Upcoming Auditions for Spring 2020 Shows

The Department of Theatre and Cinema announces auditions for the following spring 2020 performances:

Next Fall

By Geoffrey Nauffts

Directed by Travis Sykes

Homosexuality, religion, and a car accident.

What: Seeking 4 men, 2 women. Actors needed who are comfortable with the subject matter and want to be a part of the production. This play touches on the heavy situation of what it is often like to be gay and Christian.

When: Wednesday, December 4th at 6:30 pm. Thursday, December 5th at 6:30. It is strongly encouraged to attend the first night of auditions. Callbacks will follow the Thursday auditions.

Where: The Hawes Studio Theatre

To Prepare: A 60-90 second memorized monologue in the tone of the play. Please bring a headshot, resume, and your class/work schedule to the audition. Read the play. Read the play. Look up things unfamiliar to you. Read the play. Callbacks will consist of readings from the script.


Adam* + – Male – Gay, 45, a hypochondriac; thinks everything is bound to fail before he even gives it a chance. In an intimate relationship with Luke.

Luke + – Male – Gay, 30, A devout Christian. He is stuck between two worlds. In an intimate relationship with Adam.

Holly* – Female -35, Adam’s best friend. Trying to find her place in the world.

Brandon – Male – 30, A gay Christian who thinks loving another man is a sin, but sex with men is okay.

Arlene – Female -50, Luke’s mom. Suffers from a drug addiction.

Butch* – Male – 55, Luke’s father. Blinded by his own faith. Racist and homophobic.

*uses strong or offensive language concerning race, religion, or sexuality

+ actor called upon to portray physical intimacy with another male

Please direct any questions to Travis Sykes at



Urinetown The Musical

Director: Robyn Berg

Musical Director: Cindy Blevins

Associate Musical Director: Eric Molly

Choreographer: Rachel Rugh

Auditions are open to all students regardless of major or year in school.

Audition Dates: December 2nd and 3rd at 6:30pm, Pridemore Playhouse, Porterfield Hall. IT IS STRONGLY ENCOURAGED THAT YOU ATTEND THE FIRST NIGHT. PLEASE CONSIDER COMING EXCLUSIVELY ON TUESDAY ONLY IF YOU HAVE A CLASS CONFLICT ON MONDAY. Monday will be mostly singing/acting. Tuesday will be mostly dancing/acting. Callbacks will occur later in the evenings on both Monday and Tuesday.

Seeking: 20+ performers, who can sing, dance and act. There are principal, featured and ensemble roles.


Officer Lockstock (Bass/Baritone A2-A4) 

Penelope Pennywise (Alto A3-C6) 

Bobby Strong (Tenor A2-C5) 

Hope Cladwell (Soprano A3-A5) 

Little Sally (Mezzo A3-E5) 

Caldwell B. Cladwell (Baritone/Bass A2-G4)


Mr. McQueen (Tenor B2-E4)

Senator Fipp (Bass C#3-F4)

Officer Barrel (Bass G2-F4)

Joseph “Old Man” Strong (Tenor)

Josephine “Ma” Strong (Mezzo Bb3-D5)

Dr. Billeaux (Bass/Baritone E3-A3)

Featured/Rebel Poor: Tiny Tom (Bass/Baritone D3-A3), Soupy Sue(Soprano Bb3-B4), Little Becky Two-Shoes (Soparano Bb3-F5), Hot Blades Harry (Tenor A2-F4), Robby the Stockfish (Baritone), Billy Boy Bill (Tenor)

Ensemble: Additional Rebel Poor, UGC Employees, Cops

Music: All auditioning will sing, even if you do not consider yourself a singer. If auditioning for a principal role please prepare a 16-32 bar musical theatre audition selection. Think of choosing a song from a show analogous to Urinetown (parody/satire), such as Young Frankenstein, 25th Annual Putnam County Spelling Bee, The Producers, Dirty Rotten Scoundrels, Catch Me If You Can, Curtains, etc. Music selections are to be in a 3-ring binder or attached to a manila folder. No a cappella or tracks—accompanist will be provided.

Additional requirements for certain principal/featured roles:

  • Those interested in the role of Penelope Pennywise: prepare mm. 45-79 of “It’s a Privilege to Pee”
  • Those interested in Little Sally: prepare mm.3-20 of “Tell Her I Love Her”
  • Those interested in the featured/Rebel Poor roles of Hot Blades Harry, Little Becky Two Shoes, Soupy Sue, Tiny Tom, Robby The Stockfish, Billy Boy Bill: prepare mm. 21-83 of “Snuff That Girl”

Those not auditioning for a principal/featured role yet see themselves as strong dancers and/or actors are asked to prepare the preselected “ensemble” excerpt. For all voices, that is a cut of “Urinetown.” Please prepare mm. 133 - 155. Copies of the music and information about how to access online practice accompaniment will be available in the Theatre Office, Porterfield Hall 188 as of November 11. To begin preparing please refer to the original cast recording of Urinetown. That can be accessed at:
Individual auditions may be followed by vocal exercises to determine your range.

Dance Call: All auditioning will learn the dance combination even if you do not consider yourself a dancer. Please bring jazz or character shoes. If you do not have dance shoes please bring athletic shoes. Please wear dance clothing, or clothing that will allow freedom of movement. Hair should be pulled back.

Acting: Readings will be from the script.

Other: Bring a headshot and résumé (if you have them). Also, bring your spring semester class/work/personal schedule. Rehearsals will begin when classes resume in January. Urinetown opens April 14 and runs through April 19, 2020. There will be one weekday matinee. Please direct questions to Robyn Berg 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.