Loyola University Chicago


Department of Fine and Performing Arts

Production Auditions

Auditions are open to all Loyola students regardless of their declared major or minor.

The Theatre Program is committed to equity, diversity and inclusion. As such, we encourage performers of all races and ethnicities, gender identities, sexualities, disabilities, and ages, as well as d/Deaf, to attend every audition.

General Audition Information

The Department of Fine and Performing Arts holds auditions for actors, singers and dancers for its Mainstage and student led Second Stage productions throughout the academic year.

On average, the DFPA produces 3-4 Mainstage productions a year and 6-10 Second Stage projects. Depending on the time commitment, students that are cast are enrolled in THTR 323 - Rehearsal and Performance. This one-credit class, in addition to supporting the amount of time a student spends in rehearsals and performances, also serves as part of the applied knowledge in production that theatre majors will receive as part of their graduation requirements.

Incoming freshmen have the opportunity to audition for competitive scholarshipsUsually these auditions are scheduled in the February prior to a student's enrollment in the program.

Current students looking for more information regarding upcoming auditions are encouraged to join the THTR PROGRAM Sakai site. 

Functioning much like the class-specific Sakai spaces, the THTR PROGRAM Sakai is the best place to find any announcements or information regarding upcoming opportunities. Please email dfpamc@luc.edu to be added to the site. Students enrolled in theatre classes are automatically added to the site at the beginning of the semester.

Current students may also join LUC Theatre News on Facebook.

Fall 2022 Mainstage Auditions

Thank you for your interest in signing up for our Fall 2022 Mainstage Programming! Auditions for both of our mainstage shows, SOMEWHERE and ORLANDO, will happen simultaneously on Tuesday, August 30th in MUND 409. Please note that you can audition and be considered for both productions if you would like, but since both productions conflict with each other, if cast you will ultimately be in one production.  

Please consider the time commitments to these projects when you are signing up; there are areas to put any conflicts/availability issues, but if you are cast in one of these productions, you will be expected to attend all rehearsals/tech/performances you are called for. Things may come up that you cannot plan for that we understand and can try to accommodate, but your time and energy on these projects is extremely important in helping fulfill any learning outcomes you set for yourself. Please be mindful of your own workload and schedule this semester when signing up. Please direct any questions or concerns about anything related to auditions to the DFPA Production Office at dfpaproduction@luc.edu 



By Marisela Marisela TreviƱo Orta | Directed by Denise Yvette Serna

With almost all the insects gone, the world is beginning to fall apart as crops fail and people struggle to hold on to their ways of life. Cassandra and her brother Alexander are tracking the last monarch butterflies in the world as they head to the west coast. Their path intersects with a truffle farm where a small group of people are hunkering down for the on-coming collapse of society.

AUDITIONS: August 30th, 2022, 6:00-10:00pm in Studio 409


For Somewhere, please prepare a 1-minute contemporary monologue. For Orlando, please prepare 1-minute of prose, poetry, or drama that creates a verbal image. If you are preparing to audition for both shows, please prepare both audition materials. If you can accomplish both of these requirements in 1 monologue/moment, that is fully acceptable.


CALLBACKS: August 31, 2022, 6:00 - 10:00pm, MUND 409


Production Management Coordinator, Alex Umekubo aumekubo@luc.edu will reach out to you if you are called back.

CASSANDRA: 20s. POC. An entomologist. Ignored prophet. Pragmatic to a fault. Unafraid because she finds chaos interesting, scientifically speaking. 

ALEXANDER: 20s. POC. An engineer once upon a time. Sarcastic and heartbroken. Looking for something to believe in. 

DIANA: 20s. Former librarian. Nerdy and restless. The apocalyspe really messed her plans for a corss country road trip.  

SYBIL: Early 30s. A mathematician and former self- taught acountant for her business she ran with EPH. DIANA'S older sister. Married to EPH. Never met a problem she couldn't solve...until now.  

EPH: 30s. POC. Former general contractor- ran his company with his wife SYBIL. A natural leader. Expects everyone to pull their own weight.  

CORIN: 20s. EPH's former employee and right-hand man. In love with DIANA. Quiet and watchful.  

This production is committed to a casting practice that is conscious of representation and depiction of people from historically oppressed and invisiblized groups. Considerations of race, including how race and ethnicity shape society and the stories we tell, are vital components to the casting process. Also critical to the casting process is a respect and celebration for bodies of different types and abilities across the gender spectrum. The performance will be crafted in ways that respect, care for, and honor individuals, cultures, and contemporary social movements.


Somewhere takes place in North America, where globalization, migration, and civil rights movements have cultivated a population of many mixed race and multi racial people, as well as people raised in mixed, queer, and non-western family structures. With this in mind, I think this play is populated by individuals of limitless identities and intersectional experiences.


Cassandra, Alexander, and Eph are roles written specifically for people of color.


The butterflies will be performed by an ensemble who will participate in stage movement, as well as manipulate puppet mechanisms developed by the DFPA. Movement will be created with the performers to incorporate their ability and skill level. All bodies can move; even if you don't think you're a "mover" we invite you to surprise yourself. Individuals with experience in movement - modern, classical, and folkloric dance, non-western dance, martial arts, clowning, gymnastics, cheer, yoga, and athletic drills are also encouraged to audition.

  • Rehearsals Begin: September 2, 2022
  • Tech: September 28 - October 5, 2022
  • Performances: October 6 -9, 2022. Performances Thursday-Saturday are scheduled at 7:30pm, Sunday at 2:00pm. There is an additional matinee performance on Saturday at 2:00pm.


By Sarah Ruhl | Directed by Mark E. Lococo

Based on the Virginia Woolf novel, this is the story of a young nobleman who is drawn into a love affair with Queen Elizabeth I. For a time, life at court is interesting enough, but Orlando yearns for something more. As he strives to make his way as a poet and lover, his travels keep him at the heart of a dazzling tale where gender and gender preferences shift regularly, usually with hilarious results.

AUDITIONS: August 30, 2022, 6:00 - 10:00pm in Studio 409


For Orlando, please prepare 1-minute of prose, poetry, or drama that creates a verbal image. For Somewhere, please prepare a 1-minute contemporary monologue. If you are preparing to auditon for both shows, please prepare both audition materials. If you can accomplish both of these requiremets in 1 monologue/moment, that is fully acceptable.


CALLBACKS: August 31, 2022, 6:00 - 10:00pm in MUND 125


Production Management Coordinator, Alex Umekubo aumekubo@luc.edu, will reach out to you if you are called back.




















For the audition, please prepare one minute of poetry, prose, or drama that creates a verbal image. Use your voice and body to embody this moment of description.


Orlando is a novel by Virginia Woolf in which, using some of the most beautiful, lyrical language and imagery in English literature, she explores gender throughout history - from Elizabethan England to the twentieth century. Sarah Ruhl's adaptation uses Woolf's language to craft a vast and vivid story with unlimited potential for an ensemble to explore using their physical and vocal skills. I anticipate a highly physical production, but one that is reliant on physical and emotional comfort and safety. All body types and skill levels should audition.


The production will also rely on vocal ability, specifically choral and dialect work. Our ensemble will be composed of 9 performers, all of whom must be physically and vocally comfortable and facile.


As the source material for Ruhl's play deals with shifting, fluid views of gender, actors should be prepared to explore binary and non-binary manifestations of traditional masculinity and femininity. Actors should be prepared to play characters of both genders. Orlando explores identity through romantic coupling and recoupling and Ruhl's script calls for moments of kissing, embracing, and touching. While we will prioritize comfort and sensitivity in the rehearsal setting, actors must be prepared to communicate their level of comfort and discomfort within the rehearsal process, and all efforts will be made to work with techniques of intimacy coordination in staging sensitive moments.


Ruhl specifies that the characters of Orlando and Sasha are to be played by women, and we interpret that to mean actors that can, and are comfortable presenting as feminine. All other roles, and the chorus will be cast without regard to specific gender.

  • Rehearsals Begin: September 19, 2022
  • Tech: October 20 - October 26, 2022
  • Performances: October 27 - 30, 2022. Performances Thursday-Saturday are scheduled at 7:30pm, Sunday at 2:00pm. There is an additional matinee performance on Saturday at 2:00pm.


Fall 2022 Second Stage Auditions

Project Lead, Irene Philips



  • Rehearsals: September 9-16
  • Performances: September 17-18
  • Times: TBA


Audition Form: (link coming soon)


Project Description:

Music Heals is a project that gives students the chance to show how music has impacted them in their life. Sometimes, what someone needs is to feel like people hear their story. With this project, I want to create a space where students sing, either with an instrument or a track, for an audience in the Underground.


Music Heals would be split up into separate chapters. These chapters are Loving, Losing, Breaking, Healing, Growing, and Remembering. Before the song, the performer would also give a short monologue written beforehand about how the song has impacted them in a time of either Loving, Losing, Breaking, Healing, Growing, and Remembering. The goal of this project is to make students feel heard with individual stories and songs, but with the feeling of a coherent production.


Project Rationale / Educational Goals:

I have been thinking about developing a project on the Second Stage for Fall of my senior year but wanted to make sure it was the right project for me. As for personal growth, I love creative collaboration and leadership roles, so that is how leading a project will benefit me in those areas. I also love performances, so being involved in a show such as this will further develop those skills as well. I hope to be a teaching artist and work in the education department of theatres, so working with students, and the campus community, I hope that the message of this piece will resonate with them. I want people to feel as though they could take this project and make it their own. Rework the chapters, add different songs, etc. For those working on the show with me, I think it would be a great challenge to take a bunch of different stories and emotions and connect them together to create a cohesive piece with the same end message...music heals.

Project Lead, Annemarie Andaleon



  • Organizational Meetings: October 15, 21, and 28
  • Rehearsals: October 31 - November 4
  • Performances: November 5-6
  • Times: TBA


Audition Form: (link coming soon)


Project Description:

Shakespearean characters often fall into madness. This project explores a Shakespearean character's descent into madness by using Shakespeare's original text and slowly randomizing the order of the phrases: the beginning is in the traditional order, in the middle, the lines become randomized, and finally, the individual words themselves are put into a random order. Performers will work to convey the madness and emotional turmoil of a character's words despite words increasingly becoming nonsensical. This is an exploration of performance, text, and telling a story using seemingly unfamiliar and difficult to understand text.


Project Rationale / Educational Goals:

This project aims to train the actors to find meaning out of increasingly (seemingly) nonsensical text using their understanding of the character, the play that they're from, and their emotional arc. The performers will use their knowledge of scansion, the play they pull their characters from, and their own creativity to deliver a piece despite the randomized text.

Project Lead, Mikayla de Guzman



  • Rehearsals:
    • MUND 125: November 3-9 with Dance Rehearsal November 5
    • Underground: November 10-18
  • Performances: November 19-20
  • Times: TBA


Audition Form: (coming soon)


Project Description:

A workshop on the Visayan tale of Sun and Moon's origins. Coming of Stars is a story exploring love, loss, and hope for a family. Students will explore traditional Filipino dance movements and music to explain the journey of the characters as their responsibilities take a dramatic shift.


Project Rationale / Educational Goals:

I am choosing to emphasize some of my own cultural roots through this piece because I believe that this story and where I come from is valuable and still resonant to this day for both history and theatre.

Even through few may be familiar with this Filipino fable, I hope that his project helps fellow students gain more diverse theatre performance and perspective by exploring it through one of Loyola's educational goal of global awareness.: the "world's people and societies are interrelated and interdependent."

Project Lead, Lucy Myerscough



  • Rehearsals: November 18-19
  • Performances: November 21
  • Time: TBA


Audition Form: (coming soon)


Project Description:

I want to support fem identifying people in theatre through development of a new play surrounding the trials and tribulations of women in the 1920s and give support to the ensemble by bringing Fem identifying professionals who understand the process of developing new characters and material. A quick play description: discussing topics such as domestic abuse, STDs, and financial difficulties, the girls in Ms. Elenor's house, work together to confront the ghosts that plague their lives. It deals with the parts of these women's lives that haunt them, while also portraying the actual haunting of a women's boarding house. The project will focus on the process behind developing new material and creating strong coherent characters that work together in the story.


Project Rationale / Educational Goals:

The main goal of this project is to support fem identifying people in theatre with the help and collaboration of professional fem identifying people in theatre, through the process of building characters and relationships in a new production. The purpose of this project is also to continue the Women in Theatre ensemble started by Lily Cate Gunther-Canada, Maegan Pate, and Elise Mitchell. I was very influenced by their dedication to creating a safe and supportive space for fem identifying actors at Loyola to grow and work together on new work. I want to continue this mission and allow for further support of fem identifying people in Loyola's theatre community to be able to learn and grow in their craft through the help of each other and professional actors and directors from around the country. By bringing in these professional women to talk about how to build new characters and work on new material in a creative setting, this ensemble will get a unique understanding of how new material is created in a professional setting.