Virginia Repertory Theatre 2026 - 2027 Season Equity Principal Actors - Virginia Repertory Theatre Auditions

VIRGINIA REPERTORY THEATRE 2026 - 2027 SEASON - RICHMOND, VA EPA

Virginia Repertory Theatre | Richmond, VA

Notice: Audition Call Type: EPA

AUDITION DATE

Monday, June 22, 2026
1:00 PM - 10:00 PM (E)
BREAK: 5:00PM - 6:00PM

APPOINTMENTS

Audition appointments can be scheduled by filling out the Google Form found at this URL:
https://forms.gle/GJbbToWhyYWHZfDX6

CONTRACT

Independent Theatre Contract

• A CHRISTMAS CAROL and HAIRSPRAY: $745.72 weekly minimum
• THE PLAY THAT GOES WRONG and JOHN PROCTOR IS THE VILLAIN and I NEED THAT: $623.15 weekly minimum
• DISNEY AND PIXAR'S FINDING NEMO: $525.86 weekly minimum

SEEKING

Equity actors for roles in Virginia Repertory Theatre's 2026 - 2027 Season (see breakdown).

PREPARATION

Please prepare 1 short contemporary monologue and 1 short song (to be considered for A Christmas Carol, Hairspray, and Disney and Pixar's Finding Nemo) in the style of Hairspray. Bring sheet music in the key that you plan on singing along with your headshot and resume. An accompanist will be provided. Auditions may not exceed 3 minutes total.

LOCATION

Virginia Rep Center
114 W Broad St
Richmond, VA 23220
Please utilize street parking and follow posted signs.

PERSONNEL

See breakdown for production-specific personnel.
EXPECTED TO ATTEND:
Rick Hammerly, Artistic Director

OTHER DATES

See breakdown for production-specific dates.

OTHER

www.virginiarep.org

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.

BREAKDOWN

JOHN PROCTOR IS THE VILLAIN

Playwright: Kimberly Belflower
Genre: Contemporary Drama / Dark Comedy
Rehearsals Start: February 1, 2027
Performance Run: March 3 - April 4, 2027
Setting: A rural high school in Georgia, present day
Running Time: Approx. 1 hour 45 minutes, no intermission
Tone & Style: The play combines contemporary teenage humor with sharp social critique and emotionally grounded realism. Dialogue should feel immediate, fast, overlapping, and lived-in. The humor emerges organically from personality and group dynamics, while the dramatic stakes remain deeply personal and urgent.

SYNOPSIS: At a small-town Georgia high school, a group of teenage girls studying The Crucible begin reexamining the stories they’ve inherited about gender, power, and morality. As classroom debates collide with personal revelations and a growing reckoning around consent and hypocrisy, the students challenge both their community and the cultural mythology surrounding John Proctor himself.

SEEKING

• SHELBY HOLCOMB Female-presenting, 16–18. Any ethnicity. Smart, observant, emotionally guarded. Shelby returns to school carrying private trauma and a sharpened understanding of the world around her. Once eager to fit in, she now sees through performative morality and social convenience. Quietly courageous, deeply empathetic, and increasingly unwilling to stay silent. The emotional center of the play. Navigates subtle internal shifts and explosive emotional honesty. Strong grounding in realism essential. Ability to hold silence and tension with confidence.
• BETH POWELL Female-presenting, 16–18. Any ethnicity. Intelligent, ambitious, high-achieving student body president type. Beth believes in rules, structure, and achievement, but underneath her confidence is anxiety about disappointing others and losing control. Her worldview becomes increasingly destabilized as the play unfolds. Sharp comic instincts and emotional precision required. Strong verbal dexterity and the ability to pivot rapidly between humor, defensiveness, and vulnerability.
• NELL SHAW Female-presenting, 16–18. Any ethnicity. Thoughtful, artistic, somewhat outsider energy. Nell possesses emotional intelligence beyond her years and often functions as a quiet observer of the group dynamic. She is compassionate but not passive, with a growing willingness to challenge authority and accepted narratives. Brings warmth, specificity, and grounded emotional truth. Excellent listening skills essential.
• IVY WATKINS Female-presenting, 16–18. Any ethnicity. Funny, irreverent, outspoken, and socially fearless. Ivy uses humor and sarcasm as both armor and weapon. Beneath her confidence is frustration with the expectations placed on young women in their town. Strong comic timing and emotional accessibility are crucial. Needs natural contemporary rhythm and strong ensemble instincts. Role benefits from improvisational ease.
• RAELYNN NIX Female-presenting, 16–18. Any ethnicity. Cheerleader energy with genuine heart. Initially appears conventional and eager to please, but gradually reveals complexity, emotional insight, and resilience. Her evolution throughout the play is significant. Should avoid stereotypes and ground the role in authenticity and emotional openness.
• LEE TURNER Male-presenting, 16–18. Any ethnicity. Sensitive, intelligent, somewhat awkward. Lee genuinely wants to understand the girls around him but is still shaped by the culture he’s grown up in. Earnestness and emotional transparency are key. Nuanced realism and understated comedic instincts.
• CARTER SMITH Male-presenting, 16–18. Any ethnicity. Charming, athletic, socially confident. Carter benefits from systems he barely recognizes. While not intentionally cruel, he embodies entitlement and learned behavior that the play interrogates. Must remain human and believable rather than villainous caricature. Brings charisma, naturalism, and emotional complexity.
• BAILEY GALLAGHER Female-presenting, 20s–40s. Any ethnicity. Guidance counselor or teacher figure. Compassionate but constrained by institutional pressures and small-town politics. Wants to protect students while navigating her own fear and complicity. Strong, grounded with authority, empathy, and subtle emotional layering.
• MR. SMITH Male-presenting, 30s–50s. Any ethnicity. Popular English teacher directing classroom discussions of The Crucible. Intelligent, charismatic, and deeply invested in how he is perceived. Represents the dangerous gap between public progressivism and private behavior. Significant charm and emotional intelligence. Sustains ambiguity and avoids playing overt menace.

I NEED THAT

Playwright: Theresa Rebeck
Genre: Contemporary Comedy/Drama
Rehearsals Start: February 22, 2027
Performance Run: March 24 - April 25, 2027
Setting: Present-day New Jersey
Running Time: Approx. 100 minutes, no intermission
Tone & Style: The play lives in the tension between comedy and emotional truth. Performances should feel naturalistic, specific, and deeply human rather than heightened or broadly comic. Rebeck’s language is fast, smart, and rhythmic, with humor emerging from behavior and emotional contradiction rather than punchlines.

SYNOPSIS: A funny, deeply human play about attachment, grief, and the stories we assign to objects. Sam, a lifelong collector and compulsive hoarder, faces eviction unless he clears out his overflowing house. With pressure mounting from his daughter Amelia and his longtime friend Foster, Sam is forced to confront memory, loss, and the emotional weight of letting go.

SEEKING

• SAM Male-presenting, late 50s–70s. Any ethnicity. A brilliant eccentric and compulsive hoarder. Sharp-witted, emotionally elusive, funny, stubborn, and unexpectedly vulnerable. Sam has built a life around objects because objects don’t abandon him. Beneath the clutter is a man terrified of grief, loneliness, and irrelevance. Requires exceptional comic timing paired with authentic emotional depth. Handles rapid tonal shifts from absurd humor to heartbreaking honesty.
• AMELIA Female-presenting, late 20s–40s. Any ethnicity. Sam’s daughter. Smart, practical, loving, and exhausted by years of trying to rescue her father from himself. She oscillates between caretaker, adversary, and child longing for connection. Amelia’s humor is dry and defensive; her emotional life runs deep beneath the surface. Capable of grounded realism and emotional intelligence.
• FOSTER Male-presenting, 50s–70s. Any ethnicity. Sam’s longtime friend and emotional counterpart. Earthy, patient, compassionate, and quietly lonely himself. Foster understands Sam better than almost anyone, but he also recognizes the danger of Sam’s isolation. Carries the play’s emotional wisdom without sentimentality. Dry humor and understated humanity are key.

DISNEY AND PIXAR'S FINDING NEMO

Original Film: Pixar Animation Studios / Walt Disney Pictures
TYA Adaptation Style: Touring / Young Audience Theatre (approx. 60 minutes, flexible staging, ensemble-driven)
Genre: Family Adventure / Musical-Style Story Theatre
Rehearsals Start: March 8, 2027
Performance Run: April 7 - May 2, 2027
Source Material: Finding Nemo
Tone & Style: This adaptation of Finding Nemo emphasizes ensemble storytelling, theatrical transformation, and physical imagination. The ocean is created through bodies, rhythm, and voice rather than realism. Comedy and emotion are tightly interwoven, with clear storytelling for young audiences while maintaining emotional truth for adults.

SYNOPSIS: This streamlined theatrical adaptation of Finding Nemo follows Marlin, an overprotective clownfish, as he journeys across the ocean to find his son Nemo, who has been captured and placed in a dentist’s fish tank. Along the way, Marlin teams up with Dory, a forgetful but optimistic companion, encountering a series of oceanic characters who challenge his fear, grief, and need for control. Designed for young audiences, the production emphasizes ensemble storytelling, physical theater, and character doubling. Note: This TYA version is heavily ensemble-based. Actors often play multiple roles, shift between narration and character, and use stylized physicality to create environments.

SEEKING

• MARLIN Male-presenting, adult. Any ethnicity. A cautious, anxious clownfish and devoted father. Marlin begins the story defined by fear and overprotection after losing his family. The journey forces him to confront grief, trust, and the necessity of letting Nemo grow independent. Emotional arc moves from rigidity to openness. Has emotional clarity, physical storytelling ability, and strong partner work. Must balance comic panic with heartfelt sincerity. Requires stamina and precise narrative pacing.
• NEMO Male-presenting, child/teen. Any ethnicity. Curious, spirited young clownfish with a smaller fin that makes him feel different. Nemo is eager to prove himself and gain independence from his father. His storyline is about courage, agency, and resilience under confinement in the tank. Youthful energy, strong vocal clarity, and emotional accessibility required. Must handle both vulnerability and bravery without caricature.
• DORY Female-presenting, adult. Any ethnicity. Optimistic, fast-talking, forgetful fish who becomes Marlin’s unlikely companion. Dory is emotionally open, impulsive, and deeply kind. Her “short-term memory loss” is played with clarity and precision, not randomness. She provides the emotional counterbalance to Marlin’s fear. High-energy comedy with strong improvisational feel and emotional intelligence. Must balance humor with grounded sincerity. Strong musicality of speech essential.
• BLOAT / BUBBLES / PEACH / GILL (TANK GANG) Any gender, adult ensemble. Any ethnicity. Residents of the dentist’s fish tank, each with distinct personality traits. Together they form an ensemble representing adaptation, hope, and resilience in captivity. Strong ensemble with quick character shifts, vocal differentiation, and physical clarity. Must work well in group rhythm and tight comedic timing.
• BRUCE Male-presenting ensemble role. Any ethnicity. A great white shark trying (and struggling) to overcome his instinct to eat fish. Charismatic, imposing, and hilariously intense in his attempts at self-control. Appears in stylized, heightened sequences. Strong physical comedy and vocal presence required. Ability to shift between menace and humor instantly is key.
• CRUSH Male-presenting ensemble role. Any ethnicity. Laid-back sea turtle who embodies “go with the flow” philosophy. Speaks in relaxed, rhythmic surfer cadence. Guides Marlin and Dory through the East Australian Current sequence. Has strong vocal rhythm, comedic timing, and ease with stylized speech. Physical looseness and ensemble play essential.
• PEARL / SHELDON / SQUIRT (ENSEMBLE YOUNG SEA CREATURES) Any gender, youth/young adult. Any ethnicity. Playful sea creatures who often function as comic relief and world-builders. They help create underwater environments through physical theater and group movement. Strong movement skills, ensemble awareness, and vocal flexibility required. Must support storytelling through physical transformation.
• THE DENTIST (P. SHERMAN) Male-presenting, adult. Any ethnicity. A well-meaning but oblivious human whose fish tank becomes central to Nemo’s captivity. Grounded, naturalistic presence contrasted against stylized fish world. Straight-man role requiring clarity, realism, and subtle comedic timing.
• DARLA Female-presenting child/teen. Any ethnicity. The dentist’s energetic niece whose chaotic enthusiasm poses danger to the fish tank. Appears briefly but memorably as a force of comic disruption. High-energy physical comedy role. Must commit fully to bold, heightened behavior.

HAIRSPRAY

Music & Lyrics: Marc Shaiman and Scott Wittman
Book: Mark O’Donnell and Thomas Meehan
Brought to you by: Hairspray and its 2002 stage adaptation
Genre: Musical Comedy / Social Satire
Rehearsals Start: May 10, 2027
Performance Run: June 16 - August 1, 2027
Setting: Baltimore, Maryland, early 1960s
Tone & Style: Hairspray (stage version) is bright, comedic, and exuberant, but grounded in real social stakes. The style blends retro television aesthetics, big musical comedy energy, and sincere emotional storytelling. Comedy should remain character-driven, never cynical.

SYNOPSIS: In early 1960s Baltimore, teenager Tracy Turnblad dreams of dancing on “The Corny Collins Show.” When she earns a spot on the program, she becomes a local celebrity and uses her platform to challenge racial segregation on television and in her community. The musical blends high-energy comedy, romance, and activism, culminating in a joyful fight for integration and self-expression.

SEEKING

• TRACY TURNBLAD Female-presenting, teen (16–18). Any ethnicity. Bright, optimistic, fearless, and unapologetically herself. Tracy is the heart of the story: a young woman who refuses to accept exclusion or limitation. She believes in fairness instinctively and acts on it without hesitation. Must carry large vocal and emotional warmth, plus strong comedic timing and stamina. Strong belt, excellent comedic presence, and grounded sincerity required. Leads the narrative with charisma and emotional clarity.
• EDNA TURNBLAD Female-presenting or drag/cross-cast, adult (40s–60s). Any ethnicity. Tracy’s mother. Initially shy, self-conscious, and emotionally withdrawn after years of body shame and isolation. Through Tracy’s influence, Edna rediscovers confidence and joy. Traditionally played by a male actor in drag in many productions, emphasizing transformation and comedy. Major comedic role requiring vocal transformation, physical character work, and strong emotional arc. Must balance humor with heartfelt vulnerability.
• WILBUR TURNBLAD Male-presenting, adult (40s–60s). Any ethnicity. Tracy’s father. Lovable, goofy, endlessly optimistic, and deeply devoted to Edna. Owns a novelty joke shop and lives in a world of playful absurdity. Provides warmth and comic grounding. Strong comedic timing and sincerity required. Supports emotional stakes without cynicism.
• LINK LARKIN Male-presenting, late teens–20s. Any ethnicity. Teen heartthrob of “The Corny Collins Show.” Initially self-absorbed and career-focused but grows into someone willing to challenge injustice. Charismatic, musically gifted, and emotionally evolving. Strong tenor vocal ability required. Must balance charm with genuine character growth.
• PENELOPE “PENNY” PINGLETON Female-presenting, teen (16–18). Any ethnicity. Tracy’s best friend. Sweet, sheltered, awkward, and initially timid under her controlling mother’s influence. Gradually finds her voice and independence, including a rebellious romantic awakening. Strong comedic innocence and vocal clarity required. Shows clear emotional development.
• AMBER VON TUSSLE Female-presenting, teen/young adult (late teens–20s). Any ethnicity. Primary antagonist. Popular, entitled, and status-obsessed. Competes with Tracy for fame and attention. Beneath her confidence is insecurity and fear of losing control of her social position. Strong comedic villainy with vocal strength required. Must avoid one-dimensional portrayal.
• VELMA VON TUSSLE Female-presenting, adult (40s–60s). Any ethnicity. Amber’s mother and producer of “The Corny Collins Show.” Authoritarian, image-obsessed, and openly racist in her worldview. Represents institutional gatekeeping and resistance to change. Strong character with commanding presence and comic bite.
• CORNYP COLLINS Male-presenting, adult (30s–50s). Any ethnicity. Host of the television dance show. Polished, cheerful, and professionally charming. Initially complicit in segregation but ultimately capable of growth. Has strong hosting presence, musicality, and ease with live performance energy.
• SEAWEED J. STUBBS Male-presenting, teen/young adult. Black. Talented dancer and romantic lead for Penny. Confident, stylish, and principled. Helps lead the younger generation toward integration and change. Strong dance ability essential. Must have vocal charisma and grounded emotional intelligence.
• LITTLE INEZ Female-presenting, teen/child. Black. Seaweed’s younger sister. Quiet at first, later becomes symbolic of the fight for visibility and opportunity. Clear vocal presence and emotional specificity required despite limited stage time.
• MOTORMOUTH MAYBELLE Female-presenting, adult (40s–60s). Black. Seaweed and Little Inez’s mother. Powerful, proud, and grounded in lived experience. Owner of the record shop and voice of moral clarity in the story. Delivers one of the show’s emotional and musical peaks. Strong powerhouse vocalist required. Must combine authority, warmth, and emotional gravitas.
• PRUDY PINGLETON Female-presenting, adult (40s–60s). Any ethnicity. Penny’s controlling mother. Rigid, fearful, and obsessed with propriety. Represents social conservatism and overprotection taken to extremes. Strong comedic character work with underlying tension. Must balance humor with realism.
• ENSEMBLE / CORNY COLLINS KIDS / TOWNSPEOPLE Any gender, teen–adult. Any ethnicity. Ensemble functions as dancers, singers, TV show performers, protest participants, and Baltimore community members. Heavy dance and vocal requirements. Provide stylistic world-building and tonal energy shifts. Strong triple-threat performers required. High stamina, precision choreography ability, and stylistic adaptability essential.

VIRGINIA REPERTORY 2026-27 SEASON

LITTLE BEAR RIDGE ROAD

Playwright: Samuel D. Hunter
Genre: Contemporary Drama
Rehearsals Start: July 13, 2026
Performance Run: August 12 - September 6, 2026
Setting: Rural Idaho, present day (remote family home)
Tone: Naturalistic, darkly funny, emotionally restrained realism
Tone & Style: Samuel D. Hunter writes with a highly controlled naturalism: emotionally specific, regionally grounded, and structurally restrained. Humor arises from discomfort, timing, and human contradiction rather than explicit jokes. The play depends on actors resisting big choices. Meaning accumulates through silence, interruption, and understatement.

SYNOPSIS: In rural Idaho, a fractured family gathers in an aging home filled with memory, silence, and unresolved history. As financial pressure, aging, addiction, and emotional distance surface, the characters are forced to reckon with what it means to stay connected—or to finally let go.

SEEKING

• SARA Female-presenting, 40s–60s. Any ethnicity. Ethan’s aunt. Sara is the closest thing the family has to a stabilizing force, though that role has come at a cost. She is practical, sharp, and emotionally worn from years of managing crises that never fully resolve. Beneath her grounded exterior is deep fatigue and a complicated sense of responsibility toward Ethan and her father. She loves her family, but she is not sentimental about them. Sara carries the emotional labor of the household and resents how invisible that labor has been. She is direct, sometimes blunt, but rarely cruel without reason. Her humor is dry, often defensive, and rooted in survival. A major dramatic role requiring emotional precision and restraint. Able to convey history without exposition and conflict without escalation. Strong subtext work, stillness, and lived-in naturalism are essential.
• ETHAN Male-presenting, late 20s–40s. Any ethnicity. A man returning to a place he cannot fully leave behind. Ethan is emotionally intelligent but avoidant, often using detachment, humor, or intellectualization to keep distance from pain. His return home forces him into proximity with unresolved family history and personal stagnation. Requires highly internalized acting. Subtle shifts, silence, and restraint are key. The performance should feel lived-in rather than performed.
• GLEN Male-presenting, 60s–80s. Any ethnicity. Ethan’s father. Aging, physically diminished, and resistant to emotional reflection. Glen is defined by self-reliance and stubbornness, even as those traits no longer serve him. He struggles to articulate regret or need, often defaulting to defensiveness or silence. There are moments where clarity breaks through, but they are brief and unadorned. Grounded realism only. Must be comfortable with understatement and long pauses. No melodrama—emotional weight comes from containment.
• MARJORIE Female-presenting, 50s–70s. Any ethnicity. A long-standing presence in the family’s orbit (often interpreted as a close friend, caretaker figure, or emotional witness to the household). Marjorie is observant, steady, and quietly compassionate. She sees more than she says and often functions as an emotional barometer for the family’s dysfunction. She is not an outsider, but she is not fully entangled either — she exists in a liminal space of care and distance. Requires quiet authority and strong subtext work. Able to communicate thoughtfulness and emotional intelligence through stillness.

THE PLAY THAT GOES WRONG

Playwrights: Henry Lewis, Jonathan Sayer, and Henry Shields
Company: Mischief Theatre
Genre: Farce / Physical Comedy
Rehearsals Start: August 17, 2026
Performance Run: September 16 - October 18, 2026
Setting: The Cornley Polytechnic Drama Society’s production of a 1920s murder mystery, The Murder at Haversham Manor
Running Time: Approx. 2 hours including intermission
Tone & Style: The comedy is rooted in total commitment. The actors must never “wink” at the audience; the humor comes from desperate attempts to preserve professionalism amid catastrophe. Precision, rhythm, and technical discipline are essential. The style combines British farce, clown work, slapstick, and ensemble-based physical comedy.

SYNOPSIS: The accident-prone Cornley Polytechnic Drama Society attempts to stage a traditional British murder mystery, but everything that can go wrong does: collapsing sets, missed cues, broken props, forgotten lines, backstage feuds, and increasingly desperate actors trying to keep the show alive. As the performance spirals into chaos, the actors’ determination only makes the disaster funnier.

Note: Actors play members of the Cornley Drama Society who are themselves playing characters in the murder mystery. Strong comic specificity and the ability to sustain dual-layer characterization are essential.

SEEKING

• CHRIS BEAN / INSPECTOR CARTER Male-presenting, 20s–40s. Any ethnicity. Head of the drama society and director of the production. Chris desperately wants the show to feel prestigious and professional despite mounting catastrophe. As Inspector Carter, he attempts to maintain the dignity of a classic detective story while internally unraveling. Earnest, high-strung, controlling, and increasingly frantic. Excellent farce technique required. Strong physical comedy, improvisational flexibility, and precision timing essential. Must sustain escalating panic while remaining emotionally committed to “the play within the play.”
• ROBERT GROVE / THOMAS COLLEYMOORE Male-presenting, 20s–50s. Any ethnicity. A performer who takes himself extremely seriously despite limited talent. Robert believes he is delivering a sophisticated leading-man performance and is deeply invested in theatrical gravitas. As Thomas Colleymoore, he plays the deceased fiancé at the center of the mystery. Requires deadpan confidence and commitment. Strong understanding of comic overacting and melodrama.
• DENNIS TYDE / PERKINS Male-presenting, 20s–40s. Any ethnicity. Nervous, eager, and catastrophically bad at remembering lines. Dennis desperately wants to help but continually makes things worse. His panic escalates as the production collapses around him. Lovable under pressure. Strong verbal comedy and panic-energy control required. Excels at intentional mistakes delivered with absolute sincerity.
• MAX BENNETT / CECIL HAVERSHAM / ARTHUR THE GARDENER Male-presenting, 20s–40s. Any ethnicity. Good-looking, cheerful, and blissfully unaware of how bad the production is going. Max enjoys performing more than anyone else onstage and remains delighted by audience response, even when things fail spectacularly. Infectiously enthusiastic. Natural charm essential. Strong audience awareness and comedic innocence required.
• TREVOR WATSON Male-presenting, any age adult. Any ethnicity. The exhausted lighting and sound operator reluctantly pulled into the chaos. Dry, deadpan, and technically overwhelmed. Often functions as an unwilling participant rather than a performer. Excellent reactive comedy and understated timing essential. Minimalism and restraint are key.
• ANNIE TWILLOIL / SANDRA WILKINSON Female-presenting, 20s–40s. Any ethnicity. The company’s overworked stage manager forced to step into performance duties. Annie is practical, competent, and increasingly furious as the production falls apart. As Sandra, she attempts glamorous leading-lady sophistication while visibly underprepared. Strong physical comedy and improvisational responsiveness required. Must balance backstage realism with theatrical parody.
• SANDRA WILKINSON / FLORENCE COLLEYMOORE Female-presenting, 20s–40s. Any ethnicity. An ambitious performer who believes herself destined for greater things. Self-involved, melodramatic, and highly conscious of stage presence. As Florence, she leans fully into overwrought murder-mystery acting. Excels at heightened theatrical parody while remaining grounded enough for the comedy to land. Strong farce instincts required.
• JONATHAN HARRIS / CHARLES HAVERSHAM Male-presenting, 20s–40s. Any ethnicity. The actor playing the corpse. Earnest, anxious, and increasingly frustrated by the impossible demands of remaining “dead” while chaos erupts around him. Much of the role’s comedy is physical and reactive. Exceptional physical control and stamina required. Strong clowning and nonverbal comedy skills beneficial.

A CHRISTMAS CAROL

Based on the book by: Charles Dickens
Adaptor: Rick Hammerly
Genre: Classic Holiday Drama / Ensemble Adaptation
Rehearsals Start: October 12, 2026
Performance Run: November 18 - December 27, 2026
Style: Story Theatre / Multi-role Ensemble with Physical and Vocal Transformation
Setting: Victorian London and associated memory/spiritscape
Tone & Style: Based on the book by Charles Dickens, this adaptation emphasizes ensemble storytelling, transformation, and theatrical imagination. The production relies heavily on doubling, physical storytelling, and rapid character shifts. Emotional truth is prioritized over sentimentality.

SYNOPSIS: Based on the book by A Christmas Carol, this ensemble adaptation follows Ebenezer Scrooge, a bitter and isolated miser, who is visited by three spirits on Christmas Eve. Through journeys into his past, present, and future, Scrooge is forced to confront the consequences of his choices and rediscover his capacity for compassion, generosity, and human connection.

SEEKING

• EBENEZER SCROOGE Male-identifying, 50s+. Any ethnicity. A rigid, isolated businessman defined by greed, control, and emotional withdrawal. Scrooge rejects human connection in favor of financial security until supernatural intervention forces him to confront the cost of his choices. His transformation is the emotional core of the play, moving from cynicism to joyful generosity. Major leading role requiring classical technique, emotional range, and stamina. Sustains a clear arc while navigating rapid tonal shifts with clarity and precision.
• JACOB MARLEY & OTHERS Male-identifying, 40s+. Any ethnicity. Scrooge’s deceased business partner, bound in chains as punishment for a life of greed. Marley serves as the moral catalyst of the story, warning Scrooge of his potential fate. Also doubles in ensemble roles. Strong vocal authority and physical specificity required. Must balance supernatural weight with ensemble flexibility.
• GHOST OF CHRISTMAS PAST & OTHERS Any gender, 20s–30s. Any ethnicity. An ethereal, gentle guide through Scrooge’s memories. The Ghost evokes nostalgia, innocence, and regret, encouraging reflection without judgment. Also appears in additional ensemble roles requiring transformation. Strong movement-based storytelling required. Creates emotional clarity through physicality and tone.
• GHOST OF CHRISTMAS PRESENT & OTHERS Any gender, 30s–50s. Any ethnicity. A radiant, larger-than-life spirit embodying abundance, joy, and present-moment awareness. Warm, charismatic, and generous, but also capable of moral seriousness when revealing hardship and inequality. Requires strong presence, vocal richness, and emotional range from celebration to gravity.
• GHOST OF CHRISTMAS FUTURE & OTHERS Any gender, 30s–40s. Any ethnicity. A silent, ominous figure representing death and consequence. Communicates entirely through movement and presence. Minimalism and precision define the role. Non-verbal performance skill essential. Strong physical control and stage awareness required.
• BOB CRATCHIT & OTHERS Male-identifying, 30s–40s. Any ethnicity. Hardworking, kind, and deeply devoted to his family. Despite poverty and mistreatment, he maintains warmth, humor, and resilience. Represents moral integrity under economic strain. Naturalistic emotional truth required. Strong grounding in sincerity and restraint.
• MRS. CRATCHIT & OTHERS Female-identifying, 30s–40s. Any ethnicity. Pragmatic, loving, and protective. She balances care for her family with frustration over their financial hardship and Scrooge’s treatment of Bob. Strong dramatic instincts and emotional clarity required. Must balance warmth and frustration.
• MR. FEZZIWIG & OTHERS Male-identifying, 40s+. Any ethnicity. Jovial employer from Scrooge’s past who embodies generosity, joy, and communal celebration. A contrast to Scrooge’s later coldness. Strong comedic warmth and expressive physicality required.
• MRS. DILBER & OTHERS Female-identifying, 40s+. Any ethnicity. Scrooge’s housekeeper. Practical, outspoken, and often comedic. Provides grounded domestic energy and humor. Strong character work and comic timing required.
• FRED & OTHERS Male-identifying, 20s–30s. Any ethnicity. Scrooge’s nephew. Warm, optimistic, and consistently kind despite rejection. Embodies familial love and persistence. Requires sincerity, warmth, and strong emotional consistency.
• MRS. FRED & OTHERS Female-identifying, 20s–30s. Any ethnicity. Fred’s wife. Confident, generous, and socially warm. Supports the family’s celebratory spirit. Strong ensemble instincts and comedic timing required.
• MRS. FRED’S SISTER & OTHERS Female-identifying, 20s–30s. Any ethnicity. Outspoken, energetic, and socially playful. Adds humor and texture to Fred’s household scenes. Strong comedic rhythm and character specificity required.
• TOPPER & OTHERS Male-identifying, 20s–30s. Any ethnicity. Bumbling, charming, and socially awkward. Provides light comedic relief in social scenes. Physical comedy and timing essential.
• BELLE & OTHERS Female-identifying, 20s. Any ethnicity. Scrooge’s former fiancée. Kind, perceptive, and grounded. Represents emotional paths not taken. Strong emotional restraint and clarity required. Must avoid sentimentality.
• SOLICITOR #1 & OTHERS Male-identifying, 30s+. Any ethnicity. Cheerful, approachable legal figure with comedic warmth. Strong supporting character versatility required.
• SOLICITOR #2 & OTHERS Male-identifying, 30s+. Any ethnicity. Energetic, expressive, and occasionally volatile legal presence. Strong ensemble adaptability and comic flexibility required.

PLAZA SUITE

Playwright: Neil Simon
Genre: Comedy
Rehearsals Start: November 9, 2026
Performance Run: December 9, 2026 - Jan 17, 2027
Setting: Suite 719 at the The Plaza Hotel
Structure: Three interconnected one-acts performed by the same principal actors in multiple roles
Tone & Style: Classic Neil Simon comedy driven by rhythm, precision, emotional honesty, and escalating interpersonal conflict. The humor should emerge organically from relationships and desperation rather than caricature. Strong technique with pacing and verbal comedy is essential.

SYNOPSIS: Over the course of three wildly different stories set in the same suite at the legendary The Plaza Hotel, two actors portray a range of couples confronting marriage, infidelity, nostalgia, and family chaos. The play showcases the emotional and comic versatility of its performers through rapid tonal and character shifts.

SEEKING

• TRACK 1 (Male-presenting) 40s–60s. Any ethnicity. Possesses exceptional range in both grounded relationship comedy and high farce. With strong verbal dexterity, impeccable comic timing, emotional accessibility, and the stamina to anchor all three acts. Able to pivot seamlessly between understated realism, suave theatricality, and explosive comedic panic is essential. Character Qualities Across Roles: Commanding stage presence, sophisticated comic rhythm, emotional intelligence beneath bravado, strong escalation technique, comfort with rapid tonal transitions. Strong leading role with major stamina and versatility. Experience with classic American comedy and farce highly beneficial.
  Sam Nash — a practical businessman confronting emotional stagnation in his marriage.
  Jesse Kiplinger — a charismatic Hollywood producer reconnecting with an old flame.
  Roy Hubley — a frantic father desperately trying to get his daughter to her wedding.
• TRACK 2 (Female-presenting) 40s–60s. Any ethnicity. Balances warmth, wit, emotional vulnerability, and escalating comic chaos. With sophisticated command of language-based comedy alongside deeply grounded emotional realism. Able to transition fluidly between poignant intimacy and heightened farce is critical. Character Qualities Across Roles: Emotional openness and nuance, strong reactive comedy, natural elegance and comic intelligence, precision with rhythm and pacing, emotional authenticity beneath humor. Strong leading role capable of both subtle realism and broad farce. Excellent listening skills and emotional flexibility required.
  Karen Nash — a thoughtful wife yearning to reconnect with the romance of her past.
  Muriel Tate — a suburban woman swept up in fantasy during a reunion with a former boyfriend.
  Norma Hubley — an anxious mother struggling to contain wedding-day catastrophe.
• JEAN McCORMACK Female-presenting, 20s–30s. Any ethnicity. The panicked bride in Visitor from Forest Hills. Intelligent, overwhelmed, stubborn, and emotionally flooded by the pressure surrounding her wedding day. Much of the role occurs offstage or partially unseen, requiring excellent vocal characterization and comic timing. Strong vocal actor with emotional specificity and comic instinct.
• BELLHOP / WAITER Any gender, adult. Any ethnicity. Hotel staff appearing throughout the evening. Grounded observers amidst escalating emotional chaos. Provides tonal support and comic punctuation. Strong character with clean comic instincts and versatility.