Step into the spotlight

2024 Season Auditions


HART will hold Auditions for all of our 2024 Main Season Shows on

Sunday, February 4 at 5:00 p.m.
Monday, February 5 at 6:00 p.m.

The Performing Arts Center on the Shelton Campus

(In the case of snow auditions will be moved to: February 18 & 19)
What to prepare:

Please bring a headshot and resume for every director you plan to audition for. You will also fill out an audition form upon arrival.

If auditioning for any musical: Please prepare EITHER one 16-32 bar cut of a song that shows off your voice OR two 16 bar cuts of songs with OPPOSING styles: this is intended for people who want to audition for both Secret Garden and either of the other two musicals. If you are only auditioning for Footloose and Trailer Park you do not need to sing two different songs. Please use the two songs to show a legit/classical sound versus a pop/rock/belt style sound.
You may be asked to attend group dance auditions, if so you may want a change of clothes or shoes.

If auditioning for a play: Please read each plays requirements. Some directors want you to prepare a monologue and others will just have you read sides at auditions.


What to bring:

A headshot and resume for each director you plan to audition for (bringing extras never hurts!)
Dance clothes and shoes (optional)
Water, snacks (some will be provided as well)
A positive attitude!


What to expect:

-When you arrive you will immediately check in in the Main Stage Lobby where you will be given a number and audition forms to fill out.
-Please fill out an audition form for EACH director you plan to audition for.
-Auditions will be held in order of sign up (your number)
If auditioning for a musical, you will wait in the lobby until your number is called. You will be brought in in groups of 5 onto the Lloyd Main Stage and will audition for all 3 musical directors. There will be a piano accompanist. When you finish auditioning on the stage you will then go backstage to see if you received a callback or a dance audition for any of the musicals.
If auditioning for a play, after signing in, you can visit any of the play auditions. Each director will have their own room where they run their individual auditions. Please read descriptions below to figure out what to prepare or expect for each plays auditions.
If you received a call back for a musical or a dance audition:
-Once all musical auditions are completed, an announcement will be made and then dance auditions will be held on the Lloyd Main Stage. You can change into dance gear beforehand if you want to. You will do some across the floor work and learn a small ruetine. We will also have a “mover” dance call so that all levels of skill can show their talent.
-Following the dance call, Musical directors will go to their assigned rooms or areas to hold “callbacks.” These will likely involve reading sides with other actors but could also include additional singing or scales.

*Please note: musical directors can not see anyone for their “callbacks” until after everyone has sung and dance callbacks have been completed. If you are not attending the dance call, or auditioning for any plays, you may have some significant downtime between singing and callbacks.


Show Descriptions, Character Breakdowns and Requirements:

HART welcomes all races, gender identities, ages, and body types. Please look over our casting breakdowns for each show as some productions and characters within productions are more open to blind casting then other roles and productions. If you have any concerns or questions about casting opportunities at HART please don’t hesitate to reach out to HART’s Artistic Director, Candice Dickinson, at

Secret Garden

The Secret Garden

Director: Kristen Freeze
Music Director: Kelly Jackson
Choreographer: Jillian Adams
Stage Manager: Susan Clark


The Secret Garden is a musical based on the novel, written by Frances Hodgson Burnett (1911) Composer Lucy Simon and book writer/lyricist Marsha Norman make up the writing team.
Set in the early 20th century, the primary action takes place at a manor in Yorkshire, England, where young Mary Lennox is sent to live with her hunchback uncle, Archibald, after her parents die in India of the cholera. Mary is cold and and withdrawn at the start of the story, but as she gets to know the people who live and work in the house, both dead and alive, she discovers the magic that hope and belief in oneself can bring. Temperamental, headstrong, refreshingly honest and deeply caring, Mary restores the garden of her beloved, deceased aunt Lily and in turn, brings love, warmth and healing to her cousin Colin and uncle Archibald.

Audition Specifics:

Callbacks: You may be called back to read and/or sing and/or dance. If you are interested in a singing role, please have an additional song prepared that shows your range and your richest, fullest vocal sound, based on the character(s) in which you are interested. You may also be vocalized for range and interviewed about your knowledge of reading music and overall musicianship.
Non-singing roles: If you are interested in the roles of Mrs. Medlock or Mrs. Shelley/Mrs. Winthrop and do not wish to attend the singing audition, you may attend the callback and read for the roles at that time.

-Please fill out an audition form and bring it with you to the callback.
-Rehearsals will begin early March. A rehearsal schedule of general dates and times will be provided at callbacks.

A Note on Ages: This show requires skilled, technically proficient singers with stamina and strong musicianship. Vocal/real age may be older than character age in some cases, meaning these character’s ages listed are the “playing” age – it is likely some actors will be older than their characters because we need the vocal maturity – but they need to be able to look young enough to play them. For example Lily’s playing age is mid to late 20’s but the actress cast may be in her thirties and appear younger.

Character Breakdowns:

All characters require a British accent unless otherwise specified. A dialect couch will be a part of the show.

LILY – Female, appears mid-late 20’s (Range: Soprano) she is the ghost of Lily Craven who died in childbirth – she loved life – she loved gardens and bringing beauty into the world – she haunts the manor because she is deeply tied to her love for Archibald and her care for her son – even in death she is present in his life and brings him comfort. *This character will kiss Archibald

MARY LENNOX – Female, 10 (Range: Young Voice) soprano (strong middle voice) – 10 year old Mary, headstrong, temperamental, honest, caring, loyal, brave – loses her parents to the cholera – is sent to live with her uncle Archibald – discovers her aunt Lily’s garden and restores it – does not fall for the manipulation and sick hold Uncle Neville brings to the home – fights for restoration and brings healing and love back into a home that was wrought with grief and desolation

MRS. MEDLOCK – Female, Age Flexible potentially 50-70, **non-singing role (singing is optional) – the main housekeeper
– she is in charge of every aspect of the household – she is a no-nonsense type of lady – practical, fair and shows true care for Mary’s well-being

DR. NEVILLE CRAVEN – Male, 35-45 (Range: Baritone) the younger brother of Archibald – a doctor – he was in love with Lily and his jealousy of Lily and Archibald’s love is the driving motivation to his deceit of his own family – perpetuating a lie that Colin is an invalid who will never grow up to live a normal life

MARTHA – Female, 18-30 (Range: Mezzo-Soprano Belt) Mary’s housemaid – she is young, witty, optimistic, energetic – she has the ability to impart deep wisdom in a practical way that motivates people to break old habits and believe in themselves – she is one of the primary motivators of Mary and a true friend to her

ARCHIBALD CRAVEN – Male, appears late 30’s to late 40’s (Range: Tenor) grief-stricken and reclusive after losing his wife Lily, ten years ago – believes his son is a sickly child destined to live in a bed and grow to be a hunchback like him – his hunch comes from a postural habit because he has always held a sense that he carried the world’s problems on his shoulders – his wife, Lily, loved him most of all for his sensitivity – he sees Lily in Mary, and gently and slowly, he opens his heart to her. *This character will kiss Lily.

BEN WEATHERSTAFF – Male, Age Flexible potentially 50’s-70’s (Range: Baritone /Part Flexible) the groundskeeper of the Manor – quirky and kind – he has know the Craven family for a very long time – he knew Lily and remembers the past – he has stayed loyal to the Craven family throughout the years – he is a friendly mentor to Mary

DICKON – Male, 14-25 (Range: Tenor) Martha’s younger brother – he is a mystical young man who can talk to animals and understands the voice of the trees and the moor around him – he, like Martha, with his gentle spirit and good sense of humor, encourages Mary to believe in herself and that growth and healing is possible if one pays attention to the voices around them

COLIN CRAVEN – boy soprano – 10 years old and Mary’s cousin – Lily and Archibald’s son – he believes he will always be an invalid – his father sings to him at night while he is asleep – his mother’s ghost comes to his room and sings lullabies – he meets Mary after she discovers him in the manor – they become fast friends and she convinces him he can get better – he discovers he was never ill and that with some exercise he can learn to walk and live a normal life – he is high spirited, a bit temperamental and extremely sweet

MRS. WINTHROP – Female, Age Flexible (Range: Ensemble/Part Flexible) Headmistress of a private school.
Prides herself on nurturing girls with tempers. Mary seems to be more than she can handle.
The Following characters, referred to collectively as the Dreamers, are people from Mary’s life in India, who
haunt her until she finds her new life in the course of the story. They are free to sing directly to us, appearing and
disappearing at will.

ROSE LENNOX – Female, appears early 30’s (Range: Mezzo Soprano)now a ghost, Mary’s mother – she was more interested in the social niceties of life and not terribly interested in being a mother – Mary’s withdrawn stubbornness and temper in the beginning of the story are a result of this parenting – Rose cares deeply about her sister-in-law Lily but does not believe Archibald is a suitable match for her

CAPTAIN ALBERT LENNOX – Male, 30-40 (Range: Tenor) now a ghost, Lily’s brother– he was more affectionate toward Mary, and even as a ghost, he is still trying to help her, urging Lily to connect with Mary and watch out for her – in his death, he is constantly trying to protect Mary and make up for time lost father. Tries to send Rose out of India during the cholera outbreak.

FAKIR – Male, Age Flexible 30-60 (Range: Tenor) an Indian mystical, religious man who taught Mary about spells and charms and allowed her to believe in magic and in the spirit world – like her ayah, one of her positive mentors when often left alone in India while her parents socialized – when he dies of the cholera, she becomes a ghost in the manor where Mary is sent to live

AYAH – Female, Age Flexible 25-50 (Soprano or Mezzo) Mary’s Indian British India, Mary’s ayah is her Indian nanny – she is the one person who takes care of Mary, spends time with her and gives her attention – when she dies of the cholera, she becomes a ghost in the manor where Mary is sent to live

MAJOR HOLMES – Male Officer. tenor – middle aged – colleague and friend of Rose and Albert – when he dies of the cholera, he becomes a ghost in the manor where Mary is sent

CLAIRE HOLMES – soprano – middle aged – wife of Major Holmes – when she dies of the cholera, she becomes a ghost in the manor where Mary is sent

LIEUTENANT WRIGHT – tenor – age range 30 – 50 – colleague and friend of Rose and Albert – when he dies of the cholera, he becomes a ghost in the manor where Mary is sent

ALICE – soprano – age range 30’s’ – 40’s – close friend of Rose – when she dies of the cholera, she becomes a ghost in the manor where Mary is sent

Lieutenant Shaw – baritone – age range 30’s – 50s – both are in the circle of Rose and Albert. When Shaw dies of the cholera, he becomes a ghost in the manor where Mary is sent

Mr. Shelley – baritone or tenor – age range 30’s – 50s – Mrs. Shelley’s husband – they are part of the military circle in India– they deliver Mary to the train station where Mrs. Medlock is waiting for her. They will become dreamers in the house after their initial scene. They start out in India and then attach themselves to the manor when they die.

Mrs. Shelley – soprano or mezzo – age range 30’s – 50’s – Mr. Shelley’s wife – they are part of the military circle in India and do not die of the cholera – they deliver Mary to the train station where Mrs. Medlock is waiting for her. They will become dreamers in the house after their initial scene. They start out in India and then attach themselves to the manor when they die.

Mrs. Winthrop – non-singing role (singing is optional) – age range 30’s – 50s – Mrs. Winthrop is the head of the boarding school where Neville Craven wants to send Mary. She is judgmental, cold, snobbish and proud of her grooming – she likes to hear herself talk.



Gods of Comedy

The Gods of Comedy

Director: Erin McCarson

Please bring a 1 minute monologue that you feel best showcases you and your skills. Below are the broad stroke character descriptions given by the playwright, but I will be casting based on talent, not on how you look. I want to bring out the best in each other!

As we step onto the Greek island of Naxos, we encounter Daphne Rain, an industrious American Classics scholar on a research trip with her colleagues. The Dean warns her that Ralph Sargent, the new Classics department chair, seeks her help in the island’s library, believing he’s found a lost Euripides play. Daphne saves a local’s son and receives a talisman from him, capable of summoning the Gods of Ancient Greece.
A month later, back at Stanley University, Daphne, working on a production of Medea, faces a crisis when two actors quit a week before opening night. Ralph arrives with thrilling news— he found the complete Andromeda manuscript. Aleksi, the custodian, unknowingly destroys it, leading to a panicked Daphne calling on the Gods for help.
In a burst of music and smoke, Dionysus and Thalia, the Gods of Comedy, appear, on a mission from Zeus to give Daphne an adventure and a happy ending. They reveal themselves to Daphne, who remains skeptical. Meanwhile, Ralph excitedly plans to announce the discovery at Homecoming, attended by major donors and Brooklyn DeWolfe, a famous alumna.
The Gods, distracted by modern delights, decide to assist Daphne after learning the lost manuscript is Zeus’s favorite play. With a plan to recreate Andromeda, they encounter unexpected complications, including romantic entanglements and jealousies. The race against time intensifies as they strive to salvage the situation and ensure Daphne’s happy ending. The Gods inhabit the bodies of other characters while they try to find Aries the God of War that is running rampant on campus.


Character Breakdowns

These are the broad stroke character descriptions given by the playwright, but I will be casting based on talent, not on how you look. I want to bring out the best in each other! Several of these characters kiss, hug, seduce, or have other intimacy with the other charaters.

*Often Aristide, Ares, and Aleksi are played by the same actor. TBD how Erin will cast those roles

A local Greek salesman of colorfully embellished trinkets on the island of Naxos where he lives with his family. He knows everyone and everything that happens on his island, and serves as an omniscient introductory narrator to the story.

A young and esteemed American Classics professor from a liberal arts university. She is a passionate Hellenic scholar, currently working to mount a production of Euripides’ Medea as part of her Tenure Folio. Hiding behind her bookishness, hesitation, and self-imposed isolation, Daphne has a fiercely independent spirit and is on the verge of the adventure of her lifetime.

The Dean of the Classics Department at the university where Daphne teaches is a lusty 55-year-old “force of nature.” Hailing from England, her hearty gusto and “full throated laugh” simply can’t be tamed. She is staunchly passionate about her work and will do whatever it takes to see that the study of Classics is preserved and appreciated by the next generation.

Thirty-five year-old Hellenistic studies rising-star who has just been hired as the new head of the Classics Department with Daphne and the Dean. He is work-obsessed, bursting with energy, and on the hunt for a ‘lost’ Euripides play, a find which could make his career and change the course of theater history.

Loveable university custodian with a deep appreciation for ancient culture and art. He is a jovial Russian émigré with Homeric dreams of learning Greek himself and one day being a Classics professor.

Celebrated Greek god of wine, fertility, revelry, and misrule incarnated here as a God of Comedy on a mission from his father Zeus. Lover of all things boisterous, anarchic and ecstatic, Dionysus is particularly thrilled to discover all the indulgences a twenty-first century college campus has to offer him.

Ancient Greek muse of comedy and idyllic poetry, now Dionysus’s partner in comedic crime from Mt. Olympus. Thalia is a positivist who doesn’t get caught up in the details. Although she is not exactly “the sharpest sword in the armory” she makes up for it with self-confidence. She has a happy-go-lucky spirit and an “Achilles heel” of crushing hard and fast on attractive male mortals.

The Greek God of War who is loud, intimidating, quick to be aggressive, and physically no match for opposing mortals. Brutish and demanding, he does not play around when it comes to satiating himself with whatever his momentary desire might be.

Former Grade-A student scholar turned world-class movie star; she is a big deal at her alma mater. Charming and alluring with a smile that “makes you believe in God,” she knows how to smooth-talk herself into the next big movie without missing a beat.



Director: Candice Dickinson
Music Director: Kelly Jackson
Choreographer: Jacob Walas
Stage Manager: Nichole Sumpter

“Footloose: The Musical” is a high-energy stage adaptation of the iconic 1984 film. The story revolves around Ren McCormack, a teenager from Chicago. After his father leaves them behind, Ren and his mother, Ethel, move in with Wes, Ren’s Uncle  who lives in the small town of Bomont. Ren discovers that dancing and rock music have been banned in the town due to a tragic accident that happened years ago.
Ren quickly befriends Willard and falls for the rebellious preacher’s daughter, Ariel Moore. As Ren challenges the town’s strict rules, tension rises between him and the conservative community, especially Reverend Shaw Moore. Ariel’s rebellious spirit and Ren’s determination lead them to fight for the right to dance and enjoy music, eventually culminating in a dramatic town council decision.
Filled with catchy songs, energetic dance numbers, and themes of youth rebellion, “Footloose: The Musical” is a celebration of freedom, self-expression, and the power of community. The characters navigate personal challenges while pushing against the constraints of tradition.
Content Disclosure: Themes of Religious Persecution, Parents slapping children (domestic abuse)

On Casting: I really want to explore this town “waking up” and becoming more secure in who they are as the play progresses. I would love to cast queer actors and have queer and trans representation within the cast specifically showing people who may be closeted in Act 1 and become fully themselves by the prom in Act 2.


Character Breakdowns

REN MCCORMACK – Male or Male Presenting, (uses he/him pronouns) Tenor: Middle C to High C(falsetto), Age: appears as high school senior. Lead. Teenager from Chicago, Ren is strong willed and a little angry at the world. After his father leaves them, moving to a tiny town where he is an outcast is the last thing he wants. He is a natural leader and charismatic as the teens of Bomont naturally follow behind him and he inadvertently leads a rebellion. Must be a strong actor, singer, and dancer. Ideally this character will also be able to roller-skate but doesn’t have to be any good.
*This character will kiss and hold Ariel, gets slapped by his Uncle Wed

ARIEL MOORE – Female (uses she/her pronouns), Mezzo/Belter – Belt to D, vocal improvisation is a plus, also sings soprano in the church choir. Age: Appears as Junior or Senior in High School. Lead.
Reverend Shaw and Vi’s daughter, rebellious and searching for her place in the world. It is revealed that Ariels brother was killed in a car crash years earlier and it is for that reason that dancing and rock have been outlawed in the town. As her father tries to forget, she is left ignored, grieving, confused, and hurt. She acts out by dating her bad-boy boyfriend Chuck, and going out on the town with her best friends Rusty, Wendy-Jo, and Urleen, that is until Ren moves to town… Must be a strong actor, singer, and dancer. *This character will kiss both Ren and Chuck. She is also “slapped” by her father Rev Shaw

WILLARD HEWITT – Male, (uses he/him pronouns) Vocal: Tenor B2-A4. Age: Appears to be High School Senior. Supporting
Williard is a good ol country boy who loves his momma and a good time, maybe even pickin a fight. He befriends Ren who “teaches” him how to dance. Not very bright, he is a comedic relief character with a lot of heart, has a crush on Rusty.

RUSTY – female or female presenting, (uses she/her pronouns) Vocal: Anto with high belt low A and mixes about as high as you can go in “Lets Hear it for the Boy.” Age: appears to be in high school. Supporting. Ariel’s best friend. Is sassy, smart, and caring. Talks a mile-a-inute and has a crush on Willard. She warns Ren of how to act in this town. Needs to be a very strong vocalist and dancer.

REVEREND SHAW MOORE – Male, (uses he/him pronouns)Vocal: baritone G2 to F4 typically a more classical sound. Age: Father, 40’s-50s. Lead.  Bomont’s religious leader, father to Ariel, husband to Vi. He struggles to soften his heart after tragically loosing his son and therefor outlawing dance and rock in their town. At one point, Ariel tests him and he loses his temper, slapping her. As he struggles with his faith and his marriage he slowly softens his heart and changes. Must be a strong actor and vocalist. *This character “slaps” his daughter Ariel, he will also kiss with Vi.

VI MOORE – Female (uses she/her pronouns), Vocal: Mezzo G3-D5 Age: Mother, 40’s-50’s. Supporting. Reverand Shaw’s wife and Ariel’s mother. She has recently lost a child and struggles to keep her marriage and family in tact, though there is no doubt that she is the backbone of the family. She gently guides both Ariel and Shaw and navigates the expectations of being “a reverend’s wife” in a small town. Strong actor and vocalist. *This character will kiss Rev Shaw

ETHEL MCCORMACK – Female (uses she/her pronouns), Vocal: Mezzo G3-D5 Age: ren’s Mother Late 30’s to 50’s. Supporting. Ren’s mother, she was recently left by her husband and forced to move in with her brother, Ren’s uncle, in Bomont. She is equally non-thrilled about their move and it doesn’t help that she is having to try and control her rebellious son in a small town where everyones eyes are on her. Definitely a big-city woman in a small country town. Strong actor and vocalist, some dancing in this role.

WENDY – JO – Female presenting (uses she/her pronouns), Vocals: Mezzo, sings in 3 part harmony. Age: Appears as high school junior or senior. Comedic, not very bright. Sings well and is a strong dancer.

URLEEN – Female presenting (uses she/her pronouns), Vocals: Mezzo, sings in 3 part harmony. Age: Appears as high school junior or senior. Comedic, not very bright. Sings well and is a strong dancer.

CHUCK CRANSTON – Male. (uses he/him pronouns)Vocals: Bari-tenor has a B with lots of A’s & G’s. Age: High School Senior. Ariels bad-boy boyfriend. Doesn’t like Ren. May or may not dance. *This character will kiss Ariel

LYLE – Male or Female. Vocal: sings strong 3-part harmony – G, G#, A & B Age: High School Junior or Senior. Chuck’s friend. This role will also double as dance core.

TRAVIS – Male or Female. Vocals: sings strong 3-part harmony – G, G#, A & B Age: High School Junior or Senior. Chuck’s friend. This role will also double as dance core.

JETER – Male, Female, or non-binary. Vocals: sings strong 3-part harmony Age: High School Junior or Senior. Willard’s friend. This role will also double as dance core.

BICKLE – Male, Female, or non-binary. Vocals: sings strong 3-part harmony Age: High School Junior or Senior. Willard’s friend. This role will also double as dance core.

GARVIN – Male, Female, or non-binary. Vocals: sings strong 3-part harmony Age: High School Junior or Senior. Willard’s friend. This role will also double as dance core.

BETTY – Female (uses she/her pronouns). Vocals; no solos but will sing in chorus. Age: Adult 30’s-50’s. A comedic relief character at the diner. This character must be able to roller-skate. Will also be in the ensemble.

COWBOY BOB or COWGIRL BOBBI- Male, Female, or non-binary. Vocals: Tenor or Low Alto Age: Any. Sings the opener of Act 2 “Still Rockin” is in a band at the local honky tonk that Ren and his friends visit. Playing guitar or an instrument is a plus but not required. This actor will also be in either the dance core or in the adult ensemble.

IRENE- female or non-binary. Alto/Mezzo. Any Age. Sings “Let’s Make Believe We’re in Love” in Act 2 at the Bar-B-Que. *Able to play guitar or accompany yourself with an instrument is a huge plus! This character will also be a part of the dance core or the adult ensemble. 

LULU WARNICKER – Female (uses she/her pronouns). Vocals: No solos but will sing in ensemble. Age: late 30’s-early 60’s Ren’s Aunt, married to Wes. This character will be in the adult ensemble as well.

WES WARNICKER – Male. (uses he/him pronouns) Vocals: No solos but will sing in ensemble. Age: late 30’s-early 60’s. Ren’s uncle, married to Lulu. Is strict but kind. This character will be in the adult ensemble as well. *This character slaps Ren, who is his nephew.

COACH ROGER DUNBAR – Male. (uses he/him pronouns) Vocals: No solos but will sing in ensemble. Age: late 30’s-early 60’s. The Couch at Bomont High School. Like everyone else in town, is very tough on Ren. This character will be in the adult ensemble as well.

ELEANOR DUNBAR – Female (uses she/her pronouns). Vocals: No solos but will sing in ensemble. Age: late 30’s-early 60’s. Married to Coach Dunbar. This character will be in the adult ensemble as well.

PRINCIPAL HARRY CLARK – Male or Female. Vocals: No solos but will sing in ensemble OR can be a non-singing role. Age: late 30’s-80’s Principal of Boumont High School, enforcer of rules. Scene with REN & WILLARD.

Additional Dance Core. searching for 4 couples (8 individuals) may be straight or queer couples – very strong dancers. Must also have strong vocals, especially belt. Some may be cast in named roles as well.

Additional Adult Ensemble, strong movers and singers, number unknown.

Inherit the Wind

Inherit the Wind

Director: Terry Martin

Please prepare: For this audition you can EITHER perform one of the monologues listed below from the show, or perform any one minute monologue of your choice. Because of this later notice, you can also cold read the Monologues listed below. 

Synopsis (from Artistic Director – please check back for Directors notes
“Inherit the Wind” is a play written by Jerome Lawrence and Robert E. Lee, inspired by the infamous Scopes Monkey Trial of 1925. The trial involved a high school teacher, John Scopes, who was accused of violating Tennessee’s Butler Act, which prohibited the teaching of human evolution in public schools.
The play is set in the fictional town of Hillsboro and centers around the trial of Bertram Cates, a high school teacher charged with teaching evolution in violation of state law. The trial becomes a nationally sensationalized event, drawing attention from the media and attracting two prominent lawyers: Henry Drummond, representing the defense and advocating for the teacher’s right to teach evolution, and Matthew Harrison Brady, a three-time presidential candidate and fervent opponent of evolution, representing the prosecution.
The courtroom drama unfolds as the two legal titans clash over issues of science, religion, and the right to free thought. The play explores themes of intellectual freedom, the conflict between science and religious fundamentalism, and the role of the law in determining what can be taught in schools.
While “Inherit the Wind” is based on historical events, it uses the trial as a platform to address broader issues of individual rights, freedom of speech, and the ongoing tension between science and religion.

Callbacks will be held Sunday Feb 11th at 4pm

Monologues from the show (these will be provided at the audition as sides as well) Please EITHER prepare one of these monologues or bring your own 1 minute monologue.

Bert, it’s my fault the Jury found you guilty. (He starts to protest.) Partly my fault. I helped. (Rachel
hands Bert the orange book) This is your book, Bert. (Silently he takes it) I’ve read it. All the way
through. I don’t understand. What I do understand, I don’t like. I don’t want to think that men come
from apes and monkeys. But I think that’s beside the point. (Drummond looks at the girl
admiringly) Mr. Drummond, I hope I haven’t said anything to offend you. (He shakes his head) You
see, I haven’t really thought very much. I was always afraid of what I might think – so it seemed
safer not to think at all. But now I know. A thought is like a child inside our body. It has to be born.
If it dies inside you, part of you dies, too! (Pointing to the book) Maybe what Mr. Darwin wrote is
bad. I don’t know. Bad or good, it doesn’t make any difference. The ideas have to come out – like
children. Some of ’em healthy as a bean plant, some sickly. I think the sickly ideas die mostly, don’t
you, Bert?

Sit down, Rachel. I’ll bring him up. You can talk to him right here in the courtroom. Long as I’ve
been bailiff here, we’ve never had nothin’ but drunks, vagrants, couple of chicken thieves. (A little
dreamily) Our best catch was the fella from Minnesota that chopped up his wife; we had to
extradite him. (Shakes his head) Seems kinda queer havin’ a schoolteacher in our jail. (Shrugs)
Might improve the writin’ on the walls.
Imagine, Matthew Harrison Brady, comin’ here. I voted for him for President. Twice. In nineteen
hundred and again in oh-eight. Wasn’t old enough to vote for him the first time he ran. But my pa
did. (Turns proudly to CATES) I seen him once. At a Chautauqua meeting in Chattanooga.
(Impressed, remembering) The tent-poles shook! (CATES moves nervously) Who’s gonna be your
lawyer, son? …….He better be loud.

Yes there is something holy to me! The power of the individual human mind. In a child’s power to
master the multiplication table there is more sanctity than in all your shouted “Amens!,” “Holy,
Holies!” and “Hosannahs!” An ideas is a greater monument than a cathedral. And the advance of
man’s knowledge is more of a miracle than any sticks turned to snakes, or the parting of waters. But
are we now to halt the march of progress because Mr. Brady frightens us with a fable? (to the jury)
Gentlemen, progress has never been a bargain. You’ve got to pay for it. Sometimes I think there’s a
man behind a counter who says, “All right, you can have a telephone; but you’ll have to give up
privacy, the charm of distance. Madam, you may vote; but at a price; you lose the right to retreat
behind a powderpuff or a petticoat. Mister, you may conquer the air; but the birds will lose their
wonder, and the clouds will smell of gasoline!” Darwin moved us forward to a hilltop, where we
could look back and see the way from which we came. But for this view, this insight, this
knowledge, we must abandon our faith in the pleasant poetry of Genesis.

Rev. Brown:
Brothers and sisters, I come to you on the Wings of the Word. The Wings of the Word are beating
loud in the treetops! The Lord’s Word is howling in the Wind, and flashing in the belly of the
Cloud! ….And we believe the word. Hearken to the Word! (He lowers his voice) The Word tells us
that the World was created in Seven Days. In the beginning, the earth was without form, and void. And the
Lord said, “Let there be light!” And there was light! And the Lord saw the Light and the Light saw the Lord, and the Light said, “Am I good, Lord?”
And the Lord said, “Thou art good!”
The Lord said, “Let there be Firmament!” And even as he spoke, it was so! And the
Firmament bowed down before Him and said, “Am I good, Lord?” And the Lord said, “Thou
art good!” On the Third Day brought He forth the Dry Land, and the Grass, and the Fruit Tree!
And on the Fourth Day made he the Sun, the Moon, and the Stars- and He pronounced them Good!
On the Fifth Day He peopled the sea with fish. And the air with fowl. And made He great whales.
And He blessed them all. But on the morning of the Sixth Day, the Lord rose, and His eye was
dark, and a scowl lay across His face. (Shouts) Why? Why was the Lord troubled?
He looked about Him, did the Lord; at all His handiwork, bowed down before Him. And He said,
“It is not good, it is not enough, it is not finished. I . . . shall . . . make . . . Me . . . a . . . Man!” The
Lord said, “Yea, thou art good! For I have crated ye in My Image, after My Likeness! Be fruitful, and multiply, and replenish the Earth, and subdue it!”
Do we believe?
Do we believe the Word?
Do we curse the man who denies the Word?
Do we cast out this sinner in our midst?
Do we call down hellfire on the man who has sinned against the Word?
O lord of the Tempest and the Thunder! O Lord of Righteousness and Wrath! We pray that Thou
wilt make a sign unto us! Strike down this sinner, as Thou didst Thine enemies of old, in the days of the Pharaohs!
Let him feel the terror of Thy sword! For all eternity, let his soul writhe in anguish and damnation(after Rachel protests)
Lord, we call down the same curse on those who ask grace for this sinner- though they be blood of my blood, and flesh of my flesh!

Wake up, Sleeping Beauty. The ordinary people played a dirty trick on Colonel Brady. They ceased
to exist. (RACHEL looks puzzled) Time was when Brady was the hero of the hinterland, water-boy
for the great unwashed. But they’ve got inside plumbing in their heads these days! There’s a
highway through the backwoods now, and the trees of the forest have reluctantly made room for
their leafless cousins, the telephone poles. Henry’s Lizzie rattles into town and leaves behind the
YesterdayMessiah, standing in the road alone In a cloud of flivver dust…

Mrs. Brady
MRS. BRADY (In frustrated anger, as she faces RACHEL) Oh, stop it. Stop it! Youth can be so
pure. What do you know of good or evil? What do you understand of the sum of a man’s life? You
betrayed yourself. You see my husband as a saint, so he must be right in everything he says and does. And then you see him as a devil, and everything he says and does must be wrong. Well, my husband is neither a saint nor a devil. He’s just a human being and he It’s not Matt I’m defending.
I’m defending the forty years I’ve lived with this man and watched him carry the burdens of people like you. If he’s been wrong, at least he stood for something. What do you stand for? Do you believe in Bertram Cates? I believe in my husband, what do you believe in?

BRADY Friends- and I can see most of you are my friends, from the way you have decked out
your beautiful city of Hillsboro——- Mrs. Brady and I are delighted to be among you! (BRADY
takes his wife’s hand and draws her to his side)—— I could only wish one thing: that you had not
given us quite so warm a welcome!—— My friends of Hillsboro, you know why I have come here.
I have not come merely to prosecute a lawbreaker, an arrogant youth who has spoken out against
the Revealed Word.—— I have come because what has happened in a schoolroom of your town
has unloosed a wicked attack from the big cities of the North! –—- an attack upon the law which
you have so wisely placed among the statutes of this state.—— I am here to defend that which is
most precious in the hearts of all of us: the living Truth of the Scriptures! ———
(Applause and emotional cheering.)


Character Breakdowns (from Artistic Director – please check back for Directors notes)

Henry Drummond (Inspired by Clarence Darrow): M 40’s-70’s Role: Defense attorney, Lead. A seasoned and famous lawyer, Drummond is a staunch advocate for intellectual freedom and the right to teach evolution. He is portrayed as a pragmatic and wise character who challenges societal norms.

Matthew Harrison Brady (Inspired by William Jennings Bryan): M 40’s-70’s Role: Prosecuting attorney, Lead. A three-time presidential candidate and staunch opponent of evolution, Brady is a charismatic and powerful figure. As the prosecution’s attorney, he defends traditional religious beliefs and opposes the teaching of evolution in schools.

Bertram Cates (Inspired by John Scopes): M 20’s-30’s Role: Defendant, Supporting. A high school teacher charged with teaching evolution in violation of state law. Cates becomes the focal point of the trial and represents the clash between modern scientific ideas and conservative religious beliefs.

Rachel Brown: F 20’s-30’s. Role: Cates’s girlfriend, Supporting. Rachel is a local preacher’s daughter and Cates’s love interest. She faces internal conflict as she grapples with her feelings for Cates and the societal expectations placed on her by her father and the community.

Reverend Jeremiah Brown (Inspired by real-life figures): Role: Rachel’s father A conservative and influential local preacher who strongly opposes the teaching of evolution. He becomes a symbol of the town’s religious conservatism and intolerance.

E.K. Hornbeck (Inspired by H.L. Mencken): Role: Newspaper reporter Hornbeck is a cynical and witty reporter who covers the trial. He provides a satirical commentary on the events and represents the urban, intellectual perspective on the trial.

Judge: Role: Presiding judge over the trial. The judge oversees the legal proceedings of the trial, maintaining order in the courtroom. The judge’s decisions shape the course of the trial.

Meeker: Role: Bailiff Meeker assists in maintaining order in the courtroom and carrying out the judge’s instructions.

Mrs. Brady: Female, wife to Harrison Brady and very interested in upholding a picture perfect family appearance.

**the following roles may be combined**

Mrs. Krebs – opinionated and outspoken woman.

Tommy Stebbins – Tommy is a young boy who gets killed in a river.

Mr. Bannister – This character is an illiterate member of the Jury.

Elijah – Elijah is an illiterate, preachy mountain man.

Mayor – mayor of Hillsboro. Supports Brady

Tom Davenport – Tom is the district attorney. He assists Brady.

Harry Y. Esterbrook – This is a radio host from Chicago.

Jesse H. Dunlap – A farmer and cabinetmaker that supports Brady.

Sillers – Sillers is a member of the jury.

Storekeeper – This character is a businessman who runs a store across the street from the trial.

Melinda Loomis – **young girl under 13** Melinda is a young girl overcome by religious dogma.

Howard Blair – ** boy of 13** one of Cates students and gives a testimony against Cates.

Additional ensemble roles may be needed.

Trailer Park Musical

The Great American Trailer Park Musical

Director: Mark Jones
Music Director: John Crawley
Choreographer: Jessica Garland Lowe
Stage Manager: Laura Fuller

At the Armadillo Acres trailer park in Starke, Florida, high school sweethearts Norbert and Jeannie have settled into a loveless marriage, complicated by Jeannie’s unwillingness to leave her trailer since the abduction of her son two decades prior. Norbert has purchased tickets for the couple to watch the Ice Capades as a present for their upcoming anniversary, in hopes of coaxing Jeannie out of the trailer. Soon arriving in town is Pippi, a stripper on the run from her abusive boyfriend, Duke, hoping the drama at Armadillo Acres will distract everyone else from her plight to allow her to live in peace.
One night, Norbert’s brother dupes him into going to the strip club where Pippi works. Pippi and Norbert find they have much in common with each other and begin an affair, leaving Jeannie alone to sulk, unaware of what her husband is doing.
Eventually, back in Oklahoma, Pippi’s ex-boyfriend Duke, who gets high from sniffing markers and carries a large handgun named “Bertha,” finds out that Pippi has fled to Starke and tracks her down to Armadillo Acres. Hilarious antics ensue…and secrets are exposed. All of this features commentary from the trailer park “Greek chorus” of Betty, Lin, and Pickles…who have their own crazy stories and gossip.


Content Disclosure:

Pippi  – She is a stripper. She performs a song that is a strip number. She has a bit of pole dancing, and will do a strip that is along the lines of old style burlesque. The amount of body showing will be along the lines of a 1940s pin up bikini. Nothing too revealing. Also needs to be comfortable wearing high heels.
Pippi and Norbert – Will be choreographed in strategic “compromising positions” during one of the songs, and also might share a kiss. This is depending on the comfort levels of the actors.
Duke and Pickles – Get into a “compromising position” during a scene, and have a comedy bit with not touching tongues. Kind of an “air french kiss” where we see their tongues almost touching.
All Characters – Lots of rated R language and situations.
All Characters, except Jeanie – Will simulate fight scenes, ala “Jerry Springer Show” antics. 

Character Breakdowns

This production calls for 5 female identifying and 2 male identifying roles but is very adaptable to a non gender specific casting. The ages listed are approximate.

Betty – 38–60
Betty attended high school with Norbert and Jeannie Garstecki and has lived at Armadillo Acres for just as long. She now runs the leasing office and makes it her business to know everything about everybody who passes through the trailer park. Though a self-proclaimed “bad-ass,” Betty is really a mother hen to the denizens of the trailer park. Of all “The Girls,” Betty is the most grounded, earthy and dry.

Linoleum “Lin” – 30s
So-named because her mother gave birth to her on the kitchen floor, Linoleum has a husband on death row at the Florida State Prison. His fate is an electric chair that doesn’t work properly unless most of the town’s electricity is turned off. So Lin watches everyone’s lights and appliances very closely in the hopes that she can keep the chair on the fritz. Sometimes self-absorbed and sometimes just a smart-ass, she hints at a wild, rock-and-roll past and is the fieriest of “The Girls.”

Donna “Pickles” – 17 Years old
A newlywed, Donna is called “Pickles” because she is perpetually hysterically pregnant — that is, she’s so convinced she should be pregnant she’s exhibiting symptoms. Her husband is a lot fancier than she is, as he is from the big city of Jacksonville. His parents haven’t been very supportive of his marital choice, so Pickles is desperate to give her husband a family of his own — even if she has to fake it. The dimmest of “The Girls,” Pickles is airy, sweet and blissfully ignorant.

Jeannie Garstecki – 35–45 Years old
Jeannie has lived in a trailer at Armadillo Acres for 20 years with her husband and high- school sweetheart, Norbert. A faded beauty, she was 17 when she married, 18 when her son was born and 23 when he got kidnapped. That, coupled with a really bad perm, has turned her into an agoraphobic. She hasn’t left her trailer in all these years, and the man she loves is drifting further and further away and she’s determined to get him back .. that is if she could manage to get out of the trailer to do it … *Content disclosure: this character suffers from agoraphobia

Norbert Garstecki – 35–45 Years old
Jeannie’s husband Norbert collects tolls for a living and tries to be as good a husband as one can be to an agoraphobic. A former high- school football star, he has rugged good looks marred by fatigue and the stress of his difficult marriage. He is a simple man who desperately wishes his wife could get out of the trailer, but he’s not equipped with the emotional or intellectual tools to help her do it. He has never loved or slept with a woman other than Jeannie. That is until he meets …

Pippi – 28–35 Years old
Pippi is a striking beauty with a great body and a taste for clothing that shows it off. Up to this point, Pippi’s life has been about surviving. She is a professional stripper who has gotten by on her looks and talents for dancing and petty theft. She means no harm and is ready to stop making bad choices and start making changes, but first she has to get lost in a hick-town trailer park in North Florida so she won’t be found by her last bad choice .

Duke – 24–28 Years old
Duke is Pippi’s obsessive, possessive and excessive Magic Marker–sniffing boyfriend; “ex”-boyfriend according to Pippi. Not so, according to Duke. Not the brightest guy south of the Mason-Dixon Line, Duke leaves a trail of disaster in his wake wherever he goes. His road trip to Starke is no exception and his arrival at the trailer park is full of surprises — even for a group of people who have had their share of excitement …


The Mousetrap

Director: Julie Kinter

Sides will be provided at Auditions. No monologue needed. If you have any British or Cockney accents in their repertoire, I may ask to hear it but it is not a requirement. 


Five guests arrive for a relaxing holiday to the newly-opened Monkswell Manor, a Berkshire bed and breakfast. As they find themselves gathered in a remote part of the countryside during a blizzard, they’re stuck indoors and are left with no choice but to speak to one another.

To their surprise, Detective Sergeant Trotter arrives on the hotel doorstep and informs the hotel guests of a nearby murder — and they’re all suspects. Everyone is questioned and seems to fit the murderer’s descriptions, especially when characters begin to reveal their shady pasts. The guests and hotel owners are whittled down one by one until the murderer is shockingly revealed.


Character Breakdowns 

Mollie Ralston- she is an attractive woman with an unsuspecting air in her late 20s (I think she can also be played a little older). I see her as carrying herself with a fairly refined comportment as well. She is the owner of Monkswell Manor, and wife of Giles Ralston, who runs Monkswell Manor with her. They have only been married a year and married 3 weeks after meeting. Having inherited Monkswell Manor from her aunt, she has decided to turn it into a guest house rather than sell it. Some years earlier, she had taught at the school that the Corrigan children attended. Jimmy Corrigan sent her a letter revealing that his foster parents, the Stannings of Longridge Farm, were abusing him, and he pleaded with her to help. But she fell sick with pneumonia on the very day that the letter arrived, so she did not see it until weeks later, by which time Jimmy was dead. She is a potential murder victim because of her connection with Jimmy’s death. She is also a suspect in the killing of the other two women who were involved in the tragedy. She secretly went to London on the day Mrs. Stanning was killed and is the first to find the body of Mrs. Boyle.

Giles Ralston- Mollie’s husband of exactly one year, and about her age. Arrogant and attractive young man. He is handsome yet arrogant. The two married only three weeks after meeting, so his past remains a mystery. He, too, made a clandestine trip to London on the day of Mrs. Stanning’s death, and he wears a coat, scarf, and hat like those seen on the killer.

Christopher Wren- an excitable, neurotic young man (20s) who acts a bit peculiar. Unkempt with untidy hair, wild looking and nervous, he was orphaned at an early age and an army deserter, and he matches the description of George Corrigan, especially because he is trying to forget an unhappy childhood. Moreover, he confesses to lying about his name and his supposed occupation as an architect. His behavior throughout the play is highly suspect. He also demonstrates a fascination for fine furniture.

Mrs. Boyle- Middle aged (50s-60s), large, imposing woman; a haughty, bad tempered older woman who criticizes everything about the Manor. She is a former magistrate who unwittingly sent the Corrigan children to Longridge Farm. She is strangled at the end of the first act.

Major Metcalf- (late 40s to 50s), retired Army, square-shouldered man, very military in his manner. Like most of the characters in the play, he is pretending to be someone other than he is. He is a policeman and takes the place of the real Major Metcalf to pursue the murderer. Because he is the right age to be Jimmy Corrigan’s father, who served in the army, he, too, is a suspect.

Miss Casewell- A young woman, a bit standoffish. Leslie Margaret Katherine Casewell is 24 but looks older. Her stature and voice are just masculine enough that with a coat and scarf matching those worn by the murderer, she is highly suspect, especially because she refuses to reveal her motive for returning from Majorca to England after a twelve-year absence.

Mr. Paravicini- Foreign with an eccentric air about him, dark, appears to be elderly, with a small flamboyant mustache; a taller version of Agatha Christie’s famous detective Hercule Poirot. He turns up at the Manor without a reservation when his Rolls Royce runs into a snow bank. Because of his mysterious arrival and his unsettling habit of humming and playing “Three Blind Mice,” which he calls the murderer’s “signature tune,” and because of his apparent effort to look older than he is, he, too, is a suspect.

Detective Sergeant Trotter- the detective who shows up at the Manor to investigate a murder suspect on the run; 22 or 23 years old, he is cheerful, and tells everyone at the Manor he was sent to protect them from this suspect on the loose.