Denver Center for the Performing Arts
Denver, CO

DESCRIPTION

Notice: Audition Call Type: EPA

AUDITION DATE

Monday, May 11, 2026

9:00 AM - 4:00 PM (P)

AND

Tuesday, May 12, 2026

9:00 AM - 4:00 PM (P)

Lunch 12:00 PM - 1:00 PM

CONTRACT

LORT Non-Rep / TYA

DCPA pays above minimum in each of its spaces.

$1213 weekly minimum (LORT B) - The Wolf - Paying $1225 weekly

$1114 weekly minimum (LORT C) - The Kilstrom - Paying $1225 weekly

$889 weekly minimum (LORT D) - The Singleton - Paying $1225 weekly

$658 weekly minimum (TYA) - The Randy Weeks Conservatory Theatre - Paying $1112 weekly

SEEKING

Equity actors for roles in Denver Center Theatre's LORT and TYA 2026-27 Seasons (See breakdown).

Denver Center for the Performing Arts Casting Statement:

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 multifaceted personhood to thrive and feel welcome.

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. We are not accepting video submissions at this time

LOCATION

Actors' Equity Association - Los Angeles

5636 Tujunga Ave

North Hollywood, CA 91601

PERSONNEL

Expected to attend:

Grady Soapes (he/him), CSA - DCPA Director of Casting

See breakdown for production-specific personnel.

OTHER DATES

See breakdown for production-specific dates.

OTHER

denvercenter.org/casting

EPA Procedures are in effect for this audition.

An Equity Monitor will be provided.

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.

Breakdown

Denver Center Theatre LORT and TYA 2026-27 Seasons

DESTINY OF DESIRE

A co-production with Denver Center Theatre Company & Center Theatre Group

Playwright: Karen Zacarias

Director: Marcela Lorca

Choreographer: TBD

Music Director: Deborah Wicks La Puma

Composer: TBD

Dramaturg: Ken Cerniglia

Fight & Intimacy Choreographer: TBD

Voice & Dialect Coach: TBD

DCPA Information:

The Wolf Theatre

REH: Aug 11th, 2026

DESIGNER RUN: Sept 1st

TECH: Sept 4th

PREVIEW: Sept 11th

OPENING: Sept 18th

CLOSING: Oct 4th, 2026

CTG Information:

LORT A Contract

Mark Taper Forum

REH: Nov 3rd, 2026

TECH: Nov 6th

PREVIEW: Nov 11th

OPENING: Nov 15th

CLOSING: Dec 20th, 2026

POTENTIAL EXTENSION CLOSING: Dec 27th, 2026

ACTORS MUST BE AVAILABLE FOR BOTH DCPA AND CTG DATES TO BE CONSIDERED

SYNOPSIS: Delight in every scandalous plot twist and epic love story of this vibrant, brilliantly funny, and completely unapologetic homage to the telenovela. On a stormy night in Bellarica, Mexico, two baby girls are born – one into outlandish wealth, and one into a life of poverty. When the newborns are swapped by a ruthless ex-beauty queen, the stage is set for two outrageous misfortunes to grow into an extraordinary destiny. Karen Zacarías' hilarious hit, Destiny of Desire, has everything you love about telenovelas, while bursting with Brechtian interludes, Shakespearian-style antics, and live music - even if you’ve never watched a telenovela, you’ll know why it’s one of the most popular forms of storytelling on the planet.

Casting Note: The actors are both the elegant EPIC ENSEMBLE that employ Brechtian techniques of Quotes and Titles and songs, and they are the Aristotelian heartbreaking Characters of “Destiny of Desire”.

SEEKING:

Hortencia Del Rio (35-45, latine, female identifying) A beautiful, promising yet poor mother who due to circumstances becomes a maid to the richest woman in town. She is an excellent mother, loyal to her loved ones and a warm-hearted woman. Excellent Singer, soloist, Mezzo.

Ernesto Del Rio (35-45, latine, male identifying) Hortencia’s hardworking husband. He’s poor, has scars on his face. He will do anything for his family. Excellent Singer, soloist, Baritone.

Victoria Maria Del Rio / Nurse 1 (late teens, latine, female identifying) Ernesto and Hortencia’s beautiful yet sickly daughter. She wants to become a doctor and open a free clinic for the poor. She is also romantic. Excellent Singer, soloist, Soprano with Belt.

Armando Castillo (50-70, latine, male identifying) Owner of The Castillo Casino. The most powerful and richest man in town. He is driven first by money but has a soft spot for his children. Good Singer, non-soloist.

Fabiola Castillo (35-45, latine, female identifying) The beauty Queen wife of Armando Castillo. A complicated woman, driven by passion, greed, and her need for status in society. She will do or say

anything to get what she wants. Good singer, potential soloist, Alto.

Pilar Esperanza Castillo / Nurse 2 (late teens, latine, female identifying) Armando and Fabiola’s beautiful daughter. Brought up in a wealthy household and expected to be a “society” girl. In her heart she is an artist, a poet and a open hearted young woman. She falls madly in love with Sebastián. Excellent Singer, soloist, Mezzo with Belt.

Sebastián José Castillo / Paramedic 1 / Cop 1 (28-35, latine, male identifying) Armando’s estranged son from a former marriage. He’s trying to make amends with his father, let go of mistakes he’s made in the past. He falls madly in love with Pilar. Excellent Singer, soloist, Tenor.

Doctor Jorge Ramiro Mendoza / Casino Dealer / Cop (45-60, latine, male identifying) The Head of the Hospital. His interest in Hortencia (a married woman) drives him to practice unethical acts in order to pressure her. He uses his influence and power. Good Singer, non-soloist.

Dr. Diego Mendoza / Paramedic 2 / Cop 2 (28-35, latine, male identifying) Doctor Jorge Ramiro Mendoza’s handsome estranged son…also a doctor. He falls in love with Victoria and shares her dream to open a clinic for the poor. Good Singer, non-soloist.

Sister Sonia (50-70, latine, female identifying) A nurse who is a nun. She became a nun after losing her memory in an accident. In the past, she had a family and influence. She is strategic, kind, but also abides by the rules of her world. Good Singer, non-soloist.

Musician 1 (any age, latine, any gender identity) Piano and Guitar - comfortable with pop, traditional latin styles, and improvisation.

Musician 2 (any age, latine, any gender identity) Melodic instrument - Violin or Trumpet. Additional instruments (sax, bass, percussion, etc. is a bonus.)

Offstage Understudy 1 (30s to 40s, latine, male identifying) Covers Ernesto Del Rio, Sebastian Jose Castillo / Paramedic 1 / Cop 1 & Dr. Diego Mendoza / Paramedic 2 / Cop 2 tracks.

Offstage Understudy 2 (early 40s to mid 50s, latine, male identifying) Covers Armando Castillo & Doctor Jorge Ramiro Mendoza / Casino Dealer / Cop tracks.

Offstage Understudy 3 (late teens to early 20s, latine, female identifying) Covers Victoria Maria Del Rio / Nurse 1 & Pilar Esperanza Castillo / Nurse 2 tracks.

Offstage Understudy 4 (late 30s to early 40s, latine, female identifying) Covers Hortencia Del Rio & Fabiola Castillo & Sister Sonia tracks.

THE TEMPEST

Playwright: Wiliam Shakespeare

Director: Chris Coleman, DCPA Artistic Director

Dramaturg: Leean Kim Torske

Psychodramaturg: Barbara Hort

Fight Choreographer: Geoffrey Kent

Voice & Dialect Coach: Robert Ramirez

Music Director: Dan Graeber

The Kilstrom Theatre

REH: Aug 28th, 2026

TECH: Sept 26th

PREVIEW: Oct 2nd

OPENING: Oct 9th

CLOSING: Nov 1st, 2026

SYNOPSIS: Get swept away by Shakespeare’s fantastical tale of shipwreck, magic, monsters, and romance. Exiled from their home, the sorcerer Prospero and his daughter Miranda have survived for years on a remote island. When a ship carrying Prospero’s enemies sails into his conjured storm, he finally has a chance to take revenge—and maybe, to weave a brighter future for his daughter. Ensnaring everyone in his labyrinth of madness and misdirection, Prospero summons all his power to set his world right. Lyrical and spellbinding, The Tempest is one of Shakespeare’s final masterpieces.

SEEKING:

Track 1: Trinculo / Shipmaster (40s or 50s, any ethnicity, male identifying) Trinculo is a jester in the court of the King of Naples: but think deeply jaded, exhausted jester, not peppy jester. He spends much of the play drinking, carousing and poking holes in the budding relationship between his long-time friend, Stephano (the King’s butler), and Caliban – a native of the island where they are stranded. Strong language and comedic skills. Covers: Track 3 - Alonso

Track 2: Stephano, butler to the King of Naples/ Mariner (50s or 60s. any ethnicity, male identifying) After their ship crashes at sea, Stephano finds himself lost on a desert island. Because he managed to swim ashore with a cask of wine, he navigates the island by drinking and sharing his booze. When he meets Caliban, a native of the island, he becomes invested in a plot to murder Prospero and take over as ruler of the island. Excellent comedic skills. Covers: Track 7 - Gonzalo

Track 3: Alonso, King of Naples (50s or 60s, any ethnicity, male identifying) After their ship crashes at sea, Alonso believes his son and heir has drowned. His moral center reveals itself as the grief from the loss nearly overwhelms him. Through the course of the story, he also comes face to face with his complicity in the ouster of Prospero from the throne of Milan – and seeks redemption. He wears his authority easily. Possible Cover: Track 8 - Prospero

Track 4: Sebastian, brother to the King of Naples (mid 40s to 50s, any ethnicity, male identifying) When the King’s posse is shipwrecked at sea, Sebastian finds himself stuck with them on a desert island. He is quickly presented with the idea of assassinating his brother (the King of Naples) and taking the crown for himself. He must decide to pursue or resist. Covers: Track 5 - Antonio

Track 5: Antonio, Prospero’s brother and the current Duke of Milan (50s any ethnicity, male identifying) When he finds himself stranded on a desert island with the surviving members of the King of Naples’ court, Antonio lures Sebastian (the King’s brother) into an attempted assassination plot. The story brings him face to face with his brother, Prospero, and the political and personal betrayal he executed many years ago. Conniving, cynical. Covers: Track 2 - Stephano

Track 6: Ferdinand, heir to the throne of Naples (20s, any ethnicity, male identifying) When their ship wrecks at sea, Ferdinand finds himself completely alone on a desert island. He quickly comes across Miranda, Prospero’s daughter, and falls head over heels for her. But Prospero puts him through his paces before he is deemed worthy for marriage. Ferdinand has a solid moral core and operates from a position of sweetness and decency. Covers: Track 4 - Sebastian

Track 7: Gonzalo (60s, any ethnicity, female identifying) The most trusted Councilor of Alonso, the King of Naples, Gonzalo has a strong moral core. When the King’s posse is stranded on a desert island, Gonzalo’s response is to look for the positives in the situation and to protect the King. When she is finally reunited with Prospero/a at the end, tears flow - there is genuine compassion in this human who has spent her life in the halls of power. Possible cover: Track 8 - Prospera

Track 8: Prospero/a, former Duke or Duchess of Milan (60s, any ethnicity, any gender identity) When they became more engrossed with their studies of the occult and magic than in governing the state, Prospero/a’s brother stepped in and stole the throne. Prospero/a was set on a rickety boat with their young daughter and thrust out to sea. For the past 12 years, they have been stuck on a deserted island but has continued to hone and deploy their magical powers. When their enemies sail close to the island, Prospero/a conjures a storm and captures them. It’s at that point that they must decide whether to exact revenge or offer forgiveness. Effortless command, mysterious, fierce, multi-layered.

Track 9: Miranda, Prospero’s daughter (early 20s, any ethnicity, female identifying) (may cover pianist/singer) Miranda spent her formative years on a desert island, with her father, Prospero as her teacher, protector and provider. When a ship crashes off their shore, and a handsome, young man wanders ashore she is instantly smitten and has to navigate around her father’s wariness. Growing up in this environment has shaped Miranda as natural, grounded and open – but fully able to carry a load of firewood without breaking a sweat. Possible Cover: Track 13 - Singer/Pianist. [While it’s not a requirement that this actor sing and play the piano, if they do, we would like to see that in auditions]

Track 10: Ariel / Mariner (late 30s-early 40s, person of color, female identifying or non-binary) When they refused to perform the most debased work of the witch Sycorax, Ariel was trapped inside a tree on a deserted island. Prospero, the former Duke of Milan, freed them and they now spends their days carrying out his magical and imaginative deeds. But Prospero also promised to free them in two days, and as that deadline approaches, their patience begins to wear. They have many magical powers, including the ability to shape-shift, hypnotize others through music, and travel at the speed of light. Possible Cover: Track 13- Singer/Pianist. [While it’s not a requirement that this actor sing and play the piano, if they do, we would like to see that in auditions]

Track 11: Caliban / Mariner (30s to 40s, any ethnicity, male identifying) Caliban was born the son of the powerful witch, Sycorax and grew up on a deserted island. When Prospero and his young daughter, Miranda, arrived on the island – Caliban initially befriended them and showed Prospero the secrets of the environs. But as Miranda grew, Caliban’s attraction to her also grew, and when he made a pass at her, Prospero used his magical powers to punish and ultimately enslave Caliban. So, when newcomers Stephano and Trinculo show up (after a shipwreck), he plots with them to assassinate Prospero and gain his freedom. Needs to sing: not necessarily for the concert stage; but tuneful. [Note for actors who audition: Caliban will spend most of the play shirtless, so the actor should be comfortable with that.]

Track 12: Adrian / Boatswain (30s to 40s, any ethnicity, male identifying) Adrian is a member of the court that serves the King of Naples. He is grounded, attentive and ready to move into action when needed. The Boatswain is trying to keep the King’s ship from crashing at sea but has zero patience for the courtiers that are panicking during the storm. Salty, earthy, no-nonsense. Covers: Track 1 - Trinculo / Shipmaster

Track 13: Singer/Pianist (40s to 50s, any ethnicity, any gender identity) A soulful singer and jazz pianist who weaves the action of the play together with haunting renditions of jazz standards. Helpful if they are comfortable improvising musically.

Track 14: Offstage Understudy (30s, person of color, female identifying) Covers: Track 9 - Miranda (Prospero’s earthy and natural young daughter) Track 10 - Ariel / Mariner (the magical and strong spirit that carries out Prospero’s magic spells), possible cover for Track 13 - Singer/Pianist should sing and play the piano. [While it’s not a requirement that this actor sing and play the piano, if they do, we would like to see that in auditions]

Track 15: Offstage Understudy (20s to 30s, person of color, male identifying) Covers Track 6 - Ferdinand: the son and heir of the King of Naples. Ferdinand has a strong moral core, and sense of decency. He falls quickly for Miranda. Track 12 - Adrian/Boatswain: earthy, salty and ready for action. Track 11- Caliban / Mariner: an enslaved native of the island, who is plotting the assassination of Prospero to regain his freedom.

DON’T LET THE PIGEON DRIVE THE BUS! THE MUSICAL!

Based on the book Don't Let the Pigeon Drive the Bus! by Mo Willems

Playwright: Mo Willems

Music: Deborah Wicks La Puma

Director: Allison Watrous, DCPA Executive Director of Education and Community Engagement

Choreographer: Diana Dresser

Music Director: Jordan Ortman

The Randy Weeks Conservatory Theatre

REH: Sept 29th, 2026

TECH: Oct 17th

PREVIEW: Oct 23rd

OPENING: Oct 28th

CLOSING: Dec 20th, 2026

SYNOPSIS: Whatever you do, don't let the Pigeon star in his own musical production! With a script written by Mo Willems, the creator of the #1 New York Times best-selling, Caldecott Honor award-winning "Pigeon" picture books, and featuring music by Deborah Wicks La Puma (Elephant & Piggie's We Are in a Play!), Don't Let the Pigeon Drive the Bus! The Musical! is even more fun than staying up late and having a hot dog party! It's not easy being the Pigeon-you never get to do ANYTHING! But when the Bus Driver has a crisis that threatens to make her passengers (gasp!) late, maybe that wily bird CAN do something. Featuring an innovative mix of songs, and feathers, Don't Let the Pigeon Drive the Bus! The Musical! is sure to get everyone's wings flapping.

SEEKING:

Track 1 (any ethnicity, any gender identity, vocal range from top G4- bottom C3) The Pigeon (Puppeteer) - The snappy, sassy and demanding bird who never gets what they want, but that doesn’t mean they’ll never stop trying. The Pigeon Puppet is an arm puppet, operated Avenue Q style with the actor next to it. Puppeteer experience a plus

Track 2 (any ethnicity, female identifying, vocal range from top G4- bottom C3) The Bus Driver - A bus driving professional who loves her work and, eventually, The Pigeon. Prides herself on being driven and ALWAYS on time.

Track 3 (any ethnicity, male identifying, vocal range from top E4 to bottom D3) The Hot Dog Vendor - A guy that loves sharing hot dogs. But not with Pigeons. Passenger Businessman - A no-nonsense man in a suit off to his new job. Hope he’s not late.com! Backup Duckling

Track 4 (any ethnicity, male identifying, vocal range from top C5 to bottom D3) City Worker - Grunty person just doing their job putting up signs around town. Passenger Teenager - A kid who can’t wait to go see the latest superhero movie that’s opening RIGHT NOW! Backup Duckling

Track 5 (any ethnicity, female identifying, vocal range from top C5-Bottom D4) Passenger: Little Old Lady - Very excited to see her newborn grandchild at the hospital. The Duckling (Puppeteer) - An adorable Duckling who gets a hot dog by just asking politely (operated Avenue Q style) Puppeteer experience a plus.

Offstage Understudy 1 (any ethnicity, female identifying) Covers - Track 1, Track 2 & Track 5.

Offstage Understudy 2 (any ethnicity, male identifying) Covers - Track 3, Track 4 & Track 5.

A CHRISTMAS CAROL

Playwright: Charles Dickens

Adapted by Richard Hellesen

Director: Anthony Powell

Choreographer: Grady Soapes

Music Director: Dan Graeber

Voice & Dialect: Jeffrey Parker

The Wolf Theatre

REH: Nov 3rd, 2026

TECH: Nov 20th

PREVIEW: Nov 27th

OPENING: Dec 4th

CLOSING: Dec 27th, 2026

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.

Any auditions for youth performers in A Christmas Carol will be held at a later date.

This production will be understudied

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 fiancé, 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.

bogfriends (World Premiere)

Playwright: jose sebastian alberdi

Director: Joshua Kahan Brody

Dramaturg: Leean Kim Torske

Fight & Intimacy Choreographer: TBD

Voice & Dialect Coach: TBD

The Singleton Theatre

REH: Dec 15th, 2026

TECH: Jan 9th, 2027

PREVIEW: Jan 15th

OPENING: Jan 22nd

CLOSING: Feb 21st, 2027

SYNOPSIS: Tanner & Archie just broke up. Finn & Cillian are newly engaged. Osgar & Irial died over four thousand years ago. A discovery in an Irish bog binds their lives together across the centuries. With poetic language and a little mud, bogfriends is a theatrical meditation on eternity, love, and preserving dead things (or trying to).

Casting Note: Actors must be comfortable being muddy/bloody/wet on stage for extended periods of time and with being shirtless.

SEEKING:

Track 1: Archie / Cillian / Irial (mid 40s-late 50s, any ethnicity, male identifying) Archie: A senior museum official who struggles with expressing himself, possibly due to a less lived-in relationship to his sexuality. Contains a deep well of feeling that maybe only comes out when he’s been drinking. Cillian: An American who fell in love while studying abroad. “Golden retriever” energy meaning that he is happy to be playful and positive but hides an inner restlessness in his relationship. Irial: An ancient Celtic archer. Loyal, primal, and ready to kill or be killed for those he loves.

Track 2: Tanner / Finn / Osgar (late 20s-early 40s, any ethnicity, male identifying) Tanner: A recently fired preventative conservator at the museum. Passionate, reactive, with a wicked–sometimes cruel–sense of humor. Sees himself as the victim but would say he’s acting out because of how deeply he feels and loves–and it’s true, he feels extremely deeply. Finn: Fearless embodiment of joy and living one's truth, able to playfully tease Cillian in a way that never feels mean or like he’s actually annoyed. Osgar: An ancient Celtic king. Burdened by responsibility at a young age, he struggles with accepting his fate. Has moments of narration in the play where he serves as playful, knowing MC of the night. Able to command the room.

Offstage Understudy (30s-40s, any ethnicity, male identifying) Covers both tracks.

HOW TO CONQUER AMERICA: A MOSTLY TRUE HISTORY OF YOGURT (World Premiere)

Playwright: David Myers

Director: Margot Bordelon

Dramaturg: TBD

Voice & Dialect Coach: Jeffrey Parker

The Kilstrom Theatre

REH: Jan 5th, 2027

TECH: Jan 30th

PREVIEW: Feb 5th

OPENING: Feb 12th

CLOSING: Feb 28th, 2027

SYNOPSIS: Arlene is a pro at controlling the narrative. As an ambitious research assistant in 1975, she created the ad campaign that transformed yogurt from a weird foreign laxative into a lucrative American phenomenon. It would be a success story for the ages—it would—if only her dead dad could stay on script. Can Arlene wrangle this victory lap back on course, or will her father unravel the story she's written for herself? How to Conquer America: A Mostly True History of Yogurt wrestles with culture, family, and appropriation in a heartfelt, dairy-filled take on the American Dream.

SEEKING:

Arlene (27-37, Jewish, any ethnicity, female identifying) Arlene is a researcher who desperately wants to be a copywriter and dreams of being a genius. Until now, she’s been allowed in the room where it happens because she’s been invisible. But this play is her big chance to show her spine and be seen. Smart, with a keen understanding of language and culture, Arlene would sacrifice anything to rise up the ladder.

Penny / Yitzak / Male Dannon Exec (65-80, Jewish, any ethnicity, male identifying) At 15, Penny fled a genocide to Brooklyn and has spent the rest of his life in a small 4-block radius. He’s charming but doesn’t like attention, clever but not proud. Yitzak is, in many ways, Penny’s opposite: a man the world tried to squash, who make lemonade out of any lemon. Yitzak loves attention, is debonair and worldly.

Peter / Minister Kikadze / Daniel (45-55, white, male identifying) All three of these characters are the boss in every room they’re in. Peter is a partner at an ad agency in 1970s NYC. Charming, powerful, sexist. Kikadze is the top Russian Government Official in a small country outpost. Daniel is the heir to a storied yogurt empire. None of these men chase power, they just have it. Debonair. Possible Cover: Penny / Yitzak / Male Dannon Exec

Blake / Pharmacist / Russian Translator / Bagrat (27-40, any ethnicity, male identifying) Kind of a jerk. The friend who will pull you aside with kindness and then cruelly tell you how terrible you look in that outfit. Capable of using polite language to imply very impolite feelings. Possible Cover: Penny / Yitzak / Male Dannon Exec

LD / Senor Abela / Georgian Translator / Waiter (27-40, any ethnicity, male identifying) These roles are usually the lowest status in the room. Conveys a loveable innocence and earnestness. These characters are trying, but usually not succeeding. Not fully aware of the games being played. Possible Cover: Penny / Yitzak / Male Dannon Exec

Elisha / Sandy / Female Dannon Exec / Duda (30-60, white, female identifying) A magical character capable of playing larger than life with grounded support. Someone who plays both the good witch and the bad.

Offstage Understudy (27-37, Jewish, white, female identifying) Covers Arlene & Elisha / Sandy / Female Dannon Exec / Duda.

Offstage Understudy (35-45, ethnicity, white, male identifying) Covers Peter / Minister Kikadze / Daniel, Blake / Pharmacist / Russian Translator / Bagrat & LD / Senor Abela / Georgian Translator / Waiter.

ONCE

Book: Enda Walsh

Music & Lyrics: Glen Hansard & Marketa Irglova

Director: Chris Coleman, DCPA Artistic Director

Choreographer: Jenn Freeman

Music Director: James Olmestead

Dramaturg: Madison Cook Hines

Psychodramaturg: Barbara Hort

Voice & Dialect Coach: Jeffrey Parker

The Wolf Theatre

REH: Feb 23rd, 2027

TECH: Mar 26th

PREVIEW: Apr 2nd

OPENING: Apr 9th

CLOSING: May 2nd, 2027

SYNOPSIS: Based on the critically acclaimed film and featuring a soaring folk-rock score, Once is a celebration of the uniting, healing power of music. On the streets of Dublin, a heartbroken Irish songwriter meets a Czech pianist who won’t let him sell his guitar. By the end of one fateful week, their budding friendship evolves into a powerful but complicated love story that will change their lives forever. The only show to have music that won an Academy Award, a Grammy Award, an Olivier Award, and a Tony Award, Once is an achingly beautiful, joyously uplifting story that continues to strike an unforgettable chord.

SEEKING:

Guy (30s, any ethnicity, male identifying) Quiet, attractive, layers of internal feeling. Guy is a bit lost. Since his ex-girlfriend left for New York (and started seeing someone else) he’s been swimming in a sea of confusion. He makes ends meet working in his Da’s vacuum cleaner repair shop, but his first love is music. But even that is starting to feel like an exercise in futility as he seems incapable of grabbing anyone’s attention. Until a blunt, tenacious and musically gifted young, Czech woman walks into his life and his heart and music are reenergized. Excellent guitar skills, folk/rock vocals. Soft Dublin dialect.

Girl (Late 20s early 30s any ethnicity, female identifying) Direct, tenacious, seemingly serious. When her young family emigrated to Dublin to start a new life, Girl was charmed by the warmth of the people, despite the cloudiness of the skies. She also fell for the depth of cultural current alive in the city. But when her husband left her alone with her five-year-old daughter, the new life suddenly became more complicated. When she randomly runs into Guy playing his music on the street, she finds a new purpose in trying to activate his musical gifts and reawaken his heart. Excellent piano skills, folk/rock vocals. Soft Czech dialect.

Eamon (30s, any ethnicity, male identifying) Eamon is the sound engineer at the recording studio which Guy and Girl have rented to lay down tracks for the big album. He is happily married, grounded and no-nonsense. Excellent guitar skills, folk/rock vocals (mandolin skills a bonus. Dublin dialect. Possible Cover: Guy

Andrej (30s to early 40s, any ethnicity, male identifying) Intense. Andrej emigrated from the Czech Republic to Dublin. He currently works in a fast-food restaurant, but dreams of becoming an Area Manager. He learned English by watching Soap Operas. Strong guitar and bass skills, folk/rock vocals. Czech accent.

Reza (30s any ethnicity, female identifying) Reza emigrated from the Czech Republic to Dublin. She has a sensuality and confidence that make her seem a bit “on the prowl.” She is definitely searching for a partner, or husband and is pretty direct about pursuing men who seem a decent prospect. Strong violin skills, folk/rock vocals. Czech accent. Possible Cover: Girl

Da (60s, any ethnicity, male identifying) Simple, grounded, generous. Da is the father of Guy. He owns a vacuum repair shop in the city center. He and Guy live in a small apartment above the shop. Since his wife passed away, he’s been focused on the shop and helping nudge Guy back out into the world after his heart break. Strong mandolin skills. Dublin accent.

Barushka (50s to 60s, any ethnicity, female identifying) Barushka emigrated to Dublin from the Czech Republic. She is the mother of Girl, and part-time caretaker for her granddaughter, Ivonka. She is grounded and intense, with a lived wisdom. Accordion skills (or strong piano skills and willingness to learn accordion), folk/rock vocals. Czech dialect.

Svec (30s to 40s, any ethnicity, male identifying) Intense, direct. Svec emigrated to Dublin from the Czech Republic. He is learning English by watching soap operas and is eager to try out his “authentic” Dublin accent whenever an opportunity arises. He is a skillful musician, though his background in heavy metal makes the transition to playing Guy’s moody music a challenge. Strong guitar and drum skills (cajon is a bonus), folk/rock vocals. Czech dialect.

Ivonka (5ish, any ethnicity, female identifying) Girl’s quiet daughter. Doesn’t need to sing.

Ex-Girlfriend (late 20s to early 30s, any ethnicity, female identifying) Ex-Girlfriend is Guy’s ex who left Dublin to move to New York in search of new adventures. Though she’s been seeing someone new, there is still a place in her heart for Guy. Strong violin skills (piano a plus), folk/rock vocals. Dublin accent. Possible Cover: Girl

Billy (40s, any ethnicity - Irish with Spanish ancestry, male identifying) Billy is a big guy who owns a humble music shop in Dublin. Though he is a small business owner, Billy is a socialist at heart. He is infatuated with Girl, and is protective of her when he senses that there is chemistry between her and Guy. He has big feelings and big opinions. You don’t have to guess what’s going through his head. Strong guitar skills, folk/rock vocals. Dublin dialect.

Emcee (30s to 40s, any ethnicity, male identifying) The Emcee is the master of ceremonies in a local pub in central Dublin. Strong guitar skills (mandolin a bonus), folk/rock vocals. Dublin dialect. Possible Cover: Guy

Bank Manager (40s to 50s, any ethnicity, male identifying) Manager of the bank. He is a rule follower and a bit weary of all the dreamy schemes customers try to get him to fund. He is also a closet musician, who jumps at the chance to join Guy and Girl’s band once that presents itself. Strong cello skills (guitar a plus), folk/rock vocals. Cork dialect.

Swing 1 (30s to 40s, any ethnicity, female identifying) Tracks to be identified closer to time of production auditions.

Swing 2 (30s to 40s, any ethnicity, male identifying) Tracks to be identified closer to time of production auditions.

AND SO WE WALKED

The Denver Center Theatre Company presents The Thomas S. Kenan Institute for the Arts’ production

Playwright & Performer: DeLanna Studi

Director: Corey Madden

Produced by: Octopus Theatricals - Mara Isaacs, Executive & Creative Producer

The Singleton Theatre

REH: Apr 9th, 2027

TECH: Apr 13th

PREVIEW: Apr 16th

OPENING: Apr 23rd

CLOSING: May 23rd, 2027

SYNOPSIS: DeLanna Studi, a Cherokee artist and activist, knew that if she hoped to share the story of both the tragedy and triumph in her ancestors’ complex legacy, she would need to walk in the footsteps of their forced relocation. In a captivating, tour-de-force performance, she embarks on that 900-mile journey with her aging father, hoping to truly understand her own identity and her relationship to the modern Cherokee nation. But doing so might require her to reckon with parts of herself she’s not ready to face. Slipping deftly between the past, present, and dream world, And So We Walked is a powerful and inspiring theatrical memoir that draws on extraordinary interviews, history, and the artist’s personal experience traveling the Trail of Tears.

ALL ROLES ARE CAST - The role is CAST and performed by the writer. No understudy positions available.

DIAL M FOR MURDER

Playwright: Jeffrey Hatcher

Adapted from the original by: Frederick Knott

Director: Nancy Keystone

Composer: Randy Tico

Voice & Dialect Coach: TBD

The Kilstrom Theatre

REH: Mar 30th, 2027

TECH: Apr 24th, 2027

PREVIEW: Apr 30th, 2027

OPENING: May 7th, 2027

CLOSING: May 30th, 2027

SYNOPSIS: An unburied secret. A deadly trap. A flawless alibi. Tony Wendice is confident he has planned the perfect crime. Before the night is over, he’ll have enacted revenge on his cheating wife, bested his infuriating rival, and landed a financial windfall in a single, brilliant maneuver – all without so much as a single drop of blood on his cufflinks. But when his clever scheme unexpectedly goes awry, Tony’s twisted web of deceit, jealousy, and betrayal threatens to ensnare them all. A suspenseful new spin on Hitchcock’s classic cat-and-mouse thriller, Dial M for Murder will have you on the edge of your seat.

SEEKING:

Margot Wendice (30s-40, female identifying, any ethnicity, English) Has family money. She is married to Tony. Had an affair with Maxine prior to the start of the play. Intelligent, cultured, independent, and unhappy. Target of Tony’s murder plot. This part will require physical violence/fight choreography, and intimacy/kissing with Margot and Tony. Facility with upper class English dialect.

Maxine Hadley (30s-40, female identifying, any ethnicity, American) Confident, unafraid, smokes a lot and drinks a lot. Best-selling author of murder mysteries. She and Margot were lovers, she has never gotten over the affair. Tony’s work associate. Maxine is relentless in trying to save Margot by solving the plot against her. This part requires physical intimacy/kissing with Margot.

Tony Wendice (late 30s-40s, male identifying, any ethnicity English) Married Margot for her money. Was unsuccessful as an author, now works in PR for Maxine’s publisher. Went to school with Lesgate. Charming, devious, vindictive, obsessive, unflappable. He plots to have Margot killed in revenge for her affair with Maxine, with the goal of inheriting her fortune. This part requires physical intimacy/kissing with Margot. Facility with English dialect.

Lesgate (late 30s-40s, male identifying, any ethnicity, English) Former schoolmate of Tony. A con man, leaves a trail of aliases and crimes throughout London, is easily blackmailed by Tony. Wary, amoral, shifty, a blunt instrument. Dies on stage. This part will require physical exertion and flexibility, violence/fight choreography. Facility with English dialect.

Inspector Hubbard (late 40s-60, male identifying, any ethnicity, English) London police inspector. Experienced, observant, deliberate, courteous. With the prodding of Maxine, he contrives a plan to trap Tony at the 11th hour. Facility with English dialect.

Offstage Understudy 1 (30s-40, female identifying, any ethnicity) Covers Margot Wendice & Maxine Hadley tracks. Requires physical intimacy/kissing, violence/fight choreography. See above for additional description of characters. Facility with English dialect.

Offstage Understudy 2 (late 30s-50, male identifying, any ethnicity) Covers Tony Wendice, Lesgate, & Inspector Hubbard tracks. Requires physical intimacy/kissing with Margot, physical exertion and flexibility, violence/fight choreography. See above for additional descriptions of characters. Facility with several English dialects.