Auditions

26-27 Mainstage Productions

Fall:

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

Spring:

  • TBD

Fall Mainstage Productions:

The Late Wedding:

  • By Christopher Chen
  • Directed by Jose Zayas
  • October 2nd - October 7th , 2026

What to expect:
Auditions will be asynchronous recorded auditions that will be submitted to our guest director.  That means that each student will enter the audition room, stand in front of the camera as directed, state their name and the piece that they are performing and then begin their monologue. Please prepare a one-minute contemporary monologue of your choice.  

Students who are new to auditioning may choose to read or memorize and perform a provided monologue.

Auditions:  

  • Sunday, Apr. 12 from 6pm-10pm & Sunday, Apr. 19 from 6pm-10pm in Studio B
  • Please prepare a contemporary monologue (1 minute) of your choice. It may be memorized or read 鈥 memorization is encouraged so we can see your full range of physical and vocal choices, but it's not necessary. Read the play here.

Callbacks:

  • Sunday, Apr. 26 from 4pm - 8pm & Monday Apr. 27 from 7pm - 11pm in Studio A

Students will be given material and provided information about the format upon receiving a call back.

Casting: 
The cast can be anywhere from 10 to 16.  Jose will decide the specific number after auditions. All roles can be played by any gender or identity.
Actors earn 4 credits of Theatre Practicum.

Plot synopsis:
 Inspired by the writings of Italo Calvino the show is a fractured portrait of a fractured marriage as told through a series of interconnected fables. At once an anthropological tour through marriage customs, a spy thriller, and a sci fi love story.

Director's Statement:
I love plays about process. And this a lively and delicate play about processing the grief of a breakup through the writing of a play. The writing is gentle and funny and weird- all things I love.

Schedule:

  • Rehearsals:
    • August 21st - September 24th, 2026
  • Tech Rehearsals:
    • Friday, September 25th - Sunday, September 27th
  • Performances: 

    • Friday, October 2 @ 8pm

    •  Saturday, October 3 @ 2pm & 8pm

    • Sunday, October 4 @ 2pm & 7pm

    • Tuesday, October 6 @ 8pm

    • Wednesday, October 7 @ 8pm

Roles/Character Descriptions锛

    • A winking second-person narrative, delivered by a shape-shifty cast, deftly guides you on a wild and delightful examination of love and longing.

Director: Jose Zayas

Production Stage Manager: Olivia O鈥橞rien oobrien@binghamton.edu

A Gentleman's Guide to Love and Murder

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

  • Director: Tommy Iafrate

  • Music Director: Melissa Yanchak

  • November 13th -November 21st, 2026

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....

Auditions for A Gentleman's Guide and Jazz Nutcracker will be held in the first week of the Fall 2026 semester. Please check here for further updates. 

Jazz Nutcracker

  • Choreographer: JoEllen Kuhlman
  • December 4th - December 6th, 2026

Plot Synopsis: 

Jazz Nutcracker, through a series of kinetic dance performances, tells the story of a young girl named Clara who receives a nutcracker as a gift from her godfather, Drosselmeyer . The nutcracker comes to life and whisks Clara away to a fantasy dreamland, where she is treated to gifts and dances from representatives from across the globe.

Auditions for A Gentleman's Guide and Jazz Nutcracker will be held in the first week of the Fall 2026 semester. Please check here for further updates. 

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.