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

RIVERSIDE THEATRE 2026-27 SEASON - NYC EPA

Riverside Theatre Inc. | Vero Beach, FL

Notice: Audition | Call Type: EPA

AUDITION DATE

Wednesday, July 29, 2026
9:30 AM - 5:30 PM (E)
Lunch 1:00 PM - 2:00 PM

CONTRACT

LORT Non-Rep
$1320 weekly minimum (LORT B+)
$889 weekly minimum (LORT D)

SEEKING

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

BREAKDOWN

Riverside Theatre is committed to hiring actors who reflect the diversity of our world; we are actively

SEEKING

PREPARATION

Please prepare song cuts or monologues to demonstrate skills that align with the vocal styles of each musical or play. Bring short vocal cut based on season. Please bring your headshot/resume and sheet music. An accompanist will be provided.

LOCATION

Actors' Equity New York Audition Center
165 W 46th St
16th Fl
New York, NY 10036

PERSONNEL

Expected to attend:

• Jon Moses (Executive Producer)
• Hunter Foster (Director)
• Marcia Milgrim Dodge (Director)
• Richard Stafford (Director)
• Scott Wojcik (Casting Director)

See

BREAKDOWN

PERSONNEL

OTHER DATES

See

BREAKDOWN

OTHER

EPA Procedures are in effect for this audition. An Equity Monitor will be provided.

Equity's

CONTRACT

Always bring your Equity Membership card to auditions.

BREAKDOWN

Riverside Theatre 2026-27 Season

MY VAUDEVILLE MAN

Director/Choreographer: Richard Stafford Associate Choreographer: Joey Cullinane Music Director: Milton Granger

Waxlax Stage (LORT D)

1st Rehearsal: Friday, 9/25/26

Show Dates: 10/20/26 – 11/22/26

Casting: Wojcik Casting Team

All Roles will be Understudied.

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. Strong Belt and Strong Mover/Dancer with tap as a plus.

CLUE

Director: Hunter Foster

Stark Stage (LORT B+)

1st Rehearsal: Monday, 12/14/26

Show Dates: 1/12/27 – 1/31/27

Casting: Wojcik Casting Team

Some Roles will be Understudied

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.

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 Milgrom Dodge

Waxlax Stage (LORT D)

1st Rehearsal: Tuesday, 1/5/27

Show Dates: 2/2/27 – 2/21/27

Casting: Wojcik Casting Team

All Roles will be Understudied.

SEEKING:

Walt Disney: Caucasian, Male Identifying, Age 40s. 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. Will play piano (basic chords) and sing a bit with enthusiasm rather than technique.

Salvador Dalí: Hispanic, Male Identifying, Age 40s. 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/Choreographer: Marcia Milgrom Dodge

Associate Choreographer: Josh Zacher

Music Director: Walter “Bobby” McCoy

Stark Stage (LORT B+)

1st Rehearsal: Tuesday, 2/5/27

Show Dates: 3/2/27 – 3/21/27

Casting: Wojcik Casting Team

Some Roles will be Understudied.

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; “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.

THE LIGHT AT THE PIAZZA

co-production with Palm Beach Dramaworks

Director: Bruce Linser

Music Director: Paul Tine

Waxlax Stage (LORT D)

Put-In Rehearsal: Friday, 3/9/27

Show Dates: 3/16/27 – 4/11/27

Casting: Contact Palm Beach Dramaworks for information

No Roles will be Understudied.

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, 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.

HAIRSPRAY

Director/Choreographer: Richard Stafford

Music Director: Milton Granger

Stark Stage (LORT B+)

1st Rehearsal: Tuesday, 3/26/27

Show Dates: 4/20/27 – 5/9/27

Casting: Wojcik Casting Team

Some Roles will be Understudied.

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 in drag. Vocal: Tenor/low baritone; often F2–E4, comfortable mix/falsetto for some 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 who 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.