Riverside Theatre 2026-27 Season Equity Principal Actors - Riverside Theatre Auditions

RIVERSIDE THEATRE 2026-27 SEASON - VERO BEACH, FL EPA

NOTICE: AUDITION

Call Type: EPA

AUDITION DATE

Monday, July 6, 2026 10:00 AM - 6:00 PM (E)

APPOINTMENTS

For an appointment, please email Laura Scott, Company Manager, at
laura.scott@riversidetheatre.com or call (if no email access) 772-410-0510. Equity members without

APPOINTMENTS

will be seen as time permits.

CONTRACT

LORT Non-Rep $1320 weekly minimum (LORT B+)

SEEKING

Equity actors for roles in Riverside Theatre's 2026-2027 Season (see

BREAKDOWN

). Some roles will be understudied.

PREPARATION

Please prepare two brief contrasting musical theatre songs or a 1-2 minute monologue. Please bring your headshot/resume and sheet music. An accompanist will be provided.

LOCATION

Riverside Theatre 3250 Riverside Park Dr Vero Beach, FL 32963-1877 Check-in: Orchid Lobby at Riverside Theatre Audition space: Waxlax Stage

PERSONNEL

See

BREAKDOWN

for production-specific

PERSONNEL

. Expected to attend: Jon Moses (Executive Producer/CEO) Fred Paul (Managing Director/COO) Julian Bond (Accompanist)

OTHER DATES

See

BREAKDOWN

for production-specific dates.

OTHER

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

CONTRACT

s 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

RIVERSIDE THEATRE 2026 - 2027 SEASON

RIVERSIDE THEATRE 2026 - 2027 SEASON

MY VAUDEVILLE MAN

Director: Richard Stafford

Music Director: Milton Granger

Waxlax Stage

1st Rehearsal: Friday, 9/25/26

Show Dates: 10/20/26 – 11/22/26

SEEKING:

Jack Donahue (CAST) Protagonist; a teenage/young adult hoofer who runs away to chase vaudeville stardom. Late teens to mid‑20s (character starts around 19). Irish‑American dockworker’s son, born to dance; energetic, charming, impulsive, and hungry for a life beyond manual labor and poverty. He inherits his father’s struggle with alcohol and begins sliding toward the same self‑destructive patterns even as his talent blossoms. We follow him from wide‑eyed kid at the docks to seasoned, increasingly inebriated performer on the vaudeville circuit, seeing both the thrill of “making it” and the personal cost. His letters and songs reveal homesickness, ego, guilt, and genuine love for his mother that he can’t quite reconcile with his ambitions. An excellent song‑and‑dance man—especially strong tap—with the stamina to carry much of the show alone onstage in numbers like the “Tap Drunk” bar‑fight sequence. Portrays a boyish optimism, comic bravado, and later darker, drunken spirals without losing audience sympathy. Much of his material is direct address or framed as letters/performances, he is comfortable holding focus and telling story directly to the audience.

Mud (Jack’s Mother) Jack’s working‑class Irish mother, whose perspective grounds the show emotionally. 40s–50s. Hard‑working laundress, tough and practical but deeply loving; lives with a philandering, drunk dockworker husband and is raising hungry children in straitened circumstances. She fears vaudeville as a “wicked stage” that will chew Jack up, yet she also secretly thrills to his talent and dreams. Mostly anchored at the kitchen table, we see her pride and shame in letters where she lies to wealthy clients about Jack being at Yale or in the priesthood rather than on the road. Her songs chart a path from embittered resignation and worry (“So the Old Dog Has Come Home”) toward a painful, tentative acceptance that Jack’s need to perform might be valid and even beautiful.

CLUE

Director: Hunter Foster

Stark Stage

1st Rehearsal: Monday, 12/14/26

Show Dates: 1/12/27 – 1/31/27

Casting: Wojcik Casting Inc.

SEEKING:

Wadsworth (the Butler) Male. Fastidious English butler, hyper‑competent and theatrical; serves as host, narrator, and ringmaster of the chaos. Possesses strong verbal agility, impeccable timing, physical comedy, and stamina for rapid exposition and farcical sequences, including recaps of the entire plot at high speed.

Miss Scarlet Female. Sophisticated, sexy, sharp‑witted Washington D.C. madam; glamorous, cynical, and quick with a barbed line. Possesses dry wit, confidence, and a film‑noir vibe; strong physical presence and comic bite,

Mrs. Peacock Female. Eccentric, talkative, high‑strung political wife; fluttery and pious on the surface, with a panicked, selfish core. Big comic role with shrieks, outbursts, and melodramatic reactions. Broadly farcical with vocal fireworks.

Riverside Theatre 2026-27 Season - Vero Beach, FL EPA Page 2 of 9

Mrs. White Female. Deadpan, morbid, dryly sarcastic; a woman with a suspicious number of deceased husbands, radiating a dark, gothic humor. Possesses an understated delivery and razor‑sharp timing; often the most laconic presence onstage.

Colonel Mustard Male. Bombastic, blustery military man; brave in theory but frequently confused, a bit thick, and very literal. Strong physical comedy and earnest stupidity are central; self‑important and clueless.

Professor Plum Male. Intellectually arrogant academic, formerly a psychiatrist; lecherous, smug, and morally slippery, with a veneer of respectability. Possesses an oily charm and an air of superiority.

Mr. Green Male. Nervous, awkward, mild‑mannered; appears out of his depth and anxious about everything, with an underlying secret. Strong character arc and a key twist; with excellent comic timing and the ability to play jittery physical humor.

Yvette (the Maid) Female. French maid, flirtatious and glamorous; exaggerated accent, capable of both seduction and screaming panic. Boldly physical, strong character voice, and comfort in farce. Timing with double entendres and high‑energy entrances/exits is crucial.

The Cook Any gender. Gruff, intimidating household cook; no‑nonsense, imposing figure, quickly becoming one of the early victims. Primarily a visual and comic presence; often doubled with another role (such as one of the cops) depending on production.

Mr. Boddy Male. The blackmailer and apparent host; slick, dangerous, with a gangster swagger and a taste for power. A brief but pivotal role; often appears early and (depending on version) in later flashbacks or reveals, and may be doubled with other roles.

The Motorist Any gender. Harmless stranger whose car breaks down; unwittingly stumbles into the mystery and knows more about someone in the house than it first appears. Short but important; lands quick comedic beats before exiting the story.

Unexpected Cop Any gender. Local police officer checking in on suspicious activity; officious, curious, and increasingly baffled by the guests’ attempts at cover‑ups. Comedic role that escalates the farce; often involved in sight gags and mistaken‑identity bits.

Chief of Police Any gender. Authoritative, decisive law‑enforcement presence who arrives to wrap up the case. Relatively brief but carries weight; may deliver key final lines or tag the twist.

Backup Cops Any gender. Additional officers arriving with the Chief; mostly visual and reactive, adding to the climactic chaos. Often doubled with other small roles (staff, visitors).

THE MOUSE & THE MUSTACHE

Director: Marcia M. Dodge

1st Rehearsal: Tuesday, 1/5/27

Show Dates: 2/2/27 – 2/21/27

Casting: Wojcik Casting Inc.

Riverside Theatre 2026-27 Season - Vero Beach, FL EPA Page 3 of 9

SEEKING:

Walt Disney Caucasian, Male Identifying, Age 40’s. One of the “two men from different backgrounds” in the Hollywood hotel. Visionary American studio head, pragmatic and driven; balances genuine artistic imagination with a hard sense of branding, audience, and commerce. Tidy, controlled, and conscious of his public image. Grounded, and naturalistic, who can play both charm and steel; as well as the tension between childlike wonder and corporate calculation. Good with rapid, idea‑heavy dialogue and subtle shifts in status.

Salvador Dalí

Hispanic, Male Identifying, Age 40’s. Artistic foil to Disney. Spanish surrealist painter; flamboyant, theatrical, and philosophically restless. Embraces contradiction and provocation, delighting in bending reality and language. Boldly physical and vocal choices without losing emotional truth. Able to pivot from comic eccentricity to genuine vulnerability and artistic intensity. Strong facility with abstract, poetic text is helpful.

ON THE TOWN

Director: Marcia M. Dodge

Music Director: TBD

1st Rehearsal: Tuesday, 2/5/27

Show Dates: 3/2/27 – 3/21/27

Casting: Wojcik Casting Inc.

NOTE: On the Town premiered on Broadway on December 28th, 1944. The original production was notable

for its diverse casting and intentional avoidance of racial stereotypes. Ivy was played by Sono Osato (a Japanese-American dancer), the ensemble included six black performers, and black conductor Everett Lee joined the production nine months into the run.

SEEKING:

GABEY

Male (Cis, Transgender, or Non-Binary),

Baritone; Age: Early 20s–early 30s. Romantic, idealistic, earnest; the “dreamer” of the three sailors, instantly smitten with Ivy (“Miss Turnstiles”) and spends his 24‑hour leave searching for her. A natural leading man with boyish charm. Dances in the Dream Ballet.

CHIP

Male (Cis, Transgender, or Non-Binary), Baritone; Early 20s–early 30s. Naive, eager, more interested in sightseeing than romance; keeps a

guidebook and wants to report back to his father about everything he’s seen. Strong comedy skills; Riverside Theatre 2026-27 Season - Vero Beach, FL EPA Page 4 of 9

“dragged” into adventure and seduction by Hildy.

OZZIE

Male (Cis, Transgender, or Non

Binary),Baritone; Early 20s–early 30s. Lively, extroverted, a ladies’

man; the most worldly of the sailors, quickly up for a fling and larger‑than‑life antics. Physically confident; often described as resembling a prehistoric man statue at the museum Physical comedy and presence are a must

IVY SMITH

Female (Cis, Transgender, or Non-Binary),

Mezzo‑soprano; light legit with mix; Early 20s–early 30s; Hard‑working, artistic, romantic; a small‑town girl and ballet dancer trying to get ahead in New York while juggling work and ambition; Requires excellent ballet technique; multifaceted; comedic and dramatic skills a must

HILDY

Female (Cis, Transgender, or Non-Binary),

Mezzo‑soprano; strong belt/mix; Early 20s–early 30s. Flirty, funny, jazzy, street‑smart; a New York cab driver “hungry for a man,” direct and unapologetic yet ultimately tender with Chip. Requires powerhouse comic timing and vocal stamina; strong physical comedienne

CLAIRE

Female (Cis, Transgender, or Non-Binary),

Soprano; legit, low F to high C; Early 20s–early 30s. Intelligent, poised, a self‑described “cold‑blooded scientist” and anthropologist who cannot control her impulsive attraction to Ozzie. Must balance refined, academic veneer with growing animal passion; excellent physical comedienne

14 ENSEMBLE W/ FEATURES

Soprano/Alto/Tenor/Bass singers capable of Bernstein’s rhythmic, jazzy writing and tight harmonies. Robust dancers for jazz and ballet‑influenced choreography

Strong Character Actors with excellent comic skills. Strong partnering skills and tumbling are encouraged. NOTE: Six Principal roles cast with internal understudies

JUDGE PITKIN W. BRIDGEWORK Age: 50s.Dignified, overly understanding fiancé to Claire; repeatedly forgives her indiscretions until he realizes he is being made a fool of. Deadpan humor and strong character work

WORKMAN /Ensemble Bass; World‑weary New Yorker heading to work; sets the tone of the city waking up. BIPOC. Doubles as SUPERMAN Aggravated New York Cab Company Owner And RAJAH BIMMY An over‑the‑top Emcee at Ivy’s Coney Island show

POLICEMAN

BILL POSTER (Subway worker)/PROFESSOR WALDO FIGMENT (Fussy Museum Guide)/CHIP Understudy

GABEY Understudy

Riverside Theatre 2026-27 Season - Vero Beach, FL EPA Page 5 of 9

Lonely Town Pas De Deux feature (Lyrical dancer)

Featured Tumbler/OZZIE Understudy

Madame Maude P. Dilly

Vocal: Mezzo‑soprano; character voice, limited movement. Age: 40s–

60s. Ivy’s bitter, somewhat crass singing teacher who loves her drink; comic with an edge, pushy and opportunistic. Strong comedic presence; often steals scenes with her inebriated commentary.

Lucy Schmeeler/HILDY understudy

Soprano/Alto/Mezzo; Age: Early 20s–early 30s. Hildy’s perpetually sniffling, bedraggled roommate with a terrible cold; socially awkward; Strong Physical and Vocal comedienne

Flossie/Diana Dream & Dolores Dolores

Flossie’s Friend/CLAIRE understudy

Little Old Lady (tiny, tough New Yorker)

Lonely Town Pas de Deux feature/ IVY understudy Lyrical dancer

Featured Tumbler

2 OFF-STAGE SWINGS:

1-SWING MALE PRESENTING (CIS, TRANSGENDER, OR NON-BINARY).

1-SWING FEMALE PRESENTING (CIS, TRANSGENDER, OR NON-BINARY).

THE LIGHT AT THE PIAZZA

co-production with Palm Beach Dramaworks

Director: Bruce Linser

Music Director: Paul Thyne

1st Rehearsal: Friday, 3/9/27

Show Dates: 3/16/27 – 4/11/27

Casting: Wojcik Casting Inc.

SEEKING:

Margaret Johnson – Female, late 40s-early 50s; A trim, elegant, self-possessed, practical, and proper Southern woman; contained and controlled with a deeply romantic yearning underneath; well-bred North Carolina dialect; has a strong legit soprano voice, G3 to G#5.

Clara Johnson – Female, 26; Margaret’s daughter; an impulsive, naïve, romantic, keenly curious, highly sensitive, and easily provoked Southern girl; seems much younger than her age; classic fair-haired American beauty; well-bred North Carolina dialect; has a strong legit soprano voice, A3 to A5.

Roy Johnson (CAST) – Male, late 40s

early 50s; Margaret’s husband; a contained, controlled, efficient, practical,

Riverside Theatre 2026-27 Season - Vero Beach, FL EPA Page 6 of 9

proper, and impatiently abrupt Southern gentleman; well-intentioned but emotionally distant; well-bred North Carolina dialect; could have a strong legit baritone voice and double as Ensemble.

Signor Naccarelli – Male, late 40s-early 50s; a warm, open, amiable Italian gentleman with an affable ease and amused charm; can also be strict when necessary; speaks English well with an Italian dialect and must also speak lines in fluent Italian; has a strong legit baritone voice to G4.

Signora Naccarelli (CAST) – Female, late 40s

early 50s; Signor Naccarelli’s wife; a warm, open, amiable, dutiful

yet strong and watchful Italian woman; not unlike Margaret only freer emotionally; must speak lines in fluent Italian; has a strong legit/operatic soprano voice to C6.

Fabrizio Naccarelli – Male, 20; the youngest son; a handsome, charming, earnest, innocent, impulsive, deeply emotional, and hopelessly romantic Italian boy; wants to seem more sophisticated than he is; appears without a shirt in one scene; speaks broken English with an Italian dialect and must speak and sing in fluent Italian; has a strong legit lyrical tenor voice to B4.

Giuseppe Naccarelli – Male, mid-to-late 20s; the eldest son; a handsome, charming, rakish, hen-pecked Italian playboy; he’s trying to be an adult but still hold onto his youth; a great dancer; must speak lines in fluent Italian; has a strong legit baritone voice to G4.

Franca Naccarelli – Female, mid-to-late 20s; Giuseppe’s wife; a fiery, passionate, strong-willed, sexy, and unabashedly direct Italian woman with a deeply caring and romantic streak; speaks broken English with an Italian dialect and must speak lines in fluent Italian; has a strong legit/operatic soprano voice to F6.

Ensemble (CAST) – 20s-60s; various types to

play tourists and citizens of Florence; versatile ensemble actors

with strong legit voices (Priest, Paperboy, Tour Guide, Waiter, 2 Maids, Man #1 & #2, Prostitute, etc.)

HAIRSPRAY

Director/Choreographer: Richard Stafford

Music Director: Milton Granger

1st Rehearsal: Tuesday, 3/26/27

Show Dates: 4/20/27 – 5/9/27

Casting: Wojcik Casting Inc.

SEEKING:

Tracy Turnblad

Vocal: Mezzo; roughly G3–G5, strong belt, high stamina. Mid–teens (about 16) to late teens/early 20s. Plus‑size, bubbly Baltimore teen with big hair and a bigger heart; optimistic, fearless, and socially conscious. With strong pop belt, serious dance ability, and natural charisma; she leads the show’s integration and body‑positivity themes.

Edna Turnblad

Character is portrayed drag. Vocal: Tenor/low baritone; often F2–E4, comfortable mix/falsetto for some Riverside Theatre 2026-27 Season - Vero Beach, FL EPA Page 7 of 9

lines. 40s–50s. Tracy’s plus‑size, anxious, housebound mother who runs a home laundry; shy about her appearance but fiercely loving and funny. Possesses strong comic chops, warmth, and chemistry with Wilbur.

Wilbur Turnblad

Vocal: Baritone. 40s–50s. Tracy’s goofy, warm‑hearted father; novelty‑shop owner who encourages Tracy’s dreams and adores Edna. Strongly comedic with a sincere romantic rapport with Edna, especially in “You’re Timeless to Me.”

Corny Collins

Vocal: Tenor or high baritone, strong pop style. 20s–30s. Charismatic TV host of “The Corny Collins Show”; smooth, charming, genuinely likable and quietly supportive of integration. A confident MC with excellent presence and rhythm, leads several production numbers.

Velma Von Tussle

Vocal: Mezzo; strong belt, villainess style. 40s–50s. Former “Miss Baltimore Crabs,” now producer of the Corny Collins Show and stage‑mother from hell; racist, snobbish, manipulative. Big comic villain; with bite, glamour, and vocal power, plus strong timing in “Miss Baltimore Crabs.”

Amber Von Tussle

Vocal: Mezzo; pop belt. Mid–late teens. Link’s girlfriend, Tracy’s rival; pretty, thin, selfish, racist, and desperate for attention. A strong dancer and singer, plays the “mean girl” with comic flair and edge.

Link Larkin

Vocal: Tenor/baritone; pop crooner. Late teens–early 20s. Teen idol and heartthrob on Corny’s show; initially image‑obsessed but genuinely kind and ultimately drawn to Tracy’s courage. Leading‑man looks or vibe, with an easy pop sound, and solid dance/movement.

Penny Pingleton

Vocal: Mezzo; belt/mix. Mid–late teens. Tracy’s dorky, sheltered best friend; sweet, awkward, under her mother’s thumb, blossoms through her love for Seaweed. With strong comic timing and physical humor; shows a clear transformation over the show.

Seaweed J. Stubbs

Vocal: Tenor; strong soul/gospel feel. Late teens–early 20s. Smooth, confident, talented Black dancer and singer; charismatic and cool but grounded and kind, especially with Penny and Little Inez. Has real dance chops and vocal fire, particularly in “Run and Tell That.”

Motormouth Maybelle

Vocal: Alto/mezzo with powerful gospel belt. 30s–50s. Seaweed and Little Inez’s mother; owner of a record shop and host of “Negro Day”; bold, wise, funny, and politically fearless. A powerhouse singer with gravitas for “I Know Where I’ve Been.”

Little Inez

Vocal: Mezzo; youthful sound. Pre‑teen to early teen. Seaweed’s younger sister; energetic, talented dancer, determined to win on the Corny Collins stage. A strong mover and singer; often one of the

Riverside Theatre 2026-27 Season - Vero Beach, FL EPA Page 8 of 9

emotional faces of the integration storyline.

Prudy Pingleton

Vocal: Mezzo; character role. 30s–50s. Penny’s ultra‑conservative, controlling, fearful mother; religious, uptight, and racist but played for comedy. Big comic beats, especially when confronted with Seaweed and integration.

Male Authority Figure (often doubled)

Roles: Principal, Mr. Pinky, Mr. Spritzer, Guard, etc., often combined into one or two character men. 30s– 50s. Various authority types—school principal, corporate sponsor, clothing store owner, TV station boss—each with distinct comic flavor. Strong versatility and comedy skills; frequent quick changes.

Female Authority/Feature roles (often doubled)

Roles: Gym teacher, Matron, Female reporter, etc. Age: 20s–50s. Comic “adult” figures of the 1960s world, often heightened for satire. Frequently doubled among ensemble women with strong character instincts.

Corny Collins kids and ensemble

The “Nicest Kids in Town” (Council Members) Brad, Tammy, Fender, Sketch, Shelley, IQ, Brenda, Lou Ann.

Strong pop ensemble singers. Teens/college‑aged. White teenage dancers on the Corny Collins Show; image‑conscious and mostly complicit in the segregated status quo, though some are more sympathetic. Notes: Need strong dance and tight harmonies; each can have a defined personality even within the ensemble.

Black Ensemble / “Negro Day” kids

Vocal: Strong gospel/pop ensemble singers. Teens/college‑aged. Featured in Motormouth’s record shop and “Negro Day” numbers; vibrant, soulful, often the best dancers on the show. Heavy dance and vocal demands; central to the show’s sound and message.

General Ensemble

Students, neighbors, guards, TV crew, protesters, reporters, teachers, street vendors, etc., fleshing out 1962 Baltimore. Vocal/movement: Strong pop‑rock vocal ensemble with significant dance across the company.