Auditions for PLVCT’s ‘Guys and Dolls’

PLVCT’s production of Guys and Dolls will be performed July 14-16 and 20-22, 2017 at the SumTur Amphitheater in Papillion.

Auditions will be held at Beautiful Savior Lutheran Church (7706 S. 96th St., La Vista) on Saturday, May 6th at 1:30 pm and Sunday, May 7th at 6:30 pm.  Those auditioning need only attend one session.

Auditioners should come prepared with 32 bars of music to sing.  An accompanist will be provided.  Please, no a cappella or recorded music.  Comfortable clothes and shoes are suggested for the dance audition.  Some auditioning may be asked for cold readings from the script or to sing from the score of Guys and Dolls.

Guys and Dolls offers perhaps three non-singing roles for men (Harry the Horse, Lt. Brannigan and Big Julie) and one for a woman (General Cartwright).

Rehearsals will begin after Memorial Day on May 30th.  Our regular rehearsals will be Sunday afternoons and Monday-Thursday evenings.  We plan to take a few days off around the Fourth of July.  The production moves into Sumtur on July 9th and opens July 13th with a preview/TAG night.  We ask everyone auditioning to please bring a list of any possible rehearsal conflicts to the auditions.  Not everyone will be needed at every rehearsal, but knowing conflicts aids in building an efficient rehearsal schedule.

Director: Jim McKain

Music Director: Peter Klemp

Choreographer: Michelle Garrity


Character Descriptions

Sky Masterson – Baritone, Lead

  • Handsome gambler
  • A charming, but self-assured gambler. Able to adapt to any situation but ready to reel off pre-prepared anecdotes regarding his view of the world. Despite his failings, Sky is immensely likeable and oozes style and charm.  Sings I’ll Know, My Time of Day, Luck Be A Lady, etc.

Nathan Detroit – Baritone, Lead

  • Feckless, adorable gambler
  • A facilitator of illegal gambling, Nathan maintains a distance by acting only as a broker; seldom a gambler. A consummate businessman with divided loyalties; he pacifies his fiancée Adelaide with vague promises of a marriage ‘some time’ in the future. Strong comedic chops required. Sings Oldest Established and Sue Me.

Nicely Nicely Johnson – Tenor, Supporting

  • Gambler
  • An eccentric gambler and one of Nathan’s closest associates. He sings some of the most well-known numbers of the show in Fugue for Tinhorns, Guys and Dolls and Sit Down You’re Rockin’ the Boat.

Benny Southstreet – Baritone, Supporting

  • Also one of Nathan’s closest associates. Not the sharpest tool in the shed.  He sings Fugue for Tinhorns and Guys and Dolls.

Arvide Abernathy – Baritone, Supporting

  • Sarah’s grandfather
  • A member of the Save-a-Soul mission. A reasoned old man with a warm heart that harbors only the kindest intentions. He sings More I Cannot Wish You.

Rusty Charlie – Baritone, Cameo. Possible 3rd voice in Fugue for Tinhorns


Big Julie – Supporting

  • Gambler
  • An intimidating hustler from Chicago. A sore loser.  Stage presence and acting ability are the main requirements for this gem of a comedic speaking role.

Harry the Horse – Supporting

  • The quintessential “tough guy.”

Lt. Brannigan – Cameo

  • A policeman engaged in what he perceives to be a battle of wits with Nathan to stop the craps game. Again a primarily acting role. Comic timing and acting ability are essential.  Irish dialect possible.

Joey Biltmore – Cameo

Owner of the Biltmore Garage.

Male Ensemble includes Gamblers, Havana Dancers and Mission Band.  Male Ensemble gets to sing three of the great “guy songs” in musical theatre: Oldest Established, Lucky Be a Lady and Sit Down You’re Rockin’ the Boat.

Sarah Brown – Soprano, Lead

  • Prim Salvation Army officer
  • An idealistic, but sheltered missionary. Kind-hearted but like Sky, too categorical in her view of the world. A Soprano role that requires the ability to handle the acting range of Stern, Romantic, Comedic and Drunk.  Sings I’ll Know, I’ve Never Been in Love Before, Marry the Man Today, etc.

Adelaide – Mezzo, Lead

  • Comic, classic showgirl and Gambler’s moll
  • A club singer and Nathan’s long-suffering fiancée. Half of the comedy team that is Adelaide and Nathan. One of the great comedic roles in the canon.  Sings Bushel and A Peck, Adelaide’s Lament, Take Back Your Mink, Sue Me and Marry the Man Today.

General Matilda B. Cartwright – Cameo

Salvation Army Matron

Regional direction of the Save-a-Soul mission.  Authoritative through necessity but motivated by charity.  Some comic moments.

Agatha – Mezzo, Cameo

Member of the Mission Band

Martha – Cameo

Member of the Mission Band

Female Ensemble includes The Hot Box Girls, Havana Dancers, Mission Band, etc.  Songs include Bushel and A Peck, Take Back Your Mink and Sit Down You’re Rockin’ the Boat.

Auditions Aplenty at Blue Barn Theatre

AUDITION DATES for the regional premiere of The Christians by Lucas Hnath

Auditions will be held  at the Blue Barn Theatre on Tuesday, December 8 from 6 p.m. – 8 p.m. and Saturday, December 12th from 10 a.m. – 1 p.m.  in their new home at 1106 S. 10th St.  (10th & Pacific) in Omaha, NE.

Auditions will consist of cold readings from the script. Callbacks (if necessary) will be determined at the auditions. The Christians will be directed by Susan Clement-Toberer.

Performances for The Christians run March 24 – April 17, 2016 with rehearsals scheduled to begin in mid-February, 2016.

Needed for The Christians:  3 male (ages 20s-70s), 2 female (ages 20s-50s) All ethnicities are encouraged to audition.  All roles are available.


AUDITION DATES for Porchyard Reading Series

* Rapture, Blister, Burn by Gina Gionfriddo

* Mr. Burns: a Post-Electric Play by Anne Washburn

Monday, Dec. 15 and Tuesday, Dec. 16 from 6 p.m. – 8 p.m.

Performance of Rapture, Blister, Burn is Monday, February 15th.

Performance of Mr. Burns: a Post-Electric Play is Monday, April 4th.

Both shows will be directed by Amy Lane

Needed for Rapture, Blister, Burn:  4 women (Ages 20-70) and 1 male (age 30-40)

Needed for Mr. Burns: a Post-Electric Play:  3 male and 5 female roles (20s to 40s)

All ethnicities are encouraged to audition.  Auditions to be held at Blue Barn Theatre at 1106 S 10 St (10th and Pacific) in Omaha, NE.


BLUEBARN Theatre announces auditions for HEATHERS – THE MUSICAL

AUDITION DATES for the regional premiere of Heathers – the Musical by Laurence O’Keefe and Kevin Murphy.

Auditions will be held on Saturday, January 16th from 10 a.m. – 1 p.m. and Sunday, January 17th from 6 p.m.  – 8:30 p.m.  in their new home at 1106 S. 10th St.  (10th & Pacific) in Omaha, NE.

Those auditioning are asked to prepare 16-32 bars of a pop/rock song, showcasing belt/mix range and use of language to tell the story. Readings and movement will be done at callbacks which will be held on Saturday, January 23rd.

Heathers – the Musical will be directed by Randall T. Stevens with music direction by Doran Schmidt and choreography by Nichol Mason Lazenby.

Performances for Heathers – the Musical run May 19 – June 19, 2016 with rehearsals scheduled to begin in the beginning of April, 2016.Needed for Heathers – the Musical:  Large cast of young actors who can believably portray high school students. Also needed are 3 mature character actors (2 male; 1 female).

All roles in Heathers must possess strong vocal ability in the new contemporary, pop Broadway style.  All ethnicities are encouraged to audition.  All roles are available.

For More Information and character breakdown, Contact Randall at

“Caroline or Change” Auditions at Omaha Playhouse

Caroline, or Change
Howard Drew Theatre

Omaha Community Playhouse – enter through stage door on west side of building

Auditions: Monday, Nov. 30, 7 p.m., Tuesday, Dec. 1, 7 p.m.

Production dates: Feb. 12-March 20, 2016

Rehearsal dates: January-February 2016

Audition requirements: Those auditioning should bring a piece of music (16 bars) to sing at the audition. A piano accompanist will be available.

Show summary: Caroline, or Change is a powerful, sung-through musical set in 1963, Lake Charles, Louisiana during the American civil rights movement. Caroline, an African-American maid, works in the Gellman home for a meager wage. Rose Gellman enlists Caroline’s help in teaching her stepson, Noah, the value of money by allowing Caroline to keep any change he leaves in his pockets. Caroline is faced with the dilemma of taking money from a child and providing for her own children. As the large-scale social changes in the country take hold, her teenage daughter shows her that change can set her free. Soaring ballads along with unforgettable characters make this a can’t-miss musical.

Contact info: Jeannine Robertson –, (402) 553-4890, ext. 164

Director: Hilary Adams

“Love, Loss, and What I Wore” Auditions at Omaha Playhouse

Love, Loss and What I Wore
Hawks Mainstage

Omaha Community Playhouse – enter through stage door on west side of building

Auditions: Monday, Nov. 9, 7 p.m., Tuesday, Nov. 10, 7 p.m.

Production dates: Jan. 22-Feb. 14, 2016

Rehearsal dates: December-January 2016

Audition requirements: Cold readings from the script

Show summary: Love, Loss and What I Wore is an endearing and witty collection of stories shared by a cast of women. The fabric of their tales of life’s struggles and celebrations is woven with the common thread of the all-important outfits they wore for each occasion. This production, presented in a readers’ theatre fashion, involves the actresses on stools with music stands accompanied by outfit illustrations from the original book. Enjoy an evening of reliving poignant milestone memories and hilarious coming-of-age chronicles with this unique theatrical experience.

Contact info: Jeannine Robertson –, (402) 553-4890, ext. 164

Director: Amy Lane

Auditions for ‘To Kill a Mockingbird’ at Bellevue Little Theatre

Bellevue Little Theatre, 203 W. Mission Ave., in Bellevue, will hold auditions for the classic play ‘To Kill a Mockingbird’ on Sunday and Monday, Sept. 13 and 14 at 7 pm. Auditions will be held at the theatre, 203 W. Mission Ave., in Bellevue, Callbacks, if needed, will be held on Tues. Sept. 15 Rehearsals are tentatively scheduled to begin on Sept 16.

‘To Kill a Mockingbird’ is scheduled to open on Friday Nov. 6 and run for 3 week-ends, with performances on Fri. and Sat. evenings and Sun. afternoons. The production will close on Sunday Nov. 22.

Lorie Obradovich is directing this classic, with Robin Klusmire serving as producer. For information call the director at 402-991-9155

Cast requirements for this play are:
10 men of various ages, including 2 African Americans
5 women of various ages, including 1 African American
1 girl approximately 9 years old
1 boy approximately 12 years old.

Since the play takes place in Alabama, Southern accents will be required.

Please note that the original language from the novel will be used, and that may be offensive to some.

This drama, based on the acclaimed novel by Harper Lee, is set in Alabama during the 1930’s . The play follows Atticus Finch and his crusade to bring justice to a black man accused of raping a white woman. The ensuing drama brings racial prejudice to the spotlight in the small town. Atticus struggles to explain his defense of the man to his family, especially to his young daughter ‘Scout’ as she and brother Jem, try to understand the problems of injustice which her father is trying to overcome.

Auditions for Dracula at Chanticleer Theater

Auditions for the second production of the Chanticleer Community Theater 2015 – 2016 season, Dracula, by Hamilton Deane and John L. Balderston, will be held on Sunday, September 13 at 6:00 p.m. and Monday, September 14 at 6:00 p.m. at Chanticleer Theater (830 Franklin Ave, Council Bluffs, IA).

Those auditioning will be asked to read from the script.  Please bring a calendar and a list of ALL conflicts from September 16 – November 1, 2015.  Cast read-thru tentatively scheduled for audition week with rehearsals beginning week of September 21.

Dracula opens October 23 and runs through November 1, 2015.  Performances are Friday and Saturday evenings and Sunday afternoons for two weekends. For this production we will be including an additional midnight performance on Halloween!

Show Summary
Lucy Seward, daughter of the physician in charge of a sanatorium near London, is mysteriously anemic. Doctor Van Helsing, a specialist in obscure diseases, suspects a vampire which, according to legend, is an ugly soul that, grave-bound by day, roams the earth at night, and sustains its earthly life by sucking the blood of approachable victims.

The Players
Dracula: A tall, mysterious man. Polished and distinguished. Continental in appearance and manner. Age 40 – 60.

Harker: A young man age 20 – 30; handsome in appearance; a typical Englishman of the Public School class, but in manner direct, explosive, incisive and excitable.

Dr. Seward: Age 50 – 65; intelligent, but a typical specialist who lives in a world of text books and patients; not a man of action or force of character.

Van Helsing: Age 50 – 65; Clearly a man of resourceful action; nervous, alert manner; an air of resolution; incisive speech, always to the point; raps his words out sharply and quickly.

Renfield: Repulsive young man age 20 – 30; repulsive; face distorted, shifty eyes, tousled hair.

Lucy Seward: Daughter of Dr. Seward; A beautiful young girl age 20 – 30; her face is unnaturally pale and she walks with difficulty; fiancée of Harker.

Maid: An attractive young girl age 20 – 30; possibly to double in non-speaking role of Mina.

Attendant: Young man of 20 – 30; Sanatorium worker for Dr. Seward.

Dracula will be directed by Daena Schweiger and is produced by special arrangement with Samuel French. For more information or to check out a script please contact the Chanticleer Community Theater at (712) 323-9955

Do You Want to Walk The Night?

The BLUEBARN Theatre will hold auditions for the immersive theatrical event, Walk the Night. THE AUDITIONS WILL BE HELD AT CURRENT LOCATION: 614 S. 11th Street.  Auditions will be Wednesday, July 1st and Thursday, July 2nd from 4 p.m.-10 p.m. Auditions will be by appointment. To schedule an audition time, please email Time slots will generally last an hour. Walk-ins are welcome but subject to scheduling.  Those auditioning should prepare a classic monologue or text (preferred but not required) and should comes dressed ready for a movement portion of the audition.   Rehearsals will begin at the end of August; Performances will run October 21 – November 14.   Walk the Night is seeking performers who are comfortable with audiences much closer to them than the stage and are able to sustain a lengthy performance without leaving audience presence. All ethnicities are encouraged to audition.

Auditions for “Guys and Dolls Jr.” at Chanticleer Theatre

Auditions: Guys and Dolls Jr.

Sunday, June 28, 6:00 p.m.

Monday, June 29, 6:00 p.m.

at Chanticleer Theater

Need to attend only 1 audition session.

Auditions are open to boys and girls ages 8 to 18.

Bring sheet music and come prepared to sing 16 measures with accompaniment. Pianist will be provided.

Wear comfortable shoes for dancing portion of audition. May be asked to read from script.

For information contact the theater at 712-323-9955 or

The Chanticleer is located at 830 Franklin Ave in Council Bluffs, IA.

A Season of Exploration, Part I: The Writer & The Actor

I know.  I know.  You weren’t expecting another story so soon.  Well, I got an early start of things this year.  Earlier than you may think as this tale does not begin with an audition, but with a review.

In early May I went to the Playhouse to review Who’s Afraid of Virginia Woolf? and my dear friend, Sonia Keffer, was working the TAG (Theatre Arts Guild) table.  She said she needed to talk to me and asked me if I heard that Bob Fischbach (the critic for our newspaper, Omaha World-Herald) was retiring.  I replied that I had.

Sonia then said Bob had contacted her and the newspaper was not quite certain as to what they were going to do with his position.  The most popular idea was that, at least for the upcoming season, the newspaper would gather a pool of writers, send them out on reviews, and pay them by the article.  He had wanted to include her name and she agreed to be part of it.  Then he asked Sonia, “Do you know a Chris Elston?  I understand he writes reviews.”  She said, “Yes, I know him very well and he writes excellent reviews.”  Bob then asked if she could put him in touch with me and she asked me if it was all right to give him my phone number.

The power of speech momentarily eluded me as I was so pleasantly shocked by this good bit of news.  “The answer is yes,” said Sonia with a smile.  “Yes.  Absolutely yes.  And thank you,” I replied.

When I started this website, I had only hoped to become a viable alternative to the reviews put out by the various papers.  But only now, in less than 2 years’ time, was I beginning to understand the impact my writings had actually had.  And that would be revealed to me even further over the next few weeks.

My review for Who’s Afraid of Virginia Woolf? ended up becoming my most acclaimed to date.  It really struck a chord with people at the Playhouse as it promoted the heck out of that play with my words.  I cannot tell you what a joy it was to see my words featured when the Playhouse promoted the show on Twitter, Facebook, and e-mail marketing.  It was every bit as satisfying as enjoying a really great role on stage.  Thanks to the constant promotion, my readership doubled over the 5 week run of the show.

Aside from the review, I did speak to Mr. Fischbach who told me a little about the paper’s potential plan and asked if he could include my name in the pool he was gathering for his editor.  I agreed to be included and am still waiting for news on that end.  Even if the paper opts to go in a different direction, it was still an honor to be asked to be considered.  Though I freely admit, getting paid to write about theatre would be icing on an already delectable cake.

A few weeks after my review I attended a Playhouse even in order to meet the new Associate Artistic Director, Jeff Horger.  As I filled out my name tag, the person behind the table said, “Oh, so you’re Chris Elston” before complimenting me on my writings.  That person was the Playhouse’s Marketing/PR Director, Katie Broman, who put me onto the Playhouse’s press list as of that night.  What this means is that I’ll receive a press pass whenever I’m reviewing a show at the Playhouse.  Winning!!

At the meet and greet, I also bumped into my old friend, Lara Marsh, who is getting to direct Lost Boy Found at Whole Foods at the Playhouse next season after getting to direct it as part of their Alternative Programming season this year.  I may audition for it again this year, but I have not yet decided if I’d rather act in it or learn about directing from it.  I asked Lara about the possibility of shadowing her for it if I decided not to act and if my schedule allowed it.  While nothing is set in stone, it is definitely not out of the realm of possibility that this show may be my foot in the door of directing.

Actually, Lara became the second director I might be able to shadow next season.  The first was Amy Lane, the Playhouse’s former Resident Director now Assistant Professor of Theatre at Creighton University.  My old friend, Sherry Fletcher, recommended her to me as someone who was very big on developing talent in that field and she happens to be a close friend of Sonia’s, too.  Both of us happened to be at TAG Nite Out for Sabrina Fair and I approached her about the possibility of sitting under her learning tree for direction and she asked me to message her closer to the time that she is about to start her guest directing stint at the Playhouse for Love, Loss and What I Wore.  So I may have 2 possibilities to learn a bit about directing next season.

With all of these wonderful opportunities presenting themselves to me, I felt a semi-dormant part of me begin to awaken.  I wanted to tell a story again.

So I auditioned for the Playhouse season premiere, Mauritius, which marks the solo directorial debut of Jeff Horger.  I do not know much about the story except that it centers around 2 half-sisters who may own 2 rare Blue Mauritius stamps.  One girl wants to sell them and three thieves (a charming con artist, a crabby stamp expert, and a dangerous psychopath) want to get their hands on the stamps.  I went into the audition with nothing more than the hope of making a good impression.

It was good to keep my hopes at that level because, like Who’s Afraid of Virginia Woolf?, this play has a very small cast (2f 3m).  A lot of people came out to audition.  I’d estimate that close to 90 people came out over the two nights meaning that 85 people were going to hear the dreaded “no”.  And there was some keen, heavyweight competition at the auditions.

For my part I was pleased with my work and I believe it had a positive impact.  Based off of my observations, the new style of auditions is designed to make decisions very quickly.  By that I mean, if you do not have the qualities the director is looking for, you will get one read before being dismissed.  I got to read twice so I must have been doing something right.  I read for the con artist and the psychopath.  Of the two I felt that my read for the con artist was probably the better of the two, especially since the psychopath needs a dominating physical presence that I lack.  Putting it in plain terms, I don’t look like the type of guy who would beat someone to a pulp.

I did not receive a callback, so I knew I would be out of the running, but was pleased at the new and fresh faces that did make it into the show.  Luckily, I had another audition all lined up.

The Playhouse is bringing back their Alternative Programming season in full force this season with 9 events.  Three of the shows all had auditions last week.

I had been expecting wall to wall actors for this event, but imagine my surprise when I saw maybe a dozen actors at the second night and I could not imagine the first night being of much greater volume.  I ended up reading 9 times over a 75 minute period.

The first show I read for was A Steady Rain which is a 2 man duologue (meaning that both actors are giving monologues to the audience) about best friends who are cops.  One is dirty and the other is an alcoholic.  It was being directed by Christina Rohling and I first read for the dirty cop.  It was a pretty good read, though I seemed to be fighting myself a bit for some reason.  I instinctively felt the need for physical action and was squashing it to a degree.  Still the read was on target.

After my first read, Christina said, “That was really good” before asking me a bit about my theatrical background.  I told her I had been in theatre for 20 years, but had not performed in 2 and that my past two years had been focused on my website.  When she heard about the website she said, “I think I’ve read some of your stuff”.  It was then that I was struck by the oddity that I had become better known in the  theatre community for 2 years of writing than for 20 years of acting.  Amazing where those roads can take us.

Anyway, I then read a scene as the alcoholic cop with another guy named Tony (who read brilliantly).  It was a pretty good scene, but very tricky to pull off due to not being certain when I was simply telling a story and when, or if, I was interacting with Tony.  It was my last read for that show and I knew it would be the toughest to get into due to the numbers game.

I then read for Take Me Out which tells the story of a baseball player who comes out of the closet.  This one was being directed by Noah Diaz and I first read for the team manager.  Noah asked me to do some big physical action at some point and I had the perfect spot.  I read the letter very professionally.  The thrust of the letter is how the manager admires the player for his bravery in making his revelations and how honored he’d be if he were his son’s teacher or lover.  But he finishes with the whiny cry, “But did it have to be baseball?!!!” and I collapsed to the ground in a loud babyish whine.  In fact, my only regret was that I didn’t go more over the top since I had been given carte blanche to do so.

Noah had me read it again, but told me that he felt the scene had 3 tonal shifts and he wanted me to read it again with those shifts.  I did and Doug Blackburn’s acting boot camp came back to me and I felt I shifted 5 or 6 times and I was pleased with the work.  Finally, Noah had me read it once more with Tony and we read a scene between the baseball player and his best friend.

We read the scene and I made the friend, Kippy, laid back and jokey.  It was a nice read, but I actually reversed one of the jokes since I mistakenly thought Kippy was gay and his comment about being on the same team was a reference to the 2 characters shared orientation.  Noah had us read it one more time with some adjustments and he asked me to make Kippy a bit more serious and dependable and he corrected my mistaken interpretation of Kippy so I got the team joke right on the second go around.

After that, Noah said he seen all he needed to see from me which left me one more show for which to read.

That show was Civil War Voices which is based off of actual letters, diaries, and other writings that took place during the Civil War and will be directed by Jeff Horger.  Again, I was doing something right as Jeff read me three times.  First I read a love letter from a character named Theo.  Then I read a diary entry from a military commander named Chamberlin.  Finally I read a historian, but he asked me to do it in a Presidential voice since I had expressed an interest in Abe Lincoln.  I felt I did well in all of my reads.  Then Jeff asked me a bit about my theatrical background and I gave him the same story I had given to Christina.  After those reads, I went home for the night.

A week passed which I took as a most promising sign.  The longer I avoided rejection, the better my chances, I reasoned.  But late Wednesday afternoon, I took a quick one-two combo to the ego.  I was checking my e-mail and I saw I had rejection notices for both A Steady Rain and Take Me Out waiting for me.

I was quite surprised by how much the wind had been taken out of my sails.  But in a strange way, I was also glad because it told me that my mojo had not faded as I had feared.  I had genuinely wanted to do these shows and was truly disappointed at not being selected.  But there was still hope as I had not yet had any word about Civil War Voices.

Then came Thursday afternoon.  My office phone rang and on the other end was the bright voice of Jeannine Robertson, the Playhouse’s Administrative Assistant.  She said that Jeff wanted to offer me the role of Abraham Lincoln.

That was about the last role I expected to get.  In a full production, I don’t think I would have been seriously considered for the role as I’m not a physical match for Honest Abe.  But in reader’s theatre, I thought there might be a chance.  And it worked out!  After giving one of the firmest yeses I’ve ever given, I hung up the phone with a song in my heart and a jaunty tune on my lips.

And that brings us to the end of this tale.  Rehearsals begin in August just after I get back from a theatre festival in Whitehall, MI where I’ll get to watch one of my favorite shows, Cotton Patch Gospel, and review 3 B & Bs on the long journey.  I look forward to this new adventure as well as more stories during this season of exploration.

Until we meet again. . .

Auditions for Blue Barn Season Premiere “The Grown-Up”

Auditions at
for the first show of Season 27 and
the first produced in our new home at
1106 S. 10th Street.
The Grown-Up
by Jordan Harrison
Sunday, June 28th from 4 – 6p
Tuesday, June 30th from 6 – 8p
614 South 11th Street

 Auditions will consist of cold readings from the script.

Callbacks (if necessary) will be determined at the audition.

This play will be directed by Susan Clement-Toberer.

  About The Grown-Up  

Performances run September 24th through October 18th

The Grown-Up is BLUEBARN’s Humana Festival Pick and tells the story of Kai, a ten-year-old boy at his grandfather’s knee listening to a story of a magic doorknob. Jump 15 years and he is a young television writer. Jump in time again, and he and his future husband attend their wedding reception. Has Kai run into powerful magic or has he just realized the breakneck speed of an ordinary life and what he might have missed? A funny and honest tale about living in the moment.

Casting needs for The Grown-Up: 

4 male, 2 female actors of various ages (over 18 years of age please.)

Equity and Non-Equity Welcome

For more information contact

Randall T. Stevens at

About The BLUEBARN Theatre

The BLUEBARN Theatre has been bringing professionally-produced plays to area audiences since 1989.  Since its inception, BLUEBARN has produced over 100 plays and has established itself as Omaha’s professional contemporary theatre company. Striving to bring artistically significant scripts and professional production values to Omaha and the surrounding region, BLUEBARN is known for high-quality entertainment and the fearless pursuit of stories that challenge both theatre artists and patrons.