÍ está el enlace a un borrador de escena de la obra. Le solicitamos que lea la parte de Carlota James o Suzette en esta escena. 

  • En el MONÓLOGO leerás la parte de Puri. ]

SELF-TAPING GUIDELINES FOR BEST RESULTS

[DIRECTRICES PARA AUTOGRABACIÓN PARA OBTENER MEJORES RESULTADOS]:

  • Film in a quiet location with good lighting on your face (natural light is preferable)

  • Frame your shot from mid-chest to just above your head (medium close-up) 

  • Ensure clear audio - test your microphone before recording 

  • Speak at a normal volume - don't strain to project as you would on stage 

  • Record in landscape orientation (horizontal), not portrait (vertical) 

  • Have your camera/device at eye level 

  • Look slightly off-camera when performing (as if to a reader), not directly into the camera 

  • Slate at the beginning with your name, the project ("Carlota for Goat in the Road"), and the piece you'll be performing 

  • If possible, have someone read the other lines for you during scene work. It’s perfectly acceptable to submit a recorded video from Zoom or Google Meet so your second reader can be with you virtually. 

  • Submit your highest-quality video file in a common format (MP4 preferred)

[Filme en un lugar tranquilo con buena iluminación en la cara (es preferible la luz natural)

  • Encuadre su toma desde la mitad del pecho hasta justo encima de su cabeza (primer plano medio) 

  • Garantice un audio claro: pruebe su micrófono antes de grabar 

  • Habla a un volumen normal; no se esfuerce por proyectar como lo harías en el escenario. 

  • Grabe en orientación horizontal (horizontal), no vertical (vertical) 

  • Tenga su cámara/dispositivo a la altura de los ojos 

  • Mire ligeramente fuera de cámara cuando actúe (como si se dirigiera a un lector), no directamente a la cámara. 

  • Pizarra al principio con tu nombre, el proyecto ("Carlota para Goat in the Road") y la pieza que interpretará. 

  • Si es posible, pídale a alguien que le lea las otras líneas durante el trabajo de escena. Es perfectamente aceptable enviar un video grabado desde Zoom o Google Meet para que su segundo lector pueda estar con usted virtualmente. 

  • Envíe su archivo de video de la más alta calidad en un formato común (preferiblemente MP4)]

THE SIDES

PLEASE CHOOSE ONE OF THE FOLLOWING SIDES (EITHER THE MONOLOGUE OR THE SCENE, BUT NOT BOTH) TO SUBMIT WITH YOUR VIDEO AUDITION.

MONOLOGUE: 

(Puri is on the phone, calling her granddaughter Carlota James.)

PURI: 

Hey honey, I’m, uh, calling you back. I’m just cleaning up the, uh, house.

(precise, as always)

It’s 1:57pm. Oh, it’s late.

I’ll be at my friend Julieta’s tonight for Dominos starting at 6pm until 8...15pm.  

Okay. 

Ah shit. 

Dropped the phone. 

(But Puri doesn't hang up) 

“In the beginning there was the mango tree and the two girls.” 

I don’t know why, after you were asking about the family the other day, I kept thinking about that phrase over and over again.  

(laughs)

I don’t know if I heard it somewhere or I made it up. 

Me and Alita.  We each had our own tree on my father’s farm. 

All ten of us did. 

My sister was only brave enough to climb to the first branch but I would climb up to the tippy top. 


Really, what I wanted to say, is that I wish your mother would forgive Mateito.

I really wish that. 

He was a pain in the ass, but she has to understand, 

We were still children when we moved here. 

And he just missed his mother so badly. 

And Cuba. 

And the two things became sort of one thing for him -- his mother and Cuba -- and I think when he went into his office at night to listen to shortwave Cuban radio-- he was sort of listening to a lullaby. For him.

Your father...he wasn’t faithful, but he was loyal. 

(Beat)

“Al principio estaba el árbol de mango y las dos niñas.

Y estaban los dos huérfanos que se conocieron en Burger King. 

Y estaban las fiestas del sábado por la noche. 

Y todas las peleas 

Tantas peleas

Y los niños atrapados en el medio. 

Estaba Puri, la testaruda, y Mateíto, el nostálgico, y trataban de hacer el bien, pero siempre estaban desfasados ​​entre sí, desfasados ​​con el tiempo”. 

¡Ja ja! 

Ese es mi pequeño poema del día. 

No sé. 

Un beso enorme, cuídate..


SCENE:

CARLOTA JAMES AND SUZETTE

(Carlota James - mid-20s doctor - is talking to her mother, Suzette. They have just attended the funeral for Suzette’s father, Mateito.)


CARLOTA JAMES: 

It’s 1pm, the next day.

My mother is laying in the dark. 

(to Suzette) 

Tengo Motrin si lo necesitas.

SUZETTE: 

I don’t need Motrin, I need a horse tranquilizer. 

CARLOTA JAMES: 

Well, unfortunately, I’m not a vet. 

(Carlota J goes into Suzette’s bathroom and turns on the light) 

Don’t you have something in the bathroom? Oh, you have a bunch of stuff.

SUZETTE: 

Turn off the light. Turn off the light. 

CARLOTA JAMES: 

What’s this bottle? 

SUZETTE:

YOU’RE QUITE LOUD. 

CARLOTA JAMES: 

(Referring to the bottle, ignoring the comment) 

What’s in here, do you know? 

SUZETTE:

Turn off the light, my God.

(Carlota James is fixing her hair in the mirror) 

CARLOTA JAMES: 

If it doesn’t have a label you should throw it out--

SUZETTE:

What are you, a doctor? 

CARLOTA JAMES: 

A little bit. 

SUZETTE: 

Why is your sister dropping out of school? Why is she doing this to me? 

CARLOTA JAMES: 

She’s doing it to herself.  

SUZETTE: 

You know how hard we worked for you girls?

This is generations of women. 

Para que puedas hacerte doctora.

So your sister could become a...whatever. 

CARLOTA JAMES: 

Escritora.

SUZETTE: 

(rolls her eyes)

Writer. 

CARLOTA JAMES: 

(handing her the Advil)

Here, take this. 

(Carlota starts to massage her Mom’s feet) 

SUZETTE: 

Oh that feels good.

CARLOTA JAMES:

Mom, why haven’t you ever told me about Magdelena? 

SUZETTE:

Who’s Magdelena? 

CARLOTA JAMES: 

Tia Andreina’s daughter-- 

SUZETTE:

I know who Magdelena is. 

What does Magdelena have to do with anything? 

CARLOTA JAMES: 

Abuela got a sympathy card from her. 

SUZETTE: 

(Getting up, fixing her hair in the mirror)

You have cousins in Cuba.

So what?  

CARLOTA JAMES:

I think Papi wanted his ashes there

SUZETTE: 

Oh god.

Papi was drunk. 

He was depressed.

He left himself in Cuba and left Abuela and the rest of us to take care of him. 

You’re giving me a migraine. 

CARLOTA JAMES: 

You already had a migraine. 

Y ella dice, “no eres doctora todavía, qué sabes?”

And then I say, Well “I’m as close as you’re gonna get.” 

And then she says, “I don’t like the way you’re talking to me. I’m your mother, but you treat me like a joke.” 

Y yo le digo, “No te trato como un chiste.”

And she says, “You laugh all the time about everything. You’re always laughing and joking.” 

And I say, “Is it wrong to be happy?” 

Y ella me dice, “Te conozco. No estás feliz.”

And I say, “You know what, you’re right? I’m not.” 

And she says, “I know, I’m your mother.” 

And I say, “then, as my mother, you should know that I decided to  take Papi’s ashes to Cuba.”  

Y después ella dice, “de qué coño hablas ?”