Rubber City Theatre: Season 2023 auditions - LOA and SPT Season

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Rubber City Theatre: Season 2023 auditions - LOA and SPT Season


Season auditions for the 2023 season productions.
To submit – email your headshot and resume to We will email you back with an audition slot.

LOA (ref. LORT)
$430.00 weekly minimum
SPT (Tier 1)
$293.00 weekly minimum


Musical LOA (Letter of Agreement) Auditions: 
10am-1:30pm (singers)/2:30pm-6pm (dance call)  – April 29;
2-4:30pm (dance call)/5-9pm (singers) – April 30;
Call backs (if needed) – 6:30-10:00pm – May 1.

Plays SPT (Small Professional Theatre) Auditions:
​May 6 – 10am-2pm
May 7 – 5pm-9pm
May 8 – Call backs 7-10pm (if needed)

Rubber City Theatre
Guzzetta Hall
228 E Buchtel Ave.
Akron, OH 44325

Check in on 2nd floor lobby across from Lot 17. Signage will be posted to check in and waiting room.


Expected to attend:
Executive Artistic Director: Dane CT Leasure

LOA Season
Sarah Elaine Bailey – Director
Rachael Katherine Palermo – Choreographer
Anthony Trifiletti – Music Director

Anything Goes:
Dane CT Leasure – Executive Artistic Director/Director
Brandon Briggs – Choreographer
Anthony Trifiletti-Music Director

White Christmas:
Dane CT Leasure – Director
Megan Gargano- Choreographer

SPT Season
Baron of Brown Street
Joe Soriano – Director
Eric Mansfield – Playwright

Director – TBD
Julia Fisher – Playwright

Dane CT Leasure – Director

Matilda @ Goodyear Theatre
SM Prep Week: 05/09/23
First Rehearsal: 05/16/23
Tech: 06/03/23
Opening: 06/09/23
Closing: 06/11/23

Anything Goes @ Goodyear Theatre
SM Prep Week: 06/20/23
First Rehearsal: 06/27/23
Tech: 07/15/23
Opening: 07/21/23
Closing: 07/23/23

White Christmas @ Goodyear Theatre
SM Prep Week: 11/21/23
First Rehearsal: 11/28/23
Tech: 12/16/23
Opening: 12/21/23
Closing: 12/23/2

Baron of Brown Street
First rehearsal: Aug 15, 2023
Tech: Sep. 2-7, 2023
Opening: Sep. 8, 2023
Closing: Sep 16, 2023
Performances Sep. 8, 9, 14, 15, 16 at 7:30pm; Sep. 10 at 2:30pm, 2023

First rehearsal: Sep 12, 2023
Tech: Sep 30-Oct 5, 2023
Opening: Oct 6, 2023
Closing: Oct 14, 2023
Performances Oct 6, 7, 12, 13, 14 at 7:30pm; Oct 8 at 2:30pm, 2023

First rehearsal: Oct 10, 2023
Tech: Oct 21-26, 2023
Opening: Oct 27, 2023
Closing: Nov 4, 2023
Performances Oct 27, 28 & Nov 2, 3, 4 at 7:30pm; Oct 29 at 2:30pm, 2023​

For questions, please contact:

We are seeking fully vaccinated and boosted actors for this production.

An Equity Monitor will not be provided. The producer will run all aspects of this audition.

Equity’s contracts prohibit discrimination. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit.

Equity encourages everyone participating in the auditions to wear a two-ply cloth face mask, surgical mask, singer’s mask or respirator (N95, KN95 or KF94). Single ply face masks, gaiters and bandanas are not recommended. Singer’s masks can be found at

Equity encourages members to prepare for their audition prior to arriving at the venue, to the extent that they can (e.g. get dressed, hair/make-up, etc.) to avoid crowding in the bathrooms and dressing rooms.

Holding/Audition room information:
The maximum capacity in the holding room is: 20.
The maximum capacity in the audition room is: 15.

In reference to the character descriptions – most characters we encounter currently are on the binary and are written with the he/him or she/her pronouns and you will see that are in the following descriptions. But, however limiting the descriptions are, our casting seeks to be as inclusive as possible and we invite gender non-conforming, genderqueer, transgender, and non-binary actors to submit for the roles they most identify with. We will also list race/ethnicity when specific to the character but are otherwise seeking all races and ethnicities. As an ADA compliant theatre, we welcome performers of all abilities and will make all reasonable accommodations in order to cast performers, regardless of disability, in any role possible. Please let us know if you have any questions, concerns, or if there are any accommodations we can provide. (Language developed by Kevin Kantor and Emily Tarquin from the Actors Theatre of Louisville).

RCT has engaged with a qualified Intimacy Director to work with all actors. The Intimacy Director will work with the actors to create moments of kissing, nudity, and/or simulated sex that work within the actors’ boundaries. We may discover other moments of casual or familial intimacy between characters (e.g. casual touching, embracing) that work  within the boundaries of each actor.

Local actors are strongly encouraged to audition.

Always bring your Equity Membership card to auditions.

Equity and Non-Equity actors for roles (see breakdown).
Local actors encouraged to audition.
In accordance with Rubber City Theatre’s COVID-19 policies, all actors must be vaccinated against the COVID-19 virus (Either two does of the Moderna/Pfizer vaccine, or one dose of the J&J vaccine)

LOA Season
Prepare two, 16-bar, pieces for the audition. Send in your headshot and resume. Please specify any known conflicts and if housing would be needed.
SPT Season
Please prepare two contrasting monologues (one classic and one one contemporary) of your choosing. Send your headshot and resume. Please specify any conflicts and if housing would be needed.

LOA Season
By appointment. 10 minute slots for the singing portion followed by a 30 minute dance call either earlier or later that day depending on which day you choose.
SPT Season
By appointment. 10 minute slots.

Roles will be understudied in the LOA season.
MISS TRUNCHBULL – (Male/Female, age 30’s to 40’s) – a gigantic, holy terror, a fierce tyrannical monster; headmistress of Crunchem Hall Primary School; preferably tall (6’ plus), must be physically imposing and strong; must sing. (Hi Baritone, F#)
MISS HONEY – (Female, 25-35) – Matilda’s kindhearted teacher. Fragile – if she fell over she would smash into a thousand pieces like porcelain. She is tired of living in fear under Miss Trunchbull. Vocal range top: D. Vocal range bottom: F3.
MR. WORMWOOD – (Male, age 35-45) – Matilda’s uncaring father. A mean crooked crook; scheming, dense, slick; should have an ease of movement, or skills in clowning or pantomime; must sing. Vocal range top: A4. Vocal range bottom: D3.
MRS. WORMWOOD – (Female, age 35-45) – Matilda’s self-absorbed, negligent mother, and an amateur ballroom dancer. Shallow, vain; loud of voice, dress and makeup; must sing (Belt to top F/G) and dance or strong movement. Vocal range top: F5. Vocal range bottom: A3.
MICHAEL WORMWOOD/ENSEMBLE – (Male, can play late teens to 25) – Matilda’s older brother; a man of few words and even fewer thoughts; will double as an ensemble.
MRS.  PHELPS – (Female, age 25-45) – Local librarian; warm and nurturing; loves a good story; possibly Caribbean or other accent; must sing as ensemble.
THE ESCAPOLOGIST/SERGEI/ENSEMBLE – (Male, age 25-39) – Charismatic, confident, warm, and caring. Might double as Sergei, a Russian Mafia Boss who is physically intimidating and has a Russian accent. Must sing as ensemble; movement a plus. Must sing (Hi lyric baritone).
RUDOLPHO/DOCTOR/ENSEMBLE – (Male, age 20-39) – Mrs. Wormwood’s dance partner; should be strong and athletic; flare for character comedy, strong stamina for the dance; must sing (Hi Baritone to A [in passing] and F [consistent]); very strong dancer, Latin ballroom a plus.
THE ACROBAT/HENCHMAN 1/ENSEMBLE – (Female, mid 20’s to late 30’s) – Graceful, elegant; doubles as Ensemble; must sing. Vocal range top: A4. Vocal range bottom: D4.
CHILDREN”S ENTERTAINER/HENCHMAN 2/ENSEMBLE: – (Male, mid 20’s to late 30’s) – A party entertainer at the start of the show. Must sing and move well. Vocal range top: Eb4. Vocal range bottom: F#3.
ACROBAT’S SISTER/HENCHMAN 3/ENSEMBLE/COOK – (Female, mid 20’s to late 30’s) – The Acrobat’s sister and Ensemble. Must sing and move well.
All children’s roles have been cast.

RENO SWEENEY – (Female, mid 20’s to mid 30’s)  A charismatic nightclub singer and former evangelist; she is clever, funny, persuasive, and extremely confident. A strong singer and dancer with comedic timing. Must be a strong tap dancer. VOCAL RANGE: Alto/Belt. Kisses BILLY and OAKLEIGH.
RENO’S ANGELS (4) – (Female, mid 20’s to mid 30’s) Backup singers/dancers in Reno’s act; they are showgirls with pizzazz and personality. All have strong singing and dancing skills including tap dance. VOCAL RANGE: Various.
HOPE HARCOURT – (Female, mid 20’s-mid 30’s) A beautiful heiress with a strong sense of duty, she is willing to sacrifice love and marry Lord Evelyn to satisfy her mother’s wishes. Has strong singing and dancing skills. VOCAL RANGE: Soprano. Kisses BILLY.
BILLY CROCKER – (Male, mid 20’s to mid 30’s) Elisha Whitney’s kind but inefficient general manager, who is in love with Hope. He is charismatic and charming and has strong comedic timing. Must have strong singing and dancing skills. VOCAL RANGE: Baritone/Tenor. Kisses RENO and HOPE.
LORD EVELYN OAKLEIGH – (Male, late 20’s to mid 40’s) Hope’s energetic, quirky, and good-natured aristocratic fiancé. English accent. Has strong singing and dancing skills. VOCAL RANGE: Baritone. Kisses RENO.
EVANGELINE HARCOURT – (Female, late 40’s to early 50’s) Hope’s overbearing mother who is mainly concerned with money and social status. Sings with ensemble only.
MOONFACE MARTIN – (Male, late 20’s to mid 40’s) A loveable gangster who is loyal and willing to go the distance for a friend. Has strong comic timing, plus the ability to sing and move well. VOCAL RANGE: Baritone.
ERMA LATOUR – (Female, early 20’s to mid 30’s) A playful, independent, impulsive, and lovely clueless “dame” – a typical 20’s “gun moll” with a “Joisey” accent. She has the kind of physical presence that immediately causes every man within eyesight to zing! Strong singing and dancing. VOCAL RANGE: Mezzo/Belt.
ELISHA WHITNEY – (Male, early 40’s to late 50’s) A successful Ivy league Wall Street banker who is nearsighted and a gloriously functional drunk; huge personality, used to snapping his fingers and having the world stop to listen, and thinks he is always right. Ability to move well is a plus. VOCAL RANGE: Baritone.
REGINALD STRONG – (Male, late 50’s to early 60’s) Captain of the S. S. American. Ability to move well is a plus. VOCAL RANGE: Baritone.
ENSEMBLE – (all genders) Passengers, stowaways, and members of the crew of the S.S. American. All sing and move well. Various roles will be cast from the ensemble.

Bob Wallace – (mid 30’s to early 40’s) – A major singing star, Bob is the guiding force behind the song and dance team of Wallace and Davis. He wears his fame easily, but has some trouble with social and romantic interactions. Despite occasional gruffness, he is a deeply kind and principled man who is searching for true love. Excellent singer with a crooning style who moves very well. Tap and Jazz. Baritone. Required: two kisses with BETTY HAYNES.
Phil Davis – (mid 30’s to early 40’s) – The fun-loving song-and-dance partner of the team Wallace and Davis. An irrepressible clown, operator, and incorrigible ladies’ man who is determined to see his friend happy, even if it requires scheming and outright deception. He has a boyish charm. Strong ballroom, jazz and tap-dancing needed. Baritone-tenor. Requested: a kiss with JUDY HAYNES.
Betty Haynes – (mid-20’s to late 30’s) – Sensible, responsible half of the Haynes sisters act. Classic elegance. Destined to be a star, but hesitant to take the spotlight. Devoted to her sister. Hides a yearning for true love under a protective shell. Female singer of quiet beauty and charm with a rich chest mix and soprano extension. Must move well. Required: two kisses with BOB WALLACE.
Judy Haynes – (mid-20’s to mid 30’s) – Younger, more ambitious and slightly scheming other sister. Wholesome and adorable, sexy and flirty. Strong jazz and tap dancer. Strong singer with a chest mix. Requested: a kiss with PHIL DAVIS.
General Henry Waverly – (late 50’s to mid 60’s) – Retired Army general with a curmudgeonly military exterior, adjusting to retired life in post-WWII America. Precise and orderly, struggling to run the Inn in Vermont. A man of integrity. Underneath, a warm compassionate man in need of family and love. With the exception of one line, can be a non-singing role.
Martha Watson – (late 40’s to mid-60’s) – Once a Broadway star, now the General’s housekeeper. The true force behind running the Inn. Very dry wit and frank with a wisecracking sense of humor. Big hearted, but unsentimental. Irrepressible meddler, believing she acts on everyone’s best behalf. Strong singer and mover, Broadway belter.
Susan Waverly – (young girl 9 to 18) – The General’s granddaughter. Lovable and outgoing. A bit precocious, but wise beyond her years. Gets bitten by the stage bug and is great at it. Excellent belt voice, must move very well.
Ralph Sheldrake – (mid 30’s to early 40’s) – Jokester Army buddy of Bob and Phil’s, now a major television executive. Fast-talking, loud, brash New York professional with a good head on his shoulders. Doubles as a Winter Tourist.
Rita and Rhoda – (mid 20’s to early 30’s) – Bob and Phil’s two star chorus showgirls. Brash, sexy and fun. Perhaps not the brightest.
Ezekiel Foster – (mid 40’s to late 50’s) – Practical, the ultimate laid-back New Englander. A man of few words. Caretaker at the Inn. Takes life at a very very leisurely pace. Doubles as Train Conductor.
Mike – (mid 20’s to late 30’s) – Bob and Phil’s Stage Manager. Can be overly dramatic and often hysterical, but gets the job done. Works to attempt a sense of control and order for the company. Doubles as Mr. Snoring Man, and Winter Tourist.
Tessie – (late 20’s to 30’s) – Young character woman to play Bob and Phil’s secretary, Head Seamstress, Mrs. Snoring Man, and Winter Tourist. Mezzo-soprano, belter.
Ensemble of Dancers – (all genders, early 20’s to mid 30’s) to play assorted speaking roles as well as being a strong singing ensemble. Strong in Ballroom, Jazz and Tap. Dance style is 1950’s Hollywood movie musical style.


Synopsis: (Inspired by True Events) Lenny King, a homeless man living alone in a tent under an Ohio bridge, becomes an overnight celebrity after a newspaper story details Lenny’s kind heart in forgiving three teens who set him on fire and laughed at his pain as he burned.
LENNY – (Male, ages 45-55) A homeless man who has recently returned to living under the Brown Street Bridge after being hospitalized when he was attacked by some street punks. He likes and generally cares about people, but right now just wants some peace and quiet following the attack.
​ENSEMBLE – (3 male and 2 female actors, mid 20’s-mid 60’s) The ensemble of actors will play a variety of the following characters coming in and out of Lenny’s world: BOB – local newspaper editor. COLIN – uppity attorney. JAMIE – college student studying photography. MARK – homeless man, who was also attacked the night Lenny was burned. ERICA and NICKIE – paramedics who look out for Lenny’s well-being. PUNK 1 and PUNK 2 – street punks up to no good. JONATHAN – minister of local community church. MARY – pushy church leader with Jonathan. TYLER – Lenny’s son who hasn’t seen his dad since he was 12. ELON and RITA – arrogant investment banker and his pompous PR mouthpiece. ALLY – Lenny’s former high school student who is now grown and has her own family living in Ohio.

Note: ERICA and NICKIE do a medical examination of LENNY, which may involve removing some of LENNY’s clothing and tending to his wounds.

Synopsis: A modern-day feminist retelling of The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson, Hyde is a world-premiere commission written for Rubber City Theatre by Julia Fisher.

Jackie, a young Black psychopharmacologist, has developed a drug called Hyde that allows women and femmes to access the parts of themselves repressed by society: pleasure, liberation, certainty, fury. Discouraged after countless investors refuse to fund a clinical trial of her drug, Jackie decides to take Hyde on her own – and her group of best friends decide to take it with her. Uninhibited and primal, this adaptation explores what could happen if women were granted access to their rage.
Content Notice: frequent strong language; sex; masturbation; depiction of BDSM & kink; potential nudity; description and depiction of violence, including violence within a sexual situation; drug use & addiction; adverse medical reactions; discussion and depiction of sexism and misogyny; discussion of racism; discussion of homophobia; drug testing on animals.

As this is a World Premiere commission, small changes to the script will occur between now and the production, but all of the major intimate and violent moments have been detailed below. If you have questions about any of this content or the requirements listed below, feel free to contact the playwright at

JACKIE – (she/her, late 20s-30s, Black) – A scientist. Cares deeply for her community, even when she’s too deep in her research to see what they really need. Enneagram 5.Required: kissing and embracing with CHARLIE; simulated manual stimulation from CHARLIE; simulated vaginal sex with CHARLIE, including nonconsensual bondage of CHARLIE and potential consensual bondage of JACKIE; intense violence toward CHARLIE in a sexual situation; depiction of taking drugs and drug addiction.
Optional: nudity or partial nudity.
CHARLIE – (he/him, late 20s-30s, white) – A park ranger. Jackie’s sweet, kind-hearted, long-term boyfriend. Enneagram 7.Required: kissing and embracing with JACKIE; simulated manual stimulation to JACKIE; simulated vaginal sex with JACKIE, including nonconsensual bondage of CHARLIE and potential consensual bondage of JACKIE; intense violence from JACKIE in a sexual situation.
Optional: nudity or partial nudity.
DR. LANYON – (she/her, 60s-80s, any race/ethnicity) – A scientist who runs her own lab. Jackie’s mentor and idol. Enneagram 1.
M – (she/her or they/them, 20s-40s, any race/ethnicity) – A teacher. Jackie’s best friend, and the steady rock of the friend group. Is pregnant with her first child, and is privately terrified. Enneagram 2. Plays other small ENSEMBLE roles.Required: depiction of taking drugs.
Optional: nudity or partial nudity; simulated masturbation.
​L – (she/her, 20s-40s, any race/ethnicity) – A barista. Would have been a hippie if she had been born earlier. Bisexual, but doesn’t know it yet. Enneagram 4. Plays other small ENSEMBLE roles.Required: depiction of taking drugs; kissing and embracing with F; simulated manual stimulation and/or oral sex with F; licking and food play with F.
Optional: nudity or partial nudity.
F – (she/her or they/them, 20s-40s, any race/ethnicity) – A nursing home caregiver. Blunt, confident, takes no shits. Queer. Enneagram 8. Plays other small ENSEMBLE roles.Required: depiction of taking drugs; kissing and embracing with L; simulated manual stimulation and/or oral sex with L; licking and food play with L.
Optional: nudity or partial nudity.
O – (she/her or they/them, 20s-40s, any race/ethnicity) – A climate change activist. Underneath a soft-spoken exterior, they are burning with passion for the environment and our collective future. Enneagram 9. Plays other small ENSEMBLE roles.Required: depiction of taking drugs; receiver of misogynistic verbal (depicted) and physical (not depicted) violence.
Optional: nudity or partial nudity; simulated masturbation.

Content Notice: death, murder, suicide, grief, violence.
HAMLET – (Male, 20-30s) The crown prince of Denmark who returns from the University in Wittenberg, Germany, to find his father dead, his mother married to the king’s brother Claudius, and Claudius newly self-crowned King. Is involved in stage combat.
CLAUDIUS – (Male, 40+) Hamlet’s uncle, step-father, and now the King. Deceitful. Jealous. Controlling and calculating. An ambitious politician. Driven by his sexual appetites and his lust for power. He seems to genuinely love his wife but other attempts to express human feelings like guilt are fleeting. It is only after Polonius is murdered that he begins to lose emotional control. His monarchy, which had once seemed so positive, begins a descent into grotesqueness and excess.
GERTRUDE – (Female, 40+) Hamlet’s mother. A vital and beautiful woman who loves her son deeply and was loyal to her recently deceased husband during his life. In a society where a woman’s status and security is defined entirely by marriage, she is forced to make a purely practical decision to hastily remarry after the King’s sudden death. A woman caught between her memory of her husband and the choices she is compelled to make in order to protect herself and her son, even if her son is unable to understand.
POLONIUS – (Male, 40+) Counselor to the king. He has a tendency toward action without thought. Or if with thought, his own particular brand of quirky thought. Loves his children but can easily sacrifice their best interests for what he thinks is the most politically correct decision. Like all politicians, he is fond of repetition, saying the same thing a hundred different ways, often to great comic effect. Ultimately it is his fondness for moralizing that is his undoing. An inept spy who dies because of his own duplicity. Comedic and dramatic.
HORATIO – (Male, 20s-30s) Loyal friend to Hamlet. Calm and collected. A trusted ally and logical thinker. Even-tempered. Hamlet is able to let his mask down and be entirely himself when he’s with Horatio. Incorruptible. Note: Physically strong enough to lift and carry someone.
LAERTES – (Male, 20s-30s) Polonius’ son. A loving older brother to Ophelia. Adventurous. If Hamlet manifests self-doubt and inaction, Laertes is all action and certainty. A young man eager to begin his life. Is involved in stage combat.
OPHELIA – (Female 20s-30s) Polonius’ daughter, sister of Laertes, and Hamlet’s love interest. A young, bright woman, with a big heart that she wears on her sleeve. A light. A warm and loving soul who cares deeply for those around her. An honest and genuine person who is trying to survive–with her heart and voice intact–in a world that operates through deception. Commits suicide offstage.
ENSEMBLE – (any gender, 20s – 50s)  A variety of speaking roles, including but not limited to players, messengers, courtiers, etc. Experienced in handling classical text. Will likely double in multiple roles, and will understudy principal roles. ​



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