Pandora Auditions & Casting Notices 2018-03-26T22:17:03+00:00

So, you want to be seen on Pandora’s stage?

If you’d like to be added to our auditions notice distribution list, for future auditions and replacement auditions, please email us at info@pandoraprods.org with Auditions in the subject line. If you’d like to send a digital headshot and resume that would be most welcome as well.   

Mon., April 9th 
by appointment only!

Pandora Productions will hold an open call for those interested in auditioning for the company who have NEVER worked with the company before.
for an appointment on Monday, April 9th from 6 – 10 p.m. please email info@pandoraprods.org for an audition time.

Prepare a monologue of no more than 2 minutes and 32 bars of a ballad (if you sing)
Bring an uptempo with you in case you are asked for one.
Only auditionees who sing and dance very well will be considered forALTAR BOYZ
 Only auditionees who sing and move well will be considered for CABARET
Only auditionees who sing well will be considered for SOUTHERN COMFORT & GIRLFRIEND
Please note the some roles in MY BIG GAY ITALIAN CHRISTMAS are already cast with
actors returning to roles they created previously in this series  
Please bring a picture and resume.
Full show descriptions, casting requirements, rehearsal schedule, tech and performance schedules can be found below.
Actors who’ve worked with us before… Do not distress!! 
Pandora will hold call backs for all 2018-2019 Season shows on
April 12, 14, 15 & 19 at various times (depending on the show)
This audition is for actors who’ve worked with Pandora in the past who are interested in specific roles and/or those who
Michael would like to see for something specific (emails to follow) and for those who will attend the
Open Call who need to be seen again (notification to follow shortly after the Open Call)
Not receiving an invitation to these call back auditions is no indication of not being successfully cast in a Pandora 2018-2019 Season production, nor should a call back indicate you are cast in a production. 

Invited actors will be given materials from which to audition.  

This material will be made available 30 minutes before the call back time noted in your email invitation. 

Actors who’ve worked with us before and who are interested in a particular role (shows with production dates are listed below) for the 2018-2019 Season should email Michael at the address below and let him know the role(s) you are interested in… artisticdirector@pandoraprods.org


Pandora Productions 2018-2019 Season 
all productions listed below will be presented at
The Henry Clay Theatre  ||  604 S. Third Street., 3rd Floor, Louisville, KY 40202
 Auditions are NOT at the Henry Clay, Location will be sent when appointment is made.

 (Musical) Season Extra || August 3 – 25, 2018
The holy inspiring story of 5 small-town boys – Matthew, Mark, Luke, Juan and Abraham – trying to save the world one screaming fan at a time. A pious pop act, Altar Boyz is destined to rock the masses of all denominations! Full of sharp parody, sinfully spectacular dancing, and irreverent humor, this spoof about a heavenly guy-group is an extraordinary mix of side-splitting songs, uncontrollable laughs and lighthearted fun, this award-winning and totally original musical is 90 minutes of pure delight that’s suitable for all ages and will have the whole family laughing and singing along.
Director: Michael J. Drury
Musical DirectorTBA
ChoreographerAlfred Dale Jones, Jr.
All Altar Boyz are 18 up to 30 with a youthful look – must be good readers and able to harmonize
Some pay depending on sales.
tenor 1, vocal range: just shy of two octaves from C below middle C up to a B, the leader, he’s the strong one, the real heartthrob, oozes confidence, well built.
tenor 1, vocal range: C below middle C up to high E – 2+ octaves, the sensitive one, slight build, he’s totally gay but it’s never acknowledged; has a major crush on Matthew.
tenor 2, vocal range: C below middle C up to an A, needs to hit the E 2.5 octaves above that in a few riffs, the bad boy, part of what makes Luke such an appealing Altar Boy is his delicious ghetto inflections and mannerisms, he’s a rapper, he’s street-wise but he’s from the suburbs, he doesn’t come across as being exceptionally smart, but has a heart of gold.
tenor 1, vocal range: C below middle C up to a B flat, the Latin lover, needs a good Spanish accent, strongly passionate about everything, trying hard to be good, but he wants so much to be bad.
tenor 2, vocal range: C below middle C up to A, but also has to have a very strong super high falsetto up to a female range high B, the Gefilte fish out of water, the Jewish member who is along for the ride, never feels like he fits in, but he’s the only one who truly gets what it’s like to be an Altar Boy.
Rehearsal Dates:            Some rehearsal in early-mid June for a performance at Pride on June 16
                                           Then continuing July 1 – July 28, 2018
Tech Rehearsals:            July 29 – August 2, 2018 (usually 6p-11p)
Performances:                August 3, 4, 9, 10, 11, 16, 17, 18, 23, 24, 25 @ 7:30 p; August 5, 12, 19 @ 5:30 p
Photo Call:                       TBA (but before or after a performance, likely a Sunday evening)
Strike:                               August 25 after the final performance (all cast expected to assist)

(Musical) September 13 – 29, 2018
book by Joe Masteroff; music by John Kander; lyrics by Fred Ebb
Based on the play I Am a Camera by John Van Druten; Based on stories by Christopher Isherwood
Cliff, an American author working on a novel in late 1930’s Berlin, encounters Sally at the seedy Kit Kat Klub where she sings. When she is fired by her jealous boyfriend and club’s owner, she moves in with Cliff and the two fall in love. Fraulein Schneider, a German boarding house owner and Herr Schultz, an elderly Jewish fruit vendor have struck up their own relationship. Overseeing the action is the Emcee. As the Nazis begin taking control of the government, the atmosphere of the Kit Kat Klub, serving as a metaphor for ominous political developments, and the lives of our couples begin to change dramatically.
DirectorMichael J. Drury
Musical DirectorPhillip Morgan
ChoreographerMaggie Patten
vocal range: middle C to high C#, tenor; the host/master of ceremonies at the Kit Kat Klub–gender-questionable character comfortable with being close to both men and women; comedic, lovable; requires agile stage movement and dance; speaks with a German accent.
vocal range: low A to high C, soprano, strong belt; a British cabaret singer at the Kit Kat Klub, quirky, comes across as flighty, yet at times struggles to know the dark reality of her life as a cabaret performer; comfortable with stage movement and light dance; speaks with a British accent.
vocal range: low A to high E, tenor; American novelist and English teacher traveling to Berlin; closeted gay man; comfortable with stage movement and light dance; American accent.
50+, vocal range: low D to Ab above middle C, alto; a landlady who rents rooms in her large flat; comfortable with stage movement and light dance (waltz); German accent.
50+, vocal range: low G to high F, tenor; one of Fraulein Schneider’s roomers and pro-prietor of a fruit shop; comfortable with stage movement and light dance; speaks with a German accent.
40’s, vocal range: low A flat to high F, alto/mezzo; another roomer, earns money by offering favors to sailors, should exhibit a strong sexual comfort and commanding nature; comfortable with stage movement; speaks with a German accent.
30’s – sings in the chorus, vocal range flexible; a friendly and likable German, takes English lessons from Cliff, and smuggles funds for the Nazi party; comfortable with stage movement and light dance (waltz); age range is flexible, speaks with a German accent.
(4) Kit Kat Club performers and various featured roles; strong singers in all voice parts; will also be part of various scenes as performers and as club patrons; can be of various shapes and sizes–the key is that they are comfortable with femininity and scanty costumes; excellent dancers.
(4) Kit Kat Klub waiters and patrons and various features; strong singers in all voice parts; comfortable with portraying free in gender depictions; excellent dancers.
2 Males & 2 Females to play Club Patrons, Party Guests, and Various Features; strong singers in primary four voice parts, comfortable with stage movement and light dance.
Rehearsal Dates:          July 15 – September 8, 2018
Tech Rehearsals:          September 9 – 13, 2018 (usually 6p-11p)
Performances:              Sept. 14, 15, 20, 21, 22, 27, 28 29 @ 7:30 p; Sept. 16 @ 2:00 p; & 23 @ 5:30 p
Photo Call:                    TBA (but before or after a performance, likely a Sunday evening)
Strike:                            September 29 after the final performance (all cast expected to assist)

 (Comedy) November 8 – 24, 2018
by Anthony Wilkinson
The follow up to the Big Gay Italian Trilogy, a Christmas show designed specifically for the holiday season. A bisexual triangle, political conversations gone spoiled, a variety of over the top characters and the snow storm of the century are just a few of the ingredients of this Big Gay Italian Christmas lasagna. Anthony, his new boyfriend, Angela and Aunt Toniann are present for the holiday gathering, as is Anthony’s very pregnant, crazy sister Maria. You can also expect some new characters like Cousin Josephine, Victorio and Olivia Buccatini.
Guest DirectorJason Cooper
Rehearsal Dates:          September 24, 2018
Tech Rehearsals:         November 4 – 8, 2018 (usually 6p-11p)
Performances:              Nov 9, 10, 15, 16, 17, 19, 23, 24 @ 7:30 p; Nov 11 @ 2:30 p; & 18 @ 5:30 p
Photo Call:                    TBA (but before or after a performance, likely a Sunday evening)
Strike:                            November 24 after the final performance (all cast expected to assist)

(Play with Music) January 10 – 26, 2019
By Julianne Wick Davis, Dan Collins
A courageous, heart-soaring musical that tells the true story of a group of transgender friends living life on their own terms in the back hills of rural Georgia. At its core, it is a love story between patriarch, Robert Eads, and newcomer Lola Cola. Through a unique folk and bluegrass-inspired score, the musical chronicles a year in the lives of this unique American family as they courageously defy the odds by simply remaining on the land to which they were born, reminding us that home is where we find comfort in our skin.
DirectorMichael J. Drury
Musical Director: TBA


Transgender man: A wiry, “electric” man in his fifties. He has the ability to seem like a wide-eyed child and a wise old prophet all at once.
Transgender woman: A tall, broad-shouldered woman; somewhat uncomfortable in her own skin. Professionally she still assumes the identity of John. Mid-forties.
Transgender man: A little elf of a man; full of warmth and mischief but struggling with a deep resentment and anger at the world around him. Late thirties/early forties.
Transgender woman: Jackson’s girlfriend. A naughty Catholic school boy turned naughty Catholic school girl; tough, feminine, and confident. Late twenties/early thirties.
Transgender man: A hefty, introverted man. He might almost be intimidating, were it not for his extremely gentle and somewhat sad demeanor. Late thirties/early forties.
Cisgender woman: Sam’s wife. Spirited and full of good humor, but apprehensive of the world around her. Early/midforties.
An onstage folk band that serves as the “orchestra” and storytellers for the show; acting as all the characters in the piece aside from the primary six. They are the passing time and the changing seasons, Robert’s parents, the haunting voices of his doctors, and so on. They serve as the storytelling backbone to our “Modern-Day Folk Tale,” while also embodying the environment/atmosphere/world around our primary characters – both physically and musically.

Rehearsal Dates:         November 25 – January 4, 2019
Tech Rehearsals:         January 5 – 10, 2019 (usually 6p-11p)
Performances:             January 11, 12, 17, 18, 19, 24, 25, 26 @ 7:30 p; Jan 13 @ 2:30 p & 20 @ 5:30 p
Photo Call:                   TBA (but before or after a performance, likely a Sunday evening)
Strike:                           January 26 after the final performance (all cast expected to assist)

 (Rock Musical) March 7 – 23, 2019
book by Todd Almond, music by Matthew Sweet
Set to the irresistible songs from Matthew Sweet’s landmark album, this musical gives voice to those who grew up in small towns, those who didn’t quite fit in, and anybody who remembers the terror and thrill of first love. It’s small town Nebraska, 1993. Two teenage boys who’ve just graduated from high school – Will, a social outcast keeps his distance from people and Mike, the sports star and big man on campus, who despite having a girlfriend inexplicably finds himself attracted to Will – on Mike’s suggestion that they hang out they explore a relationship during a summer of self-discovery. 
DirectorMichael J. Drury
Musical DirectorTBA
18-22; social outcast, gay, shy, just graduated from high school
18-22; sports star, big man on campus, has a girlfriend but he has other feelings he doesn’t understand, just graduated from high school
Rehearsal Dates:         February 15 – March 3, 2019
Tech Rehearsals:         March 3 – 7, 2019 (usually 6p-11p)
Performances:             March 8, 9, 14, 15, 16, 21, 22, 23 @ 7:30 p; March 10 @ 2:30 p & 17 @ 5:30 p
Photo Call:                   TBA (but before or after a performance, likely a Sunday evening)
Strike:                           March 23 after the final performance (all cast expected to assist)

 (Serio-Comedy) May 9 – 25, 2019
by Peter Parnell
Two couples who recently met at a parents group are out to dinner at the hot new restaurant. The foursome share photos of their kids, trade war stories from pre-school applications, and discuss their work. Alan and Rob, and Scott and Jason find plenty of common ground as gay couples raising kids in the city, and a play date with their children is set. As we follow these couples through their developing friendship, the conversation deepens from afterschool pick-up to the cracks in their marriages – struggles which are mirrored in the relationships of their straight friends as well.
DirectorMichael J. Drury
Age ranges are a starting place, open to considering those outside these ranges…but the differences in the ages of the couples is important.
50-55; a journalist whose anxieties about being a father to his three-year-old daughter reflect his own ambivalence and insecurities; witty, self-deprecating, just barely in touch with his own repressed anger.
44-49; Alan’s husband; a psychiatrist in private practice who is far more comfortable with being a father; a great listener, who can be judgmental but also warmly accepting of others’s neuroses, especially Alan’s.
32-37; a gay dad whose son is the same age as Alan and Rob’s daughter; works in private equity, is a bit buttoned-down, and keeps his emotions in tight check.
32-37; Scott’s husband; an abstract painter who is more relaxed than Scott, has an easy seductive charm, and a slight air of mystery about him; attractive, sexy.
47-55; a college friend of Alan’s; a Broadway composer who is made attractive to women more by his warm, at times needy personality than any necessarily obvious charm or good looks, though he could have those too.
40-46; Michael’s wife; a foil to Michael who can either be more controlling and cooler than he is, or a warmer, nurturing earth-mother both to him and their two young children; a smart, witty, highly responsible woman who is a bit obsessed with her kids.
35-39; an actress; current star of an HBO TV series about marital infidelity; attractive in either a beautiful or charismatic way, but an actress nonetheless; self-involved, but more knowing than others assume; married to a photographer and has a young son; currently having an affair with Michael.
Rehearsal Dates:             March 25 – May 2, 2019
Tech Rehearsals:             May 5 – 9, 2019 (usually 6p-11p)
Performances:                 May 10, 11, 16, 17, 18, 23, 24, 25 @ 7:30 p; May 12 @ 2:30 p & 19 @ 5:30 p
Photo Call:                       TBA (but before or after a performance, likely a Sunday evening)
Strike:                               May 25 after the final performance (all cast expected to assist)

Pandora’s rehearsal schedules vary but are worked around submitted conflicts when possible.

 We rarely rehearse a show in linear fashion and not all actors are called for each rehearsal. 
When you are called you will be used. You won’t sit around waiting and never get to rehearse. 
That’s not how we roll at Pandora.
Our typical schedule is generally:
M – Th 6:30 – 10 p; Sat 10 a – 4 p; Sun 4 – 10 p. and for 4 – 6 weeks.
Musicals are on the longer end, plays on the shorter end of that scale.
This is a daunting schedule but remember, unless you are a lead, you won’t be called for all of them.
Our Tech rehearsals are generally 6 – 11 p, 4 – 5 nights prior to opening.
Because of our expansion to 3-week runs this year, giving us the added benefit of an added tech rehearsal.
Casting for the entire season will be done by the company’s Artistic Director: Michael J. Drury with input from Guest Directors.