Repertory Theatre of St Louis and Kansas City Repertory Theatre 2025-26 Seasons - Chicago EPA (04.15.25)

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Repertory Theatre of St Louis and Kansas City Repertory Theatre 2025-26 Seasons - Chicago EPA (04.15.25)

CATEGORY: Performer

Various Producers

Job Details

DESCRIPTION

Notice: Audition Call Type: EPA

AUDITION DATE

Tuesday, April 15, 2025

9:00 AM - 5:00 PM (C)

Lunch 12:00 PM - 1:00 PM

CONTRACT

LORT Non-Rep

Repertory Theatre of St Louis:

$1144 weekly minimum (LORT B) pending Equity approval

$839 weekly minimum (LORT D) pending Equity approval

Kansas City Repertory Theatre:

$1144 weekly minimum (LORT B)

$839 weekly minimum (LORT D) - Paying at LORT C - $1051

SEEKING

Equity actors for roles in The Repertory Theatre of St Louis and Kansas City Repertory Theatre's 2025-26 Seasons (See breakdown).

Some roles will be understudied.

PREPARATION

Performers will have up to three minutes total to audition using material of the performer's own choice. An accompanist will be provided. Bring sheet music clearly marked in the correct key. Please bring your headshot and resume stapled together.

LOCATION

Actors' Equity Association - Chicago Member Center

557 W Randolph St

1st Fl

Chicago, IL 60661

PERSONNEL

The Repertory Theatre of St. Louis:

Artistic Director �� Kate Bergstrom

Artistic Associate �� Matthew Cox

Expected to attend:

Delaney Piggins: Artistic Producer, The Repertory Theatre of St. Louis

Andi Meyer: Casting Director, KCRep

OTHER DATES

See breakdown for production-specific dates.

OTHER

www.repstl.org

www.kcrep.org

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.

BREAKDOWN

Repertory Theatre of St Louis and Kansas City Repertory Theatre 2025-26 Seasons

The Repertory Theatre of St Louis 2025-26 Season

Those with intersections in BIPOC, PGM, and LGBTQIA+ are encouraged to audition.

NOTE: Actors of any race/ethnicity encouraged to apply for any of the roles, unless otherwise specified in the character breakdown.

THE COTTAGE by Sandy Rustin

Directed by TBD

Loretto-Hilton Center Virginia Jackson Browning Theatre, LORT B

First Rehearsal - Tuesday, August 12, 2025

Tech Begins - Friday, August 29, 2025

First Preview - Wednesday, September 3, 2025

Opening - Friday, September 5, 2025

Closing - Sunday, September 28, 2025

SEEKING:

SYLVIA VAN KIPNESS: She/Her. Mid 20s-Late 40s. British - A lovely and rash romantic. She has spent one passionate night per year for seven years with Beau. She is married to Clarke. “Strong-willed,�� in fact, determined to make things go her way. This role requires moments of physical intimacy and brief stage violence.

BEAU: He/Him. Mid 20s-Late 40s. British - Perhaps the best-looking man in Britain. He has spent one passionate night per year for seven years with Sylvia but has taken Dierdre as his lover. Married to Marjorie. He is incredibly logical, sometimes pessimistic, and sees the future as a man’s world. This role requires moments of physical intimacy and brief stage violence.

MARJORIE: She/Her. Mid 20s-Late 40s. British - EXTREMELY PREGNANT (8 Months), pragmatic and a tad spicy. Her lover is Clarke, but her husband is Beau. She appears to have it all figured out, until she doesn’t. This role requires moments of physical intimacy and brief stage violence.

CLARKE: He/Him. Mid 20s-Late 40s. British �� A distinguished gent with a lover’s spirit. His wife is Sylvia, but his lover is Marjorie. The father of Marjorie’s baby. He is high-society, proper, and awfully protective when a gentleman ought to be. This role requires moments of physical intimacy and brief stage violence.

DIERDRE: She/Her. 20s-30s. British - An awfully pretty, sometimes wise, nincompoop. Dierdre is the very recent ex-wife of Richard and lover of Beau whom she is hoping to marry. Leads with her heart. Wholly believes every word she says although much of it is incorrect. This role requires moments of physical intimacy and brief stage violence.

RICHARD: He/Him. 30s-40s. British - A murderous, yet gentle soul. An ultimately sweet man of mystery. A tad possessive. The very recent ex-husband of Dierdre, who has convinced her to stay with him by pretending to kill her lovers. He is the long-lost love of Sylvia. This role requires moments of physical intimacy and brief stage violence.

TBD

Directed by TBD

Emerson Studio Theatre, LORT D

First Rehearsal - Tuesday, September 30, 2025

Tech Begins - Friday, October 17, 2025

First Preview - Wednesday, October 22, 2025

Opening - Friday, October 24, 2025

Anticipated Closing - Sunday, November 16, 2025

Auditions for this production will happen at a later date.

EMMA, Adaptation by Kate Hamill, based on the novel by Jane Austen

Directed by TBD

Loretto-Hilton Center Virginia Jackson Browning Theatre, LORT B

First Rehearsal - Tuesday, November 11, 2025

Tech Begins - Friday, November 28, 2025

First Preview - Wednesday, December 3, 2025

Opening - Friday, December 5, 2025

Closing - Sunday, December 21, 2025

SEEKING:

EMMA WOODHOUSE: She/Her. Late 20s��30s. British �� Almost unbelievably charming; a natural comedienne, flirty, and has a certain sunny self-regard that allows her to get away with so much. She is very very VERY clever and fancies herself cleverer than she is and applies her considerable energy to meddling, often with chaotic results. Wealthy, educated, and intensely lovable—if often insufferable. Strong comedic timing, moments of direct address to the audience, and emotional depth. This role requires brief moments of physical intimacy.

HARRIET SMITH: She/Her. 20s. British �� A deeply likeable girl from the lower classes, with a basic education. Naturally affectionate but not the brightest flame. Harriet is enthusiastic, easily flustered, and wholly devoted to Emma. Wants to be in love. VERY impressionable. Easily flustered. Big emotional shifts with precise comedy.

JANE FAIRFAX / MRS. ELTON / MRS. BATES as needed: She/Her. 20s��40s. British �� JANE: poised, composed, and seems to do everything right, effortlessly—a governess hiding a forbidden romance with Frank Churchill and a world of emotional complexity. MRS. ELTON: is delighted by everything, oversexed, may actually be a hyena, wearing a human suit. MRS. BATES: an elderly lady, very opinionated, who communicates exclusively in grunts and hand gestures. Swaddled in layers.

MRS. WESTON / MRS. BATES as needed / MRS. ELTON as needed: She/Her. 30s��50s. British �� MRS. WESTON: 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. MRS. BATES: an elderly lady, very opinionated, who communicates exclusively in grunts and hand gestures. Swaddled in layers. MRS. ELTON: is delighted by everything, oversexed, may actually be a hyena, wearing a human suit.

MISS BATES / SERVANT / MRS. ELTON as needed: She/Her. 40s+. British �� MISS BATES: A motor-mouthed headmistress with relentless positivity and pride in her niece, Jane. Over-talkative and sweetly daft. MRS. ELTON: is delighted by everything, oversexed, may actually be a hyena, wearing a human suit. Doubles as various servants and, as needed.

GEORGE KNIGHTLEY: He/Him. 30s��40s. British �� 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. Can be 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. This role requires brief moments of physical intimacy.

MR. ELTON / FRANK CHURCHILL / ROBERT MARTIN: He/Him. 20s��40s. British �� MR. ELTON: a clergyman who sometimes gets the wrong idea. A born social climber. Fancies himself a great romantic. Thinks he oozes charm; maybe just oozes. FRANK CHURCHILL: 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. Underneath it all, in love with Jane Fairfax. ROBERT: a sweet groundskeeper, in love with Harriet. Non-speaking.

MR. WESTON / MR. WOODHOUSE: He/Him. 40s��60s. British �� MR. WESTON: 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. MR. WOODHOUSE: 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.

PRIMARY TRUST by Eboni Booth

Directed by TBD

Loretto-Hilton Center Virginia Jackson Browning Theatre, LORT B

First Rehearsal - Tuesday, January 13, 2026

Tech Begins - Friday, January 30, 2026

First Preview - Wednesday, February 4, 2026

Opening - Friday, February 6, 2026

Anticipated Closing - Sunday, March 1, 2026

SEEKING:

Kenneth: He/Him. Late 30s. Black �� Has lived his whole life in the small town of Cranberry, NY. His best and only friend is Bert, he grabs Mai Tai’s with him every night, and he’s the only one that can see him. Introverted. Navigating childhood loss in adulthood, growing friends and community. Sensitive, earnest. Worried about routine and getting pushed out of his comfort zone.

Bert: He/Him. 30s-40s. Black �� Kenneth’s best friend. The most supportive friend a guy could have. In reality, he is an imagined recreation of the social worker that took 10-year-old Kenneth under his wing many years ago.

Corinna/Wally's Waiter/Bank Customers: She/Her. 30s-40s. Black �� Corinna: friendly, warm, a new waiter at Wally’s tiki bar and a very welcome addition to Kenneth’s small circle of friends. Doubles as various waiters and customers of bold and ranging personas.

Clay/Sam/Le Pousselet Bartender: He/Him. 50s-60s �� Clay: works at Primary Trust and hires Kenneth. Playful, boisterous. His glory days were in college, go huskies! Has a surprisingly open mind and heart. Sam: Owner of the bookstore. Kenneth’s long-time employer at the beginning of the play. A bit grumpy but has a soft spot for Kenneth.

GYPSY: A MUSICAL FABLE

Book by Aurthur Laurents, Music by Jule Styne, Lyrics by Stephen Sondheim

Directed by TBD

Loretto-Hilton Center Virginia Jackson Browning Theatre, LORT B

First Rehearsal - Tuesday, February 17, 2026

Tech Begins - Friday, March 13, 2026

First Preview - Wednesday, March 18, 2026

Opening - Friday, March 20, 2026

Closing - Sunday, April 12, 2026

SEEKING:

Mama Rose: 40-65. The ultimate stage mother- Rose Thompson Hovick as seen through the eyes of her daughter and re-painted through the iconic American musical tale. Would set fire to your house if necessary and has a tender little child inside her being. This role requires moments of physical intimacy and brief stage violence. An extraordinary singer and presence with a belt and some basic dance skill.

Louise: 15-35. The historical icon Gypsy Rose Lee through phases of her journey and re-painted through the iconic American musical tale. This is her version of the story. She is going to be an amazing mother and own all the furs, creatures, and storytelling ability her mother had. This role requires moments of physical intimacy and brief stage violence. A unique singer and presence with a belt and some dance skill.

June/Others: 15-35. The historical icon June Hovick through phases of her young journey and repainted through the iconic American musical tale. This is her sister's version of the story. While JUNE is a main role, she must also be a chameleon and ensemble player, able to transition into new femme roles after June's leaving of the story. This role requires a unique singer and presence with some dance skill.

Herbie/Others: 40-65. An amalgamation of several real people in the historical Gypsy Rose Lee's young journey and re-painted through the iconic American musical tale. This is Gypsy Rose Lee's version of the story. While HERBIE is a main role, he must also be a chameleon and ensemble player, able to transition into needed functions and roles amidst the journey. This role requires a unique singer and presence with basic dance skills.

Uncle Jocko/Papa/Others: 40-65. This character has seen a lot of life. A character chameleon and ensemble player, able to transition into needed functions and roles amidst the journey.

Tulsa/Others: 15-35. Tulsa makes your heart melt. A character chameleon and ensemble player, able to transition into needed functions and roles amidst the journey. This role requires a unique singer and presence with tap and dance skills.

Yonkers/Others: 15-35. A character chameleon and ensemble player, able to transition into needed functions and roles amidst the journey. This role requires a unique singer and presence with tap and dance skills.

Angie/Others: 15-35. A character chameleon and ensemble player, able to transition into needed functions and roles amidst the journey. This role requires a unique singer and presence with tap and dance skills.

Tessie/Others: 20- Ageless. This character has seen a lot of life. A character chameleon and ensemble player, able to transition into needed functions and roles amidst the journey. This role requires a unique singer and presence with trumpet and dance skills.

Mazzepa/Others: 20- Ageless. A character chameleon and ensemble player, able to transition into needed functions and roles amidst the journey. This role requires a unique singer and presence with dance skills.

Kansas City Repertory Theatre 2025-26 Season

Those with intersections in BIPOC, PGM, and LGBTQIA+ are encouraged to audition.

KCRep Mission: To inspire, entertain, and open minds by creating transformative theatre experiences for all.

KCRep Vision: KCRep will be a catalyst for a culturally vibrant, equitable, and thriving Kansas City by connecting artists and audiences in a welcoming environment that fosters wonder, curiosity, and understanding.

THE COLOR PURPLE

Book by Marsha Norman

Music and Lyrics by Brenda Russell, Allee Willis, and Stephen Bray

DIRECTOR: Daniel Bryant

MUSIC DIRECTOR: Pamela Baskin Watson

STAGE: Spencer

CONTRACT: LORT B

1ST REHEARSAL: July 29, 2025

DESIGNER RUN: August 22, 2025

TECH: August 29, 2025

1ST PREVIEW: September 2, 2025

OPENING: September 5, 2025

U/S REHEARSAL: September 10, 2025

CLOSING: September 21, 2025

SYNOPSIS: Indulge in a world of soul-stirring music and unyielding hope with The Color Purple, the award-winning stage musical based on Alice Walker’s Pulitzer Prize-winning novel. With a rich score blending gospel, jazz, and blues, The Color Purple is a celebration of the human spirit that will move your heart and lift your soul. Weaving a story of love, redemption, and triumph over adversity, following the extraordinary journey of Celie, a young woman who discovers her voice and strength against all odds. Don’t miss the chance to witness this breathtaking tale of courage and transformation �� where every note and every moment remind us of the beauty and power of love.

SEEKING:

NETTIE (young and adult) / Ensemble �� African American, 20s-early 30s. Alto, nice voice. Celie’s younger sister. Attractive, adventuresome, feisty spirit, maternal, more educated and knowledgeable than Celie. She has a powerful bond with Celie. Forced by Mister to leave Celie, she starts a new life in Africa.

SOFIA / Ensemble �� African American, 30s. Alto. Powerful warrior woman. Physically bigger and beautiful. Comfortable being large, great sense of humor, touching, vulnerable. Married to Harpo, she does not let anyone mistreat her. Comic chops. A very strong blues-gospel-influenced singer.

HARPO / Ensemble �� African-American, 20s. Tenor. Mister’s vulnerable, confused, good-hearted son. He is of the new generation. He understands the wrongs of his father and grandfather, and wants to do better. He marries the independent Sofia. He spends much time trying to get Sofia to obey him the way Celie obeys his father, but he is unsuccessful, as Sofia is considerably stronger than he is. Harpo eventually establishes a jukejoint in his first house and becomes Squeak’s lover. Later, he and Sofia reconcile. Through his love of Sofia, he learns how to love a woman. A great tenor singing voice.

MISTER / Ensemble �� African American, 30s-40s. Baritone, Bass. Also known as Albert. Like Celie, a deep well. Handsome, big, masculine, strong presence, dominating. Gets his power for free. Married to Celie, he abuses her. He is in love with Shug. He transforms to a kind man by the end of the story. A great singing voice.

SHUG / Ensemble �� African American, 30s-40s. Knockout Alto Blues voice. A popular singer, we meet her at death’s door. Attractive, confident, dynamic, powerful, irresistible, but has a frailty, like a wounded animal. She is loved by both Celie and Mister. A knockout, Bessie Smith-style, bluesy singing voice.

DRACULA

Based on the Novel by Bram Stoker

By Vanessa Severo in collaboration with Joanie Schultz

DIRECTOR: Joanie Schultz and Vanessa Severro

STAGE: Copaken

CONTRACT: LORT D contracting at LORT C

1ST REHEARSAL: September 16, 2025

DESIGNER RUN: October 3, 2025

TECH: October 10, 2025

1ST PREVIEW: October 14, 2025

OPENING: October 17, 2025

U/S REHEARSAL: October 22, 2025

CLOSING: November 2, 2025

SYNOPSIS: Step into the shadows with this spine-tingling adaptation of Bram Stoker’s iconic Dracula. In a world where everyone harbors a deadly secret, tension and temptation lurk around every corner. As Dr Seward works to unlock the mystery of Renfield’s strange affliction, it pulls everyone into a web of mystery, desire, and danger. Created by Vanessa Severo (Frida...A Self Portrait) and Joanie Schultz, this daring, highly theatrical retelling infuses the legendary vampire tale with humor, humanity, and bone-chilling thrills. Experience a classic like never before—gripping, provocative, and pulsing with new life.

SEEKING:

MINA: A Woman in her 20s. Smart. Very.

LUCY: Mina's friend �� a dancer or who is movement-oriented.

VAN HELSING: A Doctor, and Scientist. A Woman, who dresses as a man.

JONATHAN/JAMES: Mina's Fiancé/An Attendant to Renfield.

DR. SEWARD: A Doctor of the insane asylum.

MRS. W: Lucy's mother.

A CHRISTMAS CAROL

DIRECTOR: Jason Chanos

MUSIC DIRECTOR: Anthony Edwards

STAGE: Spencer

CONTRACT: LORT B

1ST REHEARSAL: October 22, 2025

DESIGNER RUN: November 8, 2025

TECH: November 15, 2025

1ST PREVIEW: November 27, 2025

OPENING: November 30, 2025

U/S REHEARSAL: December 5, 2025

CLOSING: December 28, 2025

No roles available.

ONE OF THE GOOD ONES

By Gloria Calderón Kellett

DIRECTOR: TBA

STAGE: Copaken

CONTRACT: LORT D contracting at LORT C

1ST REHEARSAL: January 20, 2026

DESIGNER RUN: February 6, 2026

TECH: February 11, 2026

1ST PREVIEW: February 17, 2026

OPENING: February 20, 2026

U/S REHEARSAL: February 25, 2026

CLOSING: March 8, 2026

TOUR: March 12-22, 2026

SYNOPSIS: The ultimate family showdown is on in this new comedy hailed as “genuinely funny, topical, and heartfelt�� by Entertainment Weekly. When the “perfect�� Latina daughter brings her boyfriend home to meet the parents, her family’s biases and preconceptions are put on full display. As tensions run high and hilarity ensues, everyone must navigate the ins and outs of family dynamics and the boundaries of acceptance �� all while tackling the age-old question: what does it truly mean to be an American? Meet your new favorite family in this laugh-out-loud, heartfelt story from Gloria Calderón Kellett, the co-creator and showrunner of Netflix’s One Day at a Time.

SEEKING:

ILANA GOMEZ, 40s-50s, Latina woman, married to Enrigue, Mother of Yoli. Of Mexican / Puerto Rican descent. Wants the best for her daughter. Feels torn about balancing the pressures she and her family faced around cultural dynamics in an English-speaking world. Her grandmother was punished for speaking Spanish in school and now Illana carries the guilt of not being able to speak Spanish as an adult. Excellent comedic timing.

PEDRO, 30s, Latino of any race. Lives his life mostly in Spanish.

YOLI, 22, Latina woman, who identifies as Mexican/Puerto Rican/Cuban American. Proficient and enthusiastic Spanish speaker. She is the daughter of Ilana and Enrique. Revolutionary spirit, bucks conventions. Excellent comedic timing.

ENRIQUE GOMEZ, 50s, Cuban of Spanish descent. Fluent Spanish speaker; traditionalist, he is the father of Yoli, husband to Ilana. Trying to survive meeting his daughter's new boyfriend. Excellent comedic timing.

MARCOS CRUISE, 24. Yoli’s boyfriend, proficient Spanish speaker. His parents were both from outside of Boston; they did a semester abroad and fell in love with Mexico. Marcos�� mom changed her major to Espanol and dad remained a business major but finished his studies in Mexico City to be with her. They had Marcos there and later moved to Los Angeles when his dad got a job doing business relations with The Dodgers. He is a dual citizen but can’t run for President. Excellent comedic timing.

THE WIZARD OF OZ

By L. Frank Baum

With Music and Lyrics by Harold Arlen and E. Y. Harburg

Background Music by Herbert Stothart

Dance and Vocal Arrangements by Peter Howard

Original Orchestration by Larry Wilcox

Adapted by John Kane for The Royal Shakespeare Company

Based Upon the Classic Motion Picture Owned by Turner Entertainment Co. and Distributed in all Media by Warner Bros.

Featuring new orchestrations and arrangements by PigPen Theatre Co.

Directed by Artistic Director Stuart Carden

DIRECTOR: Stuart Carden - Artistic Director

MUSIC DIRECTOR: Dan Weschler

STAGE: Spencer

CONTRACT: LORT B

1ST REHEARSAL: April 7, 2026

DESIGNER RUN: April 24, 2026

TECH: April 29, 2026

1ST PREVIEW: May 5, 2026

OPENING: May 8, 2026

U/S REHEARSAL: May 13, 2026

CLOSING: May 31, 2026

SYNOPSIS: Follow the yellow brick road to magic and adventure! Journey to the magical land of Oz in this enchanting stage adaptation of The Wizard of Oz in collaboration with PigPen Theatre Co. Join Dorothy, Toto, and her unforgettable companions—the Scarecrow, Tin Man, and Cowardly Lion—as they travel down the Yellow Brick Road in search of the Wizard and a way back home. With dazzling costumes, stunning sets, and timeless songs like “Over the Rainbow�� and “We’re Off to See the Wizard,�� this beloved classic comes to life in a spectacular production for audiences of all ages. Full of heart, courage, and imagination, it’s a story that reminds us there’s no place like home.

NOTE: This is an actor-musician approach to the production so anyone auditioning must also audition with an instrument. We are open to all instruments but performers will need a medium level of proficiency and ability to read music.

SEEKING:

Dorothy Gale

Aunt Em/Glinda

Uncle Henry/Emerald City Guard

Zeke/Cowardly Lion

Hickory/Tin Man

Hunk/Scarecrow

Miss Gulch/Wicked Witch of the West

Professor Marvel/Wizard of Oz

Ensemble of 7 �� The actor-musician ensemble will form the OZ Band and perform the many ensemble roles of Wizard of Oz including but not exclusive to: Winkies, Citizens of OZ, Citizens of Munchkinland, Apple Trees, Poppies, Crows, Puppeteers, Storytellers.

Youth Cast auditions will be held at a later time, TBD.

SALARY

LORT Non-Rep Repertory Theatre of St Louis: $1144 weekly minimum (LORT B) pending Equity approval, $839 weekly minimum (LORT D) pending Equity approval; Kansas City Repertory Theatre: $1144 weekly minimum (LORT B), $839 weekly minimum (LORT D) - Paying at LORT C - $1051

UNION

AEA

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