Auditions

25-26 Mainstage Productions

Fall:

  • The Balcony
  • Seussical

Spring:

  • TBD

Fall Mainstage Productions:

The Balcony:

  • By Jean Genet
  • Directed by Jose Zayas
  • Oct 17 - Oct 20, 2025

Auditions:  

  • Friday, Aug. 22, 6pm - 9pm & Sunday, Aug. 24, 2pm - 6pm in Watters Theater
  • Please prepare a contemporary monologue of your choice. Preferably a piece with heightened language. Sides from play will be selected for callbacks.
  • Struggling to find an audition piece that suits you?  Those unable to find other material are invited to use the song and/or monologue provided . We hope to see you at auditions!

Callbacks:

  • Tuesday, Aug. 26 & Thursday, Aug. 28, 7pm - 11pm  (Sat., Aug. 30 TBD)

Casting: 
None of the roles will be specifically gendered. All identities and genders will be considered. In the breakdown I am keeping original genders as listed, but all characters can be gender-fluid. Actors earn 4 credits of Theatre Practicum.

Plot synopsis:
The Balcony is a play that intricately explores the dynamics of power and identity through its major characters, set against the backdrop of a brothel known for its role-playing fantasies. At the center of this world is Irma, the proprietress referred to as The Queen, who navigates her business with a mix of ambition and fragile alliances, particularly with her favored employee, Carmen, and the politically ambitious Chief of Police, George. Each character embodies various societal roles, such as the Bishop and The Judge, who transition from clients to participants in Irma's elaborate regime, highlighting themes of governance and authority.

Carmen, who serves as a bookkeeper and spy, contrasts sharply with Chantal, a former employee who seeks freedom and ultimately meets a tragic end due to the machinations of the powerful. Roger, Chantal's lover, grapples with his desire for control, ultimately taking on the role of Chief of Police in a dark twist of fate. The ensemble is completed by figures like The Executioner and The Envoy, who add depth to the plays commentary on loyalty and revolution, underscoring the tension between personal ambition and collective upheaval. Each character's journey reflects a complex interplay of desire, betrayal, and the search for identity within a society on the brink of change.

Schedule:

  • Rehearsals:
    • Sept. 2 - Oct. 16, 2025
  • Performances: 
    • October 17th at 8pm, 18th at 2pm & 8pm, 19th at 2pm, 20th at 8pm

Roles/Character Descriptions嚗

    • Irma, called The Queen, the proprietress of the Grand Balcony, a brothel specializing in role-playing games. Approximately forty years old, she wears severe clothing and jewelry that reflect her bent for business matters and the riches they bring. Predisposed to calling her wealthy customers visitors instead of clients, she fears a workers' revolt that would threaten her establishment. Although she appears to have some genuine affection for one of her employees, Carmen, as well as for the Chief of Police, George, her good standing with them seems largely predicated on their usefulness to her. In scene 8, she becomes The Queen, wearing an ermine cloak and, on her brow, a diadem.

    • The Chief of Police, a man named George, a cigar smoker who wears a heavy fur-lined coat and hat. He wishes that Chief of Police would become one of the figures portrayed at the Grand Balcony. A politically ambitious freemason, he dreams of being enshrined in a tomb by the subjects of an empire he aspires to command. In scene 8, he becomes The Hero; later in the play, he seems to have achieved his goals. It is also revealed that he wears a toupee.

    • The Bishop and The Judge, clients at the Grand Balcony who first appear in versions of their customary garb, wearing garish makeup, twenty-inch tragedian's cothurni, and other accoutrements that make them seem unusually large. Later in the play, they appear to have actually assumed their roles in Irma's regime.

    • The General, another client, a retiring-looking gentlemen who is first shown being dressed in a complete general's uniform by The Girl, an employee of the Grand Balcony. He, too, appears to assume his role in Irma's government.

    • Carmen, an employee, favored by Irma, who is in charge of bookkeeping at the Grand Balcony. Possibly the daughter of a cavalry colonel, she talks of bringing toys and perfumes to her own daughter, who lives at a nursery in the country. Proud of her skills, she is particularly attracted to playing female saints and other religious heroines. She uses her familiarity with clients and other employees to spy for Irma.

    • Chantal, a former employee who has left the Grand Balcony to join her lover, Roger. Her acting ability is coveted by the revolutionaries, who desire a fiery woman who will inspire their followers. She leaves Roger's side to join them, only to be assassinated in a plot devised by The Bishop.

    • Roger, Chantal's lover, who admires her spirit but also wishes to control her. After her death, he becomes the first client at the Grand Balcony to play the role of Chief of Police. Interrupting the fantasy by asking Carmen if she knew Chantal, he then appears to castrate himself.

    • The Executioner, a man named Arthur, a physically intimidating employee of the Grand Balcony who helps enact The Judge's fantasy. At heart a retiring soul who clings to the security of his job and his sycophantic relationship with Irma, he is shot in the head at the end of scene 5.

    • The Envoy, who wears an embassy uniform styled as a tunic and speaks enigmatically of The Queen in his first appearance in scene 7. Unaffected by the revolt, he advises Irma on matters of state once she assumes the role of The Queen.

    • The Man, a nervous and sloppily dressed client who stands before three mirrors as he awaits the whip and louse-infested wig that are his costume props. His reflections are played by three actors. As The Beggar, he cries Long Live the Queen in scene 8; as The Slave, he partakes in Roger's fantasy at the Grand Balcony.

    • The Woman, also called Rosine, The Penitent, The Thief, and The Girl, young female employees who interact with The Bishop, The Judge, and The General and The Man, respectively.

    • Three Men with Machine-Guns, rebels who lead Chantal away from Roger in scene 6.

    • Three Photographers, earnest young men dressed in black leather jackets and blue jeans who take profile shots of The Bishop, The General, and The Judge in act 7.

Director: Jose Zayas

Production Stage Manager: Olivia OBrien oobrien@binghamton.edu

Seussical

  • Book and Music/Lyrics: Lynn Ahrens & Stephen Flaherty

  • Director:  Tommy Iafrate

  • Music Director: Melissa Yanchak
  • Choreographer: JoEllen Kuhlman
  • Nov 14 - Nov 22, 2025

Auditions:

  • Friday, Aug. 22, 6pm - 9pm & Sunday, Aug. 24, 2pm - 6pm in Watters Theater

    • Please prepare a 16-32 cut of musical theatre repertoire that demonstrates the kind of cartoonish, over-the-top characters found in the Seussian universe.

Callbacks:

  • Mon., Aug. 25 & Wed., Aug 27 & Fri., Aug 29, 7pm - 11pm (Sat., Aug. 30 TBD)

Casting:  
Actively seeking all ethnicities for all roles.  Non-binary or gender nonconforming actors are encouraged to audition for the characters they identify with, regardless of the character gender. Also, some roles may be cast by actors of another gender than listed below. Actors earn 4 credits of Theatre

Plot Synopsis: 

Now one of the most performed shows in America, Seussical is a fantastical, magical, musical extravaganza that brings to life all of our favorite Dr. Seuss characters, including Horton the Elephant, The Cat in the Hat, Gertrude McFuzz, lazy Mayzie and a little boy with a big imagination Jojo. The colorful characters transport us from the Jungle of Nool to the Circus McGurkus to the invisible world of the Whos.

The Cat in the Hat tells the story of Horton, an elephant who discovers a speck of dust that contains the Whos, including Jojo, a Who child sent off to military school for thinking too many "thinks." Horton faces a double challenge: not only must he protect the Whos from a world of naysayers and dangers, but he must guard an abandoned egg, left in his care by the irresponsible Mayzie La Bird. Although Horton faces ridicule, danger, kidnapping, and a trial, the intrepid Gertrude McFuzz never loses faith in him. Ultimately, the powers of friendship, loyalty, family and community are challenged and emerge triumphant.

Schedule:

  • Rehearsals:
    • Sept. 25 - Nov. 13, 2025
  • Performances: 
    • Nov 14th at 8pm, Nov 15th at 2pm, Nov 21st at 10am (student metinee) & 8pm, Nov 22nd 2pm and 8pm

Roles/Character Descriptions:  

  • The Cat in the Hat the omniscient narrator, they are fun-loving and enjoy rhyming. Pops up throughout the story and communicates directly with the audience. Wise and attentive.
  • Jojo a young Who who is always finding trouble. Bright, creative, and inadvertently mischievous. Possesses a wildly expansive imagination and finds solace in a friendship with Horton.
  • Mr. & Mrs. Mayor Jojos parents. Fans of the traditional, the respectable, and the predictable. Mystified by Jojos inclination towards creative thinks.
  • General Genghis Khan Schmitz the aggressive leader of Jojos boarding school. A drill sergeant who barks orders at cadets. Intimidating.
  • Horton the Elephant a compassionate and gentle elephant. Commonly misunderstood because of his larger size. Protective and loving of all creatures in the jungle.
  • Gertrude Mcfuzz Horton's neighbor, a bird with a one-feathered-tail. Sweet, timid, kind, loyal, and self-conscious of her shortfalls.
  • Mayzie Labird the most beautiful bird in all of the jungle. Oblivious to her self-centered ways. Relies on her talent of manipulation and intoxicating beauty to navigate life.
  • The Sour Kangaroo a natural leader. Loud, deliberate, and stubbornly set in her ways. A caring mother, unabashedly empowered about what she thinks.
  • Wickersham Brothers a trio of singing, dancing monkeys. They enjoy being silly, laughing at those around them, and bullying Horton.
  • Bird Girls a trio of singing, dancing birds, frequently singing three-part backup vocals. Similar to Mayzie in their appreciation of their own beauty.
  • An ensemble of other jungle animals, Whos, circus performers, fish puppeteers, hunters, hunches, and other Seussian creatures.

Director: Tommy Iafrate - tiafrate@binghamton.edu

Production Stage Manager: Olivia OBrien - oobrien@binghamton.edu

Further Information on Auditions

It is the auditioners responsibility to become acquainted with the roles, the nature of the production, and the scope of commitment prior to casting. It is strongly recommended that auditioners read scripts and production materials before the first audition. Links to the script will be posted above. 

Who can audition for a theatre production? EVERYONE!

Any and all registered 勛圖腦瞳扦 students are welcome to audition for all Theatre Department Productions. We do NOT require that an auditioner is a Theatre Major or Minor. We hold open auditions for our MainStage and Studio Shows. Always arrive a few minutes early to fill out paperwork/discuss logistics ahead of time. See below for our casting policy.

Here's some tips for auditioning from our directors:

  • Choose a song that you feel passionate about. Something that makes you say to yourself "I have to do this!" Practice, practice, practice.
  • Ask friends and family to listen to you do your material. Listen to feedback but only use that which you feel certain in your heart you can apply to your work.
  • Sing while you do the dishes, while you drive, while you do the laundry, when you take a walk. Sing your song hundreds of times.
  • Know, deep within you that the people who are auditioning you want you to be great. They are not looking for your problems but rather your promise!

Casting Policy for 勛圖腦瞳扦 Students:

Eligibility:

Any person is eligible for auditioning and casting who will be registered for four or more semester hours of credit in any course taught in the University, other than the production itself, during the semester in which the production for which the auditions are being held is performed. Simply stated, one must be a registered student during the semester of performance. However, under certain conditions, Theatre faculty members or persons designated as "Artists in Residence" may be cast.

Note: All students are expected to familiarize themselves with and to take full advantage of the actor training sequence of classes offered by the department so that their acquired skills and abilities will make them more competitive and more readily recognizable to the faculty.

Representation, Diversity, Equity and Inclusion in casting and production: 

The educational mission of the 勛圖腦瞳扦 Theatre Department is to provide equal opportunities and apprenticeship experiences to students without discrimination on the basis of age, race, color, religion, disability, nationality, gender identity, or sexual orientation. We believe that theatre is stronger when our season selection, casting process, and production needs are filled inclusively. Inclusivity will take many forms, including the variety of stories we choose to tell, assembling diverse artistic teams, making production assignments available to as many students as possible and engaging in color conscious casting.

Color-conscious casting intentionally considers the race and ethnicity of actors and the characters they play in order to oppose racism, honor and respect cultures, foster stronger productions, and contribute to a more equitable world. Without it, we risk perpetuating a system that privileges whiteness with greater access and opportunity, and appropriates the cultures of communities of color. (American Theatre) Likewise, we practice an attitude of respect, and opposition to bias and discrimination regarding gender and gender identity, including (but not limited to) trans and gender queer identities. 

Where a playwrights intention calls for casting actors of a particular race, ethnicity, and/or gender, the director and/or casting agent must do all within their power to adhere to the playwrights intention. If an actor of the appropriate race, ethnicity, or gender is not found, the director will initiate a conversation with the department to discuss what the next appropriate steps would entail. Steps may include, but are not limited to, seeking permission from the copyright holder for alternative casting permission, or canceling the production. At the same time, we encourage an experimental learning environment in which all directors stretch beyond historical expectations, casting traditions, or commercial conceptions of type, especially in cases where race, gender, ethnicity, or identity may not appear to be a major thematic element of the production.