Warehouse Theatre
Greenville, SC

DESCRIPTION

Notice: Audition Call Type: EPA

AUDITION DATE

Friday, April 10, 2026

10:00 AM - 6:00 PM (E)

AND

Saturday, April 11, 2026

10:00 AM - 6:00 PM (E)

BREAKS: 12:30PM - 1:00PM

APPOINTMENTS

Please email Jason D. Johnson at [email protected] to set up an appointment. Make sure you send contact information and preferred time slots. On the day of the Equity auditions, Equity actors without appointments shall be accommodated as time permits.

CONTRACT

SPT

$457 weekly minimum (SPT 3)

SEEKING

Equity actors for The Warehouse Theatre's 2026-27 Season (see breakdown).

PREPARATION

Please prepare a 60 second monologue. Please bring stapled headshots and resumes (minimum of 5 recommended).

LOCATION

Warehouse Theatre

37 Augusta St

Greenville, SC 29601-3501

Please enter any lobby door and check-in with lobby monitor.

PERSONNEL

EXPECTED TO ATTEND:

Mike Sablone (PAD Warehouse)

Jason D. Johnson (MD Warehouse)

Caroline Jane Davis (Director – Bat City)

Jay Briggs (Director – Here There Are Blueberries)

Maegan McNerney Azar (Director – POTUS)

Ashlee Wasmund (Director – Little Women).

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 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

The Warehouse Theatre 26-27 Season

All roles are open unless indicated. All roles are open to any ethnicity or gender identity unless specified.

WOMEN IN JEOPARDY!

Playwright: Wendy MacLeod

Director: Sean Daniels

First rehearsal: July 7th, 2026

Run: July 31st – August 16th, 2026

Produced in association with Partly Cloudy Productions

Synopsis: On Wine Tuesday, divorcées Mary and Jo become concerned about their friend Liz, who has been dating a bizarre and unsettling new man, a dentist named Jackson. When his dental hygienist mysteriously disappears, the two friends grow suspicious, fearing that Liz is dating a serial killer. Trading their wine glasses for spy glasses, they launch a farcical and misguided amateur investigation to try and save Liz. Their meddling becomes even more frantic when they learn that Liz' s 19-year-old daughter is planning a camping trip alone with Jackson. Mary and Jo's harebrained scheme to intervene quickly spirals out of control. The comedic misadventures and misunderstandings culminate in a hilarious climax set in the Utah wilderness.

SEEKING:

MARY: FEMALE, 40S.

Divorced, a librarian, “still” pretty, motherly.

JO: FEMALE, 40s.

Divorced, her best friend, a publicist, sardonic.

LIZ: FEMALE, 40s.

Divorced, Mary’s other best friend, a Director of Admissions, boy-crazy, a bit of a drama queen.

AMANDA: FEMALE, 19.

Liz’s daughter, an exceptionally pretty college student whose SATs were in the single digits.

TRENNER: MALE, 19.

A snowboarder, sweet but not too bright, anxious to be found manly.

JACKSON: MALE, 40s. (doubles as Sargent)

A dentist, Liz’s new boyfriend, creepy, given to strange pronouncements about death and disease.

SGT. KIRK SPONSÜLLAR: MALE, 40s. (doubles as Jackson)

Police sergeant, a John Wayne type, courtly, a man of few or entirely obfuscated words.

HERE THERE ARE BLUEBERRIES

Playwright: Moisés Kaufman and Amanda Gorman

Director: Jay Briggs

First rehearsal: August 25th, 2026

Run: September 18th – October 4th, 2026

Synopsis: In 2007, a mysterious album featuring Nazi-era photographs arrived at the desk of a U.S. Holocaust Memorial Museum archivist. As curators unravel the shocking truth behind the images, the album soon makes headlines and ignites a debate that reverberates far beyond the museum walls. Based on real events, HERE THERE ARE BLUEBERRIES tells the story of these historical photographs—what they reveal about the perpetrators of the Holocaust, and our own humanity.

SEEKING:

MELITA MASCHMANN, CHRISTOPH BUSCH, AND OTHERS: FEMALE, 40s – 50s.

As MELITA: Meticulous in her speech, she is still coming to terms with her role as Press and Propaganda Officer of the League of German Girls. As a young girl, she was wooed by Hitler’s promises of a better life. As CHRISTOPH: Very discerning, matter-of-fact disposition. The Managing Director of the Holocaust Museum in Belgium.

TILMAN TAUBE AND OTHERS: MALE, 40s.

Discovers that he is a direct descendant of a war criminal in light of this photo album of Auschwitz that has been discovered. Over the course of the play, he comes to terms with his family's role in Auschwitz and tries to help others do the same.

REBECCA ERBELDING: FEMALE, 30s.

The head intake archivist at the U.S. Holocaust Memorial Museum. Rebecca takes us on the journey of this play. She leads with an intense curiosity that's compelling yet relentless. The wheels are always turning.

KARL HÖCKER AND OTHERS: MALE, 40s – 50s.

At the start of the war, a lowly bank teller. Due to an injury, he becomes the right-hand man to the head of the entire camp complex. He's at the center of power. Considers this power a fortune.

PETER WIRTHS, HEINZ BAUMKÖTTER AND OTHERS: MALE, 40s – 50s.

Peter Wirths is coming to terms with his family history - a combination of empathy and remorse for what his father participated in and had to contend with.

RAINER HÖSS AND OTHERS: MALE, 20s – 30s.

As a teen, Rainer Höss comes undone when he learns about his family's role in Auschwitz. By the time we meet him, he is a dangerous thug. He has been broken down by his family's secrets, struggling to make sense of it all.

CHARLOTTE SCHUNZEL AND OTHERS: FEMALE, 30s – 40s

Methodical but not unfeeling, Charlotte acted as a receptionist and coordinated arrivals on the camp. In one interrogation scene, she denies knowing anything, as the receptionists were kept out of the loop of what was going on. But how could she not know?

JUDY COHEN: FEMALE, 60s – 70s.

The Director of the U.S. Holocaust Memorial Museum's photographic collection. Studies the pictures like a puzzle and gets excited when the dots connect! Judy has been around long enough to know that blinders are the only way to get by in a job like this. She can focus on the details and that helps her make it through.

POTUS: OR, BEHIND EVERY GREAT DUMBASS ARE SEVEN WOMEN TRYING TO KEEP HIM ALIVE

Playwright: Selina Fellinger

Director: Maegan McNerney Azar

First rehearsal: November 10th, 2026

Run: December 4th – 20th, 2026

Synopsis: One four-letter word is about to rock 1600 Pennsylvania Avenue. When the President unwittingly spins a PR nightmare into a global crisis, the seven brilliant and beleaguered women he relies upon most risk life, liberty, and the pursuit of sanity to keep the commander-in-chief out of trouble.

SEEKING:

HARRIET: FEMALE, 40s – 60s.

Chief of Staff. A political bulldog who has chosen every aspect of her life, appearance, and personality in service of her career. A sexless, humorless woman who lives and dies by the polls. Everything is a means to the end.

JEAN: FEMALE, 40s – 60s.

Press Secretary. A hawk in a turtleneck. High-strung, quick-witted, can handle any pressroom and sterilize any scandal. A single working mom. Harriet’s more polished and more tactful counterpart. CJ from The West Wing, but with more cynicism and paranoia.

STEPHANIE: FEMALE, 20s – 30s.

Presidential secretary. An obedient and diminutive millennial, terrified of failure and perpetually on the edge of breakdown. Deeply brilliant, just suffers imposter syndrome. So much potential just waiting to be set free.

DUSTY: FEMALE, 20s – 30s.

President’s plaything. A glowing, curious, sex-positive girl with a multitude of skills and a bright future. Loves civic duty! Loves democracy! Determined to make the world better!

BERNADETTE: FEMALE, 30s – 50s.

President’s sister. A dumpster fire. Strife and mayhem. A coked-up tornado with raw sexual charisma, fiery temper, and fantastic sense of humor. Jean’s kryptonite.

CHRIS: FEMALE, BLACK, 30s – 40s.

A journalist. Overburdened, under-slept, postpartum, newly divorced, on the brink of irrelevancy. A dogged reporter with much to gain and everything to lose.

MARGARET: FEMALE, BLACK, 40s – 60s.

An impeccable combination of high fashion, corporate experience, and legal savvy. Regal, sophisticated, brimming with bitterness and pent-up rage. Goes for the jugular.

BAT CITY

(WORLD PREMIERE)

Playwright: Josh Tobiessen

Director: Caroline Jane Davis

First Rehearsal: January 5th, 2027

Run: January 29th – February 14th, 2027

Synopsis: For a one-hit songwriter and a poet with grad school debts, the only logical next career move is to rob the hip Austin (aka Bat City) restaurant where they work. A romantic comedy about when to quit, when to hold on, and whether stealing from your day job counts as following your heart. Not everyone gets to be a star, but that shouldn’t stop you from following your dreams. Or robbing your place of work to make your dreams come true. A romantic comedy with a side of heist.

SEEKING:

AMY: FEMALE, 20s – 30s.

Peppy, uninhibited, has grit. (Have you read that book about “grit”? She hasn’t either, but she will still talk to you about it.) Going to be a singing sensation one day, but, at present, she’s a manager at a restaurant called Arouse. Boundless enthusiasm for life and her career, lets criticism roll off her back absurdly easily.

CHARLIE: MALE, 30s.

Former songwriter working front of house at Arouse. He wrote that song “Water My Soul.” Maybe you’ve heard of it? It’s cool if you haven’t. He kind of doesn’t want to talk about it. He kind of doesn’t want to talk about a lot. Mostly wants to keep his head down and work but maybe someday open a furniture workshop. Down to earth and charming but a little over it all. Still a good guitar player (and will noodle in the show).

LIZ: FEMALE, 30s.

Someone convinced her to quit her job in tech and pursue an MFA in poetry. Now, of course, she’s a front of house server at Arouse with a student loan to pay off. Not the best at her job (but is kind of the best at writing poetry), but it’s not from lack of trying and more lack of motivation. Would love to start a health food store in Vermont. Thinks it would be fun. Secretly has a very good singing voice.

THE PILLOWMAN

Playwright: Martin McDonagh

Director: Amanda Dehnert

First Rehearsal: March 9th, 2027

Run: April 2nd – 18th, 2027

Synopsis: With echoes of Stoppard, Kafka and the Brothers Grimm, The Pillowman centers on a writer in an unnamed totalitarian state who is being interrogated about the gruesome content of his short stories and their similarities to a series of child murders reportedly committed by his brother.

SEEKING:

KATURIAN: MALE, 30s. (THIS ROLE IS PRECAST).

A writer of disturbing short stories, Katurian is at the heart of the play. His childhood was marked by trauma, which is reflected in his dark imagination. He is intelligent, creative, and deeply conflicted as he faces the consequences of his stories in real life.

MICHAL: MALE, 30s.

Katurian’s younger brother, who is mentally impaired due to a traumatic upbringing. Michal is innocent and childlike but holds shocking secrets that affect the unfolding events. His relationship with Katurian is pivotal to the emotional depth of the play.

TUPOLSKI: FEMALE, 40s. (THIS ROLE IS PRECAST).

The lead detective in charge of interrogating Katurian. Tupolski uses wit, humor, and psychological manipulation to extract confessions. He is detached, cold, and professional but shows flashes of a deeper, more human side.

ARIEL: MALE, 40s.

Tupolski’s partner, a tough and emotionally charged detective. Ariel believes strongly in justice but struggles with his violent tendencies. His anger is fueled by a personal desire to protect vulnerable children, making him an unpredictable force.

MOTHER: FEMALE, ANY AGE, NON-SPEAKING ROLE.

Doubles as Katurian’s parent, Girl's parent, and girl's foster parent in stylized story sequences.

FATHER: MALE, ANY AGE, NON-SPEAKING ROLE.

Doubles as Katurian’s parent, Girl's parent, and girl's foster parent in stylized story sequences.

GIRL: FEMALE, 8-13, NON-SPEAKING ROLE.

Doubles as a young Katurian and girl in stylized story sequences, and mute girl.

LITTLE WOMEN

Playwright: Kate Hamill

Director: Ashlee Wasmund

First Rehearsal: May 11th, 2027

Run: June 4th – 27th, 2027

Synopsis: Jo March isn’t your typical Victorian lady. She’s indecorous and headstrong, and one day she’s going to be a great American novelist. As she and her sisters grow up in the middle of the Civil War, they strive to be brave, intelligent and imaginative young women. But as adulthood approaches, each sister must negotiate her private ambitions with society’s expectations. In a war-torn world defined by gender, class, and personal tragedy, Jo March gives us her greatest story: that of the March sisters, four dreamers destined to be imperfect little women.

SEEKING:

MARMEE MARCH: FEMALE, 40s – 50s.

The matriarch of the March family. A social revolutionary, ahead of her time. Good sense of humor. A warrior; keeps the family together. Tough. Strong. Intelligent Aunt March: The most unpleasant old woman imaginable. Has lots of money; privileged. Strong political and personal opinions, which people endure. Judgmental. Has an intermittent, hacking, disgusting cough.

MEG MARCH: FEMALE, 20s – 30s.

The oldest March daughter. Wears glasses. Acts as Marmee’s second in the house A romantic at heart–likes to dress up and have little luxuries in life.

JO MARCH: FEMALE, 20s – 30s.

The second-oldest March. Does not fit comfortably within the parameters of her given gender role. A deep fire within her. Extremely ambitious and frustrated by the distance between where she is and where she wants to be. Impatient. Wants to change the world. Very smart and knows it. A mix of insecurity and aspiration. Boyish and rough-and-tumble. Sometimes antagonistic. Not the most tolerant of differing viewpoints. Can be quite awkward or abrupt; bad temper when riled. A great sense of humor. Passionate. Ahead of her time. A warrior. Has a special relationship with Beth.

BETH MARCH: FEMALE, 15 - 25.

The third March. An extremely special person. Very sweet and paralytically shy; had to be removed from school because of her paralyzing social anxieties. Agoraphobic. Almost incapable of going out in the world; sheltered by her family. Loves deeply and has deep empathy for everyone. Loves the simple things in life–so much that it hurts. Sees much more than anyone realizes. Brave and sensitive; quick to forgive and heal wounds. An observer.

AMY MARCH: FEMALE, 15 - 25.

The youngest March. Opinionated and spunky; popular and quite focused on style. Not the most tolerant of differing viewpoints. Socially intelligent. Sometimes puts on airs. Perhaps a bit spoiled. A perfect little lady–except for her temper, and her not-so-great command of “vocabiblary.” Grows up to be quite beautiful and elegant. Madly in love with Laurie, around whom she is never cool.

HANNAH, MRS/ MINGOTT, MESSENGER: FEMALE, 30s – 50s.

Hannah is the March’s longtime housekeeper, cook, and de facto babysitter. A treasure; a terror; a traditionalist. Takes no nonsense. Matter of fact; she’s the boss of that kitchen, for sure. Mingott is a very rich, stylish woman. Condescending, not terribly pleasant; fancies herself charitable. Messenger is simply a messenger.

THEODORE “LAURIE” LAWRENCE: MALE, 20s – 30s.

A sweet and handsome young man. Sensitive. Funny, charming, and caring. In his fantasies he’s a white knight, riding in to rescue damsels in distress. A natural musician. Wealthy thanks to his inheritance; generous, does not have to think about money. Does not always fit comfortably within the parameters of his given gender role–he doesn’t want to grow up to be a soldier or tedious man of business. Finds a family in the Marches.

JOHN BROOKS, PARROT: MALE, 30s – 40s.

Brooks is Laurie’s sometimes stiff and awkward tutor. A rule follower. A poor man, well educated. Has a very noticeable limp–probably served in the war and was sent home, although may have been disqualified from service altogether. Feels deeply. Quite madly in love with Meg. The Parrot is Aunt March’s parrot. Pure Evil. A musty, disgusting bird. Probably an actual demon in parrot form.

MR. LAURENCE, ROBERT MARCH, MR. DASHWOOD, DOCTOR: MALE, 50+.

Mr. Laurence is Laurie’s grandfather, responsible for Laurie’s upbringing. A wealthy man. A gentleman in the strictest sense. Not comfortable with emotional language; bad at expressing himself. Has a rigid sense of what is appropriate behavior, especially for a man. Tends towards gruffness or temper. Probably quite unintentionally frightening. Deeply regretful of incidents in his past, but unable to express it. Robert March is the father to the March girls. Never speaks, but his presence looms large. Wounded in the war; never quite recovers. A significant limp. Struggles with his injuries, both emotional and physical. Mr. Dashwood is a publisher of cheap newspapers and novels. A businessman, working in a man’s world. Fancies himself a realist. Not a nice guy. Fancies himself a nice guy. Doctor is nonspeaking.

SALARY

SPT $457 weekly minimum (SPT 3)

UNION

AEA