Seattle Repertory Theatre 2026-27 Season Equity Principal Actors - Seattle Repertory Theatre Auditions

AUDITION DATE

LOCATION

Friday, April 10, 2026
Seattle Repertory Theatre — Stage Door Entrance
540 Warren Avenue N, Seattle, WA 98109
10:00 AM - 5:00 PM (P)
Break: 1:00 PM - 2:00 PM
Please enter through the stage door at 540 Warren Ave.

APPOINTMENTS

PERSONNEL

Please visit the link below to schedule an audition:
https://airtable.com/app6loflN4UjTlvus/pagMtX1xvmttG4VCr/form

Expected to attend: Shawna Grajek (she/they), Casting Director

See breakdown for production-specific personnel.

CONTRACT

Yuko Ariga (she/her), Producing Associate
Aaron Alonso (he/him), Artistic Programs Manager

Bagley Wright Theater: $1213 weekly minimum (LORT B)
Leo K. Theater: $889 weekly minimum (LORT D)

Other dates: See breakdown for production-specific dates.

Website:
seattlerep.org

SEEKING

Equity actors for roles in Seattle Repertory Theatre's 2026-27 Season (see breakdown). An Equity Monitor will not be provided. The producer will run all aspects of this audition.

Local Seattle actors are encouraged to audition. Equity Actors are welcome to audition for Seattle Rep's 2026-2027 season generals. 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.

Gender non-conforming, gender-queer, transgender, and non-binary actors, please submit for the role(s) you most identify with. Always bring your Equity Membership card to auditions. No roles will be understudied except as mentioned.

PREPARATION

Please prepare one monologue or two contrasting monologues not to exceed 3 minutes total.

FREAK THE MIGHTY

Music by Ryan Fielding Garrett, book and lyrics by Anthony Drewe
Based on the novel by Rodman Philbrick
Directed by Michael Barakiva
Choreographed by Patrick McCollum
Bagley Wright Theater

Cleveland rehearsals begin: April 14, 2026
Cleveland opening: May 22, 2026
Cleveland closing: June 21, 2026
Seattle rehearsals begin: July 14, 2026
Seattle performances begin: August 5, 2026
Seattle closing: September 6, 2026

All roles have been cast.

EUREKA DAY

By Jonathan Spector
Directed by Matthew Leavitt
Leo K. Theater

Rehearsals begin: August 25, 2026
Opening: September 30, 2026
Closing: November 15, 2026

DON: Early 60s. Male-identifying. White. Head of school. A calming presence. Has worked hard to become the man he is. From New England, moved to Berkeley in the mid-80s chasing the last gasp of hippie-dom. Started in education as a music teacher, and on difficult days fantasizes about going back to it. Has lived with his partner in the same rented in-law unit for 25 years. She makes pottery. They do silent meditation retreats at Esalen three times a year. No kids.

SUZANNE: Mid-50s. Female-identifying. White. Warm and gracious. Moved to Berkeley after college when her then-boyfriend now-husband started graduate school at UC Berkeley. Raising her family and nurturing the school are her life’s work and fully entwined. Once her youngest was in school, she started working part-time as a life coach after being encouraged to it by so many friends who she’d helped through difficult times. Has a home worth four million dollars (though she’ll tell you it was much much much cheaper when they bought it), but thinks of herself as “comfortable” rather than “wealthy.” Mother of Sebastian, Arlo, Izzy, Juniper, Tompkins, and Walden.

CARINA: Early 40s. Female-identifying. Black or biracial. A joiner. Her parents were in the Foreign Service. She grew up overseas and had gone to eight different schools by the time she graduated from high school. This made her skilled at landing in a new environment, figuring out the rules, and putting other people at ease. Her wife is from Berkeley and always wanted to come back, so they moved nine months ago from the East Coast. Isn’t sure how much she loves living here, but is working hard to convince herself she does, because her wife never wants to leave. She’s worked for nonprofits her whole professional life, so has spent a lot of time in board meetings and dealing with well-intentioned white people. Mother of Victor.

MEIKO: Mid-30s. Female-identifying. Biracial Asian/White. Berkeley native. Wry sense of humor. Went to UC Berkeley and has never lived anywhere else, or wanted to. A landscape architect, which she’s good at but a little bored by. A year after the end of a tortured on-again off-again eight-year relationship, became a single mother by choice, of Olivia. When her daughter was young, Meiko’s mother was effectively a co-parent, but less so now. Would like to have another child, but feels like she’s too old to think about doing it alone, again.

ELI: Mid-30s. Male-identifying. White. Oblivious but well-meaning. From Southern California, went to Stanford and then straight into working at a tech start-up. Cashed out three years ago, and has been in search of how to occupy his time and exercise his mind. An expert pickler, competitive rock climber, manager of family wealth. Went through an intense Ayn Rand phase in college, which now fills him with shame, but which he has also never fully shaken. When he and his wife first decided to open up their marriage, they spent many hours in therapy making sure they were approaching it in a thoughtful and intentional way. But that was a long time ago. Father of Tobias.

PETER PAN GOES WRONG

By Henry Lewis, Henry Shields, and Jonathan Sayer
Directed by Dámaso Rodríguez
Bagley Wright Theater

Rehearsals begin: October 20, 2026
Opening: December 2, 2026
Closing: January 3, 2026

CHRIS (plays Mr. Darling and Captain Hook. Male-identifying.): 30s–50s. Head of the drama society. Directed the play. RP dialect. NOTE: Character participates in stage combat scenes.

ROBERT (plays Nana the Dog, Peter’s Shadow, and Starkey. Male-identifying.): 30s–40s. Assistant director of the play. RP dialect. NOTE: Character participates in stage combat scenes.

FRANCIS (plays the Narrator and Cecco.): 40s+. RP dialect.

SANDRA (plays Wendy Darling. Female-identifying.): 20s–30s. RP dialect. NOTE: Character participates in scenes with stage combat and intimacy, and appears onstage in undergarments.

DENNIS (plays John Darling, Mermaid and Mr Smee. Male-identifying.): 20s–60s. RP dialect. NOTE: Character participates in stage combat scenes and appears onstage in undergarments.

ANNIE (plays Mrs. Darling, Lisa, Curly and Tinker Bell. Female-identifying.): 30s–40s. RP dialect. NOTE: Character participates in scenes with stage combat and intimacy, and appears onstage in undergarments.

MAX (plays Michael Darling, Mermaid and the Crocodile. Male-identifying.): 30s–40s. RP dialect. NOTE: Character participates in scenes with stage combat and intimacy, and appears onstage in undergarments.

TREVOR: Stage manager of the play. NOTE: Flying required.

JONATHAN HARRIS (plays Peter Pan. Male-identifying.): 30s–40s. RP dialect. Flying required. NOTE: Character participates in scenes with stage combat and intimacy, and appears onstage in undergarments.

LUCY (plays Tootles): 20s. Robert’s niece. Suffers from stage fright. RP dialect.

GILL: a Cornley stagehand, paramedic.

Understudies for all roles.

JOHN PROCTOR IS THE VILLAIN

By Kimberly Belflower
Directed by Jess McLoed
A co-production with American Conservatory Theater and Center Theatre Group
Bagley Wright Theater

ACT rehearsals begin: October 13, 2026
ACT opening: November 18, 2026
ACT closing: December 13, 2026
Seattle Rep rehearsals begin: January 12, 2027
Seattle Rep opening: January 27, 2027
Seattle closing: February 21, 2027
CTG rehearsals begin: March 9, 2027
CTG opening: March 21, 2027
CTG closing: April 25, 2027

CARTER SMITH: Mid to late 30s. Male-identifying. Teacher. A former golden boy, but one of those rare smart and sensitive ones. Now he’s a great teacher: charming, engaging, goofy.

SHELBY HOLCOMB: 16. Female-identifying. Student. Her brain works faster than her mouth, but her mouth works pretty dang fast. People have always underestimated her.

BETH POWELL: 17. Female-identifying. Student. Nervous and ambitious and enthusiastic. Kind of like if Rory Gilmore and Paris Geller had a baby and raised her in the Deep South.

NELL SHAW: 16. Female-identifying. Student. From Atlanta. Grounded and sincere. Genuinely curious about things. A good judge of character, and a quick study.

IVY WATKINS: 17. Female-identifying. Student. Fiercely loyal and always well-intentioned. From money. Resist the urge to play her as a mean girl.

RAELYNN NIX: 16. Female-identifying. Student. A cheerleader type who’s always lived her life by other people’s standards. She was paying careful attention and keeping score the whole time.

MASON ADAMS: 17. Male-identifying. Student. He’s never really tried before, and he’s surprised by how good it feels. Earnest and affable.

LEE TURNER: 16. Male-identifying. Student. A Carhartt-wearing good ol’ boy. Deeply insecure and without the tools to deal with it. He’s always been good at getting what he wants.

BAILEY GALLAGHER: 24. Female-identifying. Counselor. Sweet in all the ways Southern women are supposed to be. This is her first real job out of college. She’s trying her best.

INTIMATE APPAREL

By Lynn Nottage
Directed by Valerie Curtis-Newton
Leo Kreielsheimer Theater

Rehearsals begin: January 15, 2027
Opening: February 24, 2027
Closing: March 21, 2027

ESTHER: 35. Female-identifying. Black. Seamstress specializing in lingerie.

MRS DICKSON: 50s. Female-identifying. Black. Widow who runs the house where Esther lives.

MRS. VAN BUREN: 30s. Female-identifying. White. One of Esther’s clients. High-society wife. NOTE: Role appears onstage in undergarments.

MR. MARKS: 30s. Male-identifying. White. Romanian-Jewish fabric seller.

MAYME: 30s. Female-identifying. Black. One of Esther’s clients. A sex worker. NOTE: Role appears onstage in undergarments.

GEORGE: 30s. Male-identifying. Black. Laborer from Barbados working on building the Panama Canal. Courts Esther through letters.

AMADEUS

By Peter Shaffer
Directed by Dámaso Rodríguez
Bagley Wright Theater

Rehearsals begin: March 2, 2027
Opening: April 14, 2027
Closing: May 16, 2027
Possible extension: through May 23, 2027

ANTONIO SALIERI: 40s–50s. Male-identifying. Court composer and later imperial kapellmeister to Emperor of Austria, Joseph II.

WOLFGANG AMADEUS MOZART: 20s–30s. Male-identifying. A genius composer. NOTE: Ability to play piano desired, but NOT required. Character participates in scenes with intimacy.

CONSTANZE WEBER: 20s–30s. Female-identifying. Devoted wife to Mozart. NOTE: Character participates in scenes with intimacy.

EMPEROR JOSEPH II: 40s–50s. Male-identifying. Emperor of Austria.

COUNT JOHANN KILIAN VON STRACK: 40s–50s. Male-identifying. Stiff and proper groom of the Imperial Chamber.

COUNT FRANZ ORSINI-ROSENBERG: 40s–50s. Male-identifying. Supercilious director of the Imperial Opera.

BARON GOTTFRIED VAN SWIETEN: 40s–50s. Male-identifying. Cultivated and serious prefect of the Imperial Library.

Two VENTICELLI: “Little Winds”, purveyors of information, gossip and rumor.

TERESA SALIERI / ENSEMBLE: 30s+. Female-identifying. Wife to Salieri. NOTE: Opera training desired, but NOT required. (As written, a non-speaking role.)

KATHERINA CAVALIERI / ENSEMBLE: 20s+. Female-identifying. Salieri’s pupil. NOTE: Opera training desired, but NOT required. (As written, a non-speaking role.)

MAJOR-DOMO / ENSEMBLE: NOTE: Opera training desired, but NOT required.

ENSEMBLE: Opera training desired, but NOT required. (As written, a non-speaking role.)

YOU ARE CORDIALLY INVITED TO THE END OF THE WORLD

By Keiko Green
Directed by Johamy Morales
Leo Kreielsheimer Theater

Rehearsals begin: April 9, 2027
Opening: May 19, 2027
Closing: June 13, 2027
Possible extension: through June 20, 2027

M: They/them, 20. The star. Our MC. Swinging wildly between pissed, sweet, and mystical, maybe mythical. Sometimes in control of the narrative, sometimes being swept away by the story. M is an emerging drag performer moonlighting as a barback at the local hole-in-the-wall gay bar downtown.

GREG: He/him, 40s–50s. M’s father. The earth. Clumsily making his way through this world. A terminal diagnosis brings out a complicated core of wants and desires and regrets. He’s been stuck in an office with fluorescent lights overhead and has never felt much of a purpose…until now.

VIV: She/her, 40s–50s. M’s mother. The space between. Slightly neurotic and easy to get riled up, she wants with all her might to spend her last days with Greg, alone in a bed with M by their side. A bit of “I’d like to speak to the manager” energy. A bit of a ferocious tornado, ready to protect her family, wondering how the fuck she can fix this.

LILA: She/her, 20s–30s. Viv’s younger sister, a high-maintenance yoga gal who’s the center of her own universe. But she’s ride-or-die for family and can be a surprisingly great listener.
Doubles as: GRETA (Part-Greta Thunberg, part-Peter Pan, part screaming-teenage-girl-at-a-Taylor-Swift-concert, part-Angel of Death). Doubles as: SHELLY, KATHY, ENSEMBLE A.

WILL: He/him, 20s–30s. Good-natured and well-meaning, but uncomfortable in social situations and too smart for his own good. M’s boyfriend.
Doubles as: TV NARRATOR, FRANK, KEV, ARMY GUY, BRAMBLE CAY MELOMYS, ENSEMBLE B.

JANET: She/her, 60s. Dealing with her wife’s cancer diagnosis – at times she lashes out, at times she is the best older sister you could ever hope for. Blue collar.
Doubles as: DR. THOMAS – Greg’s doctor with a near-robotic, perhaps excessively cold bedside manner. Doubles as: TOAD – A now extinct Golden Toad. A kind of washed-up rockstar, quick to sob. Doubles as: DOORDASH GAL, SUZIE, ENSEMBLE C.