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SAFETY NOTE: All auditions and rehearsals will be masked until further notice, and members of the UMass community are expected to be in compliance with UMass COVID guidelines. 

Performers who are not part of the UMass community are welcome to audition if:

  • They are fully masked when inside 
  • They can provide proof of vaccination compliance
  • They abide by all relevant UMass COVID safety protocols

In case of illness or exposure at the time of your audition, you may request the opportunity to audition via Zoom. (All others are requested to audition in-person.)

AUDITIONS for Spring 2022


by Elisa Gonzales

Lyrics by Elisa Gonzales 
Music and Additional Lyrics by Moises Vázquez
Directed by Sara Guerrero

Auditions: January 31 from 6:45 – 8:45 pm on Zoom (link will be provided)

Auditions: February 1 from 7:15 – 9:15 on Zoom (link will be provided)

Auditions: February 2 from 6 - 7 on Zoom (link will be provided, audition space can be provided upon request)
Callbacks: February 2 from 7:30 – 10 pm in BCA 413

Auditions will be on Zoom and Callbacks will be in person in BCA 413 with a virtual connection to our West Coast Collaborators.

Rehearsals Begin: Mid-February 2022 – Schedule TBD
Peformance Schedule: April 7 @ 7:30 pm, April 8 @ 7:30 pm, April 9 @ 2 pm & 7:30 pm

Roles Available:
Las Corridistas Ensemble #1
Las Corridistas Ensemble #2
Las Corridistas Ensemble #3
Las Corridistas Ensemble #4

Each role above is part of an ensemble of four women who play various manifestations of La Corridista, as well as other characters who appear throughout the story - musicians, cannery workers, children, Repatriados, Paula’s sisters, newsies, radio broadcasters, etc. 
We are specifically seeking Latina actors with some command of Spanish language and we will consider women of color as well.

Preferred Preparation: a one minute contemporary monologue of your choice, as well as 1-2 minutes of a song of your choice, to be sung acapella. If you don’t have a monologue or song and wish to audition, please join us and material will be provided.

For callbacks, sides will be provided, and you will be asked to sing a selected song from the play.


PlayLab this year will feature two plays written by graduate students Bianca Dillard and Percival Hornak — details on each project to follow.
•    Parzival by Percival Hornak
•    Red: Passion and Patience in the Desert by Bianca Dillard

Auditions: Monday, January 31 and Tuesday, February 1
Callbacks: Wednesday, February 2

Please prepare a one minute contemporary monologue or tell a one minute story. If choosing to prepare a story, feel free to tell us an engaging story from your life, from a storybook or other piece of writing you admire (written notes to aid you in the telling are totally welcome). We are most interested in material that matters to you as a person and a performer. 

We value seeing you for these plays. What we are most interested in seeing in these auditions are monologues and stories that show us who you are as a performer and collaborator.  If you are on the fence about auditioning, please join us. We are happy to provide cold readings or another audition task.

by Percival Hornak

Parzival is a contemporary trans retelling of Wolfram von Eschenbach’s Parzival, about a young knight who stumbles into a quest that changes his life and reveals his hidden destiny. The play takes inspiration from fanfiction to tell the story of a teen who explores his gender through the Parzival story as its protagonist learns about chivalry, becomes a knight, and searches for the Holy Grail, winning jousts and the hearts of fair young maidens along the way. 

We are seeking approximately 9 actors for the following tracks — because the play features trans characters and stories, we encourage actors of all genders to audition for whichever roles excite them most.
•    1 - Wolfram 
•    2 - Parzival 
•    3 - Herzeloyde, Cundrie, Trevrizent 
•    4 - Knight, Servant, Gawan
•    5 - King Arthur, Anfortas 
•    6 - Ither, Clamide, Keie
•    7 - Sigune, Woman, Squire
•    8 - Crowd, Condwiramurs, Page
•    9 - Messenger, Gurnemanz, Segramors

Parzival - Full Character Descriptions:

Wolfram: late teens; transmasculine; very nerdy; he/him

Parzival: late teens; transmasculine; desperate to be a knight; kind of oblivious; he/him

Herzeloyde (herz-eh-loyd): Parzival’s mom; has Seen Some Shit and would do anything for her son; she/her

Knight: a knight in service of King Arthur; he/him

King Arthur: the King; he/him

Sigune (sig-goon): sad but working through it; Parzival’s cousin; she/her

Crowd: a member of the crowd; any pronouns

Ither (ee-ther): kind of an asshole if I’m being honest; he/him

Gurnemanz (gur-neh-mahns): a cool uncle; he/him

Condwiramurs (cond-wee-ruh-murs): canonically hot; she/her

Clamide (clah-myde): a conquering knight; he/him

Anfortas (ahn-fort-ahs): the Fisher King and keeper of the Holy Grail; he/him

Page: a servant in Anfortas’ court; any pronouns

Squire: a squire in service of one of the Knights of the Round Table; any pronouns

Segramors (seg-rah-mor): a knight in service of King Arthur; he/him

Keie (key): a knight in service of King Arthur; he/him

Gawan (gow-an): a knight in service of King Arthur; canonically hot; he/him

Cundrie (cun-dree): a sorceress with high expectations; she/her

Trevrizent (trev-riz-ent): stone butch; she/her or he/him

Others (messengers, pages, servants, etc)


Red: Passion and Patience in the Desert. 
A Wild Adaptation 

by Bianca Dillard

Red dramatizes the writings of Terry Tempest Williams and the urgency of climate action. Williams is a naturalist who wrestles with community, religious tradition, politics, always with her eye on the fragility of human life. This piece explores questions like: how do we create and claim a personal ethos and sense of spirituality while being rooted in a place and a community bound to conservative religion and politics? Can we honor where we’ve come from in a way that protects life on this planet as we all hurtle closer to climate disaster? What mix of tools can aid us on our journey: grace, rage, community, empathy, acceptance, wildness itself, Magic? Unabashedly & wildly theatrical, 4th wall breaking, embracing of movement, extreme casting and our collective imaginations! 

Stage Manager (she/her or she/they) 
A friend who helps along the way. She is in charge and plays many characters. A BIPOC perspective would be welcome in the development of this role. 

Man (he/him) 
Another friend to play many roles. Experience with puppets and/or sleight of hand magic is a plus!

Stage Directions (any gender) 
You won’t be bored reading directions for this piece! Your actorly skills, energy and timing will be on full display in this juicy and interactive role. A BIPOC perspective would be welcome and encouraged in this role! 

General Casting Policies

The Department of Theater is committed to racial, cultural and individual diversity.
Casting for all department-sponsored productions is open to any student, staff, or faculty member of the Five College Consortium, any member of the community, or any invited guest artist regardless of race, ethnic origin, abilty, sexual orientation or gender identification.
Equal-opportunity casting is encouraged.

All Theater majors are welcomed and strongly encouraged to audition. The Department chooses plays each year with the intention of using as many majors as possible, but casting of any individual theater major student is not guaranteed.
Most casting will be determined by open auditions.
You are expected to sign up for a given audition appointment, and to arrive at the audition site well ahead of the scheduled time. Performers who arrive after their scheduled time may not be allowed to audition.
After open auditions have been completed, the director will post call back announcements. If you are called back, you are expected to initial next to your name to acknowledge the call back.

Auditioning for multiple shows

Our experience has shown that having cast members in shows with overlapping rehearsal and/or performance schedules is complicated and disruptive to both shows. 
Cast members are still welcome to be in multiple shows whose rehearsal schedules do not overlap; please check with stage managers or production staff if you have questions about scheduling.
Please note: This does NOT mean that actors cannot audition for all the shows — just that they will have to consider their options and limitations wisely. Casting decisions will result in the production's exclusive service of the actor when rehearsal/performance periods overlap.

Thank you and break a leg!