Audition for A Play at CSU

Audition for a Play

A theatre interest meeting is held the first day of the fall semester, Monday at 5:30 p.m. in the University Theatre in the University Center for the Arts located at 1400 Remington Street. Map.

  • All students in the performance concentration are required to audition for all productions.
  • All students at CSU, regardless of major, may audition for a theatre production.
  • First year theatre performance majors should take TH 186 in the fall, which allows you to crew a show during your first semester.
  • Students outside of the theatre major who would like an introduction to working in the shops may take TH 186 Practicum, TH 161 Technical Theatre: Stagecraft, and/or TH 286 Practicum; an override will be needed.
  • If you have questions or need access to the Theatre Canvas Call-board, please contact Matt Grevan.

The Fall 2021 productions are These Seven Sicknesses and Lysistrata. 

Audition Instructions:

Film the following:

  1. Record 2 contrasting monologues, 1 comedic and 1 dramatic, contemporary or classic Greek.
  2. Record 16 bars of any style of a cappella song.
  3. Combine your recordings into one file no longer than 3 minutes total.


The completed audition form, the availability form, resume, headshot, and link to your audition videos are due Saturday, May 1, 5 p.m. MST.

Please Note:

Call backs will be Saturday, May 8, 5 p.m. MST. Those being called back will be notified via email. If you are not contacted for a call back, you may still be cast in a role.


Character Breakdowns:

These Seven Sicknesses

These Seven Sicknesses by Sean Graney is a contemporary take on the Sophocles plays Oedipus RexElectra and Antigone. All plays deal with cycles of violence, and will be cast as an ensemble, so it is important that you include in your audition what your boundaries are, as well as what you give consent to witness. If you are cast in a lead role in one play, it is likely that you will play one of the nurses/ensemble in the others. The ensemble will sing and play live instruments, so please mark what your vocal range and any instruments you play on your sheets as well. All intimacy depends on COVID 19 protocols.

  • Oedipus: The King of Thebes. Intimacy may include hugging, kissing, hand holding with Jocasta, who is revealed to be his mother. Violence will include beating the Blind Seer, gouging his own eyes out.
  • Jocasta: The Queen of Thebes. Intimacy may include hugging, kissing, hand holding with Oedipus, her son. Violence will include suicide in a tub, from slitting her wrists.
  • Sick person/the Carrier: Sufferer of the plague, keeper of secrets. No intimacy or violence.
  • Blind Seer: Knows all. Violence will include being beaten and tortured by Oedipus. The actor’s parameters will dictate the size of the violence choreography.
  • Creon: Jocasta’s brother, Haemon’s father, eventual king of Thebes, uncle to Antigone. No intimacy, but violence includes killing Antigone, shoots himself in the heart.
  • Eteocles: Son of Jocasta and Oedipus. No intimacy or violence. May play a dead body.
  • Polynieces: Son of Jocasta and Oedipus. No intimacy or violence. May play a dead body.
  • Shade of Agamemnon: Will be a projection. Father to Electra and Chrysothemis, murdered by his wife Clytemnestra. No intimacy or violence.
  • Orestes: Son of Clytemnestra and Agamemnon. Intimacy may include hugging, front of body touching and extreme kissing. Violence includes murdering Clytemnestra thru beating and possible stabbing.
  • Electra: Daughter of Clytemnestra and Agamemnon. Intimacy may include hugging, front of body touching, and extreme kissing. Violence includes possible cooperation with Orestes in beating Clytemnestra.
  • Chrysothemis: Daughter of Clytemnestra and Agamemnon. Intimacy may include hugging, hand holding. No violence.
  • Clytemnestra: Mother to Electra, Chrysothemis, and Orestes. Intimacy may include hugging, kissing, and front of body contact with Orestes. Violence will include murder by Orestes and Electra. Choreography will be developed in consideration of actor’s boundaries.
  • Aegisthus: Brother to Agamemnon, husband to Clytemnestra. No intimacy, possible violence.
  • Antigone: Daughter of Oedipus and Jocasta. Intimacy may include front of body contact, kissing. Violence includes beating by Creon, and death in tomb.
  • Ismene: Daughter of Oedipus and Jocasta. Intimacy may include front of body contact, kissing. No violence onstage, dies by suicide.
  • Haemon: Son of Creon. Intimacy may include front of body contact, kissing.  Violence includes death by gunshot, suicide.
  • Two Girls (Antigone and Ismene in “Oedipus” and Flower Girls in “Antigone”): will see actor playing Oedipus with gore makeup, may thro rose petals to suggest blood in “Antigone”, and may witness the violence in conjunction with Ismene, Antigone, Haemon and Creon’s deaths.


Aristophanes’ political comedy Lysistrata is just as relevant now as it was in 411 BCE in Athens. In the comedy, Aristophanes proposed a seemingly laughable question: what would it take for women to be in charge? The answer was simple. They would utilize their only source of power at the time: their bodies.

Withholding sex becomes a political tactic in Lysistrata. Ellen McLaughlin’s 2003 adaptation certainly packs a punch, blending the traditional Greek comedic tradition of phalloi with the contemporary commentary of today. The tale is old, yet new, and above all… it is still very funny.

For this production, the evening will feel like an event larger than the story itself.  It is full of whimsy, heightened by a sexy balloonist who somehow seems to be commenting on, interacting with, and perhaps even conducting events around them. There will be choreographed sequences, stylized “fight” scenes, sexually explicit posturing, posing and props, as well as a faithful man-splainer there to tell us all what it “actually” means. The content is highly sexual. Actors should be prepared to use their entire bodies and well graphic gestures and props to illustrate seduction, frustration, arousal, and the like.

The number of roles is flexible, ranging from 8-16 females, 5-10 males, with potential for nonbinary performers. Although Lysistrata is written as cis-gendered, the ensemble can be more gender fluid, and we have room to explore.

We are creating an ensemble, and double-casting is a likely possibility. The roles are as follows:

Grecian Women:       Grecian Men:            Chorus/Ensemble/Other:

Lysistrata                     Magistrate                    Balloonist (Female/Fluid)

Calonice                       Cinesias                       Man-Splainer (Male)

Lampito                        Geezer 1                      Athenian Chorus Leader 1 (Female/Fluid)

Myrrhine                       Geezer 2                     Athenian Chorus Leader 2 (Female/Fluid)

Dipsas                          Geezer 3                      Acrobats

Ismenia                         Spartan Envoy            Dancers

Belphragia                    Spartan Delegate       Soldiers


Old Woman 1

Old Woman 2

Old Woman 3


Matt Grevan

Production Stage Manager