Auditioning At CTL
The Community Theatre League is holding open auditions for
THE LITTLE MERMAID
Audition Information:
Audition Dates: November 23 @10AM
AUDITIONS FOR KIDS AND TEENS (anyone under the age of 18)
November 24 & 25 @7PM
AUDITIONS FOR ADULTS (18+)
Performance Dates: March 28, 29, 30 2025
Director: SETH SPONHOUSE (he/him)
Music Director: MARISA SORRENTINO HICKEY (she/her)
Choreographer: KATIE CONKLIN (she/her)
Dive under the sea with Ariel in The Little Mermaid! This enchanting musical brings the beloved Disney film to life with all your favorite songs, including “Kiss the Girl,” “Part of Your World,” and “Under the Sea.” Ariel dreams of being where the people are, and when she makes a deal with the sea witch Ursula, her world turns upside down. But with the help of her friends, she might just find her voice and true love.
Featuring stunning visuals, magical underwater effects, and heartwarming music, The Little Mermaid is a journey “beyond your wildest dreams.” Don’t miss this unforgettable adventure where you’ll “believe in magic, right here on the ocean floor!”
What to Prepare For Your Audition:
- Prepare one of the following song selections. See music PDFs – either find a track to sing with and bring with you to auditions or be prepared to sing with a track provided by the production staff.
- KIDS
- Under The Sea
Sheet music
- Under The Sea
- ADULTS
- Her Voice
Sheet music - Part of Your World
Sheet music - Poor Unfortunate Souls
Sheet music - Positoovity
Sheet music - She’s In Love
Sheet music - Tirton’s Lament
Sheet music - Under The Sea
Sheet music
- Her Voice
- Please dress comfortably and be ready to move for a dance/movement audition.
- Pages of the script will be passed out at the auditions to read for specific roles.
Available Roles Kids:
FISH ENSEMBLE: To be featured in numerous numbers including but not limited to, Under the Sea and Kiss the Girl.
Available Roles Adults:
ARIEL
Gender: Female
Age: 18-30
Description: A mermaid and King Triton’s youngest daughter. She is curious about the human world and dreams of becoming part of life above the water. Pragmatic, trusting, kindhearted, and passionate.
Vocal Range: Bb3-Eb5
PRINCE ERIC
Gender: Male
Age: 18-30
Description: A human monarch with little interest in taking the crown. Adventurous and a risk-taker. After Ariel saves his life, he becomes determined to find his rescuer.
Vocal Range: B3-D5
KING TRITON
Gender: Male
Age: 35-55
Description: King of the Sea and Ariel’s father. Beneath his imposing presence and commanding nature is a harried single father who will do anything to protect his daughters. The death of his wife has instilled in him an irrational fear of humans.
Vocal Range: Ab2-F4
SEBASTIAN
Gender: Any
Age: 20-30
Description: A crab and advisor to King Triton. A musical virtuoso often distraught from keeping after Ariel. Though paranoid, he ultimately cannot stand in Ariel’s way.
Vocal Range: Bb2-C5
FLOUNDER
Gender: Any
Age: Must play as a young teen.
Description: A fish who is smitten with Ariel, his best friend. Rambunctious yet cautious, often fearful of the dangers that lurk both in and above the water.
Vocal Range: A2-G4
SCUTTLE
Gender: Any
Description: A seagull and an expert in human artifacts.
Vocal Range: B3-E5
FLOUNDER
Gender: Any
Age: Must play as a young teen.
Description: A fish who is smitten with Ariel, his best friend. Rambunctious yet cautious, often fearful of the dangers that lurk both in and above the water.
Vocal Range: A2-G4
URSULA
Gender: Female
Age: 30-50
Description: The manipulative sea witch determined to overthrow King Triton. Cunning and devious, willing to stop at nothing to get what she wants.
Vocal Range: F3-C#5
FLOTSAM
Gender: Any
Age: 20s-30s
Description: An eel and one of Ursula’s lackeys. Oily and spineless, willing to say anything needed to please.
Skills: Puppetry experience a plus.
Vocal Range: C4-C#5
JETSAM
Gender: Any
Age: 20s-30s
Description: An eel and one of Ursula’s lackeys. Oily and spineless, willing to say anything needed to please.
Skills: Puppetry experience a plus.
Vocal Range: C4-C#5
GRIMSBY
Gender: Male
Age: 40+
Description: Guardian of Prince Eric.
Vocal Range: Baritone
MERSISTERS
Gender: Female
Age: 20s-30s
Description: Ariel’s sisters (Aquata, Andrina, Arista, Atina, Adella, Allana), daughters of King Triton.
Vocal Range: Mezzos, Altos, and Sopranos
CHEF LOUIS
Gender: Any
Age: 20+
Description: The palace chef and a culinary perfectionist.
Vocal Range: Tenor or Mezzo/Alto
DANCE ENSEMBLE
Roles: To play Gulls, Chefs and featured in multiple full cast songs.
ENSEMBLE
Roles: To play Sailors, Sea Creatures, and Princesses/Contest Attendees.
All roles, unless otherwise announced, are open. CTL encourages anyone who is interested to audition and is always eager to welcome new faces and fresh talent to its stage. Except as specifically required by the author for certain roles, The Community Theatre League has a non-discrimination casting policy, open to members of all races, sexes, creeds, orientations, and abilities. We encourage members of diverse backgrounds and abilities to audition for our productions.
The Community Theatre League is holding open auditions for
BLITHE SPIRIT
Audition Information:
Audition Dates: February 2 & 3
@ 7:00PM
Performance Dates: April 25-27 & May 1-4
Those that can not make these auditions should reach out to CTL@CTLshows.com to make different audition plans.
Director: Tara Deljanovan
“Blithe Spirit” is a classic comedy play written by Noël Coward. The story revolves around Charles Condomine, a skeptical novelist, who invites an eccentric medium named Madame Arcati to conduct a séance at his home as research for his upcoming book. To his surprise, the séance conjures up the spirit of his deceased first wife, Elvira. Only Charles can see and hear Elvira, which leads to hilarious and chaotic situations as she wreaks havoc on his current marriage with his second wife, Ruth. As Charles struggles to navigate the increasingly complicated situation, he finds himself caught between the living and the dead, with unforeseen consequences.
What to Prepare For Your Audition:
Please prepare one of the following monologues.
They do not need to be memorized, as hard copies will be available
Private Lives by Noel Coward (The Piano Lesson by August Wilson)
Now please, Sibyl, I know it sounds crazy to you, and utterly lacking in reason and sense, but I’ve got second sight over certain things. I’m almost psychic. I’ve got the most extraordinary sensation of impending disaster. If we stay here something appalling will happen. I know it…. It isn’t hysterical
nonsense. Presentiments are far from being nonsense. Look at the woman who cancelled her passage on the Titanic. All because of a presentiment….She obeyed her instincts, that’s what she did, and saved her life. All I ask is to be allowed to obey my instincts.The 39 Steps by Patrick Barlow
Me? …Me? …Me, I’m nothing. Me. When I was very small… we used to take our sleds out in the wintertime and the only hills we had were some ice-covered stone steps down the street. And we used to fill them in with snow and make them smooth and slide down them all day… and it was very dangerous, you know… far too steep… and sure enough one day a kid named Rufus came down too fast and hit the sidewalk… and we saw his face just split open right there in front of us… and I remember standing there looking at his bloody open face thinking that was the end of Rufus. But the ambulance came and they took him to the hospital and they fixed the broken bones and sewed it all up… and the next time I saw Rufus he just had a little line down the middle of his face… I never got over that. That that was what one person could do for another, fix him up—sew up the problem, make him all right again. That was the most marvelous thing in the world… I wanted to do that. I always thought it was the one concrete thing in the world that a human being could do. Fix up the sick, you know—and make them whole again. This was truly being God…- Noises O by Michael Frayn
Hello… Yes, but there’s no one here… No, Mr Brent’s not here… He lives here, yes, but he don’t live here now because he lives in Spain. Mr Philip Brent, that’s right… The one who writes the plays, only why he wants to get mixed up in plays God only knows, he’d be safer o in the lion’s cage at the zoo… No, she’sin Spain, too, they’re all in Spain, there’s no one here… Am I in Spain…? No, I’m not in Spain, dear. I look after the house for them, but I go home at one o’clock on Wednesday, only I’ve got a nice plate of sardines to put my feet up with… because it’s the royal what’s it called on the telly – the royal you know… And if it’s to do with letting the house then you’ll have to ring the house-agents, because they’re the agents for the house… Squire, Squire, Hackham and who’s the other one…? No, they’re not in Spain, they’re just a bit squashed. Squire, Squire, Hackham, and hold on… I’m going to do something wrong here. Always the same, isn’t it. One minute you’ve got too much on your plate…next thing you know they’ve gone again. - The Importance of Being Earnest by Oscar Wilde
Mr. Worthing, I confess I feel somewhat bewildered by what you have just told me. To be born, or at any rate bred, in a hand-bag, whether it had handles or not, seems to me to display a contempt for the ordinary decencies of family life that reminds one of the worst excesses of the French Revolution. And I presume you know what that unfortunate movement led to? As for the particular locality in which the hand-bag was found, a cloak-room at a railway station might serve to conceal a social indiscretion- has probably, indeed, been used for that purpose before now- but it could hardly be regarded as an assured basis for a recognised position in good society. I would strongly advise you, Mr. Worthing, to try and acquire some relations as soon as possible, and to make a denite eort to produce at any rate one
parent, of either sex, before the season is quite over. You can hardly imagine that I and Lord Bracknell would dream of allowing our only daughter- a girl brought up with the utmost care- to marry into a cloak-room, and form an alliance with a parcel? Good morning, Mr. Worthing!, - The Real Thing by Tom Stoppard
Lots of men are only good for fetching drinks. Why don’t you write about them? Oh, yes, you owe him a drink. What an ego trip! Having all the words to come back with just as you need them. That’s the dierence between plays and real life – thinking time. You don’t really think that if Henry caught me out with a lover, he’d sit around being witty about Rembrandt place mats? Like hell he would. He’d come apart like pick-a-sticks. His sentence structure would go to pot, closely followed by his sphincter. You know that, don’t you, Henry? No answer. Are you there, Henry? Say something witty
****Please Note: Most characters we encounter currently are written with he/him or she/her pronouns. However limiting the descriptions are, our casting seeks to be inclusive as possible and we invite gender non-conforming, genderqueer, transgender, and non-binary actors to submit for the roles they most identify with. We will also list race/ethnicity when specific to the character but are otherwise seeking all races and ethnicities.****
Elvira Condomine
is Charles Condomine’s first wife, who, after her untimely death, returns as a ghost. She exudes a sense of timeless beauty, grace, and charm, and carries with her a certain ethereal quality, as if untouched by time. Elvira is playful, flirtatious, and mischievous, with a penchant for causing chaos and stirring trouble. She’s fiercely independent and often seems to enjoy stirring the pot, particularly with Ruth, Charles’ second wife. Although she can be playful and fun-loving, she also harbors a certain sense of vanity, believing that her allure is undiminished by death. Elvira can be vindictive and selfish at times, especially when she feels that Charles is neglecting her in favor of Ruth. Despite her flaws, she has a certain vulnerability.
Ruth Condomine
is Charles’ second wife. She is grounded, composed, and practical, with a strong sense of duty and decorum. Ruth is intelligent and self-possessed, often taking the lead in social situations and handling problems with a calm, rational approach. However, her poise masks a growing insecurity, especially when she is confronted with the very real presence of Elvira’s ghost. Ruth is protective of her marriage and becomes fiercely jealous when Elvira’s presence threatens her domestic happiness. Her jealousy reveals her vulnerability and deep attachment to Charles. Though she initially seems a bit uptight, Ruth’s more passionate and emotional side emerges as the play progresses.
Charles Condomine
is a witty, charming, and somewhat cynical novelist in his early 40s – 50s. He has a sharp sense of humor and a knack for sarcasm, but his self-absorbed nature often causes him to overlook the emotional complexities of those around him, particularly his wives. He’s more focused on his career than his relationships. Charles has a somewhat detached and rational view of life and death, which is why he doesn’t take the ghostly events seriously at first. However, as the situation escalates, he is torn between his affection for both women and finds himself in a dilemma about how to balance his past with his present. His comedic flaw is that he is often out of his depth, unable to control the supernatural forces he unwittingly unleashes.
Madame Arcati
is an eccentric, enthusiastic, and somewhat deluded medium who prides herself on her spiritual abilities, though she often seems more concerned with her own theatrics than the actual consequences of her actions. She’s quirky, imaginative, and often oblivious to the chaos she causes, believing wholeheartedly in her powers while remaining unaware of how ridiculous she appears. Madame Arcati is exuberant, with a tendency to be overdramatic, and she genuinely believes in communicating with the spirit world, despite her frequent blunders. She’s often a source of comic relief, with her dramatic gestures and odd behavior, but there is an underlying warmth to her character. Madame Arcati is kind-hearted and genuinely wants to help Charles and his family, even if she doesn’t always understand the full extent of the trouble she stirs up. Beneath her confident exterior, she is sometimes unsure of herself, making her character more endearing and less pretentious.
Edith
is the Condomines’ maid, and she brings much of the physical comedy and slapstick humor to the play. She is clumsy, disorganized, and often oblivious to the chaos unfolding around her. Edith is sweet-natured and tries her best, but she frequently makes blunders. She is also a bit slow on the uptake and doesn’t fully grasp the supernatural events happening in the house. Despite her naiveté, Edith is loyal and good-hearted, and her innocence and simplicity provide a humorous contrast to the more complex, often neurotic characters.
Dr. Bradman
is a well-to-do, somewhat pompous local physician and a close friend of Charles and Ruth. He is practical, rational, and somewhat skeptical of anything supernatural. He tends to be a bit condescending and dismissive, especially when it comes to the more eccentric and mystical aspects of life. Dr. Bradman often serves as a voice of reason (or, in his case, a voice of skeptical logic), though his dismissive attitude toward the ghostly events contrasts with the increasingly strange occurrences that unfold. His dry wit and medical background give him a sense of authority in everyday matters, but he’s out of his depth when faced with the supernatural.
Mrs. Bradman
is Dr. Bradman’s wife and a socialite who enjoys the thrill of the supernatural, even if she’s not entirely convinced of its authenticity. She is more open-minded than her husband, showing a certain curiosity and interest in the paranormal. Mrs. Bradman is also a bit of a gossip and often indulges in discussing the more sensational aspects of life. She can be somewhat naïve, but she’s more intrigued by the idea of spirits and séances than Dr. Bradman, and she’s eager to join in when Madame Arcati conducts her séance at Charles and Ruth’s home.
All roles, unless otherwise announced, are open. CTL encourages anyone who is interested to audition and is always eager to welcome new faces and fresh talent to its stage. Except as specifically required by the author for certain roles, The Community Theatre League has a non-discrimination casting policy, open to members of all races, sexes, creeds, orientations, and abilities. We encourage members of diverse backgrounds and abilities to audition for our productions.
The Community Theatre League is holding open auditions for
The Tale of Peter Rabbit
Audition Information:
Audition Dates: December 11 @ 4:30-6:30PM & 14 @ 2:00-5:00PM
Those that can not make these auditions should reach out to CTL@CTLshows.com to make different audition plans.
Director: Nina White
Music Director: Tyler Boyles
About the Show:
Peter is an explorer who always seems to get into trouble. He goes where he is not supposed to, and often runs off alone. Sometimes the temptation of going into Mr. McGregor’s garden is just too much for him. Join Peter, his sisters, and friends on this Musical Adventure!
What to Prepare For Your Audition:
- Music:
- Be familiar with The Tale of Peter Rabbit<<< (click for sheet music) from the production. A recorded track is available at Here. You may be asked to sing it during auditions.
- Script Pages:
- Review the provided script pages before auditions. These will be used for cold readings. You can access the script pages at…
TENOR
ANNABETH – Daughter of Athena, smarter than you
SOPRANO
GROVER – A happy-go-lucky satyr, like a hippie kid with hooves.
TENOR
LUKE – Son of Hermes, cool camp counselor
BARITONE, TENOR
SALLY JACKSON – Percy’s hard-working mother
MEZZO-SOPRANO
MR. BRUNNER aka CHIRON – Wise centaur, part-time Latin teacher
TENOR, BARITONE
CLARISSE – Tough jock girl, daughter of Ares
MEZZO-SOPRANO, SOPRANO
Ensemble:
MRS. DODDS – A Fury posing as a substitute algebra teacher
GABE UGLIANO – Percy’s foul stepfather
MINOTAUR – Half-man, half-bull
POSEIDON – God of the sea, salty beach bum
MR. D, aka DIONYSUS – God of wine, snarky camp director
SILENA BEAUREGARD – Daughter of Aphrodite
KATIE GARDNER – Daughter of Demeter
THE ORACLE – a hippie mummy
GREYHOUND PASSENGER 1
GREYHOUND PASSENGER 2
SQUIRRELAUNTY EM, aka MEDUSA – Avid sculptor
TRAIN CONDUCTOR
ECHIDNA – Mother of monsters
NEWSCASTER
FARMER
ARES – God of war, rock star in leather pants
BIANCA – A mysterious girl in 1930’s clothes
KRONOS – A voice in a pit
THALIA – Daughter of Zeus, tough
CHARON – Ferryperson to the Underworld
JAMES BROWN
WOLFGANG AMADEUS MOZART
KURT COBAIN
JANIS JOPLIN
DJ CERBERUS
HADES – God of the dead, aging rock star type
All roles, unless otherwise announced, are open. CTL encourages anyone who is interested to audition and is always eager to welcome new faces and fresh talent to its stage. Except as specifically required by the author for certain roles, The Community Theatre League has a non-discrimination casting policy, open to members of all races, sexes, creeds, orientations, and abilities. We encourage members of diverse backgrounds and abilities to audition for our productions.
Dates for SEASON 48 Auditions!
KEEP A LOOK OUT HERE FOR AUDITION DATES FOR THESE EXCITING SHOWS AND MORE!BLITHE SPIRIT February 2 & 3
9 to 5 April 6 & 7
PIPPIN (Summer Youth Intensive) May 18 & 19
All auditions will be held at 7pm, unless otherwise advertised. Information on what to prepare will be put out 2-3 weeks in advance of auditions.Community Theatre League Audition Policy
All roles, unless otherwise announced, are open. CTL encourages anyone who is interested to audition and is always eager to welcome new faces and fresh talent to its stage. Except as specifically required by the author for certain roles, The Community Theatre League has a non-discrimination casting policy, open to members of all races, sexes, creeds, orientations, and abilities. We encourage members of diverse backgrounds and abilities to audition for our productions.
If, after open auditions, the director believes that a particular role or roles cannot be cast, additional actors may be contacted and further auditions may be held as required. Being invited to audition, either directly or indirectly, does not guarantee a role.
In the event an actor cannot attend regular auditions, s/he may audition at a pre-arranged time at the director’s discretion. Callbacks will be held if necessary. Not being called back does not mean that auditionees are not cast in the show. Likewise, being called back does not guarantee casting.
Please note that by auditioning, you are obligating yourself to a considerable rehearsal and performance process. Please be certain that you are willing and able to make this commitment.
Audition / Rehearsal Facts and FAQs
CTL strives to make the audition process a positive and comfortable experience for everyone. Our goal is to put on a wonderful show for the audience and an enjoyable and fulfilling process for local performers.
Anyone may audition, depending on the age groups required for the selected play or musical. Some people come to auditions who are long-time, experienced performers, while some have never been on stage before. No experience is necessary for tryouts. Frequently, auditionees who may not be cast in a particular show choose to participate in the production, through backstage, costuming or technical support.
Play auditions generally do not require advance preparation. Actors may be asked to perform monologues, or may be asked to read from the selected script and to interact with other performers during the audition process, at the discretion of the director. For musicals, you will be asked to bring your own piece of prepared music. Unless stated otherwise in the audition notice, you may bring a CD with pre-recorded background instrumentals (i.e., karaoke tracks). Most singers use sheet music, and an accompanist will be provided for you.
Most directors post information on the CTL website regarding character outlines and a synopsis of the show. Reviewing this information before auditions should provide an idea of what parts might be available and suitable for a specific performer. Please be advised that stage productions of stories which may have also been produced as books or movies might have differences in cast and content.
Rehearsal times vary depending on the director. Most rehearsals will run 2-3 hours. Starting times vary. Shows with children in the cast usually start earlier in the evening than those with adults. Starting times are usually 6:30 PM or 7:00 PM. An effort is made early in the rehearsal process to target specific performers at specific times, to minimize “down time” for performers at rehearsals.
All those who audition are contacted via phone or email. An announcement is made at auditions, to advise when auditionees should expect to hear from a member of the production team. A cast list is posted on the CTL website once it is final.
Casting decisions are ultimately made by the Director, with input from the show’s production staff, which includes the Production Manager, Music Director and Choreographer (if applicable), Stage Manager, and at least one member of CTL’s Production Planning Committee.
The Community Theatre League reserves the right to recast a part if a performer behaves in a manner that is deemed detrimental to the production.
Tips for Auditioning
CTL is a volunteer-run non-profit and, as such, is always looking for more people to audition, organize and just help out in general. To keep up with the details of each audition, check this website often, listen to the radio stations of Clear Channel Williamsport, check your local newspaper’s arts and entertainment section, email, or call the theatre at 327-1777, weekdays 11-4.
Before auditioning
Check the rehearsal and performance schedules before you audition. Probably one of the worst things is to audition, get a great part and then find out that rehearsals interfere with classes or that you’ll be out of town during the 2 weeks the play goes on. Always err on the side of asking too many questions to make sure you can fulfill your obligations.
Read up on the play you’ll be auditioning for. This goes not only for the actual audition piece (if provided), but it’s good to check, especially in newer or independent works, for any subject matter that you may be uncomfortable with. Very little is sacred to some playwrights, so do your homework.
Practice the required audition piece (if available) until you know it by heart. Called “off book” in theater lingo, being able to speak the part freely shows professionalism and allows you to use your hands and body language during your scene. Practice alone in front of a mirror, as well as with others either as an audience or someone feeding you responses if the audition piece is interactive.
If the show is a musical, you will be required to sing a short song. The standard length of an audition piece is 16 measures, which would be roughly a verse or chorus of a tune. Each director is different and some may allow you to sing more than 16 bars or even all of the song so you should bring sheet music (in the correct key) for the accompanist. Unless specifically stated in the audition notice, CD’s and background tracks (karoke CDs) are allowed. The piece should be memorized, but if not, a second copy for yourself is best. Most auditions at CTL happen in large groups, which means you will likely be requested to sing in front of the group.
Be prepared to commit time to building sets and sewing costumes if necessary. Remember, many community theaters are volunteer run and funding comes either from grants or the success of the last performance. Pitching in may be expected, and even if it isn’t, if you have the time consider contributing anyway since it’ll only make the total experience that much better.
F.Y.I.
It may take up to two weeks for the directors to cast the show. Be patient. The directors are always looking for just the right combination of people to have a great show.
Best of luck!