Production Auditions
Auditions are open to all Loyola students regardless of their declared major or minor.
The Theatre Program is committed to equity, diversity and inclusion. As such, we encourage performers of all races and ethnicities, gender identities, sexualities, disabilities, and ages, as well as d/Deaf, to attend every audition.
General Audition Information
The Department of Fine and Performing Arts holds auditions for actors, singers and dancers for its Mainstage and student led Second Stage productions throughout the academic year.
On average, the DFPA produces 3-4 Mainstage productions a year and 6-10 Second Stage projects. Depending on the time commitment, students that are cast are enrolled in THTR 323 - Rehearsal and Performance. This one-credit class, in addition to supporting the amount of time a student spends in rehearsals and performances, also serves as part of the applied knowledge in production that theatre majors will receive as part of their graduation requirements.
Incoming freshmen have the opportunity to audition for competitive scholarships. Usually these auditions are scheduled in the February prior to a student's enrollment in the program.
Current students looking for more information regarding upcoming auditions are encouraged to join the THTR PROGRAM Sakai site.
Functioning much like the class-specific Sakai spaces, the THTR PROGRAM Sakai is the best place to find any announcements or information regarding upcoming opportunities. Please email dfpamc@luc.edu to be added to the site. Students enrolled in theatre classes are automatically added to the site at the beginning of the semester.
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Rehearsals Begin:
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Tech:
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Performances:
- Thursday, September 26 - Saturday, September 28 | 7:30pm
- Sunday, September 29 | 2:00pm
- Tuesday, October 1 - Thursday, October 3 | 7:30pm
Performances will be in person in the Underground Theatre and will follow all federal, state, and university COVID-19 guidelines.
Co-Directors’ Casting Considerations
Auditions will welcome performers of any race, ethnicity, gender, sexuality, disability, ability, body physicality, religious affiliation, form of neurodivergence, nationality, citizenship status, etc. We will use the information in the character descriptions above as our primary guide for casting, and, as we do, we will actively aim to work against forms of exclusion and historical underrepresentation and to feature the most diverse cast possible. Performers in each role must be willing to carry out actions in the script as they are described. Regarding the gender of specific characters, the script provides information through pronouns, description, and other dialogue. Pronouns indicated in dialogue will not change in performance. When pronouns are indicated, the performer will be asked to craft a performance that in some way responds to those pronouns as one of many truths about the character. We’ll be dedicated to more or less capturing gender dynamics that are indicated, as gender is an integral factor in the relationships depicted.
Additional Notes
All who audition must be committed to helping maintain a mutually supportive environment, one that is characterized by open-mindedness, kindness, and respect for the full personhood of all members of the team.
AUDITIONS: TBD
Each actor auditioning is asked to prepare a 60-second monologue from a contemporary play (1955-present). Even if you do not have a monologue prepared, please still feel warmly welcomed to audition; in that case, we will give you something to read right there in the moment.
AUDITION FORM: Available Soon
CALLBACKS: TBD
NUT: “A young trans-masculine person. Tough and masculine.” The playwright has indicated that Nut can be played by a trans actor and/or a non-binary actor. At one point in the script, a reference is made to Nut imagining his skin as “darker more olive” than it is in actual life, but race is not designated in the original character description, and actors of all races and ethnicities will be considered for this role if they are interested in it.
JULIUS: “Nut’s father, a man in his fifties - sixties.” Implied at one point in the script as white, but the race is not indicated in the official character description, and actors of all races and ethnicities will be considered for this role if they are interested in it.
FRANCE: “Nut’s mother, a woman in her fifties - sixties.” Race/ethnicity not specified by the playwright.
CRIMP: “Nut’s sister, a woman in her mid-thirties. Feminine sexuality, but tough working class.” Race/ethnicity not specified by the playwright.
OL BOY: “A young man in his early twenties. He’s a hyper-masculine figure of Nut’s creation.” At one point, Ol Boy embodies a drag king version of himself, and the production team has envisioned his hyper-masculinity as also being drag-like in the rest of his appearances onstage. Ol Boy could be played by anyone of any gender; the actor must be willing to explore and embody multiple degrees/forms of hyper-masculinity. Race/ethnicity not specified by the playwright.
For some, the war ended decades ago. For Nut and his father Julius, it still rages on. Nut wrestles with the contradictory faces of wartime: the aggressive patriotism from the movies against his father’s brutal souvenirs from the Vietnam War. In towering memorials and quiet burials, Orange Julius searches for answers amidst generations of questions, showing that no matter how far in place or time a conflict can seem, its repercussions still ring. This abstract and poignant drama invades the Underground Theatre to demonstrate the fallacies of war and possibilities of peace.
AUDITIONS: TBD
AUDITION FORM: Available soon.
CALLBACKS: TBD
Coming Soon
Rehearsals Begin: TBD
Tech: TBD
Performances:
- Thursday, October 24 - Saturday, October 26 | 7:30pm
- Sunday, October 27 | 2:00pm
- Thursday, October 31 - Saturday, November 2 | 7:30pm
- Sunday, November 3 | 2:00pm
Crime. Corruption. Cauliflower. Bertolt Brecht’s cutthroat satire chronicles gangster Arturo Ui’s bloody ascension to power. Set in Chicago amidst a city-wide scandal, The Resistible Rise of Arturo Ui gets to the heart of hometown corruption and global fascism. Boundaries are blurred between high and low art, rich and poor crime, broken and fixed systems. In responding to the rise of tyranny in 1940s Germany, Brecht conducts a disturbingly timeless takedown of who runs systems and who lets them.
Coming Soon
Jackie Sibblies Drury’s Fairview is a play that examines the notion of race and representation, raising questions of spectatorship, privilege, and power. Therefore, it is germane to the plot that the Frasier Family—Beverly, Jasmine, Dayton, and Keisha—are played by Black actors. The remaining characters Suze, Mack, Jimbo, and Bets—can be performed by actors of any race or ethnicity other than African American.
Although auditions are open to all genders and gender expressions, actors must depict the gender politics reflected in the script. All characters are open to being cast with no specific preliminary notions regarding neurodivergence, disability, the body's physicality, religion, or sexuality.
Actors involved in this play must be comfortable with movement/dance, mimicking physical and verbal characteristics/stereotypes of another race other than their own.
Beverly: 40's, African American Woman, upper-middle class, the responsible one. She can come off as uptight sometimes, but it is because she cares deeply about her family and feels responsible for caring for everyone.
Jasmine: - 40's, African American Woman, Beverly's sister. The fun one. Always ready with some family gossip. She is jealous of Beverly but would never admit it.
Dayton: 40's, African American Man, Beverly's Husband. Seemingly laid back and carefree. He pays more attention than he gets credit for and is a good partner to Beverly.
Keisha: late teens, African American Woman, Beverly, and Dayton's daughter. Precocious. She is self-aware and unwilling to accept the stereotypical narrative thrust upon her.
Suze (+ other roles As Cast): 30–50, Female, any ethnicity other than African American. She is the de facto leader of the surveillance team.
Mack (+ other roles As Cast): 20–40, Male, any ethnicity other than African American. He’s generally chill and has a millennial attitude and understanding of the world.
Jimbo (+ other roles As Cast): 20–40, Male, any ethnicity other than African American. He’s a bit of a worrier and feels his status is under threat.
Bets (+ other roles As Cast): 20–40, Female, any ethnicity other than African American. The newest member of the surveillance team. She’s very earnest and tries hard to fit in with the group.
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Rehearsals Begin: Monday, January 15, 2024
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Tech: Thursday, February 8 - Wednesday, February 14, 2024
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Performances:
- Thursday, February 15 - Saturday, February 17 | 7:30pm
- Sunday, February 18 | 2:00pm
- Thursday, February 22 - Saturday, February 24 | 7:30pm
- Sunday, February 25 | 2:00pm
"In the city of Dublin, music fills the streets and hearts yearn for connection. When Irish musician Guy meets Czech immigrant Girl, their surprising friendship turns heartbreak into hope as the flame of musical inspiration is rekindled. Told through folk music played by the actors, Guy and Girl’s relationship blossoms into something unexpected that will change their lives forever. Based on the Oscar-winning film, Once unravels a simple and uplifting story of love, hope, and the power of music." - Musical Theatre International
AUDITIONS: January 17, 2024
Each actor auditioning is asked to prepare 60 seconds from a monologue and 32 bars of a song. Playing an instrument is heavily preferred for this production, but we will still be happy to consider performers who don’t play instruments. Additional information:
For the monologue, please prepare 60 seconds of a contemporary play (1955-present). Even if you don’t have a monologue prepared, however, please still feel welcome to audition. We will give you something to read right there in the moment.
For the music portion of the audition, auditioners have a range of options:
If you'd like to be considered for the roles of Guy or Girl:
Please sing and accompany yourself on 32 bars of a song sung by Guy or Girl in Once. You can find music for some songs sung by Guy and Girl here.
If you are auditioning but not with a particular desire to be considered for Guy or Girl specifically:
Please sing 32 bars of a song that fits the style(s) of Once: folk, singer-songwriter, or any Irish musical form with a sound similar to the songs in the musical.
Accompany yourself on any of the following instruments, all of which will be used in the show: guitar, mandolin, banjo, piano, violin, ukulele, accordion, electric bass, melodica, cajon, cello, drums, cymbals, castanets, & E concertina.
If you are not an instrumentalist:
bring an accompaniment track and sing 32 bars of a song that fits the style of Once.
If you do not have a song prepared:
you are still welcome to audition. We’ll ask you sing (unaccompanied) 30-60 seconds of a song you already know.
INTEREST FORM: HERE
CALLBACKS: January 20, 2024 | 10am - 2pm | MUND 125
If you are called back for a role and you are an instrumentalist, as part of your callback you’ll be asked to play the song indicated on the list here [link to be added soon] for your particular instrument.
The stage manager Alex Umekubo, aumekubo@luc.edu, will notify you if you are called back. Those called back will be asked to fill out an additional Callback Form to capture conflicts as well as the intimacy of the roles you may be under consideration for.
Girl*: She/her pronouns. From Czech Republic. Between 25 & 40 years old. Daughter of Baruska, mother of young Ivanka. Immigrated to Dublin. Currently selling flowers on the street just to get by, but loves music and is an extremely gifted performer. Must be played with a Czech accent. Performer must play piano well enough to execute all relevant songs and be able to sing the role.
Guy*: He/him pronouns. From Dublin. Between 25 & 40 years old. He works in his Dad’s vacuum repair shop but dreams of dedicating himself to his passion: making music. A very gifted performer. A bit adrift in life right now. Must be played with an Irish accent. Performer must play guitar well enough to execute all relevant songs and be able to sing the role.
Billy*: He/him pronouns. Owner of the music store where Girl plays piano. A bit goofy and often oblivious. Must be played with an Irish accent. A musician himself. Preference will very likely be given to actors with instrumental abilities that match the style of the show, but even those who do not play an instrument may still be considered for this role.
Da: The father of Guy. He/him pronouns. Owns a vacuum repair shop. A loving father. Must speak with an Irish accent. Preference may be given to actors with instrumental abilities that match the style of the show, but even those who do not play an instrument may still be considered for this role.
Ex-Girlfriend: She/her pronouns. Between 25 & 40. Former partner of Guy. Must be played with an Irish accent. Preference may be given to actors with instrumental abilities that match the style of the show, but even those who do not play an instrument may still be considered for this role.
Švec*: Girl’s flatmate. Pronouns he/him. Likely between 25 & 40. The performer in this role ideally plays an instrument on the show’s instrument list. Preference will very likely be given to actors with instrumental abilities that match the style of the show, but even those who do not play an instrument may still be considered for this role.
Andrej: Girl’s flatmate. Pronouns he/him. Likely between 25 & 40. The performer in this role ideally plays an instrument on the show’s instrument list. Preference will very likely be given to actors with instrumental abilities that match the style of the show, but even those who do not play an instrument may still be considered for this role.
Réza*: One of Girl’s flatmates. She/her pronouns. Also an immigrant from the Czech Republic. Not shy. Must be played with a Czech accent. The performer in this role ideally plays an instrument on the show’s instrument list. Preference may be given to actors with instrumental abilities, but even those who do not play an instrument may still be considered for this role.
Baruška*: Girl’s Mother. She/her pronouns. 45+. Not shy. Immigrated from the Czech Republic with her daughter & granddaughter. Must be played with a Czech accent. Preference may be given to actors with instrumental abilities, but even those who do not play an instrument may still be considered for this role.
Bank Manager: He/him pronouns. Doesn’t need to be a singer per se. Preference will be given to actors who are instrumentalists.
Emcee: Pronouns not specified by dialogue. The performer in this role ideally plays an instrument on the show’s instrument list. Preference may be given to actors with instrumental abilities, but even those who do not play an instrument may still be considered for this role.
Eamon: Pronouns not specified by dialogue, only in stage directions, so we may have flexibility here. Recording studio producer/engineer. Preference may be given to actors with instrumental abilities, but even those who do not play an instrument may still be considered for this role.
Ivanka: Girl’s young daughter. She/her pronouns. 5 years old. Does not speak in the script. This role has already been cast and will be played by a child not affiliated with the university.
Auditions will welcome performers of any race, ethnicity, gender, sexuality, disability, ability, body physicality, religious affiliation, form of neurodivergence, nationality, citizenship status, etc. We’ll actively aim to work against forms of exclusion and historical underrepresentation and to feature the most diverse cast possible. Regarding race and ethnicity, we will not cast with any preconceived notions for any of the characters. In general, people of Irish or Czech nationality could be of virtually any identity in terms of race, ethnicity, gender, disability, body physicality, religious affiliation, neurodivergence, etc. Regarding the gender of specific characters, the script provides some information through pronouns or other dialogue. Pronouns indicated in dialogue will not change in performance. When pronouns are indicated, the performer will be asked to craft a performance that in some way responds to those pronouns as one of many truths about the character. The director does not assume that an actor’s pronouns must match the character’s pronouns. At the same time, in terms of depiction, we’ll more or less capture gender dynamics that are indicated.
Vocal range and instrumental abilities will also necessarily be important casting factors. Though our approach will likely mean that some roles can be cast with performers who do not play any instruments, preference may (or even will often) be given to performers with instrumental abilities.
Consent is a core value of this production, which will have a trained intimacy director, Acting Professor Tim Kane. Please pay attention to the intimacy action disclosure chart that is available on this audition form. Before accepting a role, performers are also strongly encouraged to check the script to see if the character says something that they’re uncomfortable saying in-role. Scripted dialogue cannot change.
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Rehearsals Begin: February 12, 2024
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Tech:
- Thursday, March 21 - Sunday, March 24
- Tuesday, March 26 - Wednesday, March 27
- Tuesday, April 2 - Wednesday, April 3
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Performances:
- Thursday, April 4 - Saturday, April 6 | 7:30pm
- Sunday, April 7 | 2:00pm
- Thursday, April 11 - Saturday, April 13 | 7:30pm
- Sunday, April 14 | 2:00pm
