SCENES FROM AN EXECUTION
CASTING BREAKDOWN
GALACTIA: A prominent female painter in Venice who has been
commissioned to paint the Battle of Lepanto. She is described by
herself and other characters as “promiscuous” and a “sensualist”. She
is passionate and obsessive, both in love and art, and always follows
her instincts. Her character is believed to be based upon the
real-life female Renaissance painter, Artemisia Gentileschi
(1593-c.1656).THIS ROLE HAS BEEN CAST
CARPETA: A successful Venetian painter of predominantly “religious
subjects”, who was originally favoured to paint the Battle of Lepanto.
His works are referred to throughout the play with some irony and
derision by other characters who believe he has become stuck in an
artistic rut. He is married to a woman we never meet, but conducts a
passionate affair with Galactia despite being considerably younger
than she is. Earnest but ultimately flawed, he betrays Galactia’s love
and trust.
URGENTINO: The Doge of Venice and leading member of Venetian society.
Urgentino is a passionate, sensitive, and enthusiastic patron of the
arts, who seems to show genuine interest in and appreciation of
Galactia’s work. However, when her painting of the Battle of Lepanto
threatens to undermine the image of the Republic, he feels he has no
power to prevent her vilification at the hands of the state.THIS ROLE HAS BEEN CAST
ADMIRAL SUFFICI: The Admiral of the victorious Venetian Naval Fleet at
the Battle of Lepanto and brother-in-law to the Doge. Although
Galactia wants to see him as a brutal, heartless killer, Suffici
appears to be the complete opposite, with a surprisingly sensitive and
desperately vain personality.
GINA RIVERA: distinguished critic, poet, and sensualist. Loosely
inspired by the powerful Medici women such as Catherine de Medici.
CARDINAL OSTENSIBLE: The conservative, dogmatic Cardinal of the State
of Venice, he does not like “The Battle of Lepanto” and is
instrumental in suppressing Galactia’s finished canvas.
RIVERA: A female art critic who attempts to persuade and guide
Galactia politically. She is a calculating, intelligent and quietly
powerful woman, who plays a large part in persuading Urgentino (with
whom she has a close relationship) to release Galactia from prison.
SKETCHBOOK: Not a realistic character, Sketchbook acts instead as a
narrator for the action, guiding the story and introducing the various
characters and situations with which Galactia is involved during the
creation of her painting. His or her words very often start or
book-end scenes and suggest an overall knowledge of the finished
painting. Sketchbook is an abstracted presence, who never interacts
directly with any of the other characters and is almost a ghost of
Galactia herself or her finished canvas.
PRODO: A badly-injured veteran of the Battle of Lepanto who carries
his horrific, permanent wounds around with him. Since the battle he
has made a living by exploiting his injuries for a profit. He is the
first subject sketched by Galactia and clearly suffers from severe
post-traumatic stress.
SUPPORTA: Galactia's daughter. An ambitious painter in her own right,
she is reluctant to support her mother's painting for fear it will
jeopardize the careers of all women painters in a field already
dominated by men.THIS ROLE HAS BEEN CAST
DEMENTIA: Galactia's younger daughter. Also a painter, she makes art
as a profession but not as an artist. She has no understanding of why
her mother would make work that could challenge the state.
PASTACCIO: 16th century Italian lawyer.
THE ALBANIAN: A 16th century Albanian immigrant who poses for one of
Galactia's initial sketches of the battle.THIS ROLE HAS BEEN CAST
YOUNG SAILOR STRUCK: A young Venetian sailor who has never seen
battle. He happens upon Galactia's painting and is changed forever.THIS ROLE HAS BEEN CAST
OFFICIAL: Catholic official from the Palace of the Doge.
SORDO: a Venetian painter. One of Carpetta's rivals.
LASAGNA: a Venetian painter. Another one of Carpetta's rivals.
WORKMEN, SAILORS, OFFICIALS, JAILER, ETC.
There will be double casting.