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

Barrington Stage Company 2026-27 Season - NYC EPA
Barrington Stage Company | Pittsfield, MA

AUDITION DATE

LOCATION

Audition Date: Thursday, March 26, 2026
Location: Pearl Studios (500), 500 8th Ave, New York, NY 10018-6504
Time: 10:00 AM - 6:00 PM (E)
Break: 1:00 PM - 2:00 PM — Studio 408, holding 406

CONTRACT

PERSONNEL

LOA Artistic Director: Alan Paul
$973 weekly minimum (LOA ref. LORD D) — St. Managing Director: Greg Reiner
Germain Casting Directors: McCorkle Casting, LTD
$1,213 weekly minimum (LOA ref. LORD B) — Boyd-Quinson

EXPECTED TO ATTEND

Jeffrey Dreisbach (Casting Partner)
Katie Dietrich (Casting Assistant)
Micah Young (Accompanist)

OTHER DATES

See breakdown for production-specific dates.

PREPARATION

For musicals: 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: Prepare a 2-minute contemporary monologue that shows range and is age/character appropriate.
Please bring your headshot and resume stapled together. EPA Procedures are in effect for this audition. An Equity Monitor will be provided.

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. 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.

Website:
https://barringtonstageco.org/

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 (1st Rehearsal: June 16; 1st Preview: July 15; Opening: July 19; Closing: August 8)

Geva Theatre (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 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. 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, cheerful, reliable and endlessly positive. Tries her hardest to keep the show going despite setbacks. A busybody who knows the company gossip.

LLOYD DALLAS: He/Him, any ethnicity, 40s-50s. British. The director of the play. Passionate and authoritative, but temperamental and often exasperated. Sarcastic and sharp-tongued with charm, secretly in a love triangle with Brooke and Poppy.

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 whose stutter disappears onstage. Offstage, overly confident and often incoherent. Having an affair with Dotty but mistrustful.

FREDERICK FELLOWES: He/Him, any ethnicity, 30s-40s. British. A bit insecure and an overthinker, but well-meaning. 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 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:

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 25 years, 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, deeply private, 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, resilient, endures racial prejudice with quiet strength and grace. His warmth and humor break through Daisy’s initial resistance.

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 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 QUINCEANERA

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
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.

NOTE: None of these girls are kiddie — the play lives in the world of teen experience. They all have a sense of humor and a lust for life. Energy, laughter, and 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; capable of inspiring genuine fear. She has a huge heart she covers until she can’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. An immigrant and the only immigrant out of the four girls. The only working-class member of the team; English is a second language.

PHOEBE: 18+ to play three months into sixteen. Afro-Latina. A softer but formidable opponent to Salma. A bad case of good girl syndrome; hides power through politeness and care, but fierceness is present.

MARIA: 18+ to play fifteen. Latina. The big reveal — more to la niña bonita than meets the eye. Glue of the group. No rosy-eyed glasses for her; she sees everything clearly in her life and her friendships.

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. Politically aspirational but derailed by family scandal; maintains unwavering hope for peace.

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. Plays the fool at times but reveals 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 life in Tel Aviv to protect her daughter, carrying that sacrifice. Navigates multiple identities while grappling with loss of empathy for those beyond her immediate circle.

DANA: She/Her, 30s-40s. Bex's wife and Noa's mother. Israeli-born lawyer dedicated to reform. Presents as calm voice of reason while trauma from October 7th simmers beneath the surface.

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

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 Jewish tradition and modern conflict.

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 addictive tendencies into zealotry. His funding of controversial causes stems from genuine moral conviction even as it threatens family relationships.

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