AUDITION AT CTL
The Community is holding open auditions for…
YOU CAN’t TAKE IT WITH YOU
IMPORTANT AUDITION DATES:
Audition Dates:
January 11 @7PM
January 12 @7PMPerformance Dates:
March 20-22 & 26-29
Those that can not make these auditions should reach out to CTL@CTLshows.com to make different audition plans.
Director: Sara Jones
About the Show:
The family of Martin Vanderhof lives “just around the corner from Columbia University — but don’t go looking for it.” Grandpa, as Martin is more commonly known, is the paterfamilias of a large and extended family of charming eccentrics. His granddaughter, Alice, is an attractive and loving girl who is still embarrassed by her family’s idiosyncrasies. When Alice falls for her boss, Tony, a handsome scion of Wall Street, she fears that their two families – so unlike in manner, politics and finances – will never come together. But why be obsessed by money? After all, you can’t take it with you…
What to Prepare For Your Audition:
- Actors need not prepare anything for their audition. You only need to bring a positive attitude and be ready to have fun reading sides from the show.
*NOTE: Because You Can’t Take It With You is set in 1930s New York City, the script reflects the social norms and racial stereotypes of its time. Our production approaches this material with care, awareness, and intention. The roles of Rheba and Donald, who have been traditionally portrayed as Black characters, will be cast with actors of color whenever possible. We recognize the dated stereotypes present in the text, and we are committed to working with artists who can thoughtfully interrogate and transcend those limitations, bringing depth, agency, humanity, and of course humor to these roles. All other roles in the production are open to actors of all races.
MARTIN VANDERHOF
(Character age 60-75)
Snake enthusiast. Clever, generous, and wanted for tax evasion, Martin is patriarch of the extended Sycamore brood. He is the definition of non-traditional and provides a welcome home to the artistic and slightly odd.PENELOPE SYCAMORE
(Character age 40-55)
Playwright and painter. The mother of Alice and Essie and the daughter of Martin, Penelope is hardworking, brilliantly creative, and frank. She writes multiple plays at a time, often concerned with less than savory subjects. She understands that Alice is different from the rest of the family, and desperately wants her to find happiness.PAUL SYCAMORE
(Character age 40-55)
Pyrotechnician. Husband to Penelope and father to Alice and Essie, Paul spends most of his time in the basement creating new and explosive fireworks. Paul possesses both a genius for chemistry and a childlike wonder, and although he loves his family dearly, he is often singularly focused on his projects.ALICE SYCAMORE
(Character age 20-26):
Secretary. In a family of distracted artists and erratic geniuses, Alice is remarkably “normal”. She is deeply in love with Tony, but fears that he won’t understand her non-traditional family. Although she loves her off-beat clan, Alice tries to pass them off as normal for the sake of the Kirby’s.ESSIE CARMICHAEL
(Character age 25-35)
Ballet Dancer and Confectioner. Essie is soft, distracted, and always dancing. She is often found in the kitchen experimenting on new candies. This role requires extensive dancing.ED CARMICHAEL
(Character age 25-35)
Xylophonist and Printer. Ed’s airy, innocent personality is perfectly suited to his wife, Essie. He provides much of the music that Essie dances to, and likes to block print random phrases he picks up throughout the day. Ed is one of the few members of the Sycamore family who regularly leaves the house, acting as a delivery boy for Essie’s candies. Xylophone skills are a plus.RHEBA*
(Character age 25-35)
Housekeeper. Although Rheba’s official job is that of a housekeeper, her culinary and cleaning skills are somewhat lackluster. Rather she functions as a constructive critic and champion of the various artistic pursuits occurring in the Vanderhof household. Rheba is bubbly, quick witted, and flirtatious, the favorite of both Donald and Kolenkhov.DONALD*
(Character age 25-35)
Handyman. Donald is chronically unemployed and performs various odd jobs for the Sycamores. He is sweet and a little bit slow, but is fiercely loyal to Rheba and his chosen family.MR. DE PINNA
(Character age 40-55)
Pyrotechnician and model. Mr. De Pinna is the mailman turned pyrotechnician that assists Paul in the creation of explosives. Clever, proud, and a little vain, Mr. De Pinna also moonlights as a model for Penelope’s paintings.MR. BOLUS KOLENKHOV
(Character age 40-55)
Ballet instructor and tsarist. Kolenkhov is Essie’s tough-love Russian ballet instructor. He is aggressive, loud, and still bitter about the Bolshevik revolution. This physical role requires some fight choreography. A Russian accent is preferred.TONY KIRBY
(Character age 20-26)
Businessman. Tony is young, open-minded, and deeply in love with Alice. He is vice president to his father’s Wall Street company, but finds the artistic life of the Sycamores to be much more appealing.MR. KIRBY
(Character age 40-55)
Businessman. Mr. Kirby is Tony’s uptight, overstressed father. He has constant indigestion, and finds his only joy in the cultivation of expensive orchids. He is deeply unsettled by the alternative lifestyle of the Sycamores. This role also requires minor fight choreography.MRS. KIRBY
(Character age 40-55)
Housewife. Mrs. Kirby is the long suffering wife of Mr. Kirby and the mother of Tony. She has a delicate constitution and very particular tastes, but finds emotional solace in spiritualism. She is secretly very bored by her life and would appreciate a little bit of spice in her marriage.GAY WELLINGTON
(Character age 50-65)
Actress. Gay Wellington is a drunken actress well past her prime, brought to the Vanderhof house to perform in one of Penelope’s plays. She spends most of the play drunk and/or unconscious. This role is especially physical and requires fight choreography.THE GRAND DUCHESS OLGA KATERINA
(Character age 50-60)
Waitress. Olga Katerina was a Grand Duchess and cousin to Tsar Nikolai II, but now works as a waitress in a diner. Despite her reduced circumstances she holds herself with immense dignity and is still exceptionally generous. She is an amazing cook and is brought to dinner by Kolenkhov. Ability to do a Russian accent is preferred.- AGENT HENDERSON
(Character age 30-40)
IRS agent. Henderson arrives at the Vanderhof house to alert Martin that he has over 20 years worth of unpaid back taxes. He leaves infuriated and perplexed by the unusual Sycamore family, who seem to play exclusively by their own rules. - THREE GOVERNMENT OFFICIALS
(age and gender flexible)
These characters come to take the Sycamore’s and the Kirby’s to jail. They only have a few lines but are physical roles.
The Community Theatre League is holding open auditions for…
HAIRSPRAY
IMPORTANT AUDITION DATES:
Audition Dates:
November 23 & 24 @7PMPerformance Dates:
April 17-19, 2026Potential Callback Date:
TBD
Those that can not make these auditions should reach out to CTL@CTLshows.com to make different audition plans.
Director: Rubie Natal & Aubyn Johnson
Music Director: Brett Hosterman
Choreographer: Maia Cenimo
It’s 1962 in Baltimore, and the lovable plus-size teen, Tracy Turnblad, has only one desire – to dance on the popular “Corny Collins Show.” When her dream comes true, Tracy is transformed from social outcast to sudden star. She must use her newfound power to dethrone the reigning Teen Queen, win the affections of heartthrob, Link Larkin, and integrate a TV network… all without denting her ‘do!
Casting Information:
Hairspray celebrates diversity, community, and the power of inclusion. The story explores issues of race, body image, and equality with humor, heart, and hope.
Because the story takes place in 1960s Baltimore at the height of the civil rights movement, certain roles are cast to reflect the realities of racial segregation and the show’s central themes. Characters such as Motormouth Maybelle, Seaweed, and Little Inez are Black, while others, like Tracy and the Turnblad family, are white. This distinction is essential to the story’s honesty and impact.
A large and energetic ensemble is required bring this world to life, filling the streets of Baltimore, the colorful bustle of Mr. Pinky’s Hefty Hideaway, and the lively set of the Corny Collins Show. Meaning roles outside of named parts are essential to creating this story that celebrates having the courage to stand up for change.
Must be at least of high school age (9th grade+) to audition
What to Prepare For Your Audition:
Please bring a positive attitude, a bottle of water, and a list of any conflicts you have from auditions thru Performances
- DANCE/MOVEMENT: Dress comfortable and ready to move, with appropriate footwear. If you are auditioning for a character who may be required to wear heels, you may consider wearing heels to dance!
- READING: Some actors may be asked to “cold read” selections from the show. (Cold Readings: an impromptu reading of a script without prior knowledge of the selection)
- MUSIC:
Please Prepare 30secs to 1min of a song from the show
If you are interested in specific roles please consider auditoning with the noted selection below
- Tracy Turnblad
Good Morning Baltimore
I Can Hear The Bells - Edna Turnblad
Welcome to the 60’s
You’re Timeless To Me - Link Larkin
It Takes Two
Without Love - Amber Von Tussle
Cooties
Mama, I’m a Big Girl Now - Penny Pingleton
Mama, I’m a Big Girl Now
Without Love - Seaweed
Run And Tell That
Without Love - Corny Collins
The Nicest Kids In Town
It’s Hairspray - Velma Von Tussle
Miss Baltimore Crabs - Motormouth Maybelle
I Know Where I’ve Been
Big Blonde & Beautiful - Wilbur Turnblad
You’re Timeless To Me - Little Inez
Run And Tell That (Solo) - Prudy Pingleton
Mama, I’m a Big Girl Now - The Dynamites
Welcome To the 60’s (ending) - The Ensemble
Good Morning Baltimore
You Can’t Stop The Beat
- Tracy Turnblad
Available Roles:
Tracy Turnblad
Our story’s unsuspecting protagonist, she is large and in charge. Confident, talented, and incredibly determined. A romantic with a good heart and desire to cut up the dance floor. Always on top of the latest trends.
This role will be played by a white actress.
Gender: Female
Age: Can portray 15 to 20
Vocal range top: G5
Vocal range bottom: G3
Dance: Must be a strong mover with stamina; carries many high-energy dance numbers
—
Edna Turnblad
Tracy’s mother. She is a working housewife who has lost her confidence and dream to be a plus-size clothing designer. Boisterous and commanding. Often played by a male in drag. Edna should be comfortable moving in heels.
This role will be played by a white performer.
Gender: Male
Age: Can portray 30 to 50
Vocal range top: G5
Vocal range bottom: F3
Dance: Minimal choreography; should be comfortable with light movement, especially in duets with Wilbur (“You’re Timeless to Me”) and the finale.
—
Link Larkin
The star heartthrob on Corny Collins’ show. He is extremely attractive and talented. Hoping to get his big break with a recording contract, he unexpectedly falls for Tracy.
This role will be played by a white actor.
Gender: Male
Age: Can portray 15 to 20
Vocal range top: A5
Vocal range bottom: G3
Dance: Strong dancer; featured in several Corny Collins Show numbers. Style is smooth, classic ‘60s teen idol.
—
Amber Von Tussle
Link’s girlfriend and Tracy’s nemesis. She is pretty, thin, shallow, snobby, and racist. Can’t dance but is expected to win Miss Baltimore Hairspray. Always feels the need to be the center of attention.
This role will be played by a white actress.
Gender: Female
Age: Can portray 15 to 20
Vocal range top: F5
Vocal range bottom: A3
Dance: Strong dancer; Must be able to lead Corny Collins Show numbers.
—
Penny Pingleton
Tracy’s best friend and dorky sidekick. Not the brightest girl, but she has good intentions. Bursting to get free of her mother’s dominating control, she falls for Seaweed with childlike curiosity.
This role will be played by a white actress.
Gender: Female
Age: Can portray 15 to 20
Vocal range top: G5
Vocal range bottom: A3
Dance: Strong movement; Starts awkward but should loosen up as the show progresses, especially in dances with Seaweed.
—
Seaweed J. Stubbs
Tracy’s classmate and friend, who is discriminated against due to his skin color. He is cocky but surprisingly lovable. Talented in song and dance. He falls for Penny.
This role will be played by a Black actor.
Gender: Male
Age: Can portray 15 to 20
Vocal range top: D5
Vocal range bottom: F3
Dance: Strong dancer; A standout in “Run and Tell That” and “You Can’t Stop the Beat.”
—
Corny Collins
The charismatic host of the Corny Collins’ Show. Good looking and smooth talking, he is a genuinely nice guy both on and off camera.
This role will be played by a white actor.
Gender: Male
Age: Can portray 25 to 35
Vocal range top: A4
Vocal range bottom: D3
Dance: Strong movement; needs to command the floor as a host. Participates in some production numbers with flair.
—
Velma Von Tussle
Amber’s mother and the director of Corny Collin’s show. She is a devious taskmaster and snobby racist. The former Miss Baltimore Crabs will go to any length to ensure her daughter is the next big thing. This role will be played by a white actress.
Gender: Female
Age: Can portray 45 to 55
Vocal range top: E5
Vocal range bottom: G3
Dance: Light movement; her numbers are more about character and presence but (“Miss Baltimore Crabs”) will be danced.
—
Motormouth Maybelle
Seaweed and Little Inez’s mother, she also appears as the Guest DJ on the Corny Collin’s Negro Day show. Big, blonde, beautiful and proud of it. She is sassy and confident.
This role will be played by a Black actress.
Gender: Female
Age: Can portray 40 to 50
Vocal range top: E5
Vocal range bottom: F3
Dance: Minimal; more about powerhouse singing presence. Should move well in group numbers.
—
Wilbur Turnblad
Tracy’s simpleminded and kind father. He owns a joke shop and supports his daughter in spite of everything else. He also loves his wife, Edna, very much. Needs good comedic timing.
This role will be played by a white actor.
Gender: Male
Age: Can portray 55 to 65
Vocal range top: A5
Vocal range bottom: A3
Dance: Very limited; more character-driven movement.
—
Little Inez
Little Inez is Seaweed’s younger sister and Motormouth Maybelle’s daughter. She’s young, feisty, and full of energy. Strong dancer and performer, and dreams of being on The Corny Collins Show as badly as Tracy does.
This role will be played by a Black actress.
Gender: Female
Age: Can portray 13 to 16
Vocal range top: E5
Vocal range bottom: C5
Dance: Strong dancer. Often outdances the “Nicest Kids.”
—
Prudy Pingleton
Penny’s strict mother. Very conservative, controlling, and closed minded. Comedic role.
This role will be played by a white actress.
Gender: Female
Age: Can portray 40 to 50
Vocal range top: B4
Vocal range bottom: D4
Dance: Little to no dancing.
—
The Nicest Kids in Town
Brad, Tammy, Fender, Sketch, Shelley, IQ, Brenda and Lou Ann are the famed teenage performers on “The Corny Collins Show.” This is a great opportunity to feature your best singers and dancers, as they’ll have to emulate some of the most famous dance moves from the 1960s. Kids with a lot of personality, and can be bold in their characterizations of each teenage performer.
Gender: Both
Age: Can portray 15 to 20
Dance: Strong dancers. They embody 1960s TV dance style (jazz, early rock ‘n’ roll, precision choreography).
—
The Dynamites
The Dynamites (Judine, Kamilah and Shayna) are a dynamic musical trio, iconic of the Motown era and the 1960s. Think the Supremes. These are three young women who are singers and dancers who complement each other. They don’t need to look alike, but a group that can be synchronous in their music and dance.
These roles will be played by Women of Color.
Gender: Female
Vocal range top: A5
Vocal range bottom: E4
Dance: Strong movement with polished stage presence.
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
“HARMONY: many voices, one song”…at Corner of Broadway & Third Concert
Audition Information:
Audition Video Due Date: April 25, 11:59PM
Performance Dates: May 16 & 17
Director: Tim Hippensteel
Music Director: Max Theiss
HARMONY: MANY VOICES, ONE SONG,” a concert that brings the magic of musical theatre to life in a powerful exploration of the human experience. Through a rich and eclectic mix of Broadway and musical theatre classics, this concert journeys through the lives of diverse characters from all walks of life—each with their own unique story to tell. From moments of joy and triumph to struggles and dreams, every song will illuminate the beauty of individuality while reflecting the universal threads that unite us all. The evening builds to a soaring finale, where these distinct voices blend into one, creating a breathtaking celebration of community, connection, and togetherness. It’s a stirring reminder that, despite our differences, we are all connected—bound by the universal power of music and the timeless stories of the stage.
What to Prepare For Your Audition:
Please prepare a video audition (30-60 second in length) of one of the following music selection (NOTE: THESE SONGS DO NOT NECESSARILY NOT REPRESENT THE SONG SELECTIONS FROM THE SHOW)…
MAIL YOUR VIDEO AUDITION FILE OR LINK TO CTL@CTLshows.com
- “Wig in a Box” – Hedwig and the Angry Inch
- “Maybe This Time” – Cabaret
- “I Am What I Am” – La Cage aux Folles
- “I’m Here” – The Color Purple
- “Here’s Where I Stand” – Camp
- “The Movie in My Mind” – Miss Saigon
- “I Dreamed a Dream” – Les Misérables
- “This is Me” – The Greatest Showman
- “I Miss the Mountains” – Next to Normal
- “Breathe” – In the Heights
- “Wait for It” – Hamilton
- “Not My Father’s Son” – Kinky Boots
- “Freeze your Brain” – Heathers
- “Love Who You Love” – A Man of No Importance
- “My Brother Lived in San Francisco” – Elegies for Angels, Punks, and Raging Queens
- “Inútil” – In the Heights
- “Waiting for Life” – Once on this Island
- “Out There” – The Hunchback of Notre Dame
****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.****
Violet
The company’s Head Secretary and Mr. Hart’s Administrative Assistant, she is a single mother and typically stands up for what she believes in. Attractive, strong, ambitious.
Gender: female
Age: 40 to 50
Vocal range top: D5
Vocal range bottom: F3
Doralee
A young, sexy spitfire who works at Mr. Hart’s office. She is proof that there is more to a woman than just her looks.
Gender: female
Age: 20 to 30
Vocal range top: E5
Vocal range bottom: G3
Judy
The “new” girl at the firm, she has been burned by her husband’s affair and is searching for personal empowerment. Insecure, determined, and hopeful.
Gender: female
Age: 30 to 35
Vocal range top: F5
Vocal range bottom: Ab3
Franklin Hart
One of the firm’s executives and a notorious chauvinist. He is capable of faking charm but usually shows his true colors as an arrogant, self-absorbed boss.
Gender: male
Age: 45 to 50
Vocal range top: Gb4
Vocal range bottom: C3
Roz Keith
The attentive office gossip queen and snitch. She has an unrequited love for Mr. Hart and will do anything she can to win his approval.
Gender: female
Age: 35 to 45
Vocal range top: C5
Vocal range bottom: G3
Joe
A handsome, young office accountant. Genuine and nice, and smitten with Violet.
Gender: male
Age: 25 to 35
Vocal range top: G4
Vocal range bottom: B2
Dwayne
Doralee’s attractive husband. He is very supportive of her professional pursuits.
Gender: male
Age: 25 to 30
Vocal range top: G4
Vocal range bottom: E2
Josh
Violet’s awkward teenage son.
Gender: male
Age: 15 to 18
Missy
Franklin Hart’s wife, clueless to her husband’s true nature.
Gender: female
Age: 20 to 35
Maria
A young and vibrant secretary in Hart’s office.
Gender: femaleAge: 20 to 30
Vocal range top: D5
Vocal range bottom: F4
Dick
Judy’s soon-to-be ex-husband. An average guy, he is sporting a little less hair and a little more paunch than he did ten years ago.
Gender: male
Age: 35 to 45
Kathy
A secretary in Hart’s office with a tendency to gossip.
Gender: female
Age: 30 to 40
Vocal range top: D5
Vocal range bottom: G4
Margaret
A secretary in Hart’s office with a tendency to drink.
Gender: female
Age: 30 to 40
Tinsworthy
Franklin Hart’s boss and Chariman of the Board. A good man, who may be wiser to Hart’s ways than he lets on.
Gender: male
Age: 50 to 65Russell Tinsworthy (Chairman of the Board): male-presenting; intimidating head of Consolidated, Inc. This role will either be a speaking-only role or doubled by an ensemble member, depending on the outcome of the auditions.
Ensemble
Office employees, police officers, hospital employees.
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.
CHECK BACK SOON FOR MORE AUDITION OPPORTUNITIES!!!
KEEP A LOOK OUT HERE FOR AUDITION DATES FOR THESE EXCITING SHOWS AND MORE!
All auditions will be held at 7pm, unless otherwise advertised.
Information on what to prepare usually is available about 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!