813.556.T.REP (8737) info@tamparep.org


Welcome to the TampaRep auditions page.

TampaRep’s mission is to create transformative, relevant, and compelling professional theatre that connects our diverse audience and artists through meaningful and inspiring shared experiences. Furthermore, our vision is built on creative excellence and inclusivity, which enhances Tampa as a cultural destination and enriches and reflects our community as an artistic home for all to discover, share, create, and experience.

Casting is open to all artists regardless of gender identity or expression, sexual orientation, religion, ethnicity, age, neurodiversity, disability status, citizenship, or any other aspect which makes them unique. Please let us know if you would like to request specific accommodations.

If you have any questions, send an email to auditions@tamparep.org.

If you’d like to be added to our auditions mailing list, FILL OUT THIS FORM.


If you’ve been asked to submit a video audition, please adhere to the following guidelines:

1. If you’re using your phone to record the audition, make sure it’s in a horizontal format, not vertical.
2. If possible, film yourself standing, with the frame from the waist up. If sitting, film at least chest up.
3. Your scene partner(s) should be off-camera, and any off-screen voice should match yours in volume.
4. Upload your video to any video-sharing service (YouTube, Vimeo, Dropbox, Google Drive, etc.) and share the LINK with us. Do not email us the full video file.
5. Make sure that your link sharing is set to “unlisted” or “public” so that we can share it with any team member who needs to see the video.
6. Make sure you have filled out the auditions form, and send your video link to auditions@tamparep.org.



by Arthur Miller
director: Christopher Marshall

Auditions: Monday, November 28th, 6pm-9pm
Callbacks: Monday, December 5th

Rehearsals are scheduled to begin the week of Monday, May 1, 2023
Rehearsals will be at USF Theatre Centre in Tampa

Preview is Thursday, June 1, 2023
Opening night is Friday, June 2, 2023
Performances will take place at USF Theatre Centre, TAR 120 in Tampa
ALL MY SONS runs three weekends from 6/1/23-6/18/23

All roles are paid

A digital perusal copy of the SCRIPT is available by clicking here.

For initial auditions: Please prepare no longer than a 90-second monologue, ideally in the style of Arthur Miller.
We want to see you at your best. Show us that YOU are the right casting for the show.

To schedule an audition:   FILL OUT THIS FORM


An ensemble of excellent actors to play the following roles:

JOE KELLER (male-identifying, White, 50’s-60’s)
“Keller is nearing sixty. A heavy man of stolid mind and build, a businessman these many years, but with the imprint of the machine-shop worker and boss still upon him. When he reads, when he speaks, when he listens, it is with the terrible concentration of the uneducated man for whom there is still wonder in many commonly known things, a man whose judgments must be dredged out of experience and a peasant-like common sense. A man among men.” Joe was exonerated after being charged with knowingly shipping defective aircraft engine cylinder heads from his factory to the military during World War II, causing the deaths of 21 pilots. For over three years he has placed the blame on his partner and former neighbor, Steve Deever, although he himself committed the crime. When the truth comes out, Joe justifies his actions by claiming that he did it for his family.

KATE KELLER (female-identifying, any race/ethnicity, mid-40’s-mid-60’s)
ROLE IS CAST, auditioners may be considered for possible understudy or replacement
She is in her early fifties, a woman of uncontrolled inspirations and an overwhelming capacity for love.Kate knows that Joe is guilty but lives in denial while mourning for her older son Larry, who has been “missing in action” for three years. She refuses to believe that Larry is dead and maintains that Ann Deever — who returns for a visit at the request of Larry’s brother Chris — is still “Larry’s girl” and believes that he is coming back.

CHRIS KELLER (male-identifying, any race/ethnicity, 30’s)
He is thirty-two; like his father, solidly built, a listener. A man capable of immense affection and loyalty.Chris returned home from World War II two years before the play begins, disturbed by the realization that the world was continuing as if nothing had happened. He has summoned Ann Deever to the Keller house to ask for her hand in marriage, but they’re faced with the obstacle of Kate’s unreasonable conviction that Larry will someday return. Chris idolizes his father, not knowing initially what he has done.

ANN DEEVER (female-identifying, any race/ethnicity, mid-20’s-mid-30’s)
ROLE IS CAST, auditioners may be considered for possible understudy or replacement
Ann is twenty-six, gentle but despite herself capable of holding fast to what she knows.
Ann arrives at the Keller home having shunned her “guilty” father since his imprisonment. Throughout the play, Ann is often referred to as pretty, beautiful, and intelligent-looking and as “Annie”. She had a relationship with Larry Keller before his disappearance and has since moved on because she knows the truth of his fate. She hopes that the Kellers will consent to her marriage to Larry’s brother, Chris, with whom she has corresponded by mail for two years. Ann is the truth-bearer in the play. (Role is cast, seeking possible understudy or replacement)

GEORGE DEEVER (male-identifying, any race/ethnicity, 30’s)
George is Chris’ age, but a paler man, now on the edge of his self-restraint. He speaks quietly, as though afraid to find himself screaming.George is Ann’s older brother: a successful New York lawyer, WWII veteran, and a childhood friend of Chris’s. He initially believed in his father’s guilt, but upon visiting Steve in jail, realizes his innocence and becomes enraged at the Kellers for deceiving him. He returns to save his sister from her marriage to Chris, creating the catalyzing final events.

DR. JIM BAYLISS (male-identifying, any race/ethnicity, 30’s-40’s)
Doctor Bayliss is nearing forty. A wry, self-controlled man, an easy talker, but with a wisp of sadness that cling even to his self-effacing humor.A successful doctor, but frustrated with the stifling domesticity of his life. He wants to become a medical researcher but continues in his job as it pays the bills. He is a close friend to the Keller family and spends a lot of time in their back yard.

SUE BAYLISS (female-identifying, any race/ethnicity, 30’s-40’s)
She is rounding forty, an overweight woman who fears it.Sue is Jim’s wife: needling and dangerous, but sweet and neighborly. She too is a friend of the Keller family but is secretly resentful of what she sees as Chris’s bad idealistic influence on Jim. Sue confronts Ann about her resentment of Chris in a particularly volatile scene in their backyard.

FRANK LUBEY (male-identifying, any race/ethnicity, 30’s)
Frank is thirty-two but balding. A pleasant, opinionated man, uncertain of himself, with a tendency toward peevishness when crossed, but always wanting it pleasant and neighborly.Frank was always one year ahead of the draft, so he never served in World War II, instead staying home to marry George’s former sweetheart, Lydia. He draws up Larry’s horoscope and tells Kate that Larry must still be alive, because the day he died was meant to be his “favorable day”. This strengthens Kate’s faith and makes it much harder for Ann to move on.

LYDIA LUBEY (female-identifying, any race/ethnicity, mid-20’s-mid-30’s)
a robust, laughing girl of twenty-­seven.Lydia was George’s love interest before the war; after he went away, she married Frank and they soon had three children. She is a model of peaceful domesticity and lends a much-needed cheerful air to several moments of the play, and a nostalgia to what George “might have had”.

BERT (male-identifying, any race/ethnicity, 8-14 to play 8)
Bert is a little boy who lives in the neighborhood; he is friends with the Bayliss’ son Tommy and frequently visits the Kellers’ yard to play “jail” with Joe. He appears only twice in the play: the first time, his part seems relatively unimportant, but the second time his character is more important as he sparks a verbal attack from mother when mentioning “jail,” which highlights Joe’s secret.


Chris & Ann, pp.32 – 34 “Isn’t he a great guy?” to “…sure can be ambiguous you know.” – SIDE 1
Chris & Ann pp. 45 – 46 “Interesting woman, isn’t she?” to “All right Chris, all right.” – SIDE 2
Joe & Chris pp. 67 – 69 “Then… you did it?” to “Chris, my Chris.” (may not read whole side) – SIDE 3
Joe & Kate pp. 72 – 74 “Joe… I’ve been thinking…” to “I know darling, I know” – SIDE 4
George, Chris, & Ann pp. 51 – 52 “Say you’ve gotten a little nervous…” to “You don’t know what happened.” – SIDE 5
Ann & Sue pp. 43 – 44 “That’s why I’ve been intending…” to “…and I’m at the end of my rope on it!” – SIDE 6
Lydia, George & Kate pp. 58 – 59 “Hey, Georgie!…” to “Oh, Frank!” – SIDE 7
All My Sons



by Bernard Pomerance
director: Stuart Fail

Audition date: Monday, September 19th
Audition location: TBD in Tampa, FL

Rehearsals are scheduled to begin the week of Monday, January 3, 2022
Rehearsals will be at HCC Studio Theatre in Ybor
Performances will take place at HCC Studio Theatre in Ybor

Preview is Thursday, February 2, 2023
Opening night is Friday, February 3, 2023
THE ELEPHANT MAN runs three weekends from 2/2/23-2/19/23

All roles are paid.

Auditions for this show are by appointment only.

To schedule an audition:   FILL OUT THIS FORM

To prepare for your audition:

EITHER bring in 1-2 monologues of your own choosing (no more than 2 minutes total)
OR choose a side from the list below and come thoroughly prepared to audition with it. A reader will be provided.

*NOTE – Some callbacks will happen the night of the audition. If we’d like to see more from you, we may ask you to stick around and read from the sides provided. You may consider making yourself familiar with the sides below just in case.

A digital perusal copy of the SCRIPT is available to read by clicking here.
(Not available for print or download.)


An ensemble of excellent actors to play the following roles:

JOHN MERRICK (male-identifying, any race/ethnicity, 30’s-50’s)
ROLE IS CAST, auditioners may be considered for possible understudy or replacement
The main character of the play; suffers from an unknown disease which has deformed his body, isolating him from the rest of society as he earns a living by becoming a side-show attraction. 

FREDERICK TREVES (male-identifying, any race/ethnicity, 30’s-50’s)
ROLE IS CAST, auditioners may be considered for possible understudy or replacement
A scientist in the age of science. In an English age, an Englishman. A teacher and a doctor at the London [Hospital] Treves is responsible for treating and studying the cast of John Merrick.

MRS. KENDAL (female-identifying, any race/ethnicity, 30’s-50’s)
A kind, free-spirited actress who travels in high society; befriends and forges a deep bond with Merrick despite his appearance; note: role may have partial nudity.

ENSEMBLE (any gender identity, any race/ethnicity, 20’s-60’s)
Seeking an ensemble of 4-7 versatile actors to play multiple pivotal roles, including:

CARR GOMM – Administrator of the London Hospital
ROSS – An abusive freak-show manager
BISHOP WALSHAM HOW – A devout bishop
SNORK – A hospital worker
LORD JOHN – A shady financial dealer
CONDUCTOR – A London train conductor
PINHEADS – “freaks” whose heads are pointed


SIDE 1 – MRS. KENDAL  (Click here)
SIDE 2 – BISHOP & CAR GOMM  (Click here)
SIDE 3 – CAR GOMM  (Click here)
SIDE 4 – ROSS  (Click here)
SIDE 5 – MISS SANDWICH  (Click here)


by Lucas Hnath
director: Stephanie Gularte

Audition date: Monday, July 11th

Auditions for this show are by invitation only. If you’d like to be considered:
2. Email your audition request to auditions@tamparep.org

Rehearsals are scheduled to begin the week of Monday, October 10, 2022
Rehearsals will be at Stageworks Theatre in Tampa

Preview is Thursday, November 3, 2022
Opening night is Friday, November 4, 2022
Performances will take place at Stageworks Theatre in Tampa
A DOLL’S HOUSE PART 2 runs from 11/3/22-11/20/22

All roles are paid

A digital perusal copy of the SCRIPT is available – request access from auditions@tamparep.org


The casting for this project is now closed.

An ensemble of excellent actors to play the following roles:

NORA (female identifying, any race or ethnicity, 40’s-50’s)
ROLE IS CAST, auditioners may be considered for possible understudy or replacement
Fiercely independent and confident; An intelligent, independent, and very successful author; A resourceful woman returning to a life she abandoned to ensure her future; and it may break her. She takes great pride in her success and autonomy, but even when she seems a bit too smug or certain, we must like her.

TORVALD (male identifying, any race or ethnicity, 40’s-50’s)
ROLE IS CAST, auditioners may be considered for possible understudy or replacement
A gentle, mostly affable single father shocked by the arrival of his wife 15 years after she left; being confronted with Nora rocks his world; maybe he’s still in love with her, maybe he isn’t. On the surface, he is mild-mannered, measured, and reserved. He keeps his feelings and emotions close to his vest, but feels quite deeply and is unsure of how to express it. When he loses it, we are surprised.

ANNE MARIE (female identifying, any race or ethnicity, 50’s-60’s)
ROLE IS CAST, auditioners may be considered for possible understudy or replacement
Really exhausted, but making it work; Nora’s former nanny. Honest, big-hearted, candid, loyal, and blunt. Quick to make every sacrifice for those around her. Replacement mother to Nora’s children, and the person who picked up the pieces after Nora left; she thought she’d never see Nora again, but she does, and she’s pissed.

SIDE 1  |  SIDE 2   –   EMMY (female identifying, any race or ethnicity, 20’s)
Nora and Torvald’s daughter. She is strong, cunning, and self-aware yet refined. Fiercely intelligent. Confident in some ways, a traditional romantic in other ways – Nora’s daughter for sure. It’s been 15 years since Nora left her, and Emmy has not forgiven her mother; but she needs Nora now.