Radford University Department of Theatre and Cinema Announces Auditions: Rapture, Blister, Burn

By Gina Gionfriddo

Directed by Robyn Berg

WHEN: Monday, November 12 at 7:00 p.m. and Tuesday, November 13 at 7:00 p.m. Callbacks will immediately follow Tuesday night’s initial auditions, at approximately 8:00 p.m.

WHERE: Hawes Studio Theatre, Porterfield Hall

WHAT: After grad school, Catherine and Gwen chose polar opposite paths.  Catherine built a career as a rockstar academic, while Gwen built a home with her husband and children.  Decades later, unfulfilled in polar opposite ways, each woman covets the other’s life, commencing a dangerous game of musical chairs—the prize being Gwen’s husband.  With searing insight and trademark wit, this comedy is an unflinching look at gender politics in the wake of 20th century feminist ideals.

"…intensely smart, immensely funny…RAPTURE more largely illuminates how hard it can be to forge both a satisfying career and a fulfilling personal life in an era that seems to demand superhuman achievement from everyone." —NY Times.

"There's nothing more enjoyable than watching super-smart characters make exceedingly dumb decisions, and seeing beautiful, brilliant Cathy entangled with Internet-porn-addicted pothead Don sets off an almost unbelievable chain of sometimes comic, mostly tragic events…Thoughtful, funny…One of the top ten plays of 2012." —Entertainment Weekly.

Please come with a memorized 1-2 minute contemporary comedic, dramatic or seriocomic monologue.  Be prepared for readings from the script as well.  Please bring your complete class/work/life schedule for Nov. 26, 2018 – Feb. 24, 2019. 

SEEKING: 4 women and 1 man.  The available roles are:

Catherine Croll: female, mid-life, go-getter.  Has had success as an author/professor, but starting to fear loneliness as her mother’s health declines and she doesn’t have a family of her own.  Has some regrets about not settling down with grad school  boyfriend Don.  

Alice Croll: older female, Catherine’s mother.  Recently had a heart attack, but hasn’t lost all her spunk.  Traditionalist, yet admires and supports her feminist daughter.

Avery Willard: female college student, former babysitter to the Harpers.  Ambitious, opinionated, provocative.

Gwen Harper: female, mid-life, stay-at-home mom raising 2 boys.  Catherine’s former roommate.  Has some regrets about marrying Don, an unmotivated man.

Don Harper: male, mid-life, dean at a liberal arts college in New England.  Once an intellectual and charismatic grad student, now his good looks are fading and he smokes too much pot.  Also has his share of regrets.

Please direct any questions to Director Robyn Berg at


Radford University Department of Theatre and Cinema Announces Auditions: The Tragedy of Macbeth

By William Shakespeare

Directed by Molly Hood

WHEN: Wednesday, November 14th at 6:30 p.m. and Thursday, November 15th at 6:30 p.m.
It is strongly preferred that you attend the first night of auditions on Wednesday.
Callbacks will immediately follow Thursday night’s auditions, at approximately 7:00 pm.

WHERE: The Pridemore Playhouse, Porterfield Hall


• A memorized 60-90 second Shakespeare monologue in verse. Dramatic monologues from the tragedies and history plays are strongly preferred.
• You may be asked to read from the script at the initial audition, or present a prepared short, comedic joke. No more than 20 seconds. Simple jokes (Knock-knock jokes, childhood one-liners) are absolutely acceptable.
• The best way to prepare for this audition is to read and know the play, and to dedicate yourself to presenting a well-prepared audition monologue.
• Callbacks will consist of readings from the script and a short movement call.
• Bring your complete class and work schedule for January 21st through April 21st.  Cast and crew will have to miss some class on Wednesday April 17th for a matinee.

Approximately 20 focused, dynamic performers with an aptitude for movement, and a love of language and storytelling.  Shakespeare is the Olympics of acting and you must be in peak vocal and physical condition.  Some actors will play multiple roles.  Most of the traditionally male roles will be involved in stage combat.  The role of Duncan is already cast.

Available Roles:

Macbeth: Physically powerful. Loves his wife deeply. No children. Honorable. Loyal. Insecure. Paranoid. Vulnerable. Fierce. Brave.

• Lady Macbeth: Regal. No children. Driven and determined. Focused on what she wants. Loves her husband deeply.

• Macduff: Believes in justice. Honest. Doesn’t seek the lime light. Loves his wife and children, but stays away from home.  A strong fighter.

• Witches: Walking contradictions. Ugly. Old. Beautiful. Young. Good. Evil. Must be good movers and present in the body.

• Banquo: Macbeth’s best friend. Fighter. Father. Observant. Insightful.

• Malcolm: Duncan’s adult child and heir to the throne. Pure. Virginal. Noble.

• Donalbain: Duncan’s adult child. Younger sibling of Malcom.

• Lady Macduff: Mother and wife. Runs the house with little-to-no support. Does not mince words.

• The Porter: Good sense of humor and wit. In charge of keeping watch over the  doors/gates at night. Enjoys carousing. Speaks in prose. Improv skills a plus.

• Fleance: Banquo’s child. Escapes an attempted murder on their life.

• Macduff Child: Precocious. Honest.

• Siward: English lord who assists in attempt to overthrow Macbeth.

• Young Siward: Siward’s son and a soldier in battle.

• Doctor: Tends to Lady Macbeth late in the play

• Seyton: Macbeth’s servant and advisor.

• Murderers: Hired by Macbeth to murder Banquo, Fleance, and the Macduff family.

• The Gentlewoman: Cares for Lady Macbeth. Secret keeper.

• Ross, Lennox, Angus, Menteith, Cathness: Scottish Thanes (Lords). Advisors and soldiers.

• Captain, Messengers, Soldiers, Apparitions, and Servants: Passionate about getting their jobs done well.

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.