AUDITION FORM Audition Materials: Scripts and Scenes

Spring Mainstage Productions:

Spring Studio Project:

Spring Mainstage Productions:

Three Sisters:

  • Adapted by Will Pomerantz from the play by Anton Chekhov
  • Directed by Will Pomerantz


  • November 27 and 28, 2023
  • Perform one monologue of your choice
  • Students new to auditioning may read from a provided monologue available at the auditions, if they prefer


  • November 30 and December 1, 2023


All roles available and open to all races, religions, body types, sexualities, gender identities and expression.  People of color are strongly encourage to audition - we strive for inclusive representation and celebrate opportunities for under-represented groups as we build diverse ensembles reflective of the society within which we live. Actors earn 4 credits of Theatre Practicum.



  • Jan. 16 - Feb. 21, Monday through Friday, 7pm - 11pm (pending), Saturdays 11am - 6pm, (pending).


  • 8 p.m. February 22, 23, 24 and 2pm Feb. 24 and 25 in Watters Theater

Roles/Character descriptions:

  • IRINA: (female-identifying, early-mid 20’s, any race) – Irina is the youngest of the sisters. She is idealistic, passionate, and has an innocence about her. She is charming and entertaining and enjoys being the center of attention.
  • MASHA: (female-identifying, late 20’s, any race) - The middle sister, Masha is a talented musician with an artistic sensibility who finds little in the provincial town or her marriage to feed her soul. She has a sardonic sense of humor and a great capacity for love and passion.
  • OLGA: (female-identifying, 30’s, any race) – The oldest of the sisters and also the most responsible. Good- hearted and hard working, she is a bit of a surrogate mother to the household. Intelligent and strong, but also sensitive. Can’t bear ugliness or cruelty.
  • ANDREI: (male-identifying, 30’s) – The older brother of the three sisters, Andrei is an intellectual, with many varied interests within the arts and humanities. Hoped to become a professor, but has had to settle for being a petty bureaucrat. Married to Natasha, he makes some bad decisions as a result of his resentments.
  • VERSHININ: (male-identifying, 40’s/50’s, any race) – A military officer, but also a philosopher who thinks a lot about life and what it all means. Has a great capacity for joy, but is trapped in a difficult marriage. He likes to talk, both about philosophy and society, as well as his bad marriage.
  • BARON TUSENBACH: (male-identifying, 30’s, any race) – A reluctant soldier from a privileged background, the Baron likes to philosophize and think about the state of the world. In love with Irina.
  • NATASHA: (female-identifying, 20’s, any race) – from a provincial family, Natasha is ambitious and grasping under her naive and unsophisticated exterior.  She is also the most practical person in the household, and cares deeply about her children.
  • CHEBUTYKIN: (male-identifying, 50’s/60’s, any race) – a flawed but lovable man, he is like an uncle to the sisters, and is a partner in crime with their brother; he doesn’t do well with liquor and sometimes falls off the wagon. Used to be a doctor, but now mostly just reads the newspaper.
  • KULYGIN: (male-identifying, 40’s/50’s, any race) – A high school Latin teacher, Kulygin has a narrow view of life; his main concern is keeping his job and not alienating the head of the school. Not a bad person, but not someone you’d want to be trapped talking to at a dinner party.  Married to Masha.
  • ANFISA: (female-identifying, 70/80’s, any race) – the long-time nanny of the Prozorov family, she is beloved by the sisters. Now that she is older, she doesn’t have a lot to do, but pitches in where she can. From peasant stock and hard of hearing, she appreciates any little comfort she gets, and is capable of great gratitude for such things.
  • SOLYONY: (male-identifying, 20’s/30’s, any race) – a loner who can come off as aloof or brusque when you first meet him, he is actually quite shy and insecure, with his rudeness a cover for his vulnerability; he is in love with Irina, and is a soldier serving in the same regiment as Vershinin.

Plot synopsis:

This new adaptation of THE THREE SISTERS was written to create a fresh, new version of this classic play.  While the adaptation explores issues of privilege and class, it does so in a way that brings out the humor and empathy of the original playwright, Anton Chekhov.  

A humanist and a humorist, Chekhov celebrated all aspects of living, allowing us to see how, in life, pain, joy, absurdity and love often live right next to each other.  

In the play, Olga, Masha, Irina and Andrei (three sisters and a brother) — have been living in a small military town for the last eleven years, and they are ready to get out and return to Moscow, their place of birth.  Unfortunately, many things happen that make that difficult, including a doomed love affair, the appearance of a greedy and controlling in-law, and a duel that ends badly.  But as they continue their fight for their return to Moscow, the characters reveal, through their yearning, their deep capacity to love and to dream, what it means to be human.  

The siblings are surrounded by deeply interesting characters who either live in the house, or make the house their second home, all with their dreams, unfulfilled feelings of love, and deep need to connect with each other during a time of transition for Russian society, driving them into territories and journeys they never expected.

Director’s Note:

I am a theater artist and educator, and believe my job is to deeply collaborate with everyone on the team, including the cast, making discoveries as we journey through the process of putting a play together.  After seeing the show, the audience should feel that this play could only be done by this particular group of actors at this particular time, and this happens through a free exchange of ideas between the director and their collaborators in the course of the rehearsal process within a safe space for exploration and discovery.  I am interested in actors’ personal response to the material and how to make it speak to them and through them.

Originating Playwright:

The grandson of a serf (serfdom was Tsarist Russia’s version of slavery), and the son of a man who lost his business and their home, Chekhov had to grow up quickly and would end up supporting most of his family his entire life through his writing and his work as a doctor.  Chekhov actually didn’t make much money as a doctor, preferring to treat the poor who otherwise would not have had care.  But as he became more well known as a writer of satirical short stories, he was able to subsidize his medical work and support his family.  Many theorize that it was through his work as a doctor that Chekhov learned his deep empathy, as well as his ability to capture human behavior in a way that felt deeply true.  He began writing plays relatively late in life, and his first attempts were met with derision and puzzlement.  But eventually, his talents as a playwright were celebrated, and his four most famous plays (The Seagull, Uncle Vanya, The Three Sisters, and The Cherry Orchard), revolutionized playwriting and established him as one of the major Russian literary figures of all time.  Chekhov died of tuberculosis at age 44, in the city of Yalta, after drinking a glass of champagne.


The play centers on a cultured and educated family who are stuck in a small town in the hinterlands.  The children of this family dream of returning to the city of their birth, Moscow, where they spent their formative years.  The play was written a mere five years before the first Russian Revolution, and the characters all have a sense that the privilege they have enjoyed in their lives is about to be upended, and, as they begin to question who they are, the rules they have followed, and their place in a larger world, they make discoveries that will change them forever. The writer deals with themes of alienation, the power of dreams, and the need for resilience in a rapidly changing world.

Production Stage Manager: Olivia O’Brien

Stage manager: TBA

The Light in the Piazza:

  • Book by Craig Lucas
  • Music and Lyrics by Adam Guettel
  • Directed by Tommy Iafrate
  • Music Directed by Melissa Yanchak


  • November 27 and 28, 2023
  • Perform one monologue of your choice
  • Students new to auditioning may read from a provided monologue available at the auditions, if they prefer
  • Singers should prepare a 30-60 second selection of a song demonstrating their "legit"/lyrical/classical singing. This may be something from the musical theatre canon, or may be from an operetta, opera, art song, etc. Particularly ambitious singers interested in being considered for Fabrizio or any of the Naccarellis (see character breakdown) may sing a piece in Italian - or another foreign language - provided it is still of the same classical vocal style.  Please note that while vocal ability will be a major factor in casting, it is also essential that performers can embody text and effectively communicate a story while singing. Even if we do not understand the language you are singing, we should understand the emotional journey that you are undertaking.


  • November 29 and December 2, 2023


All roles available and open to all races, religions, body types, sexualities, gender identities and expression.  People of color are strongly encourage to audition - we strive for inclusive representation and celebrate opportunities for under-represented groups as we build diverse ensembles reflective of the society within which we live. Actors earn 4 credits of Theatre Practicum.

About this musical:

The Light in the Piazza tells the story of Margaret Johnson and her daughter, Clara, who visit Italy from North Carolina in the 1950s. Between visits to the museums of Florence, Clara meets and falls in love with an Italian boy named Fabrizio, and Margaret struggles with whether to protect her daughter from the world – as she herself is protected – or to set her free.

The musical features a lush, emotionally expressive score by Adam Guettel, and is typically sung in a traditional/classically-influenced vocal style similar to Golden Age musical theatre or opera. Performers in this musical will not only sing in this style, but many will do so in Italian.

For those unfamiliar with singing in this manner, some key elements to this vocal style that singers may wish to explore are: taller, more rounded vowels; clear diction; vibrato; and smooth shifts of register. YouTube is full of videos with pointers on how to incorporate these techniques into your own singing. Check them out! Here are two 10-minute videos that might be a good place to start:



  • Feb. 19 - Apr. 10, Monday through Friday 7p.m.-11p.m., pending. Saturdays 11a.m.-6p.m., pending.


  • 8p.m. Apr. 11, 12, 13, 16, 17, 18 and 2p.m. and possibly: Apr. 13 and 14 in the University Art Museum


Note: although the people in this musical function in 1950s North Carolina/Italy, all roles are open to performers of all gender identities/expressions and all races/ethnicities.

  • The Johnsons of Winston-Salem, North Carolina:
    • Margaret (soprano / sings from A3-G5) – a kind and privileged Southern woman who is confident navigating the world around her as she aims to experience all of its beauties. She is fiercely protective of her daughter, Clara.
    • Clara (soprano / A3-A5) – a young, naïve woman who is more capable than she is given credit for. She comes with all of the excitement and joy of a young person experiencing a new culture for the first time.
    • Roy (non-singing) – Margaret’s husband and Clara’s father. Roy is back in North Carolina, only appearing in long-distance phone calls with Margaret. He is the successful byproduct of a world that expects women to behave predictably and properly.
  • I Naccarelli di Firenze, Italia:
    • Fabrizio (tenor / Bb2-B4) – young, romantic, passionate, and quick to fall deeply in love with Clara. Innocently persistent without being stubborn, Fabrizio speaks very little English, but won’t let that stop him from connecting with Clara.
    • Giuseppe (baritone / Ab2-F4) – Fabrizio’s mischievous older brother. The stereotypical Italian lothario. Smooth, charming, and although not insincere, still less than trustworthy.
    • Franca (soprano / Bb3-B5) – Giuseppe’s spurned wife, cynical about love and fed up with the behavior of the men in her world. She experiences her feelings in bold and is sometimes a little too quick to act on them.
    • Signor e Signora Naccarelli (baritone / A2-D4, mezzo-soprano / C#3-B5) – Fabrizio’s parents. Generous, welcoming, and traditional. They are delighted to meet the Johnsons and want nothing more than a lovely, young woman like Clara to marry their son.
  • Ensemble (all voice types) – the native Italians and tourists seen around Florence

A Site-Specific Production:

“Site-Specific theatre” takes place in non-theatrical locations – i.e., not within a space typically used as a theater – and takes advantage of that space’s layout, architecture, and usual function to create a larger, more immersive theatrical world for the audience. This production of The Light in the Piazza will be site-specific, performed in the Binghamton University Art Museum. Scenes will flow through different locations in the museum, from the center of the gallery, to the balconies, to the grand staircase, etc., and the audience will adjust their positions accordingly in order to watch and engage with the performances. The company will work together to create an immersive world, and will explore ways that a traditional musical like The Light in the Piazza might work in a non-traditional space while directly engaging its audience.

Here are a few brief videos explaining more about this style of theatre:

Those wishing to visit the Art Museum may do so during their open hours (12-4 p.m. Tuesday through Saturday, 12-7 p.m. Thursday) or may learn more on their website.

Spring Studio Project

Natural Causes - a play project

  • Led by Elizabeth Mozer


  • Friday, January 19, 4-7pm; Saturday, January 20, 5-8pm in Studio A/FA 196
  • CallBacks as needed: Sunday, January 21, 6-8pm in Studio A/FA 196
  • Prepare a monologue or a spoken word poem and a song - if you sing  (or you can use the audition sides that will be made available to you)
  • Digital sign-up sheet for audition times HERE
  • Looking to work with and to co-create an inclusive company of diverse actors interested in playmaking!

  • Additional skills such as singing, playing an instrument, composing, 
    creative writing, and speaking a language other than English are welcomed


All roles available and open to all races, religions, body types, sexualities, gender identities and expression.  People of color are strongly encourage to audition - we strive for inclusive representation and celebrate opportunities for under-represented groups as we build diverse ensembles reflective of the society within which we live. Actors earn 4 credits of Theatre Practicum. (actors may be able to participate half time if working on a mainstage show)

About this project:

Natural Causes is a new play in development about environmental activists who put their bodies on the line for their causes by Elizabeth Mozer. Natural Causes will have performance sharings/readings during the semester.



We will meet for 6-9 hours weekly throughout the semester. (Exact schedule TBD in consultation with cast - considering two evenings, Monday and Wednesday, and Friday afternoon.) Actors will be working with transcribed interviews that were conducted by Elizabeth Mozer, along with other materials, bringing these words and individuals to life. The actors will help to shape the new work with their creative input and ideas, along with their embodiment of the characters. Elizabeth will also provide opportunities for the cast to create their own original narratives, poems, songs and music.

Further Information on Auditions

It is the auditioner’s responsibility to become acquainted with the roles, the nature of the production, and the scope of commitment prior to casting. It is strongly recommended that auditioners read scripts and production materials before the first audition. Links to the script will be posted above. 

Who can audition for a theatre production? EVERYONE!

Any and all registered Binghamton University students are welcome to audition for all Theatre Department Productions. We do NOT require that an auditioner is a Theatre Major or Minor. We hold open auditions for our MainStage and Studio Shows. Always arrive a few minutes early to fill out paperwork/discuss logistics ahead of time. See below for our casting policy.

Here's some tips for auditioning from our directors:

  • Choose a song that you feel passionate about. Something that makes you say to yourself "I have to do this!" Practice, practice, practice.
  • Ask friends and family to listen to you do your material. Listen to feedback but only use that which you feel certain in your heart you can apply to your work.
  • Sing while you do the dishes, while you drive, while you do the laundry, when you take a walk. Sing your song hundreds of times.
  • Know, deep within you that the people who are auditioning you want you to be great. They are not looking for your problems but rather your promise!

Casting Policy for Binghamton University Students:

Eligibility: Any person is eligible for auditioning and casting who will be registered for four or more semester hours of credit in any course taught in the University, other than the production itself, during the semester in which the production for which the auditions are being held is performed. Simply stated, one must be a registered student during the semester of performance. However, under certain conditions, Theatre faculty members or persons designated as "Artists in Residence" may be cast.

Note: All students are expected to familiarize themselves with and to take full advantage of the actor training sequence of classes offered by the department so that their acquired skills and abilities will make them more competitive and more readily recognizable to the faculty.

Representation, Diversity, Equity and Inclusion in casting and production
The educational mission of the Binghamton University Theatre Department is to provide equal opportunities and apprenticeship experiences to students without discrimination on the basis of age, race, color, religion, disability, nationality, gender identity, or sexual orientation. We believe that theatre is stronger when our season selection, casting process, and production needs are filled inclusively. Inclusivity will take many forms, including the variety of stories we choose to tell, assembling diverse artistic teams, making production assignments available to as many students as possible and engaging in color conscious casting.

Color-conscious casting “intentionally considers the race and ethnicity of actors and the characters they play in order to oppose racism, honor and respect cultures, foster stronger productions, and contribute to a more equitable world. Without it, we risk perpetuating a system that privileges whiteness with greater access and opportunity, and appropriates the cultures of communities of color.” (American Theatre) Likewise, we practice an attitude of respect, and opposition to bias and discrimination regarding gender and gender identity, including (but not limited to) trans and gender queer identities. 

Where a playwright’s intention calls for casting actors of a particular race, ethnicity, and/or gender, the director and/or casting agent must do all within their power to adhere to the playwright’s intention. If an actor of the appropriate race, ethnicity, or gender is not found, the director will initiate a conversation with the department to discuss what the next appropriate steps would entail. Steps may include, but are not limited to, seeking permission from the copyright holder for alternative casting permission, or canceling the production. At the same time, we encourage an experimental learning environment in which all directors stretch beyond historical expectations, casting traditions, or commercial conceptions of “type,” especially in cases where race, gender, ethnicity, or identity may not appear to be a major thematic element of the production.