Auditions for Company by Steven Sondheim at The Playhouse (Russell Hill Rogers and Cellar Theaters), Saturday, October 9th, 12:00-4:00PM, BY APPOINTMENT ONLY at Russell Hill Rogers Theater, Saturday, Oct 19, 12:00-4:00 p.m.
Click Here to request an audition appointment.Please arrive 15 minutes prior to appointment to check in. Call backs will be Saturday, Oct 26, 12:00-4:00 p.m.
Actors should prepare: 32 bars or one verse/chorus and a contemporary comic monologue not to exceed 60 seconds. Bring headshot and resume.
Directors are looking for a cast of exceptionally strong actor-singer-dancers. All cast members must have vocal training and be able to read music. Director has the discretion to see you at general auditions or invite you directly to callbacks. Rehearsals will begin early in December 2013.
Performances at Russell Hill Rogers Theater, February 7 - March 2, 2014 --Fridays & Saturdays at 8:00 p.m,Sundays at 3:00 p.m. Sunday, March 2, 2014 additional performance at 8:00 p.m.
Click 'Read more' for character list and vocal requirements
Barbara Sparks of the City of Austin Cultural Arts Division has contacted applicants with details of the 2014 decisions of City allocations. She writes, "This summer the City received 211 applications - 189 for Core Funding Programs, 22 for the Cultural Expansion Program (CEP), and 4 were new to the process. CEP applications were reviewed and scored by a peer review panel and those receiving a score of 75 or greater were then recommended by the Austin Arts Commission for funding."
These grants are funded by a percentage of the collections of the hotel and occupany tax (about 20%; most of the rest goes to support the Convention and Visitors Bureau).
The list is a very long one and totals $7,043,697. Largest grants are to the Austin Children's Museum ($200,000), The Austin Theatre Alliance (Paramount and State Theatres) ($197,500) and the Zach Theatre ($197,500), in each case totaling about 2.8% of the total. Other leading recipients are the Austin Symphony Orchestra ($190,000), Long Center ($190,000), Ballet Austin ($190,000), Theatre Action Project (now Creative Action, focused on schools)($190,000), Austin Film Society ($187,500), Conspirare ($185,000), Austin Museum of Art ($182,500), One World Theatre ($175,000), Austin Lyric Opera ($172,500), the Mexicarte Museum ($151,347), Tapestry Dance ($140,000), Austin Creative Alliance (in its own right, $132,000), Austin Classical Guitar Society ($118,136) and the Rude Mechs ($100,000).
Click here to see the full list of 2014 allocations
Billy Dragoo, Theatre Arts Director and Head of the Fine Arts Department at Austin High School, has been named Theatre Educator of the Year by the Texas Educational Theatre Association. He will be honored at the TETA annual conference in January.
POISON APPLE INITIATIVE is holding auditions for two new plays by two emerging theatre artists. For more information or to schedule an-audition, email
with your headshot and resume, and indicate which play you would like to audition for (you may audition for both). Auditions and callbacks will be held on October 14th-16th from 6:30-9PM at the Dougherty Arts Center (click for map ). Sides will be provided.
Our 2014 season begins with:
WE WERE NOTHING! by Will Arbery, directed by Bastion Carboni, December 2013
A play about how absence makes the heart grow inarticulate. Rehearsals begin in November with performances on Wednesday-Saturday December 4th-14th. We’re looking for 2 women between the ages of 18 and 25.
PEOPLE WILL TALK ABOUT YOU SOMETIMES by Sarah Matusek, directed by Lindsey Sikes, January – February 2014
Inspired by Sarah Kane’s 4.48 Psychosis, PEOPLE WILL TALK ABOUT YOU SOMETIMES tracks a supportive network of otherwise strangers who respond to a mutual friend’s suicide attempt. PEOPLE WILL TALK will premiere at Salvage Vanguard Theatre as part of FronteraFest Long Fringe in January 2014. The play will be extended 1-2 weeks beyond the initial run in an alternative space. Cast must be available through mid February.
In addition to staging rehearsals in January, the cast will be asked to aid in the development process of this new play during November and December for approximately 1 reh/week (no holiday rehearsals). Actors interested in devised work strongly (SO STRONGLY) encouraged to audition!
IZZY – recently hospitalized for a suicide attempt; 18-20s
AUDRE – Izzy’s professor; anxious about her maternal instincts towards her student, compensates with baking and letter writing campaigns; 30s
EZRA/ELIZA – Izzy’s coworker; insecurity fueled adoration bordering on jealousy for his/her coworker; 20s (this role can be male or female)
KILLIAN – Izzy’s brother; emotionally unstable to the point of maniacal at times; deeply effected and in much deeper denial; 18-20s
NICK – Izzy’s boyfriend; deeply in love with Izzy, or the idea of her, and struggles with his identity apart from her; 20s
MAEV – Izzy’s nurse in the psych ward; an observer; any age
kidsActing Announces Auditions for their Advanced Production of Guys and Dolls
Audition for our advanced musical production of Guys and Dolls, the toe-tapping screwball comedy based on Damon Runyon stories. Set in bustling New York City, this tale follows the antics of gamblers, missionaries and showgirls in the city that never sleeps!
Auditions November 3rd from 11:30 am-1:30 pm. Auditions held at Center Stage Texas, 2826 Real Street Austin, TX 78722 -- click for map. Specific time slots will be assigned.
Please contact Jazmine Miller to set up an audition appointment. 512-905-4392. email:
Star in a full-length theatrical production this year! Come audition for kidsActing Studio's advanced musical production of Guys and Dolls, considered by critics to be the perfect musical comedy! Guys and Dolls soars with the spirit of Broadway with its cast of vivid characters including Sarah Brown, the uptight, upright “mission doll,” Sky Masterson, the slick, high-rolling gambler who woos her on a bet; Adelaide, the hilarious, sneezing nightclub performer, and Nathan Detroit, her fiancé, desperate as always to find a spot for his infamous floating dice game. Great songs like, “Sit Down You’re Rockin the Boat, “Luck Be A Lady Tonight”, and more! Students will learn singing, acting, dancing and improv, as well as being in an ensemble and being part of a team effort with a full-scale professionally produced production complete with costumes, lights, sound and set designed by Austin theater professionals.
This production is part of our advanced program and is open to students ages 11-18 with previous theater experience, by audition. All previous participants in an advanced class are automatically invited if they are the correct age. If you feel you are eligible for an advanced class or would like more information, please contact
REHEARSALS at Transfiguration Greek Orthodox Church in Westlake, November 11-May 17, Mondays 5-7:45pm Extra weekend rehearsals at Center Stage Texas TBA
TECHNICAL REHEARSALS & PERFORMANCES Center Stage Texas, April 14-May 17,Schedule TBA
For specific location addresses and map, please go to locations.
TUITION Pay in Full - $1175; Pay in Installments - $280 deposit + $160 payments due 10/1, 11/1, 12/1, 1/1, 2/1, 3/1
Auditions for The Christmas Foundling by Norman Allen, inspired by the stories of Bret Harte, directed by Terri Bennett
Wed. Oct 2, 7-9 pm and Sunday Oct 6, 2-4 pm
The Gaslight-Baker Theatre, 216 S Main St, Lockhart Tx 78644 - click for map
A heartwarming holiday tale set on Christmas Eve high in the Sierra Nevada Mountain Range in 1850, with the love of a child at its center and an unlikely romance as its driving force. This Gold Rush drama is a love-letter to the Mother Lode, an ode to the joys of rural living. With a touching, family-friendly plot, the show is sure to offer up several laughs and a glimpse at the less commercial Christmases of days gone by. It's also a sweet look at how love, sacrifice and change can expand one's world and life.
Auditions will be a cold reading from the script.
If you would like to audition, just come on by the theater at the times above and we'll see what you've got. If you can't make either of those times, you can email us at
or through our "Contact Us" page and we'll attempt to accomodate you. Be sure to tell us that it is about the auditions!
Hope to see you at the auditions!
1 man 50-70 years old. Part (Old Jake) requires singing. Ability to play guitar a plus
1 young man (Tom) 10-14 years old
1 woman (Aunt Sarah)-30-40 years old
4 men 20-50 year old.
Performance dates – Weekends, Dec 6-21
For more information, please go to the GBT website – MyGBT.org
ACTING WORKSHOP WITH KAT STEFFENS
Using Shakespeare’s Folio techniques to unlock your emotional depth and create a richer understanding of classic as well as contemporary scripts
Kat Steffens is a working actress with her BFA in acting from DePaul’s prestigious Theatre School in Chicago. She had extensive Shakespeare training at DePaul as well as two years intense Shakespeare Folio Technique study with the Chicago leading lady Susan Hart and Julliard graduate/ leading man Jeffrey Carlson from 2008-2010. She has privately coached and mentored acting students for three years.
Kat plays Jacqueline Kennedy in the upcoming Tom Hanks produced film Parkland. Her Shakespeare skills led to a final screen test with the director, Peter Landesman. She was asked to perform a tragic Shakespeare monologue for the callback, which landed her the role. Tom Hanks also started his career doing Shakespeare in Ohio.
“Shakespeare is a great skill to have in your back pocket as an actor. I firmly believe that if you have a strong understanding of Shakespeare, it will make you a better actor in contemporary film and theater.” –Kat Steffens
Three weekly sessions: LIMIT 10 students per session
1. Sundays November 3, 10, and 17 from 2-5 PM at Rose Movement Studio: 2015 E Riverside Dr. Austin, TX 78741
2. Mondays October 28, November 4 and 11 from 7-10 PM at a North Austin Location
WEEK ONE: PREPARE Students will learn the concepts of Folio technique and apply them to an assigned audition monologue based on age/ casting type. Packets of detailed material will be provided as a reference guide. Students also will have their classmates’ monologues in their packets so they leave the workshop familiar with several monologues. They will study the language and arc of their assigned monologue to make the monologue audition ready. *Please bring a pen and notepad- a LOT of information will be covered!
WEEK TWO: EXPLORE Students will come to class with their assigned monologues memorized. We will explore the monologue, character, and world of the character through exercises focusing on the voice, the body, the language, the punctuation, beats, and the emotional life of the character. Students will develop a closer understanding of the character and monologue, gaining comfort and ease with the heightened language. *Please wear comfortable clothes you can move in and have monologue “by heart.”
WEEK THREE: PERFORM Students will do some final exploration of their monologue and perform it for the class. Kat will spend time with each student; directing and adjusting moments of their monologues make them more audition ready and real. The final performance of each monologue will be taped; and footage will be provided to students for their acting reels. All students will leave the workshop with an understanding of Folio technique, packets of information and monologues, as well as an audition ready Shakespeare monologue on tape.
$150 for the Entire Workshop $50 deposit needed to hold your spot (remaining $100 cash or check due at first class). Register early to reserve your spot in the workshop. Cash or checks only, please.
Contact Kat at 312-810-9040 or
to register. Please include your headshot and resume when registering, as well as previous Shakespeare experience and knowledge.
Pollyanna Theatre is excited about its 2013-2014 season and invites you to join us. Please share the season information (below) with the teachers you work with.
THE BOY WHO LOVED MONSTERS AND THE GIRL WHO LOVED PEAS
by Jonathan Graham
October 11-18, 2013
Evan, like many 7 year olds, does not like to clean his plate, especially a plate filled with peas. And to make matters worse, baby sister Sue loves them. When forced to remain at the table until his plate is clean, Evan makes a wish for a monster to come eat his family. But watch out! Wishes can come true. Soon Evan and Sue find themselves trying to hide a six foot talk green monster named Pea from their parents. Among the laughs, Evan finds that although his parents discipline him, protecting those he loves is his goal. Pea teaches Evan and the whole family many things including the importance of playing together, keeping imaginations alive, and that it is important to make room for surprises in every home.
Perfect for audience members ages 5 and up.
by Holly Hepp-Galvan
A Co-Production with Ballet Austin
January 24-31, 2014
This new dance drama for young audiences introduces audiences to a young girl named Wren who is new to the neighborhood. Being new isn't always easy and Wren learns this the hard way when Marlie, the neighborhood bully, talks her into posting a very hateful and untrue email about another girl. While Wren senses that this isn't a good idea, her eagerness to fit in is strong. Pollyanna Audiences will see, right along with Wren, that words of hate are truly weapons whether spoken or launched into cyberspace.
This collaboration with Ballet Austin features choreography and dance which bring Wren's words to life. Ultimately, SPRITES is a story told through auction and movement in a powerful way, one that will no doubt leave a lasting impression on audiences of all ages, especially those ages 8 and older.
PLUS AND MINUS:
THE VACATION ADVENTURE
by Katherine Gee Perrone
May 12-16, 2013
In May of 2013 Pollyanna audiences fell in love with Addy Plus and Minus Takeaway, two very unlikely friends. Well, Addy still loves to put things together and Minus still loves to subtract. But this newest production finds the two friends appreciating their differences and going on their first vacation together. All seems to be going well until they met up with Slash McGillacutty, a guy who insists on cutting things in half. How will Addy and Minus react to Slash? And is there a way to salvage their vacation once Slash McGillacutty arrives on the scene? Come along and find out. This play, which brings pre-kindergarten basic math concepts to life, will be enjoyed by audiences ages 4 and up.
PETER AND THE PIPER
by Holly Hepp-Galvan
July 14-18, 2014
Peter is a boy who follows his own drummer and enjoys doing his own thing. Peter is definitely not one of those guys who follows the crowd. This is usually no big deal for him. But all of that changes when The Piper comes to town. All the kids are listening to The Piper's music and loving what they hear. But Peter is not a fan on what he considers the newcomers questionable musical skills. Suddenly Peter find his friends calling him "lame." How can Peter stand up to this new pressure to be just like everybody else? Hepp-Galvan's newest play is both touching and funny and will be enjoyed by audiences ages 8 and older.
by Dr. David Glen Robinson
Red is a tragedy, make no mistake, but it is one in love with life, and most especially with the color red. As with the very best plays, Red tells everything plainly to the audience. The promotional material for the play is full of piquant quotations from the script, by way of Mark Rothko, the central character. My favorite, not in any of the cut-lines is: “There is tragedy in every brushstroke.”
And so the tragedy played itself out, revolving around the modernist abstract expressionist painter Mark Rothko and set in his warehouse-y lower Manhattan studio. The time of the play was the peak of Rothko’s career, when he was painting his commission for murals for the Four Seasons restaurant in the Seagram building in Manhattan.
At the time, it was the most valuable art commission ever, paying $35,000. The commissioner was the architect Philip Johnson through his patron, international modernist architect Mies van der Rohe, perhaps the reigning art god of the twentieth century, who changed history more profoundly even than Picasso.
These were heady times, indeed, a few years past Jackson Pollock’s death (which Rothko insisted was suicide) at a point at which a few thinkers like Rothko saw Pop Art coming to replace all the abstract expressionists and knew it would be a painful death.
Penfold Theatre’s production of Red is a major score; they have captured the Austin premiere of this John Logan play, a Tony award winner, first staged in London in 2009. Penfold treats the play very well, staging it on the thrust stage of the Trinity Street Theatre, fourth floor of the First Baptist Church at 901 Trinity St., downtown. Steven Pounders plays Rothko, and Ryan Crowder, producing artistic director of Penfold, plays Ken, Rothko’s newly hired studio assistant. Rothko was known for his acerbic statements about the art world, and many of those comments have found their way into Logan’s script. Rothko was no Oscar Wilde for biting irony and sarcasm, but in his rage he came close.
by Jess Helmke
Much To Say About Nothing
The sun has set. The theatre is quiet. And a play begins. Just another normal Thursday night in the Austin Hyde Park neighborhood.
But maybe it’s more than that, suggests playwright Will Eno. His play Tragedy: a Tragedy is now running at Hyde Park Theatre, engaging audiences with ironic perceptions of mundane, everyday life. Eno’s repetitious cyclone of humor entertains the audience with threads of thematic action, roccoco rythmic storytelling, glimmers of conflict, lyric poetics, and the occasional element of surprise.
The mere fact that Will Eno uses television as his theatrical setting is unexpected. The play of gives us four main characters: Frank the anchor, John the weatherman, Constance the elated and naive reporter, and Michael the global reporter . Tragedy begins as a straightforward newscast, typical in speech pattern and line delivery, butr a little disappointing since there seems to be a lack of events to report. Characters speak directly to the audience as if we were sitting in the comfort of own homes, and their stage business is humorously appropriate with index fingers to the eapieces and sips of coffee by the anchor. I totally bought it.
The power and versatiity of the tool of theatre is exploited in most of Will Eno’s work, and the comedy Tragedy: a Tragedy is no different. Its discussions about darkness remind us of a bare stage. Its painful nostalgic childhood stories almost make us nervous all over again. And the play’s still, quiet moments lie glimmering like the stars. Begging observers to think. To try. To understand. To comment. To DO SOMETHING, ANYTHING in this existential awareness report from Action 7 News.
by Michael Meigs
The Wimberley Players give Sheila Cowley's Stay a quality production with a strong cast and superb production values. This piece by the Florida playwright had its premiere with the Players Theatre in Sarasota, and its transfer between local theatres ready to try out new work is an encouraging sign that not all such venues are in lockstep with the likes of Arsenic and Old Lace, Neil Simon and the Texas gothic comedies of Jones, Hope & Wooten.
Deanna Lalich is Leanne Abrams, a quietly moody physician separated from Mark, her journalist husband of twenty years, played by Aaron Johnson. He's one of those lost sheep that keeps returning; although he has a new girlfriend, he inevitably gravitates back to the apartment to pick up clothes, books and the mothering of his perhaps-soon-to-be-ex-wife. Early in the opening act Mark deposits a legal document requiring Leanne's signature, presumably necessary for some sort of no-fault divorce.
Flashbacks designated by special lighting effects take us back to the couple's earliest years, when Mark had just gotten his big job and Leanne was on her way to med school. Playwright Cowley explores repeatedly the dynamic between them, with Mark's excited, distracted talk about The Places He'll Go and Leanne's ever-patient tracking and correcting of his schedules. We hear this trope again and again, with Leanne always resorting to a wistful, unsubstantiated, "It'll be all right. . . ."
These two appealing actors work that territory as far as it can be worked, but their relationship never becomes more vivid or understandable. Cowley is asking us just to assume the best and believe that they're real people. Though Leanne turns out to be an opthalmologic surgeon, a wizard in transplanting corneas, we never hear her talk about medicine other than to lament that a girl patient of hers is still waiting for transplants. Cowley has Mark the journalist bubble about the exotic destinations that his media organization is sending him to, and evidently has been sending him to for the past twenty years, but other than that the character doesn't have a thought in his head. The two don't give us any real insight into their de facto decision not to have children, and we hear almost nothing about their history or relationship, other than his bouncing off the walls with enthusiasm like a five-year-old and her solid acceptance of him like an eternally indulgent mommy.
The title Stay voices Leanne's yearning for her husband, and the promotional photo of the blindfolded Mark and the contemplative Leanne suggests the central ploy of this plot. Applying her medicines, Leanne deceives Mark into thinking that he has been in a car accident and has only just roused from lengthy unconsciousness to find himself with eyes blindfolded, utterly dependent upon the wife he would sort of like to stay with if only he wasn't fascinated by his much younger female editor and feeling obliged to stay with that woman, who's pregnant by him.
San Antonio Express-News Posts Alamo Theatre Arts Council 2013 Globe Award Winners for October 13 Ceremony
Auditions for Male Roles in Then There Were None by Agatha Christie, Austin Playhouse, September 28, 2013
Texas Lawyers and Accountants for the Arts (TALA) Relocates to Austin with New Board
Opening This Week in Central Texas, September 16 - 22, 2013
Video from Yadira De La Riva about 'One Journey,' sponsored by Teatro Vivo at the Mexican-American Cultural Center, October 4 and 5, 2013
(*) 2014 Woodlawn Theatre Season, San Antonio
(*) Video: 'Night, Mother by Marsha Norman, Woodlawn Theatre, San Antonio, September 13 - October 6
Video: Toby Minor Speaks about Teaching Stage Combat at Texas State Universty
Video Preview: Dial M for Murder by Frederick Knott, Universty of Texas, October 4 - 12, 2013
Alpha Psi Omega at University of Texas, Austin, welcomes cast members for fall productions, 2013
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