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



Producer: Kevin Heaney
Director: Kathy Bobchin
Creative Consultant: Jessica Mennella

Auditions: November 13th & 14th 7:30 pm to 9:30 pm
Callbacks by invite only: November 16th 7:30 pm

Friday, January 12th 8:00 pm
Saturday, January 13th 8:00 pm
Sunday, January 14th 2:00 pm
Friday, January 19th 8:00 pm
Saturday, January 20th 8:00 pm

In one of the most famous of literary love quadrangles, A Midsummer Night’s Dream tells the tale of Hermia, Demetrius, Lysander, and Helena; four misguided lovers whose journey into the woods lands them in even more trouble, as members of the fairy kingdom decide to use them as veritable pawns in their own love games. Against the backdrop of the wedding of Duke Theseus and Hippolyta, and the fiery battle of wills between the Fairy King and Queen, Oberon and Titania, the four lovers are challenged by magic and trickery to finally work out what love is all about.



Character Breakdown:

Lysander (Male, 20s-30s) – An aristocratic man who is in love with Hermia.

Demetrius (Male, 20s-30s) – An aristocratic man who once loved Helena but is now in love with Hermia. He rejects Helena, even though she still loves him.

Nick Bottom (Male 20s-40s) – A weaver and take-charge sort, who is part of the group of artisans putting on the play “Pyramus and Thisbe.” He is a strong and confident character, who wants to play all the parts himself.

Hermia (Female, 20s-30s) – Egeus’s Daughter. She is in love with Lysander, and refuses to marry Demetrius despite her father’s insistence.

Helena (Female, 20s-30s) – In love with Demetrius, but he rejects her.

Oberon (Male, 20s-40s) – King of the Fairies, in a quarrel with Titania

Titania (Female, 20s-40s) – Queen of the Fairies, in a quarrel with Oberon

Robin Goodfellow Puck (Male, Late Teens-20s) – A mischievous spirit, who serves as Oberon’s servant. He enjoys practical jokes and takes pleasure in the confusion he causes.

Theseus (Male, 20s-40s) – The Duke of Athens. Has recently won a war against the Amazons, and to reward himself for his victory is going to marry their queen Hippolyta, whether she likes it or not.

Hippolyta (Female, 20s-40s) – Queen of the Amazons, she is set to marry Theseus

Egeus (Male 40s-60s) – Father of Hermia; wants her to marry Demetrius

Philostrate (Male, any age) – Theseus’s Master of the Revels

Peter Quince (Male, 20s-50s) – A carpenter. He is in charge of the production of the play “Pyramus and Thisbe,” which is to be presented to Theseus and Hippolyta on their wedding day.

Snug (Male, 20s-50s) – A joiner, who is part of the group of artisans putting on the play “Pyramus and Thisbe.”

Francis Flute (Male, Late Teens-20s) A bellows-mender and part of the group of artisans putting on the play “Pyramus and Thisbe.”

Tom Snout (Male, 20s-50s) A tinker, who is part of the group of artisans putting on the play “Pyramus and Thisbe.”

Robin Starveling (Male, 20s-50s) A tailor, who is part of the group of artisans putting on the play “Pyramus and Thisbe.”

Peaseblossom (Female, any age) – Fairy in Titania’s court; assigned to attend to Bottom.

Cobweb (Female, any age) - Fairy in Titania’s court; assigned to attend to Bottom.

Moth (Female, any age) - Fairy in Titania’s court; assigned to attend to Bottom.

Mustardseed (Female, any age) - Fairy in Titania’s court; assigned to attend to Bottom.

Additional Fairies/Ensemble – Open to all ages 8+


Audition Monologues

There are two options for women interested in auditioning and two options for men interested in auditioning. There is also one option for ALL individuals interested in auditioning for Puck. Please select one of the appropriate monologues to prepare for auditions.

Women’s Option #1
Character: Titania
These are the forgeries of jealousy: And never, since the middle summer's spring, Met we on hill, in dale, forest or mead, By paved fountain or by rushy brook, Or in the beached margent of the sea, To dance our ringlets to the whistling wind, But with thy brawls thou hast disturb'd our sport. Therefore the winds, piping to us in vain, As in revenge, have suck'd up from the sea Contagious fogs; which falling in the land Have every pelting river made so proud That they have overborne their continents: The ox hath therefore stretch'd his yoke in vain, The ploughman lost his sweat, and the green corn Hath rotted ere his youth attain'd a beard; The fold stands empty in the drowned field, And crows are fatted with the murrion flock; The nine men's morris is fill'd up with mud, And the quaint mazes in the wanton green For lack of tread are undistinguishable: The human mortals want their winter here; No night is now with hymn or carol blest: Therefore the moon, the governess of floods, Pale in her anger, washes all the air, That rheumatic diseases do abound: And thorough this distemperature we see The seasons alter: hoary-headed frosts Far in the fresh lap of the crimson rose, And on old Hiems' thin and icy crown An odorous chaplet of sweet summer buds Is, as in mockery, set: the spring, the summer, The childing autumn, angry winter, change
Their wonted liveries, and the mazed world, By their increase, now knows not which is which: And this same progeny of evils comes From our debate, from our dissension; We are their parents and original.

Women’s Option #2
Character: Helena
O, I am out of breath in this fond chase! The more my prayer, the lesser is my grace. Happy is Hermia, wheresoe'er she lies; For she hath blessed and attractive eyes. How came her eyes so bright? Not with salt tears: If so, my eyes are oftener wash'd than hers. No, no, I am as ugly as a bear; For beasts that meet me run away for fear: Therefore no marvel though Demetrius Do, as a monster fly my presence thus. What wicked and dissembling glass of mine Made me compare with Hermia's sphery eyne? But who is here? Lysander! on the ground! Dead? or asleep? I see no blood, no wound. Lysander if you live, good sir, awake.

Men’s Option #1
Character: Bottom
[Awaking] When my cue comes, call me, and I will answer: my next is, 'Most fair Pyramus.' Heigh-ho! Peter Quince! Flute, the bellows-mender! Snout, the tinker! Starveling! God's my life, stolen hence, and left me asleep! I have had a most rare vision. I have had a dream, past the wit of man to say what dream it was: man is but an ass, if he go about to expound this dream. Methought I was–there is no man can tell what. Methought I was,.and methought I had, but man is but a patched fool, if he will offer to say what methought I had. The eye of man hath not heard, the ear of man hath not seen,
man's hand is not able to taste, his tongue to conceive, nor his heart to report, what my dream was. I will get Peter Quince to write a ballad of this dream: it shall be called Bottom's Dream, because it hath no bottom; and I will sing it in the latter end of a play, before the duke: peradventure, to make it the more gracious, I shall sing it at her death.

Men’s Option #2
Character: Lysander
I am, my lord, as well derived as he, As well possess'd; my love is more than his; My fortunes every way as fairly rank'd, If not with vantage, as Demetrius'; And, which is more than all these boasts can be, I am beloved of beauteous Hermia: Why should not I then prosecute my right? Demetrius, I'll avouch it to his head, Made love to Nedar's daughter, Helena, And won her soul; and she, sweet lady, dotes, Devoutly dotes, dotes in idolatry, Upon this spotted and inconstant man.

Puck Monologue
The king doth keep his revels here to-night: Take heed the queen come not within his sight; For Oberon is passing fell and wrath, Because that she as her attendant hath A lovely boy, stolen from an Indian king; She never had so sweet a changeling; And jealous Oberon would have the child Knight of his train, to trace the forests wild; But she perforce withholds the loved boy, Crowns him with flowers and makes him all her joy: And now they never meet in grove or green, By fountain clear, or spangled starlight sheen, But, they do square, that all their elves for fear Creep into acorn-cups and hide them there.






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