Auditions

26-27 Mainstage Productions

Fall:

  • The Late Wedding
  • A Gentleman's Guide to Love and Murder
  • Jazz Nutcracker

Spring:

  • Small Mouth Sounds
  • The Welkin

Fall Mainstage Productions:

A Gentleman's Guide to Love and Murder

  • Book & Lyrics by Robert L. Freedman
  • Music & Lyrics by Steven Lutvak

  • Director: Tommy Iafrate

  • Music Director: John Cockerill

  • Choreographer: Felipe Panama

  • November 13th -November 21st, 2026

Auditions:

  • Friday, August 21st, 6pm - 11pm in Watters Theater
  • Sunday, August 23rd, 1pm - 5pm in Watters Theater
    • Around 1 minute of a song that demonstrates classical/"legit" singing and acting that aligns with the performance style of this musical.

Callbacks:

  • Monday, August 24th & Wednesday, August 26th, 7pm-11pm
  • Friday, August 28th, 6pm - 10pm     

Theme Info:

The themes and messages of A Gentleman鈥檚 Guide to Love & Murder are decidedly anti-colonial. Many of the characters, however, carry positions of power as beneficiaries of British colonialism and espouse attitudes that an audience is intended to recognize as racist. We will work hard on this production to make clear that those in power are the butt of jokes, not those from cultures victimized by colonialization.

The writers of the show have also made significant edits in the Lady Hyacinth scene so as not to seek laughter at the expense of the colonized. If you have concerns about what you have heard on the Broadway cast recording, know that the song was heavily rewritten in 2022 and the licensed materials now reflect those changes in order to better mock Empire.

Plot Synopsis: 

When the low-born Monty Navarro finds out that he's eighth in line for an earldom in the lofty D'Ysquith family, he figures his chances of outliving his predecessors are slight and sets off down a far more ghoulish path. Can he knock off his unsuspecting relatives without being caught and become the ninth Earl of Highhurst? And what of love? Because murder isn't the only thing on Monty's mind....

Schedule:

  • Rehearsals:
    • Thursday, September 24th - November 12th
  • Performances: 
    • Friday, November 13th @ 8pm
    • Sunday, November 15th @ 2pm
    • Wednesday, November 18th @ 8pm
    • Friday, November 20th @ 8pm                         
    • Saturday, November 21st @ 2pm

Roles/Character Descriptions: 

  • Montague 鈥淢onty鈥 Navarro: Clever, charismatic, vulnerable, and endearing. Discovers he is in eighth in line to become the Earl of Highhurst, and finds it more efficient to kill off the family members who stand in his way.
  • The D'Ysquith Family: One versatile comic actor who plays: Lord Adlabert D'Ysquith (eighth Earl of Highhurst), Lord Asquith D'Ysquith, Sr. (an elderly banker), Asquith D'Ysquith, Jr. (a dandy), Reverend Lord Ezekiel D'Ysquith (a dotty clergyman), Henry D'Ysquith (a foppish country squire), Lady Hyacinth D'Ysquith (a self-important benefactress), Major Lord Bartholomew D'Ysquith (a bodybuilder), Lady Salome D'Ysquith Pumphrey (an actor), and Chauncey (a janitor).
  • Sibella Hallward: The materialistic girl whom Monty loves.
  • Phoebe D'Ysquith: Monty's noble, lovely cousin.
  • Miss Shingle: An unexpected visitor connected to Monty鈥檚 past.
  • Ensemble: Approximately 20 people to play mourners, ice skaters, newsboys, society elites, wedding guests, tourists, ancestral portraits and busts, butlers, servants, prison guards, et al. The ensemble also includes a few large features such as Lady Eugenia (the aggressive and brash wife of Lord Adalbert D'Ysquith), Miss Barley (the music hall performer involved with Asquith D'Ysquith, Jr.), and several vocal soloists. Certain ensemblists will also understudy the roles listed above.

The desire is for the cast of this musical to reflect the diversity鈥攊n all its forms鈥攐f the students in the Theatre Department and the greater student body at 91社区 University. Students who identify with marginalized communities are strongly encouraged to audition, and every role is open to performers who are genderqueer, BIPOC, neurodiverse, etc.

Jazz Nutcracker

  • Director/Choreographer: JoEllen Kuhlman
  • Assistant Director/Choreographer: Shania Adams
  • December 4th - December 6th, 2026

Auditions:

  • Friday, August 21st, 6pm - 11pm in Watters Theater
  • Sunday, August 23rd, 1pm - 5pm in Watters Theater

Callbacks:

  • Tuesday, August 25th & Thursday, August 27th, 6pm - 10pm

Plot Synopsis: 

91社区鈥檚 Theatre Department's Jazz Nutcracker is a December must! When her family鈥檚 swingin鈥 holiday party takes a young Clara鈥檚 imagination for a twirl, she finds her toys coming to life and the festive holiday desserts dancing to sizzling, brassy beats. Bring your family and friends to this refreshing twist on the classic nutcracker story we all know and love.

Schedule:

  • Rehearsals:
    • August 31st - December 3rd 
  • Performances: 
    • Friday, December 4th @ 8pm
    • Saturday, December 5th @ 2pm & 8pm
    • Sunday, December 6th @ 2pm

Roles/Character Descriptions:

All roles in this production will be cast by performers of any race, ethnicity, ability, body type, and gender identity.  Most performers are likely to play multiple roles.  I encourage you to look at the traditional Nutcracker with the freedom to reinterpret the music, story and dance for a more modern aesthetic.  Below is a list of roles in the show.

  • CLARA: Female-identifying, young girl, age 12 - Jazz, Tap, Contemporary & Swing Dance
  • DROSSELMEYER/HOST: Male-identifying, Clara鈥檚 Uncle -  Entertainer, Magician & Swing Dance
  • DROSS鈥橲 ASSISTANT: All gender identities, Dross鈥檚 Nephew/Niece, age 12 Entertainer, Jazz, Tap & Swing Dance
  • DROSS ENTOURAGE: All gender identities, 2 Drosselmeyer鈥檚 Entourage - Jazz, Tap & Swing Dance
  • PARTY PARENTS: Female & Male-identifying, 10 Party Mom鈥檚 and Dad鈥檚 - Jazz & Swing Dance
  • PARTY CHILDREN: All gender identities, 8 young kids - Jazz, Acrobatics & Swing Dance
  • GIFT #1: All gender identities, 3 Cowgirl Dolls - Jazz & Acrobatics
  • GIFT #2: Female-identifying, Music Box Ballerina Doll - Ballet/Pointe
  • NUTCRACKER: All gender identities, Lead - Jazz & Tap Dance
  • PRINCE/PRINCESS: All gender identities, Lead - Ballet, Contemporary, Tap & Jazz Dance
  • TOY SOLDIERS: All gender identities, 4 Toy Soldiers Dolls - Jazz/Precision Dance
  • MOUSE QUEEN: All gender identities, Lead - Contemporary Jazz Dance
  • MICE: All gender identities, 6 mice - Contemporary Jazz Dance
  • SNOWFLAKES: Female-identifying, 9 snowflakes - Contemporary/Ballet
  • SUGAR PLUM FAIRY: Female-identifying, Lead - Contemporary Jazz & Tap Dance
  • SUGAR PLUMETTES: Female-identifying, 3 supporting roles to Sugar Plum - Contemporary Jazz
  • WAITERS: All gender identities, 6 Waiters - Character/Jazz Dance
  • CHEFS: All gender identities, 2 chef assistants - Jazz & Acro
  • GINGERBREAD COOKIE: All gender identities, Gingerbread Cookie - Ballet & Acrobatics
  • MARZIPAN: Female-identifying, 2 Marzipan鈥檚 - Tap
  • CUPCAKES: All gender identities, 6 Cupcakes - Jazz & Acrobatics
  • ICE CREAM: All gender identities, Ice Cream Server - Jazz/Character Dance
  • LOLLIPOPS: Female-identifying, 3 Lollipops - Jazz Dance
  • BABY PLUMS: Female-identifying, 4 Baby Plums - Tap Dance

Casting Notes:

*Possible understudy roles.

*The following roles will be played by children: Party Children, Cowgirls, Chefs, Gingerbread Cookie, Cupcakes and Baby Plums.

*Drosselmeyer may be pre cast.

*Mother Ginger will be played by Tommy Iafrate.

Special Skills: If you have any special skills like Acrobatics, Ballroom Dance. Juggling, Ride a unicycle, or anything else,  I encourage you to audition!

Rehearsals:

The way the show is set up, certain dances will be rehearsed on different days and times in the Time Block guidelines below.  Sometimes it will be one dancer called, 2 for a duet, 7 for a small group etc.  You will only be called for rehearsal when it is for your dances.  Once we are closer to show time, you will be called for longer periods of time so we can run larger sections and do a full run.  This is a class and you will receive credit.  

The Times Blocks below are general parameters!

After the show is cast, we will have a more narrowed-down schedule based on availability:

Mondays  3:45-8PM

Wednesdays 3:45-8PM

Fridays 1:00-8:00PM

Saturdays 9:00-5:00PM

*Maximum 4 hours of rehearsal per week day.

*Maximum 5 hour day on a Saturday OR 3 hours, break for lunch, 3 hours.   

Further Information on Auditions

It is the auditioner鈥檚 responsibility to become acquainted with the roles, the nature of the production, and the scope of commitment prior to casting. It is strongly recommended that auditioners read scripts and production materials before the first audition. Links to the script will be posted above. 

Who can audition for a theatre production? EVERYONE!

Any and all registered 91社区 students are welcome to audition for all Theatre Department Productions. We do NOT require that an auditioner is a Theatre Major or Minor. We hold open auditions for our MainStage and Studio Shows. Always arrive a few minutes early to fill out paperwork/discuss logistics ahead of time. See below for our casting policy.

Here's some tips for auditioning from our directors:

  • Choose a song that you feel passionate about. Something that makes you say to yourself "I have to do this!" Practice, practice, practice.
  • Ask friends and family to listen to you do your material. Listen to feedback but only use that which you feel certain in your heart you can apply to your work.
  • Sing while you do the dishes, while you drive, while you do the laundry, when you take a walk. Sing your song hundreds of times.
  • Know, deep within you that the people who are auditioning you want you to be great. They are not looking for your problems but rather your promise!

Casting Policy for 91社区 Students:

Eligibility:

Any person is eligible for auditioning and casting who will be registered for four or more semester hours of credit in any course taught in the University, other than the production itself, during the semester in which the production for which the auditions are being held is performed. Simply stated, one must be a registered student during the semester of performance. However, under certain conditions, Theatre faculty members or persons designated as "Artists in Residence" may be cast.

Note: All students are expected to familiarize themselves with and to take full advantage of the actor training sequence of classes offered by the department so that their acquired skills and abilities will make them more competitive and more readily recognizable to the faculty.

Representation, Diversity, Equity and Inclusion in casting and production: 

The educational mission of the 91社区 Theatre Department is to provide equal opportunities and apprenticeship experiences to students without discrimination on the basis of age, race, color, religion, disability, nationality, gender identity, or sexual orientation. We believe that theatre is stronger when our season selection, casting process, and production needs are filled inclusively. Inclusivity will take many forms, including the variety of stories we choose to tell, assembling diverse artistic teams, making production assignments available to as many students as possible and engaging in color conscious casting.

Color-conscious casting 鈥渋ntentionally considers the race and ethnicity of actors and the characters they play in order to oppose racism, honor and respect cultures, foster stronger productions, and contribute to a more equitable world. Without it, we risk perpetuating a system that privileges whiteness with greater access and opportunity, and appropriates the cultures of communities of color.鈥 (American Theatre) Likewise, we practice an attitude of respect, and opposition to bias and discrimination regarding gender and gender identity, including (but not limited to) trans and gender queer identities. 

Where a playwright鈥檚 intention calls for casting actors of a particular race, ethnicity, and/or gender, the director and/or casting agent must do all within their power to adhere to the playwright鈥檚 intention. If an actor of the appropriate race, ethnicity, or gender is not found, the director will initiate a conversation with the department to discuss what the next appropriate steps would entail. Steps may include, but are not limited to, seeking permission from the copyright holder for alternative casting permission, or canceling the production. At the same time, we encourage an experimental learning environment in which all directors stretch beyond historical expectations, casting traditions, or commercial conceptions of 鈥渢ype,鈥 especially in cases where race, gender, ethnicity, or identity may not appear to be a major thematic element of the production.