Audition Form Page

October 12 2019 Audition Form



MEGA AUDITIONS will be held October 12 2019 from 8 AM to whenever at Theatre Alliance. Please try to arrive no later than 9 am (earlier if you have a reading before then) so that we can sign you in by the time you learn the dance combo at 9:20 am


If you are submitting a video audition, please complete the form and send your video (or a link to it) by October 11 2019 to Jamie at


Please do not audition if you anticipate auditioning for ANY other community theatre shows or professional theatrical jobs that will require you to drop out of a TA show while it is in rehearsal or miss an abundance of rehearsals. If this happens, you will likely not be cast in another TA production for one calendar year. We hold auditions well in advance so that you may plan accordingly. We ask that you not waste our time or yours. “Life Emergencies” are different and will be treated as such.

• We typically rehearse Mondays through Thursdays, from 7-10 PM. Sometimes we deviate, circumstantially, which may often include weekends, especially with several shows ongoing at once.

• Please keep dates around performance weekends open, as we often extend the run of popular shows. Please keep this in mind if you are cast in ANY of our productions!

• If you are cast in any show and anticipate needing to drop-out, it is crucial that you notify Jamie immediately, no matter how far into the future the show you are cast in is scheduled.

• Closer to rehearsal time, Jamie will ask you to solidify any additional conflicts. If there are an abundance of conflicts, you may be asked to relinquish your role. Please try to keep your calendar free, as you know well in advance of your commitment.

Only two absences beyond scheduled and non-Theatre Alliance-related conflicts listed today will be allowed.  After two unscheduled, non-Theatre Alliance-related absences, you will likely be dismissed from the show.  We are experiencing a waning lack of commitment from some volunteers, and that hinders the quality of our performances, affecting the product our audiences expect from us.  We are in hopes this rule will help everyone understand our need for dedication to our craft.


Casting decisions will be posted on the Theatre Alliance website:  Follow the directions there to accept or to decline your role(s) offered. This will entail sending Jamie an e-mail at

If you have not accepted your role within three days of notification, it will be assumed you declined the role(s) offered. Theatre Alliance is a volunteer entity, so no roles receive compensation.


By checking below, you agree to portray Theatre Alliance in a positive light with any posts to social media sites, such as Facebook and Twitter, while engaged in our productions. Consider how what you are communicating could affect our image before you post, please! All rehearsals are CLOSED to others not involved with a production. Jamie must be consulted before inviting anyone other than a cast or crew member. No exceptions.


Many productions have scheduled performances or the potential for performances at 4 PM and at 8 PM on Saturdays. When cast in a Theatre Alliance production, the performer is expected to assist with set construction, Load-In, and Strike, in addition to attending all scheduled rehearsals/publicity events. Theatre Alliance gives first preference to auditionees who support our existence, whether working backstage, working behind the scenes, or sitting in our audiences. We also welcome new faces and encourage non-discriminatory casting, regardless of race, creed, religion, gender, orientation, or physical/mental challenges.


Lyrics by Tim Rice
Music by Andrew Lloyd Webber


Friday, March 13 2020 at 8 pm
Saturday, March 14 2020 at 8 pm
Sunday, March 15 2020 at 2 pm

Thursday, March 19 2020 at 8 pm
Friday, March 20 2020 at 8 pm
Saturday, March 21 2020 at 8 pm
Sunday, March 22 2020 at 2 pm

Thursday, March 26 2020 at 8 pm
Friday, March 27 2020 at 8 pm
Saturday, March 28 2020 at 8 pm
Sunday, March 29 2020 at 2 pm

POSSIBLE EXTENSION DATES: March 18 and 25 at 8 pm, March 21 and 28 at 2 pm, March 22 and 29 at 5:30 pm
Evita charts the young and ambitious Eva Peron's meteoric rise to sainthood. Set in Argentina between 1934-1952, the Tony-winning musical follows Eva Duarte on her journey from poor illegitimate child to ambitious actress to, as wife of military leader-turned-president Juan Peron, the most powerful woman in Latin America, before her death from cancer at age 33.

The events in Evita's life are presented in song and commented on by the shows narrator, Che. Well-known numbers from Tim Rice and Andrew Lloyd Webber's musical masterpiece include Don't Cry for Me Argentina, Oh What a Circus, Buenos Aires and Another Suitcase in Another Hall.


Act One

"A Cinema in Buenos Aires, 26 July 1952" – Crowd
"Requiem for Evita" – Chorus
"Oh What a Circus" – Ché and Crowd
"On This Night of a Thousand Stars" – Magaldi
"Eva and Magaldi" / "Eva, Beware of the City" – Eva, Magaldi, Evita's Family
*"Buenos Aires" – Eva and *Crowd
"Good Night and Thank You" – Ché, Eva, Magaldi, Lovers
"The Lady's Got Potential" – Ché (often cut from productions)
"The Art of the Possible" – Perón, Generals, Eva
"Charity Concert" – Perón, Ché, Magaldi, Eva
"I'd Be Surprisingly Good for You" – Eva and Perón
"Hello and Goodbye" – Eva
"Another Suitcase in Another Hall" – Perón's Mistress, Men's Chorus
"Peron's Latest Flame" – Ché, Aristocrats, Soldiers, Eva
"A New Argentina" – Eva, Ché, Perón, Crowd

Act Two

"On the Balcony of the Casa Rosada" – Perón, Ché, Crowd"
"Don't Cry for Me Argentina" – Eva
"High Flying Adored" – Ché and Eva
"Rainbow High" – Eva and Dressers
"Rainbow Tour" – Perón, Advisers, Ché
"The Actress Hasn't Learned the Lines (You'd Like to Hear)" – Eva, Aristocrats, Ché
*"And the Money Kept Rolling In (And Out)" – Ché and Crowd
"Santa Evita" – Children and Chorus
"A Waltz for Eva and Ché" – Eva and Ché
"You Must Love Me" – Eva --Written for the 1996 film, "You Must Love Me" was added to the 2006 London production and has been used in other post-film productions. Its placement varies from right after "Waltz for Eva and Che" to right before "Eva's Final Broadcast."
"Peron's Latest Flame" - Soldiers
"She Is a Diamond" – Perón
"Dice Are Rolling" / "Eva's Sonnet" – Perón and Eva
"Eva's Final Broadcast" – Eva
"Montage" – Eva, Che, Perón, Chorus
"Lament" – Eva, Embalmers, Che

A song with an asterisk (*) before the title indicates a dance number; a character listed in a song with an asterisk (*) by the character's name indicates that the character exclusively serves as a dancer in this song, which is sung by other characters.

[accordions][accordion title="Click for Cast Information" active="yes|no"]CAST INFORMATION

EVITA: (Female) Must be able to play ages 18 to 33 while projecting both a toughness and charisma. She is a beautiful, ambitious and power-seeking woman, who rises to become the spiritual leader of Argentina by the age of 26. She is also a woman of few options, who uses her sexuality to build power. A legit Mezzo with a clear, strong mix that can belt to a high G and sing to a low E (below middle C).

CHE: (Male, 18-35) This character is dashing, impulsive, jealous, and manipulative. Che is a political activist and the narrator of the show, a radical who isn’t reluctant to ask tough questions and demand answers. An actor/singer that must move very well with a high, rock tenor voice that can sing a low A to high B, falsetto to high F.

PERON: (Male, 30-50) An officer in the Argentinean army who rises to become the Argentine President. He is a man who is dignified, charming, and authoritative. A strong actor and singer who can play character/leading man. Vocal bass/baritone to high F.

MISTRESS: (Female, 13-18) A very beautiful, fragile, vulnerable, innocent young girl who plays Juan Peron’s teenaged Mistress. She is “dismissed” out of Peron’s life by his future wife, Eva. The Mistress ponders the rejection during her song, “Another Suitcase in Another Hall.” She will also appear in the ensemble. Must be able to move well and sing a low A to a high E.

MAGALDI: (Male, to play 30 – 40) A tango singer with whom Eva has her first love affair. A charming loser – never quite made it. Has the first number in the show, “On This Night of a Thousand Stars” and sets up the world in which Eva exists and establishes a Latin flavor to the piece, which is essential. He will also appear in the ensemble. A Latin American “personality” type and feel that needs to be bigger than life, but real at the same time. Sings high tenor High G.

ENSEMBLE: Seeking a broad range of males and females of all ethnicities from late teens to 70s. Excellent singing voices in all ranges. All must understand the Latin temperament even if they don’t fit into the “look.” All shapes and sizes to play everything from Generals to Peasants. A fully featured, versatile ensemble that helps define this world. Movement ability a plus.

CHILDRENS ENSEMBLE: Looking for young boys and girls. Must sing and be able to hold harmonies, act and move moderately well. These young actors will be featured as well as appearing in the adult ensemble at times. [/accordion][/accordions]

By Ray Bradbury


Friday, April 17 2020 at 8 pm
Saturday, April 18 2020 at 8 pm
Sunday, April 19 2020 at 2 pm

Thursday, April 23 2020 at 8 pm
Friday, April 24 2020 at 8 pm
Saturday, April 25 2020 at 8 pm
Sunday, April 26 2020 at 2 pm

POTENTIAL EXTENSION DATES: April 25 at 2 PM, April 26 at 5:30 PM
One strange and dark year long ago, Halloween came early. It came on Oct. 24, three hours after midnight, to be precise. The exact same time that Cooger and Dark's Pandemonium Shadow show rolled into Green Town, Ill.

As the town clock chimes 3:00, James Nightshade and William Halloway leave their beds to watch the train pull in, but there is no one manning the locomotive and no one in the cars behind. Yet the siren song of a calliope beckons all with impossible dreams and youth regained. First lured by its promises, the two boys will soon discover the diabolical truth about the carnival.

"A haunting and heartening piece." -The Guardian

"Has shades of Mark Twain, but also a touch of Stephen King. It is as if Huckleberry Finn and Tom Sawyer had found themselves lost in a sinister fairground full of supernatural characters." -Daily Telegraph

[accordions][accordion title="Click for Cast Information" active="yes|no"]CAST INFORMATION

Character Breakdown (in order of appearance)

Note: Although slightly different, it may behoove you to read the book or see the 1983 movie.  Double casting possible, indeed likely

Ray Bradbury (Narrator) -mature, rich and articulate

Lightning Rod Salesman - cunning self-prophet, of mythological proportions, forecasts the coming storms and lightning strikes of shadowy events. A drifter.

Will Halloway - caring with an innate awareness of the world around him, curious but cautious of temptation, Blood brother of Jim born on light side of almost being age 14

Jim Nightshade - strikes out racing to adulthood, reckless longing search for adventure no matter the consequences, born on the dark side of almost being age 14

Mr. Halloway - own librarian trapped by time, holds the secret of a valiant warrior but lives through books & other men’s lives. An older father fearful of aging & lost time with his son.  Age 50’s

Mr. Tetley - Cigarman, Proprietor, wealth & self-aggrandizement have made him a deviant narcissist

Croseti - Barbershop Proprietor/longs for a circus of sweet innocence, knows everyone’s story and illusions of a better life.

Mr. Dark - unleashes our greatest fears and secret wishes. Cunning-seductive-irreverent. Halloway’s nemesis. Eloquent in language. Ringmaster of “The Pandemonium Theatre Company”.  Tall.   Age 50 – 60

Miss Foley - spinster, lost beauty, secret past, her life beyond students is whimsical & playful, she’s a curious creature. Age 40-60

Mrs. Halloway - attractive, gentle, sentimental, a sensitive easily unsettled by change.

Jim’s Mom - yearns for love, the warmth of romance/lonely single parent; although pretty can appear somewhat bitter.

Ice Woman - beautiful, graceful yet carries horrific reflections of broken dreams and promises

Cooger/Electrico - classic rigger, carney man-bodybuilder; mysterious, looming aggressive presence. Dark’s Faustian counterpart. Age 30-50

Robert/Young Cooger - a changeling, smallish wicked smart child of  age 14. Dark, mischievous

Officer Kolb, Policeman - handsome, strong, martial arts

Girl - young, pretty, strong, dancer

Dust Witch -  a seductive, alluring, soul snatcher “…born in the dust, raised in the dust and comes back from the dust”. 

Townspeople, Circus Freaks

Music by Mark Hollmann
Lyrics by Mark Hollmann Greg Kotis
Book by Greg Kotis


Friday, May 15 2020 at 8 pm
Saturday, May 16 2020 at 8 pm
Sunday, May 17 2020 at 2 pm

Thursday, May 21 2020 at 8 pm
Friday, May 22 2020 at 8 pm
Saturday, May 23 2020 at 8 pm
Sunday, May 24 2020 at 2 pm

POSSIBLE EXTENSION DATES: May 28, 29, 30 at 8 pm, May 31 at 2 pm, May 23 and 30 at 2 pm, May 24 and 31 at 5:30 pm
A sidesplitting sendup of greed, love, revolution (and musicals!), in a time when water is worth its weight in gold.

Winner of three Tony Awards, three Outer Critics Circle Awards, two Lucille Lortel Awards and two Obie Awards, Urinetown is an hilarious musical satire of the legal system, capitalism, social irresponsibility, populism, bureaucracy, corporate mismanagement, municipal politics and musical theatre itself! Hilariously funny and touchingly honest, Urinetown provides a fresh perspective on one of America's greatest art forms.

In a Gotham-like city, a terrible water shortage, caused by a 20-year drought, has led to a government-enforced ban on private toilets. The citizens must use public amenities, regulated by a single malevolent company that profits by charging admission for one of humanity's most basic needs. Amid the people, a hero decides that he's had enough and plans a revolution to lead them all to freedom!

Inspired by the works of Bertolt Brecht and Kurt Weill, Urinetown is an irreverently humorous satire in which no one is safe from scrutiny.

[accordions][accordion title="Click for Cast Information" active="yes|no"]CAST INFORMATION

Character Breakdown

Caldwell B. Cladwell - Lead - Baritone - Non-Dancing - Mature Adult - The money-grubbing megalomaniacal CEO of Urine Good Company, which owns all the lavatories in town. Cladwell is selfish and cruel, and believes firmly in survival of the fittest. He also firmly believes that it’s his right to charge high fees, collect the money, and use it to fund false research and line his own pockets. He has just enacted another round of exorbitant fee hikes that will send even the wealthiest scurrying off to Rio. Cladwell loves his daughter, Hope, and has bought her the best education money can buy, but becomes quickly disenchanted when he feels betrayed by her. Cladwell reminds his daughter, Hope: “Don't be the bunny. Don't be the shoe. You don't get stepped on - No, the one who steps is you!” Must have excellent comic timing.

Hope Cladwell - Lead - Soprano - Young Adult - The idealistic daughter of Caldwell B. Cladwell (and illegitimate daughter of Penny Pennywise). She has recently graduated from the Most Expensive University in the World and naively wants to use her newly purchased education to do good as an employee at her father’s company. Hope is curious and treasures her education, though she cheerfully recalls that the purpose was to “learn how to manipulate great masses of people.” She begins the show an idealistic, occasionally ditzy romantic, but when she is exposed to her father’s evilness and the cruelty of others, she becomes more jaded and disillusioned. Must have excellent comic timing.

Bobby Strong - Lead - Tenor - Young Adult - A dashing everyman who is an assistant custodian at Amenity #9 under the supervision of Penny Pennywise. He is close to his parents and heartbroken when his father, Old Man Strong, is unable to pay for the “privilege to pee,” and is sent off to Urinetown. Bobby has a strong sense of right and wrong, and a sunny view on what a good society “should” be. He leads the revolution of the poor against Caldwell B. Cladwell, and surprises himself by falling in love with Cladwell’s daughter, Hope. This love takes an interesting turn when Bobby kidnaps Hope so that she can’t work against the revolution. While his feelings for Hope are genuine, Bobby is not past resorting to violence if the task requires it. Bobby is idealistic, charming, and a natural leader. According to Little Sally, “Everybody loves Bobby Strong.” Must have excellent comic timing and natural charisma.

Officer Lockstock - Supporting - Baritone - Adult - Non-Dancer - The principal narrator and the leader of the cops who polices the toilets. Bold, brash, and unsympathetic, Officer Lockstock is completely dedicated to completing his job effectively -- whether he’s morally correct in doing so, or not. He’s unflappable, even in the face of the horrors he enacts on the people of Urinetown. Lockstock does have a soft spot for Little Sally, a poor urchin with a keen intelligence, and chats with her often, occasionally giving her a penny so she can pee. He also advises Bobby -- gruffly, but wisely -- to keep his head down and stay out of trouble. He truly believes that what he does is all in the service of keeping peace and order in town. Must have excellent comic timing.

Little Sally - Supporting - Mezzo-Soprano - Late Teen/Young Adult - Non-Dancer - A poor street urchin and co-narrator of the show. Little Sally is small in stature, but big in smarts and even bigger in opinions. She is irreverent, intelligent, and always one step ahead of Officer Lockstock. Little Sally is an enthusiastic and hopeful member of the poor rebellion, even calling out, “You can punish our bodies… but you can never punish our spirits!” Little Sally is taken by the budding romance between Bobby and Hope, and it makes her something of a romantic herself -- a new feeling for the streetwise urchin. Must have excellent comic timing.

Penelope Pennywise - Supporting - Mezzo-Soprano (Belter) - Adult - Mover - The jaded, ruthless proprietor of the city’s worst public toilet -- Amenity #9. Penny has seen it all before, and has no patience for the poor people she serves. Penny is penny-pinching, fierce, and gutsy, and suffers no fools nor beggars. She tries to be a good boss to Bobby, but won’t relent when Bobby asks if his father can pee for free. Penny knows how to use her position to better her own life, and has no shame about it. A bold woman who knows what she wants, Penny holds onto her job and her privileges with two tight fists. . We discover late in the show that Penny is actually Hope’s mother, and is uncharacteristically protective of her. When Penny is forced to choose between her own well-being and protecting Hope, she selflessly allows the officers to haul her away to Urinetown in order to save her daughter. Must have excellent comic timing and a powerful, high belt.

Joseph “Old Man” Strong - Featured - Non-singing - Non-Dancing - Adult/Mature Adult -- Bobby’s poor, rebellious father, with whom he is very close. Old Man Strong knows the way things work -- he has no illusions about the ways Penny, and everyone else in power, make arrangements to serve their own needs. Old Man Strong refuses to pay the fee to pee, so he is sent to Urinetown, a mysterious place from which no one returns. May double as Hot Blades Harry. Must have excellent comic timing.

Josephine “Old Ma” Strong - Featured - Mezzo-Soprano (belt) - Non-Dancing - Adult/Mature Adult

Officer Barrel - Featured - Baritone - Adult - Non-Dancer -- Officer Lockstock’s partner, a gruff, brash cop. Late in the play Officer Barrel reveals that he harbors a secret crush on Officer Lockstock. Despite his efficiency in his position, Officer Barrel occasionally has doubts about whether what they’re doing is right. He is an excellent right-hand man to Officer Lockstock. Must have excellent comic timing.

Senator Fipp - Featured - Tenor - Adult - Mover -- A corrupt politician. Fipp is in Cladwell’s pocket, and will do anything to stay there and reap the benefits. Fipp is selfish -- he refuses to give Little Sally a penny so that she can use the Amenity-- and demands exorbitant payment for his political support. He does have the foresight to see that Cladwell’s industriousness is unsustainable. He is creepy and sneaky, often lurking in corners. Must have excellent comic timing.

Mr. McQueen - Featured - Baritone - Adult - Mover - Cladwell’s assistant. Mr. McQueen is flamboyant, sneaky, and soft-willed-- willing to do anything Cladwell asks without a second thought. He is always one step behind Cladwell. Mr. McQueen is scared of the poor, despite the fact that he claims they have no power, and is always scurrying away to avoid confrontation with them. Must have excellent comic timing.

Mrs. Millenium - Featured - Adult - Mover - Soprano -- An office worker in Cladwell’s office who aspires to be his lead secretary. She “gets wise” to Cladwell’s evil when she sees him sacrifice his own daughter in pursuit of money and power. Must have excellent comic timing.

Hot Blades Harry - Featured - Young Adult, Adult - Mover - Baritone -- One of the poor. Dangerous, unpredictable, and almost sadistically violent. Harry is cynical and has no faith in Bobby’s movement. He frequents Amenity #9. Must have excellent comic timing.

Little Becky Two Shoes - Featured - Young Adult - Mover - Soprano -- One of the poor. Pregnant and crippled. She is Harry’s partner. Becky, like Harry, is quick to violence and lacks mercy for Hope. She frequents Amenity #9. Must have excellent comic timing.

Soupy Sue - Featured - Adult - Mover - Mezzo-Soprano -- One of the poor. Affectionate, sweet, and easily terrified.. She frequents Amenity #9. May double as Caldwell’s Secretary. Must have excellent comic timing.

Tiny Tim - Featured - Adult - Mover - Baritone -- One of the poor. An awkward, easily confused man-boy. He frequents Amenity #9. Must have excellent comic timing.

Dr. Billeaux - Ensemble - Adult - Non-Dancer - Tenor -- A scientist in the pocket of Urine Good Company. A bit nutty, Dr. Billeaux can sometimes appear the picture of a “mad scientist.” May double as Tiny Tom. Must have excellent comic timing.

Ensemble Poor -- Includes Robby the Stockfish and Billy the Boy. Members of the poor who frequent Amenity #9. Must have excellent comic timing.


Type anything you want to add to your audition form

List all your conflicts for the shows above (i.e., choir practice every Thursday, wedding on the 27th, etc). If you have none, please type NONE so that we know you have thought about it.

Click on October 12 in the calendar below and select a time slot for your reading.

After that, click next and then SUBMIT to finish this form (If you don't, it will not be recorded!)

[booked-calendar calendar=68 year="2019" month="10" day="12"]
Thank you for completing the audition form. If you are submitting an audition video, please do so by October 11 or talk to Jamie. Please click next and then SUBMIT to finish this form (If you don't, it will not be recorded!)