Theatre Auditions and Casting

We’re Okay, We’re Okay, We’re all Gonna be Okay
Written by Gina Femia
Directed by Alexa Scott-Flaherty
Dramaturg Ali Maselek 

The exciting collaboration with Farm Theatre NYC continues with a premiere production of a new play by Gina Femia. This comes right on the heels of Farm Theatre alum Kimberly Belflower having a premiere of her play, John Proctor is the Villain, on Broadway and receiving several Tony nominations. This cast will work directly with the playwright, who will attend some of our rehearsals. We’re Okay, We’re Okay, We’re all Gonna be Okay follows a group of four non-theater students at a college as they attempt to produce a two-person version of Hamlet. In the process they wind up addressing their own feelings around grief, mental illness, and ghosts. 

REHEARSALS: January 12, 2026 - February 7, 2026, 6:30-10:00 pm Mon, Wed, Thursday & 11am-4pm range Saturday
TECH: February 7-13, 2026
SHOW: February 14 -15, 2026
Please note: this rehearsal period is very short and attendance and line memorization is incredibly important. Please note: you cannot miss any tech rehearsals. 

CASTING NOTE: This production is open to all students at RIT of any size, race, and ethnicity. Although the gender of the characters cannot be altered, auditions and casting are open to all students, staff, and faculty regardless of gender identity.

CHARACTER BREAKDOWN: 
Lana – (22, she/her) Very driven, her energy is always forward, courageous even when she doesn’t think she is. 
Zeus – (21, he/him) A (former?) football player, he’s found himself back home and is trying to find himself, too.
Chris – (22, she/her) An actress at the beginning of her career, has a deep well inside of her.  
Aster – (21, he/him) A somewhat high-strung pre-med student. 

CONTENT DISCLOSURE: The characters in this play are grappling with their own mental health, and the mental health of people close to them. The play touches on topics such as suicide, the loss of a parent from a car accident, depression, and the possibility of supernatural occurrences. Zeus and Aster will share a kiss supported by an intimacy director.  If you have questions, please email Alexa Scott-Flaherty.

The Nether 
Written by Jennifer Haley
Directed by Andy Head

ASL Audition Video

Set in the not-too-distant-future, The Nether envisions a world where humans spend most of their waking hours immersed in a virtual, metaverse-like existence. Blade Runner meets Westworld meets Ready Player One. In the Nether’s darkest corners, illicit activities unfold, but if it’s just code, do any real-world consequences apply? This sci-fi thriller blurs the line between what’s virtual and what’s real, and poses questions without easy answers. 

CONTENT DISCLOSURE: This show explores mature content, including discussions of child endangerment, sexual exploitation of minors, and suicide. No explicit depictions of these topics will be staged.

**Due to the content of the play, it is recommended that students interested in auditioning for The Nether reach out to Andy (awhgla@rit.edu) to obtain a reading copy of the script prior to auditions.**

REHEARSALS: January 16, 2026 - March 21, 2026, 6:30-9:30pm MWF / 11am-4pm Sa
TECH: March 22 - 25, 2026
SHOW: March 26 - 29, 2026
Please note: you cannot miss any tech rehearsals.  

CASTING NOTE: This production is open to all students at RIT of any size, race, and ethnicity. Although the gender of the characters cannot be altered, auditions and casting are open to all students, staff, and faculty regardless of gender identity.

This production will utilize a combination of Deaf, hard of hearing, and hearing actors working together to create characters, and plans to double cast each role.

CHARACTER BREAKDOWN: 
Morris - (20s-30s) female-identifying character, a young detective. Sharp, relentless. A bone to pick. An axe to grind. Willing to risk a lot to take down the parts of the Nether she sees as perverse and immoral. Perhaps goes too far? *This character directly and indirectly references sexual exploitation of minors and plays an avatar who engages in sexual exploitation of a minor.* 

Sims/Papa - (40s-60s) male-identifying character, a businessman and maker of The Hideaway. Charming, brilliant. His dark desires have driven him to create a safe place where people can “live outside of consequence.” But also, a place he can control. *This character directly references and engages in sexual exploitation of minors.*

Doyle - (65) male-identifying character, a science teacher near retirement, ready to leave his in-world life for an existence in the Nether. Weary, lonely. Seeks love, belonging, and a new identity in a virtual world. *This character plays an avatar who is the victim of sexual exploitation.*

Woodnut - (20s) male-identifying character, a new guest at The Hideaway with a lot of questions. Curious, cautious. Searching for answers, searching for the truth, easily distracted by the allure of it all. Trying not to get sucked in. *This character engages in sexual exploitation of a minor.*

Iris - (9) female-identifying character, a long-standing member of the community within the Hideaway. Inviting, disarming. Tries to help guests “discover who they might be.” The likeness of a real girl who now exists only in this place. Papa’s favorite. *This character is the victim of sexual exploitation.*

If you have questions, please email Andy Head.

Till There Was You
Written by various composers and playwrights
Directed and choreographed by Christopher Ryan

Till There Was You will be an evening of song, dance, acting, and instrumental music, celebrating the disciplines housed in the School of Performing Arts and will come together around the theme of longing and romance.  There will be opportunities for folks to be involved in one or multiple numbers that make up the evening of performance, as we inaugurate this beautiful new theatre on campus.

Students interested in any of the dance roles should sign-up for both a theatre audition slot and a dance audition slot. 

REHEARSALS: January 19, 2026 - April 4, 2026 Mondays, Wednesdays, and Fridays from 6-10 PM, and some Saturdays scheduled during the 10 AM - 2 PM window. 
NOTE: not everyone will be called to each rehearsal, as we will work scene by scene. Only once we begin running the show from top to bottom (around March 23, 2026), will everyone will be needed for each rehearsal. 
TECH: April 6-9, 2026
SHOW: April 10, 2026
Please note: performers must attend all tech rehearsals. 

CASTING NOTE: This production is open to all students at RIT of any size, race, and ethnicity. Although the gender of the characters cannot generally be altered beyond what is listed below, auditions and casting are open to all students, staff, and faculty regardless of gender identity.  

Deaf, hard of hearing, and hearing actors are invited to audition for any of the below roles.

Note: while each of these roles may be cast with a different performer, there is the possibility that more than one of the below roles will be played by a single performer.

CHARACTER BREAKDOWN: 

Till There Was You
from the musical The Music Man by Meredith Wilson. 

• Marian (female presenting soprano singer) Marian is a librarian who many folks in her town have ridiculed.  She has long been single, but she has finally met someone in Harold who may tempt her to reconsider her choice.
• Harold (male presenting baritone singer) Harold is a con-person who has made his living traveling around and conning small town folks out of their cash, but has now met someone in Marian who may motivate him to leave his con-person ways. 

As Long As You’re Mine
from the musical Wicked, by Steven Schwartz

• Dancer Elphaba (any gender lyrical dancer) will dance the role of Elphaba in this lyrical dance piece.  This dancer will partner with Dancer Fiyro in partnering, including lifts.
• Dancer Fiyro (any gender lyrical dancer) will dance the role of Fiyro in this lyrical dance piece.  This dancer will partner with Dancer Elphaba in partnering, including lifts.

Pitter Patter
from Much Ado About Nothing Act 2, Scene 3. This is a call and response spoken word and tap dance piece with no music. The Shakespeare text is interposed with a cappella rhythm tap dance in the form of a dance chorus.

• Benedick (any gender) has long railed against love, but, due to the meddling of others, is considering whether Beatrice might change this long-held stance.
• Beatrice (any gender) has equally long railed against love, but is, likewise, due to the meddling of others, considering whether Benedick might change this long-held stance.
• 3-5 Tap Dancers (any gender) These dancers will dance in response to the spoken Shakespearean text.  While tappers of any experience level will be considered, the nature of this piece necessitates that the dancers often dance in unison without any musical accompaniment (relying on breath to inform timing) so more advanced tap dancers will be prioritized.

Lida Rose/Will I Ever Tell You
overlapping solo and barbershop quartet from the musical The Music Man by Meredith Wilson. 

• Marian (female presenting soprano singer) These songs happen just prior to the previous Music Man song in our show, and mark an earlier consideration of the feelings Marian is having regarding Harold.
• Jacey (male presenting countertenor singer) is one of four leaders of the community who, through the course of the play, attempt to pin Harold down on his qualifications.  Harold distracts them by refocusing them on their mutual interest in a cappella music which we see being lived out in this number.
• Ewart (male presenting tenor singer) is one of four leaders of the community who, through the course of the play, attempt to pin Harold down on his qualifications.  Harold distracts them by refocusing them on their mutual interest in a cappella music which we see being lived out in this number.
• Oliver (male presenting baritone singer) is one of four leaders of the community who, through the course of the play, attempt to pin Harold down on his qualifications.  Harold distracts them by refocusing them on their mutual interest in a cappella music which we see being lived out in this number.
• Olin (male presenting bass singer) is one of four leaders of the community who, through the course of the play, attempt to pin Harold down on his qualifications.  Harold distracts them by refocusing them on their mutual interest in a cappella music which we see being lived out in this number.

“I DON’T SUPPOSE YOU REMEMBER ME AT ALL!”
scene from the play, The Glass Menagerie by Tennessee Williams.

• Jim (male presenting character) a former high school acquaintance of Laura’s.  He was quite popular in high school, both for his athletic as well as musical abilities.  Jim now works in a factory with Laura’s brother Tom, who has invited him to dinner at the request of Tom and Laura’s mother, as a potential suitor for Laura. Content disclosure: the two actors in this scene will share a kiss supported by an intimacy director.
• Laura (female presenting character) a former high school acquaintance of Jim’s.  Laura was a secret admirer of Jim’s when they were in high school together.  Laura is shy, and, due to a childhood illness, has been left with a limp. She has, to date, yet to find a job or even a job training program which she can stomach, and, instead, remains at home and spends time polishing, admiring, and conversing with her collection of glass animals (her glass menagerie). Content disclosure: the two actors in this scene will share a kiss supported by an intimacy director.

All the Wasted Time
from the musical Parade by Jason Robert Brown. 

• Leo (male presenting tenor singer) is married to Lucielle, and runs his own business. One of his young employees has been found murdered, and he has been accused, tried and found guilty despite his consistent denial of guilt.  Throughout the course of the show, we have seen the relationship of the spouses transition from a rather cold businesslike relationship to what we see in this song: a warm and loving relationship that laments the time they’ve wasted.
  Lucielle (female presenting mezzo-soprano singer) is married to Leo, and throughout the course of the show, we have seen the relationship of the spouses transition from a rather cold businesslike relationship to what we see in this song: a warm and loving relationship that laments the time they’ve wasted.

Can You Feel The Love Tonight
from the musical The Lion King, by Elton John and Tim Rice.

• Choir (all genders) This song will be presented with a choir of singers made up of soloist singers from other numbers as well as ensemble singers not cast as soloists.

One Second and a Million Miles
from the musical Bridges of Madison County, by Jason Robert Brown.

• Francesca (female presenting mezzo-soprano singer) is an Italian-born woman who married a US soldier and moved to rural Iowa. Francesca’s husband and two children have gone to the fair, and she has remained at home.  She meets Robert when he comes to the area that weekend, needing a guide to show him around the covered bridges of the area.  The two of them spend the entire weekend together, and we see, in this song, Francesca’s decision whether to leave her life and run away with Robert or to stay and hold this time as a memory only.
• Robert (male presenting tenor singer) is an American photographer capturing covered bridges. He meets Francesca, who shows him around the covered bridges of Madison county. The two of them spend the entire weekend together, and we see, in this song, Robert’s request that Francesca leave her life behind and run away with him.
• Dancer Francesca (female presenting lyrical dancer) While the singers are stationary for much of this song, the dancers will dance the story on stage in lyrical choreography.  Dancer Francesca should be prepared for partnering work, including lifts with Dancer Robert.
• Dancer Robert (male presenting lyrical dancer) While the singers are stationary for much of this song, the dancers will dance the story on stage in lyrical choreography.  Dancer Robert should be prepared for partnering work, including lifts with Dancer Francesca.

Seasons of Love
from the musical RENT by Jonathan Larson.

• Choir with featured soloists (all genders) This song will be presented with a choir of all the singers who have been a part of the concert. There are also two featured vocalist tracks, a tenor and a mezzo-soprano belter.

CONTENT DISCLOSURE:
In the scene from The Glass Menagerie, the two characters will share a kiss supported by an intimacy director.  There will be physical connection (weight sharing and weight bearing) in the dance duets seen in As Long as You’re Mine, and One Second and a Million Miles. 

If you have questions, please email Christopher Ryan.

Thank you for your interest in joining our wardrobe crew for our production of The 39 Steps this semester. 

Below is a link to our wardrobe calendar - the dates are definite, but the times may be adjusted.  Further down you can find a description of what to expect from wardrobe crew. Let me know if you have any questions. 

Costumes / Props / Wardrobe Crew Calendar

Wardrobe crew will need to be available and present for:
- the Crew View
- each tech rehearsal 
- each show time and day

Specific dates and call times can be found on the Production’s Wardrobe Crew Calendar

Crew View Details: 
-Our first in-person introduction to wardrobe crew team members, performers, designers, and the production team. 
- Our only opportunity to watch the show as audience members instead of backstage
- First day of introductory wardrobe crew training - some crew members may have received training prior to this, depending on their role and number of credits. 

Excused absence letters for courses can be provided if requested: 
-Please give your tech supervisor ample notice and time for this 
-It is preferred that Wardrobe Crew be present for all of Tech week and show days and communicate any conflicts well in advance

Wardrobe Crew members often contribute an average of 55 to 60 work hours between the crew view, tech rehearsals, show days, and the post mortem meeting. 

Each member is offered up to three course credits in compensation for their work. 
- An add/drop form is required for practicum enrollment and must be signed by the student, the tech supervisor, and the dean of your academic program as these are often worked on after the add/drop date. 
- Students already enrolled in 18 course credits are encouraged to substitute the practicum course for an 098 or zero credit course. 
- This ensures their contributions are noted on their transcript while avoiding additional tuition charges and fees. 

Once the entire Wardrobe Crew is finalized and enrolled in practicum, each member will sign up for shift times using the Wardrobe Crew Shift Sign Up Sheet. 
- Any gaps in the schedule may be filled by new wardrobe crew additions or student employees.

Wardrobe Crew Tasks: 

Prep: Called at least one hour prior to the performers 
Responsible for: 
- Checking in costume elements using performer dressing lists
- Setting up dressing rooms and makeup tables
- Steaming and/or ironing costume pieces
- Supporting performers with costumes, hair, and makeup
- Reporting any wardrobe or performer  issues to the costume designer and / or costume manager

Show:
Responsible for: 
- Supporting costume quick changes and setup
- Supporting actors with costume, hair, and makeup changes in dressing rooms
- Ensuring dressing room and backstage rules are followed by performers i.e. no food in costume 
- Reporting any wardrobe or performer issues to the costume designer and / or costume manager
- Conducting laundry prep, whenever possible

Laundry: 
- Supporting the health safety of performers and maintaining the quality of costume items with appropriate sanitization practices
- Collecting garments that need to be laundered
- Sorting laundry
- Machine laundry and / or hand washing 
- Machine drying and / or air drying 
- Sanitizing shoes and non-laundered costume elements with costume spray
- Steaming any non-laundered costume elements as needed
- Breaking down and cleaning the makeup table contents, makeup table, and dressing rooms.