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Auditions
EQUITY AND NON-EQUITY, PAID
Theatre Lab, the resident professional company of Florida Atlantic University will hold auditions for its 2024-2025 season on Monday, May 6, 2024 from 11am-7pm (break from 3pm-4pm). Actors are invited to audition in-person at the theater, 777 Glades Road, Florida Atlantic University, Parliament Hall. Parking is available in Parking Garage 2, directly north of the theater.
Please prepare 1-2 contemporary monologues totaling no more than 3 minutes. Email theatrelab@fau.edu for an appointment. Headshots and resumes may be submitted digitally or brought to the audition.
Theatre Lab is unable to offer housing for the 24-25 season and will only consider local hires or performers with local housing.
Personnel in attendance:
Matt Stabile, Producing Artistic Director
Margaret M. Ledford, Guest Director
Plays, roles, & production info:
Heckscher Theatre For Families Production
TBA by TBA
Rehearsals begin: 8/14/24
Tech begins: 8/31
Preview: 9/6/24
Opening: 9/7/24
Closing: 9/29/24
Run: Saturday at 3p & 7p & Sundays at 3p , up to 3 weekday matinees per week for school partners (Wed-Fri 10:30am curtain)
Seeking dynamic adult actors who enjoy working with and performing for young audiences.
AEA Special Appearance (Level 2); Non-AEA $450 per week
MAINSTAGE SEASON: Equity (Guest Artist Tier 2) and Non-Equity ($516 per week).
Theatre Lab utilizes a five-day work week during the rehearsal period - typically Wednesday - Sunday. Performances are Thurs-Sat at 7:30pm, Saturday & Sunday at 3pm, potential added weekday matinees for partner school groups on Wednesday at 10:30am
The Last Yiddish Speaker by Deborah Zoe Laufer
A National New Play Network Rolling World Premiere
Directed by Deborah Zoe Laufer
Rehearsals begin: 10/2/24
Tech begins: 10/19/24
Previews: 10/23-25
Opening: 10/26/24 7:30pm
Scheduled Closing: 11/10/2024 - possible extension through 11/17/2024
Performances: Thursday-Saturday at 7:30pm, Saturdays & Sundays at 3pm.
In the years following a successful January 6th insurrection, a white supremacist regime has come into power. Paul and his teenage daughter, Sarah, live under the radar in a small town upstate as Christian-passing, despite being Jews who fled New York City. When an ancient Yiddish-speaking woman arrives on their doorstep, Paul and Sarah are forced to decide between fleeing again or fighting for their faith, their heritage and their identity.
SARAH: (F, 17, Jewish, white) Called MARY in hiding. A high school senior. Brilliant, passionate and desperate. Needs a future to believe in. Reveres her dangerously outspoken mother. Seeking adult actors to play teenage role. Role requires some intimacy (kissing).
PAUL: (M, 40s, Jewish, white) Her father. A sweet, peaceful, gentle man, challenged by circumstances beyond his imagining. He’s lost his wife, his home, his work, and will do anything to keep his daughter safe.
JOHN: (M, 17, white) Her boyfriend. A high school senior who has almost never left his tiny town and is expected to take over the family farm. Bright and curious and torn between his role as inspector and his love for Mary. Seeking adult actors to play teenage role. Role requires some intimacy (kissing).
The following roles are cast, but we will consider replacements/understudies:
CHAVA: (F, Jewish, 1,000 years old) Speaks Yiddish. 1,000 years old. Exhausted by this role she didn’t ask for, but always with a sense of humor.
two of us on the run by Steve McMahon
A World Premiere
Directed by Margaret M. Ledford
Rehearsals begin: 1/8/25
Tech begins: 1/25/25
Previews: 1/29-31
Opening: 2/1/25 7:30pm
Scheduled Closing: 2/16/25 - possible extension through 2/23/25
Performances: Thursday-Saturday at 7:30pm, Saturday & Sundays at 3pm.
J and C are bored small town American teenage girls who go on the run to find the ‘real’ America and themselves. They procrastinate and fantasize about the best way to run away from home, debate the fundamentals of feminism and what to do once they’ve left home and hit the road. On the open road, reality and fantasy blur. They rob banks, make bombs and discuss sexual, class and gender politics. They meet Brian, an enigmatic bartender, leading to a conclusion where they might fall in love, might commit acts of terror, might kill people, or might just breathe in the night air and decide to go home.
J: (F 16, white) Teenage girl who wants to change the world. Seeking adult actors able to play teenage role.
C: (F, 16, white) Teenage girl who wants to see the world. Seeking adult actors to play teenage role. Role requires some intimacy (kissing).
BRIAN:( M, 28, any) A bartender. Role requires some intimacy (kissing)
The Impossible Task of Today by Jeff Bower
A World Premiere
Directed by Matt Stabile
Rehearsals begin: 3/12/25
Tech begins: 3/29/25
Preview: 4/2-4
Opening: 4/5/25 7:30pm
Scheduled Closing: 4/20/25 - possible extension through 4/27/25
Performances: Thursday-Saturday at 7:30pm, Saturdays & Sundays at 3pm
Five years removed from tragedy, Jack, an agoraphobic online teacher has perfected his video game playing skills but severely neglected his hygiene, mental health, and dwindling number of personal relationships. When the grocery delivery guy is one of your best friends, something's got to give, and with the arrival of a home gym, everything will change. Jack truly believes it...even if no one else does.
JACK JORDAN: (M, 40’s, white) Suffers from PTSD after losing his wife in a movie theatre shooting. Anxiety and depression riddled. Suffers from PTSD. Desperately needs therapy but won't get it. Hasn't left his apartment in years. Role requires intimacy (kissing) and partial nudity (strips down to underwear).
FRANK WALLACE (M, 20’s, Black): Jack's grocery delivery guy. Always “tap-dancing” to earn those five stars from his customer. A sarcastic empath with an outstanding moral compass, he recognizes the deep pain Jack is going through.
VAL PENA (F, 20’s, Latina): The new building supervisor. Upbeat and friendly - An incredible survivor of debilitating anxiety and depression.Secretly (or not-so secretly) has a crush on Jack.
The following roles are cast, but we will consider replacements/understudies:
LYNNE LI: (F, 40’s, Asian American or Indian American). Rarely holds her tongue. Jack's only remaining friend. Has embraced identity as an internet famous activist. Bonded forever by the promise she made to her dying friend to look after Jack.
THE DARK (any): A metaphorical representation of Jack's depression. Moves in a half dance, half violent/herky-jerky pattern. Terrifying and controlling. Asexual. It's face is never visible. Perhaps costumed in full body black tights.
2024 NEW PLAY FESTIVAL
April 10-13 & April 17-19, 2025
Each reading receives 12.5 hours of rehearsal and a public reading followed by a talkback.
Total time commitment is 15 hours.
Final line-up to be announced in late 2024.
Jobs
Designers
We are always seeking to expand our network of artists, performers, designers, and technicians. Feel free to send a resume with information to theatrelab@fau.edu
Theatre Lab Play Submission Policy
Theatre Lab regrets it cannot accept open submissions of plays and musicals. Unfortunately, the cost of reading and processing hundreds of scripts is beyond our modest staff capabilities. We only accept play submissions electronically in the following circumstances:
- You are a writer who in the past has had a play developed in some phase of a Theatre Lab New Play Development Program.
- You are an agent at a recognized literary agency.
- You are either a writer who has had a play developed/presented at one of the theatres of the National New Play Network or are an Artistic/Literary head of an NNPN Theatre.
- You either work as, or were suggested to submit by, the Artistic Director, Associate Artistic Director, or Literary Manager (or equivalent position) at a Professional Theatre. In the case of a recommendation, a note from that person must accompany the submission, as well as their e-mail address.
For information on obtaining literary and theatrical representation, other theaters interested in new plays and script submission procedures, please consult the excellent publication Dramatists Sourcebook, published by Theatre Communications Group, a service organization for the not-for-profit professional theater, available through your local bookstore, online through vendors such as Amazon.com, or directly from TCG Publications at tcg.org. The Sourcebook is published biannually, so you may want to confirm that policies have not changed since the latest publication date.