Oregon Shakespeare Festival 2026 Season - Chicago EPA Oregon Shakespeare Festival | Ashland, OR
Notice: Audition Call Type: EPA
Tuesday, June 17, 2025
9:00 AM - 5:00 PM (C)
Lunch 12:00 PM - 1:00 PM
LORT Rep
$1245 weekly minimum (LORT B+)
Equity actor for roles in Oregon Shakespeare Festival's 2026 Season (See breakdown).
Oregon Shakespeare Festival produces in repertory. Most actors and stage managers work on multiple shows throughout the year. A standard repertory contract includes up to four assignments, including understudies.
Please prepare two contrasting monologues, one Shakespeare and one contemporary. You may replace one of the monologues with a song. If you do, please bring sheet music. An accompanist will be provided. No more than 4 minutes total, please.
Actors' Equity Association - Chicago Member Center
557 W Randolph St
1st Fl
Chicago, IL 60661
Expected to attend:
Joy Dickson, Company Casting Director
Rehearsals begin on January 13, 2026
Closing October 25, 2026.
See breakdown for production specific dates.
OTHER
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.
By Lorraine Hansberry
Directed by Tim Bond
Angus Bowmer Theatre
Rehearsals: 1/13/2026 – 2/13/2026
Tech: 2/14/2026 - 3/14/2026
Previews/Performances: 3/15/2026 - 7/19/2026
All roles will be understudied.
A Raisin in the Sun may share actors with: Yellow Face, King Hedley II, The Taming of the Shrew, Henry IV.1, A Midsummer Night’s Dream
Lena Younger (Mama): Early 60s. Black. Female-presenting. Walter Lee’s mother and the matriarch of the Younger family. Noble, spirited and grounded. A woman of traditional values who dreams of buying a house for her family.
Walter Lee Younger: 35. Black. Male-presenting. A dreamer whose big plans and schemes are fueled by his aspirations and ambitions to become something in the world. Wants more for himself and his family.
Ruth Younger: About thirty. Black. Female-presenting. Pragmatic, strong and hard-working. Is exhausted from bearing the weight of running a family, working a full-time job and managing their tight finances. Occasionally exhibits moments of radiance and joy that were fundamental to the early years of her marriage but is now filled with a weariness that has made her older than her years. Alto singing voice for gospel song.
Beneatha Younger: 20-ish. Black. Female-presenting. Mama’s daughter and Walter Lee’s younger sister. A college student studying to be a doctor. An intellectual. Bright, confident, opinionated, and intense. Fully invested in exploring new ideas about her identity, heritage and religion which sometimes alienates her from her more traditional family.
Travis Younger: 10-11 years old. Black. Male-presenting. His father’s son. Clever and endearing. Has never had a yard to play in but finds a world of fascination in the street outside his apartment building. Earns money by carrying groceries.
Joseph Asagai: 20s. Black. Male-presenting. A Nigerian student in love with Beneatha. Intelligent, sophisticated, humorous and charming. He is proud of his country and culture, and he woos Beneatha with the poetry and music of his homeland. Nigerian accent.
George Murchison: Late 20s–30s, Black. Male-presenting. A wealthy young man who dates Beneatha. Upper middle class. Aloof and cares about appearances. Takes great pride in his family’s social status.
Bobo: 30s-40s, Black. Male-presenting. A friend of Walter Lee, the two plan on going into business together opening a liquor store. Vulnerable, polite and sensitive.
Karl Lindner: Mid-40s, White. Male-presenting. A representative of the Clybourne Park Improvement Association, which seeks to dissuade the Youngers from moving to its all-white neighborhood. A weaselly, non-threatening and politic middle-aged man.
Moving Men: Any age. Black. Male-presenting
Mrs. Johnson: 30s-50s. Black. The Youngers’ meddling neighbor in their apartment building who takes a voyeuristic interest in their decision to move to all-white Clybourne Park.
Book, Music and Lyrics by Irene Sankoff & David Hein
Directed by Laurie Woolery
Angus Bowmer Theatre
Rehearsals: 1/15/2026 – 2/18/2026
Tech: 2/19/2026 - 3/13/2026
Previews/Performances: 3/14/2026 - 10/24/2026
All roles will be understudied.
Come From Away may share actors with: Yellow Face, The Taming of the Shrew, Emma, A Midsummer Night’s Dream
General note: All actors must be able to sing, dance and perform heightened forms of movement. Should be able to lift, move and/or reposition furniture, blocks, etc. as well as climb/stand on set pieces. This is an ensemble piece that will have constantly changing scenic locations all executed by the ensemble. Everyone plays multiple characters.
Claude: 40s-60s, Any Race or Ethnicity, Male-presenting. Vocal range: Gruff, natural sounding Baritone with a strong high G. One of the locals. The gregarious and well-liked Mayor of Gander, Newfoundland; he loves his work, the townspeople and daily traditions. Has never had to deal with a crisis of this magnitude. Intimacy needs: Physical touch between friends (in celebration and grief). Has a regional Newfoundland dialect. Doubles as Derm (Brenda's Brother) and Eddie.
Bonnie: 30s-40s, Any Race or Ethnicity, Female-presenting. Vocal range: Mezzo with belt up to B. One of the locals. A no-nonsense mother of three, she is the head of the Gander SPCA. When she discovers animals are trapped on the planes, she stops at nothing to ensure their safety - she often lashes out at those around her. Married to Doug, the Air Traffic Controller. Intimacy needs: Physical touch between friends (in celebration and grief). Has a regional Newfoundland dialect. Doubles as Martha.
Beulah: 40s-60s, Any Race or Ethnicity, Female-presenting. Vocal range: Mezzo with belt up to B. One of the locals. The head of the Gander Legion with a firefighter son who walks Hannah to her church and prays with her. Intimacy needs: Physical touch between friends (in celebration and grief). Has a regional Newfoundland dialect. Doubles as Delores.
Oz: 30-40s, Any Race or Ethnicity, Male-presenting. Vocal range: Strong contemporary Tenor up to G. One of the locals. The quirky constable in the two-person Gander police force. When the town's population suddenly doubles, Oz helps out in unexpected ways. Intimacy needs: Physical touch between friends (in celebration and grief). Has a regional Newfoundland dialect and other dialects as well be able to speak in Hebrew. Doubles as Joey; Customs Officer; Mr. Michaels; Terry; Matty; Rabbi; Head Cardiologist.
Janice: 20s, Any Race or Ethnicity, Female-presenting. Vocal range: Contemporary Soprano with strong pop belt and a mix up to E. One of the locals. An eager new local TV reporter who is thrown into the deep end on her first day. Initially naive about the world, she must face the pain and confusion around her. Intimacy needs: Physical touch between friends (in celebration and grief). Has a regional Newfoundland dialect and other dialects as well as be able to speak in Hebrew. Doubles as Britney; Flight Attendant.
Beverly: 50s. Any Race or Ethnicity, Female-presenting. Vocal range: Strong mezzo with an easy mixed or belted C#. One of the “Come From Away”s. The first female captain for American Airlines. Beverley Bass has always loved flying, when her world suddenly changes. Married to husband Tom and they have children. Doubles as Annette: 40s-60s. A local teacher at the Gander Academy and mother to a lot of children. Doubles as Reporter. Intimacy needs: Physical touch between friends (in celebration and grief). Has a regional Newfoundland dialect and other dialects as well as be able to speak in Hebrew.
Nick: 50s. Any Race or Ethnicity, Male-presenting. Vocal range: Warm, natural Baritone or Baritenor with an easy E and strong pop sensibility. One of the “Come From Aways”. An English oil engineer who is focused on his work. His life is turned upside down when he falls for Diane. Intimacy needs: New romantic partner - kissing, hugging, touching. Physical touch with friends in celebration and/or grief. Possible physically aggressive moments. Doubles as Doug — 30s-40s. A local Air Traffic Controller who is married to Bonnie and tries to help his wife and the animals; Officer Stephenson; Male Townsperson. Has a British dialect as well as regional Newfoundland dialect.
Diane: 50s. Any Race or Ethnicity, Female-presenting. Vocal range: Warm, natural contemporary Soprano with strong mix up to D. One of the “Come From Away”s. A traditional divorcee from Texas, who is terrified that her son may have been flying at the time of the attacks. When she finds out that he is safe, she is given a new lease on life and discovers a wilder, more carefree side of herself. Intimacy needs: New romantic partner - kissing, hugging, touching. Physical touch with friends in celebration and/or grief. Doubles as Crystal and Brenda. Has a Texas dialect.
Kevin T.: 30-50s. Any Race or Ethnicity, Male-presenting. Vocal range: Strong contemporary Tenor up to G. One of the “Come From Away”s. The head of an environmental energy company in Los Angeles, Kevin was on vacation with his boyfriend (and secretary, also named Kevin), when they are stranded in Gander. Inspired by the town's generosity, Kevin T. creates the Pay It Forward Foundation. Intimacy needs: Part of a same sex couple so public couple physical intimacy. Physical touch with friends in celebration and/or grief. Possible physically aggressive moments. Doubles as Garth — The head of the local Gander union representing bus drivers. Has a regional Newfoundland dialect, Texan accent (does an impersonation of George Bush), and be able to speak in Hebrew.
Kevin J.: 30-50s. Muslim or Middle Eastern. Male-presenting. Vocal range: Tenor or Baritenor. One of the “Come From Away”s. He’s Kevin T’s boyfriend and secretary. A native New Yorker. Sarcastic and unhappy, he wants to leave Gander as soon as possible. Intimacy needs: Part of a same sex couple so public couple physical intimacy. Physical touch with friends in celebration and/or grief. Possible physically aggressive moments. Doubles as Ali — a chef for an international restaurant chain who faces fear and discrimination in the wake of the attacks. Doubles as Dwight. Arabic as well as New York dialect.
Bob: 20s-40s. Black or East African. Male-presenting. Vocal range: Baritone. One of the “Come From Away”s--a hardened New Yorker, Bob is suspicious of where he has landed, fearing that it’s World War III, but instead he ends up losing his New York jadedness. Doubles as Muhumuza: An African Passenger who, despite a language barrier, finds common ground with a local bus driver; Captain Bristol. Intimacy needs: Physical touch between friends (in celebration and grief). Possible physically aggressive moments. African as well as New York dialect.
Hannah: 40-60s Any Race or Ethnicity, Female-presenting. Vocal range: Contemporary Soprano with strong pop belt and mix up to E. One of the “Come From Away”s. The mother of a firefighter in Manhattan, Hannah waits for news about her son and is comforted by Beulah. Intimacy needs: Physical touch between friends (in celebration and grief). Doubles as Margie, Mickey. Has a regional Newfoundland dialect and New York dialect.
By William Shakespeare
Directed by Marcela Lorca
Angus Bowmer Theatre
Rehearsals: 1/15/2026 – 2/23/2026
Tech: 2/24/2026 - 3/12/2026
Previews/Performances: 3/13/2026 - 10/25/2026
All roles will be understudied.
Midsummer may share actors with: Come From Away, Raisin, Henry 4.1, Emma
Hermia/Ensemble: 18-30, Any Race or Ethnicity, Female-presenting. Young daughter to Egeus, Helena’s best friend, in love with Lysander. Decisive, fiery, wild at times, physically shorter than Helena. Intimacy and fight needs: comfortable with sensuality, fight choreography and very physical play. Comfortable wearing female-presenting undergarments onstage. Requires strong Shakespeare language skills and movement skills.
Lysander / Ensemble: 18-30. Any Race or Ethnicity, Male-presenting. A gentleman in the court of Athens, in love with Hermia. Sensual, adventurous, smart, strategic. Intimacy and fight needs: comfortable with sensuality, fight choreography and very physical play. Comfortable wearing male-presenting undergarments onstage. Requires strong Shakespeare language skills and movement skills.
Helena / Ensemble: 18-30. Any Race or Ethnicity, Female-presenting. In love with Demetrius, Hermia’s best friend, sweet, playful, witty, very comedic, blinded and driven by love/passion. Takes risks and is bold. Taller than Hermia. Intimacy and fight needs: comfortable with sensuality, fight choreography and very physical play. Comfortable wearing female-presenting undergarments onstage. Requires strong Shakespeare language skills and movement skills.
Demetrius/ Ensemble: 18-30. Any Race or Ethnicity, Male-presenting. In love initially with Hermia, then with Helena. Adventurous, smart, can be entitled and harsh at times. Intimacy and fight needs: comfortable with sensuality, fight choreography and very physical play. Comfortable wearing male-presenting undergarments onstage. Requires strong Shakespeare language skills and movement skills.
Theseus, Duke of Athens /Ensemble: 35-50. Any Race or Ethnicity, Male-presenting. King of Athens. Represents power, law and order in the land. A ruler that wants to encourage justice, peace and joy to celebrate his upcoming nuptials. He’s in love and can’t wait to marry Hippolyta, Queen of the Amazons. He can be compassionate and whimsical but also decisive. Doubles as Oberon: King of the fairy world – “king of shadows” – comes from a world of mythology. He’s connected to the elements and the deities. Has a strong physical/spiritual presence. Powerful, God-like, masculine, entitled, jealous. He can be vengeful and spiteful but also kind, playful and compassionate. He’s complex. Intimacy and fight needs: May kiss and be sensual with Hippolyta, and/or Titania. Physical, sings and dances. Comfortable wearing a fantastical costume/wig/headdress.
Hippolyta, Queen of the Amazons / Ensemble: 35-50. Any Race or Ethnicity, Female-presenting. Warrior queen engaged to Theseus. A strong woman, independent and good listener. Commands respect. Doubles as Titania: Queen of Fairies – comes from the world of mythology, lover of nature, creatures, music and dances. Powerful, feminine, nurturing, kind, sensual, magical. While she’s a wise presence, she also can be playful, sensual and impulsive. Intimacy and fight needs: may kiss and be sensual with Bottom and/or Oberon. Sings. Able to learn and perform dance/choreography. Playing an instrument is a plus. Comfortable wearing a fantastical costume/wig/headdress.
Philostrate, Master of Revels to Theseus / Ensemble: Any age, Any Race or Ethnicity, Any gender. Master of revels or party planner of Theseus & Hippolyta’s wedding. A royal and trusted servant. An efficient and organized producer with strong opinions and choices. Doubles as Puck: A fairy and Oberon’s servant and right hand. Very playful, imaginative, surprising, physical. Shrewd and knavish sprite, a jokester. A surprising character, unique, unpredictable in rhythm and possesses a boundless sense of joy and play. Strong comedic skills. Sings. Able to learn and perform dance/choreography. Comfortable wearing a fantastical costume/wig/headdress.
Nick Bottom the Weaver / Ensemble: 30-50, Any Race or Ethnicity, Male-presenting. A weaver and amateur actor who gets the lead part. He’s overly confident, eager, creative, imaginative, and is well loved by his friends. He is easily led by Titania and transported into the fairy world in the shape of an ass. He plays the lead role of Pyramus in the play presented at Theseus & Hippolyta’s wedding. Intimacy needs: Sensual/comedic play with Titania. Strong comedic skills. Sings. Able to learn and perform dance/choreography. Wears a donkey’s head at times.
Peter Quince the Carpenter / Ensemble: 30-50. Any Race or Ethnicity, any gender. A carpenter and amateur writer and director of their play. Struggles to maintain order and a sense of direction. Loves their friends and is proud of their work. Able to partake in a chase. Strong comedic skills. Sings. Able to learn and perform dance/choreography. Playing an instrument is a plus. Comfortable wearing a fantastical costume/wig/headdress. Doubles as Cobweb, a fairy to Titania.
Francis Flute the Bellows Mender / Ensemble: 18-30, Any Race or Ethnicity, Male-presenting or non-binary. A bellows mender. Chosen to play Thisbe. Reluctant at first, he gets into it and plays it in a high-pitched voice. A comedic character. Able to partake in a chase. Strong comedic skills. Sings. Able to learn and perform dance/choreography. Playing an instrument is a plus. Comfortable wearing a fantastical costume/wig/headdress. Doubles as Peaseblossom, a fairy to Titania.
Tom Snout the Tinker / Ensemble: Any age, Any Race or Ethnicity, any gender. The Tinker (repairs metal objects) chosen to play Pyramus’s father - actually plays “the Wall”. A comic, eager participant, offers creative input. Able to partake in a chase. Strong comedic skills. Sings. Able to learn and perform dance/choreography. Playing an instrument is a plus. Comfortable wearing a fantastical costume/wig/headdress. Doubles as Mustardseed, a fairy to Titania.
Snug the Joiner / Ensemble: 40-60. Any Race or Ethnicity, Male-presenting. A joiner, as in making furniture. He plays the Lion. He is a slow study, knows his limitations but is unfazed by them. Able to partake in a chase. Strong comedic skills. Sings. Able to learn and perform dance/choreography. Playing an instrument is a plus. Comfortable wearing a fantastical costume/wig/headdress. Doubles as Mote or Moth, a fairy to Titania. Doubles as Egeus. Father of Hermia-- An authoritarian father who demands loyalty and obedience from his daughter and does not respect her feelings.
Starveling, the Tailor / Ensemble: 20-40, Any Race or Ethnicity, Female-presenting or non-binary. A tailor, shy and indecisive. Plays Moonshine with a lantern. Able to partake in a chase. Strong comedic skills. Sings. Able to learn and perform dance/choreography. Playing an instrument is a plus. Comfortable wearing a fantastical costume/wig/headdress. Doubles as Fairy to the Queen, Titania. Witty and smart, playful and bright.
By David Henry Hwang
Directed by May Adrales
Angus Bowmer Theatre
Rehearsals: 6/16/2026 – 7/27/2026
Tech: 7/28/2026 – 8/4/2026
Previews/Performances: 8/5/2026 - 10/23/2026
All roles will be understudied.
Yellow Face may share actors with: Henry IV.1, Come From Away, A Raisin in the Sun
General note: All actors must be versatile and flexible to ensemble approaches to working, interested in and willing to do physical work: may move scenery. Each role with the exception of Marcus Gee and DHH will be doubled. Role assignments may shift during the casting process and in rehearsals.
DHH and others: 30s-40s. Asian American, Chinese descent. Male-presenting. Comedic, high physical stamina to play charismatic, impassioned, sharp-witted playwright with the neurosis of a writer that wants to be liked.
Marcus G. Dahlman (aka Marcus Gee): 30s, presents as White. Male-presenting. Comedic, physically agile to play the leading man in DHH play. Handsome, affable, earnest.
HYH/As cast: 50s-60s. Asian American, Chinese descent. Male-presenting. Versatile, Comedic, doubles as multiple roles which may include - HYH (DHH's father), Frank Chin, BD Wong, Wen Ho Lee, Bernard Jacobs, Frank Rich.
Reporter/As Cast: Any age, White, Male-presenting. The Announcer, New York Times, [Name Held on Advice of Council]. Comedic, with a wry wit to play dry, even acerbic reporters and ensembles and represents multiple facets of the press.
Leah/As Cast: 30-50s, AAPI, Female-presenting. Versatile, Comedic, doubles as multiple roles which may include - Leah (DHH's former girlfriend), Lily Tomlin, Vinnie Liff, National Review, Dorothy Hwang, Student, Rodney Hatimaya, Margaret Fung, Margaret Cho, Sen. Brownbach.
Ensemble #1: Any Age, BIPOC, Male-presenting. Versatile, Comedic, doubles as multiple roles which may include - Cameron Mackintosh, Joseph Papp, Pravda, Theatre Week, Miles Newman, Anthony Agoglia, Bill Craver, Student #3, Fred Thompson, Rep. Kingston, FBI Agent, Jay Binder, Dr. Pichorak, Ed Koch, Student, Fritz Friedman, Sen. Shelby, Sen. Dominici.
Ensemble #2: Any Age, BIPOC, Female-presenting. Versatile, Comedic, doubles as multiple roles which may include - Sen. Schumer, George F. Will, Dick Cavett, Stuart Ostrow, Jane Krakowski, Gish Jen, Student, Beatrice Chang, Rocco Palmieri, Sen. Bennett, Rep DeLay, Sen. Dominici, OCC Regional Director.
By Keiko Green
Directed by Zi Alikhan
Thomas Theatre
Rehearsals: 3/10/2026 – 4/4/2026
Tech: 4/5/2026 – 4/15/2026
Previews/Performances: 4/16/2026 – 8/21/2026
All roles will be understudied.
You Are Cordially Invited may share actors with: King Hedley II, Henry IV.1
General note: The play should represent “the world”, meaning the company should be full of different ethnicities, body types, etc. Even the Murphy family unit should appear ethnically mixed in some way.
M Murphy: 20, Any Race or Ethnicity, M has the lived experience of being Assigned Male At Birth. Uses they/them pronouns. 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 bar back at the local hole-in-the-wall gay bar downtown. Intimacy needs: Very minimal intimacy with Will, M's boyfriend. Holding hands, etc. Will perform two choreographed numbers. Performs as their femme drag persona, Miss Cassie-O-Peia.
Greg Murphy: 40s-50s, Any Race or Ethnicity, Male-presenting. 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. Intimacy needs: We see the beginnings of a sexual encounter, which is quickly interrupted (kissing, hands wandering, etc.). Performs in some way in a final spectacle number. Also engages in physical labor for a prolonged period of the play: digging, pushing a wheelbarrow, moving rocks, etc.
Viv Murphy: 40s-50s, Any race or Ethnicity, Female-presenting, 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. Intimacy needs: We see the beginnings of a sexual encounter, which is quickly interrupted (kissing, hands wandering, etc.). Clothing becomes undone -- may see a glimpse of bra, etc. Performs in some way in a final spectacle number.
Lila, Greta, Shelly, Kathy, Ensemble A: 30s, Any race or Ethnicity, Female-presenting. Chameleon-like with comedic chops and accent work. Lila: 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. Lila is a flowy bohemian type and may be costumed in skirts/dresses. Greta: Part-Greta Thunberg, part-Peter Pan, part-screaming-teenage-girl-at-a-Taylor-Swift-concert, part-Angel of Death. Will be specifically costumed to resemble Greta Thunberg. Ensemble A: Performs a brief stand-up set. Performs in some way in a final spectacle number.
Will, TV Narrator, Frank, Kev, Army Guy, Melomys, Ensemble B: 20s-30s, Any race or Ethnicity, Male-presenting. Chameleon-like with comedic chops and accent work. Will: is good-natured and well-meaning, but uncomfortable in social situations and too smart for his own good. He’s M's boyfriend. Intimacy needs: Very minimal intimacy with M, Will's partner. Holding hands, etc. Melomys: is an extinct rodent with a lot of rage. Will perform as Melomys, either in full rodent costume/operating puppet/TBD. Performs in some way in a final spectacle number.
Janet, Dr Thomas, Golden Toad, Door Dash Gal, Suzie, Ensemble C: 50s-70s, Any race or Ethnicity, Female-presenting. Chameleon-like with comedic chops. Janet: is dealing with her wife's cancer diagnosis by at times lashing out, at times being the best older sister you could ever hope for. Blue collar. Dr. Thomas: Greg's doctor with a near-robotic, perhaps excessively cold bedside manner. Toad: a now extinct Golden Toad. A kind of washed-up drama queen, quick to sob. Will perform as Golden Toad, either in full toad costume/operating puppet/TBD. Performs in some way in a final spectacle number.
By August Wilson
Directed by Tim Bond
Thomas Theatre
Rehearsals: 5/19/2026 – 7/6/2026
Tech: 7/7/2026 – 7/15/2026
Previews/Performances: 7/16 – 10/24/2026
All roles will be understudied.
King Hedley II may share actors with: Emma, A Raisin in the Sun, You Are Cordially Invited
King (King Hedley II): 38 years old. Black. Male-presenting. Has a vicious scar running down the left side of his face. Struggling to make ends meet after having spent seven years in prison. Strives to live by his own moral code.
Ruby: 60s, Black. Female-presenting. King’s mother. A former big band singer who recently moved back to Pittsburgh, she has a complicated relationship with her son.
Mister: 36. Black. Male-presenting. King’s best friend since grade school and sometimes business partner, street-smart, loyal.
Elmore: 60s. Black. Male-presenting. Ruby’s sporadic, longtime flame. A professional hustler, charming and elegant.
Tonya: 35. Black. Female-presenting. King’s pregnant wife. Studying for her GEDs, striving to better herself in the world, reluctant to bring a child into a world that she sees as tumultuous and corrupt.
Stool Pigeon: Late 60s, Black. Male-presenting. King’s next-door neighbor. The Hill’s spiritual and practical truth sayer.
By Rodney Gardiner
Director: Raz Golden
Thomas Theatre
Rehearsals: 8/11/2026 – 8/24/2026
Tech: 8/25/2026 – 8/26/2026
Previews/Performances: 8/27/2026 – 10/24/2026
Rodney: CAST
By William Shakespeare
Directed by Shana Coooper
Allen Elizabethan Theatre
Rehearsals: 3/31/2026 – 5/11/2026
Tech: 5/12/2026 – 6/4/2026
Previews/Performances: 6/5/2026 – 10/11/2026
All roles will be understudied.
The Taming of the Shrew may share actors with: Henry IV.1, Emma, Come From Away, A Raisin in the Sun
General note: Looking for actors who are open to ensemble approaches to working, interested in and willing to do muscular textual and physical work and curious to engage in complex political and social conversations around how this play can both reflect and interrogate the world we live in. The full company will be part of a movement/dance driven sequence that sets up Padua as a man's world and the physical satirical style of the production (replacing the Induction scene in Shakespeare's original text).
Kate/As Cast: Late 20s-late 40s, Any Race or Ethnicity, Female-presenting or non-binary. Kate is seen as an outcast in her society. She possesses great ferocity, wit and vulnerability but does not have the ability until later in the play to express her deepest needs through verbal language. Kate is unpredictable, passionate, stubborn, physical, fierce, witty, funny (though not always intentionally) and under all of that possesses a unique and vulnerable heart. Intimacy and fight needs: Kate engages in physical combat with many characters and sexual intimacy like kissing with Petruchio. Kate will be part of the full company Induction movement sequence, both a part of the ensemble/member of Padua and then also as Kate herself. The Induction explores the idea of the performance of gender, so actors may be asked to perform genders other than the one they were assigned at birth or different than the gender they identify as.
Petruchio/As Cast: Late 20s – late 40s, Any Race or Ethnicity, Male-presenting. Petruchio is an outsider, arriving in Padua to play the game of finding a wealthy wife. He understands the rules and game of how to succeed in mainstream society, but he also possesses a unique sense of humor, wit and POV that, combined with his heart being unlocked when he meets Kate, leads to him being ready to take the risk of living according to his/their own rules. He is a man of extremes who much like Kate doesn't always know how to control his own emotional impulses and needs. Intimacy and fight needs: Petruchio engages in physical combat with many characters and sexual intimacy like kissing with Kate. Petruchio wears a wedding dress to show solidarity with Kate in their wedding scene. Petruchio will be part of the full company Induction movement sequence, both a part of the ensemble/member of Padua and then also as Petruchio himself. The Induction explores the idea of the performance of gender, so actors may be asked to perform genders other than the one they were assigned at birth or different than the gender they identify as.
Baptista/As Cast: Late 40s-late 60s. Any race or Ethnicity, Male-presenting. A loving father who is in way over his head trying to raise these two girls on his own. He begins the play thinking that adhering to the status quo and getting both girls married to wealthy men is the only way to ensure their future. But by the end of the play, he sees the truth of the woman and thinker Kate has grown into and is moved by the potential of there being a different way to find happiness and life partnership. The participation of the actor playing Baptista in the Induction scene will be built around their physical comfort as well as what makes sense for the character. The Induction explores the idea of the performance of gender, so actors may be asked to perform genders other than the one they were assigned at birth or different than the gender they identify as. Possible Doubling that could be assigned: Haberdasher, Curtis, Petruchio's Servants, Police Officer.
Bianca/As Cast: Mid 20s-late 30s, Any Race or Ethnicity, Female-presenting or non-binary. A young girl who is winning at the game of life as prescribed by the status quo in Padua. She understands the rules of this game and plays it brilliantly. She knows how to look and act the part she understands that the world wants her to play and she enjoys the attention she receives because of it. She is brilliant at emotionally manipulating everyone around her from her father and sister to her suitors in order to make things work in her favor. She falls headfirst into infatuation with Lucentio and leaps into marriage without understanding what love and marriage really are. Intimacy and fight needs: She engages in physical combat with Kate. She may kiss Lucentio. Singing and dancing skills are helpful to support an ode to the Kiss Me Kate musical number I'm a Girl Who Would Marry. The Induction explores the idea of the performance of gender, so actors may be asked to perform genders other than the one they were assigned at birth or different than the gender they identify as. Possible Doubling that could be assigned: Haberdasher, Curtis, Petruchio's Servants, Police Officer.
Hortensio/Biondello/Merchant/As Cast: Early 30s-late 40s, Any Race or Ethnicity, Male-presenting. This is a tour de force clown track requiring great physical dexterity and ability to transform from character to character within seconds. Hortensio is the younger hyper-masculine suitor of Bianca's, thinking bros from the Bachelor franchise. He has no money, so must make the most of his relative youth (compared to Gremio) and his traditional hyper-masculine presentation to try to win the hand of the most eligible (and wealthy) girl in Padua. Is able to shift in status to suddenly become the least powerful person on stage as Biondello and facility with building physical lazzi for both the Biondello and Merchant track are very helpful. Intimacy and fight needs: Hortensio makes many sexual (but failed) advances towards Bianca. He kisses the Widow. He may engage in light physical combat with Kate and Gremio and gets beaten by Vincentio. Dancing skills are helpful to support an ode to the Kiss Me Kate musical number I'm a Girl Who Would Marry. The Induction explores the idea of the performance of gender, so actors may be asked to perform genders other than the one they were assigned at birth or different than the gender they identify as. Possible Doubling that could be assigned: Petruchio's Servants.
Gremio/As Cast: Early 50s-mid 60s. Any Race or Ethnicity, Male-presenting. Gremio is the oldest and richest of Bianca's suitors. Money gives him tremendous power in this world which he wields gleefully. Strong clowning/comedia instincts are helpful to conjure this older rich patriarch archetype as well as create physical lazzi moments to highlight the extreme and at times absurd level of competition that exists with the other suitors. Intimacy and fight needs: Gremio makes many sexual (but failed) advances towards Bianca. He may engage in light physical combat with Kate and Hortensio. Dancing skills are helpful to support an ode to the Kiss Me Kate musical number I'm a Girl Who Would Marry”. The Induction explores the idea of the performance of gender, so actors may be asked to perform genders other than the one they were assigned at birth or different than the gender they identify as. Possible Doubling that could be assigned: Haberdasher, Curtis, Petruchio's Servants, Police Officer.
Lucentio/As Cast: Mid 20s-late 30s. Any Race or Ethnicity, Male-presenting. A wealthy and privileged young man who has grown up secluded with only the company of his beloved books and attendant/governess Tranio. He is experiencing the world beyond his childhood home for the first time, as well as his first love/infatuation at first sight when he first sets eyes on Bianca. Lucentio is a sweet and innocent, while also sheltered and privileged young man who does not understand the consequences of his actions until it is too late. He falls head long into infatuation with Bianca and leaps into marriage before understanding the work that love and marriage really require. Intimacy needs: He may kiss Bianca. Dancing skills are helpful to support an ode to the Kiss Me Kate musical number I'm a Girl Who Would Marry. The Induction explores the idea of the performance of gender, so actors may be asked to perform genders other than the one they were assigned at birth or different than the gender they identify as. Possible Doubling that could be assigned: Haberdasher, Curtis, Petruchio's Servants.
Tranio/As Cast: Early 30s-late 50s. Any race or Ethnicity, Female-presenting or non-binary. The personal assistant/governess of Lucentio. She has lived a life in the service of others and while smarter and more capable than most everyone around her because of her low status due to class and gender, she is used to living in the shadows. In order to help her boss Lucentio, she dresses up in male drag and pretends to be a wealthy young man of privilege to gain Baptista's commitment of his daughter Bianca's hand in marriage. Through the experience of moving through the world with the privilege and power afforded to wealthy men, Tranio transforms from a shy, reserved woman into a dominant, hyper-masculine male suitor, high on her/his own ability to make up her own rules to win the game once she is able to pass as a wealthy man in search of a wife. When she is exposed as a female employee of Vincentio, she becomes a woman on the run. Agility at shifting between playing high and low status is helpful. Fight needs: He gets beaten by Vincentio. The Induction explores the idea of the performance of gender, so actors may be asked to perform genders other than the one they were assigned at birth or different than the gender they identify as. Possible Doubling that could be assigned: Haberdasher, Curtis, Petruchio's Servants.
Grumio/As Cast: Late 20s-early 50s. Any race or Ethnicity. Male-presenting or non-binary. Petruchio's attendant/right hand. They can be contemporaries or more of a father/son dynamic but have known each other forever and are able to be completely free with one another. Clowning and comedic skills are needed, Grumio is often watching the chaos and saying what we're all thinking. Fight needs: He engages in physical combat with Petruchio and the Tailor. The Induction explores the idea of the performance of gender, so actors may be asked to perform genders other than the one they were assigned at birth or different than the gender they identify as. Possible Doubling that could be assigned: Baptista's attendants, Police Officer.
Tailor/As Cast: Any age. Any Race or Ethnicity. Any gender but presents as male so that Kate is alone as the only female presenting person in Petruchio's house. High status, high fashion designer from Padua like Karl Lagerfeld perhaps. The Tailor is extremely good at what they do and is used to being lauded and idolized for their impact on the world of fashion and prestige. Fight needs: Engages in a physical altercation with Petruchio and Grumio. The Induction explores the idea of the performance of gender, so actors may be asked to perform genders other than the one they were assigned at birth or different than the gender they identify as. Possible Doubling that could be assigned: Haberdasher, Curtis, Petruchio's Servants, Baptista's attendants, Police Officer.
Widow/As Cast: Any age. Any Race or Ethnicity. Female-presenting. The widow has determined that the best way to win at the game of life in Padua is by having a dead husband and inheriting his wealth. She has tremendous status and confidence because of said wealth but ultimately has never experienced true love or friendship and her armored exterior masks a heart that might be just starting to blossom (out of heartbreak) as the play ends. Intimacy needs: She kisses Hortensio. The Induction explores the idea of the performance of gender, so actors may be asked to perform genders other than the one they were assigned at birth or different than the gender they identify as. Possible Doubling that could be assigned: Haberdasher, Curtis, Petruchio's Servants, Baptista's attendants, Police Officer.
Vincentio/As Cast: Late 40s-late 60s. Any Race or Ethnicity. Male-presenting. Lucentio's father, a wealthy and privileged patriarch from Pisa. He is strict and stern and has very high expectations about what he thinks his son and employees (like Tranio) should be doing and how they should be behaving out in the world. A serious and intimidating straight man. Fight needs: He beats up Tranio and Biondello. The Induction explores the idea of the performance of gender, so actors may be asked to perform genders other than the one they were assigned at birth or different than the gender they identify as. Possible Doubling that could be assigned: Haberdasher, Curtis, Petruchio's Servants, Baptista's attendants.
By William Shakespeare
Directed by Rosa Joshi
Allen Elizabethan Theatre
Rehearsals: 3/31/2026 – 5/13/2026
Tech: 5/14/2026 – 6/5/2026
Previews/Performances: 6/6/2026 – 10/10/2026
All roles will be understudied.
Henry IV.1 may share actors with: Emma, A Midsummer Night’s Dream, A Raisin in the Sun, Yellow Face, Smote, You Are Cordially Invited, The Taming of the Shrew
General note: All actors must be versatile, open to ensemble approaches to working, interested in doing physical work: may move scenery.
Falstaff: 40s-50s and up, Any Race or Ethnicity, Male-presenting. Larger than life, a complete sensualist and pleasure seeker; lewd, crass, egotistically, wildly inappropriate, but so charming that all his faults are forgiven. Full of life, a lively and ebullient presence but also has a dark side; potentially a mean drunk and definitely an opportunist. He is fending off a darkness by constantly being in party mode. Intimacy and fight needs: sword fight and physical intimacy of a sexual nature (e.g. women sitting on his lap, perhaps kissing and fondling). May sing a cappella.
Henry IV/Ensemble: 40s-50s, Any Race or Ethnicity, Male-presenting. Once an admired, strong, charismatic leader, he’s now a brooding, troubled man, riddled with guilt about how he became King. A warrior unaccustomed to his new role as statesman – he knew how to lead as a soldier but is less comfortable as a politician. Has the presence and look of a ‘faded 5 star general’ – still retains vitality. Fight needs: Sword fighting.
Hal/Ensemble: Mid-late 20s/early 30s, Any Race or Ethnicity, Male-presenting. Charismatic, charming, easy-going, the kind of person that everyone wants to be close to but no one really knows fully; mercurial, witty, sharply intelligent, wild with a central calculating core. Needs to be someone that we root for, someone who draws us in. He goes from wild reckless playboy to valiant soldier on the battlefield. Intimacy and fight needs: Needs to be athletic and have strong fighting skills. Physical intimacy of a sexual nature with potentially both female presenting and male presenting characters.
Hotspur/Ensemble: Mid-late 20s/early 30s, Any Race or Ethnicity, Male-presenting. Northumberland's son. Hot-headed, stubborn, impetuous, tightly wound but unpredictable – he’s a loose cannon, dangerous. Has the fiery ambition of a young man who sees the older generation ‘playing it safe.’ A ‘career’ soldier he has deeply held feelings about what it means to be honorable. Intimacy and fight needs: Needs to be athletic and have strong fighting skills. Physical intimacy with Lady Percy, including kissing and embracing.
Northumberland/Glendower/Sherriff/Soldier/Ensemble: 40s-50s, Any Race or ethnicity, Male-presenting. Northumberland: Hotspur’s father. Old, respected, powerful nobility, he put Henry IV on the throne. Both an experienced soldier and politician, he is reserved, calculating and cautious. Glendower: Leader of the Welsh rebels, Mortimer's father-in-law – an intimidating physical presence, a rough physicality, proud, stubborn, boastful, superstitious, can weave a tale. Needs to be able to speak with a Welsh accent. Sherriff: Has one tiny scene at a critical juncture when the Eastcheap gang might get caught for robbery. A loyal servant to the state.
Mortimer/Blunt/Eastcheap Denizen/Ensemble: Early-mid 30s, Any Race or Ethnicity, Male-presenting. Mortimer: Was named by Richard II as his heir, therefore is in many people’s mind the rightful King - has allied with the Welsh. Righteous, honorable, bold, a trained soldier who also can show emotional vulnerability. We should believe that he has the charisma that could sway the people – someone you want to get behind. Intimacy needs: Mortimer has physical intimacy with Lady Mortimer including kissing and embracing. Blunt: Noble in Henry’s court. A stalwart captain, loyal and brave, (fills in as a double for the King in final battle sequence). Intimacy and fight needs: strong fighting skills.
Worcester/Mistress Quickly/Ensemble: 40s-50s, Any Race or Ethnicity, Female-presenting. Worcester: Northumberland’s sister, Hotspur’s aunt, she fought to put Henry on the throne. Perhaps resentful that she has had to play second fiddle to her older brother. Outspoken and rebellious, she is also an experienced soldier, smart, strategic and cunning. Mistress Quickly: Big hearted, lively - gullible and may appear silly, but also knows how to handle herself, a shrewd, no-nonsense businesswoman underneath it all. She has seen all kinds of people in her tavern and lived to tell the tales of throwing them out at closing. Intimacy needs: physical intimacy of a bawdy nature as Mistress Quickly.
Poins/Lady Mortimer/Soldier/Ensemble: Late 20s-early 30s, Any Race or Ethnicity, Female-presenting. Poins: One of the Eastcheap gang, she has always been ‘one of the lads,’ mischievous, sharp, both intelligent and street smart, she’s cunning, the mastermind behind their capers, she’s a close pal to Hal. The “Courtney Love of Eastcheap”, she’s wanton, craven, always seeking the next high — can convince you to do anything because it will be so much fun. A sense of danger and a bit of a loose cannon. Intimacy needs: physical intimacy of a sexual nature with potentially both female presenting and male presenting characters. Lady Mortimer: dutiful, loving, loyal and open-hearted, a survivor. Deeply in love with her husband. Intimacy needs: physical intimacy with Mortimer including kissing and embracing. Lady Mortimer speaks in Welsh. Sings in Welsh. Would be great if she played a string instrument, but not necessary.
Westmoreland/Bardolph/Ensemble: 40s-50s, Any Race or Ethnicity, Male-presenting. Westmoreland: Henry’s right-hand man an elder statesman. Loyal and steadfast, is politically shrewd. Bardolph: one of the Eastcheap gang – a calmer presence than the others, he’s loyal and a peacemaker; he’s a ‘quiet, happy drunk,’ rather than a rambunctious one. Perhaps slightly 'slow' because of his years of drinking.
Prince John/Gadshill/Ensemble: 20s, Any Race or Ethnicity, Male-presenting. Prince John: Hal’s younger brother. Dutiful with a quiet shrewdness. Gadshill: Quintessential scam guy – street wise, cocky, the go-between but usually not the mastermind of capers. Intimacy needs: Gadshill may have physical intimacy of a sexual nature as part of the Eastcheap gang.
Peto/Douglas/Ensemble: 30s-40s, Any Race or Ethnicity, Male-presenting. Peto: one of the Eastcheap gang; perhaps not as quick-witted as the others, Peto is glad to be included, perhaps he’s the ‘muscle’ in the group. Intimacy needs: may have physical intimacy of a sexual nature as part of the Eastcheap gang. Douglas: A warrior soldier of mythic reputation who knows it – fearless and fearsome. Vicious and ferocious. Physically strong and imposing – doesn’t have to be really tall but does need to seem like someone who inspires awe and fear. Has excellent fighting skills.
Lady Percy/Vernon/Eastcheap Denizen/Soldier/Ensemble: mid-late 20s-early 30s, Any Race or Ethnicity, Female-presenting. Lady Percy: has a strong inner core and is no pushover. A soldier’s wife, she is forthright and smart - she has strong emotional intelligence and knows how to use humor to communicate with her husband. Needs to operate from a core of emotional truth. Intimacy needs: physical intimacy with Hotspur including kissing and embracing. May wear a corset. Vernon: A noble of Henry’s court. Lower in status, she is mindful of what she needs to do to survive. Has fighting skills.
By Kate Hamill, based on the novel by Jane Austen
Directed by Meredith McDonough
Allen Elizabethan Theatre
Rehearsals: 3/31/2026 – 5/15/2026
Tech: 5/16/2026 – 6/6/2026
Previews/Performances: 6/7/2026 – 10/9/2026
All roles will be understudied.
Emma may share actors with: A Midsummer Night’s Dream, Come From Away, King Hedley II, The Taming of the Shrew, Henry IV.1
Emma: Late 20s–30s, Any Race or Ethnicity, Female-presenting. Almost unbelievably charming; a natural comedienne. Bouncily flirty; possesses more power of manipulation than even she understands; has a certain sunny, charming self-regard - it’s what allows her to get away with so much. Very, very VERY clever – and fancies herself even more clever than she is. Capable of getting ahead of herself. Incredibly dexterous, verbally. Capable of being unfair or short-sighted or impetuous; maybe a bit overindulged. Grew up with wealth. Can be a bit overconfident and self-congratulatory. Capable of getting quite competitive. Generous with those she considers family. Eminently lovable and eminently fallible. Has emotional depth. Very educated but is not allowed a profession – and thus is a bit like a border collie without any sheep. Frustrated, and thus sometimes putting her considerable energies in the wrong places. Ahead of her time. Given the chance, she just might run the world. Think Lucille Ball. Intimacy needs: kisses Knightly romantically twice. Able to learn dance, lots of running around in heels. Will wear form fitting dresses.
Harriet Smith: 20s, Any Race or Ethnicity, Female-presenting. A very physical comedienne. A deeply likable girl from the lower classes, who’s been given a basic education. A sweet, naturally affectionate human being, but not the brightest flame in the stove. A born enthusiast: the kind of person who leaps WAY before she looks. Has a strong tendency towards hero worship. A born follower. VERY impressionable. Has a desperate adoring friend-crush on Emma. Wants to be in love. Gets flustered easily but grows into her full power with delightful ferocity.
Mrs. Weston/Mrs. Bates/as cast: Mid 30s-late 40s, Any Race or Ethnicity, Female-presenting. Emma’s former governess. A very smart woman with a good sense of humor; very perceptive and grounded. Not afraid to tell it like it is. Capable of really teaching deep lessons. Not without edge, when she chooses. Likeable and opinionated. Gives great advice. Picture the coolest aunt imaginable. Doubles as Mrs. Bates (of an unknown age elder)/ as cast: An elderly lady, very opinionated, who communicates exclusively in grunts and hand gestures. Mrs. Bates is completely obscured by bonnet and scarves and shawls; she’s a big pile of fabric, rather like Cousin It. We never see what’s underneath all the layers. Played by multiple cast members. Able to learn dance.
Miss Bates/Servant: 40s+, Any Race or Ethnicity, Female-presenting. Headmistress of a struggling school for girls. An incredibly good-natured, if motor-mouthed and daft, woman. Very, very proud of her niece Jane Fairfax, whom she talks about obsessively. Once she starts talking, you can’t get a word in edgewise. Able to learn dance, move furniture and vocally sustain frequent yelling.
Jane Fairfax/Servant/Mrs Bates: 20s/30s. Any Race or Ethnicity, Female-presenting. You know that girl who always seems to do everything right? Jane is that girl. An overachiever. Very composed. Very beautiful. Very discreet. Very accomplished. Very smart. Every hair in place, and it seems effortless. Works as a governess, until she quits under mysterious circumstances. The only girl-child in a family full of schoolteachers, and thus – seemingly – a model of perfect behavior. Maybe a little bit stiff, though not cold as Emma describes her. Under all of this A+ decorum, she’s hiding a love affair with Frank Churchill – she doubts he can be faithful. Is hiding deep passions under that flawless exterior. Doubles with Mrs. Bates/As cast: An elderly lady, very opinionated, who communicates exclusively in grunts and hand gestures. Mrs. Bates is completely obscured by bonnet and scarves and shawls; she’s a big pile of fabric, rather like Cousin It. We never see what’s underneath all the layers. Covered by multiple actors. Intimacy needs: Muppet-like, non-mouth-to-mouth, over the top making out with Frank in a dumb show. Able to learn dance and move furniture.
Mrs. Elton/Servant: 20s-40s. Any Race or Ethnicity, Female-presenting. She has a laugh that’s the auditory equivalent of nails being torn out of your fingers. Is delighted by everything. Her libido is... Quite active. Thinks her new husband, Mr. Elton, is the most desirable, thrilling brilliant man alive. A truly intolerable woman. May actually be a hyena, wearing a human suit. Intimacy needs: Muppet-like, non-mouth-to-mouth, over the top making out with Mr. Elton. Able to learn dance and move furniture.
Mr. Knightley: 30s-40s. Any Race or Ethnicity, Male-presenting. A handsome man; a super charming man; an upright fellow. He’s also a bit of a rule-follower; maybe sometimes a bit of a stick in the mud. Very clever. Capable of getting ahead of himself and edging towards know-it-all. Competitive. Is preoccupied with Emma – they get under each other’s skin in the most delightful way. Gets quite jealous of Frank Churchill. Has the best intentions. Feels deeply. A genuinely good guy. Ultimately learns to admit vulnerability and share his feelings. Intimacy needs: Two romantic kisses with Emma. Able to learn dance.
Mr. Woodhouse/Mr. Weston: 60s+. Any Race or Ethnicity, Male-presenting. An over-anxious, melancholy hypochondriac, but people humor him, as he’s a nice man under it all. Obsessed with the healing powers of gruel. Tends to darkly predict fatal illnesses as a sign of concern. Doubles as Mr. Weston: late 40s-50s, – the kind of man who likes to make awkward “dad jokes”. Very, very proud of his son, Frank Churchill. An unsubtle matchmaker. A good man; not a mean thought in his head. Maybe is prone to blurting out the wrong thing. Able to learn dance.
Mr. Elton/Mrs. Bates: Any age. Any Race or Ethnicity, Male-presenting. A clergyman who sometimes gets the wrong idea. ADORES poetry. A born social climber. Fancies himself a great romantic. Thinks ladies are naturally coy and enjoy wordplay. Is determined to woo, and win. Thinks he oozes charm; he actually just oozes. Doubles as Mrs. Bates (of an unknown age elder): An elderly lady, very opinionated, who communicates exclusively in grunts and hand gestures. Mrs. Bates is completely obscured by bonnet and scarves and shawls; she’s a big pile of fabric, rather like Cousin It. We never see what’s underneath all the layers. Played by multiple cast members. Intimacy needs: Muppet-like, non-mouth-to mouth, over the top making out with Mrs. Elton. Able to learn dance. Sings karaoke Boyz 2 Men I'll Make Love to You to whatever degree of success.
Frank Churchill/Robert Martin/Servant: 20s-30s. Any Race or Ethnicity, Male-presenting. An incredibly charming, handsome, mischievous flirt of a man - the kind of man who gets away with almost everything because he’s so irresistible. Not a bad guy, really; just a bit too likable for his own good. Ladies love him. Funny. Gossipy. Clever. A little spoiled and manipulative. A bit unused to hearing “no”, and as a result, doesn’t really believe in “no.” Wishes to reform, but can’t.... always.... help himself. Enjoys half-truths and innuendo. Is, underneath everything, in love with Jane Fairfax – but that doesn’t mean other women become uninteresting to him. Doubles as Robert Martin – a sweet groundskeeper, in love with Harriet. Non-speaking. Intimacy needs: Muppet-like, non-mouth to mouth, over the top making out with Jane in a dumb show. Able to learn dance and move furniture.
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