The Diary of Anne Frank

By Frances Goodrich & Albert Hackett, adapted by Wendy Kesselman
Directed by Robyn Berg

WHEN: Monday, Aug. 29 at 7 p.m. and Tuesday, Aug. 30 at 7 p.m. Callbacks will immediately follow Tuesday night’s initial auditions, at approximately 8 p.m.

WHERE: Pridemore Playhouse, Porterfield Hall

WHAT: In a transcendently powerful new adaptation, Anne Frank emerges from history a living, lyrical, intensely gifted young girl, who confronts her rapidly changing life and the increasing horror of her time with astonishing honesty, wit and determination. An impassioned drama about the lives of eight people hiding from the Nazis in a concealed storage attic, The Diary of Anne Frank captures the claustrophobic realities of their daily existence—their fear, their hope, their laughter, their grief.

Please come with a memorized 1-2 minute dramatic monologue. The piece does not have to be period appropriate, but should match the tone of the show. Be prepared for readings from the script as well. Please bring your complete class/work/life schedule for Sept. 6 through Oct. 16.

SEEKING: Eight men, five women to portray real life characters with honesty, respect and clarity. Actors must invest a certain amount of research into their roles and be interested in working as a true ensemble. The available roles are:

  • Anne Frank = a lively, curious young teenage girl. As her diary reveals, she is very introspective and creative and has a vivid imagination.
  • Otto Frank = Anne’s polite and practical father. His calmness and patience are an asset in the cramped attic and a comfort to Anne, who is very close to him.
  • Edith Frank = Anne’s reserved and nervous mother. While Mrs. Frank loves Anne, because of her nature, Mrs. Frank and Anne are not very close.
  • Margot Frank = Anne’s older sister, Margot is much more like her mother than Anne. She is quiet and modest: the complete opposite of Anne, yet loves her sister.
  • Miep Gies = a well-liked, generous secretary in Mr. Frank’s office. Miep helps to protect the families. She brings them food, supplies, and news from the outside world.
  • Mr. Kraler = a businessman who works with Miep to help protect the people in hiding. He risks his life to help his friends.
  • Peter van Daan = son of Mr. and Mrs. Van Daan. A shy, awkward teenaged boy who soon becomes a friend and confidant for Anne.
  • Mr. van Daan = former business partner of Mr. Frank. He is intelligent and pragmatic if a bit harsh. He wishes to make his wife happy but on his terms.
  • Mrs. van Daan = Mr. Van Daan’s somewhat vain and finicky wife. She prizes the material things of life, including a fur coat she brought to the attic with her.
  • Mr. Dussel= a finicky dentist who joins the Franks and the Van Daans after they have been in hiding about two months, leaving a Christian girlfriend behind.
  • First Man, Second Man, Third Man = Nazi Officer and Two Dutch Collaborators. These three men do not come in until the end of the show, but are important roles.

Please direct any questions to Robyn Berg at


Dancing on Checker’s Grave

By Eric Lane
Directed by Stephen Baltz

What: Auditions seeking two young women, one African-American, the other Caucasian, for Dancing on Checkers’ Grave. The audition will consist of readings from the script. Reading the play in preparation for the audition is strongly encouraged.

When: Friday, Sept. 2 at 7 p.m. and Saturday, Sept. 3 at 2 p.m.

Where: Hawes Studio Theatre, Porterfield Hall (Room 245)


  • Dina, 17 years old, African-American
  • Lisa, Also 17, Caucasian


Two high school friends go to a local pet cemetery to work on a homework assignment. A pretend “adventure” leads to discoveries about each other and themselves.

Please Note:
Callbacks will likely be held after the first night of auditions, with additional callbacks taking place after auditions Saturday, Sept. 3. It is in your best interest to audition Friday if possible. You may be asked to return the next day to read again, so please schedule accordingly. Again, reading the play beforehand is encouraged. The script is available for purchase at Amazon,, and Google Books. You can also get a PDF of the play by contacting Wesley Young at

The run of this play is Nov. 2-6.

Auditions for Radford University Theatre productions are open to all. You don’t have to be a Theatre major to audition.
See you there!

Questions about auditions may be directed to Wesley Young at


Junie B. in Jingle Bells, Batman Smells

A play by Allison Gregory
Adapted from the book series by Barbara Park
Directed by Molly Hood

First grader Junie B. Jones is psyched about the Christmas sing-along! And she is over the top when she draws the name of her nemesis, tattle-tale May, for Secret Santa. But will the pesky Christmas spirit mess up Junie’s plans to give May her just desserts? A hilarious and endearing Theatre for Young Audiences production based on the best-selling book series by Barbara Park.

When: Sunday, Sept. 4 at 3 p.m. and Monday, Sept. 5 at 7 p.m.
Callbacks will be immediately follow Monday night’s initial auditions, at approximately 8 pm.

Where: Pridemore Playhouse, Porterfield Hall

What to bring:

•    A 1-2 minute poem, nursery rhyme, reading from a children’s book, or Theatre for Young Audiences monologue.  
•    Be prepared for readings from the script, movement work and movement games.  
•    Please wear clothes that you can move in, and sturdy shoes – no flip-flops, heels, hats, big jewelry.
•    Bring your complete class and work schedule for Oct. 17 through Dec. 9 (there will be time off for Thanksgiving Break).

Seeking: 7-10 physical, focused performers to work creatively and collaboratively. Interest/ability in puppetry and voiceover preferred for some roles. Cast and crew will have to miss some classes on Dec. 2, 5, 6 and 7 to perform for area school children.

Available Roles (some will double):
•    Junie B. Jones: Playful, out-spoken first-grader. Lots of spunk.
•    May: A classmate, tries to be good. A bit of an overachiever.
•    Mr. Scary: Patient first-grade teacher.  Slightly overtaxed.
•    Herb: A classmate, likes to have a good time. Junie B’s best friend.
•    Lucille: A well-off classmate who likes pretty things. Enjoys being admired.
•    Elf Ellen: A volunteer parent, head of the PTA. Not used to dealing with multiple children.
•    Josè: An classmate, intelligent. Speaks some Spanish in the show.
•    Mr. Toot: The enthusiastic choral teacher. He thinks his jokes are hilarious.
•    Sheldon: A classmate, sometimes nervous. Can’t keep a secret.
•    Philip Jonny Bob: A stuffed elephant who helps Junie B. make decisions.

Questions? Contact Molly Hood at



  • Auditions typically happen in the first two weeks of each semester. Occasionally an exception occurs in which a spring production may audition late in the fall semester.
  • RU Theatre auditions are open, meaning anyone can audition. You don’t have to be a theatre major. Community members may audition also with the understanding that priority in casting will go to RU students.
  • Most of our auditions require prepared material. If you are not a theatre student and don’t know how to prepare and present the requested material, usually something will be supplied to you to read. Theatre majors, however, are required to prepare according to the requirements for a given audition. In the case of plays requiring very specific skills such as singing in a musical, auditionees are highly encouraged to prepare the appropriate material.
  • Performance majors are required to audition for ALL productions. More on this below. 

Other audition “words to the wise”:

  • When it comes to auditions, one of the few things in your control is your level of preparation.  Reading the play is, arguably, the most important thing you can do to prepare. The plays are available from bookstores, online vendors and/or the play publishers. 
  •  It is the expectation that all performance students audition for all shows. Our auditions are designed to provide a variety of audition experiences so take advantage of these experiences right from the start. Every audition is one more step toward becoming comfortable with the process. In addition, it allows the faculty to see your work right away.
  • Take care not to “type” yourself at this point. Prepare, come on out and let the directors decide what you are “right for.” Certainly, if there is a role you are dying to play, or you are “perfect for,” shoot for that, but keep an open mind and don’t allow the attitude of “all these characters are older and I am only 18” stop you from coming to auditions. In university theatre the plays are produced to give you the opportunity to work on them.
  • Auditions are intimidating. Talk to the upperclassmen; use the performance faculty as a resource to answer your questions. However, no matter how much inquiry you make there will be no substitute for doing your personal preparation –reading the scripts, looking up unfamiliar words/references, making choices, being familiar with what the director is looking for (read audition notices carefully), getting rest, planning to dress appropriately, knowing where you are going and arriving early to sign in, warm up, etc.
  • It is smart to attend the first night of auditions if at all possible.
  • Once you are in the audition it is important to listen to instructions, have a positive attitude, be flexible when the unexpected happens, focus on what you are doing, and, of course, that age-old challenge…allow yourself to be at ease so you can do your best work.