Audition

PERSONNEL
Max Quinlan (Producing Artistic Director)

LOCATION

Greenville Theatre

444 College St

Greenville, SC 29601

AUDITION DATES

Saturday, February 1, 2025 10AM – 6PM

(Lunch break will be 1-2pm)

Saturday, February 8, 2025 11AM – 6PM

(Lunch break will be 1-2pm)

SEEKING

General auditions for the first half of Greenville Theatre’s 2025/26 Season 100. 

Seeking only non-union actors with local housing at this time. 

Only seeing actors 15 years of age and older at this time. 

(Younger performers will have a separate audition date and time in September of 2025 for White Christmas and Sunday in the Park with George.)

Please see individual breakdowns for roles, dates, and details for each production. Although the breakdowns list gender identity as indicated by the playwright(s), we welcome actors of all gender expression to present for the roles they most identify with.

Individual audition times will be sent to each actor by email request only. We will be accepting video audition submissions in addition to our in-person appointments. Video submission details and instructions will be provided separately by email request only

FIDDLER ON THE ROOF, STEEL MAGNOLIAS and our final show of Season 100 will have auditions in the summer of 2025 (TBD). Separate breakdowns will be provided for those auditions at a later date. 

SUBMISSION

Please email all audition submission requests to: casting@greenvilletheatre.org by Friday, January 31, 2025.

 Subject line: Greenville Theatre Audition, [Insert Your Name] 

Please submit a digital copy of your headshot. 

Please indicate the following in the body of your email:

–        If you are wanting an in-person audition time or video submission instructions

–        Preference of Audition Day and time

–        Any conflicts or time constraints on the audition day(s). We will do our best to accommodate your scheduling needs. 

PREPARATION

If you are auditioning for the musical(s), please prepare 2 brief contrasting songs (each song must be a 32 bar cut or 90 seconds in length) of your own choosing in the style of the show(s) you are interested in. If you are auditioning for the straight play(s), please prepare 1-2 (dramatic and comedic, if it applies) monologue(s) of your own choosing (2 minutes or less in length each). If you would like to be considered for both the musicals and the plays, please prepare 1 brief song and 1 brief monologue.  

Actors are allowed and welcome to sing songs from the shows listed or perform monologues from plays listed in our upcoming Season. 

 An accompanist will be provided. Please bring sheet music in your key for the audition. Please bring your audition book, or 2 alternative audition songs, in case the creative team(s) would like to hear additional material. BlueTooth speakers will be available for those who prefer to sing with a track. 

Please bring a hard copy of your headshot (picture) and resume, stapled together back to back.

CALLBACKS 

If you are called back for a specific production(s), you will be sent an email with detailed instructions by Wednesday, February 12, 2025. If you have not received an email from us by that date, you have not been given a callback for these specific shows. Callbacks for each production will be occurring on different dates and will be detailed in email communication.  

Please note that some roles may not need a callback process. 

DANCE/MOVER CALL (Invite Only)

Actors may be asked to attend Greenville Theatre’s Mover and/or Dance Call. These are invite only. The Mover/Tap Callback will be on Saturday, February 15, 2025, from 10am-11:15am in the style of White Christmas. An advanced Dance Call will be held from 11:30am-1:00pm in the style of A Chorus Line, invite only. 

There will be a lunch break from 1-2pm with specific A Chorus Line callbacks to follow from 2-6pm. 

DETAILS

Greenville Theatre is the oldest and largest professional producing non-profit theatre company in the Upstate. Now entering Season 100, our Mission is to inspire, educate, entertain, and connect our community through necessary art and storytelling. 

Greenville Theatre is an equal opportunity employer and encourages performers of all backgrounds, ethnicities, gender expressions, ages, and abilities to audition.

 As an organization, we are dedicated to a casting process that is nurturing and welcoming to all. Our goal is to create an audition space where individuals are seen, heard, respected, and appreciated. We can’t wait to see your work! 

 In order to participate in any production listed, actors must have minimal conflicts and be available for the 3 weeks leading to opening night, including all of: tech week, preview week, and every performance of the show. Our productions typically rehearse Monday-Friday 7pm-10:30pm, with Saturdays off, and Sunday rehearsals from 1pm-6pm. Our performance schedule runs Thursday-Sunday with 7:30pm evening shows, Saturday matinees at 2pm (when applicable), and Sunday matinees at 3pm. Actors are called 1 hour prior to showtime. 

Auditions, callbacks, and the casting process are not purely based on talent and ability. There are many factors that go into each casting decision for the different worlds we are creating. Auditions are an opportunity to showcase your work, who you are as an individual, and to see if you fit the creative teams’ vision for their specific play(s). If you have not been cast at Greenville Theatre in the past, we encourage you to audition again. If you have been cast at Greenville Theatre in the past, we look forward to seeing if you fit into these specific shows. If you have never auditioned at Greenville Theatre before, we invite you into our space to share your talents with us. 

RED

By: John Logan

Director: Max Quinlan

First Rehearsal on/about: Monday, August 4, 2025

Tech Week: Sunday, August 17 – Sunday, August 24, 2025

Previews: Monday, August 25 – Wednesday, August 27, 2025

Opening: Thursday, August 28, 2025

Closing: Sunday, August 31, 2025

Mark Rothko: Male identifying, late 40s-early 60s, any ethnicity. Rothko is a demanding, opinionated, passionate intellect and artist. We see this glimpse into his life and process while he is working on a commissioned piece for the Four Seasons Restaurant in New York during the 1950s. When his new intern arrives, we see 2 people at different ends of their career challenge one another on the topics of art, life, and what art means to the world. 

Ken: Male identifying, 20s-early 30s, any ethnicity. Ken is a young, hard-working, curious, intelligent, ambitious artist. He is Mark Rothko’s assistant on this painting and is an artist himself. He comes to do the job to learn and grow, but quickly finds himself working for a demanding artist who wants to challenge him and his beliefs about life, art, what it means to the artists, and what art is allowed to mean to the consumer. 

A Chorus Line

Music: Marvin Hamlisch 

Lyrics: Edward Kleban

Book: James Kirkwood Jr. & Nicholas Dante

Director: Max Quinlan

Choreographer: Erica Mansfield

Music Director: Chase McAbee

First Rehearsal on/about: Sunday, July 20, 2025

Tech: Monday, September 1 – Sunday, September 7, 2025

Previews: Monday, September 8 – Thursday, September 11, 2025

Opening: Friday, September 12, 2025

Closing: Sunday, September 28, 2025

*Note: This production is seeking to authentically cast and represent the stories of these artists. Characters with a specific ethnic make-up have been noted in the breakdown. Characters that do not have an ethnicity noted in the description are open to any ethnicity. When auditioning, please consider your own background and decide whether you identify with the role(s) you are interested in representing.  

 *All roles (unless noted in the breakdown) require advanced dancing, strong acting, and singing abilities. 

Cassie Ferguson: Female identifying, 30s-40s. A gifted, stand-out dancer with a reputation for having previously played featured roles in Broadway shows. Cassie has a romantic history with the director, Zach. A true triple threat, she sings and dances “The Music and the Mirror.”

Diana Morales: Female identifying, 20s-30s, Latinx/Hispanic/Latine. Determined and athletic dancer from the Bronx in New York. Funny, charming, and vulnerable. Sings “Nothing” and “What I Did For Love.” 

Val Clark: Female identifying, 20s. Excellent dancer who underwent surgery due to the unfair pressures of the industry. A direct, proud, attention-seeking woman from Vermont.  Sings “Dance 10, Looks 3”

Maggie Winslow: Female identifying, Late teens-20s. A dreamer and the “little sister” of the group. Maggie comes from a troubled home in California. Seeking a strong dancer with a warm voice, mix belt up to E natural for “At the Ballet.”

Sheila Bryant: Female identifying, 30s-40s. The oldest dancer on the line, she is confident, humorous, and sophisticated. Sings the low harmony in “At the Ballet.”

Bebe Benzenheimer: Female identifying, 20s. Covers up her irrational insecurity through attempted humor. Quiet and vulnerable. Sings the middle harmony in “At the Ballet.”

Connie Wong: Female identifying, 20s-early 30s, Asian/Asian American/Pacific Islander. The “mother hen” of the group, she is accomplished, married, and has a great sense of humor, and was born and raised in Chinatown, New York. Actor must be close to 4 ’10 in height to play this role. 

Kristine Ulrich: Female identifying, 20s. She can’t sing, but dances outrageously well. She is awkward, anxious, hilarious and is married to Al. She speak/sings the song “Sing,” but does sing in the ensemble numbers. 

Judy Turner: Female identifying, late 20s. Funny, gawky, nervous, and hopeful. Awkward, except when dancing. 

Zach: Male identifying, late 30s-40s. Charismatic, controlling, manipulative, calculating, and brilliant Broadway director/choreographer. He seems to be in complete control, even when facing his personal relationship with Cassie. Seeking great actor, singing not required. 

Paul San Marco: Male identifying, 20s, Latinx/Hispanic/Latine, LGBTQ+ identifying. Introverted and slightly insecure but loves to perform. From Spanish Harlem and is friends with Diana. Must deliver extremely vulnerable and open monologue about coming out to his parents. 

Mike Costa: Male identifying, 20s-30s. Determined, flirtatious, cocky, but likeable. He’s worked with the director Zach before and is from New Jersey. Must have special skills – should include tap and may include gymnastics. Sings “I Can Do That.”

Richie Walters: Male identifying, 20s-30s, African American/Black. Cool, enthusiastic, and very funny. Strong dancer with falsetto singing ability. Sings in “Montage, Part 4” (Gimme the ball).

Al Deluca: Male identifying, 30s. From a working-class background in the Bronx, New York. He is very strong, confident, and married to Kristine. Sings in “Sing.” 

Larry: Male identifying, 20s-30s. The director/choreographer’s long-time assistant. Helpful, bright, confident, and a superb dancer. 

Don Kerr: Male identifying, 20s-30s. Into cars, money, and women. He is married and very sure of himself, especially because he’s worked with Zach before. 

Mark Anthony: Male identifying, late teens-20s. Optimistic, naive, charming, and a great dancer. 

Gregory Gardener: Male identifying, 20s-30s. A sassy, droll, smart-aleck attitude from the East Side of New York. 

Ensemble: 20s-30s, any gender, any ethnicity (will cover principal tracks). Must be equally strong dancers and singers. Will be the cut dancers at the top of the show and come back for the ending. 

Clue: On Stage

Adapted from screen by: Sandy Rustin

Additional material by Hunter Foster and Eric Price

Director: TBA

First Rehearsal on/about: Sunday, September 14, 2025

Tech: Monday, October 6 – Sunday, October 12, 2025

Previews: Monday, October 13 – Thursday, October 16, 2025

Opening: Friday, October 17, 2025

Closing: Sunday, November 2, 2025

(There will be a performance on Halloween Friday, October 31st)

Wadesworth: Male identifying, 30s-50s, any ethnicity. A traditional British Butler in every way: uptight, formal, and “by the book.” He is the driving force in the play. 

Yvette: Female identifying, 20s-30s, any ethnicity. A loyal and sexy French maid. 

Miss Scarlet: Female identifying, Late 20s-30s, any ethnicity. A dry, sardonic D.C. madam, more interested in secrets than sex. 

Mrs. Peacock: Female identifying, 40s-60s, any ethnicity. The wealthy wife of a senator. Quite neurotic and quick to hysteria. 

Mrs. White: Female identifying, 50s-60s, any ethnicity. A morbid and tragic woman. Mrs. White may or may not be the murderer of her five ex-husbands. 

Colonel Mustard: Male identifying, 30s-50s. A pompous, dense, blowhard of a military man. 

Professor Plum: 40s-60s, any ethnicity. An arrogant academic, easily impressed by himself.

Mr. Green: Male identifying, 30s-40s, any ethnicity. An anxious, timid, yet officious rule follower. 

Female 1: Female identifying, 30s-50s, any ethnicity. Will double a number of small parts. Including: The Cook – a guff woman with a threatening presence, Singing Telegram Girl – a tap dancer with no tap ability needed, Backup Cop in the final scene, Auxiliary Scarlet – the back of Miss Scarlet during a scene with theatrical trickery. 

Male 1: Male identifying, late 20s-40s, any ethnicity. Will double a number of small parts. Including: Mr. Boddy – a slick, film noir type guy, The Motorist – a professional driver, and Chief of Police – a cop who helps to save the day. 

Male 2: Male identifying, late 20s-40s, any ethnicity. Will double a number of small parts. Including: The Unexpected Cop – a “regular Joe,” Backup Cop – backup officer for the chief, Auxiliary Mustard – the back of Colonel Mustard during a scene of theatrical trickery.

Irving Berlin’s White Christmas

Music and lyrics: Irving Berlin

Book: David Ives and Paul Blake

Director: Aimée Quattlebaum

Choreographer: Katie Stewart

Music Director: Victoria Adams

First Rehearsal on/about: Sunday, October 5, 2025

Tech: Sunday, November 16 – Sunday, November 23, 2025

Previews: Monday, November 24 –  Tuesday, November 25, 2025

(This production will have off from Wednesday, November 26-Thursday, November 27, 2025, in observance of Thanksgiving. All Actors must be available for all tech dates leading up to this off time and for all performances)

Opening: Friday, November 28, 2025

Closing: Sunday, December 21, 2025

Bob Wallace: (CAST, seeking understudy only at this time) Male identifying, late 20s-early 40s, any ethnicity. A true performer, Bob is the guiding force behind the song and dance team of Wallace and Davis. He is a born leader and charmer but has some trouble with social and romantic interactions. Longing for love and family. A singer with jazz stylings, who must dance well. Baritone. 

Phil Davis: Male identifying, late 20s – 30s, any ethnicity. The fun-loving song and dance partner of the team Wallace and Davis. An irrepressible clown, operator, and incorrigible ladies’ man who is determined to see his friend happy at all cost. Strong jazz and tap dancing is required. Song and dance man with personality and comedic timing. Bari-Tenor. 

Betty Haynes: (CAST, seeking understudy only at this time) Female identifying, 30s, any ethnicity. The sensible and responsible half of the up-and-coming dance team, the Haynes Sisters. A woman of principles, she is devoted to her sister, Judy. Like Bob, she hides her yearning for true love under a protective shell. A warm mix belt with soprano range. Must dance well. 

Judy Haynes: Female identifying, 20s-30s, any ethnicity. The more ambitious and scheming responsible half of the up-and-coming dance team, the Haynes Sisters. While wholesome and adorable, she is flirty and has a winning charm. Strong tap and jazz required. Strong song and dance performer, with a chest mix. 

General Henry Waverly: Male identifying, 50s-70s, any ethnicity. A retired U.S. Army General, adjusting to returning to civilian life post-World War II America. Once a powerful leader, he now runs an Inn in Vermont. A man of great principle and dignity. Beneath his harsh, military exterior lies a warm, compassionate man in need of family and love. This is a non-singing or dancing role. 

Martha Watson: Female Identifying, late 40s-70s. Once a Broadway star, now the General’s housekeeper and receptionist at the Inn. A very dry, wry, wisecracking sense of humor. Big hearted, but completely unsentimental. A winning and appealing character with an alto belt vocal range. 

Ralph Sheldrake: Male identifying, 30s, any ethnicity. An army buddy of Bob and Phil’s, now a major television executive with The Ed Sullivan Show. Fast-talking, New York professional. Baritone, non-dance role. 

Ensemble: 20s-40s, any gender, any ethnicity (will cover principal tracks). Must be equally strong at jazz and tap. Will play the following featured roles: Tessie, Jimmy, Susan Waverly, Mike Nulty, Train Conductor, Dance Captain, Cigarette Girl, Mrs. Snoring Man, Seamstress, Assistant Seamstress, Ed Sullivan Announcer, Jimmy’s Back Room Clubgoers, Train Passengers, Inn Guests, and Patrons of the Regency Room. 

Sunday in the Park with George: Staged Symphony Concert

Music and Lyrics: Stephen Sondheim

Book: James Lapine

Director: Max Quinlan

Music Director: Chase McAbee and Meghan Reimers

First Rehearsal on/about: Monday, December 15, 2025

(This production will have off from December 22, 2025-January 1, 2026, in observance of the holidays)

Tech: Wednesday, January 14 – Wednesday, January 21, 2026

Opening: Thursday, January 22, 2026

Closing: Sunday, January 25, 2026

 This concert will be semi-staged featuring a full symphony orchestra on stage. Seeking strong singing actors for all roles. No dance required. 

George Seurat: Male identifying, 30s-40s, any ethnicity. Act 1: An artist obsessed with his work at the cost of his personal life. Act 2: Seurat’s burnt-out descendant and inventor-sculpture searching for his purpose. 

Dot/Marie: Female identifying, late 20s-40s, any ethnicity. Dot: George’s headstrong, discontent mistress and occasional model. Marie: George’s elderly wheelchair-bound grandmother. 

Old Lady/Blair Daniels: Female identifying, 50s-80s, any ethnicity. Old Lady: George’s Mother. A cranky and rather demanding mixture in the park. Finds solace in nostalgia. Blair Daniels: An art critic.

Nurse: Female identifying, late 30s-60s, any ethnicity. The Old Lady’s attendant. Calming and assertive. 

Mrs./Harriet: Female identifying, late 30s-50s, any ethnicity. Mrs: is married to Mr., the American Couple. Harriet: A patron of the arts.

Jules/Bob: Male identifying, late 20s-40s, any ethnicity. Jules: A rival artist. Callous, critical, shallow. Bob: A museum director.

Yvonne/Naomi: Female identifying, late 20s-40s, any ethnicity. Yvonne: Jules’ pampered wife. Snippy and snooty. Naomi: A composer. 

Boatman/Lee: Male identifying, 30s-60s, any ethnicity. Boatman: A surly blue-collard laborer. Simple-minded and slovenly. Lee: The museum’s publicist. Bass/Baritone.

Franz/Dennis: Male identifying, 30s-50s, any ethnicity. Franz: Jules’ disgruntled coachman and Frieda’s husband. Yearns for the Nurse. Dennis: A technician. 

Frieda/Betty: Female identifying, late 30s-50s, any ethnicity. Frieda: Jules and Yvonne’s cook and Franz’s wife. Caring, positive surrogate nanny to Louise. Perused by Jules. Betty: An artist.

Soldier/Alex: Male identifying, 20s-30s, any ethnicity. Soldier: A French military man. Polite and a gentleman. Alex: An artist.

Mr./Charles: Male identifying, 30s-50s, any ethnicity. Mr: is married to Mrs., the American Couple. Charles: A visiting curator. 

Louis/Billy: Male identifying, 30s-40s, any ethnicity. Louis: A baker. Kind, friendly, and very popular, but a bit dull. Billy: Harriet’s friend.  

Celeste #1/Waitress: Female identifying, late teens-20s, any ethnicity. Celeste #1: A young, gossipy, flirtatious shopgirl.

Celeste #2/Elaine: Female identifying, late teens-20s, any ethnicity. Celeste #2: A young, gossipy, flirtatious shopgirl. Elaine: George’s former wife.