Barrington Stage Company 2026-27 Season Equity Principal Actors - Barrington Stage Company Auditions

AUDITION DATE

LOCATION

Monday, March 23, 2026 — Barrington Stage Company Administrative Offices
122 North Street
10:00 AM - 6:00 PM (E)
Pittsfield, MA 01201
Break: 1:00 PM - 2:00 PM

PERSONNEL

Artistic Director: Alan Paul
Managing Director: Greg Reiner

CONTRACT

Casting Directors: McCorkle Casting, LTD

LOA: See breakdown for specific production personnel.

$973 weekly minimum (LOA ref. LORD D) - St. Germain

$1,213 weekly minimum (LOA ref. LORD B) - Boyd-Quinson

EXPECTED TO ATTEND

Branden Huldeen (Associate Artistic Director)
Moira O’Sullivan (Artistic Associate)

OTHER DATES

See breakdown for production-specific dates.

SEEKING

Equity actors for roles in Barrington Stage Company's 2026-2027 Season (see breakdown).

OTHER

Procedures are in effect for this audition. An Equity Monitor will not be provided. The producer will run all aspects of this audition.

PREPARATION

Website:
https://barringtonstageco.org/

For musicals: Please prepare a cut of a musical theatre song in the style of the show no longer than one minute and bring sheet music in the correct key. An accompanist will be provided.

For plays: Please prepare a 2-minute contemporary monologue that is age/character appropriate.

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

A CHORUS LINE

Co-Production with Geva Theatre
Conceived and Originally Directed and Choreographed by Michael Bennett
Book by James Kirkwood and Nicholas Dante
Music by Marvin Hamlisch
Lyrics by Edward Kleban
Directed by Alan Paul
Music Direction by Helen Gregory
Choreographed by Parker Esse

Barrington Stage dates:
1st Rehearsal: June 16
1st Preview: July 15
Opening: July 19
Closing: August 8

Geva Theatre dates:
1st Rehearsal: September 1
First Preview: September 9
Opening: September 12
Closing: October 11

SYNOPSIS

17 dancers audition for a coveted spot in the next hot Broadway show. To make it, they must prove they have more than just talent – this will take grit. In a major musical production, Alan Paul directs the Pulitzer and Tony Award-winning musical that eclipsed all others when it shot to fame 50 years ago.

SEEKING

This production will be seeking understudies.

ZACH: He/Him, 40s. Dynamic and successful director/choreographer of a Broadway show. Driven and at times coldly manipulative. Dances.

LARRY: He/Him, 30s. Zach’s assistant. Professional and efficient with leadership qualities. Strong dancer.

MIKE: He/Him, Mid 20s. Strong Italian American dancer who sings well. Athletic and grounded with a street-wise charm. Tenor. Acrobatics a plus.

RICHIE: He/Him, Black, Mid 20s. Strong dancer who sings well. Spunky and fun energy. Tenor. Flexibility and basic acrobatic skills a plus.

PAUL: He/Him, Latinx, Mid 20s-30s. Dances very well. Survivor of a troubled childhood. This character has a lengthy dramatic monologue within the play.

MARK: He/Him, Late teens-Early 20s. Skilled dancer who sings well. The youngest male on the line. Boyish and charismatic.

GREG: He/Him, late 20s-Early 30s. Skilled dancer who sings. Highly sophisticated, wry and intelligent with a decidedly wicked wit. Out and proud.

BOBBY: He/Him, Mid-Late 20s. Skilled dancer who sings well. He has a quirky almost outrageous comedic sense yet remains immensely likeable.

AL: He/Him, Mid-Late 20s. Skilled dancer who sings very well. Tough and streetwise. Supportive husband, married to Kristine.

CASSIE: She/Her, Early-Mid 30s. Dynamic “Star” dancer who sings extremely well. Ex-lover of Zach seeking to restart her career. Strong and charismatic. Soprano with strong belt.

SHEILA: She/Her, Early-Mid 30s. Dances well. Beautiful showgirl, sexy with a killer wit. Tough and proud of it. Alto.

VAL: She/Her, Mid-Late 20s. Skilled dancer who sings well. Smart, sassy, and sure of herself; yet the girl next door. Mezzo with strong belt.

DIANA: She/Her, Latina, Mid-Late 20s. Skilled dancer who sings very well. Often underestimated, with lots of fight and warmth. Dimensional. Mezzo.

JUDY: She/Her, Mid 20s. Skilled dancer who sings well. Energetic, quirky, and decidedly offbeat. 5’7 and up a plus. Soprano.

CONNIE: She/Her. Experienced dancer. Short. Great sense of humor. Born in Chinatown, Lower East Side, New York. Alto.

BEBE: She/Her. Insecure about her looks, uses humor to deflect. Strong dancer. Alto.

KRISTINE: She/Her. Strong dancer, not a strong singer. Nervous and naive. Married to Al. Mezzo.

MAGGIE: She/Her. A sweetheart with big dreams. Skilled dancer. Soprano.

DON: He/Him. Very sure of himself. Strong dancer. Baritone.

NOISES OFF!

Written by Michael Frayn
Directed by Gordon Greenberg

1st Rehearsal: July 21
1st Preview: August 19
Opening: August 23
Closing: September 6

SYNOPSIS

Doors slam, actors don’t know their lines, the leading lady can’t find her sardines, the ingénue is on auto-pilot — and they haven’t even raised the curtain yet! Noises Off, the ultimate farce, invites us behind the scenes as a bumbling cast rehearses a fantastic flop.

SEEKING

NOTE: Actors with STRONG physical comedy, language skills and are adept at British accents are encouraged to submit as well as all races/ethnicities for all roles.

DOTTY OTLEY: She/Her, any ethnicity, 50s-60s. A veteran British character actress. Has made a career in the theatre playing older character roles. Forgetful and aloof at times, but cares about the play and the cast deeply. In a tumultuous relationship with Garry and uses Freddy to make him jealous.

BROOKE ASHTON: She/Her, any ethnicity, 20s-early 30s. British. A young, ditzy, inexperienced actress. Gorgeous and sexy, but not all that talented or smart. Likely got the role because she is sleeping with Lloyd, the director. Spacey and dim, she can’t see without her contacts, but she’ll carry on with the play regardless of what is happening around her. Oblivious but means well.

BELINDA BLAIR: She/Her, any ethnicity, 30s-early 40s. British. A warm and likable veteran actress, she is cheerful, reliable and endlessly positive. Tries her hardest to keep the show going, despite every setback. A busybody, she knows all the company gossip but doesn’t look to start any drama.

LLOYD DALLAS: He/Him, any ethnicity, 40s-50s. British. The director of the play. He is passionate and authoritative, but also temperamental and often exasperated. Sarcastic and sharp-tongued but with considerable charm and charisma, he’s secretly in a love triangle with Brooke and Poppy and trying to keep it from destroying the show.

GARY LEJEUNE: ROLE IS CAST. He/Him, any ethnicity, 30s-early 40s. British. A stuttering actor who is easily fired up and prone to jealousy. A professional, his stutter disappears onstage. Offstage, he is overly confident and likes to command a room, but he is incoherent at times and rarely finishes his sentences. Having an affair with Dotty, but mistrustful.

FREDERICK FELLOWES: He/Him, any ethnicity, 30s-40s. British. A bit insecure and an overthinker, but he means well. Has a penchant for nosebleeds.

SELSDON MOWBRAY: ROLE IS CAST. He/Him, any ethnicity, 70s. British. Classical actor with an alcohol problem. Hard of hearing and a bit bumbling but in an endearing way.

POPPY NORTON-TAYLOR: ROLE IS CAST. She/Her, any ethnicity, 20s-30s. British. The Assistant Stage Manager of the production. Frazzled, highly sensitive but sweet. In a love triangle with Lloyd and Poppy.

VANYA

Written by Simon Stephens
Directed by Alan Paul

1st Rehearsal: Tuesday, September 15
1st Preview: October 8
Opening: October 11
Closing: October 24

SYNOPSIS

Comedic and tragic, our shared humanity is thrust into sharp focus in Vanya. This fresh adaptation explores the kaleidoscope of human emotions, harnessing the power of the intimate bond between audience and one actor playing all of the roles, in a tour-de-force performance.

SEEKING

VANYA: ROLE IS CAST.

ST. GERMAIN STAGE

DRIVING MISS DAISY

Co-Production with Palm Beach Dramaworks
Directed by Julianne Boyd
Written by Alfred Uhry

1st Rehearsal: May 12
1st Preview: May 27
Opening: May 30
Closing: June 21

SYNOPSIS

This beloved, heartfelt, Pulitzer Prize-winning play is the story of an unlikely, life-changing friendship between Daisy Werthan, a 72-year-old Jewish widow, and Hoke Coleburn, a Black chauffeur hired by her son Boolie. Set in Georgia, the play unfolds over a 25-year period, beginning in 1948. Daisy is initially hostile to Hoke, but despite seemingly insurmountable differences, their relationship blossoms into one of mutual respect and affection.

SEEKING

DAISY WERTHAN: ROLE IS CAST. She/Her, white, 72-97 over the course of the play. A proud, independent, and sometimes sharp-tongued Jewish widow from Atlanta. Resistant to change and reluctant to accept help, she gradually forms a deep, trusting bond with Hoke. Intelligent, strong-willed, and deeply private, but ultimately warm and compassionate.

HOKE COLBURN: ROLE IS CAST. He/Him, Black, 60s-80s over the course of the play. A kind, patient, and dignified man hired as Daisy’s chauffeur. Wise, gentle, and resilient, he endures racial prejudice with quiet strength and grace. His genuine warmth and humor allow him to break through Daisy’s initial resistance, forging a lifelong friendship.

BOOLIE WERTHAN: ROLE IS CAST. He/Him, white, 40s-60s over the course of the play. Daisy’s pragmatic and good-natured son, a successful businessman balancing his mother’s stubbornness with his own responsibilities. Loving and supportive, though often exasperated by Daisy’s unwillingness to change.

ESTATE SALE

World Premiere
Written by Keelay Gipson
Directed by Steph Paul

1st Rehearsal: June 9
1st Preview: June 30
Opening: July 5
Closing: July 25

SYNOPSIS

A grieving son confronts the pain of his loss and the impossible task of clearing his deceased parents’ home in this World Premiere play. Award-winning playwright and multi-disciplinary artist Keelay Gipson’s semi-autobiographical Estate Sale reveals how the objects of our lives inform, reveal, and preserve our personal mythologies.

SEEKING

EXECUTOR: He/Him. Mid-30s. A Stage Manager, of sorts. Charismatic, a storyteller. Must have a strong grasp of language. Black.

YOUTH and others: He/Him, to play very young to mid-30s, a dear friend. Pragmatic, BIPOC.

TRUTH and others: He/Him, to play 19 to mid-40s, a realist and a Father. Black.

BEAUTY and others: She/Her, to play 19 to early-40s, an aspiring model and a Mother. Black.

DEAD GIRL’S QUINCEAÑERA

World Premiere
Co-production with Hartford Stage and The Goodman Theatre
Directed by Melia Bensussen
Written by Phanésia Pharel

Barrington Stage (St. Germain Theatre / LORT D):
First Rehearsal: July 7, 2026
First Preview: August 5, 2026
Opening: August 9, 2026
Closing: August 29, 2026

The Goodman (Owen Theater / LORT D):
First Rehearsal: September 15, 2026
First Preview: September 26, 2026
Opening: October 5, 2026
Closing: November 1, 2026
Possible Extension Closing: November 8, 2026

Hartford Stage (LORT B):
First Rehearsal: February 16, 2027
First Preview: March 5, 2027
Opening: March 12, 2027
Closing: March 28, 2027

SYNOPSIS

When Maria goes missing during her quinceñera, her three best friends – clad in layers of satin, lace, and tulle – are on the trail, talking to every witness and following every clue. Fresh from her Off-Broadway debut this Spring, playwright Phanésia Pharel’s precocious teen detectives, trained on true-crime podcasts and police procedurals, might be the only crime solvers who can crack the case.

None of these girls are kiddie — the play does not live in the world of kiddie theater. They all have a sense of humor, and a lust for life. Energy, laughter, curiosity abound in all four. Actors must be available for all three runs. Seeking actors aged 18+.

SEEKING

SALMA: 18+ to play two days away from fifteen. Latina. Brainy, anxious, always on the go. Not an ounce of the sentimental in that smart mind. Salma is the driver of the play and investigation. Powerful and harsh. We must feel the genuine capacity to be scared of her. A surprise in the play is her heart. It's huge. She loves like no one else but covers that like mad until she doesn’t.

ESTE: 18+ to play six months away from fifteen. Latina. Underdog. At the top of the play, she has yet to step into her power - she is a very smart young woman. Este is an immigrant and the only immigrant out of the four girls. The only working-class member of the team, and someone for whom English is a second language.

PHOEBE: 18+ to play three months into sixteen. Afro-Latina. Phoebe is a softer but formidable opponent to Salma. A bad case of good girl syndrome, she hides her power through her politeness and care. But the fierceness is there.

MARIA: 18+ to play fifteen. Latina. Maria is the big reveal! There's more to la niña bonita than meets the eye. She is the glue of this group. No rosy-eyed glasses for her, she sees everything clearly in her life and sees her friends clearly as well.

THE URMETAZOAN

North American Premiere
Written by Alex Rugman
Directed by Jack Serio

1st Rehearsal: September 1
1st Preview: September 30
Opening: October 4
Closing: October 25

SYNOPSIS

In the near future, two sisters face an imminent goodbye as one prepares to leave Earth for deep space. As they look back on the lives they’ve shared, they must confront whether their bond can endure the vast distance between them.

SEEKING

ABIGAIL: She/Her, 37. Free spirit. Funny, laid back, can be a mess but has a good heart. Insecure, charismatic. Younger sister to Alice. British accent.

ALICE: She/Her, 40. Smart, independent scientist preparing to go to outer space. Brittle, awkward. Older sister to Abigail. British accent.

WILL: He/Him, 35. Scientist working on humanity’s first colonizer missions to Mars. Laid back, charismatic, confident in his choices.

YOUNG ABIGAIL: She/Her, 12. British accent.

YOUNG ALICE: She/Her, 9. British accent.

BOYD-QUINSON STAGE

THE ZIONISTS: A FAMILY STORM

World Premiere — In Association with Miami New Drama
Written by S. Asher Gelman
Directed by Chloe Treat

1st Rehearsal: June 2
1st Preview: June 16
Opening: June 20
Closing: July 3

SYNOPSIS

Trapped in their luxury resort bungalow in Turks and Caicos as a sudden hurricane descends upon them, the Rosenberg family is forced to confront deep-seated tensions over identity, faith, and geopolitical beliefs, sparking intense confrontations and shattering family bonds. Caught between external chaos and internal conflict, the family must navigate their profound differences to find unity before everything is torn apart.

SEEKING

RUTH: She/Her, 60s-70s. Matriarch, Mitchell's wife and mother to Bex, David, and Aaron. A force of nature whose controlling tendencies stem from fierce maternal love and a desperate need to hold her family together. Her political aspirations were derailed by family scandal, yet she maintains unwavering hope for peace - both in the world and at her own dinner table.

MITCHELL: He/Him, 60s-70s. Patriarch, Ruth's husband and father to Bex, David, and Aaron. A retired accountant whose warmth and humor mask a deeper understanding of his family's fractures. Though he often plays the fool with his hearing aid and dad jokes, his moments of clarity reveal profound wisdom about family, Judaism, and generational trauma.

BEX: ROLE IS CAST. She/Her, 30s-40s. Ruth and Mitchell's eldest child. A former dancer who left her beloved life in Tel Aviv to protect her daughter, carrying the weight of that sacrifice in every step. She navigates between multiple identities - mother, wife, daughter, sister - while grappling with the loss of her ability to feel empathy for those beyond her immediate circle.

DANA: She/Her, 30s-40s. Bex's wife and Noa's mother. An Israeli-born lawyer whose dedication to reform reveals her deep love for a complicated homeland. Though she presents as the calm voice of reason, her own trauma from October 7th simmers beneath the surface as she supports her wife through their shared displacement.

DAVID: ROLE IS CAST. He/Him, 30s-40s. Ruth and Mitchell's middle child. A man whose righteous anger threatens to consume him, transforming brotherly protection into ideological warfare. His journey from social media warrior to expectant father forces him to confront what truly matters in a world that seems increasingly hostile.

MARIA: ROLE IS CAST. She/Her, 30s-40s. David's wife. A Cuban immigrant and convert to Judaism. A brilliant historian teaching at Columbia University whose outsider perspective gives her unique insight into both Jewish tradition and modern conflict. Having converted out of love, she now finds herself teaching her husband how to live as a Jew in turbulent times.

AARON: He/Him, 30s-40s. Ruth and Mitchell's youngest son. A recovering addict who has found both purpose and peril in his fierce commitment to social justice, channeling his addictive tendencies into a new form of zealotry. His funding of controversial causes stems from genuine moral conviction, even as it threatens to destroy his family relationships.

ZEPHYR: He/Him, 30s-40s. Aaron's partner. A kindergarten teacher whose gentleness belies his own strong convictions. His love for Aaron constantly tests his ability to balance loyalty to his partner with concern for the broader implications of their shared activism.