Theatreworks concluded its priority consideration period for submission for the 2022-2023 mainstage season on Monday, May 23 by holding two days of open Equity Principal auditions and accepting virtual submissions. Virtual submissions are still open for secondary consideration for roles that have not yet been filled; please see details below.

Practical Details:

For Mainstage productions, we will produce four shows at the SPT-5 level; as well as one production, The Half-Life of Marie Curie, in the smaller Osborne Studio Theater and one outdoor Summer Shakespeare, Taming of the Shrew at SPT-4 level. The SPT weekly salary rates for 2022-2023 are as follows:

  • September-December, Actors: SPT-4 $416, SPT 5 $465; SMs: SPT 4 $503, SPT 5 $587.
  • January-July, Actors: SPT-4 $437, SPT 5 $488; SMs: SPT 4 $528, SPT 5 $587.

The majority of non-Equity actors are paid a weekly stipend of $332; in two shows, three roles have significantly less rehearsal time (20-24 hours per week); those offer a weekly non-Equity stipend of $200-$250.

SPT-4 is 30 rehearsal hours per week (34 hours for stage managers); SPT-5 is 34 rehearsal hours per week (38 hours for stage managers).

For out-of-town artists, transportation to and housing in Colorado Springs is provided.

For our school and community tour work, the rehearsal week is 20 hours. Non-Equity actors are paid a weekly stipend of $250 during rehearsals. During performances, the per performance stipend Free-For-All is $65. Individuals must be resident in the Front Range during the rehearsal and performance period.

Please note that all productions may have one to three potential student matinee performances and only submit yourself for consideration if your schedule will offer the flexibility for you participating in select performances during school hours (if given advance notice).

All rehearsals are held at the Ent Center for the Arts, 5225 N. Nevada Ave, Colorado Springs CO.

Most performances are held in the Dusty Loo Bon Vivant Theater in the Ent Center for the Arts. Exceptions will be The Half-Life of Marie Curie, which will perform in the Osborne Studio Theater; Taming of the Shrew, which is the annual outdoor Summer Shakespeare; and Free-For-All: Pericles, which will perform in schools and community centers around the Pikes Peak region.

If you would like to familiarize yourself with the text of any of the plays and are local to Colorado Springs, Aubergine, King Hedley II, Taming of the Shrew and Pericles are all available through the Pikes Peak Library District. As they are only available in manuscript form, copies of Lumberjacks in Love, Little Women by Kate Hamill, and The Half-Life of Marie Curie are available to be ‘checked out’ at the front desk of the Ent Center for the Arts during its normal hours of operation.

Additional Information: All auditioners please complete the audition form (linked above) including uploading your resumé, headshot, and (if submitting virtually) an unlisted YouTube or Vimeo link of 2 contrasting pieces totaling no more than 5 minutes. When recording, it is helpful if you have a neutral background and good sound quality.

If you wish to be considered for Lumberjacks in Love, please submit a self-accompanied song as one of your two contrasting pieces.

If you wish to be considered for Taming of the Shrew or Free-For-All: PERICLES, please submit a piece in verse as one of your two contrasting pieces.

We encourage actors of all races, ethnicities, identities, and abilities to audition for our season and are excited to cast these worlds expansively. The genders given are the genders of the characters.

COVID-specific notices:

For in-person auditions and callbacks, we require proof of vaccination/negative test.

Everyone entering the audition venue (i.e., venue employees, Equity members, non-members, casting personnel, creatives, producers, musicians, COVID Safety Managers, etc.) will be required to undergo a symptom check and provide one of the following prior to entry into the venue:

  • Proof of full vaccination.“Fully vaccinated,” as defined by the CDC, is more than 14 calendar days following receipt of a final dose of an FDA or World Health Organization authorized or approved vaccine. (OR)
  • Proof of a negative PCR test result taken no earlier than 48 hours prior to entry into the audition venue. (OR)
  • Proof of two negative antigen test results (e.g., the first taken the night before and the second taken no less than 2 hours) prior to entry into the venue.

Equity Mainstage Productions:


Lumberjacks in Love

A silly lovely small cast musical about lumberjacks.

Rehearsals August 23-September 14, 2022

Performances run September 15-October 9, 2022 (Thursday-Sunday; 1 student matinee, Thursday, September 22)

Directed by Caitlin Lowans, music directed by Jerry McCauley

Contract is 7 weeks long


All actors must sing. Ideally would also be actor-instrumentalists.

MINNESOTA SLIM M M late 20s/mid 40s. In charge. Has difficulty admitting when wrong. Hides a gooey center

MOONLIGHT M M mid20s/ mid30s. Supportive. Open-minded. The moral compass of the bunch.

THE KID F 20s/early 30s. Always has a plug of tobacco. Hiding a secret. Yearning for love but barking up the wrong tree.

DIRTY BOB M mid 40s/ early 70s. Part-Pig Pen, part Lost Boy, all rolled up in a sweet and smelly package.

ROSE F late 20s/ mid 40s. A bold and brash mail-order bride and romance novelist.

The role of Muskrat (M, 40) Philosophical, angst-ridden, celebrating his fortieth birthday, baritone has already been cast.

Gender in this play: the genders of the characters do not need to be the genders of the actors, but because of the gender play inherent in the show, it is essential that the performed gender of the characters be clearly legible to audiences and actors paying those parts must be comfortable taking on certain presentations to tell those stories to the audience.

Little Women

Adapted by Kate Kamill from the book by Louisa May Alcott, a classic story, centering sisters, at the holidays.

Rehearsals November 1-23, 2022

Performances run Friday, November 25-December 18, 2022 (Thursday-Sunday; 3 student matinees, Thursday, December 1; December 8; December 15)

Directed by Kathryn Walsh

SPT-5; 7-week contract

AVAILABLE ROLES (descriptions from the playwright) While the characters are in their teens and early twenties, this is a memory play. We are generally looking for actors in their twenties-thirties. This is a re-telling, and in some ways a conscious explosion of the archetypes from the source material. None of the characters are good, or bad. They are not always perfectly likable. They are imperfect people.

JO (late 20s-30s) The second-to-oldest sibling. Does not fit comfortably within the given parameters of her given gender role. A deep fire within her. Wants to change the world. Very smart and knows it. A mix of insecurity and aspiration. Boyish and rough-and-tumble. Sometimes antagonistic. Not the most tolerant of differing viewpoints. Can be quite awkward or abrupt; bad temper when riled. A great sense of humor.

MEG (late 20s-30s) The oldest sibling. Wears glasses. Acts as second in the house. A romantic at heart - likes to dress up and have little luxuries in life. Becomes a young mother and struggles with the realities of the same.

BETH (early – mid 20s) The third sibling. Very sweet and paralytically shy. Agoraphobic. Loves deeply and has deep empathy for everyone. Loves the simple things in life - so much that it hurts. Sees much more than anyone realizes. Brave and sensitive; quick to forgive and heal wounds. Seeking an actor who sings well.

AMY (early - mid 20s) The youngest sibling. Opinionated and spunky. Not the most tolerant of differing viewpoints. Socially intelligent. Sometimes puts on airs. Perhaps a bit spoiled. A perfect little lady - except for her temper, and her not-so-great command of "vocabulary." Grows up to be quite beautiful and elegant.

MARMEE (45+) The matriarch A social revolutionary; ahead of her time. Good sense of humor. A warrior; keeps the family together. Tough. Strong. Intelligent.

HANNAH/ MRS. MINGOTT/ AUNT JOSEPHINE (50+): Plays three femme roles. Hannah: the family’s longtime housekeeper, cook, and defacto babysitter. A treasure; a terror; a traditionalist. Takes no nonsense. Mrs. Mingott: a very rich, stylish woman. Vanderbilt-esque, condescending; fancies herself charitable. Aunt Josephine - the most unpleasant old woman imaginable. Has lots of money; privileged. Has an intermittently hacking, disgusting cough. Judgmental.

LAURIE (late 20s-30s) - A sweet and handsome young man; sensitive. Funny, charming, and caring. He’s a white knight riding to the rescue. A natural musician. Wealthy thanks to his inheritance; generous, does not have to think about money. Does not always fit comfortably within the given parameters of his given gender role - he doesn't want to grow up to be a soldier or tedious man of business.

MR. BROOKS/ PARROT: (30s) Laurie's sometimes stiff and awkward tutor. A rule-follower. A poor man; well educated. Has a very noticeable limp - probably served in the war and was sent home, although may have been disqualified from service altogether. Feels deeply. Doubles with Parrot: pure evil. A musty, disgusting bird. Probably an actual demon in parrot form. May also double with MR. DASHWOOD A publisher of cheap newspapers and novels. A businessman, working in a man’s world. Fancies himself a realist. Not a nice guy. Fancies himself a nice guy.

GRANDFATHER LAWRENCE/ MR. MARCH: (50+): Plays two masculine roles: Grandfather, responsible for his grandson’s upbringing. A wealthy man. A gentleman in the strictest sense. Not comfortable with emotional language; bad at expressing himself. Tends towards gruffness or temper. Probably quite unintentionally frightening. Deeply regretful of incidents in his past, but unable to express it. Father to the family. Never speaks, but his presence looms large. Is wounded in the war; never quite recovers. A significant limp. Struggles with his injuries, both emotional and physical. May also double with MR. DASHWOOD A publisher of cheap newspapers and novels. A businessman, working in a man’s world. Fancies himself a realist. Not a nice guy. Fancies himself a nice guy.

*Please note Hannah/ Mrs. Mingott and Grandfather Lawrence will be smaller roles limited to 20 hours of rehearsal a week and having smaller stipends.


by Julia Cho; a family story about love and connection through cuisine

Rehearsals January 9-February 1, 2023;

Performances February 2-19, 2023 (Thursday-Sunday; 1 student matinee, February 9)

Directed by Lisa Marie Rollins

SPT-5; 6 week contract


RAY: 38. Korean-American. Born in America.

RAY’S FATHER:* Late 60s. Born in Korea, lived in American for almost four decades.

LUCIEN: 40s. A naturalized citizen who was once a refugee

CORNELIA:* 28. Korean-American. Born in Korea, raised mostly in America.

STRANGER/UNCLE:* Late 50s. Korean.

*RAY’S FATHER, CORNELIA and UNCLE speak Korean in the play.

** Please note Diane is a smaller role limited to 20 hours of rehearsal a week and having a smaller stipend.


The Half-Life of Marie Curie

by Lauren Gunderson, Two best friends, one a Nobel Laureate, navigate sexism in the sciences.

Rehearsals February 21-March 15, 2023;

Performances March 16-April 2, 2023 (Thursday-Sunday;1 student matinee, Thursday, March 23)

Directed by Sarah Sheppard Shaver

SPT-4; 6-week contract; performed in the Osborne Studio Theater

MARIE CURIE F mid 30s/ mid 50s. Polish born, French national. Brilliant, shrewd, private and patient scientist. At this point she has already won her first Nobel prize in physics with her husband Pierre in 1903.

HERTHA AYERTON F mid 40s/ mid 60s. British. A brazen, ambitious, fiercely intelligent engineer, inventor and suffragist. Widowed in 1908 she continued her work in electrical experimentation while secretly housing suffragettes running from police.

King Hedley II

by August Wilson,

Rehearsals April 4-26, 2023;

Performances run April 27-May 21, 2023 (Thursday-Sunday; 1 student matinee Thursday, May 5)

Directed by Marisa Hebert

SPT-5; 7-week contract

HEDLEY M 30s. A walking, talking, grower of seeds and dreams. He is more gravel than soil, but wants to be a place where roots take hold. Big-hearted and open-throated with his communication; requires an actor steeped in the effusive flow of this play’s towering, blues-inspired language.

RUBY F 50s/60s. Hedley's mother and a former jazz singer. She carries the secrets of the past with her.

TONYA F late 20s/ 30s. Hedley’s wife, pregnant with his child, and at her young age is already a grandmother. She is weighed down by her reality.

ELMORE M 50s/60s. A southern hustler (and former boyfriend of Ruby). He is charming on the surface, but acts in self-serving ways while trying to clear his conscience.

STOOL PIGEON M 40s/ 70s. Neighborhood wise man and prophet. He sees God's hand in everything.

MISTER M 30s. Hedley’s best friend, right hand, hype man, and partner in crime

Taming of the Shrew

Shakespeare’s comic battle-royale-of-the-sexes, in high Elizabethan-style with a gender-bent twist!

Rehearsals Friday, June 9-July 5, 2023;

Performances run July 6-30, 2023 (Wednesday-Sunday; no likely student matinees)

Directed by Caitlin Lowans

SPT-5; 7.5 week contract; outdoor summer Shakespeare

The Brothers:

KATE M late 20s/late 30s. Hasn’t found his place in the world or an ally. Gives as good as he gets.

BIANCO M mid 20s/mid 30s. The apple of his mother’s eye. Always gets what he wants.

The Mothers:

BAPTISTA F early 50s/early 70s Bianco and Kate’s mother. Wants what’s best but doesn’t pay the right attention.

VINCENTIA F early 50s/early 70s Lucentia’s mother who arrives unexpectedly.

The Wooers:

PETRUCHIA F late 20s/early 40s. Eccentric and arrogant but deep-down cares for Kate and ultimately wants to help him find his way in the world.

LUCENTIA F mid 20s/mid 30s Disguises herself as a tutor to woo Bianco. Optimistic.

HORTENCIA F mid 20s/mid 30s One of Bianco's suitors and best friends with Petruchia; disguised herself as a music tutor to woo Bianco; ideally plays an instrument.

GREMIA/ WIDOWER gender-flexible mid 30s/early 50s Rich comic older suitor fighting to win the hand of Bianco.

*The roles of Biondella, Trania, Grumia, Tailor, Pedant, and Curtis will be assigned to tracks by the time of callbacks. The genders of the characters do not need to be the genders of the actors, but because of the gender play inherent in this production that is flipping all the characters to a matriarchy, it is essential that the performed gender of the characters be clearly legible to audiences. Actors playing those parts must be comfortable taking on feminine presentations to tell those stories to the audience.

Non-equity Additional Productions:


Winter Wonders

Directed by Katy Williams

Rehearsals November-December 2022; performances December 2-18, 2022 (3 student matinees on Friday, December 2; December 9; and December 16)

Non-Equity performers only for puppetry-driven Theatre for Young Audiences

Seeking a cast of 6 actor-puppeteers. Willingness to learn and a collaborative spirit a must. There exists a chance that this may only be open to currently enrolled UCCS students.

Free-For-All: PERICLES

Directed by Max Shulman

Rehearsals March-April 2023; performances late April-early July 2023

Non-Equity performers only for school and community tour

Seeking a cast of 7-9 actors for 6 tracks in a 70-minute adaptation of a Shakespeare play. Each actor will learn two tracks in a highly physical approach to one of Shakespeare’s most wide-ranging and surprising plays. Gender is fluid. Excitement about and experience with direct address, community and youth audiences, heightened language, highly physical acting work, and comedy are all a plus. Actors must be available for daytime school performances on Thursdays and Fridays in April and May.