2024 Spring Auditions

Audition Instructions

2023-24 Spring General Auditions for That’s Not How I Remember It, and Spring Awakening:

What to prepare:
  • A monologue of no more than 90-seconds. For Spring Awakening, prepare a one-minute cut of contemporary musical theater or rock/pop song. An accompanist will be provided, bring sheet music.
  • Cold readings will be available on audition days
  • Scripts are on reserve at the Hillman Library under Auditions.
How to Sign Up:
  1. Visit Sign-Up Genius by clicking HERE
  2. Register to use Sign-Up Genius
  3. You must use your pitt.edu email to revise your audition slot
Audition Forms:
  • Please complete this mandatory audition forms
  • You must use your pitt.edu email.
  • Completed audition forms are due November 29, 2023 by 12:00 Noon.
Day of Auditions:
  • Arrive at least 15 minutes early to check in with the registration desk
  • A greeter will brief you on the process and protocol
  • You may bring a copy of your monologue. Cold readings will also be available
  • One resume & headshot may be brought to your audition

Questions? Please email Audition

Department of Theatre Arts and U.P. Stages Casting & Production Policy

We are committed to producing stories from multiple cultural perspectives, of diverse styles and structures, from many different time periods and global locales. In order to tell every story upon our stage, student, faculty and guest artists of all abilities, races, genders, sexualities, nationalities, and religions are needed and welcome for our casts, our crews, and our production teams. As a department and producing organization, we consider our audience to be the Department of Theatre Arts, the University campus and the larger Pittsburgh and regional community.

We are committed to analyzing and understanding a playwright’s intentions for location, time and character. We are equally committed to challenging ourselves and our audiences to think beyond the strictures of given circumstances and historical expectations in production. We are committing to cultivating spaces, theatres and classrooms in which students, faculty, and guest artist can take risks, stretch themselves, and approach each class, audition and production venture as a fresh opportunity for
greatness.

That’s Not How I Remember It

Written by Don Zolidis
Directed by Ty’Mariya Moss

Rehearsal Dates: February 11 – February 29, 2024
Performance Dates: March 1 – March 3, 2024

About the Play:
That's Not How I Remember It is a comedic piece that follows Mom and Dad as they tell their young son about how they met. As they disagree over the events of when they met in 1986, the audience watches the story playout. Mom remembers Barry (young Dad) as a dork that she came to fall for while Dad remembers Lola (young mom) as a lucky girl who he fought for. The piece plays on the stereotypical idea of people remembering how they met differently. It also pays homage to bad 80s movies
and the terrible recreations of them. The writer also makes fun of toxic masculinity, misogyny, and the depiction of woman as hopelessly swooned by men. Overall, it's a light-hearted piece with lovely moments for ensemble characters.

Character Breakdown/Tracks:
Mom
Dad
Lola
*Barry
Tricia/ Nurse 2
Melissa/ Lola’s Mom
Jessica/ Nurse 1
*Thug 2/ Karl/Jim
*Thug 3/ Yann
Thug 4/ Lola’s Dad
*Thug 1/ DJ/ Yann 2/Waiter

* Audition Requests:
People looking to audition for Barry and Karl should be comfortable with stage combat and dancing. Come prepared to show your go-to dance move! People looking to audition Yann 1 and Yann 2 are not expected to do accents. These roles are preferred for people of Indian or Finland descent, but all are welcome to audition!

Please read the script, it is a brief read!

Director’s Notes for Auditions:
My parents were born in the 1980’s and met in high school in the 90’s. Growing up I always enjoyed listening to my parents go back-and-forth over the details of how they met, who liked who first, and why it took them years to finally date. My parents tend to have different accounts of situations and conversations and it’s always funny hearing their different sides. The strong resemblance between the character’s Mom and Dad and my own parents is why I fell in love with this piece. For me,
this piece is a testament to the fragility of memory.
 
Content Disclosures: This piece contains suggestive language/conversation.
There is NO swearing, kissing, excessive language, or intimate physicality in this piece.

If you have any questions or need more clarification about this production or the process, please email the director Ty’Mariya Moss

Spring Awakening

Written by Steven Sater and Duncan Sheik
Directed by Ricardo Vila-Roger

Rehearsal Dates: February 19 – April 5, 2024
Performance Dates: April 6 – April 14, 2024

About the Play:
Based on Frank Wedekind’s groundbreaking and controversial play (once banned in Germany), Steven Sater and Duncan Sheik’s folk-tinged rock score and searingly emotional book take the story of sexual awakening, youth revolt, and self-discovery into a new century. It’s 1891, and grown-ups hold all the cards. Headstrong Melchior and naive Wendla stumble into each other’s arms, passionate and curious, while anxious Moritz struggles to live up to the stringent expectations of society. With only each other for guidance, this group of young men and women travel the fraught and rocky path of adolescence, discovering their bodies, their minds, and themselves along the way. An electric, vibrant celebration of youth and rebellion, the musical fuses issues of morality, sexuality, and rock and roll into a story that packs a powerful emotional punch.

STUDENTS REFERRED TO WITH SHE/HER PRONOUNS (all around 14 years old):
 
WENDLA BERGMANN – (female or female-identifying actor of any ethnicity) is curious, smart, naïve, passionate, eager to learn. She is awakening to her sexuality and the harsh realities of the world. (Vocal: Mezzo-soprano)
● Theatrical Intimacy: Some self-touching, simulated/choreographed sex scene with actor playing Melchior. No nudity but may appear in period underwear (to actor’s level of comfort).
● Theatrical Violence: Upon Wendla’s request, she is struck multiple times with a rod on her backside (glutes/rear upper thighs). Wendla is slapped across the face by her mother, Frau Bergman. Wendla is forcibly pulled away from her mother by Schmidt.
● Other Sensitive Content: Dies (offstage) from an illegal abortion, sings several curse words.
 
MARTHA – (female, female-identifying, or non-binary actor of any ethnicity) Intelligent, kind, & strong who is made fun of for liking less popular boys. (Vocal: Mezzo-soprano)
● Theatrical Intimacy: some self-touching.
● Theatrical Violence: describes and sings about being abused by her father.
● Other Sensitive Content: Sings curse words.

THEA - (female, female-identifying, or non-binary actor of any ethnicity) Sweet, energetic, beginning to get small crushes on “boys” like Mechior, but still trusting of her parents. (Vocal: Mezzo-soprano)
● Sensitive Content: Sings curse words
 
ANNA - (female, female-identifying, or non-binary actor of any ethnicity) Lively. More of a free spirit than her friends. Aware of the injustices happening around her. (Vocal: Mezzo-soprano)
● Sensitive Content: Sings curse words

ILSE - (female, female-identifying, or non-binary actor of any ethnicity) Thrown out into the street after being abused by her father. Living in an artist colony and stuck in new cycle of abuse. Resilient, bold, and upbeat despite her circumstances. (Vocal: Mezzo-soprano)
● Theatrical Violence: discusses and sings about domestic sexual abuse, discusses current abusive situation in artist colony.
● Other Sensitive Content: Sings curse words.
 
MELCHIOR GABOR – (Male or male-identifying actor of any ethnicity) smart, rebellious, persistent, caring, & knows what he wants. Passionately disagrees with systems of power in society. (Vocal: High Baritone)
● Theatrical Intimacy: some self-touching, simulated/choreographed sex scene with actor playing Wendla. No nudity but may appear in period underwear (to actor’s level of comfort).
● Theatrical Violence: Strikes Wendla with a rod on her backside (glutes/rear upper thighs) at her request, is thrown to the ground and threatened with a knife by reformatory “boys.”
● Other Sensitive Content: sings many curse words, deals with death of best friend and intimate partner, is a self-proclaimed atheist.
 
MORITZ STIEFEL – (Male, male-identifying, or non-binary actor of any ethnicity) sensitive and feels emotions deeply. Trying his best but having trouble keeping up, cannot handle all the feelings brought on by puberty. Very anxious, bad at school, and has difficulty handling the high expectations of his parents. (Vocal: Tenor)
● Theatrical Violence: hit repeatedly by his father, simulated suicide by putting gun in mouth.
● Other Sensitive Content: Sings curse words.

HANSCHEN – (Male, male-identifying, or non-binary actor of any ethnicity) Very confident, cunning, and manipulative. Knows what he wants. (Vocal: Tenor)
● Theatrical Intimacy: Simulated masturbation under his nightshirt. Kissing and touching with actor playing Ernst.
● Other Sensitive Content: Sings curse words.

ERNST - Sweet and naïve, feels emotions deeply. He is very romantically interested in Hanschen.
● Theatrical Intimacy: Kissing and touching with actor playing Hanschen. (Vocal: Tenor)
● Other Sensitive Content: Sings curse words.

GEORG - Navigating the hormonal imbalances of puberty. He lusts after his piano teacher. (Vocal: Tenor)
● Theatrical Intimacy: fantasy scene in which his piano teacher flirts with him (may include dancing with him and sitting on his lap). Other Sensitive Content: Sings curse words.
 
OTTO - Another schoolboy who talks less. He may or may not have suggestive/disturbing dreams about his mother. (Vocal: Tenor)
● Other Sensitive Content: Sings curse words.
 
REFORMATORY “BOYS”– (male, male identifying, or non-binary actors of any ethnicity)
❖ RUPERT (may be played by same actor as Hanschen)
❖ REINHOLD (may be played by same actor as Ernst)
❖ DIETER (may be played by same actor as Georg)
❖ ULBRECHT (may be played by same actor as Otto)

● Theatrical Intimacy: A group masturbation scene.
● Theatrical Violence: Push down the actor playing Melchior and threaten him with a knife. May include additional stage combat choreography.
 
ADULT CHARACTERS:
ADULT MALE (covers all male-identifying adults – male / male-identifying actor of any ethnicity) – plays all the fathers, teachers, clergy, & doctors. (Vocal: less singing required for this role)
● Theatrical Violence: Strikes son repeatedly as Herr Stiefel, strikes & grabs student by the ear as Herr Sonnenstich, Drags Wendla away from her mother as Schmidt.
 
ADULT FEMALE (covers all female-identifying adults - female / female-identifying actor of any ethnicity) – Plays all the mothers & teachers including a piano teacher on whom one student has a crush. (Vocal: less singing required for this role)
● Theatrical Intimacy: Fantasy scene as Fraulein Grossebustenhalter where she flirts suggestively with her piano student Georg (may include dancing with him and sitting on his lap).
● Theatrical Violence: Slaps Wendla across the face as Frau Bergmann.

*Reminder that text (including all pronouns) cannot be changed due to licensing.
 
Content Disclosures:
Intimacy
Depictions of
  1. Sexual discovery
  2. Consensual sex
  3. Masturbation and exploratory self-touch
  4. Kissing
  5. Groping
Discussions of
  1. Sexual fantasies
  2. Reproductive anatomy
Violence
Depictions of
  1. Prop firearm use
  2. Suicide and suicidal ideation
  3. Bullying
  4. Other weapons usage – hitting with a stick and menacing with a knife/straight razor
  5. Death & dying
Abuse
Depictions of
  1. Physical abuse of a minor
  2. Emotional abuse of a child by a parent
  3. Emotional abuse of a child by a teacher
  4. Sexual abuse of a minor
Language
Some spoken and sung language may be considered vulgar or offensive. This includes use of expletives, cursing, and sexually suggestive language.
 
Other
Discussion of
  1. Pregnancy
  2. Abortion
  3. Trauma
  4. Atheism

If you have any questions or need more clarification about this production or the process, please email Ricardo Vila-Roger (director) or Tonya Lynn (fight & intimacy choreographer).