AUDITIONS
Quick details
Dates
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Callbacks
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​Age Range
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Location
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Inclusion
Sat, May 2 - 2:00pm
Mon, May 4 - 6:00pm​
Thur, May 7 - 6:00pm​​​
Ages 18 and up
The Bingen Theater
All backgrounds, identities and experience levels are welcome
auditions for
string-a musical
Prepare a song selection no longer than 2 minutes and dress in clothing and shoes you can move in. While this isn't a dance-heavy show, we will be running through some light choreography to see how you move. We will also be reading sides from the script.
SHOW SYNOPSIS
After angering Zeus, the Fates, the goddess sisters who spin, measure, and snip the strings of life for every human on Earth, find themselves banished from Mount Olympus to the mortal world. After centuries on earth, they now find themselves in a modern skyscraper, hidden in plain sight among the very mortals whose destinies they control. Clotho still spins, Lachesis still measures, and Atropos still cuts, quietly weaving the threads of human life into one giant, glorious tapestry, just as they always have.
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But when eldest sister Atropos accidentally loses her sacred scissors in the building, everything changes. In searching for them, she crosses paths with Mickey, the building's nervous but charming overnight security guard. An unlikely friendship turns into something neither of them ever saw coming.
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Soon, love gets the better of her. Atropos steals Mickey's string to keep him immortal, bending the very rules she has upheld since the dawn of time. But defying the natural order has consequences. Threads begin to fray. The tapestry of the Universe strains under the weight of one goddess's very human mistake. And her sisters are left to ask the question that hangs over everything: Can love ever truly be worth the unraveling?
String is an original, uplifting, and powerfully belty musical about fate, love, and the beautiful imperfections that make us human.
Come find out what happens when even the gods can't help but feel it all.
Audition dates and times
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Auditions:
Saturday, May 2 - 2:00pm to 5:00pm
Monday, May 4 - 6:00pm to 9:00pm
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These are open auditions; you don't need to sign up for a slot. Please arrive at least fifteen minutes prior to start time, so you have time to fill out an audition form. We will be at the theater an hour before start time and you are welcome to come that early if you'd like to settle into the space and look over the sides we will be reading.
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Callbacks:
Thursday, May 7 - 6:00pm to 9:00pm
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Callbacks will be held if needed and will be by invitation only. Not being called back doesn't mean you didn't get a part; it just means we need more information.​​​
HOW TO PREPARE
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Song: Prepare a song selection of two minutes or less.
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Backing track: We will not have an accompanist available, please come with a backing track (karaoke on YouTube is just fine), ready and know when your song needs to cue in order to be two minutes or less. We can either look up a backing track on YouTube directly from our computer, or hook up your phone or other device to play music.
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Movement: Wear clothes and shoes you can comfortably move in.
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Script Readings: Understanding the story and reading through character descriptions (below) are a good way to prepare for script readings.
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No perfection needed! Bring a willingness to play and do your best, we're rooting for you!​
VIDEO AUDITION OPTION
Can't Make It to Auditions?
We strongly encourage everyone to audition in person. Live auditions allow us to see how you work with others, take direction, and bring your energy into the room, all of which are a big part of how we cast. However, if you have a conflict and are truly unable to attend either audition date, you may submit a video audition by Friday, May 1. Please include your song selection of two minutes or less and a brief introduction on camera.​
​E-mail your video file, YouTube Link, Google Drive or whatever works best to: info@bigbritches.org
REHEARSAL SCHEDULE
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Rehearsals begin - The week of May 17
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Rehearsals Run - Typically Monday through Friday
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Typical Rehearsal Time - 6:30 to 9:00​
You can expect two to three days a week, until we get to the week before we open, then it will be daily. A detailed schedule will be shared once the cast is confirmed.
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Conflicts: Please list any known conflicts on the audition form. Conflicts will be considered during casting.
Performances & Strike
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Performances: July 31 - August 15
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Times: Fridays & Saturdays 7:30pm, Sundays 2:00pm
Strike: This happens on Sunday, August 16th. All cast and crew are required to attend.
CHARACTER DESCRIPTIONS
The Fates
ATROPOS — Female | Lead Role The oldest sister. Responsible, controlled, and deeply devoted to her duty, she cuts the string of life. Atropos takes fierce pride in her precision and the order of the universe, which makes it all the more catastrophic when she falls in love with Mickey and begins breaking her own rules. Her arc is the emotional spine of the show, moving from rigid caretaker to someone willing to risk everything for connection. A demanding role that requires strong acting chops alongside vocal power.
Voice Type: Mezzo-Soprano/Belter. Strong chest voice and belt required. The role is emotionally and vocally central to the show.
LACHESIS — Female | Supporting Lead The middle sister. Sporty, energetic, and restless. She measures the string of life. But don't let the energy fool you: beneath the surface, Lachesis is furious. She resents the mortals she's forced to live among, resents Zeus for the banishment, and resents watching her older sister throw away everything they've worked for over a human. Of the three sisters, she's the one most likely to say exactly what she thinks, loudly, and the one who feels the injustice of their situation most keenly. Her humor is sharp and often pointed, her loyalty fierce even when it curdles into anger. Playing Lachesis means finding the love underneath the rage, because there's plenty of both.
Voice Type: Mezzo-Soprano/Alto.
CLOTHO — Female | Supporting Lead The youngest (littlest) sister. Sweet, soft, and endlessly warm, she spins the string of life. The banishment has left its mark on Clotho more visibly than the others; something in her has come a little loose, a little unmoored. She's not broken, just... elsewhere sometimes. Her warmth is genuine, and her affection for her sisters runs deep, but she's gone a bit fuzzy around the edges. Playing Clotho means leaning into the softness without playing her as lost, because she's still very much present. Just in her own way.
Voice Type: Soprano. Bright and flexible; the higher voice of the trio.
The nightshift
MICKEY — Male | Lead Role A security guard working the overnight shift at the Infinity Building. A nervous talker, self-deprecating, endearingly charming, and deeply ordinary in the best possible way. Mickey is the human heart of the show; his unlikely romance with Atropos anchors the story. He's guileless and kind, which is exactly what undoes a goddess. Requires strong comic timing and genuine emotional warmth.
Voice Type: Tenor/Baritone. Conversational, contemporary musical theatre style.
O'BRIEN — Male | Supporting Role A friendly security guard, a little older than Mickey. O'Brien is a steadying presence in the building, easy-going, wry, and reliable.
Voice Type: Baritone. Sings with the chorus in all ensemble numbers except "Get Me Outta Here."
GENEVA — Female | Supporting Role A janitor working the overnight shift at the Infinity Building. Geneva doesn't say much and means it. She moves through the building quietly, doing her work, noticing everything, giving away nothing. Geneva is a role with a lot of stillness in it. The right actor will make every moment she's onstage feel intentional.
Voice Type: Mezzo-Soprano/Alto. Sings with the chorus in all ensemble numbers except "Get Me Outta Here."
The office workers
CHORUS / ENSEMBLE The Chorus represents the collective voice of the Infinity Building. Its workers, drones, and day-jobbers. They are an agitated, quirky, and funny bunch who emphatically do not want to be there. The Chorus is musically crucial to the show: Adam Gwon describes the score as "a mash-up of contemporary, character-driven musical theater writing, and epic, choral ensemble work."
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The ensemble numbers carry real theatrical weight. At a minimum, four actors cover the following named tracks within the chorus:
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MAN IN SUIT - A building denizen. Buttoned-up, type-A energy.
ZEUS - The king of the gods himself, appears at the beginning and end of the musical. A comedic authoritative presence.
HR GUY - Exactly what it says. Bureaucratic with a vengeance.
PROOFREADER GAL - Precise, probably underpaid, deeply done with it all.
TEMP CHICK - New to the building, already over it.
NIGHT - The mother of the Fates.
The chorus requires strong SATB coverage across tracks. All ensemble singers should be comfortable with complex choral writing.
General Information about Our Auditions
​Big Britches Productions is always looking for new people to come play! Whether you've "tread the boards" for years or are new to the stage, we want to encourage everyone to audition. All of our auditions are open, and unless otherwise noted, there is no pre-casting. Please also note that we are a volunteer-based organization, and all acting roles are unpaid positions.
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What you should know
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Audition requirements vary by show and director; you may be asked to read scenes, prepare a monologue, or perform a song for musicals. Check this page for details on each upcoming production.
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We know that it can be disappointing not to get a part. (We've been there!) Don't take it personally. You may have auditioned really well, but if we have more people audition than roles available, directors have to weigh several factors when choosing a cast. We encourage you to come and audition often. Just because you weren't right for one role doesn't mean that you won't be perfect for another.
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Useful tip - If asked to read for a part you don't want, don't tank it on purpose; every time you're on stage is a chance to show the audition team your range. Which just means demonstrating your ability to adapt. Try a different accent, shift your energy from quiet and reserved to bold and commanding, play the emotion of the scene straight rather than for laughs (or vice versa), or simply commit fully to a character that isn't 'you.' You don't have to be a seasoned actor to show range; you just have to be willing to try something different and commit to it. That willingness is exactly what directors are looking for.
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We also love to encourage performers to get involved on the production side of shows. Helping backstage, with props, in the booth, or as a stage manager is a great way to get involved with the theatre.
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It's a good idea to come prepared with your calendar so you can note any conflicts you may have with the proposed rehearsal schedule. We know people have lives outside the theater and do our best to accommodate everyone's conflicts.