Auditions

Auditions

Auditions

Theatreworks Colorado Springs, an AEA SPT theatre, is seeking actor and stage manager submissions for our 2021-2022 season.

Salary:

For Mainstage productions, the SPT-4 rehearsal week is 30 hours. Equity actors are paid a weekly salary of $404 for rehearsals and performances. Non-Equity actors are paid a weekly stipend of $315 for rehearsals and performances. Equity Stage Managers are paid a weekly salary of $488 for rehearsals and performances.

For our theatre for young audiences and community tour work, the rehearsal week is 20 hours. Non-Equity actors are paid a weekly stipend of $250 during rehearsals. During performances, the per performance stipend for SNOWY TALES is $45; the per-performance stipend for TEMPEST is $65.

Audition information:

Please submit by emailing theatreworks@uccs.edu with the following information in the body of the email and/or in the introduction of your video:

  1. Name
  2. Union status
  3. Vaccination status
  4. Whether you have local housing in Colorado Springs
  5. Link to an unlisted YouTube video with two contrasting pieces of no more than 2 minutes total
  6. What production(s) or role(s) for which you’d like to be considered

If you wish to be considered for Twelfth Night or The Tempest, please submit a piece in verse. Please note the productions that make have student matinee performances and only submit yourself for consideration for those production if your schedule will offer the flexibility for you to perform during school hours. If you wish to be considered for WITCH, please submit ASAP as rehearsals begin August 24 and the window for that production may be shorter. Deadline for WITCH submission is Friday, August 6, 2021. Deadline for all other productions is Friday, August 27, 2021.

 

Equity Mainstage Productions:

 

Witch

by Jen Silverman

directed Caitlin Lowans

Rehearsals begin Tuesday, August 24, 2021

Performs September 16-October 10, 2021 (Thursdays-Sundays)

Contract is 7 weeks long ELIZABETH SAWYER F 50s/ 60s. An outcast.

SIR ARTHUR BANKS M 50s/60s. A wealthy and powerful man.

CUDDY BANKS M 20s/ early 30s.

Sir Arthur’s son, painfully shy, a morris-dancer. He is secretly in love with Frank (and also in hate.)

FRANK THONEY M 20s/ early 30s. A confident and successful young man, charming and ruthless. His ambition knows no bounds.

WINNIFRED F 20s/ early 30s. Sir Arthur’s servant, resigned and pragmatic, secretly married to Frank.

We encourage actors of all races, ethnicities, identities, and abilities to audition for the roles they are most interested in. The genders given are the genders of the characters. They do not need to be the genders of the actors, but because stories of access to power, it is essential that the gender of the characters be clearly legible to audiences and actors paying those parts must be comfortable taking on those stories.

Every Brilliant Thing (SPT-4)

by Duncan MacMillan, with Jonny Donahoe

directed by Marisa Hébert

Rehearsals begin Tuesday, November 2, 2021

Performs November 27-December 29, 2021 (Thursdays-Sundays; student matinees possible)

Contract is 7 weeks long

Narrator/Sam: Any age, race, ethnicity, gender, physical expression, and/or abilities. They are kind, curious, approachable, and have an easy sense of humor. They are all of us, on any given day at any point in our lives. They must be highly comfortable with direct audience interaction and engagement.

We encourage actors of all races, ethnicities, identities, and abilities to audition for the roles they are most interested in. The genders given are the genders of the characters. They do not need to be the genders of the actors, but because stories of access to power, it is essential that the gender of the characters be clearly legible to audiences and actors paying those parts must be comfortable taking on those stories.

Elliot: A Soldier's Fugue (SPT-4)

by Quiara Alegría Hudes

directed by Julio Agustin

Rehearsals begin Tuesday, January 4, 2022

Performs January 27-February 13, 2022 (Thursdays-Sundays)

Contract is 6 weeks long

All characters are Puerto-Rican; we intend to cast entirely with actors of the Latin diaspora. All actors should be excited about heightened language and direct address to the audience.

ELLIOT: serving in Iraq, 1st Marine Division, 18-19

POP: Elliot's father, served in Vietnam, 3rd Calvary Division, various ages

GRANDPOP: Elliot's grandfather, served in Korea, 65th Infantry of Puerto Rico, various ages.

GINNY: Elliot's mother, served in Vietnam, Army Nurse Corps, various ages.

 

The Bluest Eye (Spt-4)

adapted by Lydia Diamond from the book by Toni Morrison

directed by TBD

Rehearsals begin Tuesday, March 29, 2022

Performs April 21- May 15, 2022 (Thursdays-Sundays; student matinees possible)

Contract is 7 weeks long

All actors in this production must identify as Black/ African-American. The children are played by adults. Cast of characters from (from the playwright).

CLAUDIA: Precocious, sensitive girl. She must be able to move gracefully between the innocence of youth and the wisdom of the narrator who has lived through it all. Dexterity with direct address a must.

FRIEDA /DARLENE: Claudia’s older sister. Somewhat more practical than Claudia. Possibly more stern, slightly less personable.

PECOLA: A shy, quiet, resigned and somewhat pained presence. She should be completely innocent. So much happens in Pecola’s eyes. We must love her and want to take care of her, but not pity her. Perhaps there is a certain quiet pride that won’t let us tip over into pity. It is imperative that she have very dark brown skin.

MAMA She possesses a large imposing presence. She loves her children and this should be evident despite her stern manner (will play a few other characters)

MRS. BREEDLOVE: An older version of Pecola, also dark brown. Painfully shy and insecure, and still very adept at addressing the audience. (will play a few other characters)

SOAPHEAD CHURCH: Charismatic, odd, charming, mature. CHOLLY: Older, physically imposing, dark brown complexion. (played by same actor)

MAUREEN PEAL/ WHITE GIRL: Light skinned, very pretty. More complicated than merely “snotty” She is a real person, as complicated as the other characters. (will play a few other characters)

Twelfth Night (Spt-4)

by William Shakespeare

directed by Kathryn Walsh

Rehearsals begin June 14, 2022

Performs July 7-July 31, 2022 (Wednesdays-Sundays)

Contract is 7 weeks long

Twelfth Night will be a riotous and joyful exploration of love, gender, and how we play (or not) by the rules. We encourage actors of all races, ethnicities, identities, and abilities to audition for the roles they are most interested in. While we have noted the genders of the characters below, decisions about character gender will be made during the casting process and are not set in stone. M = Male-identifying, F = Female-identifying, NB = Non-binary, ALL = actors of all genders encouraged to audition and/or the gender of the character will depend on the identity of the actor cast.

ORSINO (M) 20s-40s — The lovesick Duke of Illyria. He’s listened to too much emo music and read too much Keats and is therefore lacking a real-world understanding of how love works. Myopic but compassionate, he’s actually doing his best.

VIOLA (F/NB) 20s-30s — Sebastian’s sister, who disguises herself as Cesario, a boy in service of Duke Orsino, after losing her brother in a shipwreck. A girl in mourning, who falls head over heels for Orsino, and who might be discovering she’s more excited about life as Cesario than she expected. She’s got a lot going on, but she’s a quick thinker, so she’s hoping she can think her way out of it.

SEBASTIAN and others (M) 20s-30s — Viola’s brother. Jumps into things with both feet. Confident, brave, and a little naive.

ANTONIO (M)/ MARIA (F) and others (ALL) 20s-40s — When you are the smart, practical one surrounded by agents of chaos. Sometimes you use your powers for good, and sometimes you don’t. The actor cast in this track will be playing characters of two different genders.

SIR TOBY (ALL) 30s-50s — Sir Toby drinks a lot, but then again, most people they love have died recently. Looking for fun in all the right and wrong places. Starting to lose the guardrails.

SIR ANDREW (ALL) 30s-50s — The unluckiest in love. The sweetest clown in town.

MALVOLIO (M) 40s and up — Believes that moral rectitude and an upright life should result in earthly rewards. Abhors mess of any kind. Rules are his best friend.

FESTE(ALL) 30s and up — A cynical Fool. Sees through all the illusions and kind of wishes they could go back to a time when they didn’t. A musician and singer is needed for this role.

OLIVIA (F) 20s-40s — A highborn lady constrained by her position. In deep mourning. Has no idea what to do with her life and isn’t even sure she’s allowed to ask that question. Extremely tired of wearing black.

We encourage actors of all races, ethnicities, identities, and abilities to audition for the roles they are most interested in. The genders given are the genders of the characters. They do not need to be the genders of the actors, but because stories of access to power, it is essential that the gender of the characters be clearly legible to audiences and actors paying those parts must be comfortable taking on those stories.

Non-equity Additional Productions:

 

Snowy Tales (non-Equity Theatre for Young Audiences)

Rehearsals begin November 2021.

Performs December 2021 (Performances Saturdays & Sundays; student matinees possible)

Seeking theatrical artists of all skills (including musicians and puppeteers) to join an ensemble of 3 theatre artists telling winter tales for the young and young at heart. We encourage actors of all races, ethnicities, identities, genders, and abilities to audition for the roles they are most interested in.

FREE FOR ALL: Tempest (Non-equity School and Community Tour)

by William Shakespeare

directed by Caitlin Lowans

Rehearsals begin late March 2022

Performances in schools late April-May 2022; performances in community May-June 2022.

Seeking a cast of 7-8 actors in a 75-minute adaptation of The Tempest. Each actor will learn two tracks in a highly physical work. Gender is fluid. Excitement about and experience with: direct address, community and youth audiences, heightened language, highly physical acting work, and comedy are all a plus. We encourage actors of all races, ethnicities, identities, genders, and abilities to audition for the roles they are most interested in.