Ogunquit Playhouse | Ogunquit, ME
Monday, January 27, 2025
10:00 AM - 6:00 PM (E)
Lunch 1:30 PM - 2:30 PM
COST Special
$961 weekly minimum - Plus travel and housing
Equity actors for roles in Ogunquit Playhouse's 2025 Season (See breakdown).
Please prepare a brief song. Bring sheet music in the correct key and a stapled headshot and resume. An accompanist will be provided.
Pearl Studios (519)
519 8th Ave
12th Fl
New York, NY 10018
Holding room - Studio D
Bradford T. Kenney (Executive Artistic Director)
Amber Wallace (Artistic and New Works Associate)
Expected to attend:
Brian J. Swasey (Producing Director)
Joel DeCandio (Season Music Advisor)
Mark Brandon, CSA (Casting Director)
Jarrett Reiche (Casting Director)
Kendra Lucas (Casting Director)
Patrick Maravilla (Casting Director)
See breakdown for production specific personnel.
See breakdown for production specific dates.
Ogunquit Playhouse Website
EPA Procedures are in effect for this audition.
An Equity Monitor will be provided.
Book, Music, Lyrics: Irene Sankoff & David Hein
Director/Choreographer: Richard Hinds
Music Director: Sam Groisser
First Rehearsal (Maine)- April 29
First Preview- May 15
Opening- May 17
Closing- June 14
[CLAUDE] Male-Presenting, 40s-60s. The gregarious and well-liked Mayor of Gander, Newfoundland, Claude loves his work, the townspeople and his daily traditions, but he's never had to deal with a crisis of this magnitude before. Baritone.
[BONNIE] Female-Presenting, 30s-40s. A no-nonsense mother of three, Bonnie is the head of the Gander area SPCA. When she discovers animals are trapped on the planes, she stops at nothing to ensure their safety - but in frustration, she often lashes out at those around her. Alto/Soprano 2.
[BEULAH] Female-Presenting, 40s-60. The head of the Gander Legion, with a firefighter son, who walks Hannah to her church and prays with her. Mix belt.
[OZ] Male-Presenting, 30s-50. The quirky constable in the two-person Gander police force. When the town's population suddenly doubles, Oz helps out in unexpected ways. Tenor.
[JANICE] Female-Presenting, 20s. An eager new local TV reporter, Janice is thrown into the deep end on her first day. Initially naïve about the world, Janice must face the pain and confusion around her. Belt with soprano mix.
[BEVERLY/ANNETTE] Female-Presenting, 40s. [BEVERLY] The first female captain for American Airlines Pilot, Beverly Bass has always loved flying, when her world suddenly changes. [ANNETTE] A local teacher and librarian at the Gander Academy and a mother. A practical woman who, on occasion, has been known to drift off into a daydream. High mix/belt with soprano.
[DIANE] Female-Presenting, 40s. A traditional divorcee from Texas, who is terrified that her son may have been flying at the time of the attacks. When she finds out that he's safe, she's given a new lease on life and discovers a wilder more carefree side of herself. Alto with soprano.
[NICK/DOUG] Male-Presenting, 40s. [NICK] An English oil engineer who is focused on his work, Nick's life is turned upside down when he falls for Diane. [DOUG] An Air Traffic Controller, married to Bonnie, who tries to help his wife and the animals. Baritenor.
[KEVINT/GARTH] Male-Presenting, 30s. [KEVINT] The head of an environmental energy company in Los Angeles, Kevin was on vacation with his boyfriend (and secretary, also named Kevin), when they are stranded in Gander. Inspired by the town's generosity, Kevin creates the Pay It Forward Foundation. [GARTH] The head of the local union, representing the Bus Drivers. Tenor.
[KEVINJ/ALI] Male-Presenting, 30s. [KEVINJ] Kevin's T’s boyfriend and secretary. Sarcastic and unhappy, he is eager to leave as soon as possible. The events of September 11 make him reassess his life and his future. [ALI] A Middle Eastern chef who works for an international hotel chain. He is misunderstood at times and the subject of discrimination, but despite adversity, he shows resilience and kindness. Baritenor.
[BOB/MUHUMUZA] Male-Presenting, 30s. [BOB] A hardened New Yorker, Bob is suspicious of where he's landed, fearing that it's World War 3, that someone is going to shoot him and steal his wallet - but instead, he ends up losing his New York jadedness. [MUHUMUZA] A husband and a father. He is a protective man who, like his family, is rattled by the events of September 11 and is frightened that they are all being taken to a military compound. Baritone.
[HANNAH] Female-Presenting, 40s-60. The mother of a firefighter in Manhattan, Hanna waits for news about her son and is comforted by Beulah. Belt with soprano mix.
[SINGERS] 30s/40s/50s. Excellent singers to play various ensemble/standby roles and cover principal roles.
Book: Abe Burrows and Jo Swerling
Music and Lyrics: Frank Loesser
Based on The Idyll of Sarah Brown and characters by Damon Runyon
Director/Choreographer: Al Blackstone
Music Director: TBD
First Rehearsal (NYC) - June 2
First Preview- June 19
Opening - June 21
Closing - July 19
[SKY MASTERSON] Male-Presenting, 30s. A high-stakes gambler with seemingly endless luck, Sky is a charming and unpredictable figure who surprises even himself when he falls for a woman he never expected. Suave, intelligent, and attractive. Baritone.
[SARAH BROWN] Female-Presenting, 20s. A bright, idealistic woman who serves as the Sergeant of a local Mission. She is deeply committed to her cause of transforming gamblers into saints. Over the course of the show, she unexpectedly falls in love with Sky. Initially prude and uptight, she eventually loosens up. Soprano.
[NATHAN DETROIT] Male-Presenting, 40s. A good-natured but perpetually struggling gambler who runs a craps game but never seems to hit the big time. Though he loves Adelaide, he can't break free from his gambling habits. A schemer, though unwittingly so. Baritone.
[MISS ADELAIDE] Female-Presenting, 30s. Nathan's long-suffering fiancée and a lead performer at the Hot Box nightclub. She loves Nathan deeply and dreams of finally marrying him, despite his reluctance to settle down. Outspoken, headstrong, and charmingly stubborn. Mezzo.
[NICELY-NICELY JOHNSON] Male-Presenting, 30s - early 40s. True to his name, he is the sweetest and most cheerful of the gamblers. Naïve yet sincere, he's a loyal and devoted friend to Nathan, always ready to support his schemes. Tenor to a high B.
[BENNY SOUTHSTREET] Male-Presenting, 30s - early 40s. Nathan's loyal right-hand man and fellow gambler. Smooth and resourceful, he's always on the move, thinking he's looking out for Nathan's best interests. Tenor.
[HARRY THE HORSE] Male-Presenting, 30s - early 40s. A tough, money-driven gambler. He brings Big Jule into Nathan's craps game and stands by him through cheating schemes, though he's also a man of integrity in the gambling world. Tenor to a high B.
[BIG JULE] Male-Presenting, 40s. A tough, intimidating craps player from Chicago who uses rigged dice and threats to ensure his victories. Bulky and a bit clumsy, he relies on his gun and intimidating demeanor to get what he wants. Bass/Baritone.
[RUSTY CHARLIE] Male-Presenting, 30s - early 40s. A fellow gangster who has come into wealth by collecting a reward for his father's death. He's Big Jule's sidekick, but unlike his partner, Rusty Charlie is more calculated and level-headed, able to keep his cool when needed. Tenor.
[ARVIDE ABERNATHY] Male-Presenting, mid 50s - early 60s. The wise, gentle bass drum and cymbal player in the Mission band. Arvide is Sarah's beloved grandfather. His caring nature and desire for Sarah's happiness make him a stabilizing force in her life. Baritone.
[LT. BRANNIGAN] Male-Presenting, 40s. A no-nonsense New York police officer who is determined to shut down Nathan's illegal craps games. Tough and resolute, he is committed to catching Nathan in the act. Baritone.
[GENERAL MATILDA B. CARTWRIGHT] Female-Presenting, 40s. The regional leader of the Salvation Army. A commanding, no-nonsense woman with a strong presence, she also reveals a surprising sense of humor. Mezzo.
[DANCERS] 20s/30s. Excellent dancers who sing to play THE HOT BOX GIRLS and CRAP SHOOTERS to cover principal roles.
[SINGERS] 30s/40s. Excellent singers to play various ensemble roles and cover principal roles.
Music and Lyrics: Cole Porter
Book: Arthur Kopit
Additional Lyrics: Susan Birkenhead
Based on the play The Philadelphia Story by Philip Barry
Also based on the Turner Entertainment Co. motion picture High Society
Director: TBD
Choreographer: TBD
Music Director: TBD
First Rehearsal (NYC) - July 7
First Preview - July 24
Opening - July 26
Closing - Aug 23
[TRACY SAMANTHA LORD] Female-Presenting, Late 20s to Early 30s. Wealthy daughter of MARGARET LORD/SETH LORD who is about to marry her second husband. Elegant yet strong-willed. Mezzo-Soprano.
[MARGARET LORD] Female-Presenting, mid 40s. Wife to SETH and mother to TRACY. Epitome of high society matron. Sophisticated and poised. Mezzo-Soprano.
[SETH LORD] Male-Presenting, mid 40s. Husband to MARGARET and father to TRACY. A warm and friendly patriarch. Baritone.
[LIZ IMBRIE] Female-Presenting, 30s. A magazine photographer. Inquisitive with a sharp mind and tongue. Mezzo-Soprano.
[DEXTER C.K. HAVEN] Male-Presenting, Early to Mid 30s. TRACY’s former husband. Handsome and athletic graduate from Yale who is still in love with Tracy. Baritone.
[MIKE (MACAULAY) CONNER] Male-Presenting, mid 30s. A reporter/journalist pal of LIZ. Poetic, and honest fellow who falls in love with TRACY. Baritone.
[UNCLE WILLIE] Male-Presenting, 60s. Host of Tracy’s pre-wedding ball. Charming and witty with excellent comedic chops. Baritone.
[GEORGE KITTREDGE] Male-Presenting, Early 30s. TRACY’s fiancé. Dashingly handsome but not known for his mental prowess. Gullible. Baritone.
[SINGERS] 30s/40s/50s. Excellent singers to play various ensemble roles and cover principal roles.
Book: Colin Carberry & Glenn Patterson
Music and Lyrics: Various
Director: Hunter Foster
Choreographer: Ali Solomon
Music Director: TBD
First Rehearsal (NYC) - Aug 11
First Preview - Aug 28
Opening - Aug 30
Closing - Sept 27
[ELVIS PRESLEY] Male-Presenting, 30s. Ten years since he first exploded, seven since they sent him to the Army to be tamed, Elvis is 30 and at a crossroads. The money is still flowing in, the movies are still at the box office, but he’s stopped playing live, stopped releasing ground-breaking records, stopped scaring America’s parents: stopped being that Elvis. He watches The Beatles arrive in America to be met with the kind of frenzy he used to provoke. The King is being challenged. But maybe a challenge is exactly what the King needs. Baritone with Elvis stylization. Plays rhythm guitar and bass.
[CHRIS HUTCHINS] Male-Presenting, mid 20s/early 30s. Can’t believe his luck. Accepted into the Beatles’ inner circle – with a perspective no other journalist has – he is driven by the desire to remain at the center of things. But he is driven too (at times more) by the music-fan’s desire to see the greatest rock n roll show ever come to pass. He’s obsessed with the Beatles, but Elvis is his great love. He feels the band and the King share a unique connection, if only both sides could recognize it. And if they did, he can only imagine the magic that would result. Baritenor.
[JOHN LENNON] Male-Presenting, mid 20s/early 30s. There was no bigger Elvis fan growing up, and now no bigger Elvis-sceptic. John is the original rebel, conscious that he’s traveling the same path Elvis took, and anxious that he isn’t derailed, as his one-time hero was. The signs are there. Like Elvis, he’s been isolating himself. Like Elvis, he’s growing tired of the treadmill. Like Elvis, he feels like there needs to be a different way of doing things. John isn’t going to submit without a fight. And if that means picking one with Elvis, then so be it. Tenor with John Lennon stylization. Plays rhythm guitar.
[PAUL MCCARTNEY] Male-Presenting, 20s. Being Paul McCartney in the mid-1960s might seem the equivalent of winning the karmic lottery. Genius comes easy to him. But he has another Genius as a best friend, who sometimes doesn’t find things quite as straightforward. That’s when Paul’s other genius – for diplomacy and above all friendship – comes in too. Tenor with Paul McCartney stylization. Plays bass, guitar and keyboard.
[GEORGE HARRISON] Male-Presenting, 20s. The youngest Beatle, and the quietest, which is not the same as saying the most quiescent. George is as restless as John with the constraints of being Fab, and as ready as John (and Ringo come to that) to seek means of escape, no matter how temporary. But where John lashes out, George turns in. August 1965 sees him on the cusp of his greatest musical and spiritual discoveries. Baritenor with George Harrison stylization. Plays lead guitar.
[RINGO STARR] Male-Presenting, mid 20s/early 30s. The last Beatle in and still at times a little unsure of his place. At other times happy to enjoy the ride, wherever it takes him. Ringo is everybody’s friend, but nobody’s mug. As philosophical in his own way as George, and, in his own way again, as ambitious as Paul: ambitious (as novelist Richard Ford once said of some of his characters) to have the day go a bit better, everybody’s day. Baritone with Ringo Starr stylization. Plays drums.
[PRISCILLA PRESLEY] Female-Presenting, 20s. Too young, when they met, to upend her life by moving from her home in Germany to be with Elvis, Priscilla is now 20 and is all-too aware that fairy tales can contain as much shade as light. She lives her life surrounded by Elvis’s entourage – the Memphis Mafia – and (like Ringo) can be made to feel like the last member of the gang to join. But she is beginning to assert herself. And beginning to want to have a bit more fun. Because, when all’s said and done, she’s still young. Mezzo.
[BRIAN EPSTEIN] Male-Presenting, 30s. A new kind of man and a new kind of manager. Brian is a savvy and sophisticated operator, but primarily he worships the Beatles. Every decision he makes is in service to them. Brian, though, has two things he can never discuss with the boys: his sexuality, and what on earth he is going to do if (make that ‘when’) they decide to stop touring. Baritenor.
[COLONEL TOM PARKER] Male-Presenting, mid 50s/early 60s. An old kind of man and an older kind of manager. Col. Tom Parker learned his trade promoting carnival acts. He sees his job managing Elvis Presley as being no different. Col. Tom is entitled to 50% of Elvis’s earnings, or as he prefers to say, Elvis is entitled to 50% of the Colonel’s! His job is a simple one: to make sure the cash keeps rolling in. Baritenor.
[PAM] Female-Presenting, 30s. Chris’s boss at a London music paper, whose job it is to remind him that his dream job is still a job. Pam is aware of a change in the popular music press, readers increasingly want depth over surface, or – put another way – dirt over chit chat. She is, though, still enough of a fan too – just – to give Chris the room and the time to pull off his, and the paper’s greatest, coup. (‘But, Chris, the clock is ticking...’). Mezzo.
[SINGERS] 20s/30s/40s. Excellent singers to play various ensemble roles and cover principal roles. Ability to play guitar/bass/drums/keyboard a plus.
[DANCERS] 20s/30s. Excellent dancers who sing to play various ensemble roles and cover principal roles. Ability to play guitar/bass/drums/keyboard a plus.
Story and Book: Peter Stone
Music and Lyrics: Maury Yeston
Director: Shaun Kerrison
Choreographer: TBD
Music Director: TBD
First Rehearsal (NYC) - Sept 15
First Preview - Oct 2
Opening - Oct 4
Closing - Nov 2
[THOMAS ANDREWS] Male-Presenting, 30s. The Titanic’s designer. A man of quiet strength, with a strong sense of integrity. He serves as the show’s moral guide and intellectual benchmark. Tenor.
[J. BRUCE ISMAY] Male-Presenting, 40s. Owner of the White Star Line. Pompous and detached, with a tendency to become easily irritated when ignored. Baritone.
[CAPTAIN E.J. SMITH] Male-Presenting, 50s/60s. A fatherly leader, deeply invested in the well-being of his passengers and offering encouragement to his younger officers. Baritone.
[FREDERICK BARRETT] Male-Presenting, 20s/30s. A Stoker. Muscular and intelligent, he is a man of action who questions the motives behind the decisions of those in power. Tenor.
[HAROLD BRIDE] Male-Presenting, 20s/30s. Wireless Operator. A shy, socially awkward young man who longs for connection. He finds solace in his telegraph machine, using it to communicate with people across the globe. Baritone.
[WILLIAM MURDOCH] Male-Presenting, 30s. First Officer. A seasoned officer who should have already been promoted to captain, but he is uncertain about his readiness for the role. Baritone.
[HENRY ETCHES] Male-Presenting, 30s/40s. Senior Steward. An experienced steward serving the first-class passengers. He may seem overly proper, but his concern for others is genuine. Tenor.
[ISADOR STRAUS] Male-Presenting, 50s/70s. Co-owner of Macy’s department store in New York. Deeply devoted to his wife. Bass/Baritone.
[IDA STRAUS] Female-Presenting, 50s–70s. A devoted wife who refuses to board a lifeboat without her husband. Mezzo-Soprano.
[JIM FARRELL] Male-Presenting, 20s/30s. An Irish immigrant in steerage (third class) who seeks a fresh start in America. Has a romantic relationship with Kate McGowan. Baritone.
[KATE MCGOWAN] Female-Presenting, 20s. An Irish immigrant in steerage (third class). Strong-willed, spirited, and determined. In a romance with Jim Farrell. One of “The Three Kates.” Mezzo-Soprano.
[KATE MULLINS] Female-Presenting, 20s. An Irish immigrant in steerage (third class). One of “The Three Kates.” Alto.
[KATE MURPHEY] Female-Presenting, 20s. An Irish immigrant in steerage (third class). One of “The Three Kates.” Alto.
[ALICE BEANE] Female-Presenting, 30s/40s. Second-class and highly ambitious, with a larger-than-life personality and a powerful voice. Alto.
[EDGAR BEANE] Male-Presenting, 30s/40s. More content and less driven than his wife. Baritone.
[CAROLINE NEVILLE] Female-Presenting, 20s/30s. A charming young woman, engaged to Charles Clarke, seeking a new beginning. Soprano.
[CHARLES CLARKE] Male-Presenting, 20s/30s. A young journalist, engaged to Caroline Neville, hoping to build a new life in America. Baritone.
[BELLBOY] Male-Presenting, 18+ to play teens. A member of the crew responsible for assisting passengers, announcing meals, and supporting the other staff. Tenor.
[SINGERS] 30s/40s/50s. Excellent singers to play various ensemble roles and cover principal roles.
Music & Lyrics: Irving Berlin
Book: Paul Blake and David Ives
Director: TBD
Choreographer: TBD
Music Director: TBD
First Rehearsal (Maine)- Nov 18
First Preview- Dec 3
Opening- Dec 5
Closing- Dec 21
[BOB WALLACE] Male-Presenting, late 20s-mid 30s. Easygoing, charming, decent principled man. A major singing star in post-World War II America. He wears his fame easily, but is seeking something more important: a decent, fulfilling life and true love. While helping his Army unit general regain his dignity, he defines his own life and meets his true love. A superb singer with a crooning style who moves very well. Basic tap is a plus. Baritone.
[PHIL DAVIS] Male-Presenting, late 20s-mid 30s. The ambitious, go-getting, song-and-dance partner of the team of Wallace and Davis. An irrepressible clown and definite ladies man. He saved BOB’s life during the war and became his partner and engine behind their fabulous success. He has boyish charm and sex appeal. Strong tap and theatre jazz dance needed. A major song-and-dance comic performer. Bari-tenor.
[BETTY HAYNES] Female-Presenting, mid-late 20s. The sensible responsible half of the up-and-coming song-and-dance team the Haynes Sisters. She has a beautiful, rich singing voice that matches her decent, upstanding principles. She is overprotective of her younger sister and – like BOB – she needs something more. Of course they are ultimately the perfect couple. A major female singer of quiet beauty and charm with a rich chest-mix sound & a soprano extension.
[JUDY HAYNES] Female-Presenting, early 20s. The younger, more ambitious Haynes sister. While wholesome and adorable, she is sexy and flirty – a winning charmer no man can resist. Strong tap and theatre jazz dance needed. A major song-and-dance performer. Chest-mix.
[RALPH SHELDRAKE] Male-Presenting, mid-late 30s. Former Army buddy of BOB and PHIL’s, now a major television executive with the Ed Sullivan Show. Fast-talking, New York professional. Baritone.
[GENERAL HENRY WAVERLY] Male-Presenting, late 50s to mid 60s. A retired U.S. Army General, adjusting to returning to civilian life in post World War II America. Once a powerful leader now struggles to run an inn in Vermont. He remains a man of great principle and dignity. Beneath his hard, curmudgeonly military exterior lays a warm compassionate man in need of family and love. Still a handsome, vital man. Non-singing role.
[MARTHA WATSON] Female-Presenting, late 40s to mid 50s. Once a musical comedy star, now the general’s housekeeper at the Inn. She has a VERY dry, wry, honest wisecracking sense of humor. Big-hearted but completely unsentimental. She runs the GENERAL’s life in spite of his protestations. An irrepressible meddler but always for what she believes to be the other guy’s best interests. A winning, appealing character comedian with a clarion belt voice.
[EZEKIEL FOSTER/MR. SNORING MAN] Male-Presenting, early 40s-early 50s. Comic/character man. EZEKIEL: Vermont local with dry delivery who is a stagehand for the show and comes to love show business. MR. SNORING MAN: Passenger on the train to Vermont; vocal feature in the song “Snow.” Excellent legit baritone.
[MIKE NULTY] Male-Presenting, late 20s to mid 30s. Strong singer, first or second tenor preferred but not absolutely necessary. Harassed, overworked, frustrated stage manager of Bob & Phil's show. A Jason Alexander/Nathan Lane-type comic actor, but not necessarily short and/or round. Baritone.
[DANCERS] 20s/30s. Major tap skills and must be equally strong in ballroom and theatre jazz. Must sing well and may cover principal roles.
[SINGERS] 20s/30s/40s/50s. Excellent singers to play various ensemble roles and cover principal roles.
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