Greetings From Green Lake
A new play by Deanna Strasse
Auditions: March 12th, 2024
Callbacks: March 13th, 2024
Best friends and roommates Lynda and Melinda have spent their entire lives taking care of others, and, as they approach retirement age, they are ready to focus on themselves. For Melinda, that means finally writing that anthrozoology book she’s always wanted to pen. For Lynda, that means coming to terms with her supposed gift to reawaken the dead. Things get complicated when Melinda’s anxious and uptight niece Beth comes to visit, throwing their idyllic though unorthodox life into a tailspin. The city of Green Lake, Wisconsin may never be the same.
Direction: Ami Majeskie
Performances: May 3 – May 12, 2024
Strike: following final show
Lynda Simms: Melinda’s roommate. Divorced. A dental hygienist. Her pet macaw, Jojo, has recently passed away. There are rumors going around town that Lynda is a witch. She does have the ability to reawaken the dead. Not comfortable in the spotlight. Female, late fifties.
Melinda Morton: Lynda’s roommate. Widowed. A crossing guard. She is comfortable in the spotlight. She is writing a book about anthrozoology, she’s an amateur anthrozoologist. Female, late fifties.
Beth Gleason: Comes to visit her Aunt Melinda. She recently got out of the hospital after suffering a “mental breakdown.” A gifted and talented child, Beth was in the advanced reading program in school. She lies to everyone about having different careers, but really she works in a bagel shop. Woman, twenty-nine.
Mike Roberts: He lives across the pond. Very friendly and attempts to make lots of outdated conversation and jokes with women. Male, fifties or older.
Emily: A volunteer at the local wildlife shelter. Female, thirties or older.
Kayla: A waitress at the Blue Jill’s café. She is very pregnant. Female, twenties to thirties.
Joyce: Melinda’s friend from church. A bit of a busybody. Female, forties to sixties.
Customer 1 & 2: Any gender identity, thirties to sixties.
Roles are open to all genders and ethnicities.
What to Prepare: Prepare any monologue no longer than one minute
Rehearsals will begin the week of April 1st and will usually be held Monday-Thursday, 6:30pm-9:30pm, however not every actor will be called to rehearsal everyday.
Sign up to audition HERE
Peter and the Startcatcher - Academy Productions
Written by Rick Elice, Music by Wayne Barker
Auditions: March 26-27, 2024 – 4:30 p.m.
Callbacks: March 28, 2024 – 4:30 p.m.
Pre-Audition Workshop: March 19, 2024 4:30 p.m.
Tony-winning Peter and the Starcatcher upends the century-old story of how a miserable orphan comes to be The Boy Who Would Not Grow Up (a.k.a. Peter Pan). From marauding pirates and jungle tyrants to unwilling comrades and unlikely heroes, Peter and the Starcatcher playfully explores the depths of greed and despair… and the bonds of friendship, duty and love. A play with music.
Direction: Morgan Gates
Music Direction: Nicole McCarty
This Academy program is audition-based. Tuition is $250 and will be due during the first week of rehearsals.
Rehearsals Begin April 1. Rehearsals will take place from 4:00-6:00 Monday through Thursday, with some Sunday rehearsals possible.
Tech: May 5-8, 2024. Rehearsals 5:30-9:00 this week.
Performances: May 9-12, 2024 (Five performances total)
Strike: Set strike will be May 19th, 2024. Participants will be required to attend.
CHARACTER DESCRIPTIONS can be found HERE
Pre-Audition Workshop: Meet with the directing team, ask questions, and get some tips and tricks for auditions. Attendance at this workshop is not mandatory for auditioners. To attend the workshop, please sign up HERE.
What to Prepare: Auditions will consist of two parts. Please prepare a 1 minute monologue and 32 bars of a song (approx 30 seconds to 1 minute). Monologue can be from one of the example monologues, or of the actor’s own choosing. Example monologues can be found HERE.
NOTE: Monologue does not need to be memorized, but actors should be familiar with it prior to audition. For songs, an accompanist will be at auditions to play sheet music, or auditioners may sing with a track from their phone.
Sign up to audition HERE
Kinky Boots the Musical
with music by Cindy Lauper
Auditions: April 1-2, 6:00 p.m.
Singing Auditions: 6:00-8:00 p.m. each day
Dance Auditions: 8:00-9:00 p.m. each day
When you sign up for an individual audition slot, you will be automatically added to the dance audition that same night.
Callbacks: April 3
Charlie Price has reluctantly inherited his father’s shoe factory, which is on the verge of bankruptcy. Trying to live up to his father’s legacy and save his family business, Charlie finds inspiration in the form of Lola, a fabulous entertainer in need of some sturdy stilettos. As they work to turn the factory around, this unlikely pair find that they have more in common than they realized… and discover that when you change your mind, you can change your whole world.
Direction: Christopher Orth
Music Direction: Julie Johnson
Choreography: Ashley Patin
Stage Manager: Carly Irland
Tech: May 31 – June 5, 2024
Preview: June 6, 2024
Performances: June 7 – 23, 2024
Strike: following final show
What to Prepare: Prepare 32 bars of a song, preferably in the style of the show, and bring sheet music; an accompanist will be provided. Please bring sheet music with actual accompaniment – not just a melody line. Tape recordings and unaccompanied singing will not be permitted. Auditioners will also participate in a separate dance audition. Callbacks if needed may consist of cold readings from the script or additional vocal or dance work.
Performers interested in Young Charlie or Young Simon should email the director for audition instructions.
In addition to the audition form above, please complete this actor comfort survey HERE
Sign up to auditions HERE
WCT is committed to increasing representation of our whole community on our WCT stage, artistic teams, staff, and volunteer groups, and are dedicated to creating a safe, respectful, and equitable workplace for all.
We acknowledge that while we have come a long way to become equitable and accessible to our community with disabilities, and have proudly provided opportunities of leadership for all gender identities, we have not yet had a proportionate cultural representation and equity in our theatre and we are working intentionally to improve.
If you are interested in joining the Diversity and Equitable Practices Committee, please reach out.