Theatreworks concluded its priority consideration period for submission for the 2022-2023 mainstage season on Monday, May 23 by holding two days of open Equity Principal auditions and accepting virtual submissions. Casting has been completed for Lumberjacks in Love, Winter Wonders, Little Women, The Half-Life of Marie Curie, Free-for-All: PERICLES and King Hedley II.

As of October 2022, virtual submissions are still open for roles that have not yet been filled in Aubergine and Taming of the Shrew; please see details below.

Practical Details:

For Mainstage productions, our outdoor Summer Shakespeare, Taming of the Shrew will be produced at SPT-4 level and Aubergine will be produced at the SPT-5 level. The SPT weekly salary rates for 2023 are: Actors: SPT-4 $437, SPT 5 $488; SMs: SPT 4 $528, SPT 5 $587.

The majority of non-Equity actors are paid a weekly stipend of $332; in Aubergine, one role have significantly less rehearsal time (20 hours per week) and if cast with a non-Equity actor will offer a lower non-Equity stipend of $200 per week.

SPT-4 is 30 rehearsal hours per week (34 hours for stage managers); SPT-5 is 34 rehearsal hours per week (38 hours for stage managers).

For out-of-town artists, transportation to Colorado Springs and housing in a shared artist house with private bedroom is provided.

Please note that Aubergine may have one potential student matinee performance and only submit yourself for consideration if your schedule will offer the flexibility for you participating in one performance during school hours (if given advance notice).

All rehearsals are held at the Ent Center for the Arts, 5225 N. Nevada Ave, Colorado Springs CO.

Aubergine performs in the Dusty Loo Bon Vivant Theater in the Ent Center for the Arts. Exceptions include Taming of the Shrew, which is the annual outdoor Summer Shakespeare.

If you would like to familiarize yourself with the text of any of the plays and are local to Colorado Springs, Aubergine and Taming of the Shrew are both available through the Pikes Peak Library District.

Additional Information: All auditioners please complete the audition form (linked above) including uploading your resumé, headshot, and (if submitting virtually) an unlisted YouTube or Vimeo link of 2 contrasting pieces totaling no more than 5 minutes. When recording, it is helpful if you have a neutral background and good sound quality.

If you wish to be considered for Taming of the Shrew, please submit a piece in verse as one of your two contrasting pieces.

We encourage actors of all races, ethnicities, identities, and abilities to audition for our season and are excited to cast these worlds expansively. The genders given are the genders of the characters.

Equity Mainstage Productions:



by Julia Cho; a family story about love and connection through cuisine

Directed by Lisa Marie Rollins

Rehearsals January 9-February 1, 2023 at the Ent Center for the Arts in Colorado Springs, CO

Performances February 2-19, 2023 (Thursday-Sunday; 1 likely student matinee, February 9 at the Ent Center for the Arts)

SPT-5; 6 week contract

RAY: 38. Korean-American. Born in America.

LUCIEN: 40s. A naturalized citizen who was once a refugee

RAY’S FATHER:* Late 60s. Born in Korea, lived in American for almost four decades.

CORNELIA:* 28. Korean-American. Born in Korea, raised mostly in America.

STRANGER/UNCLE:* Late 50s. Korean.


*RAY’S FATHER, CORNELIA and UNCLE speak Korean in the play.

** Diane is a smaller role limited to 20 hours of rehearsal a week and if cast with a non-Equity actor, having a smaller stipend. This role will be cast locally to Colorado Springs.

Taming of the Shrew

Shakespeare’s comic battle-royale-of-the-sexes, in high Elizabethan-style with a gender-bent twist!

Rehearsals Friday, June 9-July 5, 2023;

Performances run July 6-30, 2023 (Wednesday-Sunday; no likely student matinees)

Directed by Caitlin Lowans

SPT-5; 7.5 week contract; outdoor summer Shakespeare

The Brothers:

KATE M late 20s/late 30s. Hasn’t found his place in the world or an ally. Gives as good as he gets.

BIANCO M mid 20s/mid 30s. The apple of his mother’s eye. Always gets what he wants.

The Mothers:

BAPTISTA F early 50s/early 70s Bianco and Kate’s mother. Wants what’s best but doesn’t pay the right attention.

VINCENTIA F early 50s/early 70s Lucentia’s mother who arrives unexpectedly.

The Wooers:

PETRUCHIA F late 20s/early 40s. Eccentric and arrogant but deep-down cares for Kate and ultimately wants to help him find his way in the world.

LUCENTIA F mid 20s/mid 30s Disguises herself as a tutor to woo Bianco. Optimistic.

HORTENCIA F mid 20s/mid 30s One of Bianco's suitors and best friends with Petruchia; disguised herself as a music tutor to woo Bianco; ideally plays an instrument.

GREMIA/ WIDOWER gender-flexible mid 30s/early 50s Rich comic older suitor fighting to win the hand of Bianco.

*The roles of Biondella, Trania, Grumia, Tailor, Pedant, and Curtis will be assigned to tracks by the time of callbacks. The genders of the characters do not need to be the genders of the actors, but because of the gender play inherent in this production that is flipping all the characters to a matriarchy, it is essential that the performed gender of the characters be clearly legible to audiences. Actors playing those parts must be comfortable taking on feminine presentations to tell those stories to the audience.