Auditions
Welcome to the TampaRep auditions page.
TampaRep’s mission is to create transformative, relevant, and compelling professional theatre that connects our 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 and employment 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 to be seen.
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’d like to be considered for any of the above positions – Director, Designer, Stage Manager, Technician, Crew, Volunteer: FILL OUT THIS FORM.
UPCOMING AUDITIONS
If you HAVE a Gmail address or use a Google account or domain, click below!
If you DO NOT have a Gmail address or use a Google account, click below!
Only difference is that you’ll have to mail your headshot & resume to us manually, rather than uploading to the website.
Live Auditions & Callbacks
Selected performers will be invited to attend the combined in-person audition for Peter and the Starcatcher and Miracle on 34th Street.
Live auditions will take place August 17, between 5pm-9pm.
Callbacks for Peter will be August 24. Callbacks for Miracle are TBD.
Beginning August 10, we’ll begin sending invitations to live auditions.
If we’re unable to invite you to audition this time, we’ll let you know by email so you’re not left waiting.
AUDITIONS FOR
Job and Burn This
Date: TBD 2027
Location: TampaRep at the Kress Contemporary
1624 E. 7th Ave. Ste. 307, Ybor City, 33605
Prepare: 1 monologue OR 2 contrasting monologues – show us what you do well
Time: No longer than three minutes total – make us want more
Also: Be prepared to tell us a joke – share what makes you laugh 🙂
Callbacks
Each show will have individual callbacks.
Video Submission Guidelines
If you’ve been asked to submit a video audition, thank you for your time! To help us view your work easily and at its best, please follow these guidelines:
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Recording Format: If you’re using your phone, record in horizontal/landscape mode (not vertical).
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Framing: Ideally, film standing, framed from the waist up. If sitting, aim for at least chest up.
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Scene Partners: Keep your scene partner(s) off-camera. Off-screen voices should be clear and balanced with your own.
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Sharing Your Video: Upload your audition to a video-sharing service (YouTube, Vimeo, Dropbox, Google Drive, etc.) and send us the link. Please don’t email the full video file.
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Link Settings: Make sure your link is set to unlisted or public, so our team members can access it easily.
- Deadlines: Unless otherwise noted, video submissions are due at least two days before the in-person audition.
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Sides & Material:
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If sides are available for the show, choose and record the one(s) for the role you’re most interested in.
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If no sides are posted yet, follow the general audition guidelines for the upcoming season.
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If neither are available, share a piece that shows us your specific strengths – something that feels authentically you.
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TO SUBMIT: Double-check that you’ve filled out the auditions form, and email your video link to auditions@tamparep.org.
Frequently Asked Questions (FAQ)
- Do you hire AEA actors?
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Yes. TampaRep works with both union (AEA) and non-union actors. For AEA, we work under the new Single Engagement Contract.
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- Do you hire out-of-town actors?
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Yes, we do occasionally hire out-of-town actors. However, as a Tampa-based and Tampa-centric theatre company, our strong preference is to collaborate with artists who are based in the greater Tampa Bay area.
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- Do you house out-of-town actors?
- We have provided housing for out-of-town actors in the past and anticipate doing so again in the future. That said, because our focus is on working with local talent (see above), housing is not always guaranteed.
- I don’t have much acting experience. Should I audition for TampaRep?
- Everyone starts somewhere, and we respect the courage it takes to step into an audition room. At TampaRep, we look for actors who are ready to take part in the demands of a professional rehearsal and performance process. If you’re just beginning your journey, we encourage you to continue building confidence through classes or other opportunities first. That way, when you do audition with us, you’ll feel prepared to share your skills at their strongest.
- I’ve been asked to attend a callback. What does that mean at TampaRep?
- At TampaRep, when you come in for a callback, we hope you’ll come to PLAY. Behind the casting table, we genuinely want you to succeed. We find that works best when you are very familiar with the script and sides, so you can show us that you’re ready to make bold choices and listen and interact with your fellow actors.
- Your material does not need to be memorized. In fact, that sometimes gets in the way of being able to react genuinely in the moment, either to prompts from the director, or unexpected actions from your scene partners.
- No need to bring a printed headshot/resume, but do make sure you’ve filled out the Artist Info Form so we have it digitally!
- Arrive at least 10 minutes prior to your appointment time.
- Bring printed copies of your sides (rather than relying on a digital device).
- Why are you asking for a prescreen?
- We know preparing for an audition takes time and effort. Prescreens help us invite the performers who are the strongest fit for these productions, making the in-person audition process more productive and respectful of everyone’s time.
- Do I need to record a new audition?
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Not necessarily. You’re welcome to submit an existing audition video if it accurately represents how you currently look and perform, and if it’s appropriate for these productions.
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- Are there age requirements for these auditions?
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For Peter and the Starcatcher, performers under 18 will be cast through ThinkTank Theatre’s Young Artists’ Ensemble (YAE), an audition-only young-actor training program. Young performers must be members of the YAE to participate in the production. Visit thinktanktya.org for more information.
For Miracle on 34th Street, young performers may submit through TampaRep’s regular prescreen process. We may cast multiple actors to share the child role.
Unless otherwise noted, the ages listed in our character descriptions refer to the character’s age or general playing range, not necessarily the performer’s actual age. We encourage actors to submit for any role they feel they can believably play.
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- Have a question that’s not answered here?
- Email auditions@tamparep.org and we’ll get back to you!
PETER AND THE STARCATCHER
A play by Rick Elice
Based on the Novel by Dave Barry and Ridley Pearson
Music by Wayne Barker
A co-production with ThinkTank Theatre
Direction by Cameron Kubly
A wildly theatrical adventure for dreamers of every age, Peter and the Starcatcher reveals how a nameless orphan became the Boy Who Would Not Grow Up. Full of pirates, secret missions, unlikely heroes, and theatrical invention, this Tony-winning play celebrates the power of imagination, friendship, and finding your way home.
Rehearsals are scheduled to begin the week of Monday, October 5, 2026
Rehearsal schedule and locations are tentative. Rehearsals will include work at TampaRep’s space at Kress Contemporary.
Performances will take place at the Shimberg Playhouse at the Straz Center.
Preview performance is Thursday, November 5, 2026.
Opening night is Friday, November 6, 2026.
PETER AND THE STARCATCHER runs from 11/5/26 – 11/22/26.
Total of 14 performances, not including preview.
This production will include both paid professional roles and Young Artists Ensemble roles.
Click here to view a copy of the perusal script & score. (Not available for print or download.)
AUDITION SIDES:
For each character you are called back for, please prepare the corresponding monologue(s)
and sides. You may not be required to read every side. You do not need to be memorized, but
please be familiar enough to make strong choices. For the sides, you will read with other actors
or with a reader.
MOLLY / BOY SIDE – (Click here)
ASTER / SMEE / BLACK STACHE SIDE – (Click here)
ADDITIONAL MONOLOGUES – (Click here)
NOT ONLY should you review the audition materials,
BUT ALSO: the in-person musical materials listed above
SEEKING
TampaRep and ThinkTank Theatre are seeking a diverse ensemble of inventive, collaborative performers with strong comic timing, physical imagination, and a love of bold theatrical storytelling.
Because Peter and the Starcatcher is a highly theatrical, ensemble-driven play, casting will be flexible. Performers of all ages, races, ethnicities, gender identities, body types, and abilities are encouraged to audition. Roles will be assigned based on the needs of the ensemble, the story, and each actor’s individual strengths.
**Casting Note** – All actors of high-school age and younger will be cast from the ThinkTank Youth Artist’s Ensemble (YAE). Young actors must be a member of the YAE to be considered for Peter and the Starcatcher. The role of Susan Walker in Miracle on 34th Street is open to all age-appropriate actresses.
Characters include:
BOY / PETER
A nameless orphan who begins the play without a home, family, or identity, and gradually discovers courage, loyalty, and a sense of belonging. Watchful, guarded, tough, and deeply vulnerable beneath the surface. Requires openness, emotional truth, physical agility, and a strong sense of wonder.
MOLLY ASTER
A brave, intelligent, fiercely capable young leader. Molly is curious, principled, and determined to do what is right, even when the adults around her underestimate her. Requires confidence, wit, emotional availability, and the ability to balance youthful impatience with real courage.
BLACK STACHE
A theatrical, dangerous, wildly comic pirate in search of a great hero to define his own villainy. Grand, literate, flamboyant, ruthless, and absurdly self-dramatizing. Requires major comic skill, verbal dexterity, physical boldness, and a fearless sense of play.
GREMPKIN
The cruel schoolmaster of St. Norbert’s Orphanage for Lost Boys. Harsh, petty, mean-spirited, and comfortable abusing whatever little power he has. A character role requiring sharp comic villainy and physical/verbal precision.
MRS. BUMBRAKE
Molly’s devoted nanny. Proper, British, protective, and unexpectedly flirtatious when romance appears. Requires comic timing, warmth, and the ability to play heightened theatrical style without losing sincerity.
BILL SLANK
The vicious captain of the Neverland. Greedy, brutal, self-serving, and dangerously incompetent as a leader. A villainous character role requiring menace, physical presence, and dark comic energy.
SMEE
Black Stache’s loyal first mate. Eager, busy, devoted, and fully committed to carrying out his captain’s every ridiculous command. Requires strong comic timing, quick reactions, and excellent ensemble instincts.
PRENTISS
One of the orphans. Ambitious, talkative, logical, and desperate to be seen as a leader, though he may not really have the courage or natural authority for it. Requires sharp comic delivery and a clear sense of insecurity under the bluster.
TED
One of the orphans. Food-obsessed, funny, imaginative, and emotionally open. Ted brings warmth and humor to the group and often says exactly what he is thinking. Requires charm, comic timing, and strong ensemble play.
LORD LEONARD ASTER
Molly’s father. A proper Victorian gentleman, loyal to Queen and country, and devoted to his daughter. Also a Starcatcher, entrusted with protecting the world from the power of starstuff. Requires authority, warmth, elegance, and a sense of secret adventure.
CAPTAIN ROBERT FALCON SCOTT
The proud captain of the Wasp, Britain’s fastest ship. Confident, military, and grandly heroic in the British imperial mode. Requires crisp comic style, authority, and strong ensemble work.
ALF
An old sailor with a kind heart, rough edges, and surprising romantic appeal. Earthy, funny, and warmer than he first appears. Requires charm, physical comedy, and genuine sweetness.
MACK
A bad sailor stuck under Bill Slank’s command and deeply unhappy about it. Comic, nervous, and eager to be somewhere else. Requires strong ensemble timing and character specificity.
FIGHTING PRAWN
King of the Mollusks. Proud, vengeful, theatrical, and deeply hostile toward the English because of his past mistreatment. Requires bold comic presence, vocal confidence, and the ability to play heightened language with commitment.
HAWKING CLAM
Fighting Prawn’s son and heir to the Clam throne. A smaller but specific comic role that should feel fully part of the Mollusk world. Requires strong ensemble play and character imagination.
TEACHER
An ancient, knowledgeable mermaid who was formerly a salmon. Wise, strange, magical, and comic. Requires imagination, clarity, and the ability to make a brief appearance memorable.
ENSEMBLE
A highly active storytelling ensemble that creates the world of the play through narration, movement, music, objects, language, and theatrical invention. Ensemble members may play sailors, pirates, seamen, natives, mermaids, narrators, and other figures throughout the story. Requires strong collaboration, physical imagination, vocal clarity, comic timing, and comfort with fast-paced theatrical transformation.
NOTE
The production traditionally uses the following role doublings. However, these assignments may be adjusted based on the needs of the final company:
- Mrs. Bumbrake / Teacher
- Grempkin / Fighting Prawn / Mack / Sánchez
- Bill Slank / Hawking Clam
MIRACLE ON 34TH STREET:
A LIVE MUSICAL RADIO PLAY
Based on the 1947 Lux Radio Hour Broadcast
Adapted from the 1947 Lux Radio Broadcast
by Lance Arthur Smith
Original Lyrics, Music & Arrangements by Jon Lorenz
Direction by Emilia Sargent & Jim Sorensen
Music Direction by Juan Rodriguez
A charming holiday classic comes to life as a live radio broadcast, complete with music, foley, tight harmonies, and the theatrical magic of performers creating an entire world in front of the audience.
Rehearsals are scheduled to begin Monday, November 9, 2026.
Rehearsal hours are typically evenings & weekends 16-20 hrs/wk (30 hrs during tech).
Rehearsals will be at TampaRep’s space at Kress Contemporary and the Shimberg Playhouse.
Performances will take place at the Shimberg Playhouse at the Straz Center.
Preview performance is Thursday, December 3, 2026.
Opening night is Friday, December 4, 2026.
MIRACLE ON 34TH STREET: A LIVE MUSICAL RADIO PLAY runs from 12/4/26 – 12/23/26.
A total of 17 performances, not including preview.
PLEASE NOTE:
The final few performances will take place on Monday/Tuesday/Wednesday just before Christmas.
All roles are paid.
Click here to view a copy of the perusal script & score. (Not available for print or download.)
SEEKING
In this “Live Musical Radio Play,” all actors will play versions of THEMSELVES voicing the characters in the radio reading of Miracle on 34th Street. Casting for this show is less about the ability to mimic any particular voice as it is the ability to bring characters to life in a way that goes beyond the microphone.
The music for this production is exceptionally challenging. TampaRep is seeking accomplished singers with strong musicianship, excellent ensemble skills, and the ability to sing tight harmonies with confidence and precision.
Actors of all races and ethnicities are encouraged to audition.
CORDELIA RAGSDALE / DORIS WALKER TRACK
Actor to play female roles. Alto/mezzo-soprano, C4–C#5.
Cordelia Ragsdale voices Doris Walker, Macy’s public relations expert and Susan’s mother.
Also plays Mother, Girl, and others.
OLIVIA GLATT / FEMALE CHARACTER ACTOR TRACK
Actor to play female roles. Soprano, C4–E5.
Olivia Glatt voices a variety of characters throughout the broadcast. Also plays Mortimer, 2nd Mother, Miss Prong, Dr. Pierce, Nurse, Charley, Mrs. Mara, Tommy, and others.
Requires strong vocal flexibility, comic timing, and character versatility.
GRADY WILLIAMS / FRED GAILEY TRACK
Actor to play male roles. Baritone/tenor, Bb3–G4.
Grady Williams voices Fred Gailey, a lawyer looking for love and a miracle.
Also plays Alfred and others.
WALLACE AINSLEY / MALE CHARACTER ACTOR TRACK
Actor to play male roles. Baritone, B3–E4.
Wallace Ainsley voices a wide range of characters. Also plays Drunken Santa, Mr. Shellhammer, Dr. Sawyer, Gimbel, R.H. Macy, Thomas Mara, and others.
Requires strong character work, vocal variety, and comic range.
GRACIE DEMARCO / SUSAN WALKER TRACK – ROLE WILL BE DOUBLE- OR TRIPLE- CAST
Child actor to play Susan Walker, age 8. C4–C5.
Gracie DeMarco voices Susan Walker, Doris’s precocious daughter.
Seeking young performers (AGE 8-14) with strong focus, confidence, musical ability, and clear storytelling instincts.
KRISTOFER VAN LISBERG / KRIS KRINGLE TRACK — ROLE IS CAST
Older actor to play Kris Kringle / Santa Claus. Singing optional, F3–E4.
Kristofer van Lisberg voices Kris Kringle / Santa Claus.
ALEX MIALDO / ANNOUNCER, FOLEY ARTIST AND JUDGE TRACK — ROLE IS CAST
Piano/Foley Artist. Bass/baritone, F2–E4.
Alex Mialdo serves as Announcer, Foley Artist, Judge, and keyboard player.
Additional character pool, played by the company, includes:
DRUNKEN SANTA, SHELLHAMMER, R.H. MACY, ALFRED, SAWYER, MISS PRONG, MOTHER, MORTIMER, GIRL, 2ND MOTHER, DR. PIERCE, GIMBEL, NURSE, JUDGE, CHARLEY, THOMAS MARA, MRS. MARA, TOMMY, POSTMAN, VARIOUS REPORTERS, PHOTOGRAPHER
JOB
by Max Wolf Friedlich
Direction by Georgia Mallory Guy
A taut psychological thriller for the digital age, JOB begins as a mandatory therapy session and becomes a high-stakes confrontation about work, identity, trauma, power, and the cost of living too much of life online.
Rehearsals are scheduled to begin the week of Monday, March 22, 2027
Rehearsal hours are typically evenings & weekends 16-20 hrs/wk (30 hrs during tech).
Rehearsals will be at TampaRep’s space at Kress Contemporary and TBD.
Performances will take place at TBD.
Preview performance is Wednesday, April 14, 2027.
Opening night is Thursday, April 15, 2027.
JOB runs from 4/15/27 – 5/2/27.
A total of 14 performances, not including preview.
All roles are paid.
A link to view the digital perusal copy of the script will be available soon.
(Not available for print or download.)
SEEKING
TampaRep is seeking highly skilled actors for JOB. This production calls for nuanced, emotionally honest performances, strong listening, and the ability to sustain intimacy, tension, and psychological complexity in a close-quarters theatrical environment.
Actors of all races and ethnicities are encouraged to audition.
JANE
Actor to play a woman in her mid-to-late 20s.
A young tech worker and content moderator who has been placed on leave after a public breakdown. Brilliant, volatile, guarded, funny, and deeply wounded. Jane arrives at a mandatory therapy session carrying an enormous amount of pressure, rage, fear, and need. Requires exceptional emotional range, stamina, precision, and the ability to move quickly between intelligence, vulnerability, danger, and collapse.
LOYD
Actor to play a man in his 60s.
A therapist assigned to evaluate Jane. Calm, intelligent, practiced, and composed, with a professional manner that may or may not reveal everything underneath. Loyd must be able to hold stillness, tension, ambiguity, and authority while navigating a rapidly escalating psychological confrontation. Requires strong listening, restraint, and the ability to sustain high-stakes tension across the full arc of the play.
BURN THIS
by Lanford Wilson
Direction by Emilia Sargent
In the aftermath of a young dancer’s death, four people are forced to confront grief, desire, loyalty, and the lives they have built around absence. Lanford Wilson’s BURN THIS is a raw, intimate, and deeply human play about connection, loss, and the dangerous possibility of being truly seen.
Rehearsals are scheduled to begin Monday, June 7, 2027.
Rehearsal hours are typically evenings & weekends 16-20 hrs/wk (30 hrs during tech).
Rehearsals will be at TampaRep’s space at Kress Contemporary and the Shimberg Playhouse.
Performances will take place at the Shimberg Playhouse at the Straz Center.
Preview performance is Thursday, July 15, 2027.
Opening night is Friday, July 16, 2027.
BURN THIS runs from 7/16/27 – 8/1/27.
A total of 14 performances, not including preview.
All roles are paid.
A link to view the digital perusal copy of the script will be available soon.
(Not available for print or download.)
SEEKING
TampaRep is seeking only the strongest actors for Burn This. This production requires emotional depth, strong chemistry, fearless listening, and the ability to move between humor, grief, desire, and volatility without forcing the moment. We are looking for actors who can bring fully alive, truthful, and specific performances to an intimate theatrical space.
Actors of all races and ethnicities are encouraged to audition.
ANNA
Actor to play a woman in her 30s-40s.
A dancer and choreographer grieving the sudden death of her close friend and collaborator. Intelligent, guarded, sensual, funny, and searching. Anna is trying to understand who she is as an artist and as a person after a destabilizing loss. Requires emotional availability, intelligence, stillness, and the ability to reveal deep feeling without overstatement.
PALE
Actor to play a man in his 30-50s.
Robbie’s older brother, a restaurant manager from New Jersey. Explosive, charismatic, grieving, funny, dangerous, and unexpectedly vulnerable. Pale enters like a force of nature, but the role requires more than volume or volatility; it needs humor, pain, sensuality, intelligence, and the ability to expose the wound underneath the chaos.
LARRY
Actor to play a man in his 30s-40s.
Anna’s roommate and Robbie’s friend. Witty, observant, stylish, protective, and emotionally perceptive. Larry brings humor and sharpness into the room, but he is not comic relief. He carries his own grief, loyalty, and clarity. Requires precise timing, warmth, intelligence, and the ability to balance wit with emotional truth.
BURTON
Actor to play a man in his 30s-40s.
Anna’s longtime boyfriend, a successful screenwriter. Smart, articulate, composed, and emotionally limited in ways he may not fully understand. Burton is not a villain; he is a man who believes he knows how life should work until he is confronted with needs and grief he cannot control. Requires charm, intelligence, restraint, and emotional specificity.
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