Denver Center & Arvada Center 2023-24 Seasons - NYC EPA Various Producers | ,
Notice: Audition Call Type: EPA
Wednesday, April 12, 2023
9:30 AM - 5:30 PM (E)
Break: 1:00-2:00pm
LORT Non-Rep
$1008 weekly minimum (LORT B)
$739 weekly minimum (LORT D)
See breakdowns for tier for each production.
DCPA Theatre Company pays above LORT B minimum ($1008/wk) for all it’s contracts
Equity actors for roles in Denver Center for the Performing Arts Theatre Company & Arvada Center for the Arts & Humanities 2023 -24 Seasons (see breakdowns).
Bring a headshot and resume stapled together and trimmed to size. For MUSICALS - Please prepare a song in the style of the show or from the show/role you are interested in and bring your own music for the accompanist. For PLAYS - Please prepare two contrasting monologues.
Actors' Equity New York Audition Center 165 W 46th St
16th Fl
New York, NY 10036
Studio B
See production-specific personnel in breakdown.
Expected to attend:
Grady Soapes (he/him), CSA- DCPA Director of Casting
Lynne Collins (she/her), Artistic Director – Arvada Center
See production dates in breakdown.
OTHER
No stage management positions available.
EPA Procedures are in effect for this audition. An Equity Monitor will be provided.
Equity’s contracts prohibit discrimination. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to attend every audition.
Always bring your Equity Membership card to auditions.
Equity encourages everyone participating in the auditions to wear a two-ply cloth face mask, surgical mask, singer’s mask or respirator (N95, KN95 or KF94). Single-ply face masks, gaiters and bandanas are not recommended. Singer’s masks can be found at www.broadwayreliefproject.com/singersmask.
Equity encourages members to prepare for their audition prior to arriving at the audition venue, to the extent that they can (e.g., get dressed, hair/make-up, etc.) to avoid crowding in bathrooms and dressing rooms.
Holding/Audition room information:
The audition room can accommodate no more than 28 individuals at a time.
The holding room can accommodate no more than 80 individuals at a time.
2023/2024 Arvada Center for the Arts & Humanities Productions & Character Descriptions
The Arvada Center is committed to diversity and maintains a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, we encourage performers of all ethnicities, gender identities, body types and sizes, and ages, as well as performers with disabilities, to audition for appropriate roles.
The Arvada Center creates a safe and equitable workplace through policies defined by the Equal Employment Opportunity Commission, the Actors’ Equity Association, and the City of Arvada. These policies provide a comprehensive framework for health and safety of all actors, stage managers, creative staff, and designers employed by the Arvada Center.
All roles will be understudied.
Music & Lyrics: Various Artists, based off the songs of Carole King
Book: Douglas McGrath
Director: Lynne Collins
Choreographer: TBD
Music Director: TBD
LORT B Contract
Mainstage Theatre
Dates:
FIRST REHEARSAL: August 10th, 2023
OPENING: September 8th, 2023
CLOSING: October 15th, 2023
Principal Character Descriptions:
Carole King: Female identifying, 18+ to play ages 16-29. An aspiring singer/songwriter with a powerful, distinctive voice. A unique, appealing, funny, and vulnerable girl from a Jewish family in Brooklyn. Talented, good natured, unassuming, and often the peace maker in difficult situations. A reluctant star with no pretense and a passion for music. Mezzo/Soprano belt.
Gerry Goffin: Male Identifying, 18+ to play late teens-late 20s. Carole’s boyfriend, songwriting partner, and eventual husband. He is smoldering, dark, and handsome with a rebel vibe. Although sexy, he is innately sympathetic, wounded, and tortured. An ambitious artist always striving for more. Baritone/tenor.
Cynthia Weil: Female Identifying, 18+ to play late teens-late 20s. A songwriter who becomes romantically involved with Barry. Carole’s best friend. She is sophisticated, smart & chic with a quick wit. Although self-confident and sarcastic, she is also extremely likeable. Has strong comedic timing. Mezzo-Soprano belt.
Barry Mann: Male Identifying, 18+ to play late teens-late 20s. A songwriter who becomes romantically involved with Cynthia. He is good natured, appealing, and neurotic. Ambitious, but likeable. High pop/rock tenor.
Don Kirshner: Male Identifying, 30s-40s. An influential music publisher and producer. He is a fast talking, energetic, force of nature. Powerful, direct, and sometimes intimidating, but he has a real affinity for his writers and artists. A hit maker.
Genie Klein: Female Identifying, 40s-50s. Carole’s Jewish mother. Once an aspiring playwright, she has been broken down by life and her husband’s infidelity. Protective of Carole and unforgiving of her husband’s mistakes. This is a non-singing role.
Playwright: Moises Kaufman, and members of the Tectonic Theatre Project
Director: Kate Gleason
LORT D Contract
Black Box Theatre
Dates:
FIRST REHEARSAL: August 31st, 2023
OPENING: September 29th, 2023
CLOSING: November 5th, 2023
Principal Character Descriptions: All actors will play multiple roles. Age range 20s-60s.
Stephen Belber, Doc O’Connor, Matt Galloway, Anonymous Friend of Aaron McKinney, Bill McKinney, Andrew Gomez, Fred Phelps, Mormon Spiritual Advisor, Conrad Miller. Male identifying, any race/ethnicity
Amanda Gronich, Eileen Engen, Marge Murray, Baptist Minister, Trish Stiger, Shadow. Female identifying, any race/ethnicity.
Moisés Kaufman, Philip Dubois, Stephen Mead Johnson, Murdock Cooper, Jon Peacock, Dennis Shepard, Harry Woods. Male identifying, any race/ethnicity.
Reggie Fluty, Rebecca Hilliker, Debbie the Waitress. Female identifying, any race/ethnicity.
Andy Paris, Jedadiah Schultz, Doug Laws, Dr. Cantway, Matt Mickelson, Russell Henderson, Aaron McKinney, Philip. Male identifying, any race/ethnicity.
Greg Pierotti, Detective Sergeant Hing, Phil LaBrie, Father Roger Schmit, Rulon Stacey, Detective Sergeant Rob DeBree, Jonas Slonaker. Male identifying, any race/ethnicity.
Barbara Pitts, Catherine Connolly, April Silva, Zubaida Ula, Sherry Aenonson, Lucy Thompson, Eileen Engen. Female identifying, any race/ethnicity.
Leigh Fondakowski, Zackie Salmon, Alison Mears, Romaine Patterson, Aaron Kreifels, Tiffany Edwards. Female identifying, any race/ethnicity.
Music & Lyrics: Richard Rodgers & Oscar Hammerstein II
Book: Douglas Carter Beane
Director: Kenny Moten
Choreographer: Jessica Hindsley
Music Director: TBD
LORT B Contract
Mainstage Theatre
Dates:
FIRST REHEARSAL: October 26th, 2023
OPENING: November 24th, 2023
CLOSING: December 31st, 2023
Principal Character Descriptions:
Ella: Female identifying, 20s-30s, any race/ethnicity. Though no one notices her beneath her rags and quiet demeanor, she is opinionated, charismatic, passionate, beautiful, and funny. Idealistic and hopeful, she courageously challenges the prince to change the policies of his kingdom – and helps him discover who he truly is. Always her late father’s daughter, she is determined to see the good in everyone despite her hardships and suffering. We see her blossom into a confident woman. Range, soprano B3-Eb5.
Topher: Male identifying, 20s-30s, any race/ethnicity. A misguided and lost prince who longs to do something important with his life. Though brave and heroic, he feels lonely and unfulfilled. Charming but NOT a stereotypical ladies’ man, he is thoughtful, appealing, and innocent – with an unforced goofy streak. Moral, genuine, and kind-hearted, he is at a crossroads and must take control of his kingdom and his future. Range, baritone C#3 – A4.
Jean-Michel: Male identifying, 30s, any race/ethnicity. A feisty, passionate peasant determined to make a change for the starving class. Impetuous. A firebrand but lacks authority and isn’t taken seriously as a revolutionary. He has a crush on Gabrielle, though her courtship is forbidden because they are from different social classes. Range, Baritone C3-G4.
Gabrielle: Female identifying, 20s-30s, any race/ethnicity. Ella’s stepsister and daughter of Madame. Encouraged by her mother and sister to value material wealth and social status, she unenthusiastically joins them in their abrasive behavior. Quietly passionate, empathetic, and witty, she is drawn to Ella and Jean-Michel. Ironically aware that she doesn’t fit in. Range, Soprano C4-G5.
Charlotte: Female identifying, 20s-30s, any race/ethnicity. Ella’s stepsister and daughter of Madame. Brash, self-centered, materialistic, snooty, loud, sassy, and bratty, has a ridiculously high, but unfounded opinion of herself. She never passes up an opportunity to be the center of attention. Range, Mezzo-Soprano B3-F5.
Marie: Female identifying, any age, any race/ethnicity. A friend to Ella and the town’s resident crazy lady and beggar woman, Marie is actually a fairy godmother in disguise. Wise, warm, otherworldly, and charming. Marie rewards Ella for her kindness by making her dreams a possibility. Range, Soprano A3 – Ab5.
Madame: Female identifying, 50s-60s, any race/ethnicity. Ella’s selfish stepmother. The epitome of vanity and fashion. A ravenous social climber who values wealth, status, and material possessions above all else. Unapologetically dismissive and sometimes cruel, Madame schemes her way up the social ladder. Range, Mezzo-Soprano C4-D5.
Sebastian: Male identifying, 40s-50s, any race/ethnicity. The kingdom’s Lord Chancellor. Though he is Topher’s trusted advisor, he is devious and selfish. Using propaganda and dishonesty, he keeps Topher isolated and in the dark about his kingdom. Sebastian rules without regard for the lower class, or anyone other than himself – and truly believes he deserves to rule the kingdom. Range, Baritone C3 – F4.
Lord Pinkleton: Male identifying, any age, any race/ethnicity. The Lord Chancellor’s right-hand man. Announces royal balls, banquets, and even the weather to the villagers. Range, Tenor D3 – A4.
Book, Music & Lyrics: Dave Malloy
Director: Lynne Collins
Choreographer: Grady Soapes
Music Director: TBD
LORT D Contract
Black Box Theatre
Dates:
FIRST REHEARSAL: January 16th, 2024
OPENING: February 16th, 2024
CLOSING: March 31st, 2024
Principal Character Descriptions: Please indicate if you play an instrument.
Natasha: Female Identifying, 20-30, any race/ethnicity. Innocent, wide-eyed, ingenue who is dangerously romantic; range, soprano, G3-F5 (Belt to C5)
Pierre: Male identifying, 30-50, any race/ethnicity. A melancholy outsider despite being very wealthy. Gruff yet at times warm; range, bari-tenor, Ab2-Ab4. Required Skills: Plays accordion and piano/keyboards.
Anatole: Male identifying, 22-35, any race/ethnicity. Aristocrat and hedonistic, ambisexual, high operatic Tenor. Ability to play violin a bonus; range, tenor, B2-C#5; C#5 belted, access to E6 for riffing preferred.
Sonya: Female identifying, 19-29, any race/ethnicity. Natasha's dear friend and confidante, passionate, selfless, loyal, and devoted to her friend; range, mezzo-soprano, B3-C5; Belt to A4.
Hélène: Female identifying, 29-42, any race/ethnicity. Aristocrat, the queen of society. Deceptive and amoral. Highly sexualized with a good sense of humor; range, alto, G3-F5; belty alto.
Dolokhov: Male identifying, 27-36, any race/ethnicity. An enigmatic officer, hedonistic and a bit of a sociopath, remorseless and regretful. Should play guitar if possible; range, baritone, E3-F4.
Old Prince Bolkonsky: Male identifying, 40’s, any race/ethnicity. A conservative, old-fashioned aristocrat whose dementia has causes him to be alternately nasty and incapacitated. Lives with his still unmarried daughter, Mary. Helpful if plays guitar. NOTE: May double with Andrey; range, baritone, Ab3-F4.
Andrey: Male identifying, 20s-40s, any race/ethnicity. Prince Andrey, is the finest catch in all of Russia. incredibly handsome and a noble officer, very serious. Old before his time and carrying a weight on his heart and mind. NOTE: may double with Bolkonsky; range baritone, F2-Eb3.
Mary: Female identifying, 20’s-30’s, any race/ethnicity. Lonely, plain, spinster daughter of a wealthy price. She is resigned to her father’s cruelty. 20's to 30s; range, Mezzo-Soprano, G3-B4. Has command of extended vocal techniques (e.g. glottal yodeling, ululation).
Balaga: Male identifying, 20’s-40’s, any race ethnicity. A Russian troika driver, a larger-than-life fantasy-like character. Has supernatural abilities with his troika and can drink incredible amounts. Lower class and bold; range, baritone, A2-E4.
Playwright: Michael Frayn
Director: Geoffrey Kent
LORT B Contract
Mainstage Theatre
Dates:
FIRST REHEARSAL: February 22nd, 2024
OPENING: March 22nd, 2024
CLOSING: May 5th, 2024
Principal Character Descriptions:
Dotty Otley / Mrs. Claket: Female identifying, 40s-50s, any race/ethnicity. (Off stage Dotty) A middle aged British television star, top-billed star in the play and principal investor. Forgetful. Dating much younger Garry, though she attempts to make him jealous by meeting with Freddy. (On Stage Character: Mrs. Clackett): A Cockney Housekeeper for the Brent’s home in England. Hospitable, though slow.
Garry Lejune / Roger: Male identifying, 30s-40s, any race/ethnicity. (Off stage: Garry) The play’s leading man, pompous and self-absorbed. Always is completing sentences with, “you know…” Easily fired up, repeatedly tries to attack Freddy after believing that Dotty was cheating on him with Freddy. Speech affectations disappear onstage but are ever- present offstage. Dating Dotty. Character does a pratfall going down a staircase. (On Stage Character: Roger): An English Real estate agent who is attempting to rent Flavia’s and Phillip’s home, but uses it for his own personal benefit.
Frederick Fellows / Philip Brent/ Sheik: Male Identifying, 30s-50s, any race/ethnicity. (Off stage: Freddy) An actor with a serious fear of violence and blood. Well-meaning, but not too bright. Gets nosebleeds easily. Often questions the meaning of his lines and moves. Blames himself often for things going wrong. (On Stage Character: Phillip Brent): An Englishman who lives out of the country with his wife Flavia to avoid paying taxes. He enters the country knowing that if he is caught by Inland Revenue, he will lose most of the year’s income. (On Stage Character: Sheikh): Middle-Eastern, Interested in renting Flavia’s and Phillip’s home and is the spitting image of Phillip.
Belinda Blair / Flavia Brent: Female Identifying, 30s-50s. any race/ethnicity. (Off stage Belinda): Cheerful and sensible, a reliable actress, cast mother. She may have feelings for Freddy. (On Stage Character: Flavia Brent): Phillip Brent’s English wife. She is dependable, though not one for household duties.
Brooke Aston / Vicki: Female identifying, 20s-30s, any race/ethnicity. (Off Stage: Brooke) young, inexperienced actress from London, gorgeous, oblivious, distracted. Pays no attention to other performers, either in performance or backstage. She seems as though she is not really present – like she is somewhere else inside her head. Is always losing her contact lenses. One-third of a Lloyd–Poppy–Brooke love triangle. (On Stage Character: Vicki): An English woman who works for Inland Revenue and is trying to woo Roger. Appears in bra and panties.
Lloyd Dallas: Male identifying, 40s-50s, any race/ethnicity. Pretentious and moody director of the play within the play (Nothing On), sarcastic sense of humor Temperamental. One third of a Lloyd–Poppy–Brooke love triangle.
Poppy Norton-Taylor: Female identifying, 30s, any race/ethnicity. ASM and understudy to the female roles. Mousy and shy, easily flustered. Emotional and over-sensitive, and envious of Brooke, whom she understudies. Pregnant with Lloyd’s baby. One-third of a Lloyd-Poppy-Brooke love triangle.
Timothy Allgood: Male identifying, 20s-30s, any race/ethnicity. Inexperienced, over-worked, stressed SM of the play within the play, understudy to the male roles in the play within the play.
Selsdon Mowbray / Burglar: Male identifying, 60s-70s, any race/ethnicity. (Off Stage: Selsdon Mowbray): An elderly alcoholic Englishman who hides his bottles onstage. If he is not in sight while rehearsing, the stage crew must find him before he passes out. Is hard of hearing when he wants to be. (On Stage Character: Burglar): Old Cockney man in his seventies, breaking into the Brent’s home.
Equity encourages everyone participating in the auditions to wear a two-ply cloth face mask, surgical mask, singer’s mask or respirator (N95, KN95 or KF94). Single-ply face masks, gaiters and bandanas are not recommended. Singer’s masks can be found at www.broadwayreliefproject.com/singersmask.
Equity encourages members to prepare for their audition prior to arriving at the audition venue, to the extent that they can (e.g., get dressed, hair/make-up, etc.) to avoid crowding in bathrooms and dressing rooms.
Holding/Audition room information:
The audition room can accommodate no more than 28 individuals at a time.
The holding room can accommodate no more than 80 individuals at a time.
Denver Center for the Performing Arts Casting Statement: The Denver Center intends to lead all decisions from selecting each play to the final bow, with empathy and respect. We acknowledge that race, gender, ethnicity, and physical abilities of the actors on stage have meaning, and we want to be
mindful of that throughout our practices. Our casting process will be led with thoughtfulness and appreciation of the artists we encounter, and any level of discrimination will not be tolerated. We do not want to assume that the space you are entering or have entered is fully inclusive of your needs, but instead want to create an environment and expand our conditions that allows for your multi-faceted personhood to thrive and feel welcome. Some roles in the season will be understudied. Some roles will have an understudy.
2023/2024 Denver Center for the Performing Arts Productions & Character Descriptions
Music & Lyrics: Stephen Sondheim
Book: Hugh Wheeler
Director: Chris Coleman
Choreographer: Candy Brown
Music Director: Angela Steiner
LORT B Contract
The Wolf Theatre
Dates:
FIRST REHEARSAL: July 28th, 2023
FIRST TECH: August 24th, 2023
FIRST PREVIEW: September 1st, 2023
OPENING: September 8th, 2023
CLOSING: October 8th, 2023
Winner of seven Tony Awards, A Little Night Music has inspired decades of theatre-lovers with its masterful music and lyrics by Stephen Sondheim (Company, West Side Story), an unforgettable book by Hugh Wheeler (Candide, Sweeney Todd), and its iconic number, “Send in the Clowns.”
Love makes fools of us all. Lean into the comedy of it with A Little Night Music, which traces the plotting, flirting, and foibles of three affluent couples in circa-1900 Sweden. In the perpetual twilight of the Nordic summer, lovers waltz in and out of each other's lives and arms during a weekend romp in the country.
Join the DCPA Theatre Company for a lighthearted, airy production of one of Sondheim’s most beloved musicals!
Seeking:
Fredrik Egerman – late 40’s, male-identifying, any ethnicity. A successful, widowed middle-aged lawyer, Fredrik has an easy sense of command, but can get stuck in his head. He has an understated sex appeal. After the death of his first wife, he married a much younger woman (and it’s not going so well). He has one son from his previous marriage, Henrik. The play brings him back into the orbit of Desiree, the great love of his life. Baritone (A2-E4)
Anne Egerman – early 20’s, female-identifying, any ethnicity. Excited to be married to such a successful and established man (Fredrik), Anne is also trying to understand what exactly isn’t working about her relationship. Attractive, funny, and energetic. Legit Soprano (G#3-A5)
Henrik Egerman – early 20’s, male-identifying, any ethnicity. Henrik is studying to be a minister in the Lutheran church: he has a natural pull toward the deeper meaning in life and can sometimes miss out on the fun. He struggles. His libido, however, is not cooperating. Stepson to Anne, he is torn between his physical desires for her and his attempted encounters with Petra. Legit Tenor (G3-B4) Actors who
plays cello are encouraged to audition - not required.
Petra – late 20’s, early 30’s, female-identifying, any ethnicity. Anne’s maid and closest confidante, Petra has an instinctive connection to the earth, and a natural sensuality. Not much impressed with the fancy people around her. She has relations with Henrik. Mezzo (F#3-F5)
Desiree Armfeldt – late 40’s, female-identifying, any ethnicity. Once one of the most celebrated actresses in the country, Desiree now finds herself touring the countryside in what is clearly not the “glamorous life”. She is sexy, funny, and absolutely in charge of her own destiny. The play brings her back into the orbit of Fredrik, who was the great love of her life some fourteen years ago. Mezzo (F#3- Ab4)
Fredrika Armfeldt – 13, female-identifying, any ethnicity. Desiree’s young, witty daughter who is very self-contained and formal with the precise diction of the convent trained. Somewhat wise beyond her years. Alto (C4-Eb5)
Madame Armfeldt – 70’s, female-identifying, any ethnicity. Desiree’s deliciously honest mother, Madame Armfeldt holds the highest social position in the play’s world. In her youth, she had romantic relationships with some of the most powerful men in Europe. A bit grand. Alto (C3-F#5)
Count Carl-Magnus Malcolm – 40’s, male-identifying, any ethnicity. A vain and forceful military officer who is Desiree’s latest lover. He has a vigorous libido and is hugely possessive when it comes to both his wife and mistress. Operatic Baritone (G2-F#4)
Countess Charlotte Malcolm – 30’s, female-identifying, any ethnicity. Witty, sardonic, and strategic, Charlotte daily navigates the challenges of living with a man (Carl-Magnus) who is openly unfaithful. While she’s made a kind of quiet truce with her situation, she longs to be valued and to have an authentic connection with her husband. Mezzo (G3-F5)
Mr. Lindquist– 40’s to early 50’s, any ethnicity. A member of the Quintet who acts as a Greek chorus, a classically trained legit singer, good with harmonies, and has a great sense of elegance, sensuality, and wit. This role will cover principal role(s), TBD. (G2-G#4)
Mr. Erlanson/ Frid – late 30’s to early 50’s, any ethnicity. Mr. Erlanson is a member of the Quintet Denver Center & Arvada Center 2023-24 Seasons - NYC EPA Page 10 of 22
who acts as a Greek chorus, a classically trained legit singer, good with harmonies, and has a great sense of elegance, sensuality, and wit. Frid is Madame Armfeldt’s servant and has a tryst with Petra. This role will cover principal role(s), TBD. Tenor (G#2-A#4)
Mrs. Nordstrom– 40’s to early 50’s, any ethnicity. A member of the Quintet who acts as a Greek chorus, a classically trained legit singer, good with harmonies, and has a great sense of elegance, sensuality, and wit. Malla is Desiree’s servant who is with her constantly. This role will cover principal role(s), TBD. Soprano (G#3-E6)
Mrs. Anderssen– 40’s to early 50’s, any ethnicity. A member of the Quintet who acts as a Greek chorus, a classically trained legit singer, good with harmonies, and has a great sense of elegance, sensuality, and wit. This role will cover principal role(s), TBD. Soprano (G#3-A#5)
Mrs. Segstrom– 40’s to early 50’s, any ethnicity. A member of the Quintet who acts as a Greek chorus, a classically trained legit singer, good with harmonies, and has a great sense of elegance, sensuality and fun. This role will cover principal role(s), TBD. Mezzo-Soprano (G#3-G#5)
Male Offstage Cover – 30’s, any ethnicity. Covers Mr. Erlanson, Mr. Lindquist, & Henrik.
Female Offstage Cover – 30’s to 40’s, any ethnicity. Covers Mrs. Nordstrom, Mrs. Anderssen, Mrs. Segstrom, & Count Charlotte Malcolm.
**This production will be understudied**
Playwright: Lynn Nottage
Director: Jamil Jude
LORT D Contract
The Kilstrom Theatre
Dates:
FIRST REHEARSAL: September 26th, 2023
FIRST TECH: October 20th, 2023
FIRST PREVIEW: October 27th, 2023
OPENING: November 3rd, 2023
CLOSING: November 26th, 2023
In this feisty new comedy by two-time Pulitzer Prize winner Lynn Nottage (Sweat, Ruined), you’ll become a fly on the wall of Clyde’s, a roadside sandwich shop, in all its gastronomical glory. At Clyde’s, formerly incarcerated individuals cook up meals that range from sublime to soul-crushing. Even as the surly shop owner tries to keep them under her thumb, their kitchen mentor, Montrellous, guides them on a quest to create the perfect sandwich – and reclaim their lives.
Clyde’s is an extraordinary work that dances effortlessly between moments of searing pain and outrageous humor. It’s a work Variety calls “a flavor-bomb of a new comedy.” It’s the sustenance you didn’t know you needed — until now.
Seeking:
Clyde – 30-50, female-identifying, African American. Owner of the truck stop who gives second chances to incarcerated individuals; leads a firm and tight ship with the goal of changing the lives of her employees. Loud, brassy, and doesn’t tolerate nonsense, and will call you out.
Montrellous – 40-50, male-identifying, African American. Mindful cook at the sandwich stop who served many years in prison. A sensei in the kitchen, he worships his food, and has high respect from the line cooks in the shop.
Rafael – 20-30, male-identifying, Latinx. Formerly incarcerated romantic who loves food and works as a line cook at the stop.
Letitia – 20-30, female-identifying, African American. Recently released from prison, she is trying to regain her footing and start a new life while working as another line cook at the stop.
Jason – 20-30, male-identifying, white supremacist, tattooed-faced, and quite moody who is new to working at the stop.
**This production will not be understudied**
Playwright: Charles Dickens, Adapted by Richard Hellesen
Director: Anthony Powell
Choreographer: Grady Soapes
Music Director: Darius Frowner
Scenic Design: Vicki Smith
Costume Design: Kevin Copenhaver
Lighting Design: Wen-Ling Liao
Sound Design: Melanie Chen Cole
LORT B Contract
The Wolf Theatre
Dates:
FIRST REHEARSAL: October 24th, 2023
FIRST TECH: November 9th, 2023
FIRST PREVIEW: November 17th, 2023
OPENING: November 24th, 2023
CLOSING: December 24th, 2023
An opulent re-telling of a timeless Christmas classic! Essential to the holiday season in Denver, A Christmas Carol is a joyous and opulent musical adaptation for the whole family that traces money hoarding curmudgeon Ebenezer Scrooge’s triumphant overnight journey to redemption.
Based on Charles Dickens’ classic novel, the DCPA Theatre Company’s “blessedly exhilarating!” (Westword) production illuminates the meaning of the holiday season in a way that has resonated for generations.
Seeking:
EBENEZER SCROOGE – (Male-identifying, any ethnicity, mid-50’s to 60’s) Driven by greed and resentment, Ebenezer Scrooge is a man who has locked himself away from the world. Past disappointments have hardened into icy intolerance for anyone or anything that threatens his personal status quo. Flinty, tight-fisted and “solitary as an oyster,” Scrooge fears change above all else – but when it finally comes, this misanthropic miser transforms overnight into the man he was born to be: generous, affectionate, and alive with childlike wonder.
BOB CRATCHIT – (Male-identifying, any ethnicity, 30’s to early 40’s) Scrooge’s underpaid and overworked clerk. Good-hearted, caring and kind, Bob Cratchit just can’t help but wear his heart on his sleeve. He’s reticent in public, boisterous at home, and always does his best to stay positive – even when sickness and financial instability threaten the well-being of his beloved family.
FIRST SUBSCRIPTION GENTLEMAN / DICK WILKINS / THE UNDERTAKER’S MAN– (Male identifying, any ethnicity, 20’s) The First Gentleman is an up-and-coming businessman collecting donations for the poor of London; he’s never encountered anyone like Scrooge before. Dick Wilkins is young Ebenezer’s best friend, outgoing and confident. The Undertaker’s Man is a weaselly punk who sells the belongings of dead people on the cheap.
MR. FEZZIWIG / SECOND SUBSCRIPTION GENTLEMAN / OLD JOE – (Male-identifying, any ethnicity, 40’s to early 50’s) Mr. Fezziwig is Scrooge’s first employer, a man who knows how to make money and spend it for the benefit of others. He’s sprightly, exuberant, and more than a little zany – a whirling dervish whose dearest wish is to make everyone around him happy. The Second Gentleman is another philanthropic businessman raising money for the underprivileged; he really doesn’t want to let Scrooge off the hook. Old Joe is a lowlife fence for stolen goods. He’s funny and fond of putting on airs – but still plenty dangerous.
FRED / THE FIDDLER– (Male-identifying, any ethnicity, mid-to-late 20’s) Fred is Scrooge’s nephew, a Denver Center & Arvada Center 2023-24 Seasons - NYC EPA Page 13 of 22
young professional with the proverbial heart of gold. He’s optimistic, cheerful, and a bit mischievous. Despite everything, Fred has great compassion for his difficult Uncle, and that same sense of empathy extends outward into the world at large. The Fiddler is a jovial sort who keeps things hopping every year at the Fezziwig’s’ annual Christmas party.
GHOST OF JACOB MARLEY / FRED’S PARTY GUEST – (Male-identifying, any ethnicity, 40’s) Jacob Marley is Scrooge’s former business partner, seven years dead and hungry for redemption. He’s possessed by sadness, rage and deep regret for a life horribly misspent. He also happens to be scary as hell – and an ironist of the first rank. Fred’s Party Guest is a friend of Fred’s from work, amiable and down-to-earth.
GHOST OF CHRISTMAS PRESENT / SCHOOLMASTER (Male-identifying, any ethnicity, 40’s) The Ghost of Christmas Present is a big, bountiful spirit – jolly and wise by turns, he’s the very embodiment of goodwill. Christmas Present is a commanding, larger-than-life figure, but love and sympathy for humankind suffuse his every word and gesture. The Schoolmaster appears in one of Scrooge’s bittersweet childhood memories.
EBENEZER AS A YOUNG MAN / GHOST OF CHRISTMAS YET TO COME – (Male-identifying, any ethnicity, 20’s) In most things, Young Ebenezer is the opposite of his older self: he’s passionate, romantic, and open to new experience. The world is an exciting place for him, and Ebenezer envisions a bright future ahead. He’s deeply in love with his fiancé, Belle, but the desperate importance Ebenezer attaches to worldly success eventually spells doom for their relationship. The Ghost of Christmas Yet to Come is a dark and looming phantom capable of great eloquence – despite the stony silence it maintains.
PETER CRATCHIT / SUITOR #1 – (Male-identifying, any ethnicity, late teens) – The Cratchits’ oldest son Peter is earnest and attentive. He can be playful, too, but tries hard to be the man of the house when Bob is away. Suitor #1 is the youngest (and most awkward) of three young gentlemen paying court to the Fezziwig daughters.
TOPPER / SUITOR #2 – (Male-identifying, any ethnicity, 20’s to early 30’s) Topper is one of Fred’s good chums, a somewhat rowdy bachelor with an eye for the ladies. He’s high-spirited and fun to be around. Suitor #2 is another irrepressible admirer of the three Miss Fezziwig’s.
MALE DEBTOR/BELLE’S HUSBAND/ SUITOR #3 – (Male-identifying, any ethnicity, 20’s to early 30’s) The Male Debtor is an impoverished young husband anguished at the thought of going to prison. He’s vulnerable and very nearly at the end of his rope. Belle’s Husband is a thoughtful fellow who understands the true depths of Scrooge’s loneliness. Suitor #3 is the final member of that romantic trio enthralled by the Fezziwig girls.
OLDER BELLE / STREET SINGER / FEZZIWIG DAUGHTER #1 / FRED’S PARTY GUEST– (Female-identifying, any ethnicity, 20’s to early 30’s) Just as sweet and full of grace as her younger self, Older Belle is now happily married, but saddened at the thought of Scrooge being so alone in the world. The Street Singer is a charismatic and lovely-voiced young woman who first ushers us into the world of A Christmas Carol. Fezziwig Daughter # 1 is a heartbreaker, beaming and flirtatious. Fred’s Party Guest is in attendance with her husband. She’s a genial person with a nicely tart sense of humor.
MRS. CRATCHIT – (Female-identifying, any ethnicity, 30’s to early 40’s) Bob’s supportive wife and the loving mother to their children, Mrs. Cratchit is adored by her family. She’s generous and hopeful by nature, but also determined and realistic. In tough times, she’s the pillar of strength that keeps all the Cratchits going. She can also read her husband Bob like a book.
THE GHOST OF CHRISTMAS PAST/ FEMALE DEBTOR – (Female-identifying, any ethnicity, 20’s to early 30’s) A benevolent spirit who seems either very, very young or very, very old, The Ghost of Christmas Past is an ethereal being made almost entirely of light. She’s compassionate, humorous, and so outwardly gentle with Scrooge that one might not notice the fierce determination which underlies her every action. The Female Debtor has been so worn down by poverty and the threat of imprisonment that she becomes almost unglued at the mention of a possible reprieve.
MARTHA CRATCHIT / MAID #1 / FEZZIWIG DAUGHTER #2 – (Female-identifying, any ethnicity, late teens to early 20’s) Martha Cratchit is the eldest Cratchit child, industrious, cheerful, and full of tenderness towards her family. Just like her mother, Martha is someone who can always be depended upon. Maid #1 is among the many Londoners who help narrate the story. She’s perhaps a little flip about Scrooge and his ugly old house. Fezziwig Daughter #2 is the youngest of the Fezziwig Girls, vivacious and fun-loving.
BELLE / MAID #2 / THE WIFE’S SISTER - (Female-identifying, any ethnicity, 20’s) Belle is a smart, caring, charming young shopgirl – and the only love of Scrooge’s life. She’s also forthright and strong enough to walk away from her engagement to Scrooge once his passion for money becomes overpowering. Maid #2 is another Londoner who helps tell our story. She’s a bit unnerved by the thought of Scrooge and his gloomy suite of rooms. The Wife’s Sister is one of the guests at Fred’s holiday party. She’s got something going on with Topper, and it makes her deliriously happy.
MRS. FEZZIWIG / CHARWOMAN – (Female-identifying, any ethnicity, late 30’s to 40’s) Mrs. Fezziwig is a warm-hearted human being constantly on the lookout for ways to make other people happy. Energetic and expansive, she’s a big personality who seeks to turn every day into an excuse for joyous play. Mrs. Fezziwig loves singing and dancing – she more than matches her husband in sheer effervescence. The Charwoman is another one of the looters selling stolen merchandise to Old Joe. She’s crafty and pseudo-philosophical about life’s ups and downs.
FRED’S WIFE / FEZZIWIG DAUGHTER #3 / LAUNDRESS – (Female-identifying, any ethnicity, 20’s) Fred’s Wife is kind and welcoming (even to Scrooge!), and witty to boot. She’s quite convivial, but at the same time – nothing gets past her. Fezziwig Daughter # 3 is the eldest and most serious of these delightful siblings. The Laundress is another vulture who sells items once owned by the recently deceased. She fancies herself a savvy young woman of business.
**This production will be understudied**
Playwright: Leonard Madrid
Director: Jerry Ruiz
LORT D Contract
The Singleton Theatre
Dates:
FIRST REHEARSAL: December 26th, 2023
FIRST TECH: January 19th, 2024
FIRST PREVIEW: January 26th, 2024
OPENING: February 2nd, 2024
CLOSING: March 10th, 2024
Three middle-aged Chicanas are forced to take an unexpected road trip from Albuquerque to Denver. Making their way north on I-25, they don’t travel for business or for pleasure. They just need to transport a dead body across state lines. But, then again, what are sisters for?
Speeding past the familiar locales of Bernalillo, Santa Fe, Huerfano, Colorado Springs, and Castle Rock, they reflect on shared family history and muse about the lives their daughters might live. On this seemingly endless stretch of highway, their bickering, laughter, singing, and discoveries will fundamentally change – and strengthen – their relationship.
New Mexican culture and the immutable bond of sisterhood take center stage in this outlandish comedy, which garnered stellar audience response at the 2022 Colorado New Play Summit.
Seeking:
Yolie – 20-30, female-identifying, Latinx. The youngest if unfulfilled potential had posters, she’d be on them. Very, very pregnant throughout the play.
Celia – 30-40, female-identifying, Latinx. Older than Yolie by at least 6 years, but the middle child in the family. A nurse, a career reluctantly chosen by herself.
Tere – 40-50, female-identifying, Latinx. The eldest child in their family, who’s a little bit mean. When she was born, the doctor spanked her, and she punched him in the face.
*All actors in this production should have strong physical comedy skills*
**This production will not be understudied**
Playwright: Kirsten Potter
Director: Chris Coleman
LORT D Contract
The Kilstrom Theatre
Dates:
FIRST REHEARSAL: January 9th, 2024
FIRST TECH: February 2nd, 2024
FIRST PREVIEW: February 9th, 2024
OPENING: February 16th, 2024
CLOSING: March 10th, 2024
Based on a true story, Rubicon tracks the career of one of history’s most effective spies. Starting in the years leading up to World War II, the plot follows Elizabeth “Betty” Pack as she transitions from society wife and mother to steely, seductive agent for British and American Intelligence. As missions take her from Madrid to Warsaw to Washington, Betty uses her charm, beauty, and intellect as tools of espionage, leveraging her sexuality to influence global affairs.
Overflowing with intrigue and wit, Rubicon is an engaging portrait of an unsung heroine and the sacrifices she makes to change the course of the war. It addresses the stigma attached to choosing professional determination and personal agency over traditional gender expectations. It’s a work that’s suspenseful, seductive, and surprising all at once.
An audience favorite at the 2022 Colorado New Play Summit, DCPA Theatre Company is proud to present the world premiere of Rubicon!
Seeking:
Betty – 20-40, female-identifying, any ethnicity. Betty Pack (née Amy Elizabeth Thorpe) begins the play as an ambitious, rebellious east coast debutante. Chameleonic and charismatic, we watch her transform and adapt, eventually becoming one of the leading-- and least well known-- international spies of WW2.
Woman – This track includes a number of characters, some of which may be of various genders or ages. 40-60, female-identifying, any ethnicity. Plays Cora (Betty's mother, a Mid-Atlantic Socialite), Mrs. Chilton (a proper Brit and diplomat's wife), Dance Partner #1 (American, an Ass), Jack (Estuary, an ambitious spy), Senator Vandenberg (American, ethical), & Anthony (Betty's child, British).
Man 1 – 40-60, male-identifying, any ethnicity. Plays Sean (an American “artist”), Dance Partner #2, Beaverton (a senior British spy), & Granville (a smarmy Frenchman).
Man 2 – 30-40, male-identifying, any ethnicity. Plays Sir Henry Chilton (a proper British diplomat), Antonio (a charming Spaniard), Senator Connelly (American/Texas, lustful), & Charles Brousse (a charming and clever Frenchman).
Man 3 – 20-40, male-identifying, any ethnicity. Plays Arthur Pack (a young British diplomat, Betty's first husband), Michael Lubienski (Polish, romantic), & Paul Fairly (American, former military, currently a spy.)
**This production will not be understudied**
Playwright: Kate Hamill, based on the novel by Jane Austen
Director: Meredith McDonough
LORT B Contract
The Wolf Theatre
Dates:
FIRST REHEARSAL: March 5th, 2024
FIRST TECH: March 28th, 2024
FIRST PREVIEW: April 5th, 2024
OPENING: April 12th, 2024
CLOSING: May 5th, 2024
A delightfully unconventional and fun adaptation of Jane Austen’s classic comedy.
Ever the romantic, Emma Woodhouse prides herself on being the best matchmaker in town. Goaded by her friend George Knightley, she sets out on a quest to set up the adorable ingénue Harriet with a fitting suitor. But love has its own agenda with plenty of twists and turns in store – including a few for Emma herself.
This rendition of Emma is a joyous, irreverent take in conversation with the Regency novel. In a new adaptation that’s a bit zany and refreshingly contemporary, playwright Kate Hamill infuses the language and perspectives of today into Austen’s beloved characters. You may be surprised by who says what — and how. One thing's for sure, you’ll never see Emma the same way again.
All actors should have an EXCELLENT sense of humor and command of language – be able to speak the text at speed of thought, as well as commit to high-stakes emotion. The tone is much much more akin to screwball comedy than “classic” Jane Austen. Abandon stiff ideas of style. All characters speak with an RP accent.
Seeking:
Emma Woodhouse- (Female-identifying, any ethnicity, late 20’s – 30’s) almost unbelievably charming; a natural comedienne. Often speaks in a kind of half-serious self-deprecatory, witty nonsense. Bouncily flirty; possesses more power of manipulation than even she understands; has a certain sunny, charming self-regard - it’s what allows her to get away with so much. Very very VERY clever – and fancies herself even more clever than she is. Capable of getting ahead of herself and edging towards know-it-all. Incredibly dexterous, verbally. Capable of being unfair or short-sighted or impetuous; maybe a bit overindulged. Grew up with wealth. Can be a bit overconfident and self congratulatory. Capable of getting quite competitive. Generous with those she considers family. Eminently lovable and eminently fallible. Has emotional depth. Very educated but is not allowed a profession – and thus is a bit like a border collie without any sheep. Ahead of her time. Given the chance, she just might run the world.
Harriet Smith – (Female-identifying, any ethnicity, 20’s/as cast)a deeply likable girl from the lower classes, who’s been given a basic education. A sweet, naturally affectionate human being, but not the brightest flame in the stove. A born enthusiast; the kind of person who leaps WAY before she looks. Has a strong tendency towards hero worship. A born follower. VERY impressionable. Has a desperate adoring friend-crush on Emma. Has probably read too many romance novels. Wants to be in love. Gets flustered easily. A bit naïve. Truly cares about other people and takes joy in the little things.
Jane Fairfax – (Female-identifying, any ethnicity, 20’s-30’s) You know that girl who always seems to do everything right? Jane is that girl. An overachiever. Very composed. Very beautiful. Very discreet. Very accomplished. Very smart. Every hair in place, and it seems effortless. Works as a governess, until she quits under mysterious circumstances. The only girl-child in a family full of schoolteachers, and thus – seemingly – a model of perfect behavior. Maybe a little bit stiff. Under all of this A+ decorum, she’s hiding a love affair with Frank Churchill – she doubts he can be faithful. Is hiding deep passions under that flawless exterior.
Mrs. Elton – (Female-identifying, any ethnicity, 20’s-30’s) not bright. What’s more, she has a laugh that’s the auditory equivalent of nails being torn out of your fingers. Is delighted by everything. Her libido is…. Quite active. Thinks her new husband, Mr. Elton, is the most desirable thrilling brilliant man alive. A truly intolerable woman. May actually be a hyena, wearing a human suit. May also double with Mrs. Bates.
Mrs. Weston – (Female-identifying, any ethnicity, mid-30’s-late 40’s) Emma’s former governess. A very smart woman with a good sense of humor; very perceptive and grounded. Not afraid to tell it like it is. Capable of really teaching deep lessons. Not without edge, when she chooses. Likeable and opinionated. Gives great advice. Picture the coolest aunt imaginable.
Mrs. Bates (Female-identifying, any ethnicity, 70s+) This track may be covered by multiple other characters. An enthusiastic elderly lady, very hard of hearing, who communicates mostly in grunts and hand gestures. Mrs. Bates is completely obscured by bonnet and scarves and shawls; she’s a big pile of fabric, rather like Cousin It. We never see what’s underneath all the layers.
Miss Bates/Servant (Female-identifying, any ethnicity, 40’s+) headmistress of a struggling school for girls. An incredibly good-natured, if motor- mouthed and daft, woman. Very very proud of her niece Jane Fairfax, whom she talks about obsessively. Once she starts talking, you can’t get a word in edgewise.
George Knightley - (Male-identifying, any ethnicity, 30’s-40’s)a handsome man; a super charming man; an upright fellow. He’s also a bit of a rule-follower; maybe sometimes a bit of a stick in the mud. Very clever. Capable of getting ahead of himself and edging towards know-it-all. Can be competitive. Is preoccupied with Emma – they get under each other’s skin in the most delightful way. Gets quite jealous of Frank Churchill. Has the best intentions. Feels deeply. A genuinely good guy. Ultimately learns to admit vulnerability and share his feelings.
Mr. Elton - (Male-identifying, any ethnicity, any age) a weaselly clergyman. ADORES poetry. A born social climber. Fancies himself a great romantic. Thinks ladies are naturally coy and enjoy wordplay. Is determined to woo, and win. Thinks he oozes charm, probably just oozes.
Frank Churchill - (Male-identifying, any ethnicity, 20’s-30’s)an incredibly charming, handsome, mischievous flirt of a man - the kind of man who gets away with almost everything, because he’s so irresistible. Not a bad guy, really; just a bit too likable for his own good. Ladies love him. Funny. Gossipy. Clever. A little spoiled and manipulative. A bit unused to hearing “no”, and as a result, doesn’t really believe in “no.” Can be callous or unthinkingly cruel or self-indulgent. Wishes to reform but can’t…. always…. help himself. Enjoys half-truths and innuendo. Is, underneath everything, in love with Jane Fairfax – but that doesn’t mean other women become uninteresting to him.
Robert Martin– a sweet groundskeeper, in love with Harriet. Non-speaking. May also double with Mrs. Bates.
Mr. Weston - (Male-identifying, any ethnicity, 40’s-50’s) the kind of man who likes to make awkward “dad jokes.” Very very proud of his son, Frank Churchill. An unsubtle matchmaker. A good man; not a mean thought in his head. Maybe is prone to blurting out the wrong thing.
Also plays:
Mr. Woodhouse (60’s+) an over-anxious, melancholy hypochondriac, but people humor him, as he’s a nice man under it all. Obsessed with the healing powers of gruel. Tends to darkly predict fatal illnesses as a sign of concern.
**This production will be understudied**
Playwright: Brian Quijada
Director: Matt Dickson
Performer and Original Compositions: Satya Chavez
LORT D Contract
The Singleton Theatre
Dates:
FIRST REHEARSAL: April 2nd, 2024
FIRST TECH: April 12th, 2024
FIRST PREVIEW: April 19th, 2024
OPENING: April 26th, 2024
CLOSING: June 2nd, 2024
Nine-year-old Bee Quijada sits in a suburban classroom. During a history lesson on Rosa Parks, she asks, “Where did Latinos sit on the bus?”
What follows is a theatrical mixtape of Bee’s life. It’s a one-person show that immerses the audience in elaborate, layered soundscapes by fusing Latin rhythms, hip-hop, and spoken word poetry. And it’s all made, in-person, in real time, through the magic of live music and storytelling.
Where Did We Sit on the Bus? captures both the innocence of youth and the pressures that come with being the child of immigrants. It asks, “What is my place? Where do I fit in?” It builds from the ground up, one step at a time, taking audiences on a soulful musical journey as its hero finds hope and meaning through art.
*This production is already cast*
**This production will not be understudied**
Playwright: Stefano Massini
Director: Margot Bordelon
LORT D Contract
The Kilstrom Theatre
Dates:
FIRST REHEARSAL: March 29th, 2024
FIRST TECH: April 26th, 2024
FIRST PREVIEW: May 3rd, 2024
OPENING: May 10th, 2024
CLOSING: June 2nd, 2024
Winner of the 2022 Tony Award for Best Play and hailed as “a genuinely epic production” (The New York Times), The Lehman Trilogy follows three German-Jewish immigrant brothers, and their descendants, as they navigate fire, flood, war, and panic to build a financial behemoth that changed America.
In 1847, the Lehman brothers open a modest clothing shop in Alabama. But they have big dreams. They evolve as new opportunities arise. They capitalize on railroads, oil booms, personal computers, and, eventually, capital itself. They become so intertwined with the U.S. government, and in the daily lives of millions of stakeholders, that some begin to believe that Lehman Brothers, the institution, is too big to fail.
This extraordinary feat of storytelling uses only three actors to trace 163 years of family history and business. Until one day, in 2008, when it all comes crashing down...
All three actors must be physically robust and have a strong facility with language and various dialects, allowing them to masterfully transform. This is a three-hour show that is incredibly athletic-- physically, verbally, and emotionally. Looking for kind, collaborative actors with a strong sense of team spirit who are eager to engage in group devising as we stage the show.
Seeking:
Henry Lehman – 40-50. The oldest brother of the Jewish-immigrant trio, who also plays many other various characters. Possesses a keen blend of gravitas and sensitivity.
Emanuel Lehman – 30-50. The middle brother of the Jewish-immigrant trio, who also plays many other various characters. A dark edge. Strategic, ambitious, grounded, strong.
Mayer Lehman – 30-50. The youngest brother of the Jewish-immigrant trio, who also plays many other various characters. Repeatedly described as a “potato” Mayer is often underestimated, but he is observant, persistent, and possesses a unique sense of humor. Often acts as the mediator between his brothers.
**This production will be understudied**
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