Arizona Theatre Company 2026-27 Season Equity Principal Actors - Arizona Theatre Company Auditions

ARIZONA THEATRE COMPANY 2026-27 SEASON - LA EPA

Arizona Theatre Company | Tucson, AZ

Notice: Audition Call Type: EPA

AUDITION DATE

LOCATION

Monday, May 4, 2026
Actors' Equity Association - Los Angeles
5636 Tujunga Ave
9:00 AM - 5:00 PM (P)
North Hollywood, CA 91601

PERSONNEL

Expected to attend:
Casting Directors: Michael Donovan, CSA and/or Richie Ferris, CSA

CONTRACT

LORT Non-Rep
$1135 weekly minimum (LORT B - Protected)
See breakdown for production specific personnel.

SEEKING

OTHER DATES

Equity actors for roles in Arizona Theatre Company's 2026-27 Season.
See breakdown for production specific dates.

OTHER

PREPARATION:

www.atc.org
Please prepare a short monologue, or if you want to be considered for LITTLE SHOP OF HORRORS, singing a short cut of a song (you may sing from the show). If you are singing, you must bring sheet music in the correct key. An accompanist will be provided. An Equity Monitor will be provided.
Please bring your headshot and resume stapled together.

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 attend every audition.
Always bring your Equity Membership card to auditions.

BREAKDOWN

ARIZONA THEATRE COMPANY 2026-27 SEASON

PROOF

by David Auburn
Director: David Ira Goldstein
FIRST REHEARSAL: 9/1/26
TUCSON RUN: 9/27/26 – 10/17/26
TEMPE/PHOENIX RUN: 10/25/25 – 11/9/25

SEEKING:

[Catherine] Female, 25, any ethnicity. A brilliant yet deeply troubled college dropout who has spent several years at home in Chicago caring for her mentally ill father. Highly intelligent but directionless, she struggles with depression, often sleeping until noon, her fear of inheriting her father’s illness fueling a sarcastic, withdrawn, and occasionally volatile demeanor. Beneath her antagonistic surface runs a strong mutual affection for her father and a vulnerable hunger for genuine connection and trust. Catherine can shift from wary defensiveness to bold initiative, revealing both raw emotional fragility and an extraordinary, hidden mathematical genius once she feels safe enough to open up. Capable of conveying sharp intelligence, fragile vulnerability, biting wit, sudden emotional volatility, and an underlying warmth that emerges when she allows herself to trust.

[Robert] Male, 50s, any ethnicity. A brilliant mathematician who has been ravaged by severe mental illness, likely schizophrenia, for many years. Once a groundbreaking genius at the peak of his career, he now lives in a fragile state of remission, oscillating between lucidity and delusion, with periods of profound confusion, paranoia, and detachment from reality. He is deeply affectionate toward his daughter Catherine, their bond marked by mutual love even when it surfaces as antagonism or irritation. Robert is aware of his own decline and worries about the hereditary nature of his condition, especially its impact on Catherine. Flashes of his former genius occasionally break through. Capable of conveying warmth and tenderness alongside confusion, irritability, sudden clarity, and the quiet tragedy of a once-brilliant mind in decay. His subtle shifts between lucidity and mental instability never descend into caricature.

[Hal] Male, 28, BIPOC. Catherine’s boyfriend. A mathematician and one of Robert’s former PhD students. Enthusiastic, somewhat awkward, and genuinely kind-hearted, Hal deeply admires Robert’s brilliance and has taken on the task of meticulously reviewing the notebooks left behind after Robert’s death. He is passionate about the field but aware of his own limitations compared to his mentor’s genius. Hal can come across as patronizing or subtly sexist, reflecting the male-dominated culture of academic mathematics. Beneath this, he shows genuine warmth, gentleness, and a willingness to connect emotionally. Balancing boyish awkwardness, intellectual enthusiasm, subtle condescension, and sincere affection, he is capable of shifting from eager admiration to doubt, defensiveness, and eventual humbled respect while conveying an authentic “math geek” vibe.

[Claire] Female, 29, any ethnicity. Catherine’s older sister and Robert’s eldest daughter. Practical, stylish, level-headed, and highly organized, she has built a successful, conventional life in New York City, distancing herself from the chaotic family home in Chicago. Unlike her father and sister, Claire is not a genius but has achieved stability through hard work and pragmatism; she is business-minded, detail-oriented, and focused on tangible results. Her approach to family is aggressive, arriving for her father’s funeral with a definite plan for Catherine’s care. Claire’s concern stems from a mix of genuine worry, and guilt over leaving the caregiving burden to her sister. She can appear cold, dismissive, or even antagonistic in her bluntness, yet her intentions are rooted in a protective sense of responsibility. Claire has a confident professionalism and matter-of-fact authority while hinting at deeper layers of guilt, love, and vulnerability.

LITTLE SHOP OF HORRORS

Book and Lyrics by Howard Ashman
Music by Alan Menken
FIRST REHEARSAL: 11/23/26
TUCSON RUN: 11/28/26 – 12/20/26
TEMPE/PHOENIX RUN: 1/9/27 – 1/24/27

SEEKING:

[SEYMOUR KRELBORN] Male-identifying, 25 – 35, any ethnicity. A nebbishy, under-confident/overworked orphan who lives and works in a run-down flower shop on Skid Row--spends his time doing menial tasks and dreaming of his co-worker, Audrey. A skilled and dynamic singer with comic chops and great personal appeal. VOCAL RANGE: A2 - G4

[AUDREY] Female-identifying, 25 – 35, any ethnicity. Seymour’s sweet and vulnerable co-worker, who is all heart beneath her bleached blonde hair and overly suggestive outfits. Aspirational and surprisingly astute, Audrey battles low self-esteem which makes it impossible for her to leave her abusive boyfriend, even while she dreams of a better life far from him and Skid Row. A skilled and dynamic singer, with a powerhouse belt and great comic abilities. VOCAL RANGE: G#3 - D5

[MR. MUSHNIK] Male-identifying, 55 – 65, any ethnicity. Seymour’s beleaguered and often agitated boss. A brash, older New Yorker and quasi-father figure, whose desperation drives him to put profits over people. A comedic character man who sings and moves well. VOCAL RANGE: G2 - F4

[ORIN SCRIVELLO, DDS, AND OTHERS] Male-identifying, 30 – 40, any ethnicity. Audrey's abusive Dentist boyfriend. Insanely egotistical with sadistic tendencies and a maniacal passion for leather and pain. A very strong and versatile comic who sings and moves well. VOCAL RANGE: G2 - G4

[CRYSTAL, RONNETTE AND CHIFFON] Female-identifying, BIPOC, ages 18+ to portray teenagers. The tough, young street urchins, acting as the occasional Greek Chorus. Energetic and street smart with sharp senses of humor, great voices and stellar moves. Confident and unafraid to speak the truth. Seeking dynamic and charismatic singer with powerhouse vocals. Strong movers. VOCAL RANGES: Ab3 – F5.

[AUDREY II] Any gender/age/ethnicity. Off-stage vocalist, voicing the unique and mysterious plant that Seymour discovers during a total eclipse of the sun. Foul-mouthed. Smooth, sweet-talking and street smart. The Plant is very persuasive and excels at getting what it wants. Strong character and singer. Has excellent, funky, R&B vocal chops. VOCAL RANGE: G2 - G4, or if not male-identifying, a low alto

[PUPPETEER] Any gender/age/ethnicity. A non-speaking puppeteer who manipulates various stages of the plant as it gets bigger. Strong physical acting skills and the ability to portray character and emotion purely through movement. Must have the physical stamina to operate the large, heavy final puppet.

THE PLAY THAT GOES WRONG

By Henry Lewis, Jonathan Sayer, and Henry Shields
FIRST REHEARSAL: 1/23/27
TUCSON RUN: 1/31/27 - 2/20/27
TEMPE/PHOENIX RUN: 2/27/27 – 3/14/27
NOTE: This is a co-production and will be pre-cast. We are looking for possible replacements.

SEEKING

(Possible replacements for):

[CHRIS] Male, 30-50, any ethnicity. The director of the show and this is the biggest day of his life. Rigid, uptight, and self-important, his pain is evident and every time someone laughs the pain deepens. Equal amounts of contempt for his fellow actors and the audience. High status clown. Must be a skilled physical comedian. ACCENT: British RP.

[ROBERT] Male, 25 – 40, any ethnicity. Wannabe Richard Burton, declamatory style, with real vocal power and acting skills. Must be a skilled physical comedian and possess physical strength. ACCENT: British RP.

[JONATHAN] Male, 25 – 40, any ethnicity. Sees himself as a James Bond type. Handsome. A comedic role, he drives the end of the play and ties up all of the loose ends for the audience. Must be a skilled physical comedian. ACCENT: British RP.

[MAX] Male, 25 – 35, any ethnicity. Has never been on stage before; when he gets a laugh, he breaks the 4th wall and engages with the audience. Childlike and naïve, his mistakes are fundamental; he doesn't think anything through, just looks for approval. Should have a magnetic smile and a pure joy for being in front of an audience. Must be a skilled physical comedian. ACCENT: British RP.

[SANDRA] Female, 25 – 35, any ethnicity. Vain with a huge ego; wants to be loved. Has ambitions to go to Hollywood and will hurt anyone standing in her way. Smart enough to stay on the good side of someone who can help her (like the director), her stakes are very high. Must be a skilled physical comedian. ACCENT: British RP.

[DENNIS] Male, 25 – 50, any ethnicity. No interest in theatre, he just wants to make friends (of which he has none). Slightly oblivious but understands when he gets things wrong; laughter from the audience is a personal tragedy and failure for him. Must be a skilled physical comedian. ACCENT: British RP.

[ANNIE] Female, 25 – 35, any ethnicity. The stage manager. Cannot bear to be on stage but must step in to one of the roles. Initially terrified by acting, she grows to love it and by the end is willing to kill for it. Starts small but grows and grows. Must be a skilled physical comedian. ACCENT: British RP OR other dialect from anywhere the British crown reached.

[TREVOR] Male, 25 – 35, any ethnicity. The play’s lighting and sound operator; he simply wants to get on with the show. Curmudgeonly and doesn’t care for actors; easily distracted and does many things he shouldn’t, including engaging with the audience. When things go really sideways, he is forced to act in the play, and he hates acting. Must be a skilled physical comedian. ACCENT: British RP OR other dialect from anywhere the British crown reached.

THE GEM OF THE OCEAN

By August Wilson
FIRST REHEARSAL: 2/16/27
TUCSON RUN: 3/14/27 - 4/3/27
TEMPE/PHOENIX RUN: 4/10/26 – 4/25/26

SEEKING:

[Aunt Ester] Female, 60s – 80s, black.
[Citizen Barlow] Male, 20s – 30s, black.
[Black Mary] Female, 30s – 40s, black.
[Solly Two Kings] Male, 60s – 70s, black.
[Caesar Wilks] Male, 40s – 50s, black.
[Eli] Male, 50s – 60s, black.
[Rutherford Selig] Male, 40s – 60s, white.

KILLING KIT - A SHAKESPEARE MURDER MYSTERY

by John Stephens
Director: Matt August
FIRST REHEARSAL: 3/30/27
TUCSON RUN: 4/25/27 – 5/15/27
TEMPE RUN: 5/22/27 – 6/6/27

SEEKING:

Will - mid 30s
Marlow/Servant - mid 30s
Burbage/Cecil/Poley - mid 40s
Condell/Constable/Essex/Frizer - late 30s - early 40s
Heminges/Sir Thomas Walsingham/Guard - early-mid 40s
Raleigh/Ned Alleyn/Guard/Skeres - mid-late 40s
Lady Walsingham/Helen of Troy/Hamnet - mid-late 20s
Queen Elizabeth - mid 40s-60s