Upcoming Auditions

Fall 2021 FIRST SHOW:

Adapted from the play by Charles Mee
Will be held:
SATURDAY, APRIL 17 7:00-10:00pm
Online over Zoom.
If you would like to audition, but are not able to make the auditions, please contact Laura
Standley at for an alternative time.

Possible Callbacks SUNDAY, APRIL 18 7:00-10:00pm

Online over Zoom.

Audition Requirements

ACTORS: The audition will consist of a group movement audition that not only helps us
determine your fit for casting, but also helps you determine whether this project is right for you.

No experience necessary. The movement is dance based, but works with your bodies’ own
abilities whatever they are.

Preparation: On the morning of the audition, a short piece of text will be made available for you
to quickly memorize.

Come prepared to participate in a set of movement exercises and improvisation that will
incorporate your newly memorized text.

Evaluation: The group movement audition will be evaluated based on the following areas:

Ability to follow directions
Emotional honesty
Vocal strength and variety
Ability to distinguish between personal and general space
Enthusiasm and focus
Creative and social cooperation with other performers
Ability to improvise (make it up as you go along, go with the flow)

Please note that all roles are open to all ethnicities and abilities.

To register for the audition, please see the following link: Link to Register


The MCLA Theatre season is an official part of MCLA coursework. To participate in the shows
requires enrollment in THEA 379-80 Theatre Production: Company. All shows need both actors
and "behind-the-scenes" production/tech personnel, and any MCLA student may audition and/or
interview for either. All students pursuing a Theatre degree are required to take the course four
times. In addition to the auditions being conducted at this time for the first fall show, there will be
additional auditions in September for the 2nd fall show. Interviews for production/tech positions
for both shows will also happen in September.

The Theatre Program is committed to inclusive casting which promotes diversity in the casting
of roles where race, ethnicity, gender, age, and the presence or absence of a disability is not
essential to the development of the play or characters. All students are encouraged to audition.
Theatre Program students are not given preference in casting decisions.

The audition process is part of the students’ theatre training, and all best efforts will be made to
inform students of the director’s process, and to encourage them to maximize their preparation
and participation. The aim of casting is to select the most able student for a particular role, while
also taking into consideration the relevance of the nature of the role to the student’s continuing
development as an actor.

Guest artist actors are occasionally used in some roles and are always pre-cast. Guest artist
actors enhance the training process by providing professional level models for students to learn
from through observation. Pre-casting of students in roles will not occur.


Zoom Auditions. It is recommended that you make sure your operating system is up to date, and
that you have a working camera, microphone, and speakers. You will also need an up to date
version of your browser software and Zoom video conferencing software. If you experience
technical issues, please send and email to and she will be happy to
arrange an alternative.

Private Space: You will need access to a private dedicated space where you can perform free
from distractions such as noisy roommates, phones, etc. This can be outside, inside, or
wherever you feel comfortable. The main thing is that you feel comfortable doing the exercises
and feel you are able to focus.

Day of Auditions. It is recommended that you show up early enough so that once we start the
event, we can let you in immediately and get started right away.

Call-Backs. If called back for a role, you will be asked to come to a Cold-Reading session.
Persons who are called back will be notified over email and given detailed directions about what
to prepare.

Cold reading. A cold reading is when you are handed a script and asked to perform a scene. In
call-backs you will be given a side, paired with a partner and allowed a short amount of time to
rehearse together. To prepare for cold-readings, be familiar with the plays (see information
below) and study the characters you think you are right for.

Clothing. Please dress in clothing appropriate for participating in physical activity.

NOTE. All auditions are private. We find that students do their best and most honest work when
parents and guests are not watching. We will bring you in all together for some brief
introductions and instructions. You will then be put into breakout rooms with a partner to work on
exercises that will then be shown to the whole group. In the room will be the director and
student dramaturges.


FALLING AND LOVING is a play text put together by Charles Mee for a SITI company theatre
production. He took bits and pieces from his other plays and constructed something that as a
whole feels like people experiencing the passing of the seasons as they fall into and out of love.
Anne Bogart directed the piece and brought in Elizabeth Streb, whose company (Streb Extreme
Action) is famous for acrobat-like dancers who leap out of two-story windows, bungee jump off
bridges, or tight-rope-walk across ferris wheels. According to the New York Times, the actors
performed with the Streb dancers around them under a “Guck Machine” that spewed “a waterfall
of food and other objects.” This is certainly an extreme way of producing the play. And we like
extremes! But our version will do something different in some other physical and exciting way.

For the full text of Charles Mee’s original Falling and Loving and more information about his
remaking project, see the following link: To
read the draft of our adaption (which is still in process), send an email to

Charles Mee is a post-modern playwright whose approach is similar to that of collage artists like
Robert Rauschenberg or Marcel DuChamp. He says “there is no such thing as an original play.”
And describes his work (which he named ‘the (re)making project’) as being “pillaged” from “the
plays of Euripides and Brecht and stuff out of Soap Opera Digest and the evening news and the
internet.” He invites other artists to re-make his plays and says, “use them freely as a resource
for your own work: that is to say, don't just make some cuts or rewrite a few passages or rearrange
them or put in a few texts that you like better…. build your own, entirely new, piece.”
And that’s what we are going to do.

A group of Theatre program dramaturgy students are currently working with Professor Standley
to adapt the play. Our plan is to take the stage directions and activities from Charles Mee’s other
plays — which are famous for their outrageous suggestions like people randomly crossing the
stage in chicken suits, or roller skates, or riding around in bathtubs, or golf carts.. people
descending from the ceiling like astronauts or scaling the walls like rock climbers, or throwing
themselves to the ground over and over… smashing things and breaking things, and lots of
dancing.. dancing with people and piles of laundry or ashes or buckets of water, and sometimes
breaking into song — to take all that and make our own play — to make something that is our
personal reaction to the moment. Something that is a personal exploration of the feeling of joy..
the feeling of finding it and losing it and finding it again.. while experiencing the passing of the
seasons. A love story that will end with a spring-like liberation and the discovery of “delight longterm.”

Looking for probably 6-12 (or could be more) versatile and diverse performers who will make up
the cast. Highly motivated performers with strong movement, partnering, communication, and
improv skills. In many of his shows, Charles Mee requests that “the cast should be radically
diverse—in terms of race, class, style, body type, way of moving and general physicality.” We
strive to put together a radically diverse cast that showcases the beauty of difference.

Character Breakdown

The characters in Falling and Loving are named after the SITI/STREB actors who played them.
For our play, we will rename the characters based on the actors who are cast. The play’s plot
follows 3 main couples who have short interactions with a few other characters. We have
expanded this breakdown to include at least two more couples if not more depending on
audition turnout. Character descriptions are minimal because these characters are designed to
be open to interpretation.

Questions? Need access to scripts for preparation?
Contact: Laura Standley