Missed the Boat Theatre is holding auditions for our inaugural New Works Festival, which will feature four staged readings of brand new scripts, to be performed in the Twin Cities September 18-20, 2025.
Auditions for the festival will be August 2 - 3, 2025 at St. Mary’s in Lowertown, St. Paul. Please see here for information on parking. The door we will use for auditions is located between parking spots 34 and 35 on the map.
We seek female adult actors to play ages 14-75+ and adult male actors to play roles ages 25-65, as well as 1-2 child actors to play ages 8-18. Some roles require singing. All acting roles are on a volunteer basis. Actors do not need to be Catholic, but must be okay with working with lots of Catholics who love being Catholic, and performing for a largely Catholic audience.
This is an open call audition. Actors will be seen in the order they arrive, starting with those who would like to audition with acting only, not singing. That said:
Performers interested in acting only are requested to come in the first hour (1-2 pm either day) if at all possible.
Performers interested in auditioning with acting and singing are recommended to come at 2 or later either day
Please contact newworks@missedtheboattheatre.com with any questions.
For the Audition:
Please prepare a 1-2 minute monologue. If you do not have a monologue in your repertoire, you may choose from one of these selections from the plays. (If you are interested in support preparing your audition monologue, all are welcome to attend our Audition Workshop on July 28!) Please be very familiar with your monologue, but it is alright if it is not 100% memorized.
We may ask you to read additional material after seeing your initial audition.
If you are interested in being considered for a role that requires singing, please prepare 16 bars of a musical theater song of your choice that showcases your range. Please bring sheet music; we will provide an accompanist. We may also ask you to sing something from one of the shows.
Please bring a headshot (photo clearly showing your face); a resume is optional. We will see people in the order that you arrive, though we still see those auditioning with acting only (no singing audition) first. Performers wishing to act AND sing are recommended to come at 2 PM or later. Please arrive with extra time to fill out an audition form, or fill out the form in advance by downloading here. (Actors under the age of 18 interested in auditioning for the roles of Thérèse or Céline in The Martin Sisters should use this form.)
If you’re unable to be present at auditions, please contact us about submitting a video audition.
Rehearsal and Performance Dates:
Each show aims to rehearse 20-25 hours between Sept 1 and its reading date. Exact rehearsal schedules subject to director and actor availability.
Rehearsals will be primarily table work and character development. No blocking or memorization is required, but actors are expected to be extremely familiar with their lines, [songs], and characters.
Required dates:
For Home: Wednesday, Sept 17 (Tech) and Thursday, Sept 18 (Performance)
For Long Shot: Wednesday, Sept 17 (Tech) and Friday, Sept 19 (Performance)
For How to Supervise Women: Morning & Afternoon of Sat, Sept 20 (Tech & Performance)
For The Martin Sisters: Morning & Evening of Sat, Sept 20 (Tech & Performance)
Directors may set additional required dates at their discretion.
You may come to auditions and specify if you are only able to audition for certain shows based on your availability.
Sign up to give us an idea of how many people are coming each day! Please note that auditions are still first come, first served on the day of, and you're welcome to come even if you don't sign up here.
Learn more about the plays:
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Book by Fr. Kyle Kowalczyk, Music by Chad Berg, Adapted from a screenplay by Haynes Brooke
Directed by Michael Conroy
Melvin had his whole life planned out, and used all of his actuarial skills to avoid every risk that could derail that plan. It was working great, until he met Christa. Then it was like someone tampered with the odds of probability and nothing added up anymore. First, he is diagnosed with a very rare and deadly disease, then his childhood friend convinces him to spend the rest of his short and meaningless life doing all the things he’s missed out on, like asking out a girl––the first girl he sees––which of course happens to be Christa. Then, because, of course he can’t tell her he’s in love with her when he’s dying, he does something dumb instead like playing the slot machines, and wouldn’t you know it he wins a trip to the moon! (You can’t make this stuff up!) So, now he really can fulfill his lifelong dream––that he had stuffed down to the bottom of his soul when his parents died––of flying to the moon, which really will be awesome and a very sweet ending to a very crazy story, except… she won’t be on the moon. So, what should he do now?
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Written by Samantha Vargo and Olivia Baum
Directed by Jaclyn Mack
In The Martin Sisters, a family of five sisters and their father wrestle with their family ties, faith in God, and–above all–what to do with the rest of their lives. Inspired by classic sisterhood stories like Little Women and Sense and Sensibility, this play tells the true story of a band of sisters coming of age in a Catholic way. Set in late 19th-century France, their family includes three members (Thérèse, Louis, and Zélie) who went on to be officially canonized as saints in the Catholic Church. What was it about their family life that led to such holy outcomes? What were the sisters like who haven’t been declared saints? And what does it mean to hear the voice of God? Follow along with Marie, Pauline, and the whole Martin family to find out–and be inspired by sisters who learned that “the good Lord does not do things by halves; He always gives what we need. Let us then carry on bravely.” –St. Zélie Martin
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Written by Lou Clyde
Directed by Christina Malloy
It’s 1942 and the Consolidated Electronics leadership team is faced with hiring women for factory jobs ordinarily held by men. But women in factories scare the hell out of them. The newly hired female assembly team on line 3C breaks all stereotypes and delivers excellence with comedy and heart. How to Supervise Women is a poignant and touching historical comedy with a topical social message.
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Written by Fleur Alys Dobbins
Directed by Elizabeth Teefy-MacGregor
It’s 2018 in Texas where five siblings traverse a rocky landscape: the caretaking of their elderly mother, Maryrose, who is fighting tooth and nail against the onslaught of Alzheimer’s. Maryrose, a southern matriarch, must now relinquish her long and coveted control as the children make the difficult decision to move her to a memory care facility - and she flatly does not want to go.
Home, a dramedy, spans the six months before the passing of Maryrose from summer through Christmastime. Act one occurs in Maryrose’s own home as negotiations are managed, decisions are made, and realities are intensified. Act two takes place in an altogether foreign place, the Home; another paradigm with new helpers, much needed wisdom, unexpected arrivals… and one conversion no one saw coming. Before the passing of Maryrose, what has long been in the dark will explode into a miracle of light. Home contemplates where, and what, “home” really is and if it is ever too late to find it.
Roles:
All auditioners will be considered for all shows. However, you may specify your ranked choice preference of production. We provide the following information to help you make an informed choice for your audition material selection.
In addition to the roles listed, each cast will include a reader who will read stage directions and the like, which is an essential part of the dramatic storytelling for a staged reading without blocking, sets, props, etc.
Ages listed are ages of character portrayed, not required ages of actors.
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Women:
CHRISTA, 30s, a hopeless CPA longing for more (alto 1 or mezzo)
SALLY, 30s, Christa’s big sister and Deke’s bride, astrophysicist (mid-range)
ENSEMBLE, multiple roles of all ages, including many with lines and vocal solos
Men:
MELVIN, 30s, a very nerdy actuary with no life (high baritone or tenor 2)
DEKE, 30s, Melvin’s childhood friend and Sally's husband, lawyer (baritone)
ENSEMBLE, multiple roles of all ages, including many with lines and vocal solos
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Women:
MARIE, age spans 17-27. Requires singing ability (mezzo-soprano). Headstrong; deeply values freedom, but also steadfastly committed to the responsibilities of being the oldest.
PAULINE, age spans 16-26. Requires singing ability (soprano). Vivacious, creative, energetic. She is quick to make decisions and act on them; a natural leader who struggles to release control.
LÉONIE, age spans 14-24. The misfit. She is sickly, impacted by childhood trauma, and prone to outbursts, which have all led to her often being left behind. Singing ability optional but preferred.
CÉLINE, age spans 12-18. Adventurous, artistic, playful. On the surface, she comes off as the most “worldly” of the sisters. Singing ability optional but preferred. Could be portrayed by a child actor.
ZÉLIE, their mother. Professional lacemaker; temperamentally much like Pauline. Depicted at ages 27 and 46. Singing ability optional but preferred.
Men:
LOUIS, 60s. Father of Marie, Pauline, Léonie, Céline, and Thérèse. A very prayerful, gentle man who loves to travel. Retired.
PÈRE ALMIRE PICHON, S.J, 40s. Jesuit Catholic priest. Marie’s spiritual director. Immensely gifted retreat and spiritual director.
Child:
THÉRÈSE, age spans 8-14. Sensitive, dramatic, sweet. Easily impacted emotionally, especially by change in the family. Should be played by a child actor. Singing ability optional but preferred.
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Women:
LORETTA BEUTEL, 18-22, assembly worker
SHIRLEY KAMINSKI, mid-50s, assembly worker
MILLIE KRAM, late 20s, assembly worker
JOYCE JOHNSON, 30s, Black. Custodial worker
Men:
HERMAN MUELLER, 20s, supervisor
GEORGE PERRONI, 50s, assembly manager
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Women:
MARYROSE, 75+, Matriarch suffering from the creeping onslaught of Alzheimer’s. Fearful, untrusting, desperate to keep the über control she has always claimed but has now lost it all.
ELIZABETH (“Beth”), early to mid 60’s, Maryrose’s eldest daughter and the mother of Genevieve. However, Beth is considered Genevieve’s “sister” because Beth did not raise her. Beth is the primary caretaker of, and living with, her mother. Suffering from severe caretaker fatigue.
SUSAN (“Sue”), early to mid 60’s, second oldest child. No self-edit. All work and no play. Cares deeply for her family. Difficulty showing it. Deadpan.
GENEVIEVE (“Gen”), mid 40’s, baby of the family. Considered youngest sibling though she is Beth’s biological daughter. Raised by her grandmother – Maryrose. Rediscovering the Catholic faith long abandoned by the family.
MISS TRUDY (“Miss Tru”), 35-40, Lead nurse practitioner; compassionate, supportive, wise.
MISS ADA, mid 20’s to early 30’s Aid/Caretaker at the Home. Respectful, shy.
MISS REBECCA, Female, 30’s to 40’s, Volunteer protestant chaplain; friendly and supportive but can be pushy when the situation calls for it.
Men:
TRENTON (“Trent”), mid 50’s, middle child, a father and husband, weight of the world on his shoulders. “Checked out” of the family. Rage buried beneath depression.
JUSTIN, early 50’s, second to youngest, Mr. Fixit, Funny. Assumes role of “Man of the House.” Sensitive but tries to cover it.
FATHER ESPERANZA, 50’s to 60’s, (HISPANIC) Catholic Priest, warm, humble, unshaken by chaos.