Pennsylvania Shakespeare Festival | Center Valley, PA
Monday, October 21, 2024
9:00 AM - 5:00 PM (E)
Lunch 12:00 PM - 1:00 PM
To schedule an audition appointment please
email casting@pashakespeare.org. Each appointment will be 3 minutes. Walk-in auditions are welcome, time permitting.
LOA / SPT
$863 weekly minimum (LOA Ref. to LORT)
$859 weekly minimum (SPT 9)
Equity actors for roles in Pennsylvania Shakespeare Festival's 2025 LOA and SPT seasons (See breakdown). All principal roles will be understudied. Pennsylvania Shakespeare Festival is committed to hiring actors who reflect the diversity of our world. Actors of all backgrounds, races, ethnicities, genders, sexual orientations, ages, and abilities are encouraged to audition.
Please prepare a monologue no longer than three minutes OR a short song from your book OR a 90-second monologue and 32 bars of a song. Auditions should not exceed 3 minutes total. An accompanist will be provided. Please bring a copy of your headshot and resume.
Walnut Street Theatre
825 Walnut St
Philadelphia, PA 19107-5107
4th Floor rehearsal hall
Expected to attend:
Connie Behringer - Associate Producer
See breakdown for production specific personnel.
See breakdown for production specific dates.
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.
Music and Lyrics: Mel Brooks
Book: Mel Brooks and Thomas Meehan
Director: Jennifer Childs
Music Director: TBD
Performance Space: Mainstage (LOA)
Pre-Rehearsal Week: May 13, 2025
Rehearsals Begin: May 20, 2025
Tech Begins: June 6, 2025
Previews Begin: June 11, 2025
Opening: June 13, 2025
Closing: June 29, 2025
In The Producers, down-and-out Broadway producer Max Bialystock and neurotic accountant Leo Bloom devise a scheme to make a fortune by producing a guaranteed flop. They set their sights on Springtime for Hitler, the worst script they can find, hoping it will bomb so they can pocket the extra money they raised. But when the show unexpectedly becomes a smash hit, their disastrous plan spins out of control. This hilarious, high-energy musical comedy offers roles filled with eccentric characters, outrageous situations, and show-stopping musical numbers.
MAX BIALYSTOCK – 30s-50s, A has-been Broadway producer, with a personality that combines cunning, bravado, and vulnerability. Good singer with excellent physical and verbal comedy skills.
LEO BLOOM – 20s-40s, a nervous and unassuming accountant who emerges into an adventurous and confident producer. Leo is intelligent, endearing, and essential to the comedic and emotional journey of the musical.
FRANZ LIEBKIND – 30s-50s, A deranged playwright of the musical Springtime for Hitler. A German accent, good singing, strong physical presence and excellent ability to handle comedic material.
ROGER DEBRIS – 30s-50s, An eccentric director with a flair for drama and camp. Strong comedic abilities and presence.
CARMEN GHIA – 20s-30s, flamboyant and fiercely loyal assistant to Roger DeBris. Strong comedic abilities and presence.
ULLA - 20s-30s, a Swedish actress/secretary and the love interest of Leo. Great singing voice, strong dancing, excellent comedic abilities.
ENSEMBLE - Excellent singer/dancer/actor with strong comedic timing. Parts and specialties will be assigned.
Performed in Repertory with ROSENCRANTZ AND GUILDENSTERN ARE DEAD
Playwright: William Shakespeare
Director: Lindsay Smiling
Performance Space: Mainstage (LOA)
Rehearsals Begin: June 6, 2025
Tech for HAMLET Begins: July 4, 2025
Previews for HAMLET Begin: July 9, 2025
Opening for HAMLET: July 11, 2025
Closing for HAMLET: August 3, 2025
Prince Hamlet of Denmark is consumed by grief and rage after the sudden death of his father and the hasty remarriage of his mother to his uncle, now King Claudius. When the ghost of Hamlet’s father reveals that Claudius is responsible for his murder, Hamlet vows revenge, setting off a chain of events that spiral into tragedy. Torn between action and inaction, Hamlet’s quest for justice leads to deception, madness, and death. One of Shakespeare’s greatest tragedies, Hamlet explores themes of power, betrayal, and the complexities of the human mind.
Hamlet – THIS ROLE IS CAST. 20s-30s, Prince of Denmark, torn by grief, driven by revenge, may or may not be wrestling with madness.
Claudius – 40s-50s, New King of Denmark, antagonist to Hamlet. Charming, manipulative, guilty, afraid, and authoritative.
Gertrude – 40s-50s, Queen of Denmark, Hamlet’s mother, and newly married to Claudius. Torn with loyalty to Claudius and love for Hamlet.
Polonius – 40s-50s, advisor to King Claudius and lovingly misguided father of Ophelia and Laertes. Strong comedic timing and fatherly care.
Ophelia – 20s-30s, Daughter of Polonius and Hamlet’s love interest. Fragile, innocent, and emotional.
Laertes – 20s-30s, Son of Polonius and Ophelia’s brother. Seeks revenge for his father’s and sister’s deaths. Fiery, energetic and loyal. Strong sword fighting skills.
Horatio – 20s-30s, Hamlet’s loyal friend. Trustworthy, calm, and intelligent.
Rosencrantz – 20s-40s, Hamlet’s college buddy, easygoing, oblivious and accepts the absurdity of the world without question. Conveys confusion and naivete while maintaining a light comedic tone.
Guildenstern – 20s-40s, Hamlet’s other college buddy, serious and philosophical, contrasting Rosencrantz’s oblivious nature.
Fortinbras – 20s-40s, Prince of Norway, foil to Hamlet. Confident leader.
Marcellus and Bernardo – 20s-40s, Danish officers who first see the ghost, solid stage presence.
Gravediggers (First and Second Clown) – Dark humor, strong comedic timing, may double with other roles.
Tragedians – 20s-50s, Performance troupe that follows Hamlet’s direction.
Performed in Repertory with HAMLET
Playwright: Tom Stoppard
Director: Jason King Jones
Performance Space: Mainstage (LOA)
Rehearsals Begin: June 6, 2025
Tech for HAMLET Begins: July 4, 2025
Previews for HAMLET Begin: July 9, 2025
Opening for HAMLET: July 11, 2025
Tech for ROSENCRANTZ AND GUILDENSTERN ARE DEAD Begins: July 12, 2025
Previews for ROSENCRANTZ AND GUILDENSTERN ARE DEAD Begins: July 17, 2025
Opening for ROSENCRANTZ AND GUILDENSTERN ARE DEAD: July 19, 2025
Closing for ROSENCRANTZ AND GUILDENSTERN ARE DEAD: August 2, 2025
Closing for HAMLET: August 3, 2025
Tom Stoppard’s absurdist comedy follows the misadventures of two minor characters from Hamlet — Rosencrantz and Guildenstern — who find themselves bewildered by the events around them. As they struggle to understand their roles in the unfolding tragedy, they grapple with questions of identity, free will, and the meaning of life. Filled with witty dialogue and philosophical humor, the play offers a unique, behind-the-scenes perspective on Shakespeare’s classic, while exploring the absurdity of existence. It’s a clever, thought-provoking work that blurs the line between comedy and tragedy.
Rosencrantz – 20s-40s, College buddy of Hamlet. Easygoing and oblivious and accepts the absurdity of the world without question. Conveys confusion and naivete while maintaining a light comedic tone.
Guildenstern – 20s-40s, College buddy of Hamlet. Serious and philosophical, contrasting Rosencrantz’s oblivious nature. Frustrated and curious, excellent comedic timing, and ability to handle both existential dialogue and absurdity.
The Player – 30s-50s, leader of performance troupe. Charismatic, theatrical, and cynical. Strong stage presence playing both charming and sinister with a world-weary attitude, excellent command of language, and showmanship.
Tragedians – 20s-50s, Performance troupe led by the Player, representing meta-commentary on performance, fate, and death. Strong physicality and improvisational skills, ensemble dynamics, and comedic timing.
Hamlet – THIS ROLE IS CAST. 20s-30s, Prince of Denmark, torn by grief, driven by revenge, may or may not be wrestling with madness.
Claudius – 40s-50s New King of Denmark, antagonist to Hamlet. Charming, manipulative, guilty, afraid, and authoritative.
Gertrude – 40s-50s, Queen of Denmark, Hamlet’s mother, and newly married to Claudius. Torn with loyalty to Claudius and love for Hamlet.
Polonius – 40s-50s, advisor to King Claudius and lovingly misguided father of Ophelia and Laertes. Strong comedic timing and fatherly care.
Ophelia – 20s-30s, Daughter of Polonius and Hamlet’s love interest. Fragile, innocent, and emotional.
Laertes – 20s-30s, Son of Polonius and Ophelia’s brother. Seeks revenge for his father’s and sister’s deaths. Fiery, energetic and loyal. Strong sword fighting skills.
Horatio – 20s-30s, Hamlet’s loyal friend. Trustworthy, calm, and intelligent.
Fortinbras – 20s-40s, Prince of Norway, foil to Hamlet. Confident leader.
Marcellus and Bernardo – 20s-40s, Danish officers who first see the ghost, solid stage presence.
Music and Lyrics: Alex Bechtel
Book: Alex Bechtel, Grace McLean, Eva Steinmetz
Director: Eva Steinmetz
Music Director: Josh Yoder
Performance Space: Schubert Theater (SPT)
Rehearsals Begin: May 20, 2025
Tech Begins: May 23, 2025
Previews Begin: May 28, 2025
Opening: May 30, 2025
Closing: June 8, 2025
As Odysseus journeys from Troy to Ithaca following his heroics of the Trojan War, Penelope waits for him to return. With no contact for twenty years, Penelope’s hope for the future is tested by suitors, isolation, resentment, and longing. This is her journey. A co-production with Theatre Horizon.
Penelope – THIS ROLE HAS BEEN CAST. 30s-50s, beautiful and cunning whose husband return from war spans over 20 years. Powerful voice, strong stage presence.
Playwright: Lorraine Hansberry
Director: Akeem Davis
Performance Space: Schubert (SPT)
Rehearsals Begin: June 3, 2025
Tech Begins: June 20, 2025
Previews Begin: June 25, 2025
Opening: June 27, 2025
Closing: July 13, 2025
Set on Chicago’s South Side, A Raisin in the Sun follows the Younger family as they struggle with poverty, racism, and conflicting dreams after the death of the family patriarch. When a substantial insurance check arrives, each family member envisions a different future: from owning a home, to starting a business, to pursuing medical school. Tensions rise as they confront external barriers and internal conflicts that challenge their aspirations. Lorraine Hansberry’s powerful drama explores themes of identity, family, and the search for dignity amidst social and economic adversity.
Walter Lee Younger – Black, 30s-40s, ambitious and frustrated working-class limo driver. Strong emotional range, including anger and vulnerability.
Lena Younger (Mama) – Black, 50s-60s, wise, religious matriarch of the Younger family. Commanding presence, warm, able to carry the weight of generational struggle.
Beneatha Younger – Black, 20s, Walter’s younger sister and intelligent and independent college student who dreams of being a doctor. Energetic, witty and thoughtful who can portray ambition and intellectual passion.
Ruth Younger – Black, 30s-40s, Wife of Walter who is weary and pragmatic. She is exhausted by the pressures of poverty and marital strain. Subtle, strong, and conflicted.
Travis Younger – Black, 8-14, hopeful, innocent, with a good sense of humor.
Joseph Asagai – Black, 20s, one of Beneatha’s suitor, Nigerian student who is proud of his African heritage and encourages Beneatha’s exploration of her ethnic roots. Strong presence, vision of cultural pride and intellectualism, and charisma.
George Murchison – Black, 20s, one of Beneatha’s suitors, wealthy, educated, and assimilated into mainstream American culture. Sophisticate, confident and condescending.
Mrs. Johnson – Black, 30s-60s, gossipy neighbor of the Youngers. Great comedic timing and energy, able to deliver sharp wit and nosiness, as well as affect an underlying bitterness and cynicism.
Karl Linder – White, 40s-60s, representative from the neighborhood association. Must balance politeness and prejudice, condescension and courtesy.
Bobo – Black, 30s-40s, Walter’s friend and business partner. Naïve and trusting who carries the weight of bad news. Strong comedic timing and honest vulnerability.
Playwright: William Shakespeare
Performance Space: Schubert (SPT)
Pre-Rehearsal: July 11, 2025
Rehearsals Begin: July 18, 2025
Previews Begin: July 23, 2025
Opening: July 25, 2025
Closing: August 3, 2025
Timon of Athens tells the story of a wealthy and generous nobleman who lavishes gifts and money on his friends, only to be abandoned when his fortune runs out. Betrayed and destitute, Timon retreats to the wilderness, where his bitterness and rage against humanity deepen. As he renounces society and all its hypocrisies, he encounters thieves, philosophers, and former acquaintances who reveal the true nature of friendship and greed. This lesser-known Shakespearean tragedy is a powerful exploration of wealth, loyalty, and disillusionment. Actors for this production will be paid to come to the first rehearsal off-book and will utilize “original practices” to stage the production themselves.
Timon – 30s-50s, an Athenian noble whose generosity is his downfall, a victim of flattery and ingratitude. He transforms into a raging misanthrope.
Apemantus – 30s-50s, a cynical philosopher and one of the few who sees through Timon’s false friends. A critic of humanity’s greed and hypocrisy, foil to Timon’s naive generosity. Conveys sharp comedic timing, wit, and insight.
Alcibiades – 30s-40s, a brave and loyal Athenian general with the moral authority of one who was wronged by his country. Physically imposing with ability to portray strength and compassion.
Flavius – 30s-50s, a loyal steward of Timon. One of the few who truly cares for Timon and remains faithful after his downfall.
Ensemble – who represent a variety of Athenians.
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