Friday, June 20, 2025
9:30 AM - 5:30 PM (E)
Lunch 1:30 PM - 2:30 PM - Sign-ups will end early due to the Juneteenth Holiday.
LORT Non-Rep
$839 weekly minimum (LORT D) - Paid at $1450 weekly + Pension and Health
Housing in New Haven and economy travel is provided for actors outside a 50-mile radius from New Haven, CT
Equity actors for roles in Yale Repertory Theatre's 2025-26 Season (See breakdown).
All roles will be understudied.
Yale Rep is committed to an inclusive casting policy and encourages all actors to audition regardless of an individual's sex, race, color, religion, age, disability, status as a veteran, national or ethnic origin, sexual orientation, or gender identity or expression.
Please prepare a 2 - 2 1/2 minute contemporary or classical monologue, your choice; preference for heightened or poetic language; material either by a Yale Rep commissioned writer or from a writer in any Yale Rep season very much appreciated. This information can be found on the Yale Rep website:
https://yalerep.org/2025-26-season/.
Actors' Equity New York Audition Center
165 W 46th St
16th Fl
New York, NY 10036
Artistic Director: James Bundy
Associate Artistic Director: Chantal Rodriguez
Senior Artistic Producer: Amy Boratko
Associate Producer: Kay Perdue Meadows
Artistic Coordinators: Mithra Seyedi and Andrew Aaron Valdez
Casting Directors: James Calleri, Erica Jensen & Paul Davis
Casting Assistants: Olivia Cornet & Olivia Busche
See breakdown for production specific dates.
www.yalerep.org
All rehearsals take place in New Haven, CT.
Accommodations are welcome for persons with access needs, please contact:
YaleRepEPA@gmail.com.
EPA Procedures are in effect for this audition.
An Equity Monitor will be provided.
Notice: Audition Call Type: EPA
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.
Directed by Tamilla Woodard
Choreography by nicHi douglas
Traditional music and hymns by many artists with new songs and arrangements by Nehemiah Luckett
Music Direction by John Bronston
Venue: Yale Repertory Theatre, 1120 Chapel Street, New Haven, CT
First Rehearsal: August 7, 2025
Tech Begins: September 25, 2025
First Preview: October 3, 2025 (Previews on October 3, 4, 6, 7, 8)
Opening: October 9, 2025
Closing: October 25, 2025
SYNOPSIS:
Spunk, written by Zora Neale Hurston in 1935, is an early American play with music crafted from text adapted from her 1925 short story alongside the music of the Black South. This music is based on Hurston’s vast recordings of folk tunes, spirituals, and hymns from her cultural anthropology work in rural towns, work sites, chain gangs, and places of worship and leisure.
Set in an all-Black town in Florida in the 1930s, Spunk tells the story of a tall handsome guitar-playing stranger, who comes to town looking for work. When he falls in love with Lina, who is already married, the laws of man, the power of hoodoo and divinity of love all collide in this fable about the triumph of love over evil.
NOTE: This production is not the 1989 George C. Wolfe play of the same name, based on three Hurston short stories.
An ensemble of singer/multi-instrumentalists described below as well as understudies for all roles. Some tracks also require strong movers including Tap. The sound is gospel, folk blues (John Lee Hooker, Robert Johnson, Sun House) and work songs of the Black American South. There is flexibility within the character tracks for what instruments may be played. Looking for Guitar, Banjo, Violin/Fiddle, Upright Bass/Washtub Bass. Harmonica, Hand Drums (Cajon/Box Drum/Djembe), and auxiliary Percussion (Washboard, Spoons) are also welcome.
Mrs. Watson: 50s-60s, Black, Female. Strong singer. Gospel inflections. Big Belt/ Strong sense of rhythm. Comfortable with Rhythm Instruments. Most importantly a large voice that can command the room/community. Mrs. Watson is an Elder of the town. She teases and challenges the young folk freely, incites the partying, and commands respect. Open to vocal part. Most importantly a large voice that can command and lead the community.
Blue Trout/As-cast: 20s, Black, Male. Townsperson and part of the railroad crew. One of the youngest. Not the sharpest tool in the shed. Needs to sing and to harmonize, ideally a multi-instrumentalist. Strong mover including tap. May also understudy.
Off-Stage Cover: Identifies as a Black Male, late 20s-late 30s. Singer, dancer (including tap) who can play an instrument (Banjo, Violin/Fiddle, Upright Bass/Washtub Bass. Harmonica, Hand Drums (Cajon/Box Drum/Djembe), and auxiliary Percussion (Washboard, Spoons). Covers WILLIE JOE: He is a bit of a ladies man. Riles up Jim; ADMIRAL: Townsperson who owns a leaky boat he tries to sell rides in. A bit of a hustler; JIM BISHOP: Evalina’s husband and Hodge Bishop’s son. He lacks his father’s power but depends on his influence in the town. Impulsive, proud; NUNKIE: Townsperson and part of the railroad spiking gang. Talks a big game; and BLUE TROUT: Townsperson and part of the railroad crew. One of the youngest. Not the sharpest tool in the shed.
By Henrik Ibsen
Translated from Norwegian by Paul Walsh
Directed by James Bundy
Venue: Yale Repertory Theatre, 1120 Chapel Street, New Haven, CT
First Rehearsal: October 14
First Tech Rehearsal: November 10
Previews: November 28, 29, December 1, 2, 3
Opening: December 4
Closing: December 20
SYNOPSIS:
Freshly arrived from her honeymoon to her elegant, new-purchased villa, Hedda Tesman (née Gabler) was not born and raised for a life of contented domesticity. When a former lover returns to town, her husband’s academic career and finances suddenly hang in the balance, along with her social standing. A propulsive, fiery, and often funny meditation on romantic dreams and bourgeois ambitions, Hedda Gabler is the portrait of a woman who will stop at nothing to gain control over her own destiny.
Open to all races.
Hedda Gabler: This role has been cast. Female, late 20s, newly married to Jørgen Tesman. Enjoys a collection of firearms and practices shooting. New homeowner and recently returned from a long honeymoon.
Jørgen Tesman: This role has been cast. Male, 30s. Newly married to Hedda. A scholar. Bought a new home for his wife on borrowed money on the promise of an academic position that has not yet been secured. Raised by and devoted to his aunts.
Eilert Løvborg: This role has been cast. Male, 30s. Shares a romantic past with Hedda. A writer and intellectual whose scholarship exceeds Tesman's. History of debauchery and alcoholism, hoping to start a new life.
Thea Elvsted: Female, 20s. A former school friend of Hedda, who left an unhappy marriage to follow Løvborg south and continue her collaboration with him.
Judge Brack: This role has been cast. Male, 30s. A family friend of the Tesmans and a local magistrate. Sophisticated intriguer.
Aunt Julle: Female, 50-60s. Jørgen Tesman’s aunt. Devoted to Tesman since his youth.
Berte and Berte-understudy: Female, 60+. Tesman household maid of long standing, moving from Aunt Julle’s to Jørgen’s home. Fear, joy, anger, every expression of every feeling in human existence is 1000%.
By Eugene Ionesco
Translated by Derek Prouse
Adapted by Frank Galati
Directed by Liz Diamond
Venue: Yale Repertory Theatre, 1120 Chapel Street, New Haven, CT
First Rehearsal: January 20
First Tech Rehearsal: February 27
Previews: March 6, 7, 9, 10, 11
Opening: March 12
Closing: March 28
SYNOPSIS:
An ordinary Sunday in a small French town. Berenger and his friend enjoy a drink on a café terrace. Suddenly a rhinoceros charges across the square, crushing everything in its path. A drunken dream...or...? As neighbors and friends begin sprouting hides and horns, the shy, shambolic Berenger must make a choice: take a stand against –– or join –– the rampaging herd. Eugene Ionesco’s Rhinoceros is his tragicomic cri de cœur, imploring each of us to resist the call to fall in line.
NOTE: The whole cast of the production will work as an ensemble with the Director and Choreographer to portray the impact of stampeding rhinos on a crowd of pedestrians or café customers. Seeking actors of all body types comfortable learning some moderately athletic movement choreography, which may include runs, leaps, tumbles, falls, rolls, somersaults etc.
BERENGER: (50-60) a shambolic man in late middle age, who suffers from a vague un-nameable anguish. He drifts along in a mild alcoholic haze, wondering if he actually exists, avoiding work and dreaming of life with the charming young Daisy. When the town is overrun by rhinoceroses and his friends have joined the herd, Berenger is suddenly aroused from his lethargy to stand alone.
GENE: (50-60) Berenger’s friend, a meticulously dressed man with a smattering of culture and a great fondness for the sound of his own voice. Fond of Berenger in a condescending way, Gene seizes every opportunity to improve his friend’s attitude and behavior. Genial, self-centered, pedantic. At first incredulous at the arrival of the rhinos in town, Gene eventually joins their ranks, transforming, right before Berenger’s eyes and ours, into a snorting, charging rhino.
DAISY: (20s) A charming young office assistant, who pities Berenger for his haplessness and covers for him when he makes mistakes. She is clever, practical, and direct, always ready to give people the benefit of the doubt, even when they seem to be shedding their humanity for the raw animal power of life as a rhinoceros.
BOTARD: (40s) an inexhaustible blowhard with the obtuse stubbornness of a full-grown rhino. A fatuous petty bureaucrat whose slender command of facts has never shaken his conviction that his views are invariably correct.
DUDARD: (30s) a bright, ambitious young man with a law degree who works in the office with Berenger, Daisy, and Botard. Honest and diligent. Believes facts exist and stoutly sticks to them even when ridiculed. Resists the pull of the rhinoceroses, but eventually joins them, believing it wiser to “criticize the movement from within.”
PAPILLON/CAFÉ OWNER: (50s) Papillion is the boss at Berenger’s office. He’s been there forever and struggles to keep his office staff in line. He never undertakes a task himself when he can order a subordinate to do it for him. Enjoys exercising his little power and authority. The Café Owner lords his authority over the Waiter with the zeal of a tyrant but treats his customers with avuncular charm. Hale, hearty, proud of his establishment.
WAITER: (20s) aka Marcel. Still an apprentice, he has not quite learned the art of balancing a tray, but he’s already good at ignoring customers.
HOUSEWIFE: (40s-50s) A prosperous, respectable matron with a cat into whom she pours all her maternal love. When her cat is crushed by the first stampeding rhino, she is operatic in her grief.
MRS BOEUF: (40s-50s) stout and surprisingly light on her feet. Passionately devoted to her husband, stopping at nothing to save him when he metamorphoses into a raging rhinoceros. She eventually leaps down a stairwell to remain with him, even as he rampages on.
TOWNSPEOPLE: (Number and age range TBD) Ordinary citizens of an ordinary small town somewhere in France.
By a.k. payne
Directed by abigail jean-baptise
Venue: Yale Repertory Theatre, 1120 Chapel Street, New Haven, CT
First rehearsal: March 10
First tech: April 17
Previews: April 24, 25, 27, 28, 29
Opening: April 30
Closing: May 16
SYNOPSIS:
There's been a drought on their childhood's road and two cousins come home dry-eyed and grieving. Sade, on a three-day furlough from prison. Mina, departing a strangely idyllic west coast. As all time ticks towards the correctional officer's arrival, these two wrestle with all they have never said, with the fallibility of memory itself, and with visions of a future they are bound to create. Winner of the prestigious 2025 Susan Smith Blackburn Prize, a.k. payne’s Furlough’s Paradise is a lyrical meditation on grief, home, kinship, and a utopia yet to be realized.
NOTE: This play is curious about how Black girlhood can intersect with many expressions of gender. These actors may identify as non-binary/genderqueer and/or as Black women; these actors also may just be themselves, i.e., these actors may refuse to subscribe to any label about their body and instead may simply wish to breathe with the deep awareness of gender as an infinite spectrum & English as a colonized tongue’s first prison. We hope to cast artists who see themselves and their communities in this play.
MINA: Whose name means ‘love,’ an only child, a cousin, 20s-30s, shaped in childhood by Y2K, moves with the illusion of having everything under control, radical — grasping things at the root, the responsible one, has forgotten the sound of her own laugh, feels where she’s been under her skin; has learned to bury, edit and suppress, a visionary and listener who cares deeply for her people, cool serious exterior/mask beyond Dayton Road — those who know her know better, a fighter when needed but would much rather fly.
SADE: Whose name means ‘honor earns a crown’ or ‘rain,’ Mina calls her ‘de,’ an only child, a cousin, 20s-30s, shaped in childhood by Y2K, quick-wit, infinite sense of humor and self, cares deeply for her communities, a dreamer, logical and calculating, has a very clear map to freedom, seemingly unshakable & infinitely tender, rocked in instances of injustice, feels where she’s been with every breath, has learned to be very loud when she can, unyielding in conflict, can be sharp/caustic when someone comes for her heart.
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