Main Stage
Carousel
July 14 – 16, 2024
A Christmas Carol
September 29 – October 1, 2024
Lend Me a Soprano
November 24 – 25, 2024
Romeo and Juliet
January 5 – 7, 2025
Waitress
March 16 – 18, 2025
Studio Theatre
An Enemy of the People
August 11 – 12, 2024
Sweat
October 13 – 15, 2024
The Wolves
December 8 – 10, 2024
The Beauty Queen of Leenane
March 9 – 10, 2025
Special Events
Every Christmas Story Ever Told (and Then Some!)
October 6 – 8, 2024
Spokane Civic Theatre Presents
ABOUT THE SHOW
In this contemporary slice-of-life play, The Wolves, a girls’ indoor soccer team, practice drills as they prepare for a succession of games. As they warm up and talk about life, the girls navigate the politics of their personal lives as well as the politics of the larger world, gossiping about things like war, menstrual products, genocide, sports, pop culture, and their relationships. Each team member struggles to negotiate her individuality while being a part of a group. They bond over a bag of orange slices and personal traumas. The team seems as if it may disband after the sudden death of one of the girls, but they manage to come together. In the end, the surviving team players prepare to play yet another game together—closer, stronger, wiser, and fiercer.
Written by Sarah DeLappe
Directed by Dawn Taylor-Reinhardt
PERFORMANCE DETAILS
Firth J Chew Studio Theatre
March 7 – 30, 2025
Thursdays– Saturdays: 7:30 pm | Sundays: 2:00 pm
*3/15 and 3/29 performances at 2:00 pm
AUDITIONS
Sunday, December 8 — 6:30PM
Monday, December 9 — 6:30PM
CALLBACKS
Tuesday, December 10 — 6:30PM
AUDITION LOCATION
Spokane Civic Theatre, Main Stage
1020 N Howard St, Spokane WA 99201
Directions can be found here.
OF NOTE
- The show requires nine diverse Female-identifying actors to play skilled high school soccer players. Soccer playing experience is not required but is a plus (actors will train with a soccer coach).
- Seeking all ethnicities and cultural backgrounds for all roles.
- There is explicit dialogue and profanity in the play.
- No prepared reading or monologue required; please be prepared for cold readings from the script.
- Actors are requested to wear comfortable athletic clothes and footwear—there will be a movement aspect to the audition process.
AUTHOR’S NOTE
Each scene is a warm-up for a game. The warm-up is a series of exactly-timed stretches: lunges, quads, hamstrings, butterfly, etc. The team executes it wordlessly, in perfect unison and with military precision. Over the course of the play, #46 learns the warm-up. In Week Three, if #46 can’t juggle a soccer ball, she should perform footwork or tricks to the rhythm of the yogurt chant. It ought to be an impressive show of ball-handling skill. In Time-Out, #00 must exhaust herself with great feats of athleticism and strength that build to the final scream. What that sequence looks like is open to interpretation. It could be kicking soccer balls offstage. In our production, the actor devised an escalating series of exercises, including high knees, butt kicks, burpees, jumping jacks, etc.
ROLES
#11: Midfield. Brainy, morbid, budding elitist, thoughtful; smart and she knows it, watches documentaries, columnist for high-school newspaper; both of her parents are psychiatrists; a bit of a know-it-all, she enjoys policing and correcting her teammates.
#25: Captain. Classic ex-coach’s daughter; she keeps the team on track, even if she’d rather join in on the fun, and loves a good pep talk; a hard worker, a good leader; emotionally closed off, she discovers her first crush on a woman and shaves her head.
#13: Midfield. Class clown, jock, a bit of a bro, her older brother’s a stoner, and they definitely play FIFA; into her wackiness; refuses to take anything too seriously, she lives to rib her teammates, which can get her in hot water.
#46: Bench. The new girl, awkward, different; homeschooled, she lives in a yurt with her new age travel writer mom; her nomadic life has left her with idiosyncratic passions (bird watching) and a lack of social skills, but she doesn’t seem to mind; extraordinary soccer skills are essential; she must juggle a soccer ball for a minute, or perform a similarly impressive feat.
#2: Defense. Innocent, unlucky, kind, skinny; sweet, naive, sheltered, she considers herself a nice and humble person; she is a member of her church’s youth group and of Amnesty International, along with the oldest sister and caretaker of her many younger siblings; has an eating disorder; has suffered multiple concussions; doesn’t like talking bad about others.
#7: Striker. Too cool for school; sarcastic; the child of a bad divorce, her lawyer father owns a ski house, and she’s dating a college boy–they’re very much in love; has problems with authority.
#14: Midfield. #7’s insecure sidekick; just switched to contacts; she’s modeling herself on the cool girl, #7, but begins to rebel after a ski weekend gone wrong; her mother is Soccer Mom, very involved in her life.
#8: Defense. “Omigosh,” plays dumb, goofy, giggly, excitable, a crier, a dreamer; obsessed with “The Lord of the Rings” and making it to nationals in Miami; her mom died when she was ten, and she never talks about it; she lives in a self-inflicted state of innocence.
#00: Goalie. Intense performance anxiety, social anxiety, perfectionist, high achiever; she has a 4.9 GPA, is Editor in Chief of the high-school newspaper, plays cello; before every game, she stops talking and vomits; militant.
Soccer Mom: Manic with grief, warm, generous, she is a suburban woman who prides herself on her involvement in her teenager’s lives; never misses a game.
QUESTIONS AND COMMENTS, PLEASE EMAIL:
Production@
Spokane Civic Theatre Presents
ABOUT THE SHOW
Verona’s Montague and Capulet families have been feuding for ages and whenever they meet, violence breaks out. But when Romeo glimpses Juliet across a crowded dance floor, something different happens. Can star-crossed love survive in a world of rivalry and rage?
With a plot featuring a masqued ball, sleeping potions and all-out brawling in the street, wrapped in a text full of soaring poetry, it’s no wonder Romeo & Juliet has inspired countless adaptations, from ballets to movies to musicals, such as West Side Story.
Written by William Shakespeare
Directed by Joshua Baig
Assistant Directed by William Marlowe
PERFORMANCE DETAILS
Margot and Robert Ogden Main Stage
March 28 – April 13, 2025
Thursdays – Saturdays: 7:30 pm | Sundays: 2:00 pm
*3/29 performance at 2:00 pm
AUDITIONS
Sunday, January 5 — 6:30PM
Monday, January 6 — 6:30PM
CALLBACKS
Tuesday, January 7 — 6:30PM
AUDITION LOCATION
Spokane Civic Theatre, Main Stage
1020 N Howard St, Spokane WA 99201
Directions can be found here.
OF NOTE
- Seeking actors 16 years old and over
- Seeking all ethnicities and cultural backgrounds for all roles
- Age range and gender of characters is to appear on stage as
- Cast will be 13 principals plus an Ensemble of 10-15 (mostly non-speaking roles); understudies may be considered
- A memorized Shakespearean monologue or sonnet not to exceed 2 minutes from any work except Romeo & Juliet required at auditions. Please click here for some resources. A few monologues will be on hand just in case.
- Please be familiar with the play (plot, characters, language, etc.). Please click here to read Romeo & Juliet
- The play contains stage combat, Elizabethan dances and intimate moments; athleticism and safety awareness required
ROLES
Romeo
A young man who is heir to house Montague. Romeo is handsome, athletic and intelligent. He is also sensitive and immature. He suffers from melancholy over love.
Juliet
Daughter of house Capulet, and a beautiful young girl. She begins the play as a naive child, falls in love with Romeo and shows amazing courage and passion against nearly insurmountable odds
Benvolio/Balthasar
20s-30s
Montagues nephew and Romeo’s cousin. He is Romeos thoughtful best friend who makes a sincere effort to diffuse violence
Friar Lawerence
40s-50s
A mature Franciscan friar. Friend to both Romeo and Juliet. He is civic minded proponent of moderation who is also an herbalist
Mercutio
20s-40s
Kinsman to the prince and Romeos close friend. He has an abundance of imagination, wit and a biting fervor. He can be quite hot headed and dislikes those who are pretentious.
Nurse
40s-60s
Juliets nurse, has cared for her, her entire life. she is a vulgar, long winded sentimental character who provides comic relief with frequent inappropriate remarks.
Tybalt
20s-40s
A Capulet and Juliets cousin. He is vain, fashionable and prone to aggressive violence. An excellent swordsman who despises the Montagues.
Capulet
50s and up
He is Father of Juliet and enemy of the Montagues. Although he loves his daughter, he flies into fits of rage when his desires are not followed.
Lady Capulet
50s and up
Juliets mother. She is eager to see Juliet make and advantages marriage, but she is an ineffectual mother relying on the nurse for moral and pragmatic support.
Montague
50s and up
Romeo’s father and bitter enemy of the Capulets. He is greatly concerned with Romeo’s melancholy
Lady Montague
50s and up
Romeos mother who deeply loves her only son. She is dutiful and practical
Paris
20s-30s
A kinsman of the prince and handsome suiter of Juliet. Once engaged he becomes presumptuous towards Juliet.
Prince/Princess Escalus
30s-50s
The ruler of Verona and a kinsman of Mercutio and Paris. She is concerned about maintaining the public peace at all costs. She is the ultimate power.
Ensemble
Chorus, attendants, servants, non-speaking roles, and various characters throughout the play
QUESTIONS AND COMMENTS, PLEASE EMAIL:
Production@
Spokane Civic Theatre Presents
ABOUT THE SHOW
In a small house on a big hill in County Galway, Ireland, the Folan women live out an uneasy truce. Maureen and her elderly but iron-willed mother Mag spend their days in endless rounds of petty insults and physical threats as each maneuvers for control of their isolated existence. But when an old family friend reappears and offers Maureen a chance at love and a new life, this once-benign terrain grows treacherous and the two women, bound by blood but driven by desperation, will do anything to survive.
Written by Martin McDonagh
PERFORMANCE DETAILS
Firth J Chew Studio Theatre
May 2 – 18, 2025
Wednesdays – Saturdays: 7:30 pm | Sundays: 2:00 pm
AUDITIONS
Sunday, March 9 — 6:30PM
Monday, March 10 — 6:30PM
CALLBACKS
Tuesday, March 11 — 6:30PM
More information coming soon!
QUESTIONS AND COMMENTS, PLEASE EMAIL:
Production@