51st Season General Auditions
With one audition, you can be considered for every community production in our 2026 / 2027 season! This year, we are casting four shows at once! With one audition, you can be considered for Clue, Come From Away, and our new Spotlight Series, featuring a reading of one play and one musical (with a streamlined rehearsal process). We are happy to announce that the Spotlight Series Play will be Swing State by Rebecca Gilman, and the Spotlight Series Musical will be A Man of No Importance by Stephen Flaherty, Lynn Ahrens, and Terrence McNally.
Auditions will take place on June 1, 2, 8, and 9, and you only need to attend one night of auditions in order to be considered for casting. Those who wish to audition must reserve a time slot. Follow this link to SIGN UP!
There are roles available for many age groups this season, however all roles are adult roles, and you must be 18 years old by June 1st in order to audition. There are specific age breakdowns listed for each show at the end of the document. Read on to learn more!
The audition itself is very simple! We are asking everyone to perform ONE MONOLOGUE of your choosing (up to 1 minute long). Additionally, if you would like to be considered for Come From Away or A Man of No Importance, please sing ONE SONG of your choosing (up to 1 minute long). Your song choice should be from a musical, but you are welcome to sing from any show you choose, and you will sing a cappella (without musical accompaniment). We strongly recommend memorizing your audition material, but if you need to hold it in front of you, that is ok too!
THE REHEARSAL PROCESS
- At Grandstreet Theatre, we work very hard to respect everyone’s time and create rehearsal schedules accordingly.
- If cast in a show, you will only be called to rehearsal when you are needed. You may not be called to every single rehearsal.
- For the two Main Stage Productions (Clue and Come From Away) we do our best to schedule rehearsals on Monday, Tuesday, Wednesday and Thursday evenings between 6:30PM and 9:30PM. We work very hard to start and stop rehearsals at the scheduled times. We try to keep weekends clear to allow for down time and the possibility for weekend travel. However, we sometimes add occasional Sunday rehearsals when necessary.
- For the two Spotlight Series Productions (Swing State and A Man of No Importance) rehearsal schedules may vary. In order to avoid conflicts with Main Stage rehearsals, the Spotlight Series productions MIGHT rehearse on Sundays (afternoons or evenings), so please be sure to include any Sunday conflicts you are aware of on your Audition Form. Read on for more information.
- Rehearsal schedules are created from the schedules and conflicts of those involved. Therefore, we can only approximate what a typical rehearsal schedule usually looks like. We can’t provide specific rehearsal schedules until a cast is in place.
THE CASTING PROCESS
- Casting 4 shows from the same casting pool is a fun and complex challenge. We do not have an official timeline for when the cast lists will be announced, but we will keep you posted with updates as they are available, and we thank you in advance for your patience.
- It is our hope that you will come to the audition process with an open mind, and allow the casting team to consider you for any show and any role that you are appropriate for. However, if you have particular preferences or conflicts that would make you unavailable for a particular show, you will be able to indicate those on your audition form.
- As these 4 productions are spread across many months in the upcoming season, it is possible to be cast in more than one project, depending on scheduling and the preferences you indicate on your audition form.
AUDITION FORM
- Everyone who auditions must fill out the AUDITION FORM. Forms can be downloaded from our website. Your Audition Form must be submitted on the night you audition. Please make sure your form is completely filled out and ready to submit at the time of your audition.
- We always do our best to schedule around your conflicts, so please be as specific as you can when listing your conflicts.
- We may reach out with questions about your schedule, so please make sure that your contact information is clear.
- If you are interested in playing a role in more than one show, you will be able to indicate that on your Audition Form.
ABOUT AUDITIONS and CALLBACKS
THE AUDITION
- First and foremost, know that everyone in the audition room wants you to succeed! If you have questions, please reach out! We are happy to help guide you through the audition process, and even provide suggestions on monologue and song selection. Please email all audition questions to jeff@grandstreettheatre.com
- You should be prepared to present ONE MONOLOGUE of your choosing (up to 1 minute long). If you would like to be considered for a musical, you should be prepared to sing ONE SONG of your choosing (up to 1 minute long) in addition to your monologue.
- Please arrive at least 15 minutes before your scheduled audition time slot. Auditions will take place at Grandstreet Theatre, 325 N. Park Avenue. There will be signs directing you where to go upon your arrival, and there will be staff on hand to assist you.
- There may be some quick hellos and chit chat as you enter the audition room, but once you are asked to begin, we recommend introducing yourself and your material before you dive in.
- When performing your audition material, we suggest that you do not make direct eye contact with the people behind the audition table. We want to watch your work, not be your scene partner. We recommend picking a spot on the wall to focus on, perhaps slightly above the heads of the directors.
- Remember to breathe! It is perfectly acceptable to take a moment or two to focus your thoughts before diving in to your material.
- The directors may give you some suggestions and adjustments to try, but they may not.
- Headshots and resumes are not required to audition, but you are welcome to attach them to your Audition Form if you like.
- With your permission, we may take your photo at your audition, and we may film your audition. Photos and videos will only be viewed by the directors casting the productions, and will be deleted once the casting process is complete.
- If none of the audition dates work for you, but you are still interested in auditioning, please contact jeff@grandstreettheatre.com to discuss additional options.
- If you will be singing at your audition, you will be singing a cappella. If you need a bell tone (your starting note), please know what your starting note is and we will happily play your starting note on the piano before you begin.
- Choose monologues and songs that you love and characters that you are excited to explore. We strongly recommend NOT choosing material from any of the shows that are included in our upcoming season. Additionally, we strongly recommend NOT choosing material from a role you have played before.
CALLBACKS
- Callbacks will be scheduled as needed. We may be able to cast the shows without a callback, but sometimes we need to see more. Callback information will be posted on Grandstreet Theatre’s Facebook page by noon on Wednesday, June 10th. Callbacks are tentatively scheduled for June 10th, 11th, 15th and / or 16th.
Get In On the Act
- No experience necessary! Did you know that almost every Grandstreet show has at least one actor making their GST debut! If you have never been in a show before, don’t worry! We will teach you everything you need to know.
- Being in a show at Grandstreet is the perfect way to make new friends, serve your community, and make incredible theatre!
- We work very hard at Grandstreet to ensure that every production is organized, professional, challenging, rewarding, and most importantly … fun!
- What are you waiting for?! Take a deep breath, go to grandstreettheatre.com and SIGN UP to AUDITION!
Grandstreet Theatre is committed to equity, diversity and inclusion. As such, we encourage performers of all races and ethnicities, gender identities, sexualities and abilities to audition.
To performers with disabilities, you are encouraged to audition. Please indicate if you need accommodations to fully participate in this event by contacting jeff@grandstreettheatre.com
READ ON TO LEARN MORE ABOUT THE SHOWS AND THE AVAILABLE ROLES!!!
CLUE
CLUE (Main Stage Play)
Based on the Screenplay by Jonathan Lynn
Written by Sandy Rustin
Directed by Jeff Downing
Performance Dates: October 9, 10, 11, 14, 15, 16, 17, 18, 21, 22, 23, 24, 25
Approximate Rehearsal Dates: August 24, 2026 – October 8, 2026
Tech Week: October 4 – October 8
SYNOPSIS
It’s a dark and stormy night, and our oddball cast of characters has been invited to a very unusual dinner party. Each of the guests has an alias, the butler offers a variety of weapons, and the host is … dead. Join the iconic oddballs known as Miss Scarlet, Professor Plum, Mrs. White, Mr. Green, Mrs. Peacock, and Colonel Mustard as they race to find the murderer before the body count stacks up. Based on the cult classic film and the popular board game, Clue is a madcap comedy that will keep you guessing until the final twist!
SEEKING THE FOLLOWING ROLES
* All roles in Clue are adult roles and will be cast with actors 18 years old and up.
WADSWORTH – a British butler, traditional in every sense: uptight, formal and “by the book”. He is the driving force of the play.
YVETTE – a loyal and flirtatious French maid.
MISS SCARLET – a dry and confident D.C. madam, more interested in secrets and money than sex.
MRS. PEACOCK – the wealthy wife of a senator. A bit batty, neurotic, and quick to hysteria.
MRS. WHITE – a pale, morbid, and tragic woman. Mrs. White’s 5 former husbands were all murdered, which may or may not be a coincidence.
COLONEL MUSTARD – a puffy, pompous, and dense military man. He is not the sharpest tool in the shed.
PROFESSOR PLUM – an arrogant academic, easily impressed by himself.
MR. GREEN – a timid, yet officious rule follower. He’s awfully anxious.
ENSEMBLE WOMAN 1 – plays the cook, the singing telegram girl, and others.
ENSEMBLE MAN 1 – plays Mr. Boddy, the motorist, and the chief of police.
ENSEMBLE MAN 2 – plays the unexpected cop, the backup cop, and others.
COME FROM AWAY
COME FROM AWAY (Main Stage Musical)
Book, Music, and Lyrics by Irene Sankoff and David Hein
Directed by Retta Leaphart
Performance Dates: April 16, 17, 18, 21, 22, 23, 24, 25, 28, 29, 30, May 1, 2
Approximate Rehearsal Dates: February 22, 2027 – April 15, 2027
Tech Week: April 11 – 15
SYNOPSIS
Come From Away is based on the true story of the time when the isolated community of Gander, Newfoundland played host to the world. What started as an average day in a small town turned into an international sleepover, when 38 planes, carrying thousands of people from around the globe were diverted to Gander’s airstrip on September 11, 2001. Undaunted by culture clashes and language barriers, the people of Gander cheered the stranded travelers with music, an open bar and the recognition that we’re all part of a global family. The show’s message resonates across all audiences as an uplifting reminder of humanity’s ability to come together, no matter what the circumstances.
SEEKING THE FOLLOWING ROLES
- All roles in Come From Away are adult roles and will be cast with actors 18 years old and up.
- As Come From Away depicts travelers from around the globe, adults of all ethnicities and ages are encouraged to audition.
- Below is a breakdown and description of the 12 primary roles. An age range is also specified, although many roles have flexibility in regards to age.
- Come From Away is traditionally cast with 12 actors (6 women and 6 men) who will each play several roles.
DIANE (50s – 60s) A divorcee from Texas, who is terrified that her son may have been flying at the time of the attacks. When she finds out that he’s safe, she’s given a new lease on life and discovers a wilder, more carefree side of herself.
HANNAH (40s – 60s) The mother of a firefighter in Manhattan, Hannah waits for news about her son and is comforted by Beulah.
JANICE (20s – 30s) An eager new local TV reporter, Janice is thrown into the deep end on her first day. Initially naive about the world, Janice must face the pain and confusion around her.
BEULAH (40s – 60s) The head of the Gander Legion, with a firefighter son, who walks Hannah to her church and prays with her.
BONNIE (30s – 40s) A no-nonsense mother of 3, Bonnie is the head of the Gander area SPCA. When she discovers animals are trapped on the planes, she stops at nothing to ensure their safety.
BEVERLY (40s – 50s) The first female captain for American Airlines, Beverly has always loved flying, when her world suddenly changes.
OZ (30s – 50s) The quirky constable in the two person Gander police force. When the town’s population suddenly doubles, Oz helps out in unexpected ways.
KEVIN T. (30s – 40s) The head of an environmental energy company in Los Angeles, Kevin was on vacation with his boyfriend (and secretary, also named Kevin) when they are stranded in Gander. Inspired by the town’s generosity, Kevin creates the Pay It Forward Foundation.
KEVIN J. (30s – 40s) Kevin’s boyfriend and secretary. Sarcastic and unhappy, he wants to leave as soon as possible.
BOB (20s – 40s) A hardened New Yorker, Bob is suspicious of where he’s landed, fearing that it’s World War 3, that someone is going to shoot him and steal his wallet – but instead, he ends up losing his New York jadedness.
CLAUDE (40s – 60s) The gregarious and well-liked Mayor of Gander, Claude loves his work, the townspeople and his daily traditions, but he’s never had to deal with a crisis of this magnitude before.
NICK (50s – 60s) An English oil engineer who is focused on his work, Nick’s life is turned upside down when he falls for Diane.
SWING STATE
SWING STATE (Spotlight Series Play)
By Rebecca Gilman
Performance Dates: September 12 & 13
Approximate Rehearsal Dates: TBD
- Swing State will be presented as a staged reading with no memorization required. Therefore, we are planning for a very streamlined rehearsal process of only 4 – 6 rehearsals, to be scheduled once casting is complete.
- All roles in Swing State are adult roles and will be cast with actors 18 years old and up.
SYNOPSIS
Recently widowed, Peg tends to the 40 acres of native prairie that rises behind her rural Wisconsin home. Her solitary days are interrupted only by visits from Ryan, a family friend with a checkered past. When her late husband’s footlocker is ransacked in her barn, she places a call to the local authorities, unwittingly setting off a series of events that will forever change their lives. As Peg and Ryan fight to regain each other’s trust, they learn how to help one another in new and meaningful ways and how to forge a sense of hope in a time when it feels like everyone’s way of life is in danger of disappearing.
SEEKING THE FOLLOWING ROLES
PEG (60s – 80s) a recently widowed, retired guidance counselor who manages 40 acres of native prairie behind her Wisconsin home. She is a no-nonsense “mother earth” type who holds a deep desire to protect her land after her husband Jim’s death. Peg is fiercely loyal to those she cares about, especially Ryan, who she has known since he was a child.
RYAN (20s – 30s) A young man in the early stages of addiction recovery, re-entering life after serving time for a felony assault conviction. Ryan is very protective of Peg, who has been a surrogate parent his entire life. He is deeply troubled, struggles to find his footing, and often finds purpose and hope through his work on Peg’s prairie.
KRIS (50s – 60s) The local small town sheriff, conservative and stubborn, whose family owns many acres of farmland that neighbors Peg’s prairie. Kris is grieving the death of her son from an accidental opioid overdose, and she holds a deep and vengeful grudge against Ryan, whom she blames for her son’s relapse.
DANI (20s – 30s) Kris’s niece and newly appointed deputy who is going through a difficult divorce. Dani serves as a contrast to the other characters, bringing a sense of confusion and humanity to the role of law enforcement while trying to navigate the town’s tensions.
A MAN OF NO IMPORTANCE
A MAN OF NO IMPORTANCE (Spotlight Series Musical)
Music by Stephen Flaherty
Lyrics by Lynn Ahrens
Book by Terrence McNally
Performance Dates: September 11 & 12
Approximate Rehearsal Dates: TBD
- A Man of No Importance will be presented as a staged reading with no memorization required. Therefore, we are planning for a very streamlined rehearsal process of only 6 to 8 rehearsals, to be scheduled once casting is complete.
- All roles in A Man of No Importance are adult roles and will be cast with actors 18 years old and up.
SYNOPSIS
A beautiful and intimate musical by the creative team behind Ragtime, A Man of No Importance tells the story of Alfie Byrne, an Irish bus conductor by day who runs an amateur theatre group with his passengers by night. Set against the religious backdrop of 1960’s Dublin, Alfie holds secrets that he can’t share with anyone but his imaginary confidante, Oscar Wilde. When he attempts to stage one of Wilde’s plays in the local church hall, he confronts the forces of bigotry and shame over a love “that dare not speak its name”. But the redemptive power of theatre changes his life and brings his actor friends back to his side.
A Man of No Importance is a love letter to community theatre, and combines the depth and drama of a play with the lyricism and comedy of a musical. A tender and beautifully woven tale of love, friendship, and coming to terms with who we are that is sure to move and inspire.
SEEKING THE FOLLOWING ROLES
- A Man of No Importance offers exciting casting opportunities for adults of all ages! Although it is a musical, many of the roles could be described as “character singers” and do not necessarily require trained singing voices.
- Actors in this production may play more than one role.
ALFIE (40s – 60s) an unmarried bus conductor who stages amateur plays with his local theater troupe in the church social hall. He is a dreamer, a poet at heart, and struggles to come to terms with his sexuality
LILY (40s – 60s) Alfie’s older sister who cares for him deeply, but finds him odd and struggles to understand him. She is socially and morally conservative, and finds herself at a crossroads when she discovers her brother’s secret.
ROBBIE (20s – 40s) Alfie’s coworker and closest friend, even though he doesn’t understand Alfie’s artistic aspirations. He is charming, honest and likable.
ADELE (20s – 40s) A new girl in town. When she boards Alfie’s bus for the first time, he thinks she would be the perfect ingenue for his upcoming play. Adele is from a small town, seemingly innocent and naive, but she has some secrets of her own.
CARNEY (40s – 60s) The local butcher who is the usual star of Alfie’s productions and boasts an ego about it. He has been courting Lily, but she refuses to marry him until Alfie is married and out of the house. Carney is very conservative, and questions the content of Alfie’s latest production.
BALDY (40s – 80s) Also knows as James Michael O’Shea, he is the resident stage manager of Alfie’s productions. He is a kind man who lost his wife early in life.
MISS CROWE (40s – 80s) A performer in Alfie’s troupe who is also the resident costume designer.
MRS. CURTIN (40s – 80s) A performer in Alfie’s troupe who is also the resident choreographer.
MRS. GRACE (40s – 80s) A performer in Alfie’s troupe who is also an amateur watercolorist.
MRS. PATRICK (30s – 50s) A local woman, married with children, who is hiding a secret.
OSCAR WILDE (30s – 50s) The famous author, playwright and poet who appears as Alfie’s imaginary confidante.
SULLY (30s – 70s) Currently unemployed, Sully is making his theatrical debut in Alfie’s upcoming production.
ERNIE (30s – 70s) A performer in Alife’s troupe who is also the resident set designer.
RASHER (30s – 70s) The company technician.
FATHER KENNY (40s – 70s) The priest at the local church. Kind hearted, yet forced to govern by strict religious guidelines.
CARSON (40s – 60s) Alfie’s boss, who is not amused by Alfie’s eccentricities.
BRETON BERET (30s – 60s) A mysterious figure who frequents the local pub.
PETER (30s – 60s) The custodian at the local church.
