Auditions

24-25 Mainstage Productions

Fall:

  • Sweat
  • Anything Goes

Spring:

  • As You Like It
  • LĂłpez Danza Theatre Project

Spring Mainstage Productions:

As You Like It:

  • By William Shakespeare
  • Directed by Lisa Rothe
  • Feb 27 - March 3, 2025

Auditions:  

  • November 19, 2024 at Watters Theater (if you can’t attend for some reason, please email Lisa Rothe (lrothe@binghamton.edu)
  • Prepare a one-minute Shakespeare monologue OR choose a Shakespeare Sonnet.
  • 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:

  • November 21 and December 4, 2024 (if needed)

  • FOR CALLBACKS ONLY:

    • Come prepared to tell a JOKE, and sing 16 bars of ANY song (including Happy Birthday if you dont have another song). Also, let us know if you play any instruments.

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 Practicum.

Plot synopsis:
Set in the unjust Court of Duke Frederick and the magical Forest of Arden, As You Like It takes us on a journey of redemption that celebrates the power of love, forgiveness and the strength of community.

Schedule:

  • Rehearsals:
    • Jan. 21 - Feb. 26
    • Rehearsal Schedule Details Made Available at Later Date
  • Performances: 
    • Feb. 27, 28, Mar. 2 @ 8pm, Mar. 2 & 3 @ 2pm
  • Roles/Character descriptions：

    • ROSALIND - A strong, young woman whose independence and cleverness allow her to lead her cousin into the Forest of Arden under the guise of Ganymede, a young man. Hopelessly in love with Orlando, yet still in disguise, she must test his love before she reveals herself.

    • CELIA - Rosalind’s cousin and best friend and the daughter of Duke Frederick. Celia is more conventional than her cousin but still fiercely loyal. When her father casts out Rosalind, Celia abandons the wealth of the Court and disguises herself as the poor peasant Aliena, to join Rosalind in banishment.

    • ORLANDO - The brave and tender youngest son of Sir Rowland de Bois whose eldest brother, Oliver, resents him. Orlando falls for Rosalind and can’t help but proclaim his love for her throughout the Forest of Arden.

    • OLIVER -  Orlando’s oldest brother. Oliver has refused his brother a proper education and resents Orlando for his charm and good nature. Oliver is not above dishonest means to rid himself of his brother.

    • ADAM – The elderly former attendant of Sir Rowland de Boys. Having witnessed Orlando’s hardships, Adam offers not only to accompany his young master into exile but to fund their journey with the whole of his modest life’s savings. He is a model of loyalty and devoted service.

    • TOUCHSTONE - The court jester accustomed to a life of status, he/she/they joins Rosalind and Celia in their banishment, though frequently laments the country life. Their quick wit and intelligence often puts them at odds with the characters who understand that they are mocking them. 

    • JAQUES - The melancholic nobleman who lives in the Forest under the usurped Duke Senior. Jaques is known for his intelligence and deep yet cynical contemplation. He recognizes “all the words a stage, and all the men and women merely players.” Actor will also play Charles, a politically savvy, professional wrestler in Duke Frederick’s court. 

    • DUKE SENIOR - Banished by his paranoid brother, Duke Frederick, Senior now lives in the Forest of Arden where he embraces Nature as his new teacher. He happily leads his followers with kindness and fairness but misses his daughter, Rosalind. Actor will also play Duke Frederick, the cruel and volatile brother of Duke Senior, and usurper of his throne. 

    • WILLIAM – A young country boy who is in love with Audrey. Actor will also play Jacques (second son to Sir Roland) and a member of the Court.

    • AUDREY - A pleasant goatherd who agrees to marry Touchstone. Actor will also play LeBeau, a courtier, in the court.

    • SILVIUS - A young shepherd who is madly in love with Phoebe. Not deterred by the unrequited nature of his love, Silvius is steadfastly doing whatever Phoebe commands of him. Actor will also play a member of the Court. 

    • PHOEBE - A rural young woman who does not return Silvius’s love but is immediately infatuated with Rosalind’s male disguise. Actor will also play Dennis, an attendant to Oliver. 

    • CORIN - An older shepherd who attempts to teach Silvius the ways of love. Though he is rarely listened to, Corin is quite wise. Actor will also play a member of the Court.

    • AMIENS - A good natured follower of Duke Senior who savors their time in the Forest of Arden and enjoys the songs they and the Duke write. Actor will also play a member of the Court.

      **

      For context, here are the characters and their relationship to one another and the story:

    • The de Boys household

      • OLIVER, oldest son of Sir Roland de Boys 

      • JACQUES, second son of Sir Roland 

      • ORLANDO, third son of Sir Roland 

      • ADAM, attendant in the de Boys household & friend to Orlando

      • DENNIS, attendant to Oliver

    • The court of the usurping Duke

      • DUKE FREDERICK, younger brother to Duke Senior 

      • CELIA, daughter of Duke Frederick & cousin to Rosalind 

      • ROSALIND, daughter of Duke Senior 

      • LE BEAU, a courtier

      • CHARLES, a wrestler 

      • TOUCHSTONE, a clown/court Fool 

    • The court in exile

      • DUKE SENIOR (Ferdinand), older brother to Duke Frederick 

      • AMIENS, a lord, follower of Duke Senior 

      • JAQUES, a melancholy gentleman & lord attendant to Duke Senior 

    • The greenwood

      • CORIN, a shepherd 

      • PHOEBE, a shepherdess 

      • SILVIUS, a shepherd 

      • AUDREY, a country girl/goat keeper 

      • WILLIAM, a country youth 

Director: Lisa Rothe, Director -  lrothe@binghamton.edu

Production Stage Manager: Olivia O’Brien oobrien@binghamton.edu

LĂłpez Danza Theater Project

  • Choreographer/Director:  Rogelio LĂłpez

  • Assistant Directors:  Elizabeth Mozer and Neva Kenny
  • April 25 - May 4

Auditions:

  •  Dec. 2, 7pm - 11pm in Watters Theater

    • At The Audition: Everyone will be asked to move in movement led by choreographer/director Rogelio LĂłpez.

      • Attire:  Clothes you can move in comfortably and dance sneakers or lightweight tennis shoes. Everyone will be asked to move in movement led by choreographer, Rogelio LĂłpez.

  • To Prepare:  If you sing and/or act please prepare 16-32 bars of a song to sing acapella and/or a one minute monologue in case you are asked to share one or both of them.

    • If you play an instrument please bring a piece to play with your instrument in case you’re asked to share it.

Callbacks:

  • Dec. 4, 7pm - 11pm &  Dec. 6, 3pm - 7pm in Watters Theater

Casting:  
Inclusive!! Seeking to create a diverse, multicultural ensemble that is grounded in the belief that each individual’s authentic experience enriches the collective. Actors earn 4 credits of Theatre Practicum.

Description:  An original dance theater work by renowned Costa Rican choreographer, researcher, and educator Rogelio LĂłpez co-created with °®¶ą´«Ă˝ faculty and students. The work will explore the body's stories, written on the skin of its memory, expressed through gesture, postures and movements, with the magical reality of the art of dance and the meeting of cultures. We'll do this while investigating the theme of "the person and nature", embracing seas of many sands and many colors, forests of many trees, rivers and their stones, mountains of many parts, the wind that moves everything, the fire that warms the earth and the rain that refreshes it.

Schedule:

  • Rehearsals:
    • March 17 - April 24 (All University breaks observed)
  • Performances: 
    • April 25, April 26, May 2 @ 8pm, April 26, May 4 @ 2pm

Character Breakdown:  
An ensemble of actors, dancers, singers, musicians, and performance-based artists. All are encouraged and welcome to audition!

Directors: Neva Kenny - nkenny@binghamton.edu and Elizabeth Mozer - emozer@binghamton.edu

Production Stage Manager: Olivia O’Brien - oobrien@binghamton.edu

Further Information on Auditions

It is the auditioner’s 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 °®¶ą´«Ă˝ 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 °®¶ą´«Ă˝ 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 °®¶ą´«Ă˝ 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 playwright’s 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 playwright’s 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.