DENVER CENTER FOR THE PERFORMING ARTS LORT & TYA 2025-26 SEASON - DENVER, CO EPA
AUDITION DATE
Monday, May 12, 2025
10:00 AM - 6:00 PM (M)
Lunch 1:00 PM - 2:00 PM
APPOINTMENTS
Beginning at 10am (MT) on Monday, April 28th, 2025, performers may request an audition appointment by going to:
denvercenter.org/casting. Auditions will be given on a 1st come, 1st serve basis - date and time requests may not be granted. Appointments will be assigned during regular business hours, Monday through Friday - allow a 48-hour response time after sign up. You will receive an email confirmation with information and a 30-minute window in which your appointment will take place.
CONTRACT
LORT Non-Rep / TYA
$1144 weekly minimum (LORT B)
$1051 weekly minimum (LORT C)
$839 weekly minimum (LORT D)
All LORT standard stages are paid at least LORT B minimum.
$1087 weekly minimum (TYA)
SEEKING
Equity actors for roles in Denver Center for the Performing Arts' LORT & TYA 2025-26 Season (See breakdown). These auditions are for performers 18+ years of age. Any auditions for youth performers in CAT ON A HOT TIN ROOF & A CHRISTMAS CAROL will be held at a later date.
LOCATION
Robert & Judi Newman Center for Theatre Education
1101 13th St
Denver, CO 80204
Metered street parking available - will need to show ID to access building. Holding room - Red Studio, 2nd Floor.
PERSONNEL
Expected to attend:
Grady Soapes (he/him), CSA - Artistic Producer & Director of Casting
OTHER DATES
See breakdown for production specific dates.
OTHER
denvercenter.org/casting
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 attend every audition.
Always bring your Equity Membership card to auditions.
Notice: Audition Call Type: EPA
PREPARATION
Please prepare two contrasting monologues. Singers should prepare a song from a musical standard and may forgo one monologue in lieu of song. Total audition package should be no longer than 3 minutes. An accompanist will be provided for all in-person auditions. Also, please bring your headshot and resume stapled together. DCPA is not accepting video auditions at this time. We will be seeing 10 actors per 30-minute window. A 3-minute audition package length will be strictly enforced.
BREAKDOWN
The Denver Center intends to lead all decisions from selecting each play to the final bow, with empathy and respect. We acknowledge that race, gender, ethnicity and physical abilities of the actors on stage have meaning, and we want to be mindful of that throughout our practices. Our casting process will be led with thoughtfulness and appreciation of the artists we encounter, and any level of discrimination will not be tolerated. We do not want to assume that the space you are entering or have entered is fully inclusive of your needs but instead want to create an environment and expand our conditions that allows for your multi-faceted personhood to thrive and feel welcome.
DCPA Off-Center & Third Rail Projects Immersive Production - WAKE (Working Title)
Creators: Third Rail Projects
Director: Zach Morris
Assistant Directors: Rebekah Morin & Edward Rice
Scenic Designer: Lisa Orzolek
Costume Designer: Meghan Anderson Doyle
Lighting Designer: Charles Macleod
Sound Designer: Sean Haggerty
Casting Director: Grady Soapes, CSA
LORT Experimental Contract
Equity Actor Weekly Pay Rate: $1087 /wk
Venue: Broadway Park (Broadway & Alameda in Denver, CO)
SYNOPSIS: Off-Center’s next large-scale immersive theatre production will be created by Third Rail Projects and the creative team behind Sweet & Lucky. This yet-to-be-announced project will feature a cast of 16 performers who interact with audience members and tell the story through text, dance, and movement.
FIRST REHEARSAL: July 15th, 2025
FIRST TECH: August 2nd, 2025
FIRST PREVIEW: August 12th, 2025
OPENING: August 16th, 2025
CLOSING: December 14th, 2025
EXTENSION: TBD
This production has been cast.
HAPPIEST MAN ON EARTH
Adapted from “The Happiest Man on Earth: The Beautiful Life of an Auschwitz Survivor” by Eddie Jaku
Playwright: Mark St. Germain
Director: Ron Lagomarsino
LORT D Contract
The Singleton Theatre
SYNOPSIS: Based on The New York Times best-selling memoir by Eddie Jaku, this “powerful and magnificent new work” (BroadwayWorld) tells a remarkable story of survival, revealing a paradox of joy built on a foundation of grief. Underneath his warm optimism, Eddie had long hidden painful memories of coming of age in Nazi Germany and his remarkable escapes from three different concentration camps. As his new friends, he invites us on his journey through the unimaginable horrors he faced, his struggle to bury the past, and how he discovered the key to truly living. In this triumphant performance by stage and screen veteran Kenneth Tigar, Jaku’s story of resilience and kindness is testament to the indomitable strength of the human spirit as he declares himself “The Happiest Man on Earth.”
SEEKING:
This production has been cast, but we will be considering actors for the understudy position.
EDDIE (Understudy): (80s, male identifying, Jewish) A man recounting his journey of loss and tragedy through the Holocaust ultimately finding hope in a world of darkness.
CAT ON A HOT TIN ROOF
Playwright: Tennessee Williams
Director: Chris Coleman, DCPA Artistic Director
LORT C Contract
Kilstrom Theatre
FIRST REHEARSAL: September 2nd, 2025
DESIGNER RUN: September 24th, 2025
FIRST TECH: September 27th, 2025
FIRST PREVIEW: October 3rd, 2025
OPENING: October 10th, 2025
CLOSING: November 2nd, 2025
SYNOPSIS: Tennessee Williams' Pulitzer Prize-winning drama unfolds one sweltering Mississippi night on the Pollitt family estate, where three generations reunite to celebrate Big Daddy's birthday. As speculation about Big Daddy’s health simmers just beneath the festivities, rivalries for his favor and the family fortune heat up. Determined to come out on top, Maggie struggles to get her troubled husband Brick to fall in line as they dance around the secrets and sexual tensions that threaten to destroy their marriage. As the sun sets and the veneer of Southern gentility slips away, family betrayals and unburied truths leave no one unscathed. Raw, turbulent, and riveting from start to finish, Cat on a Hot Tin Roof is a bona fide American classic that you simply can’t afford to miss.
NOTE: The play takes place in Mississippi in 1955. A sense of the dialect is helpful, just don’t get carried away with it.
SEEKING:
MAGGIE (30s, female identifying) Alluring, tough, resilient, with a wicked sense of humor. Maggie grew up “poor as Job’s turkey” in an extended family that held tightly to its social status. She married Brick, the most handsome, popular boy in their high school – but their marriage has grown troubled as his dependency on alcohol has deepened. With the news that Big Daddy’s cancer has returned, Maggie’s need to secure her economic future has suddenly become much more urgent. She is a fighter who is not going down without giving it her all.
BRICK (30s, male identifying) Charismatic, aloof, wounded – but capable of erupting when the right nerve is struck. Brick was a star football player in high school who briefly played pro-ball. He was popular and both women and men fell for him. When his best friend, Skipper, died, Brick took up drinking as his means of survival. Questions around the nature of their friendship have been whispered for years, and remain a shame that Brick runs from on a daily basis.
BIG DADDY (65, male identifying) Intense, commanding, bawdy, earthy. Big Daddy grew up poor, wandered the country during the early part of the 20th century, and landed on this estate in Northwest, Mississippi. He rose to become an overseer and then bought the whole place and, through sheer force of will, became one of the most successful farmers in the region. He suffers no fools. His health issues over the past few years have raised the question of who should inherit both the estate and his role as leader. He just barely tolerates his oldest son, Gooper – and has a deep connection with Brick – but needs to prove to himself that Brick can actually rise to the challenge.
BIG MAMA (63, female identifying) Stout, earthy, strong, funny, and vulnerable. Big Mama has been married to Big Daddy for 40 years, and over the past few years as his health has faded, has taken on much of the leadership of the estate. She is forceful, nurturing, and worships the ground Big Daddy walks on. She also loves a good joke and even enjoys those at her own expense.
GOOPER (40s, male identifying) Disciplined, determined, a bit of a geek. The oldest son of the Pollitt family, Gooper is a corporate lawyer in nearby Memphis. As his father’s health has faded over the past few years, Gooper has taken on much of the business leadership required at the estate. He knows he’s never been his father’s favorite, but he’s determined both to secure the future of the family’s estate, and to get what he feels is coming to him.
MAE (40s, female identifying) Competitive, conventional, witty and fiercely protective. Mae grew up in a family with social airs (despite the scandal that almost sent her father to prison) and is determined to maintain or surpass that legacy. She and Gooper have five children, with another on the way – which is both a point of pride and a bit of a small business. She is keenly aware that she and her husband have never been the family favorites but is also determined to win control of the estate and its future.
DOC BAUGH (50s, male identifying) The town physician and close friend of the Pollitt family. He is a trusted confidante and has led the management of Big Daddy’s health.
REV. TOOKER (60s to 70s, male identifying) The longtime pastor of the church the Pollitt’s attend. He is both grateful for Big Daddy’s generosity to the church, and eager to inspire future philanthropy.
This production will NOT be understudied
GOODNIGHT MOON
Based on the book by Margaret Wise Brown and Clement Hurd
Book, Lyrics & Music: Chad Henry
Director: Allison Watrous, DCPA Executive Director of Education
Music Director: TBD
Choreographer: TBD
TYA Agreement
The Randy Weeks Conservatory Theatre
FIRST REHEARSAL: September 30th, 2025
DESIGNER RUN: October 15th, 2025
FIRST TECH: October 18th, 2025
FIRST PREVIEW: October 24th, 2025
OPENING: October 29th, 2025
CLOSING: January 25th, 2026
SYNOPSIS: Animals and characters from the original story by Margaret Wise Brown come to life in this playful, whimsical musical version of Goodnight Moon. The production will include extended moments of physicality, engagement within an immersive environment, and needs for multiple characters and committed ensemble skills. This musical adaptation will require all actors to sing and move.
SEEKING:
TRACK 1 / Bunny (male identifying, any ethnicity, Tenor Fâ¯3 - Dâ¯5) The main character, a young rabbit who is avoiding bedtime and going to sleep. The bunny says goodnight to various objects in the room as part of a bedtime ritual as elements of the room come to life.
TRACK 2 / Old Lady/Cat/Bear (female identifying, any ethnicity, Alto G3-F5) Old Lady Bunny is an older female rabbit who whispers “hush” and gently convinces bunny to get his rest. She likely represents a mother or caretaker figure. Cat encourages Cow to believe in herself. The bears come out of a picture to sing and dance.
TRACK 3 / Dog/Tooth Fairy/Bear (male identifying, any ethnicity, Tenor D3-F5) Dog is friends with Cow and convinces her to believe in herself. Tooth Fairy comes to give Little Bunny a dime when he loses a tooth. The bears come out of a picture to sing and dance.
TRACK 4 / Mouse/Cow/Bear (female identifying, any ethnicity, Soprano/Mezzo Soprano Bâ3 - E5) Mouse is best friends with Little Bunny and joins the bedtime adventures. Cow tries to jump over the moon. The bears come out of a picture to sing and dance.
This production WILL be understudied
A CHRISTMAS CAROL
Playwright: Charles Dickens
Adapted by: Richard Hellesen
Director: Anthony Powell
Choreographer: Grady Soapes
Music Director: Dan Graeber
LORT B Contract
The Wolf Theatre
FIRST REHEARSAL: October 31st, 2025
DESIGNER RUN: November 12th, 2025
FIRST TECH: November 15th, 2025
FIRST PREVIEW: November 21st, 2025
OPENING: November 28th, 2025
CLOSING: December 28th, 2025
SYNOPSIS: Essential to the holiday season in Denver, A Christmas Carol is a joyous and opulent musical adaptation for the whole family that traces money-hoarding curmudgeon Ebenezer Scrooge’s triumphant overnight journey to redemption. Based on Charles Dickens’ classic novel, the DCPA Theatre Company’s production is “a splendidly festive tradition” (BroadwayWorld) that illuminates the meaning of the holiday season in a way that has resonated for generations.
SEEKING:
EBENEZER SCROOGE – (male identifying, any ethnicity, mid-50s to 60s) Driven by greed and resentment, Ebenezer Scrooge is a man who has locked himself away from the world. Past disappointments have hardened into icy intolerance for anyone or anything that threatens his personal status quo. Flinty, tight-fisted and “solitary as an oyster,” Scrooge fears change above all else – but when it finally comes, this misanthropic miser transforms overnight into the man he was born to be generous, affectionate, and alive with childlike wonder.
BOB CRATCHIT – (male identifying, any ethnicity, 30s to early 40s) Scrooge’s underpaid and overworked clerk. Good-hearted, caring and kind, Bob Cratchit just can’t help but wear his heart on his sleeve. He’s reticent in public, boisterous at home, and always does his best to stay positive – even when sickness and financial instability threaten the well-being of his beloved family.
FIRST SUBSCRIPTION GENTLEMAN / DICK WILKINS / THE UNDERTAKER’S MAN – (male identifying, any ethnicity, 20s) The First Gentleman is an up-and-coming businessman collecting donations for the poor of London; he’s never encountered anyone like Scrooge before. Dick Wilkins is young Ebenezer’s best friend, outgoing and confident. The Undertaker’s Man is a weaselly punk who sells the belongings of dead people on the cheap.
MR. FEZZIWIG / SECOND SUBSCRIPTION GENTLEMAN / OLD JOE – (male identifying, any ethnicity, 40s to early 50s) Mr. Fezziwig is Scrooge’s first employer, a man who knows how to make money and spend it for the benefit of others. He’s sprightly, exuberant, and more than a little zany – a whirling dervish whose dearest wish is to make everyone around him happy. The Second Gentleman is another philanthropic businessman raising money for the underprivileged; he really doesn’t want to let Scrooge off the hook. Old Joe is a lowlife fence for stolen goods. He’s funny and fond of putting on airs – but still plenty dangerous.
FRED / THE FIDDLER – (male identifying, any ethnicity, mid to late 20s) Fred is Scrooge’s nephew, a young professional with the proverbial heart of gold. He’s optimistic, cheerful, and a bit mischievous. Despite everything, Fred has great compassion for his difficult Uncle, and that same sense of empathy extends outward into the world at large. The Fiddler is a jovial sort who keeps things hopping every year at the Fezziwigs’ annual Christmas party.
GHOST OF JACOB MARLEY / FRED’S PARTY GUEST – (male identifying, any ethnicity, 40s) Jacob Marley is Scrooge’s former business partner, seven years dead and hungry for redemption. He’s possessed by sadness, rage and deep regret for a life horribly misspent. He also happens to be scary as hell – and an ironist of the first rank. Fred’s Party Guest is a friend of Fred’s from work, amiable and down-to-earth.
GHOST OF CHRISTMAS PRESENT / SCHOOLMASTER – (male identifying, any ethnicity, 40s) The Ghost of Christmas Present is a big, bountiful spirit – jolly and wise by turns, he’s the very embodiment of goodwill. Christmas Present is a commanding, larger-than-life figure, but love and sympathy for humankind suffuse his every word and gesture. The Schoolmaster appears in one of Scrooge’s bittersweet childhood memories, and Belle’s Husband is a thoughtful fellow who understands the true depths of Scrooge’s loneliness.
EBENEZER AS A YOUNG MAN / GHOST OF CHRISTMAS YET TO COME – (male identifying, any ethnicity, 20s) In most things, Young Ebenezer is the polar opposite of his older self: he’s passionate, romantic, and open to new experience. The world is an exciting place for him, and Ebenezer envisions a bright future ahead. He’s deeply in love with his fiancée, Belle, but the desperate importance Ebenezer attaches to worldly success eventually spells doom for their relationship. The Ghost of Christmas Yet to Come is a dark and looming phantom capable of great eloquence – despite the stony silence it maintains.
PETER CRATCHIT / SUITOR #1 – (male identifying, any ethnicity, late teens) The Cratchits’ oldest son Peter is earnest and attentive. He can be playful, too, but tries hard to be the man of the house when Bob is away. Suitor #1 is the youngest (and most awkward) of three young gentlemen paying court to the Fezziwig daughters.
TOPPER / SUITOR #2 – (male identifying, any ethnicity, 20s to early 30s) Topper is one of Fred’s good chums, a somewhat rowdy bachelor with an eye for the ladies. He’s high-spirited and fun to be around. Suitor #2 is another irrepressible admirer of the three Miss Fezziwigs.
MALE DEBTOR / SUITOR #3 / BELLE’S HUSBAND – (male identifying, any ethnicity, 20s to early 30s) The Male Debtor is an impoverished young husband anguished at the thought of going to prison. He’s vulnerable and very nearly at the end of his rope. Suitor #3 is the final member of that romantic trio enthralled by the Fezziwig girls. As Belle’s Husband, he is a thoughtful fellow who understands the true depths of Scrooge’s loneliness.
OLDER BELLE / STREET SINGER / FEZZIWIG DAUGHTER #1 / FRED’S PARTY GUEST – (female identifying, any ethnicity, 20s to early 30s) Just as sweet and full of grace as her younger self, Older Belle is now happily married but saddened at the thought of Scrooge being so alone in the world. The Street Singer is a charismatic and lovely-voiced young woman who first ushers us into the world of A Christmas Carol. Fezziwig Daughter #1 is a heartbreaker, beaming and flirtatious. Fred’s Party Guest is in attendance with her husband. She’s a genial person with a nicely tart sense of humor.
MRS. CRATCHIT – (female identifying, any ethnicity, 30s to early 40s) Bob’s supportive wife and the loving mother to their children, Mrs. Cratchit is adored by her family. She’s generous and hopeful by nature, but also determined and realistic. In tough times, she’s the pillar of strength that keeps all of the Cratchits going. She can also read her husband Bob like a book.
THE GHOST OF CHRISTMAS PAST/ FEMALE DEBTOR – (female identifying, any ethnicity, 20s to early 30s) A benevolent spirit who seems either very, very young or very, very old, The Ghost of Christmas Past is an ethereal being made almost entirely of light. She’s compassionate, humorous, and so outwardly gentle with Scrooge that one might not notice the fierce determination which underlies her every action. The Female Debtor has been so worn down by poverty and the threat of imprisonment that she becomes almost unglued at the mention of a possible reprieve.
MARTHA CRATCHIT / MAID #1 / FEZZIWIG DAUGHTER #2 – (female identifying, any ethnicity, late teens to early 20s) Martha Cratchit is the eldest Cratchit child, industrious, cheerful, and full of tenderness towards her family. Just like her mother, Martha is someone who can always be depended upon. Maid #1 is among the many Londoners who help narrate the story. She’s perhaps a little flip about Scrooge and his ugly old house. Fezziwig Daughter #2 is the youngest of the Fezziwig Girls, vivacious and fun-loving.
BELLE / MAID #2 / THE WIFE’S SISTER – (female identifying, any ethnicity, 20s) Belle is a smart, caring, charming young shopgirl – and the only love of Scrooge’s life. She’s also forthright and strong enough to walk away from her engagement to Scrooge once his passion for money becomes overpowering. Maid #2 is another Londoner who helps tell our story. She’s a bit unnerved by the thought of Scrooge and his gloomy suite of rooms. The Wife’s Sister is one of the guests at Fred’s holiday party. She’s got something going on with Topper, and it makes her deliriously happy.
MRS. FEZZIWIG / CHARWOMAN – (female identifying, any ethnicity, late 30s to 40s) Mrs. Fezziwig is a warm-hearted human being constantly on the lookout for ways to make other people happy. Energetic and expansive, she’s a big personality who seeks to turn every day into an excuse for joyous play. Mrs. Fezziwig loves singing and dancing – she more than matches her husband in sheer effervescence. The Charwoman is another one of the looters selling stolen merchandise to Old Joe. She’s crafty and pseudo-philosophical about life’s ups and downs.
FRED’S WIFE / FEZZIWIG DAUGHTER #3 / LAUNDRESS – (female identifying, any ethnicity, 20s) Fred’s Wife is kind and welcoming (even to Scrooge!), and witty to boot. She’s quite convivial, but at the same time – nothing gets past her. Fezziwig Daughter #3 is the eldest and most serious of these delightful siblings. The Laundress is another vulture who sells items once owned by the recently deceased. She fancies herself a savvy young woman of business.
This production will be understudied
COWBOYS & EAST INDIANS (World Premiere)
Playwright(s): Nina McConigley and Matthew Spangler
Director: Chris Coleman
LORT D Contract
Singleton Theatre
FIRST REHEARSAL: December 16th, 2025
FIRST TECH: January 9th, 2026
FIRST PREVIEW: January 16th, 2026
OPENING: January 23rd, 2026
CLOSING: March 1st, 2026
SYNOPSIS: Adapted from Nina McConigley’s award-winning collection of short stories, Cowboys and East Indians follows the Sen family as they grapple with expectations and cultural collisions moving from India to Wyoming. Lakshmi “Lucky” Sen’s dad calls her a prairie dog — hesitant and scared on the side of the road. Now on a mission to fulfill her mom's final wish, Lucky has to figure out saris, how to stop burning the spices, and all the things she didn't pay attention to while she was busy trying to fit in. But on the eve of her sister’s wedding, a family secret resurfaces, and Lucky realizes there might be a lot more about her mom and being a “good Indian daughter” that she doesn’t know. A rare exploration of rural immigrant experiences in the American West, Cowboys and East Indians examines the question of how one understands their identity when they don’t see a reflection of it in their community.
SEEKING:
LUCKY (20, South Asian, female identifying) Growing up in Casper, Wyoming, Lucky is more at home on a horse than in a sari. With an offer to grad school at MIT, she is torn between following her own path or honoring her ancestral connection to India. She is earthy, smart, a bit skeptical, with a wry sense of humor.
CHITRA (40s, South Asian, female identifying) Chitra trained as an engineer before moving from India to Casper, Wyoming with her husband to launch his career. She’s spent her adult life caring for her husband and two daughters and trying to forge a new social world in a completely foreign cultural landscape. She is tough, funny and has a deep determination to keep her family connected to their heritage. South Indian accent, with slight British inflection.
RAJAH (40s, South Asian, male identifying) Rajah trained as an engineer in India and has found a decent job working for a firm in Casper, Wyoming. He does his best to fit in culturally to this new world, as his wife struggles to assimilate. He is invested in helping his youngest daughter, Lucky, pursue her full potential. Brainy, warm, funny. South Indian accent.
RICHARD LARSEN (48, White, male identifying) Richard runs an engineering firm in Casper, Wyoming, is deeply involved in the community and moves through the world as a “man’s man.” He is happily married and proud that his son is about to graduate from the state’s single university. Richard also loves to wear women’s clothes, a closely guarded secret that in his words “could get him killed in Wyoming.” Sociable, hearty – with many layers.
NANCY LARSEN (48, White, female identifying) Nancy is an excellent homemaker in Casper, Wyoming. She learned early in their relationship that her husband, Richard, loves to wear women’s clothes, and she’s made peace with it. She tends to see the glass half full, welcomes newcomers and enjoys supporting others.
This production will NOT be understudied
GODSPEED (World Premiere)
Playwright: Terence Anthony
Director: Delicia Turner Sonnenberg
LORT C Contract
The Kilstrom Theatre
FIRST REHEARSAL: January 2nd, 2026
FIRST TECH: January 24th, 2026
FIRST PREVIEW: January 30th, 2026
OPENING: February 6th, 2026
CLOSING: February 22nd, 2026
SYNOPSIS: It’s 1865. Slavery has just been abolished in Texas. And a gunslinger named Godspeed returns to the Lone Star State with a six-shooter, one bullet, and vengeance on her mind. Having escaped bondage by fleeing to Mexico a decade earlier, she’s ready to stare down danger and near-certain death as she sets out on a perilous journey across the frontier with both wanted and unwanted companions in tow. But, when the time comes to satisfy her own personal vendetta, an unexpected discovery will make her question if the vengeance she desires can deliver the justice she’s been seeking. Steeped in the ethos of a classic Western, Godspeed casts light on an often-ignored chapter of American history while taking audiences on an epic theatrical adventure.
SEEKING:
GODSPEED (mid-30s, African American, female identifying or non-binary) Smart, tough and a quick draw. Escaped slavery to Mexico before the Emancipation Proclamation and is returning to Texas a free person with revenge on her mind.
NELSON BENDY (mid-40s, White, male identifying) Ragged, often drunk. Godspeed's former owner, who never understood why she didn't consider him a friend. Empathetic but has his own agenda.
PEKLAI COBOS (mid-40s, Mexican, female identifying or non-binary) Slow, steady and weathered. Fearless with a dry humor, she understands English but speaks only in Spanish. Of Coahuiltecan descent.
LUCINDA TANNER/MAMA ZO (late 20s to mid-50s, African American, female identifying) As Lucinda Tanner (late 20s): Mannered and unassuming. Sheltered but quickly learns the new reality of post-slavery Texas. As Mama Zo (mid 50s): An apparition. Remembers the African kingdom of warriors she was stolen from. Raised Godspeed to be a fierce fighter.
BENJAMIN MAUCK (late 20s, White, male identifying) Gruff & dangerous. A mercenary fighting to keep white Texans in power.
JACOB/PETTUS/FELIX (mid-teens to late 30s, African American, male identifying) As Jacob (early 30s): A brash troublemaker. As Pettus (late 30s): Has big dreams of a life of freedom that are quickly shattered. As Felix (late teens to early 20s) Bright, ready to capitalize on his new status as a free person.
JOHN BENDY/KENT (40s, White, male identifying) As John Bendy: Refined. Former plantation owner. Resents losing the power and privilege he wielded as a slave owner. Nelson’s more successful brother. As Kent: A gun-slinging follower of Mauck.
This production will NOT be understudied
NEXT TO NORMAL
Music: Tom Kitt
Book and Lyrics: Brian Yorkey
Director: Nancy Keystone
Music Director: Angela Steiner
LORT B Contract
Wolf Theatre
FIRST REHEARSAL: February 24th, 2026
FIRST PREVIEW: April 3rd, 2026
OPENING: April 10th, 2026
CLOSING: May 3rd, 2026
SYNOPSIS: Winner of three Tony Awards and the Pulitzer Prize for Drama, Next to Normal deploys wry humor and brutal honesty to explore how a family navigates their darkest hours — and finds the path to new beginnings. On the surface, Diana has it all — a house in the suburbs, a successful architect husband, and two sharp-witted teens. But beneath this perfect facade is a nuclear family on the verge of exploding, doing everything they can to make it through another day in one piece. Propelled by an unforgettable pop-rock score, this is an honest and unflinching ride through the complexities of mental health and unconditional love. This groundbreaking musical is a story of love and resilience that hits close to home, making you laugh, cry, and reflect on the struggles that shape us along the way.
SEEKING:
DIANA GOODMAN (37-40, female identifying, any ethnicity) Married to Dan Goodman for over 20 years. Suffering from bipolar depressive disorder brought on by the death of their son (Gabe) almost 18 years prior. Diana lives with the idea of Gabe as if he hadn’t died — he appears to her and is alive for her through most of the play. Her moods and energy veer wildly throughout, causing great strife in her family. In the midst of crisis, she gives up her medication which has made her numb, in favor of feeling alive. She becomes delusional and suicidal, and she undergoes electro-convulsive therapy. Described by Dan as “wicked and wired, brilliant and bold.” She has a wicked sense of humor, can be bluntly honest, sexy, at core feels guilty and ashamed and blames herself for being a bad parent. Ultimately, she leaves her family.
DAN GOODMAN (37-40, male identifying, any ethnicity) Diana’s husband. Architect. Dan has been holding everything together on the journey with Diana’s disorder for 16 years, unable to help her. He is at his breaking point. His unresolved/unacknowledged grief and love for Gabe has created an unsolvable conflict with Diana and built up an emotional armor which cracks and breaks by the end of the play. He is patient, responsible, reliable, calm under pressure, seems almost too good to be true, tries to keep his anger, resentment, panic, and frustration at bay. His armor cracks and breaks by the end of the play as he becomes vulnerable to his feelings for Gabe.
GABE GOODMAN (18, male identifying, any ethnicity) Dead. The teenage Gabe is Diana’s delusion — an active high school senior. He is her hero, lover, prince. He is desperate for Dan to acknowledge him, and as the play goes on, he takes up more and more space until finally Dan “sees” him and recognizes him at the end. He is insistent, selfish, charismatic, ultimately vulnerable and in need of love and closure.
NATALIE GOODMAN (16, female identifying, any ethnicity) Dan and Diana’s daughter. She is a devoted musician, excellent student, wants to finish high school early and go to Yale to study classical piano. She feels invisible, unseen by her parents. She desperately wants to escape this dysfunctional household where there is no solid ground and no refuge. She becomes rebellious, tries drugs, goes out clubbing. She is protective of her emotions, feels she is “one fuck-up from disaster,” yet she allows herself to start dating Henry. By the end of the play, she has come to have some compassion for Diana and has started to bridge the divide between herself and her parents.
HENRY (17, male identifying, any ethnicity) Musician, pothead, in love with Natalie. He’s very chill and calm — maybe a bit too much so. He woos Natalie and helps her to open up and be vulnerable with him. He is solid, honest, funny, creative, has an endearing weirdo streak.
DR. FINE/DR. MADDEN (late 30s-40s, male identifying, any ethnicity) As Dr. Fine: A psychopharmacologist. Been around for a while, prescribes a lot of pills. His presence in the scenes is shaped to a large extent by Diana’s bent perceptions. As Dr. Madden: A “rock star” psychiatrist who tries to treat Diana without the use of medication. Very patient, will try whatever it takes to help Diana heal. He also appears, at times, as a wild delusion of Diana’s. Will understudy Dan Goodman.
OFFSTAGE SWING (late 20s, female identifying, any ethnicity) Will understudy Diana Goodman and Natalie Goodman.
OFFSTAGE SWING (late 20s, male identifying, any ethnicity) Will understudy Gabe Goodman, Henry and Dr. Fine/Dr. Madden.
This production will be understudied
ENGLISH
Playwright: Sanaz Toossi
Director: Hamid Dehghani
LORT D Contract
Singleton Theatre
FIRST REHEARSAL: March 20th, 2026
FIRST PREVIEW: April 17th, 2026
OPENING: April 24th, 2026
CLOSING: May 31st, 2026
SYNOPSIS: “English Only.” This one rule governs language instructor Marjan's classroom, where she teaches four adult students outside of Tehran. Together, they leapfrog through a linguistic playground, chasing fluency through a maze of word games, listening exercises, and show-and-tell sessions. They hope that one day English will make them whole. But it might be splitting each of them in half. Sanaz Toossi’s Pulitzer Prize-winning English is a disarmingly funny and tender play about the foibles of language and miscommunication. Make sure you’re marked as “present” for a work Variety calls “undeniably one of the best plays of the decade,” when it makes its Denver debut in spring 2026. Actors comfortable with Farsi are encouraged to audition.
SEEKING:
MARJAN (30s to 40s, female identifying, Iranian) A teacher who appears poised, approachable, and even-keeled. She presents herself as calm and collected, but beneath the surface, small cracks reveal something deeper. English captivated her — and the doors it could open. There was a time when she felt like she truly belonged. Marjan’s Persian accent is very subtle.
ELHAM (mid-20s to early 30s, female identifying, Iranian) A force of energy — bold, expressive, and unfiltered. She’s sharp, driven, and never afraid to speak her mind, though that sometimes puts her at odds with others. Conflict seems to follow her, even when she doesn’t intend it. When we first meet her, she’s overwhelmed, but as the weeks pass, she finds her footing. Elham’s Persian accent is quite strong.
GOLI (late teens, female identifying, Iranian) Full of life, kindness, and excitement for what’s ahead. She approaches the world with curiosity and an open heart, still untouched by cynicism. Though naïve in some ways, her enthusiasm is infectious. Goli speaks with a moderate Persian accent.
ROYA (50s to 60s, female identifying, Iranian) A woman of grace and quiet strength. She carries herself with dignity and a deep sense of purpose, particularly when it comes to her family. Her love for her son is boundless — sometimes to a fault — but it’s impossible not to root for her. Among the students, Roya has the heaviest accent.
OMID (30s, male identifying, Iranian) Charismatic and engaging, Omid draws people in effortlessly. His command of English is impressive, and he knows exactly how to use it to his advantage. Beneath his charm, however, lies a man who doesn’t reveal everything about himself right away. He carries a strong sense of identity and control over how he presents himself. Omid’s Persian accent is barely noticeable and something he can adjust as needed.
This production will NOT be understudied
SOMEWHERE
Playwright: Matthew Lopez
Director: Laurie Woolery
LORT C Contract
Kilstrom Theatre
FIRST REHEARSAL: April 3rd, 2026
DESIGNER RUN: April 22nd, 2026
FIRST TECH: April 25th, 2026
FIRST PREVIEW: May 1st, 2026
OPENING: May 8th, 2026
CLOSING: May 31st, 2026
SYNOPSIS: From the Tony Award-winning writer of The Inheritance and The Legend of Georgia McBride comes a music and dance-filled portrait of a tight-knit Puerto Rican family striving to make it in show business. It’s 1959, West Side Story is a Broadway sensation, and the Candelarias’ small Manhattan apartment is filled with big love and plenty of talent. With news of a film version of the hit musical in the works, it seems that the family’s dreams of the spotlight might finally come true. But a sudden notice announcing a neighborhood-wide eviction threatens to destroy their home and the passions that have sustained their American Dream. Dance, family bonds, and unextinguishable hope take center stage in Somewhere by DCPA fan-favorite Matthew López. This play is a love letter to Broadway musicals, theater but especially dance – in all forms: ballet, cha-cha, salsa, tap dance/soft shoe and musical theater. Actors should be able to dance, act and sing a bit.
SEEKING:
INEZ CANDELARIA (50s, female identifying, Latine) A mother. A dynamic, charismatic, fierce, and ambitious Puerto Rican mother who believes everything is within reach if you just work hard and never give up dreaming. She believes in the American Dream but worships at the altar of Broadway’s Musical Theater. Wife to a circuit dance and show man, she prioritizes dance, music, and acting lessons over food and rent. Cross between Mama Rose and Amanda Winfield. Can dance. Able to dance.
ALEJANDRO CANDELARIA (23, male identifying, Latine), Inez’s son. Loyal, hardworking and a realist. Former Broadway child chorus actor, Alejandro has had to put aside his personal dreams of dancing to make sure there is food on the table and rent is paid in his father’s absence. Compassionate but frustrated with family, he is left to deal with all the fallout. Amazing dancer. Could have had a career. Could have been a contender. Able to dance really well.
FRANCISCO CANDELARIA (late teens, male identifying, Latine) Inez’s other son. Wild, reckless, funny younger son who fails between the cracks. Pursuing acting to stay out of trouble but wants to make up his own rules in everything he does. Chases girls. Chases cigarettes. Chasing dreams while running to escape being beaten up by neighborhood boys.
REBECCA CANDELARIA (mid to late teens, female identifying, Latine) Inez’s daughter. A little Inez in the making. Loves to dream more than rehearse but has real talent. Sweet, unfocused, and starry eyed. Grows up a lot in a year. Able to dance really well and carry a tune.
JAMIE (25, male identifying, White) A young man Inez has raised. Ambitious and charismatic man who has made it into the inner circle of Broadway as Jerome Robbins assistant. He is the family’s shining example that success is within reach. Jamie can dance well and holds access into casting choices for musicals. Talented, hardworking but learned from Inez how to work the system. Has been absent from the family on his climb to success. Rival to Alejandro. Able to dance really well.
This production will NOT be understudied
