AUDITION AT CTL
The Community Theatre League’s SPROUTS program is holding open auditions for…
Peter Pan — A Musical Adventure
SPROUTS Kids’ Theatre · Theatre for Kids, by Kids · Open Call Audition · Non-Equity · Non-Paid
Important Dates
Auditions — Young Performers · Ages 8–14
Sunday, November 15, 2026 | 2:30–5:30 PM or Monday, November 16, 2026 | 5:30–7:00 PM
Performers will be seen on a first come, first served basis as they sign in. You do not need to be available for the entire audition time slot.
Callbacks
Saturday, November 21, 2026 | 10:00 AM–12:30 PM — Individual songs and script readings will be made available for callbacks. Performers may still be cast without being asked to attend a callback.
Performance Dates
April 9, 10, 11 & 13, 2027
Friday, April 9 at 7:00 PM
Saturday, April 10 at 2:00 PM (private performance)
Sunday, April 11 at 2:00 PM
Tuesday, April 13 at 6:00 PM
Rehearsal Schedule
Beginning Saturday, January 9, 2027
Tuesdays 4:30–6:30 PM
Thursdays 5:00–7:00 PM
Saturdays 9:30 AM–12:00 PM
Please note: most performers will not be called for all 3 rehearsal days in the beginning, as we will work on specific scenes and selected songs. The time commitment grows as we build the show and begin to run Act 1 or Act 2.
Location
Community Theatre League
100 West Third Street
Williamsport, PA 17701
What to Prepare
Peter Pan is a full musical — every performer will sing! There is no solo song to prepare for the first round of auditions; music will be taught right at the audition.
- Reading: Come prepared to read a selection from one of your favorite books or fairytales (you may bring it from home). This helps us hear vocal color, projection, articulation, and storytelling with material that is familiar and helps young performers feel confident.
- Music: Performers will be taught a music selection in large groups and will be asked to sing as a group only.
- Theatre Games: Theatre games may be played in small groups to see imaginative thinking, creative movement, and how performers work as part of a team.
Book by Craig Sodaro · Music by Eric Rockwell · Lyrics by Joanne Bogart
Presented by arrangement with Pioneer Drama Service, Inc.
Plot Summary
Soar away to Neverland in this magical musical adaptation of the beloved novel, featuring fresh, original music!
The Darling children love hearing about Peter Pan’s adventures when he visits through the open window of their nursery. Then one night — after Nana has taken Peter’s shadow and Wendy has sewn it back on — Peter Pan and Tinker Bell whisk the children away to Neverland to join in the adventure. All the favorite characters are there, including Captain Hook and his pirate crew, Princess Tiger Lily and her tribe, and of course, the Lost Boys and Girls!
The rousing and lovely score by the award-winning team of Eric Rockwell and Joanne Bogart includes “The Boy Who Never Grew Up,” “Fly Me to Neverland,” “Follow the Leader,” and “Home Sweet Home.”
Production Staff
| Director | Nina White |
| Music Director | Hunter Hepler |
Available Roles
All roles are open. Roles are open to performers of all races, genders, and body types.
All the characters you know and love are waiting in Neverland! Peter Pan, Wendy, and the Darling children; the mischievous Tinker Bell; the dastardly Captain Hook and his pirate crew; Princess Tiger Lily and her tribe; faithful Nana; and of course, the Lost Boys and Girls.
With a cast full of pirates, Lost Boys and Girls, and Neverland adventurers, there’s a place in this story for every young performer.
The Community Theatre League is holding open auditions for…
Chicken & Biscuits
Limited Engagement Series · Open Call Audition · Non-Equity · Non-Paid
Important Dates
Auditions — Actors Ages 15 and Up
Sunday, November 29, 2026 | 7:00 PM or Monday, November 30, 2026 | 7:00 PM
Callbacks
TBA
Performance Dates
February 26 & 27, 2027
Friday, February 26 at 7:30 PM
Saturday, February 27 at 7:30 PM
Rehearsal Schedule
TBA
Location
Community Theatre League
100 West Third Street
Williamsport, PA 17701
What to Prepare
Nothing! Auditions will consist of cold readings.
- What is a cold reading? You’ll be handed “sides” — short scenes from the script — at the audition and asked to read them aloud, usually with other actors. There’s nothing to memorize and no monologue to prepare. Take a few minutes to look over the scene, then read it as naturally as you can. We’re looking at how you listen, make choices, and connect with your scene partners — not perfection.
Written by Douglas Lyons
Presented by arrangement with Concord Theatricals.
Plot Summary
A laugh-out-loud family comedy where grief, faith, and family secrets collide.
When the Jenkins family gathers to celebrate the life of their beloved patriarch, they expect a heartfelt homegoing service filled with love, memories, and tradition. What they don’t expect is for decades of family drama, hidden secrets, and long-simmering tensions to come bubbling to the surface before the funeral is even over.
As personalities clash and generations collide, Chicken & Biscuits serves up a hilarious and heartfelt reminder that no family is perfect — but love, forgiveness, and a little grace can go a long way. Brimming with razor-sharp comedy, unforgettable characters, and touching moments of reconciliation, this contemporary hit has become a favorite with audiences across the country.
Warm, witty, and wonderfully relatable, Chicken & Biscuits is a celebration of family in all its beautiful, messy complexity. Whether you’re laughing at the familiar family dynamics or moved by its heartfelt message, you’ll leave the theatre smiling.
Production Staff
| Director | Monica Prince |
Available Roles
Chicken & Biscuits works when eight vibrant personalities collectively create a family unit before our very eyes. The play lands best when the audience can feel the love that was created in the rehearsal room, so have fun! All gender identities should always be considered to be a part of the family.
Baneatta Mabry
Late 40s to Mid 50s · African American
An upstanding and stern Christian woman. Mother to Kenny and Simone, and wife to Reginald. She’s overbearingly full of love, but quite uptight and stubborn in her religious ways.
Reginald Mabry
50s · African American
Baneatta’s faithful husband and the new pastor of their home church. He’s the peacemaker of the family. Reginald is a ball of love with a side of corny dad jokes.
Kenny Mabry
Mid to Late 20s · African American
Baneatta and Reginald’s youngest child. He’s proudly queer, but cowers in the presence of his mother. Kenny bites when he needs to, but at the end of the day he just wants to be loved.
Logan Leibowitz
Mid to Late 20s · White
Kenny’s neurotic and dramatic Jewish boyfriend of four years. He often spins himself into a tizzy, but always wants to be there for Kenny. Logan’s weed pen is his crutch for tough times.
Beverly Jenkins
Early 40s to 50s · African American
Baneatta’s younger sister. The “fun aunt” who’s always in a push-up bra. But don’t mistake her vibrance for incompetence. She’s a savage, “classy,” not so boujee, but definitely ratchet when necessary.
La’Trice Franklin
15 · African American
Beverly’s daughter. She’s nosy, loud, and in everyone’s business but her own. When not on her phone, she shows love — but in her own Gen Z way. Sarcasm is her love language.
Simone Mabry
30s · African American
Kenny’s older sister and Baneatta’s favorite. She followed the “right path.” Though pulled, she can be shady. While fierce on the exterior, Simone is internally wounded from a recent failed engagement.
Brianna Jenkins
Early 40s to 50s · African American
Baneatta and Beverly’s half sister through an affair. She didn’t know her father, but has come to his funeral to gather more details on him. She’s sweet, vulnerable, and collected.
The Community Theatre League is holding open auditions for…
Baskerville
A Sherlock Holmes Mystery
50th Mainstage Season · Open Call Audition · Non-Equity · Non-Paid
Important Dates
Auditions — Actors Ages 18 and Up
Sunday, December 13, 2026 | 7:00 PM or Monday, December 14, 2026 | 7:00 PM
Callbacks
TBA
Performance Dates
February 4–7, 2027
Thursday, February 4 at 7:30 PM
Friday, February 5 at 7:30 PM
Saturday, February 6 at 7:30 PM
Sunday, February 7 at 2:00 PM
Rehearsal Schedule
TBD
Location
Community Theatre League
100 West Third Street
Williamsport, PA 17701
What to Prepare
The only thing to prepare: 2–3 detective one-liners. They can come from existing works or be your own originals. Auditions will mainly consist of cold readings, cold monologues, and some play.
- Detective One-Liners: Need some inspiration? Here are a few from one of our director’s favorite detectives, Lennie Briscoe (Law & Order):
“Love — a dangerous disease instantly cured by marriage.”
(while handcuffing a suspect) “You’ve heard of the Seven Rings of Saturn? These are the Two Rings of Riker’s.”
(a package delivery driver has been murdered) “When you absolutely, positively have to kill someone overnight.” - What is a cold reading? You’ll be handed “sides” — short scenes or monologues from the script — at the audition and asked to read them aloud, sometimes with other actors. There’s nothing to memorize. Take a few minutes to look over the material, then read it as naturally as you can. We’re looking at how you listen, make choices, and play — not perfection.
By Ken Ludwig · Based on The Hound of the Baskervilles by Sir Arthur Conan Doyle
Presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc.
Plot Summary
The legendary detective returns in a wildly theatrical whodunit that’s equal parts mystery and comedy!
When Sir Charles Baskerville is found dead under mysterious circumstances on the haunted moors of Devonshire, the great Sherlock Holmes and his faithful companion, Dr. Watson, are called upon to investigate. As strange clues mount, suspicious characters emerge, and an ancient family curse looms over the Baskerville estate, Holmes must separate fact from fiction before another life is claimed.
Based on Sir Arthur Conan Doyle’s classic The Hound of the Baskervilles, this fast-paced adaptation transforms one of literature’s greatest mysteries into a laugh-out-loud theatrical adventure. Featuring just five actors portraying more than forty unforgettable characters, Baskerville: A Sherlock Holmes Mystery is a dazzling display of quick changes, clever staging, and razor-sharp wit.
Whether you’re a lifelong Holmes enthusiast or discovering the world’s greatest detective for the first time, this inventive comedy-thriller will keep you guessing — and laughing — until the very end.
Production Staff
| Director | Tara Deljanovan |
Available Roles
Five actors portray more than forty characters — two actors play Holmes and Watson, while the rest of the cast plays everyone else. All roles are open to performers of all ethnicities.
Sherlock Holmes
Highly intelligent, confident, quick-witted, and obsessive. Lives to solve mysteries and discover the truth. Thinks very highly of his close friend Watson.
Dr. John Watson
Smart, grounded, and full of heart. Doctor Watson is full of wonder. He lives to have adventures and assist his close friend Holmes.
Actor One
Must show great versatility both physically and vocally. Plays multiple roles, including Stapleton (seemingly geeky butterfly lover persona conceals the psychopath within), Barrymore (mournful caretaker of Baskerville Hall), Milker (scrappy Dickensian urchin boy), and Dr. Mortimer (elegant, friendly, passionate).
Actor Two
Must show great versatility both physically and vocally. Plays multiple roles, including Sir Hugo Baskerville (brutal, cruel Cavalier), Wilson (exuberant, hearty head of the messenger office), Sir Henry Baskerville (Texan relation to the Baskervilles; open-hearted, earnest, ready for adventure and to fall in love), and Inspector Lestrade (cocky police inspector).
Actress One
Must show great versatility both physically and vocally. Plays multiple roles, including Miss Stapleton (Stapleton’s initially secretive, scared “sister” who falls passionately in love with Sir Henry), Mrs. Barrymore (severe, humorless Swedish caretaker of Baskerville Hall), and Mrs. Hudson (older, maternal housekeeper for Holmes).
The Community Theatre League is holding open auditions for…
Disney’s Frozen
Open Call Audition · Non-Equity · Non-Paid
Important Dates
Auditions — ACTORS Ages 8–16
Sunday, January 3, 2027 | 5:00–7:00 PM
Auditions — aCTORS Ages 17 and Up
Sunday, January 3, 2027 | 7:00 PM or Monday, January 4, 2027 | 7:00 PM
Callbacks
January 6, 2027 at 6:00 PM — By invitation only. Not all roles will be called back.
Performance Dates
March 12 & 13, 2027 (3 performances over 2 days)
Friday, March 12 at 7:30 PM
Saturday, March 13 at 2:00 PM & 7:30 PM
Rehearsal Schedule
January 10–March 8 at the Community Theatre League
6:00–9:00/9:30 PM Mondays–Thursdays (not everyone will be called/needed every night)
10:00 AM–1:00 PM some Saturdays
Tech Week: March 9–11 at the Journey Bank Community Arts Center
6:00 PM call time for Tech Week
Please note: the rehearsal end time is highly approximate. There will be no specified end time during tech week. We will be very respectful of everyone’s time.
Location
Community Theatre League
100 West Third Street
Williamsport, PA 17701
What to Prepare
- Dance/Movement: Dress comfortably and be ready to move, with appropriate footwear (closed-toed shoes, character shoes if applicable) for a short choreography sequence audition.
- Music: Please prepare up to 32 bars of a song from the show. Find a track online, or feel free to use this reference playlist. You may bring sheet music in your key; an accompanist will be provided.
- Reading: Some may be asked to stay and read excerpts from the script.
Music & Lyrics by Kristen Anderson-Lopez & Robert Lopez · Book by Jennifer Lee
Presented by arrangement with Music Theatre International.
Plot Summary
For the first time in forever, experience the musical phenomenon that has taken the world by storm! Based on the Academy Award–winning animated feature film, Disney’s Frozen includes all the film’s beloved songs by Kristen Anderson-Lopez and Robert Lopez, along with new music written exclusively for the stage.
In the beautiful mountainous kingdom of Arendelle, Princesses Anna and Elsa grow up sheltered inside their castle, isolated from the world and increasingly distant from each other. When Elsa is crowned queen, the magical powers she’s desperately tried to conceal from her sister take control, and she flees into the mountains. As a ferocious winter descends on Arendelle, Anna sets off on an epic journey to find Elsa and bring her home — with the help of hardworking ice harvester Kristoff, his loyal reindeer Sven, and a happy-go-lucky snowman named Olaf.
Full of magic, humor, and a stunning musical score, Frozen is a powerful tale of sisterhood, acceptance, and the true meaning of love.
Production Staff
| Director | Seth Sponhouse |
| Music Director | Marisa Sorrentino Hickey |
| Choreographer | Kat Shondeck |
| Assistant Director | TBA |
| Assistant Choreographer | Erin Mowrey |
| Costume Designer | Missy Black |
| Stage Manager | Sara Jones |
Available Roles
Roles are open to performers of all races, genders, and body types.
Elsa
Female · Vocal Range E3–Eb5
Future Queen of Arendelle and Anna’s older sister, born with magical powers, isolates herself from others out of fear.
Anna
Female · Vocal Range G3–E5
Princess of Arendelle and Elsa’s younger sister; an eternal optimist who longs to be loved and to connect with other people.
Kristoff
Male · Vocal Range A2–Bb4
Hardworking ice harvester with a prickly exterior that hides a big heart.
Hans
Male · Vocal Range A2–A4
Prince of the Southern Isles and youngest of thirteen brothers; charming and ambitious.
Olaf
Any · Vocal Range (Alto Key) E3–Eb5 or (Tenor Key) B2–Bb4
Magical snowman with a childlike innocence.
Sven
Male · Vocal Range A3–Bb4
Kristoff’s fiercely loyal reindeer best friend.
Oaken
Male · Vocal Range A2–Bb4
Amiable salesperson and relentless advocate of hygge; cheerful and jolly.
Weselton
Male · Vocal Range A3–A4
Duke from a neighboring kingdom; chauvinistic, impolite, and judgmental.
Young Anna
Female · Vocal Range Bb3–E5
Younger princess of Arendelle with youthful exuberance; fun-loving troublemaker; mesmerized by her sister’s magic.
Young Elsa
Female · Vocal Range A3–E5
Elder princess of Arendelle with magical powers; obedient daughter; protective sister.
Queen Iduna
Female · Vocal Range F3–E5
Queen of Arendelle and child of the Northuldra; strong and compassionate mother.
King Agnarr
Male · Vocal Range B2–C3
King of Arendelle; warm-hearted and protective father.
Pabbie
Male · Vocal Range Ab2–Gb4
Mystical shaman and patriarch of the Hidden Folk; Kristoff’s wise adoptive father.
Bulda
Female · Vocal Range Bb3–D5
Spiritual matriarch of the Hidden Folk; Kristoff’s nurturing and vibrant adoptive mother.
Ensemble
All Ages and Genders
Includes the following roles: Townspeople, Staff, Guards, Hidden Folk, Oaken’s Family and Friends, Volunteers, Bishop, Handmaiden, Lackeys, and Hidden Folk Child.
The Community Theatre League is holding open auditions for…
Annie
Open Call Audition · Non-Equity · Non-Paid
Important Dates
Auditions — Actors Ages 6–16
Sunday, October 18 | 5:00–7:00 PM or Monday, October 19 | 5:00–7:00 PM
Auditions — Actors 17 and Up
Sunday, October 18 | 7:00 PM or Monday, October 19 | 7:00 PM
Callbacks
October 21, 2026 — By invitation only. Not all roles will be called back.
Performance Dates
December 11–13 and 16–20, 2026
December 11, 12, 16, 17, 18 & 19 at 7:30 PM
December 13, 19 & 20 at 2:00 PM
Please note: December 16 at 7:30 PM and December 19 at 2:00 PM are private performances.
Location
Community Theatre League
100 West Third Street
Williamsport, PA 17701
What to Prepare
- Dance/Movement: Dress comfortably and be ready to move, with appropriate footwear (closed-toed shoes, character shoes if applicable) for a short choreography sequence audition.
- Reading: Some may be asked to stay and read excerpts from the script. (Children may not be asked to read and if they are it will be for call backs and they will have plenty of time at home to work with the lines with a parent or guardian.)
- CHILDREN Music: Please prepare up to 1 minute of any song you are confident singing. Bring your own track (via a youtube track that you will be able to send the link to the production staff when you arrive) or sing a cappella (without a track).
- ADULT Music: Please prepare up to 1 minute in the style of the show for your singing audition. Bring your own track. No a cappella auditions.
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.
Plot Summary
Based on the popular comic strip by Harold Gray, Annie has become a worldwide phenomenon and was the winner of seven Tony Awards, including Best Musical. The beloved book and score by Tony Award winners Thomas Meehan, Charles Strouse, and Martin Charnin feature some of the greatest musical theatre hits ever written, including “Tomorrow.”
With equal measures of pluck and positivity, little orphan Annie charms everyone’s hearts despite a next-to-nothing start in 1930s New York City. She is determined to find the parents who abandoned her years ago on the doorstep of a New York City orphanage run by the cruel, embittered Miss Hannigan. With the help of the other girls in the orphanage, Annie escapes to the wondrous world of NYC. In adventure after fun-filled adventure, Annie foils Miss Hannigan’s evil machinations… and even befriends President Franklin Delano Roosevelt! She finds a new home and family in billionaire Oliver Warbucks, his personal secretary Grace Farrell, and a lovable mutt named Sandy.
Production Staff
| Director | Kim Fulmer |
| Music Director | Lonnie Bickel |
| Choreographer | Aimee Hunsinger |
| Costume Designer | Caroline Cipriani |
| Stage Manager | Allison Panczyszyn |
Available Roles
Youth Roles (Includes Annie and Orphans)
Annie
Female · Any Ethnicity · Age 10–12
A tough, streetwise urchin who is nevertheless vulnerable when she thinks she might lose what has become most important to her: a newfound “family” who loves her. Although she is at times aggressive or crafty, the audience should never doubt Annie is a friendly and caring child; she will go to any extent to gain the love of a family to which she can belong. A truly confident, charming actress with strong vocals who can move well.
Vocal Range: A3–G5 (Mezzo-Soprano)
Orphans
Female · Any Ethnicity · Ages 8–15 to play ages 6–13
These girls are gritty, neglected, and vulnerable, yet honest and lovable. The actresses portraying these roles must be able to have mischievous fun with each other as well as “sibling-style” fights. Confident actresses who are visually expressive, vocally strong, and good movers will be considered for these roles. Tap/jazz training is a plus. There are 6 named orphans (plus Annie), and we are considering casting a small orphan ensemble, with a final decision coming after callbacks.
Named Orphans, Youngest to Oldest
- Molly — Youngest orphan. Best friends with Annie.
- Kate — Shyest orphan, friends with everyone.
- Tessie — Most emotional — cries or laughs easily.
- Pepper — Tough and bossy. Clashes with Annie.
- July — Quietest orphan, goes along with the crowd.
- Duffy — Tallest and most mature of the orphans.
Adult Roles
Oliver Warbucks
Male · Any Ethnicity · Age 35–55
A billionaire businessman, self-assured and confident. He is a stereotypical “rich man” who is used to the deference of others, issuing orders and expecting them to be fulfilled with the drop of a hat. He is powerful and decisive, as befits his status, yet beneath his gruff exterior lies an unexpected capacity for warmth. It takes the irrepressible optimism of one small orphan girl to remind this self-made titan that the most important things in life are the ones his fortune cannot buy. Strong singer/actor who can move well.
Vocal Range: B3–Gb5 (Baritone)
Grace Farrell
Female · Any Ethnicity · Age 22–35
Grace is a loyal, private secretary to Oliver Warbucks — mature, calm, cool, and “together.” She is classy and businesslike when dealing with Miss Hannigan and Warbucks, yet maternal toward Annie. Grace should seem ready with an answer for just about anything. Each dramatic situation should seem to come “under control” the moment she glides into a scene. A warm, confident actress with strong vocals. Ballet training is preferred but not required.
Vocal Range: Bb3–G5 (Soprano)
Miss Agatha Hannigan
Female · Any Ethnicity · Age 30–45
The orphanage matron is definitely a “has-been.” Her distaste for her job and the children that are part of it should be obvious in every line she speaks, every song she sings, and every move she makes. She utterly hates children, but is fond of liquor. Very disillusioned, bitter, and cold but quick-witted. Excellent comedic timing and strong vocals are integral to the role.
Vocal Range: A3–F5 (Alto)
Daniel Francis “Rooster” Hannigan
Male · Any Ethnicity · Age 25–35
Miss Hannigan’s no-good brother — flashy, slick, and always angling for a quick buck. He carries himself with the easy confidence of a born con man, and every move he makes should feel like a gambler laying down a winning hand. He and Lily are two of a kind, a double act who feed off each other’s energy at every turn. The role calls for a charismatic performer with a natural swagger, confident vocals, and the smooth physicality to match. Dance training is a plus.
Vocal Range: B3–G5 (Tenor)
Lily St. Regis
Female · Any Ethnicity · Age 20–35
Rooster’s materialistic girlfriend and willing accomplice, Lily is perpetually distracted and reliably last to catch on — unless money enters the conversation, at which point she snaps to attention with impressive speed. She is never the one leading the charge, more often found bringing up the rear and tripping over her own feet. A natural comedic foil to Rooster’s slick confidence, the role calls for a performer with a flair for physical comedy and the charm to match. Dance training is a plus.
Vocal Range: B3–G5 (Soprano)
Featured Ensemble (8–12 actors, ages 16+)
A high-energy cast of singers, actors, and movers to play the following characters. Dance training is a plus but not required.
Mansion Staff
Any Ethnicity · Age 20–60
From the moment these characters enter the acting area, their presence, posture, and speech should suggest the most fastidious of domestic help. Their heads are always held high and they rarely show their emotions. Played by creative performers who can create charming, individual characters.
- Drake — The English butler.
- Mrs. Greer — The head housekeeper.
- Mrs. Pugh — The cook.
- Cecille & Annette — French maids.
President Roosevelt
Male · Caucasian · Age 40–60
The 32nd President of the United States. A Democrat and friend of Warbucks.
Vocal Range: Eb3–F4 (Baritone)
Bert Healy
Male · Any Ethnicity · Age 30–45
The ultimate radio personality. Head of the Oxydent Hour of Smiles radio show, he helps Annie by broadcasting about the search for her birth parents. A strong, solo-quality singer capable of a vaudeville-style delivery.
Vocal Range: E4–G5 (Tenor)
Boylan Sisters: Ronnie, Connie, and Bonnie
Female · Any Ethnicity · Age 20–30
The enchanting backing group at the Oxydent Hour of Smiles who aid Bert Healy in singing “You’re Never Fully Dressed Without a Smile.”
Vocal Range: A3–Gb5 (Soprano)
Additional Ensemble Roles
- Star-To-Be — Hopeful and confident actress just arrived in New York City. Iconic solo in “N.Y.C.” Tap dance training preferred.
- Mr. Bundles — A laundry man.
- Lt. Ward & Policeman — Callous policemen.
- Dog Catcher & Assistant — New York City dog catchers.
- Jimmy Johnson — “Radio’s Only Masked Announcer”; guest on the Oxydent Hour of Smiles.
- Fred McCracken — Ventriloquist guest on the Oxydent Hour of Smiles.
- Roosevelt’s Cabinet — Brash advisors to the president.
- Justice Louis Brandeis — U.S. Supreme Court Justice; called on to aid in Annie’s adoption.
- Apple Seller — Fruit seller trying to make it through the day.
- Eddie & Sophie — Residents of the Hooverville shanty Annie runs off to. Kind but embittered.
Other ensemble characters include NYC residents, Hooverville residents, and mansion servants.
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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!