Be Professional
Show the casting directors how reliable you are by showing up at least fifteen minutes before the audition. Be courteous, but don’t be too talkative. Don’t pester crew members or fellow actors with idle conversation. Spend your time privately readying yourself.

 Bring a headshot and resume if you have one. It will help  to make a favorable and professional impression.

Think of the audition like a job interview. Avoid inappropriate behavior, whether its chewing gum, using profanity, behaving too shyly or brashly, or over selling yourself.

Dress Appropriately
Usually, it is best to wear “business casual” attire. You want to exhibit charm and professionalism, but you don’t want to look like a stock-broker or a banker.

If you are auditioning for a dancing part in a musical, wear dance attire. It should not be anything flashy or expensive. Any choreographer worth her salt will focus on your dancing ability, not your sequins.

Perfect Your Monologue
If you are asked to read a monologue, make certain that you have rehearsed it completely. Do not just know the lines, know the character you are becoming. Let the directors see a striking difference between the person that just said hello to them, and the character that is now coming to life on the stage.

Get to Know the Play
Many of our auditions involve reading “sides.” Sides are small, hand-picked portions of a script. Sometimes they are a brief monologue. Sometimes they are short scenes involving two or more characters. Most of the time, you won’t know exactly what scene you’ll be reading. In that case, you’ll want to familiarize yourself with the play in general.

Practice Cold Reading
 Cold reading is the act of performing lines as you read them for the very first time. It can be a nerve wracking experience, but with practice most actors can become quite adept at it.

Musical Auditions
 Come prepared to "PERFORM" 16 bars of a musical theatre song that best reflects the character you hope to be cast as and best reflects your voice quality and range. Failure to prepare a proper audition song or coming into the audition singing Happy Birthday or reading off the sheet music shows a lack of respect to the audition panel and speaks volumes to them of your work ethic.

Be sure your sheet music has the piano accompaniment, usually the bottom 2 staves below the vocal line. Mark your sheet music where you wish to start and finish.

Do not sing accapella or use self accompaniment. It is important for the panel to see how well you can follow the pitch and rhythm of the accompanist.

Don’t Apologize

After the audition, if you feel you've done poorly avoid excuses or apologies in hopes of gaining sympathy. Simply thank the casting directors and leave the knowing that if you are right for the part, they will contact you. If not, know that you did your best. And remember: there are many other wonderful roles out there just waiting to be filled.



Audition Notice


Main Street Theatre Company
3018 Bordentown Ave, Parlin NJ

Monday & Tuesday, September 18 & 19 - 7:30pm to 9:30pm
Callbacks by invitation only: Thursday, September 21, 7:30 pm

DIRECTED BY: Kevin Gunther and Dawn Fulbrook
MUSICAL DIRECTOR: Nicole Barrow White
CHOREOGRAPHER: Susan Zuckerman

December 1 - 10
Fridays at 8pm, Saturdays at 2pm and 8pm, Sundays at 2pm

This version is 98% true to the original Dickens classic with a rich score by Stephen Deceare


Actors and Actress between the ages of  5 to Adult. Casting will be Age appropriate.

Vocal audition – Come prepared to sing 16-32 bars of an up-tempo show tune.  Bring sheet music with piano accompaniment or an Iphone track. An accompanist will be provided.




Roles for YOUNG PERFORMERS (Ages 5-14)

Boy Scrooge: 9-13. This is the sweet, innocent Scrooge before he becomes the Scrooge of legend. He is the only one left alone in his school yard during Christmas recess. His only hope is to go home to his family and when his sister Fan shows up, he things she will make that dream come true. When he learns that is not the case, his heart is broken – as is ours.

Fan: 13-18. Scrooge’s devoted sister – becomes Fred’s mother. She risks a lot to see Boy Scrooge for one last time. Very emotional, but must keep in control for fear of exposing too much sorrow to the boy.

Peter Cratchit: 10-14. The elder Cratchit child – a very industrious, bright, energetic, positive force in the family. He does all he can to help around the house and makes special efforts to care for little, Tiny Tim.

Martha Cratchit: 9-13. The second eldest Cratchit child who works in a textile factory away from home. She misses her family terribly and makes the most of every opportunity to be with her family. She has learned much from her mother about caring for a house and caring for people.

Belinda Cratchit: 6-9. The second youngest Cratchit child who is adorable and sweet and is about to learn how to make the family’s secret recipe for Christmas pudding.

Tiny Tim: 5-7. The youngest Cratchit child, frail, weak, suffers from a Vitamin D deficiency which causes him to be on crutches. He is eternally hopeful and sees the suffering in others much more than the suffering in himself. Must be less than 50 pounds.

Turkey Boy: 8-11. A petite delivery boy who carries a huge turkey to the Cratchit house upon a transformed Scrooge’s instructions. Must have great comic ability. And be able to carry a heavy turkey.

Christmas Past : 10-14. Very spirited girl with an ethereal quality. Must have great command of language. She bosses Scrooge around a bit and knows how to use tough love to her best advantage.

Youth Ensemble: Dancers and singers playing young carolers, townspeople, young workers, etc. Very active throughout show



Young Scrooge: 16-25. An innocent Scrooge before he is corrupted at the hands of Marley. A conflicted youth torn between the need for financial security and the desire to connect with other human beings. At the beginning, he possesses a sense of fun and humor and is a viably positive member of society. He’s easily influenced and changeable, and though he falls in love with Belle instantly, one year later, he spurns her just as quickly.

Bob Cratchit: 30s-50s. Scrooge’s clerk, a family man. Scrooge has worked Cratchit to the bone, but his joy for life and affection for his family remain untouched. Despite his difficult existence, he is still filled with hope and humor. Though he worries about how to put food on the table, he somehow always finds a way to provide treats for his children. He is shattered when Tiny Tim dies and try as he might, his sorrow is impossible to hide from his other children.

Jacob Marley: 20s-50s. Scrooge’s partner, an ambitious, practical man, with no sentimentality. Marley is a product of a newly industrialized England and places money and financial stability above all else. As a young man, he coerces Young Scrooge into joining the dark and ruthless side of the business world. When we first meet him, he has been dead for seven years, but he should not be ghoulish. He is simply a man who has been waiting desperately for Scrooge to open his eyes wide enough to see him and hear his lesson. Must move well.

Nephew Fred: 20s-30’s. Scrooge's nephew. An optimistic and kind young man. Witty and able to trade barbs with his Uncle. Should be an attractive leading man with a slightly goofy edge.

Mr. Fezziwig: 30’s-50s. Young Scrooge and Marley’s boss, generous (to a fault) and expansive and giddily in love with his wife. Fezziwig is a kind hearted and jolly man, but not a fool. He has great integrity and refuses to sell out to Scrooge and Marley.

Mrs. Fezziwig: 30’s-50’s. Ditzy, gabby, and overflowing with warmth; she is certain that she and her daughter are great beauties. A good-hearted meddler. In love with her husband and entirely convinced of the goodness of those around her and the bounty of the world.

Charwomen: 20s-60s. She desperately sells the stuff dead people leave behind. She is fiercely competitive, dreadfully funny, and wonderfully scuzzy. No subtlety whatsoever. Cockney.

Old Joe: 40’s-60s. Cockney Pawnshop dealer who trades in stolen goods – mostly from dead people. Witty, dark and devious, Joe is a distant relative of Dickens’ Fagin and has a bawdy sense of humor. He will take no nonsense from anyone, unless he’s dealing it out first. A shrewd negotiator – until a glimpse of cleavage is involved – or when faced with the child-like beauty of a music box.

Mrs. Dilber: 20s-60s. Scrooge’s dedicated and dithering servant. Working class British. Quirky and funny – but with great pathos. She has always gotten Christmas Day off but, for some reason, tonight her boss is sterner and crabbier than ever. At the end of the play, the first to witness it, she is profoundly touched by Scrooge’s transformation. A character woman. Comedienne with heart.

The Undertaker: 20’s-60’s. A leering, creepy, grasping, drooling example of the underworld in Victorian England – cockney accent.

Mrs. Cratchit: 30’s-50’s. Caring but fiery, she will defend her family at any price. She is the glue that holds her family together. Nurturing, warm, the salt of the earth. She criticizes Scrooge more than anyone because of what he is doing to her devoted and downtrodden husband. She tries to hide her sorrow over Tiny Tim’s loss from her other children, but fails. Working class London accent.

Belle: 16-20s. Scrooge’s fiancée who gets left behind because of his obsession with money. A woman ahead of her time, Belle is fiercely idealistic. There is a sadness about her; she holds people to high standards and, predictably, ends up horribly disappointed with Scrooge. Must sing and move extremely well.

Christmas Present: 20’s-40’s. Infectious spirit and warmth. Must have a powerful presence, sense of humor, wit, and mischief, and a fabulous laugh to boot.

Christmas Yet To Come: 15-???. Tall slender, imposing character, no dialog but excellent acting skills needed.

Adult Ensemble: A Very active ensemble of Dancers and singers playing carolers, townspeople, etc.






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