ABOUT THE SHOW

It’s 1934, and the clever and combustible Lucille Wiley, Manager of the Cleveland Grand Opera Company, is ready to welcome world-class soprano Elena Firenzi for her one-night-only starring role in Carmen. Alas, Elena arrives late, her impassioned husband Pasquale has a fit of jealousy, and it remains to be seen whether Mrs. Wiley’s mousy but determined assistant Jo can save the day.

Based on Ken Ludwig’s Tony Award-winning Lend Me A Tenor, this madcap screwball comedy features ladies in the leading roles and is guaranteed to leave audiences teary-eyed with laughter.

Written by Ken Ludwig

PERFORMANCE DETAILS

Margot and Robert Ogden Main Stage
January 31 – February 16, 2025
Thursdays – Saturdays: 7:30 pm  |  Sundays: 2:00 pm
*2/8 performance at 2:00 pm

AUDITIONS

Sunday, November 24 — 6:30PM
Monday, November 25 — 6:30PM

CALLBACKS

Monday, November 25 — 8:00PM

AUDITION LOCATION

Spokane Civic Theatre, Main Stage Lobby
1020 N Howard St, Spokane WA 99201
Directions to each theatre can be found here.

OF NOTE

• Age range and gender of characters is to appear on stage as
• Seeking all ethnicities and cultural backgrounds for all roles
• No singing, prepared reading or monologue required; please be prepared for cold readings from the script

AUTHOR’S NOTE

The history of drama over the last 2,000 years is decidedly male-centric. Take, for example, the comedies of William Shakespeare, which I adore. Even though the female characters are now played by women – unlike in Shakespeare’s time – the bulk of the parts are still roles for men: Bottom and the other Rude Mechanicals in A Midsummer Night’s Dream; the many joyful clowns from Costard in Love’s Labour’s Lost to Dogberry in Much Ado About Nothing; the whole great host of sons, suitors, servants, and sailors in Twelfth Night, As You Like It, and The Comedy of Errors. Poor Miranda is literally the only woman in The Tempest.

ROLES

MRS. WYLIE
General Manager of the Cleveland Grand Opera Company.
The role of Mrs. Lucille Wylie is cast.

JO
Female, 20s
Mrs. Wylie’s assistant. Engaged to Jerry. A bit scruffy with hair askew. Wears glasses and sings opera.

JERRY
Male, 20s-30s
Mrs. Wylie’s son. He is the boyfriend to Jo. A lawyer who adores opera.

ELENA FIRENZI
Female, mid 30s-50s
World famous opera soprano. Italian. Gorgeous, magnificent, dressed elaborately. A force of nature.

PASQUALE
Male, 30s-50s
Elena’s husband. Impressive. Also dressed elaborately. Jealous.

BELLHOP
20s-40s
Traditional bellhop. Big Elena and opera fan.

LEO
Male, 20s-30s
Tenor in opera. Dutch.

JULIA
Female, 50s-70s
Chair of the Opera Guild. Society type.

QUESTIONS AND COMMENTS, PLEASE EMAIL:
Production@SpokaneCivicTheatre.com

ABOUT THE SHOW

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@SpokaneCivicTheatre.com

ABOUT THE SHOW

Written by William Shakespeare

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

Wednesday, January 7 — 6:30PM

AUDITION LOCATION

Spokane Civic Theatre, Main Stage
1020 N Howard St, Spokane WA 99201
Directions can be found here.

More information coming soon!