Auditions
Call For Actors
Theater Auditions This Season
Barnstable Comedy Club seeks a diverse group of singers, actors, and performers, including, but not limited to, gender identities, body types, ages, abilities, sexual orientation, ethnic and racial backgrounds.
All ethnicities are welcome; no roles have specific needs. We are open to actors of all gender identities.
CURTAINS
Book by Rupert Holmes
Music and Lyrics by John Kander and Fred Ebb
Directed by Steve Lajoie
Music Direction by Marcia Wytrwal
Choreography by Michele Colley
Open auditions will be held on July 27 and 28 from 6pm-9pm at the Club's theater, 3171 Main Street, Barnstable, MA with callbacks (if necessary) July 29. Perusal scripts are available at both the Sturgis Library and Hyannis Public Library.
Auditioners will be asked to read from the script, learn a simple dance number, and sing. For singing lead considerations (Cioffi, Niki, Georgia, Aaron, Bambi, Oscar, Bobby) audition with measures 60-78 of “I Miss the Music” from the score. The sheet music is attached below and recordings are available online:
(Piano plays the first phrase)
I can’t pretend
I miss the music. I miss my friend.
No need to ask me what I prefer.
I choose the music I wrote with her.
I liked the music I made with …
CLICK HERE for the sheet music link.
And for general vocal auditions:
Sing The Star-Spangled Banner in the keys the pianist will play it in for Soprano, Alto, Tenor and Bass placement.
G, Ab, A, Bb, C
Please do not bring additional music/songs to the auditions.
If you have any questions, please contact Director Steve Lajoie at steve03229@aol.com.
Production dates are November 5, 6, 7, 8, 13, 14, 15, 20, 21 and 22, 2026.
CURTAINS is a delightful and suspenseful musical comedy, featuring a Golden Age-style score by the legendary songwriting duo John Kander & Fred Ebb, the creative minds behind CABARET and CHICAGO. With a sharp, witty book by Rupert Holmes, CURTAINS combines the best elements of classic Broadway with a clever whodunit twist that will keep audiences laughing and guessing until the very end.
Set in the brassy, bright, and promising year of 1959, Boston’s Colonial Theatre is playing host to the opening night performance of a new musical. When the leading lady mysteriously dies on stage… the entire cast and crew are suspects. Enter a local detective, who just happens to be a musical theatre fan!
This is an open casting call for the following:
LIEUTENANT FRANK CIOFFI (30’s – 40’s) Sweetly endearing local Boston detective who idolizes the world of musical theatre and has reveled in the thrill of performing in community theatre. Called upon to solve the murder of the star of “Robbin’ Hood” (a musical intended for Broadway that is currently out of town in Boston), Cioffi is very good at his job and, lamentably, married to his work. He is instantly smitten with ingénue Niki Harris. The undisputed central character of the musical. Requires deft and charming comedy, good singing, solid dancing in one extended “Fred and Ginger” number.
NIKI HARRIS (20’s - early 30’s) Pretty, almost too innocent ingénue, a local performer in a small role hoping “Robbin’ Hood” will be the Boston production that at last takes her to Broadway. Love interest for Lieutenant Cioffi, apparently reciprocated. Requires a legit soprano and strong dancing in an extended “Fred and Ginger” number.
GEORGIA HENDRICKS (30’s - mid-40’s, similar age to AARON) — Female half of our show-within-a-show’s songwriting team on the lyric-writing side. Ends up taking on the leading lady role. Must sing and dance extremely well.
CARMEN BERNSTEIN – THIS ROLE HAS BEEN CAST
AARON FOX (30’s – 40’s, similar age to GEORGIA) The composer of the show-within-the-show. His songwriting partner, Georgia, is also his wife, from whom he’s separated but for whom he still pines. He’s a handsome, intense, somewhat tortured artist-type. Requires a strong vocalist with comedy.
SIDNEY BERNSTEIN (Late 50’s - Mid 60’s) The always-angry, sleazy, philandering producer of the out-of-town flop. Sidney is rough around the edges and completely self-serving. Requires a cartoon-like character actor who is funny on arrival. No singing or dancing required.
CHRISTOPHER BELLING (40 - 60) English director. Very camp. Very droll. Noel Coward meets Addison DeWitt meets Clifton Webb. Requires a superb comic actor.
BAMBI BERNÉT (Early 20’s - early 30’s) Performer in the chorus, daughter of Carmen, step-daughter of Sidney. Genuinely brassy and artificially blonde. Hungry to work her way out of the chorus; many think she was only hired because of her mother. She surprises everyone, however, when she shows genuine dancing and singing talent when at last called upon. Requires great dancing, strong “street-smart dumb blonde” comedy, and singing.
OSCAR SHAPIRO (45 - 65) From the garment district and sole investor in “Robbin’ Hood.” A likeably gruff man who knows nothing about theatre and frets over every dime of his that’s spent. Requires good “rough around the edges” comedy and singing.
BOBBY PEPPER (30’s - early 40’s, similar age as Georgia and Aaron) The Gene Kelly of “Robbin’ Hood,” its choreographer and male star, and a handsome rival to Aaron for Georgia’s affection. Requires strong dancing, singing and comedy.
DARYL GRADY (30’s - 40’s) Caustic and smug theatre critic for the local Boston newspaper. Patronizingly pompous, enjoys using his power to make or break shows during their Boston tryouts. No singing or dancing required.
JOHNNY or JENNY HARMON (30’s - 60’s) Stage Manager of the show-within-the-show, and both drill sergeant and mother hen to the cast. Barks orders but has a pleasant side as well, he/she keeps the company in line and on their toes throughout the rehearsal process. Comic actor who can sing.
JESSICA CRANSHAW (40’s - 60’s) Faded Hollywood star, a grand diva with no right to be one, and a plague to the show-with-the-show and to her cast. An absolutely dreadful singer and inept actress who stars in the show-within-a-show and gets murdered on its opening night in Boston. Must be skillful enough to sing hilariously out-of-tune and ineptly, and adroit enough to dance perfectly out of step with the rest of the cast. Appears only in the first minutes of the musical; this performer will then adopt a different look and became part of the ensemble.
RANDY DEXTER (20’s – 30’s) A member of the singing and dancing ensemble who plays Parson Tuck in “Robbin’ Hood” and is featured in “Kansasland,” pleasant but with a sensitive side.
HARV FREMONT (20’s – 30’s) A member of the singing and dancing ensemble who bears a bouquet.
ROBERTA WOOSTER (20’s – 30’s) A member of the singing and dancing ensemble who speaks from experience.
DETECTIVE O'FARRELL (Any Age) Cioffi’s sidekick – no singing or dancing required
ENSEMBLE – Critically important to the story and to “Robbin’ Hood”. The Ensemble sings at least 10 numbers in the show including the three big production numbers in “Robbin’ Hood”.
JANUARY 2027
TBA
Please check back in August for production and audition information.
VANYA and SONIA and MASHA and SPIKE
Written by Christopher Durang
Directed by Alex Lucchesi
Open auditions will be held on December 3 and 4 from 6:30pm-9pm at the Club's theater, 3171 Main Street, Barnstable, MA.
Casting available for 4 Women and 2 Men.
Actors will be asked to read from the script.
Production dates are March 11, 12, 13, 14, 19, 20, 21, 26, 27 and 28, 2027.
VANYA: a resigned-to-life 50-something man living with his adopted sister in their deceased parents’ house.
SONIA: his adopted sister, early 50s, regretful, discontent and insecure.
MASHA: their sister, also in her 50s, a glamorous and successful movie actress who travels the world and pays the bills.
SPIKE: her new boyfriend, an aspiring actor in his mid-20s, sexy and self-absorbed.
NINA: the neighbors’ visiting niece longs to be an actress, energetic, star-struck and sincere. She is a lovely girl.
CASSANDRA: Vanya and Sonia’s cleaning lady, who also happens to see visions of the future that often come true although no one believes her.
"Siblings Vanya and Sonia live a quiet life in the family farmhouse in Pennsylvania caring for their parents. Their peaceful routine is disrupted when their movie star sister Masha visits for the weekend with her young lover (Spike) and announces her plans to sell their childhood home. A weekend of rivalry, regret, and raucousness follows in this multi award-winning play."
THE PLAY THAT GOES WRONG
Written by Henry Lewis, Jonathan Sayer and Henry Shields
Directed by Sonia Schonning
Open auditions will be held on January 7 and 8 from 6pm-9pm and January 10 from 2pm-5pm.
Casting available for 2 Women and 6 Men.
Actors will be asked to read from the script.
This show is physically demanding. Most roles require varying amounts of crawling, balancing, climbing, lifting, running, and/or falling. There is also a sword fight and some hand-to-hand combat. We will work with a movement/fight coach to ensure that this is done safely and properly. Actors should come to auditions dressed comfortably and ready to move.
Production dates are May 6, 7, 8, 9, 14, 15, 16, 21, 22 and 23, 2027.
CHRIS BEAN: Is the head of the drama society and plays “Inspector Carter” in The Murder at Haversham Manor. Rigid, uptight, everything really matters to him. He is the director of the show, and this is the biggest day of his life; everything is riding on this nerve-wracking and exciting night. His pain is evident and every time someone laughs, his pain deepens. He has equal amounts of contempt for his fellow actors and the audience watching the play. British accent.
ROBERT GROVE: Plays “Thomas Colleymore” in The Murder at Haversham Manor. He wants to be like Richard Burton as evidenced by his declamatory style. He is, however, not a parody of a bad actor. He is unaware of others around him. He does not feel badly when things go wrong and never learns from his mistakes. There is a power struggle between Robert and Chris to be president of the Cornley Polytechnic Drama Society (a position that matters a great deal to Robert). Seeking an actor with real vocal power. British accent.
MAX BENNETT: Plays “Cecil Haversham” in The Murder at Haversham Manor. He has never been on stage before. He learned his lines and does exactly what he is told to do. He has zero connection with any of the other actors, but when he gets a laugh, he breaks the fourth wall and engages with the audience. He is childlike and naïve. His mistakes are fundamental. He doesn’t think anything through, just looks for approval. British accent.
DENNIS TYDE: Plays the butler, “Perkins,” in The Murder at Haversham Manor. He has no real desire to be involved in theater; he just wants to make friends (of which he has none). He believes if he does well in the show, he will be more successful socially. Laughter from the audience is agony for him. He may be slightly oblivious but understands when he gets things wrong. The laughter is a personal tragedy/failure. British accent.
TREVOR WATSON: The play’s lighting and sound operator. He simply wants to get on with the show. He is curmudgeonly and doesn’t care for actors; he is easily distracted and does many things he shouldn’t, including engaging with the audience. When things go sideways, he is forced to act in the play (even though he hates performing). American accent.
JONATHAN HARRIS: Plays “Charles Haversham” in The Murder at Haversham Manor. A bit bland but sees himself as a James Bond type: exciting and having fun, but not naïve. He technically must drive the show. He cares about the play but not to the same extent as others. Very physical role. British accent.
SANDRA WILKINSON: Plays “Florence Colleymoore” in The Murder at Haversham Manor. She is vain and possesses a huge ego. Wants to be loved. Has ambitions to go to Hollywood and will hurt anyone standing in the way of what she wants, but she is also smart enough to stay on the good side of someone who can help her. The stakes are high for her. A very physical role. British accent. Female presenting/identifying.
ANNIE TWILLOIL: The stage manager. She has the biggest journey of any of the characters. When Sandra is indisposed, Annie (who cannot bear to be on stage) must step in. Initially terrified by acting, she is willing to kill for it by the end of the play; her initial terror turns to joy, and then to fury. She starts small but grows and grows. American accent
"This 1920’s whodunnit has everything you never want to see in a show—an unconscious leading lady, a corpse that can’t play dead, and actors who trip over everything (including their lines). Nevertheless, the accident-prone thespians battle against all odds to make it through their final curtain call with hilarious consequences! Part Monty Python, part Sherlock Holmes, this Olivier Award-winning comedy is guaranteed to leave you aching with laughter."