Skip to main content

Spring and Summer Fayetteville NC Auditions + Raleigh NC Auditions

2022 Season | Fayetteville NC Auditions | Raleigh NC Auditions

sweet tea Shakespeare fayetteville nc auditions Raleigh nc auditions fayetteville nc theatre

Sweet Tea Shakespeare has homes in the Fayetteville NC Theatre and Raleigh NC theatre communities.

EMMA (Raleigh)

(PLAY)

Book by Jane Austen

Adaptation By Claire F. Martin

Direction by Hayley Philippart

Music Direction by Ashlyn Parsons

SYNOPSIS: Emma Woodhouse has it all: beauty, wealth, status, wit. She also has a talent for matchmaking, and delights in pairing off the eligible men and women in town, much to the chagrin of her disapproving friend, Mr. Knightley. But when Emma decides to find a husband for her young protégée Harriet Smith, she sets off a chain of events that could break several hearts…including her own. Jane Austen’s beloved Regency rom-com gets a dazzling update in this brand-new stage adaptation by Claire F. Martin.

RALEIGH PRODUCTION DETAILS: 

RALEIGH REHEARSALS BEGIN: the week of February 29th

RALEIGH PERFORMANCE RUN:  May 5th to May 21st, 2022

SEEKING: 

MR. HENRY WOODHOUSE (50s to 60s): a wealthy widower and valetudinarian

MISS EMMA WOODHOUSE (20s): MR. WOODHOUSE’S his youngest daughter, an imperfect heroine 

MR. CHARLES WESTON (30s to 40s): a prosperous gentleman

MRS. ANNE WESTON (née Taylor, 30s to 40s): MR. WESTON’S second wife, previously governess to Emma

MR. FRANK CHURCHILL (20s): son to Weston by a former marriage, raised in York

MISS LOUISA BATES (40s to 60s): an impoverished spinster

MISS JANE FAIRFAX 20s): MISS BATES’ orphaned niece, raised in London

MR. PHILIP ELTON (20s to 30s): the town vicar

MR. GEORGE KNIGHTLEY (20s to 30s): a member of the landed gentry, friend to the Woodhouses

MISS HARRIET SMITH (20s): an orphaned parlor boarder

MR. ROBERT MARTIN (20s to 30s): a tenant farmer on Knightley’s estate

MRS. AUGUSTA ELTON (née Hawkins, 20s to 30s): wife to ELTON, previously a debutante in Bath

*We encourage actors of any race, ethnicity, or sexual orientation, actors with disabilities, and actors from across the gender spectrum and nonbinary actors to audition. All actors will have opportunities for musical performance, movement and dance.

TECHNICIAN CALL: 

RALEIGH: SM, ASM, Lighting Designer, Intimacy Director, Choreographer

FAYETTEVILLE: SM, Costume designer

CALLBACKS

Callbacks for Fayetteville NC Auditions will be held on Saturday, January 29th. Callbacks for Raleigh NC Auditions will be held on Saturday, February 5th. You will be contacted via email to attend the callbacks. No phone calls, please.

Please direct all questions to hphilippart@sweetteashakespeare.com. No phone calls, please.

PARTY AT JAY’S (Fayetteville)

(PLAY)

Book by Scott F. Fitzgerald

Adaptation by Michael Curtis Houck & Claudia Warga-Dean

Direction by Michael Curtis Houck

Assistant Direction by Claudia Warga-Dean

Music Direction by Sarah Chapman

Orchestrations by Sarah Chapman

SYNOPSIS: New York. 1922. Nick Carraway arrives at Jay Gatsby’s estate for a night of jazz, dancing, and hooch – what unfolds around him is a thrilling tale of forlorn lovers. Taken from pages of F. Scott Fitzgerald’s American classic The Great Gasby, PARTY AT JAY’S is told through interactive staging where the audience are the guests at Jay’s  – the hottest spot of the roaring ‘20s. Featuring new and exciting arrangements of jazz standards and an original score which fuzes period and contemporary orchestrations. 

PRODUCTION DETAILS: 

REHEARSALS BEGIN: the week of April 10th

PERFORMANCE RUN:  May 12th to May 29th with TBD remount in August 2022

SEEKING: 

KLIPSPRINGER (she/he/they – BIPOC): Band Leader and emcee; loves all, loves to party

JAY GATSBY (he/him identifying): Mysterious, heartsick, blinded by love

NICK CARROWAY (he/him identifying: THE STRAIGHT MAN to the chaos that is a party at Jay’s. New to the area. Learning a lot

TOM BUCHANAN (he/him identifying): a solipsistic brute

DAISY BUCHANAN (she/her identifying): Debutante. Socialite. Unaware of the consequences of her actions, maybe intentionally so.

JORDAN BAKER (she/her identifying): Golfer, Nick’s love interest.

MYRTLE WILSON (she/her identifying – African American): A free spirit, Tom’s lover.

GEORGE WILSON/ENSEMBLE (he/him identifying – African American): Sick with range. Mentally not well, naive. Seeking singer.

CATHERINE/ENSEMBLE (she/her identifying – African American): Myrtle’s sister. Seeking singer.

ENSEMBLE: Butler, Flappers, Other Party Guests, Myrtle’s Bohemian Posse. Seeking singers/soloists and dancers.

THE BAND 

*We encourage actors of any race, ethnicity, or sexual orientation, actors with disabilities, and actors from across the gender spectrum and nonbinary actors to audition. All actors will have opportunities for musical performance, movement and dance.

TECHNICIAN CALL: SM, ASM, Lighting Designer, Fight/Intimacy Director, Musicians (percussion, bass, guitar/horns, keys)

CALLBACKS

Callbacks for Fayetteville NC Auditions will be held on Saturday, January 29th. Callbacks for Raleigh NC Auditions will be held on Saturday, February 5th. You will be contacted via email to attend the callbacks. No phone calls, please.

Please direct all questions to hphilippart@sweetteashakespeare.com. No phone calls, please.

PERICLES (Fayetteville)

(PLAY)

Direction by Marshall B Garrett

Music Direction by TBD

SYNOPSIS: “Pericles” is the story of a brave and noble man, who undergoes challenges and tragedies, and emerges fulfilled. It is also the story of his daughter, who is separated from her father while a baby, grows up to be a paragon of virtue in a hard world of cruelty and exploitation, and is ultimately rewarded and reunited with her parents. 

PRODUCTION DETAILS: 

REHEARSALS BEGIN: the week of June 13th 

PERFORMANCE RUN:  July 13th to July 24th, 2022

SEEKING: 

GOWER: singer/guitarist preferred.

YOUNG PERICLES/LYSIMACHUS: 20s-30s, musician preferred

OLD PERICLES/ANTIOCHUS/SIMONIDES: 40s-50s

MARINA/YOUNG THAISA/DAUGHTER: 20s-30s

OLD THAISA/DIONIZA/DIANA: 40s-50s, singer preferred.

CLEON/PANDER/ESCANES/FISHERMAN/OTHERS: ensemble

HELICANUS/CERIMON/BOULT/FISHERMAN/OTHERS: ensemble

BAWD/LYCHORICA/THALIARD/FISHERMAN/OTHERS: ensemble

*This ensemble will have 8 actor-collaborators to play more than 40 roles. We encourage actors of any race, ethnicity, or sexual orientation, actors with disabilities, and actors from across the gender spectrum and nonbinary actors to audition. All actors will have opportunities for comedy, drama, musical performance, movement and dance

TECHNICIAN CALL: SM, ASM, Lighting Designer, Costume Designer, Fight/Intimacy, Props, Musicians, Choreographer

CALLBACKS

Callbacks for Fayetteville will be held on Saturday, January 29th. Callbacks for Raleigh will be held on Saturday, February 5th. You will be contacted via email to attend the callbacks. No phone calls, please.

Please direct all questions to hphilippart@sweetteashakespeare.com. No phone calls, please.

MUCH ADO ABOUT NOTHING (Fayetteville)

(PLAY)

Direction by Jeremy Fiebig &Traycie Kuhn- Zapata

Music Direction by TBD

SYNOPSIS: The rom-com that started it all. Beatrice is a fast-talking spinster with no time for men. Benedick is the wisecracking marriage-hater crashing at her uncle’s house with a bunch of rowdy soldiers. But when Benedick’s best friend falls in love with Beatrice’s cousin, their friends and family hatch a plot to reveal the truth: that Benedick and Beatrice are actually head-over-heels in love. Can these two bickering cynics finally admit what everyone else can see? Brilliantly blending romance and humor, Much Ado About Nothing is Shakespearean comedy at its finest.

PRODUCTION DETAILS: 

REHEARSALS BEGIN: the week of May 2nd, 2022

PERFORMANCE RUN:  June 2nd to June 26th

SEEKING: PLEASE ADVISE

BEATRICE (20s to 40s): a “pleasant-spirited lady” with a very sharp wit; cousin to Hero and niece to Leonato.

BENEDICK (20s to 40s): a soldier and “confirmed bachelor” who serves under Don Pedro and alongside Claudio; also has a very strong wit which helps to fuel the “merry war” between himself and Beatrice.

CLAUDIO (20s to 40s): a young and newly accomplished soldier serving under Don Pedro who falls in love with Hero upon his return to Messina.

HERO (20s to 40s): the young, gentle, and kind daughter of Leonato who falls in love with Claudio; cousin to Beatrice.

DON PEDRO (30s to 50s): an important nobleman and officer; at times referred to as a “Prince”; a long-time friend of Leonato.

LEONATO (40s to 60s): father to Hero and uncle to Beatrice, Leonato is a respected nobleman in Messina and his home serves as the location for the story.

DON JOHN (25 to 40): a soldier and illegitimate brother to Don Pedro; sullen, melancholy, envious, and looking for trouble.

DOGBERRY (30 to 50): the highest ranking constable in the area; takes his job very seriously but his misuse of language causes others to consider him “an ass.”

VERGES (20 to 50): a simple-minded yet honest deputy to Dogberry.

BORACCHIO (20 to 40): the lover of Hero’s waiting woman Margaret and the architect of the plot to undo Hero; a henchman/associate of Don John.

URSULA (20 to 50): a wise and loyal waiting woman to Hero and Beatrice.

MARGARET (20 to 25): a young and spirited waiting woman to Hero.

*We encourage actors of any race, ethnicity, or sexual orientation, actors with disabilities, and actors from across the gender spectrum and nonbinary actors to audition. All actors will have opportunities for musical performance, movement and dance.

TECHNICIAN CALL: SM, ASM, Musicians 

CALLBACKS

Callbacks for Fayetteville NC Auditions will be held on Saturday, January 29th. Callbacks for Raleigh NC Auditions will be held on Saturday, February 5th. You will be contacted via email to attend the callbacks. No phone calls, please.

Please direct all questions to hphilippart@sweetteashakespeare.com. No phone calls, please.

SWEET TEA SHAKESPEARE: WHO WE ARE 

We are a not-for-profit theatre company and training ground inspired by Shakespeare and the early modern spirit, gathered in a diverse community around a common love for the magic of story, song, and stagecraft.

We’re good at stringing small things together and building everything from the ground up – lights, music, sets, all of the above. We have two chapters based in Fayetteville and Raleigh, North Carolina, but our Members and community stretch across the country. We perform at venues such as Museum of the Cape Fear Historical Complex, The Capitol Encore Academy, and William Peace University. We perform outdoors frequently in warm summer months at our Fayetteville venues

ABOUT AUDITIONING FOR SWEET TEA SHAKESPEARE

Fayetteville NC Auditions | Raleigh NC Auditions | Fayetteville NC Theatre | Raleigh NC Theatre

We double and triple cast roles, so we’re interested in things like range, dexterity of language, and strength of the choices you’re making.

All STS shows include live, acoustically derived music prior to the show, music during intermission, and music as part of a curtain call at the end of the show. Music selection varies by production but is generally modern music with a topical and esthetic connection to the production, with a rustic, folk, backyard-jam feel.  Music and dance are required of all STS actors, though we are generally sensitive to your current skill level.  If music is part of your skill base – please share that with us! We seek musicians who can play almost any instrument, with special emphasis on: guitar, bass (upright or electric), piano, mandolin, banjo, accordion, harmonium, trumpet, clarinet, bassoon, violin, viola, & cello. Bring a short song, your voice, and your instrument along! 

About Casting…

Cast sizes for our shows are extremely limited. Casts will range from as small as 10 people to as large as 14 or so. We have, on average, about 35-60 people auditioning, so you can determine your odds accordingly. One of the deciding factors will be ease of schedule. If talent and fit for characters are equal (or even sorta close), preference will be given to the most available folks.

Payment

STS actors are paid with modest stipends and travel allowances as low as $100 up to Equity minimums. 

Equity in Casting

Sweet Tea Shakespeare strives to be diverse, equitable, and inclusive in all our casting choices. We encourage artists of color, artists of different abilities, and artists of all genders to audition for our productions. 

STS Practices Open Gender Casting – Open gender casting simply means that we choose the best actor for the role, regardless of that actor’s gender.  Many early-modern plays are heavily weighted towards male roles, which disfavors women and non-binary individuals – and we want to ensure that all of our actors have a chance to expand their art to their fullest.  From a practical perspective, this means that our actors may be cast in a role where their character is scripted to romantically touch or kiss someone of the same gender.  All actors are encouraged to clearly communicate their personal boundaries and comfort levels in regards to all stage intimacy, however STS generally does not edit texts for content.  You will be limiting the number and kind of roles you are eligible for if you list any of these activities as something you’re not willing to engage in, however we will honor your requests should we decide to cast you in one of the other roles available.

Intimacy, Touch, Consent, Combat, and Content 

Most productions include physical intimacy, kissing and touching, drinking, and stage violence. Much of what you’ll encounter in our shows is reasonably conventional, though in Shakespeare and other classic plays, there are mentions of things much more lurid. Occasionally, the more lurid things happen on stage, such as the intensely passionate sequences between Antony and Cleopatra, the rape of Lavinia in Titus Andronicus, or a scene featuring accidental (and hilarious) sex-act simulation in The Tempest. There’s booze all over the place on stage in some plays. And there’s a heap of violence, early modern swearing, and other things to which you might object. 

Touch: The physical connection between two people can be electric, chemical, delightful. Touching bodies and body parts can be appropriate, welcome, necessary, good, and healthy. One of the very things theatre does is insist we move out of the physically isolated digital space and see/feel each other. While touching is not for everyone and bodies are not for everyone to touch; certain body parts may be more or less helpful to see and touch at times. Theaters, at their best, are places where bodies can be liberated rather than constricted, and well-used rather than misused. 

Consent: For the use of bodies and body parts and the touching of same to be safe, secure, wholesome, and good, it is important that everyone involved in the using and touching of bodies — actors, stage managers, directors, choreographers, vocal coaches, movement coaches, costumers, and others — to have permission to touch and permission to reveal. Likewise, it is important that those being touched and being asked to reveal speak up about their needs. Otherwise known as consent. 

At STS, when you agree to be in a play you are agreeing to use your body in ways that are safe and respectful, to touch others with the same sense of respect and safety, and  to be vocal about what you deem to be an instance that has occurred outside of those parameters. At STS, your personal agency is valued and honored; you are encouraged and expected to exercise said agency by voicing when your personal physical boundaries have been crossed without your consent. 

Sweet Tea