The Tennessee Williams Theatre Company of New Orleans is seeking dynamic performers able to shift seamlessly between characters for innovative productions throughout the 2027 season.

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Please read this fully and carefully:

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Auditions will be held in New Orleans. Specific location details will be provided upon signup.

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AUDITION DATES
Sunday, October 25, 2026 | 1:00–6:00 PM
Monday, October 26, 2026 | 6:30–9:30 PM
Tuesday, October 27, 2026 | 6:30–9:30 PM

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CALLBACKS
Saturday, November 7, 2026 | 11:00 AM–3:00 PM
By invitation.

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All three productions will be directed by Augustin J. Correro and presented at the Marquette Theatre at Loyola University New Orleans.

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COMPENSATION

$1,000 per production.

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TWTC is currently considering non-union performers only for the 2027 season.

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AUDITION REQUIREMENTS

Please prepare a monologue of no more than 60 seconds that showcases your storytelling ability. A portion of each audition hour will also be dedicated to reading sides. Monologues exceeding the time limit may be cut short.

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Please bring a hard-copy résumé and recent headshot or photograph to your audition.

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TWTC is not accepting video submissions at this time.

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AVAILABILITY & COMMITMENT

TWTC is seeking performers who can make a full commitment to the rehearsal and performance process. These are demanding productions, and consistent attendance throughout the rehearsal period is essential.

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All known conflicts must be disclosed and approved at the time of casting. Once those initial conflicts have been considered, we expect actors to honor the rehearsal schedule and avoid adding non-emergency conflicts or last-minute absences during the process.

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No conflicts will be accommodated during technical rehearsals, dress rehearsals, or performances.

We understand that genuine emergencies and illness can occur. Outside of those circumstances, performers should audition only if they are prepared to make the production schedule a firm professional commitment.

 

Individuals who fail to appear for their scheduled audition without notifying the company, or who cancel within 48 hours without an emergency or other extenuating circumstance, may not be considered for future TWTC productions. We appreciate your respect for fellow performers who may otherwise have used that appointment.

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CASTING

TWTC welcomes performers of all backgrounds and identities to audition. Unless a specific identity is indicated as integral to a role or this production’s casting approach, roles are open to performers of all races and ethnicities.

 

 

STAIRS TO THE ROOF

by Tennessee Williams

In Collaboration with The Tennessee Williams & New Orleans Literary Festival

Rehearsals: January 13–March 4, 2027
Performances: March 5–21, 2027

There will be a rehearsal break for Mardi Gras from Muses through Ash Wednesday.

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This play is like Williams’ answer to Machinal or The Adding Machine. Written early in his career, the play operates differently from the character-driven lyricism of his best-known works, showcasing facets of his social commentary in stark relief to the realities of capitalistic demands placed on human spirits. In it, the protagonist takes an odyssey through expectation, self-determination, and ultimately liberation in a takedown of the American dream, which he considers to be an American settlement.

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AVAILABLE ROLES

 

Benjamin Murphy (man, late 20s)
An everyman with poetic and expressive leanings. He’d be a real everyman if not for his desire to improve, grow, and see the world made better around him. He dresses too loudly for his office job and often daydreams his way to trouble. He is an early draft of Tom Wingfield from The Glass Menagerie.

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Girl (woman, 20s)
Despite her nondescript name, the Girl is a central figure full of contradictions and leads Ben on his journey once they meet. She initially pines for her boss, an aloof fool with no care for her, but later realizes that it was social expectation that led her to imagine she cared for him, and that the world is so much more full of possibility than a promotion from secretary to wife.

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Ensemble (1 woman & 5 men, 30s +)
Dynamic hearts of the production, these ensemble members must be able to flip quickly from roles including everything from inept security guards to lords of industry to wizards atop high peaks. Each ensemble member will have no fewer than three roles that must be very distinct. Character actors are strongly encouraged to come out and showcase storytelling through a blend of physical and vocal ability.

 

 

ANGELS IN AMERICA: PART ONE: MILLENNIUM APPROACHES

by Tony Kushner

Rehearsals: June 7–July 14, 2027
Tech & Dress: July 15–21, 2027
Performances: July 22–August 22, 2027

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Called by its author “a gay fantasia on national themes,” this masterpiece by Tony Kushner casts an unblinking eye on religion, identity, and the conceit underlying the promise of America. As hopeful as it is unrelenting, it brings together a group of people who have few aspects in common, yet who are intrinsically connected by those few elements they share. It is set against a backdrop of the AIDS epidemic in New York City under the Reagan administration, a period in which LGBTQ+ people were suffering in the proverbial wilderness and seeking solace in community for a path out.

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THE DEMANDS OF ANGELS IN AMERICA

Angels in America is an exceptionally demanding, actor-driven work. We are seeking performers capable of learning and retaining a substantial amount of text, working with complex and language-intensive material, and committing fully to an intensive rehearsal process.

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Actors must possess strong ensemble instincts, specificity with language, and the ability to remain fully present and active through split scenes, rapid transitions, and shifts in theatrical reality. As Kushner makes clear in his notes on staging, the language of the play is action, and performers should be prepared to approach the text with precision, curiosity, and rigor.

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Performers with exceptional listening skills, ensemble awareness, and the ability to remain fully alive onstage even when they are not the primary focus are especially encouraged to audition.

Actors cast in principal roles should expect to begin line preparation prior to the first rehearsal. Because of the volume and complexity of the text and the intensive rehearsal period, performers will be expected to arrive at the first rehearsal already substantially familiar with their material and prepared to meet an early off-book deadline.

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CASTING NOTE

For this production, Prior, Joe, Harper, and Hannah will be cast with white performers, and Belize will be cast with a Black performer. These choices are integral to the dramaturgical approach of this production and to the racial, religious, cultural, and political dynamics within the text.

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The Angel remains open to interpretation, and we look forward to seeing performers of all races and ethnicities for the role.

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INTIMACY

This production contains staged intimacy, including same-sex intimacy and simulated sexual activity. All intimate staging will be developed in collaboration with a professional intimacy director, with clear choreography, communication, and established boundaries throughout the process. Specific intimacy requirements for available roles are noted below.

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AVAILABLE ROLES

 

Prior Walter (man, late 20s–very early 30s)
Occasionally works as a club designer or caterer, otherwise lives very modestly but with great style off a small trust fund. Charismatic. Charming as hell when he’s in a good mood, but Biblically scathing when pissed.

This role requires staged same-sex intimacy, including kissing.

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Joseph Pitt (man, late 20s)
Chief clerk for a justice at the Federal Court of Appeals. Lifelong Mormon whose closeted sexuality has put him increasingly at odds with his faith, his political alignment, and his marriage.

This role requires staged same-sex intimacy, including kissing and simulated sexual activity.

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Harper Pitt (woman, late 20s)
Joe’s wife, an agoraphobic with a mild Valium addiction. She is a genius who is burning alive from the inside out, stashed away in the small apartment she shares with Joe, who is gradually drifting from her. Her faith has been a lifelong given, but it’s not something she feels particularly attached to.

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Hannah Pitt (woman, 55–65)
Joe’s mother, currently residing in Salt Lake City, but who is summoned to New York to assist with her son’s plight. An iron will, sharp wit, and deep soul encumbered by a religion that does not hold up under the weight of real-life troubles.

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Belize (man, late 20s–early 30s)
A registered nurse and former drag queen. All of the flair of the club has not left him. He loves Prior platonically and will defend his friends against threats, whether they recognize them or not.

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The Angel (woman, late 30s–mid 50s)
Four divine emanations, Fluor, Phosphor, Lumen, and Candle, manifest in One: The Continental Principality of America. She has magnificent steel-gray wings. Ethereal but firm. Unwavering but not harsh. Related to humans but decidedly not human, she should be simultaneously comprehensible and terribly unfamiliar. There is humor surrounding her, but she herself is never the joke. The performer must possess tremendous presence, dignity, authority, and the ability to make the extraordinary feel completely real.

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Please note: This role requires a performer who is comfortable working at significant heights and is not afraid of heights.

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Ensemble & Understudies
Performers will be considered to understudy primary roles and perform in the roles of Henry (the Doctor), Martin Heller (a colleague of Joe’s), and Prior 1 and Prior 2 (ghost ancestors of Prior Walter).

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The roles of Louis Ironson and Roy Cohn are not available.

 

 

SUDDENLY LAST SUMMER

by Tennessee Williams

Rehearsals: July 25–September 16, 2027
Performances: September 17–October 3, 2027

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A psychological drama calling truth and fantasy into question in a battle of wills between Violet Venable and her niece Catharine Holly. Originally set in Violet’s Garden District mansion, our production will strip away the advantages of traditional setting and pit the characters against one another on even footing: an unforgiving middle place where the stories and how they’re told will allow the audience to decide whose tale is tallest.

Violet seeks to shut down Catharine’s “truth,” but Catharine’s truth may shut Violet down.

Who will prevail in this struggle?

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PRODUCTION NOTE

This will be an immersive and emotionally demanding production of Suddenly Last Summer. Up to 10 audience members will be seated onstage within the performance environment, placing performers in close proximity to audience members throughout the production.

 

The production will also make extensive use of sound, projection, lighting, and other visual and audio effects, including moments of heightened sensory intensity. The material itself explores trauma, institutionalization, psychological distress, violence, and contested memory, and will require performers to engage with emotionally challenging material throughout the rehearsal and performance process.

 

Artists with sensory sensitivities should consider the immersive environment and anticipated use of heightened sound, lighting, and visual effects when determining whether this production is a good fit for them. Specific production elements and any relevant safety protocols will be communicated clearly as the design develops.

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AVAILABLE ROLES

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Violet Venable (woman, 60+)
The mother of the now-deceased Sebastian Venable. She pinned her hopes and dreams on him and made his life her entire personality. Now in his absence, she must fiercely defend his reputation and legacy, or else it will have all been for nothing. Catharine threatens that.

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Catharine Holly (woman, 20s–early 30s)
The cousin of Sebastian, whose looks and iconoclastic attitude made her an irresistible traveling companion once his mother proved otherwise to be obsolete. She witnessed his death, and is forever changed. Having been committed to a sanitarium, she insists that the details of his last months and moments be revealed. Violet stands in her way.

Despite everything that has been done to discredit and contain her, Catharine possesses a fierce intelligence and determination to make herself heard. The role requires an actor capable of moving between vulnerability, volatility, humor, sensuality, and extraordinary emotional clarity without reducing Catharine to her trauma.

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Doctor Sugar (man, late 20s–early 30s)
A young doctor studying psychological disorders. He serves to guide the audience and the women through their dueling narratives. Described by Williams as “glacially handsome,” his appearance disarms Violet and Catharine only so much. He’s as invested in getting the truth out as he is staying funded.

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Foxhill / Sister Felicity (woman, 30+)
A helper to both women at separate times, she is the guardrail that keeps them on track through Doctor Sugar’s line of questioning. In this production, Foxhill and Sister Felicity will be understood as the same person, though Violet and Catharine perceive and identify her differently.

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The roles of George and Mrs. Holly are not available.

 

THE TENNESSEE WILLIAMS THEATRE COMPANY OF NEW ORLEANS

SEASON TWELVE / 2027
DREAM. RECKONING. TRUTH.

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[AUDITION APPOINTMENT SIGN UP HERE]

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