OTHER REQUIREMENTS
All rehearsals and performances will take place at freeFall Theatre in St. Petersburg, FL. 

An equity monitor will not be provided. The producer will run all aspects of this audition. 

Equity’s contracts prohibit discrimination. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to attend every audition. 

Non-union actors are welcome to audition. Housing is provided for all out of town actors.

freeFall 2025-26 SEASON BREAKDOWN

ANDREW LLOYD WEBBER’S TELL ME ON A SUNDAY
music by Andrew Lloyd Webber
lyrics by Don Black
Director – Eric Davis
Music Director – Michael Raabe
Choreographer – Leann Alduenda
Rehearses: 8/19/25 – 9/05/25
Runs: 9/05/25 – 10/05/25

Synopsis:
freeFall Theatre brings audiences this underrated musical comedy from the award-winning composer of The Phantom of the Opera and Sunset Boulevard. Tell Me On a Sunday follows a young English girl who has recently landed in New York. Brimming with optimism, she sets out to seek success, companionship and, of course, love. But as she weaves her way through the maze of the city and her own anxieties, frustrations, and heartaches, she begins to wonder whether—in fact—she’s been looking for love in all the wrong places. The show contains some of Andrew Lloyd Webber’s most-treasured songs, including “Tell Me On a Sunday,” “Come Back with the Same Look in Your Eyes” and “Unexpected Song.”

Breakdown:

GIRL – Soprano with F (below middle C) to a top E – ROLE IS CAST – seeking replacement actors only

DANCER/SINGER 1 – Male, 20’s to 40’s

DANCER/SINGER 2 – Male, 20’s to 40’s

DANCER/SINGER 3 – Male, 20’s to 40’s

3 DANCER/SINGERS must be strong in contemporary dance and harmonies.
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DEATHTRAP
by Ira Levin
Director – Matthew McGee
Rehearses: 10/07/25 – 10/24/25
Runs: 10/24/25 – 12/07/25

Synopsis:
From the author of Rosemary’s Baby and The Stepford Wives comes a play The New York Post calls “a classic thriller.” Comfortably ensconced in his charming Connecticut home, Sidney Bruhl, a successful writer of Broadway thrillers, is struggling to overcome a dry spell which has resulted in a string of failures and a shortage of funds. A possible break in his fortunes occurs when he receives a script from a student in the seminar he has been conducting at a nearby college—a thriller that Sidney recognizes immediately as a potential Broadway smash. Sidney’s plan, devised with his wife’s help, is to offer collaboration to the student for co-credit. Or is it? Deathtrap provides twists and turns of devilish cleverness, and offers hilariously sudden shocks in such abundance that audiences will be spellbound until the very last moment.

Breakdown:

SIDNEY BRUHL – Male, mid 40s to early 60s A once acclaimed playwright fallen victim to a recent creative drought. Sidney is extremely ambitious and will do almost anything to get what he wants, no matter who might be in his way. Experience in stage combat is a plus. 

CLIFFORD ANDERSON – Male, 30s An attractive and talented young writer with a bright future ahead. Extremely clever and easily able to feign innocence and naivete that cover some of his darker ambitions. Experience in stage combat is a plus. 

MYRA BRUHL -Female, Mid 40s to 50s Sidney’s loving and supportive wife. She is a kind and calming presence during some of Sidney’s stormier moods. A soft, bubbly exterior belies her underlying anxiety issues and heart condition. 

HELGA TEN DORP – Female, 40+ Celebrity Psychic who loves every minute of her fame. She is free-spirited, and not easily intimidated. Must have strong comedic instincts. “A stocky strong-jawed Teutonic woman” – Ira Levin. Must be able to do a Dutch dialect. Some experience with stage combat is a plus. 

PORTER MILGRIM – Male, 50+ Sidney’s friend and attorney. Very sharp and observant of his surroundings. Milgrim’s motivations are slightly suspicious. Needs to have a very commanding and professional presence. 
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HIMSELF AND NORA: The greatest love story never told
book, music and lyrics by Jonathan Brielle
Director – Eric Davis
Music Director – Michael Raabe
Rehearses: 1/06/26 – 1/30/26
Runs: 1/30/26 – 3/08/26

Synopsis:
Himself and Nora is one of the world’s great romances. Himself: an internationally acclaimed author whose words awakened the world. Nora: the country girl from Galway whose burning sexuality and acerbic wit ignited the genius of James Joyce. Himself and Nora is a passionate musical that reveals the private life of one of modern literature’s most controversial figures. Ripped from the pages of their intimate life together and inspired by their Irish roots, this untold story of writer James Joyce and his muse is a scintillating exposé of the unconventional and passionate love affair that changed literature forever.

Breakdown:
(Casting Note – All of these characters are real people, not caricatures of themselves.)

JAMES JOYCE – Male, age 20 to 59. Irish, tall, lean, comical, narcissistic writer; mean when drinking. Irish Accent (American Irish). Vocal: Baritone – Solid G top – and pop up to B natural and a falsetto high B.

NORA BARNACLE JOYCE – Female, age 18 to 57. Irish, earthy, good-looking, feisty. Joyce’s sweetheart. Irish Accent (American Irish). Vocal: Mezzo with a solid and comfortable high C (strong belt and mix).

HARRIET WEAVER, JOYCE’S MOTHER, SYLVIA BEACH, LUCIA JOYCE, ITALIAN STUDENT – Female, age 20 to late 50s. A great actress with comic timing and truth of understanding – chameleon-like. (“Harriet Weaver” – English, a tad over the top). Irish accent, high-British accent, Italian accent. Vocal: mezzo-soprano; should belt up to E (and have a very strong mix).

DA’ (JOHN JOYCE), DOCTOR, EZRA POUND, ITALIAN STUDENT – Male, 40s to mid 60s. Self-involved, slightly mischievous quality (DA’ – compassionate, fun-loving and an acerbic wit.) Irish accent, Italian accent. (“Ezra Pound” is American) Vocal: Baritone with a solid E (up to G is helpful).

PRIEST, GIORGIO JOYCE, ITALIAN STUDENT – Male, Mid 20s to late 30s. Judgmental, witty. Charming as “Giorgio.” “Priest” is omni-present, Joyce’s “conscience.” Irish accent, Italian accent. Vocal: Bari/tenor with solid E; falsetto up to G.
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AND THEN THEY CAME FOR ME: Remembering the World of Anne Frank
by James Still
Director – TBD
Rehearses: 3/24/26 – 4/10/26
Runs: 4/10/26 – 5/17/26

Synopsis:
And Then They Came for Me is a unique multimedia play that combines videotaped interviews of Holocaust survivors Ed Silverberg and Eva Schloss and live actors recreating scenes from their lives during World War II. Ed was Anne Frank’s first boyfriend, and she wrote about him in the beginning of her now-famous diary. Eva Schloss was the same age as Anne Frank and lived in the same apartment building in Amsterdam. Her family went into hiding the same day as the Frank family. And like the Frank family, they were betrayed. Part oral history, part dramatic action, part direct address, part remembrance; the ensemble-driven And Then They Came for Me breaks new ground and has been acclaimed by audiences and critics in world-wide productions.

Breakdown:

YOUNG ED – Male, over 18 to play young teenager. A contemporary of Anne Frank.

YOUNG EVA – Female, over 18 to play young teenager. A contemporary of Anne Frank.

HITLER YOUTH/PAPPY – Male, 20s to play teenage Hitler Youth and late 20s to early 30s as Pappy, Eva’s father.

MUTTI – Female, 20s to 30s to play late 20s to 30s. Eva’s mother.

ANNE/ED’S MOTHER – 20s to play young teenager, Anne Frank, as well as to play 20s to 30s as Ed’s Mother.

HEINZ/ED’S FATHER – 20s to play young teenager, Eva’s brother, Heinz. Also plays 20s to 30s as Ed’s Father.
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BASH OF THE TITANS
book & lyrics by Eric Davis, Matthew McGee & Michael Raabe
music arrangements & orchestrations by Michael Raabe
Director – Eric Davis
Music Director – Michael Raabe
Rehearses: 5/19/26 – 6/12/26
Runs: 6/12/26 – 8/02/26

Synopsis:
Are you holding out for a hero? We know we are! From the team that brought you OZ: A New Musical, War of The Worlds, and an intergalactic version of The Pirates of Penzance comes an all-new musical parody for The Gods! Greek Gods, to be exact. Perseus, the favored son of Zeus, has ticked off a vengeful goddess and finds himself having to tackle a series of quests in order to win the heart of the beautiful Andromeda. freeFall presents this 80s jukebox musical filled with love, adventure, laughs, togas, sea monsters, and maybe even a Titan or two. Get ready for the party of the century in freeFall’s Bash of the Titans.

Breakdown:

PERSEUS – Male, 20’s to 30’s. Son of Zeus, a demigod tasked with finding a way to kill the Kraken and save the beautiful Princess Andromeda. Handsome, athletic with a strong pop/rock voice. Must be physically fit and comfortable performing shirtless. 

ANDROMEDA – Female, 20’s to 30’s. A beautiful princess who is sentenced to be sacrificed to the Kraken after her mother commits blasphemy. Must have a strong pop/rock voice and great sense of comic timing. Andromeda is not just a princess, she’s a pop princess!

DIONYSUS/THE TRAGEDIAN – Male, 40’s to 50’s. The host of the show and life of the party. A skilled orator with a strong singing voice and great improv skills. Must be comfortable serving wine and beer to the audience throughout. The actor playing Dionysus doubles as the elderly poet and actor Perseus encounters on his quest. 

ZEUS – Male, 40’s to 50’s. The King of Olympus, God of Gods and Perseus’ father. While a comedy role, the actor playing Zeus must be absolutely serious in the style of Laurence Olivier. A star turn. Must be a decent musical comedy singer with a strong, imperious presence. – ROLE IS CAST – seeking replacement actors only

THE GODS – All genders, 30+. Strong pop/rock singers with great comic timing that can be transformative and play numerous Greek Gods and other side characters throughout the story. Some puppetry experience is a plus.
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(freeFall has a rich tradition of telling varied stories and working with a diverse group of artists from many different perspectives of race, culture, religion, sexual orientation, and gender. We believe in the value of empathetically experiencing those perspectives through stories. We also practice and advocate non-traditional and diversity-forward casting practices to bring new perspectives to familiar roles.)