Auditions

Step into the spotlight

2023 Season Auditions

(+ Keep scrolling down for Alice in Wonderland Auditions, Every Brilliant Thing Auditions, and Elephants Graveyard [studio season] Auditions.)

February 5th at 5:30* and Feb 6th at 6:30pm
Sign Ups begin at 5:00pm on Sunday and 6:00pm on Monday

*On February 5th 5:30-6:30 will be musical auditions only, no plays. Play auditions will begin at 6:30 Sunday. On Monday all auditions start at 6:30pm.

Please read the instructions below carefully! We have made several changes this year in order to make auditions run smoothly.

Many directors are doing non-conventional casting, so please read their casting notices carefully.

 

Audition Instructions:

*Please bring a printed headshot and resume for EACH DIRECTOR you plan to audition for*

For example if you plan to audition for Big Fish, Calendar Girls, Good Ol Girls, and Spamalot please bring 4 headshots and resumes, etc.

If you audition for a Musical you must prepare a 16-32 bar cut of music. We will have a piano accompanist.

Please check the play descriptions below to see if those directors want you to prepare a monologue. Otherwise you will read sides.

What to expect:

-Sign ups begin at 6:00 in the Main Lobby. You will receive an audition number if you are auditioning for a musical. If you are only auditioning for plays feel free to arrive at 6:30 or after. You will be asked to fill out an audition sheet.
-Once you have filled out your audition sheet you are free to go to play auditions.
-Each show director is given a space on the HART campus to hold auditions. You will travel to each space to conduct individual auditions.
-Musical auditions are held on the Steve Lloyd Stage (formerly called the Main Stage). You will be brought in 5 at a time to sing for ALL musical directors. The directors will let you know if they need you to attend dance auditions or to visit them later in the evening to read sides.
-Dance Auditions are held on the Steve Lloyd Stage immediately following the entire musical auditions. You are welcome to bring a change of clothes to dance in.
-Once Musical and Dance auditions are finished, Musical Directors will go to their perspective spaces and conduct further auditions were you will read sides.

 

If you plan to audition for multiple musicals please be aware that auditions sometimes go as late as 10-11pm.

 

CHARACTER BREAKDOWNS PER SHOW:

 

BIG FISH

Director: Candice Dickinson

Performances: May 19-June 11. Rehearsals start beginning of April (roughly)

Big Fish is a beautiful musical featuring southern inspired melodies, high-fantasy, heavy dance, and equal parts comedy and heart. Candice is HART’s Artistic Director and is happy to work with veteran actors or new comers to the HART stage. She will work with conflicts, within reason.

Requirements: Sing a 16-32 bar cut at musical auditions, attend dance auditions (unless specified in the character breakdown), read sides after music and dance auditions, and have a resume.

CHARACTERS:
Please read carefully! There are several non-traditional casting choices I am making.
Young Edward Bloom – Male age 20-30, Lead, Baritone (G@2-A4), Dancer! Charismatic! Strong Comedic Timing. Featured in all “stories” and flashbacks, Young Edward must be, beyond anything else, likable. He wants to be the best he can be for his family, he is the hero of every story. Will sing: Be the Hero, The Witch, Out there on the Road, Time Stops, Closer to Her, Daffodils, Fight the Dragons, Start Over, *potentially part of How it Ends.
 
Mature Edward Bloom – Male age 40-70, Lead, Baritone. Non-dancer. Charismatic! Diagnosed with cancer and dying, we see the man Edward has become: the story teller, the lover, the father. He is driven by his need to be remembered well and for his stories to live on – think Willy Loman but the happy musical theatre version. Will sing: Showdown, Whats Next, and How it Ends
 
Adult Will Bloom – Male age 20-30, Lead, Tenor (high note D4). Non-dancer. Practical and straight laced, a reporter. He is everything Edward is not- or is he? When he finds out his fiance is pregnant with a son and his father is dying of cancer, Will is on a race against time to find out who his father really was and the truth behind his tall tales. Will is truly the heart of the show and drives the plot. He must be likable and able to get the audience on his side, it is easy for Edward to steal the show with his Charisma but the whole plot focuses on Will and his journey to accept and love his father and pass on his stories to his son.
 
Young Will Bloom – Boy Age 5-15, Tenor. Very little singing. Supporting, Minor dance. Playing Will bloom in all stories and flashbacks, Young will is incredibly practical even in his young age. Edward describes him as being born “a middle ages man.”
 
Young Sandra Bloom – Female Age 20-30, Lead, Soprano (G3-E5). Dancer! So beautiful and charismatic that Edward Bloom falls in love with her on the spot and dedicates his life to finding and marrying her. She is a performer through and through, goes to Auburn University, and loves Daffodils. She must be charismatic, lovely, and a strong dancer. She plays Sandra in all flashbacks and stories. Will sing: Little Lamb from Alabama, Time Stops, Daffodils, and Red, White and True.
 
Mature Sandra Bloom – Female Age 40-70, Lead, Soprano(G3-E5), non-dance. The woman Sandra becomes. She is patient, kind, loving and worried. She wants Will and Edward to make amends before it is too late. Will sing: Two Men in My Life and I Don’t Need a Roof.
 
Josephine Bloom – Female Age 20-30, Supporting, Mezzo/Belt (G3-Db5), minor dancing. A Reporter, Will’s fiance and then wife. She is pregnant with Will’s son. She is enamored by Edward and his stories and wants Will to find the joy in his fathers stories. 
 
Karl (or Karla) – Male, Female or Non-Binary Age 20-40, Supporting. Traditionally Baritone but willing to flip it up the octave and cast a tenor or alto. *Must be willing to walk on drywall stilts, you will also get to use a walking stick for support.* The giant! They are an outcast from society, found by Edward living in a cave. Edward takes them on the adventure of a lifetime and by the end of the musical they have turned into an extremely successful finance person.
 
Amos Calloway – Male Age 30-60, Supporting, Baritone (C2-F4). Non-dancer. A warewolf and the leader of the Circus! He takes Edward in as a worker promising to divulge a single detail about his love, Sandra, once a month. Slightly evil in his greediness but in the end is there for his friend Edward. He was played by Danny DeVito in the movie if that gives you an idea of what we are going for here…
 
The Witch – Female or Non Binary Age 20-50, Featured, Rock/Belter (F3-F5 – the top F is mixed and optional). Dancer. They have a show stopping number in the first act that starts our tale. They predict a glorious death for Edward that begins his entire life. 
 
Jenny Hill – Female Age 20-40, Featured. Mezzo (G3-E5). Non-dancer. Blonde, sweet, and in love. This actor has to range from a teen to an old woman. We see her in the beginning as Edwards first love and find her in her old age – she changes the course of both Edward and Wills life with her story. 
 
Dr. Bennett – Female, Male of Non-Binary, Age 30-60. Non-singing, Non-Dancing role. Edwards Doctor, they visit him throughout the show. Like anyone in Edwards life they are a close friend. They play an evil judge in a fantasy scene: “Showdown.”
 
Zachy Price – Male Age 16-30. Dancer – will also be in the dance core. One of Edwards childhood friends. He is a scaredy-cat and lives in his older brothers shadow.
 
Don Price – Male Age 16-30. Dancer – will also be in the dance core. Edwards rival. He is a jock who becomes the town mayor. Must be able to range in age from teen to middle aged. He was engaged to Sandra before Edward shows up. He and Edward get in a large fist fight at the end of Act 1. 
 
Female Dance Core – 4 Females Age 16-40. Strong dancers *must have basic to advanced tap dance as well* Featured singers. Sandra Bloom’s back up dancers, witches in the forest, townspeople, wedding guests. These are large parts!
 
1-2 additional Male Dance Core – Strong Dancers.
 
Ensemble – Variety Age 5 – 99. SATB. Cast to fill out the wedding guests and townsfolk of Ashton. Some singing and movement. Will likely help with backstage crew as well.

Calendar Girls

Director: Erin McCarson

Performances: June 16 – July 2. Rehearsals begin Mid May (rough dates)

*Please have a one minute comedic monologue prepared*

A comedy. These women in a charity group (WI) decide to put together a pin-up calendar to raise money. **Actresses must be comfortable with tasteful partial nudity on stage** Likely, you will be in a nude bra and panty set or lingerie – all is for comedy and fun and you will almost always have large hilarious props in front of you.

CHRIS – Female, 50s+. You want Chris at your party. She will talk to people she doesn’t know, and things to say to all silences and generate laughter. Part of this is because Chris is at home in crowds, holding court, being the centre of attention. Without Chris in her life, Annie would be better behaved, her life less fun. The two of them are like naughty schoolgirls. 

ANNIE – Female, 50s+. Annie will join in mischief but is at heart more conformist and less confrontational than Chris. The mischievousness Chris elicits saves Annie from being a saint. She has enough edge to be interesting, and enough salt not to be too sweet. 

CORA – Female, around 40ish. Cora’s past is the most eclectic, her horizons broadened by having gone to college. This caused a tectonic shift with her more parochial parents. She came back to them pregnant and tail-between-legs, but Cora has too much native resilience to be downtrodden. She is the joker in the pack, but never plays the fool. Her wit is deadpan. It raises laughter in others, but rarely in herself. Her relationship with her daughter is more akin to that between Chris and Annie. Cora doesn’t need to sing like a diva but must be able to sing well enough to start the show with Jerusalem and sing the snatches of other songs required. Ideally plays piano, but the piano keyboard can be marked up to enable her to play basic chords should she not be a player. 

JESSIE – Female, late 60s/70s. Get on the right side of Jessie as a teacher and she’ll be the teacher you remember for life. Get on the wrong side and you will regret every waking hour. A lover of life, Jessie doesn’t bother with cosmetics — her elixir of life is bravery. Jessie goes on rollercoasters. Her husband has been with her a long time and is rarely surprised by her actions. Jessie bothers about grammar and will correct stallholders regarding their abuse of the apostrophe “s”. 

CELIA – Female, age anything 35-50. The fact that Celia is in the WI is the greatest justification of its existence. A woman more at home in a department store than a church hall, she may be slightly younger than Chris or the same age, but she always feels like she’s drifted in from another world. Which she has. She is particularly enamoured of Jessie, and despite the fact Jessie has very little time for most Celias of this world, there is a rebelliousness in Celia to which Jessie responds. It’s what sets Celia apart from the vapid materialism of her peer group and made her defect. 

RUTH – Female, 40s. Ruth’s journey is from the false self-confidence of the emotionally abused to the genuine self confidence of the woman happy in her own skin. Ruth is eager to please but not a rag doll, and despite being Marie’s right-hand woman she is desperate to be the cartilage in the spine of the WI and keep everyone happy. She has spine herself — if she was too wet, no-one would want her around. But they do, and they feel protective of her because they sense there is something better in Ruth than her life is letting out. They are proved right. 

MARIE – Female, 50s. Marie has gradually built the current ‘Marie’ around herself over the years as a defense mechanism. She went to her Oz, Cheshire, and found Oz didn’t want her. She came back scorched. The WI is a trophy to her, which justifies her entire existence. There is a lingering part of Marie that would love to be on that calendar. Ideal car —  something German and well-valeted. Ideal holiday — a quasi-academic tour of somewhere in Persia advertised in a Sunday Supplement which she could then interminably bang on about. 

JOHN – Male, Annie’s husband, 50s+. John is a human sunflower. Not a saint. Not a hero. Just the kind of man you’d want in your car when crossing America. When he dies it feels like someone somewhere turned a light off. 

ROD – Male, Chris’s husband, 50s+. You have to be a certain kind of guy to stick with Chris and Rod loves it. He can give back what he gets, and has a deadpan humor which has always made Chris laugh. He drinks a lot but never so much as to have a problem. He would work every hour to make his shop a success. And John was his mate, even though the relationship was originally channelled through their wives.

LAWRENCE – Male, 20’s-30s. Hesitant without being nerdy, Lawrence is a shy young man with enough wit to make a joke and enough spirit to turn up at the WI hall in the first place. When he arranges the shots he is close to female nudity but sees only the photo. 

LADY CRAVENSHIRE – Female, 60s, the diva. Lady Cravenshire really doesn’t mean to be so patronizing. But the WI girls seem from another world. The world of her estate workers. When she makes an entrance, she must make an entrance. She must glide in like a galleon. 

ELAINE – Female 20s. Elaine really doesn’t mean to be so patronizing. But Jessie seems from another world. The world of her gran. Always dressed in her clinical whites, they slice through like a knife. You feel you could cut yourself on that dress. 

LIAM – Male, 20’s-30’s. Liam would like to be directing other things than photoshoots for washing powders. He’s not so unprofessional as to let it show, but we can sense a slight weariness at having to deal with these women. There’s a resigned patience to his actions and each smile he makes we feel is professional. For Liam, this photoshoot is a job. And not the job he wanted. 

Rogers + Hammerstein Cinderella

Director: Kristen Hedberg

Performances: July 7 – July 30. Rehearsals begin end of May (rough dates)

We are doing the 2013 Broadway Revival version, it differs greatly from the Disney and the original 1957 Julie Andrews version.

Ella — Soprano with strong middle range. B3 to G5. Late teens to mid twenties. Kind,
passionate, open-minded, resilient, realistic yet idealistic. Physically strong but playful.

Topher — C3 to Ab4. The prince. Late teens to mid twenties. Trying to find himself and better
understand his kingdom as he prepares to rule. A lonely soul who wants more from life than
sport and play. A great mirror for Ella, he is open, kind, goofy and also resilient.

Marie – Soprano. B3 to Ab5. Mid 40’s to 60’s. Excellent vocalist and character actress. Poses
as an older peasant woman who has lost her marbles. Reveals herself as a fairy godmother
who can perform magic with great style. Deeply cares about Ella.

Charlotte — Mezzo or Soprano with mix. C4 to F5. Early to mid 20’s. Ridiculous little snot who
cannot see her tacky narcissism. A cry for help. Unkind stepsister to Ella. Strong character
actor.

Gabrielle — Mezzo or Soprano. C4 to F5. Mid to late 20’s. Smart, empathetic and secretly kind.
Aware of her eyesore of a sister and cruel mother and that she does not fit in with them – yet
she passively participates in their antics when in their presence. Breaks free of her confinement
as the story proceeds.

Madame — Mezzo soprano. C4 to D5. 40’s-50’s. The stepmother. Will take out anyone and
anything in her path to climb the social ladder. Everything is about her, and her daughters are
even pawns to get what she wants. Downright cruel and abusive to Ella. Being in her presence
is like nails on a chalkboard.

Jean-Michel – Tenor. C3 to G4. mid 20’s to early 30’s. Passionate idealist with revolutionary
motivation, yet powerless and frustrated. Determined to better his kingdom if someone will just
listen. Falls for Gabrielle.

Sebastian — Baritone. C# to Eb. 40’s to 50’s. The Lord Chancellor and adviser to the young
prince. Similar to Madame, he only cares about himself and his own power. He uses deceit and
propaganda to suppress the lower classes and to keep Topher in the dark about the real
problems in the kingdom. A shiny coin that is beginning to tarnish.

Pinkerton — Tenor. E3 to A5. Excellent vocalist. 30’s to 50’s. Assistant to the Lord Chancellor.
He announces all events and information pertinent to the town, including the ball. Ability to play
subtext will bring out the nuances of Pinkerton and his relationship to those he serves.

Ensemble — SATB. Various ages. Townspeople, courtiers, animals and fantastical creatures.
Strong dancer-singers will be given priority.

Spamalot

Director: Dominic Michael Aquilino

Performances: August 25 – Sept 17. Rehearsals begin Mid July (rough dates)

 

Spamalot is an ensemble show and many actors are usually asked to play several roles. 
This is in keeping with the original dry British humor, Monty Python-style as seen in the movie The Holy Grail on which Spamalot is largely drawn from.

Please note that the ages listed just serve as a guide.  All roles are available and casting is open, with newcomers welcome and encouraged.  Also, character doublings are only suggested here and may be changed based on audition results and production needs as determined by the Director. 

Please be prepared to attend a callback where you may be asked to read from the script and learn a few short song excerpts from the Musical. 

If you want to be considered for a principle role in Spamalot, you are also encouraged to prepare a song, a short monologue and a Silly Walk from or in the show’s style.  (Restoration Comedy, Farce, Gilbert and Sullivan, etc.) The use of a British accent in auditions or callbacks is HIGHLY encouraged.*

 

Monty Python’s Spamalot CHARACTERS (Traditional Multi-role Casting)

KING ARTHUR (Baritone, Late 30s-60s) – The King of England, who sets out on a quest to form the Knights of the Round Table and find the Holy Grail. Great humor. Good singer. 

THE LADY OF THE LAKE (Alto with large range, 20s-40s) – A Diva. Strong, beautiful, possesses mystical powers. The leading lady of the show. Great singing voice is essential, as she must be able to sing effortlessly in many styles and vocal registers. Sings everything from opera to pop to scatting. Gets angry easily. 

SIR ROBIN (Tenor/Baritone, 30s-40s) – A Knight of the Round Table. Ironically called “Sir Robin the Brave,” though he couldn’t be more cowardly. Joins the Knights for the singing and dancing. Also plays GUARD 1 and BROTHER MAYNARD, a long-winded monk. A good mover. 

SIR LANCELOT (Tenor/Baritone, 30s-40s) – A Knight of the Round Table. He is fearless to a bloody fault but through a twist of fate discovers his “softer side.” This actor MUST be great with character voices and accents, as he also plays THE FRENCH TAUNTER, an arrogant, condescending, over-the-top Frenchman; the KNIGHT OF NI, an absurd, cartoonish leader of a peculiar group of Knights; and TIM THE ENCHANTER, a ghostly being with a Scottish accent. 

PATSY (Tenor/Baritone, 30s-40s) – King Arthur’s horse and servant. Under-appreciated but always longing for Arthur’s approval. Good, funny, physical mover with some tap dancing. Also plays MAYOR, a jolly red-faced man who advertises the merits of his hometown; and the drunken, useless GUARD 2. Very good mover. Tap skills a bonus. 

SIR GALAHAD (Tenor, 30s) – A Knight of the Round Table. Begins as Dennis, a lower class “mud gatherer” who becomes knighted and transforms into the dashing Sir Galahad. Also plays PRINCE HERBERT’S FATHER, a wealthy, brutish Yorkshireman at odds with his sensitive son; and THE BLACK KNIGHT, who is always ready to duel despite multiple injuries. Strong bari-tenor singing required. 

SIR BEDEVERE (Tenor/Baritone with falsetto, 20s-40s) – A Knight of the Round Table. An inept scholar. Also plays DENNIS GALAHAD’S MOTHER, a shrill peasant woman; and CONCORDE, Sir Lancelot’s horse. 

HISTORIAN/NOT DEAD FRED/ PRINCE HERBERT/ MINSTREL/ FRENCH GUARD (Tenor, 20s-30s) – A tweedy academic. Also plays NOT DEAD FRED, a sickly little fellow who — despite others’ beliefs — claims he is “not yet dead”; a FRENCH GUARD, the condemnatory sidekick to the French Taunter; a MINSTREL in Sir Robin’s band; and PRINCE HERBERT, the hopeful and frilly prince who loves to sing and pines for his love atop a tower. Tenor singing required. Very good mover. 

MALE ENSEMBLE (6 men) – Seeking strong dancers and singers to play many roles including the other Knights of the Round Table, Sir Not Appearing, Sir Bohrs, Bodies in “Not Yet Dead,” the Dancing Monk, the Dancing Nun, French Citizens, Finland Citizens, a French Guard, Robin’s Minstrel, and more! Strong dance skills preferred; tap skills a bonus. 

FEMALE ENSEMBLE (6 women) – Seeking strong dancers and singers to play many roles including the Camelot Girls, the Laker Girls, a French Guard, Knights of Ni, two of Robin’s Minstrels, French Citizens, Finland Citizens, and more! Strong dance skills preferred, tap skills a bonus.

 

Roles as individuals (if not doubling roles)

Mayor 

Patsy 

The French Taunter – (Ensemble)

Knight of Ni – (Ensemble)

Tim the Enchanter – (Ensemble)

Dennis’s Mother – (Ensemble)

Concorde – (Ensemble)

The Black Knight – (Ensemble)

Prince Herbert’s Father – (Ensemble)

Ensemble 6 female/ Laker Girls/ Male?

Good Ol’ Girls

Director: Shelia Sumpter

Performances: Sept 22 – Oct 8. Rehearsals begin mid August (rough dates)

GOOD OL’ GIRLS celebrates childhood through old age with big hair and bigger hearts. The material strongly reflects the contemporary country spirit of women from the south, particularly Virginia, Kentucky, Tennessee, and the Carolinas. All are bright and literate.

The five actresses’  ages range from early twenties to sixty and all must be strong actors/singers able to tell a good story and interact with the audience. They should be capable of moving well and feel confident with harmonies. Authentic dialects needed.

*The ability to play a musical instrument is a plus, but not necessary.*

Death of a Salesman

By Arthur Miller

Director: Doug Savitt

Performance Dates: Weekends October 13th – 29th . Rehearsals will begin in September
Who Can Audition: Everyone is welcome and encouraged to audition.

What to do for Auditions:

  • Bring your calendar with conflicts. Please do not audition if you cannot attend all
    performances.
  •  Please bring a Headshot and Resume if you currently have them, however they are not
    required to audition.
  • Read through the FULL CAST BREAKDOWN. *Please Note: This production is utilizing
    some non-traditional casting. The following roles will be DOUBLE-CAST with 2 actors.
    One actor will play the present day/older version while another actor will play the
    flashback/younger version. Actors under 18 may be considered for the younger versions
    of Biff, Happy, and Bernard:
    •  Linda Loman
    •  Biff Loman
    •  Happy Loman
    •  Charley
    •  Bernard
  • Please familiarize yourself with the Audition Materials listed on this page after character breakdowns

Callbacks: Monday, February 20th at 7pm
————————————————————————————————————————————–

Synopsis:
Arthur Miller’s Death of a Salesman follows titular salesman, Willy Loman – a representative of
the Everyman, through his last 24 hours on earth. Having spent his life striving for a false dream
of success, his reality is now falling apart. Naturalism and expressionism blend together as we
venture with Willy into his own head. The memories of the past collide with the present and we
see how Willy’s unrelenting pursuit has put immense pressure on those around him, especially
his son Biff. We explore the dysfunctional and now fractured Loman family. Willy’s flaws and
failures are laid front and center, but will he be able to see them?

Content Warning:
Many of the characters are likely experiencing undiagnosed mental illnesses. These may include
anxiety, depression, kleptomania, dementia, and bi-polar disorder.
Generational trauma, toxic masculinity, infidelity, suicidal ideation, and an off-stage suicide are
all featured within the play.

Characters:

Flute Player – Any Age
Flute music is used as a motif throughout Death of a Salesman. This music has multiple
meanings including a reference to Willy’s father. *Please Note: You do not need to be a
professional flautist but should have some experience playing a flute or a flute-like instrument.
This can include a standard concert flute, Irish flute, Bansuri flute, Native American Flute, Tin
Whistle, etc. If you do not have experience but have the willingness and time to learn, please let
me know.

Willy Loman – Age 63 and 46
Willy is a representative for the Everyman. He is obsessed with the idea that one can be
successful by being “well-liked” by others and perceives himself as a hero among men. He
refuses to acknowledge he is a common man with flaws. This is his delusional dream, and he
refuses to admit who he is and what his failures are. He has lost his salary and does not how to
continue to survive. He places all hope in his son Biff. His present self is depressed and has
attempted suicide on multiple occasions. Please Note: This role may require intimacy with
The Woman.

Linda Loman – Age: Late 50’s and Early 40’s.
*DOUBLE CAST ROLE – Casting 2 actors (one for each age range)
Linda, on the surface, is the archetype of “ideal” housewife. She loves Willy but has bought into
his false ideas. She is the one who discovers Willy’s suicide attempts but can’t bring herself to
talk to him about it. The most important thing in the world to her is for Willy to be happy. In her
earlier years, Linda shows her pragmatic and business-like mind. She is the one who keeps
track of expenses. But Linda puts loyalty to her husband and conventions of the time above all
else.

Biff Loman – Age 34 and Age 17
*DOUBLE CAST ROLE – Casting 2 actors (one for each age range)
Biff is the eldest of son of Willy and Linda. A star football player in high school, he was popular,
“well-liked”, and on the path to success that Willy had always hoped for him. He idealized his
father and bought into Willy’s flawed ideas of success. When he discovers Willy is having an
affair the spell is broken. In present day, Biff has returned home for a visit and has been
struggling to find who he truly is. He knows what he wants and what his father wants him to be
are not the same.

Happy Loman – Age 32 and Age 15
*DOUBLE CAST ROLE – Casting 2 actors (one for each age range)
Happy Loman is the younger son of Willy and Linda. He has spent his life striving for his father’s
attention but has been mostly ignored in favor of Biff. In present day he exudes confidence and
sex appeal. He continually pursues engaged women to feel power and success. Happy has
bought into his father’s vision of success and feeds into Willy’s delusions.

Bernard – Age 34 and Age 17
*DOUBLE CAST ROLE – Casting 2 actors (one for each age range)
Bernard is Biff’s friend and son of their neighbor, Charley. Young Bernard is a smart kid who
lets people take advantage of him. In present day he has become the successful and “well-liked”
businessman that Willy had always hoped Biff would be.

Charley – Age early 60s and Mid 40s
*DOUBLE CAST ROLE – Casting 2 actors (one for each age range)
Charley is Willy’s neighbor and close friend, despite Willy’s reluctance to acknowledge it. Charley
has his own successful business. In the past he likes to joke around with Willy, but Willy takes
everything too seriously. In the present he’s helping Willy by loaning him money and even offers
him a job, which Willy declines.

The Woman – Age Mid 40s
The Woman is most likely a secretary for a business in New England that is part of Willy’s sales
route. Willy is having an affair with her. Please Note: This role may require intimacy with
Willy.

Ben – Age 60s
Ben is Willy’s older brother. Ben left when Willy was just under 4-year-old to go in search of
their father. Ben found his way to Africa and became rich from the Diamond Mine industry. He
appears to Willy in his fragmented reality.

Howard – Age 30s
Howard is Willy’s employer. He is the son of the man who originally hired Willy. Howard is of a
strict business mind and appears to care little for the struggles of others. He is wealthy and
obsessed with new technology. He does not see the struggles of the common man.

Jenny – Age 30s-60s
Jenny is Charley’s secretary. She’s tired of dealing with Willy every time he comes to borrow
money from Charley.

Stanley – Age 30s – 50s
Stanley is a waiter at Frank’s Chop House. He’s not content with his life but has been Happy’s
regular server. Idealizes Happy and his way with women.

Miss Forsythe – Age 20s – 40s
A “Loose” Woman (possibly a prostitute). Happy engages her in a restaurant to join him and his
brother Biff.

Letta – Age 20s – 40s
A “Loose” Woman (possibly a prostitute). This is Miss Forsythe’s friend whom she calls to join
her at dinner with Biff and Happy.

 

AUDITION MATERIALS – Death of a Salesman

Please note: All audition materials will be provided but you may print out and bring your own copies if you prefer.

DIRECTIONS:

  •  Please fill out your season audition form when arriving at auditions.
  •  Please familiarize yourself with one of the 3 poems listed below. It does not need to be memorized. Choose the poem you feel most connected to.
  • Please familiarize yourself with one of the 4 monologues listed below. It does not need to be memorized. Choose the monologue you feel most connected to. It does not need to be a character of corresponding gender or a role you are pursuing.
  • FLUTE PLAYERS – Please prepare a short song that evokes a rustic or ethereal sensibility.
Poems:

1.) Ozymandias by Percy Shelley

I met a traveller from an antique land,
Who said—“Two vast and trunkless legs of stone
Stand in the desert. . . . Near them, on the sand,
Half sunk a shattered visage lies, whose frown,
And wrinkled lip, and sneer of cold command,
Tell that its sculptor well those passions read
Which yet survive, stamped on these lifeless things,
The hand that mocked them, and the heart that fed;
And on the pedestal, these words appear:
My name is Ozymandias, King of Kings;
Look on my Works, ye Mighty, and despair!
Nothing beside remains. Round the decay
Of that colossal Wreck, boundless and bare
The lone and level sands stretch far away.”

2.) “Hope” is the thing with feathers by Emily Dickinson

“Hope” is the thing with feathers –
That perches in the soul –
And sings the tune without the words –
And never stops – at all –
And sweetest – in the Gale – is heard –
And sore must be the storm –
That could abash the little Bird
That kept so many warm –
I’ve heard it in the chillest land –
And on the strangest Sea –
Yet – never – in Extremity,
It asked a crumb – of me.

3.) O Solitude! if I must with thee dwell by John Keats

O Solitude! if I must with thee dwell,
Let it not be among the jumbled heap
Of murky buildings; climb with me the steep,—
Nature’s observatory—whence the dell,
Its flowery slopes, its river’s crystal swell,
May seem a span; let me thy vigils keep
’Mongst boughs pavillion’d, where the deer’s swift leap
Startles the wild bee from the fox-glove bell.
But though I’ll gladly trace these scenes with thee,
Yet the sweet converse of an innocent mind,
Whose words are images of thoughts refin’d,
Is my soul’s pleasure; and it sure must be
Almost the highest bliss of human-kind,
When to thy haunts two kindred spirits flee.

Monologues:

1.) Willy Loman

Well, better get going. I want to get to the school first thing in the morning. Get
my suits out of the closet. I’ll get my valise. What’s the matter! She’s a buyer.
Buys for J. H. Simmons. She lives down the hall — they’re painting. You don’t
imagine — Now listen, pal, she’s just a buyer. She sees merchandise in her room
and they have to keep it looking just so…All right, get my suits. Now stop crying
and do as I say. I gave you an order. Biff, I gave you an order! Is that what you do
when I give you an order? How dare you cry! Now look, Biff, when you grow up
you’ll understand about these things. You mustn’t — you mustn’t overemphasize
a thing like this. I’ll see Birnbaum first thing in the morning. He’s going to give
you those points. I’ll see to it. Heh? If I can’t get him to change that mark you’ll
make it up in summer school. You’ve got all summer to —She’s nothing to me,
Biff. I was lonely, I was terrible lonely. I gave you an order! Biff, come back here
or I’ll beat you! Come back here! I’ll whip you!

2.) Linda Loman

Last month…Oh, boys, it’s so hard to say a thing like this! He’s just a big stupid
man to you, but I tell you there’s more good in him than in many other people. I
was looking for a fuse. The lights blew out, and I went down the cellar. And
behind the fuse box — it happened to fall out — was a length of rubber pipe —
just short. There’s a little attachment on the end of it. I knew right away. And
sure enough, on the bottom of the water heater there’s a new little nipple on
the gas pipe. Every day I go down and take away that little rubber pipe. But,
when he comes home, I put it back where it was. I don’t know what to do. I live
from day to day, boys. I tell you, I know every thought in his mind. It sounds so
old-fashioned and silly, but I tell you he put his whole life into you and you’ve
turned your backs on him.

3.) Biff Loman

Hap, I’ve had twenty or thirty different kinds of jobs since I left home before the
war, and it always turns out the same. I just realized it lately. In Nebraska when I
herded cattle, and the Dakotas, and Arizona, and now in Texas. It’s why I came
home now, I guess, because I realized it. This farm I work on, it’s spring there
now, see? And they’ve got about fifteen new colts. There’s nothing more
inspiring or — beautiful than the sight of a mare and a new colt. And it’s cool
there now, see? Texas is cool now, and it’s spring. And whenever spring comes
to where I am, I suddenly get the feeling, my God, I’m not gettin’ anywhere!
What the hell am I doing, playing around with horses, twenty-eight dollars a
week! I’m thirty-four years old, I oughta be makin’ my future. That’s when I
come running home. And now, I get here, and I don’t know what to do with
myself. I’ve always made a point of not wasting my life, and everytime I come
back here I know that all I’ve done is to waste my life.

4.) Happy Loman

I gotta show some of those pompous, self-important executives over there that
Hap Loman can make the grade. I want to walk into the store the way he walks
in. Then I’ll go with you, Biff. We’ll be together yet, I swear. But take those two
we had tonight. Now weren’t they gorgeous creatures? I get that any time I
want, Biff. Whenever I feel disgusted. The only trouble is, it gets like bowling or
something. I just keep knockin’ them over and it doesn’t mean anything. I’d like
to find a girl. Somebody with character, with resistance! Like Mom, y’know?
You’re gonna call me a bastard when I tell you this. That girl Charlotte I was with
tonight is engaged to be married in five weeks.

Auditions will be held on FEBRUARY 11TH for this show only.

Scroll down to see audition information and to sign up for an audition slot.

EVERY BRILLIANT THING

By Duncan Macmillan

Directed by Hannah Williams

Auditions will be held on FEBRUARY 11TH 1-5pm for this show only.

Performances: August 4 – August 20
Rehearsals begin in July, exact TBD depending on actor/director availability
Please contact info@harttheatre.org with any questions.

If you are interested in auditioning but are unavailable on the audition date above, please submit a recording of the audition material to info@harttheatre.org by February 8th.

 

Seeking:

Narrator: Any gender, race, ethnicity, and ability. Adult, out of college by any number of years. British. Authentic, relatable, flawed. Must be a skilled improviser, storyteller, and comedian. Wide range of emotional depth and colors necessary. Audience interaction required.

 

Auditions Requirements:

1.) If you have a physical copy of your headshot and resume, please bring one.

2.) Please prepare a short story, no longer than 2 minutes, about an object significant to you.  Stories are welcome to be from lived, shared, or imagined experience. Please bring the item to the audition, if possible.

3.) One minute monologues are welcome in addition to the story, but not necessary. 

4.) Be prepared to speak on your interest in the show. A copy of the script for perusal may be found here

Please do not use an accent in your prepared material. If asked to read a selection from the script, an accent may be requested. Sides from the script will be available for cold readings at the audition.

 

About the play:

What are the brilliant things in your life that you are living for?

This touching and hilarious one man show offers us a clear way out of the darkness: making a list of everything that’s brilliant about the world. What started as a 6 year old’s list of everything that’s worth living for (1. Ice cream. 2. Kung Fu movies. 3. Burning things. 4. Laughing so hard you shoot milk out your nose…) soon takes on a life of its own and defines who we are. Audience members are as much a part of the show as our main character, taking on roles in his life, shouting out thousands of brilliant things, and interacting with each other in an unforgettable way. Every Brilliant Thing is the funniest play about depression you will ever see and may be the funniest play you ever see, full stop.  

Content disclosure: The script contains themes of mental illness, depression, self-harm, suicide, family trauma, euthanasia, and divorce.

ELEPHANT’S GRAVEYARD

By: George Brant

Directed by Grace Hayes

Auditions: Sunday, February 12th Noon-6pm

Performance Dates: March 31st-April 9th
**This show is part of HART’s Studio Season which means it is a great opportunity for new actors!

Rehearsals: February 27th – March 30th
*willing to be very flexible with conflicts, just please put ALL conflicts on the audition form

Audition Requirements:

Please prepare any monologue of your choice for the audition. It can be from any time period or genre, it just needs to be something that reflects who you are as a performer and is something that you genuinely love to perform.

Cast Breakdown:

The roles I am looking to cast are below. You MUST be at least 16 to audition for this show as there are mature themes. The script is attached to this email to give you a better understanding of the show. I highly recommend reading it.

The Circus

  • Ringmaster – Leader of the circus; obsessed with the bottom line. Any race, age, or gender.

  • Trainer – loves his work. Any race, age, or gender.

  • Ballet girl – a showgirl in control. Female. Any race.

  • Tour Manager – Bit of a bully. Any race, age, or gender.

  • Strongman – proud muscleman from Europe’s far-off shores. Any race or gender.

  • Clown – a comedian with an inferiority complex. Any race or gender.

The Town

  • Hungry Townsperson – African-American, steel-trap memory. Any gender.

  • Marshal – Keeps the peace. Any race or gender.

  • Muddy Townsperson – A haunted widow. Any race or gender.

  • Steam shovel operator – looking for an escape. Any race or gender.

  • Young townsperson – an excitable dreamer. Any race or gender.

The Railroad

  • Engineer – Confident time is on his side—any race or gender

If you have any questions please email Grace at gracehayesredefine@gmail.com Thank you!

About the Show:

Elephant’s Graveyard is the true tale of the tragic collision of a struggling circus and a tiny town in Tennessee, which resulted in the only known lynching of an elephant. Set in September of 1916, the play combines historical fact and legend, exploring the deep-seated American craving for spectacle, violence and revenge. 

Kids at HART 

Alice in Wonderland Auditions

“Curiouser and Curiouser!” Kids at HART will hold auditions on February 4th and 5th for all characters in Alice in Wonderland. There are parts for actors in third grade through high school. (Possibly some adult roles too.)

Lewis Carroll’s classic story,  Alice in Wonderland, comes to life on the Steve Lloyd Stage at HART theatre in this wonderful adaptation by Anne Coulter Martens. When Alice slides down the rabbit hole all she wants to do is to get home again. With only the key to an unknown door and little help from the Mad Hatter, White Rabbit, Cheshire Cat, and other crazy characters, her task is easier said than done.

Theatre-goers of all ages will be delighted with this magical adventure while they will learn — along with Alice in Wonderland — that nonsense makes quite good sense! Production dates are weekends April 28-May 7.

Actors wishing to audition should prepare a short comedic monologue (around one minute.) Register to audition below.