Denver Center for the Performing Arts 2023-24 Season - Denver, CO EPA
Denver Center for the Performing Arts | Denver, CO
Notice: Audition Call Type: EPA
Monday, April 17, 2023
10:00 AM - 6:00 PM (M)
Lunch 1:00 PM - 2:00 PM
Beginning at 10AM (MT) on Monday, April 3rd, 2023 performers may request an audition appointment by visiting
denvercenter.org/casting. Appointments will be assigned on a first come, first serve basis. (Approx. 140 performers for the day). Performers will receive an email confirmation with audition details and a 30-minute window in which their appointment will take place. This audition date is intended for Equity members only.
LORT Non-Rep
$739 weekly minimum (LORT D)
$1008 weekly minimum (LORT B)
DCPA Theatre Company pays above LORT B minimum for all it's contracts.
Equity actors for roles in Denver Center for the Performing Arts' 2023-24 Season (See breakdown).
Some roles in the season will be understudied.
Please prepare two contrasting monologues. Singers should prepare a song from a musical standard and may forgo one monologue in lieu of a short song. Total audition package should be no longer than 3 minutes - an accompanist will be provided. Please bring your headshot and resume stapled together.
Newman Center for Theatre Education 1101 13th St
Denver, CO 80204
Photo ID will be needed to check in at the front desk - parking not provided.
Expected to attend:
Grady Soapes (he/him), CSA - DCPA Director of Casting
See breakdown for production specific personnel.
See breakdown for production specific dates. OTHER
An Equity Monitor will not be provided. The producer will run all aspects of this audition.
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 maximum capacity in the holding room is: 61
The maximum capacity in the audition room is: 75
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.
Music & Lyrics: Stephen Sondheim
Book: Hugh Wheeler
Director: Chris Coleman
Choreographer: Candy Brown
Music Director: Angela Steiner
LORT B Contract
The Wolf Theatre
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!
Fredrik Egerman – late 40s, 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 20s, 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 20s, 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) Plays cello - not required.
Petra – late 20s to early 30s, 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 40s, 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 – 70s, 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 – 40s, 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 – 30s, 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 – 40s to early 50s, 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 30s to early 50s, any ethnicity. Mr. Erlanson is 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. 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/ Malla – 40s to early 50s, 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 – 40s to early 50s, 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 – 40s to early 50s, 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 – 30s, any ethnicity. Covers Mr. Erlanson, Mr. Lindquist, & Henrik.
Female Offstage Cover – 30s to 40s, any ethnicity. Covers Mrs. Nordstrom, Mrs. Anderssen, Mrs. Segstrom, & Countess Charlotte Malcolm.
Theatre for Young Audiences (TYA Contract)
Book, Lyrics and Music: Chad Henry
Director: Allison Watrous
The Randy Weeks Conservatory Theatre
FIRST REHEARSAL: September 11th, 2023
FIRST TECH: September 28th, 2023
FIRST PREVIEW: October 5th, 2023
OPENING: October 10th, 2023
CLOSING: December 23rd, 2023
For all roles: this is authentic theatre storytelling for young audiences and their families - focused on PreK-3rd grade. The company of actors will reflect the diversity of our young audience members and their authentic engagement with the world. This production values the experience of childhood, curiosity, youth empowerment, joyful and truthful storytelling.
Track 1: Single role: Little Red. (Female-identifying, any ethnicity, 20s to 30s) Strong mover with good dance skills. Vocal: belt to soprano and/or strong musicality. An every-girl, authentic (no snark or apathy), joyful, expressive, physical, a critical thinker who delights in building friendships and solving problems. Red is a child of the outdoors – in this case, the woods.
Track 2: Multi-role: Mother, Grandmother, a Pig, Gretel (Female-identifying, any ethnicity, mid-30s to mid-40s) Strong dancer – musical theatre/jazz and any other style discipline. Vocal: soprano to alto – adult voice able to vary based on characters. Authentic, independent, supportive, adult figure – independent female households, bolsters their child/grandchild and sees her potential. Mother is less a character and more a role model while Grandmother could be a bit more of a character. Pig and Gretel are fairy-tale characters and require their own strong and vibrant physicality and playfulness. All characters: energy forward.
Track 3: Multi-role: Boy Who Cried Wolf (aka Sheep or Shepherd Boy), a Pig, Woodcutter, Hansel (Male-identifying, any ethnicity, 30s to mid-40s) Strong dancer – musical theatre/jazz and any other style discipline. Vocal: Baritone or tenor – adult voice able to vary based on characters. Authentic, independent, supportive, adult figure. Woodcutter is less a character and more of a role model while the other characters are fairy-tale characters and require their own strong and physicality and playfulness. All characters: energy forward.
Track 4: Multi-role: Wolf, Pig. (Male-identifying, any ethnicity, 20s to 30s) Strong dancer – musical theatre/jazz and any other style discipline. Vocal: High Baritone or 2nd Tenor – young adult voice able to vary based on characters. Very strong comedic skills – (based in charm and technique rather than sass) complimented by physicality and an authentic sense of discovery. This non-traditional version of the Wolf faces his own struggles with habitat and food resources and so must (joyfully) adapt to the circumstances he finds himself in. Eventually a friend to Red, he is never a physical threat but a performer with physicality that suggests a strong animal of the woods in compliment to Red’s a child of the woods is ideal. Character choices are never menacing, evil, snarky, or manipulative. Pig is a fairy tale character and requires a strong and vibrant physicality and playfulness. All characters: energy forward.
**This production will be understudied**
Playwright: Lynn Nottage
Director: Jamil Jude
LORT D Contract
The Kilstrom Theatre
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.
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
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.
EBENEZER SCROOGE – (Male-identifying, any ethnicity, mid-50s to 60s) 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, 30s to early 40s) 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, 20s) 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, 40s to early 50s) 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 20s) Fred is Scrooge’s nephew, a 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, 40s) 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, 40s) 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, 20s) 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, 20s to early 30s) 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, 20s to early 30s) 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, 20s to early 30s) 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, 30s to early 40s) 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, 20s to early 30s) 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 20s) 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, 20s) 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 30s to 40s) 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, 20s) 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
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.
*All actors in this production should have strong physical comedy skills*
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.
**This production will not be understudied**
Playwright: Kirsten Potter
Director: Chris Coleman
LORT D Contract
The Kilstrom Theatre
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!
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 – 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 son, 11 years old, 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
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.
Emma Woodhouse - (Female-identifying, any ethnicity, late 20s – 30s) 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, 20s/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/Mrs. Bates – (Female-identifying, any ethnicity, 20s-30s) Jane - 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. Bates - (Female-identifying, any ethnicity, 70s+) 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.
Mrs. Elton – (Female-identifying, any ethnicity, 20s-30s) 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/Mrs. Bates – (Female-identifying, any ethnicity, mid-30s-late 40s) Mrs Weston - 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+) 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 (Female-identifying, any ethnicity, 40s+) 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. Doubles as Servant.
George Knightley - (Male-identifying, any ethnicity, 30s-40s) 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/Mrs. Bates - (Male-identifying, any ethnicity, any age) Mr. Elton - 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. Mrs. Bates (Female-identifying, any ethnicity, 70’s+) 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.
Frank Churchill/Robert Martin - (Male-identifying, any ethnicity, 20s-30s) Frank Churchill - 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/Mr. Woodhouse - (Male-identifying, any ethnicity, 40s-50s) Mr. Weston - 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. Mr. Woodhouse - (60s+) 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
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
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.
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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