MAC Theatre Auditions
for our Fall 2025 Musical:
All actors are required to attend both the vocal auditions and the dance/movement auditions to be considered for a role in the show. All actors are strongly encouraged to attend the live auditions. However, if you are unable to attend the live auditions, alternate audition requirements will be given. Please contact Mr. Carrasco(vocal/callbacks) or Mrs. Uehara (dance) directly for alternate instructions if you know you can’t attend either or both days. Contact information is listed below.
Day 1: Vocal Auditions
WHERE: The Fine Arts Building Theatre Stage
WHEN: May 27, 2024 from 1:30pm - 5pm*
When you arrive, please sign in with the audition monitor in the Fine Arts Building Theatre main hallway.
All auditionees are required to attend the vocal call.
A song (see below) is required if you wish to be considered for Between The Lines.
All actors that wish to be considered for any role in Between The Lines are required to attend the dance call on Wednesday May 28, 2025 (see below).
*Please be prepared, have your sheet music ready for the accompanist (if singing), and be ready to go at your assigned time.
*Please note that we will make every effort to be done by 5pm because our pianist will need to leave promptly at that time. Please be ready to perform with your sheet music prepared. If we run out of time and auditions must continue past 5pm, actors will need to sing with an instrumental track or a cappella.
Day 2: DANCE AUDITIONS**
WHERE: Dance Arts Building- Studio 1
WHEN: May 28, 2025 from 1:30pm - 3pm
All auditionees that wish to be considered for any role in Between The Lines must attend the dance call. All actors should be prepared to dance in athletic shoes. The dance call will be contemporary musical theatre dance.
**Proper dance attire will likely be updated on May 12, 2025.
Day 2: CALLBACKS for Between The Lines- by invite only
WHERE: The Fine Arts Building Theatre Stage
WHEN: May 28, 2025 from 3pm - 5pm (immediately following the dance call).
Callbacks will be announced as soon as humanly possible after the vocal auditions.
Callback music and/or sides will be provided both digitally and with a paper copy.
Actors not invited for callbacks will be released after the dance call. Note that not receiving a callback does not mean you won’t be cast in the production!
AUDITION REQUIREMENTS
All
All auditioners must fill out the Audition Google Form AND Sign-Up Genius form to reserve an audition time. Both forms will be posted on the MacTheatre website on or before Monday May 12, 2025. We will notify you when these forms are up and available to fill out. If you show up the day of the audition without an audition slot, we will attempt to fit you in. However, understand that priority will be given for actors with a reserved time slot and there’s no guarantee that you will be seen.
Song Requirements
Please prepare 32-bars (or one minute) of a song. This show has a contemporary musical theatre style incorporating elements of pop, rock and a classical feel.
You may sing a contemporary musical theatre song or a pop/rock power ballad or high energy song. This show requires strong character actors that have emotional depth, strong comedic timing, and excellent vocal control throughout their range. Riffing is encouraged for female presenting roles. Beautiful and lyrical singing is required for most roles too.
A live piano accompanist will be provided for both vocal auditions and callbacks.
You will need piano/vocal sheet music for your audition cut. Please have your sheet music ready to present to the accompanist in an organized three ring binder.
Pro Tip: If possible, try to optimize the arrangement of the sheet music so that the accompanist has to do the least amount of page turning during your song. Often, utilizing double-sided copies can help with this.
Performing with pre recorded audio tracks or ‘a capella’ singing is not allowed. See Resources section below for helpful links to find sheet music for your song.
Alternate Audition Requirements
All actors must attend the vocal/acting auditions, dance call and callback auditions(if invited) to be considered for a role in the show. If you are unable to attend one or more of the audition segments, then you must contact Mr. Carrasco prior to the start of auditions so alternate arrangements can be made. Contact Ms. Nat if you are unable to attend the dance call portion and she will give you specific audition submission instructions. It is highly encouraged that you make every effort to attend the live auditions if at all possible.
If needed, please send requests for alternate audition arrangements to:
robert.carrasco@austinisd.org (Vocal & Callback Auditions)
natalie.uehara@austinisd.org (Dance Call)
Character Breakdown
(All roles are available to any gender provided actors can meet the vocal requirements for the role and are willing to play the characters gender as written by the playwrights)
DELILAH: 17 years old. Mezzo-soprano high belt. Smart, well read (everything from Dostoevsky to graphic novels). Upended by her parents’ bitter divorce, she finds herself in a new school where she goes from being invisible to everyone (including her mom), to becoming the target of the most popular girl in school. To escape, she turns to books – one book in particular where she develops a literary crush on a handsome prince whose circumstances really speak to her. And then one day… so does he.
PRINCE OLIVER/ EDGAR: A classic European fairytale prince, late teens, high tenor belt. Charming, sincere, smart and handsome – Oliver wishes for the freedom to live beyond the confines of the story that has been written for him. British accent preferred but not required. As EDGAR he is the son of Jessamyn Jacobs, the author of the book Delilah is obsessed with, and he looks exactly like Prince Oliver, (because Jessamyn based the character of Oliver on him). However, Edgar is not a prince; he’s a typical American teenage boy.
GRACE/ QUEEN MAUREEN: Early 40s, mezzo-soprano belt, Delilah’s mother. After 17 years of being a stay-at-home mom with dreams of completing her nursing degree, Grace finds herself the sole breadwinner and parent, and failing at both. As QUEEN MAUREEN she is Prince Oliver’s fairytale mother and speaks with a British accent. While the book is being read she’s the grieving, forever chaste widow. When the book is closed she is the martini-swigging queen of snark. This character can be any ethnicity. Both roles cast individually, if possible.
FRUMP/ RYAN: Early 20s, tenor, tap-dancing-song-and-dance man. Prince Oliver’s best friend who is half-dog due to a curse placed on him by the evil Rapskullio earlier in the fairy tale book. Frump is hopelessly in love with Princess Seraphima. Danny Kaye in dog form. As RYAN, he is the jock boyfriend of Allie McAndrews, a dude’s dude and a total tool. Both roles cast individually, if possible.
JULES/ ONDINE: Gender fluid (identifies as female), mezzo with a belt. Strong and confident, Jules is the living embodiment of “live the story you want if it’s not the story you’re in.” As ONDINE she’s the lead Mermaid. When the book is being read the mermaids are obsessed with men, however once the book is closed they become staunch feminists. Both roles cast individually, if possible.
ALLIE/ PRINCESS SERAPHIMA: Strong belt required. Allie is the school’s resident queen bee who is a smart, entitled, “mean girl.” As PRINCESS SERAPHIMA: while the book is being read, Seraphima speaks with a British accent, and is the quintessential princess: beautiful, eloquent. However once the book is closed, she is the exact opposite: not very bright, self-absorbed, and speaks with a vocal fry like a bored mean girl. Both roles cast individually, if possible.
DR. DUCHARME/ RAPSKULLIO: Baritone/tenor. As DUCHARME: The school social worker who advises DELILAH to give up her obsession with the fairy tale. He’s a quirky, socially awkward, nebbish sort of fellow. As RAPSKULLIO: in the fairy tale Rapskullio is a classic evil villain, however when the book is closed he is the exact opposite: ultra-sensitive, good-hearted, and in touch with his feelings. His passion is rescuing stray butterflies. Both roles cast individually, if possible.
MS. WINX/ JESSAMYN JACOBS/ MRS. BROWN/ KYRIE (Mermaid): As WINX: Early 80s, soprano. Ms. Winx is the school librarian who happens to have a longstanding literary crush on Mr. Darcy from Jane Austen’s Pride and Prejudice. Sassy, strong, knows exactly who she is. A Berte type from Pippin. As JESSAMYN: Early 40s, mezzo-soprano belt. The author of the fairy tale book Delilah is obsessed with and a widowed mother of a teenage boy. She’s kooky, a bit scattered and off beat, but smart and intuitive. As MRS. BROWN: mid 50s, non-singing role. She is a biology teacher who is obsessed with self-tanning, teeth whitening, and vacationing in the Caribbean. As KYRIE (MERMAID): when the book is being read the mermaids are obsessed with men, however once the book is closed they become staunch feminists. These roles will be split between 2 (or possibly more) actors.
MARTIN (Student)/ TROLL/ DAD/ DELIVERY PERSON: Age 15-17, tenor-baritone. As MARTIN: a high school aged internet troll who bullies Delilah through social media posts, and who is part of Allie McAndrews’ tribe. As TROLL: When the fairy tale is being read the troll is a grunting, monosyllabic monster. When the book is closed, he is an Olivier-esque actor’s actor. As DAD: Delilah’s father (late 30s early 40s) in two flashbacks (non-singing). As DELIVERY PERSON: Hands DELILAH the eviction notice (non-singing). These roles will be split between 2 - 3 actors.
JANICE (Student)/ MARINA (Mermaid): Actor to play age 15-17 , mezzo-soprano with a strong belt. As JANICE: she’s Allie’s ditzy right hand gal. As MARINA (MERMAID): when the book is being read, the mermaids are obsessed with men, however once the book is closed they become staunch feminists. Both roles cast individually, if possible.
ENSEMBLE: Actors will be assigned various roles throughout the show(mermaids, fairies, students, etc).
Understudy assignments will primarily be given to ensemble members.
Audition Resources
You are not required to utilize this resource. It is only provided as a guide to assist you with finding suitable materials
AUDITION PROCESS
(forms below should be available on Tuesday May, 13)
Complete Audition Interest Form – carefully listing all conflicts.
Sign up for an audition time.
Familiarize yourself with the story, characters, and music
Come to your audition prepared to sing, dance, and act.
Wear clothing you are comfortable moving in.
Have fun!
How Do Our Auditions Work?
It is perfectly normal to have lots of questions before an audition. Whether you are a seasoned performer or it is your first time auditioning for a show, you might feel nervous and that's A-Okay! We have compiled some resources to help answer your questions about auditioning so you feel ready to go when you walk in the door.