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To read "About Auditons" click here.

For information on "How to Prepare" for auditions click here.

All auditions take place at the New England Youth Theatre, 100 Flat
Street, Brattleboro, VT.  802-246-6398

If you cannot attend auditions – e.g. you live very far away – please send a video submission of one (or more) of the speeches AND a short song to This email address is being protected from spambots. You need JavaScript enabled to view it.


For ages 13-19 tuition $450
Directed by Rebecca Waxman, with Sandy Klein

AUDITIONS: June 6th 4-6:30pm

We all want our stories to be heard…but are we willing to pay the price when our true selves are revealed?

Six Characters in Search of an Author is a 1921 Italian play by Luigi Pirandello. A metatheatrical masterpiece, it premiered in Rome to shouts of "Manicomio!" ("Madhouse!") and "Incommensurabile!" ("Incommensurable!"), references to the play's outrageous narrative.
The story begins on a bare stage where a troupe of actors is in mid-rehearsal.  Six individuals break into the theatre and demand an author who will cast them in a play—and literally save their lives. Pirandello's brilliant exploration of the nature of reality versus illusion, truth versus artifice, and the workings of the creative process has been given a wonderfully fresh update in Robert Brustein’s contemporary script.
 “Six Characters in Search of an Author is the most original and dynamic play ever written in any nation, or at any time, whether ancient or modern.” – George Bernard Shaw

REHEARSALS Begin Monday, August 29th
Monday, Tuesday, Thursday, & some Fridays from 4-6:30pm
Extended hours during tech week.

PERFORMANCES: October 7 –  9 & 14 - 16.
Friday, October 7th 7pm
Saturday, October 8th 2pm & 7pm
Sunday, October 9th 2pm

Friday, October 14th 7pm
Saturday, October 15th 2pm & 7pm
Sunday, October 16th 2pm

Extra, interesting reading for our smarty-pants kids:
Pirandello’s work plays with the central tension in the modern theater between the desire to create a perfect illusion of extra-theatrical reality on the stage and the contrary impulse to celebrate the very illusoriness of all theater. Modern drama calls attention to the fact that theater is both a representational art, like painting or writing, and a performing art, like dance or music. The actors on stage are at the same time real people and representatives of fictional characters. One of the startling elements of Pirandello’s play is the separation (which he emphasized in his stage directions) between the “characters” and the “actors.” As the theorist Bert States has written,
"we tend generally to undervalue the elementary fact that theater—unlike fiction, painting, sculpture and film—is really a language whose words consist to an unusual degree of things that are what they seem to be…. Or, as [the playwright] Peter Handke puts it, in the theater light is brightness pretending to be other brightness, a chair is a chair pretending to be another chair,”
and, of course, a person is a person pretending to be another person.
                                 - Pericles Lewis

The Company  (adaptable to fit any ensemble)
COULD include…….
Stage Manager
Stage Hand/Techie
Ensemble Actors (3 to 6 )

The Six  Characters
Mother   (silent, grief-stricken)
Father   (proud, resentful)
Son (20’s, disdainful)
Stepdaughter (fiery, arrogant and bitter)
Boy  (looks young. No lines.)
Little girl  (looks very young.  No lines.)
Emilio Paz (unctuous pimp/madam)

CHOOSE AT LEAST ONE MONOLOGUE TO PREPARE FULLY – with comprehension, memorization and passionate commitment.   

BE FAMILIAR WITH THE OTHERS, so you could be ready to read for anything.


*The “six” are quite different from the “company”.  They are more formal, stiff, and urgent.  They will be from another time period and will wear stylized costumes. They address the “company” and argue with one another.

That’s what’s so interesting to me about life and drama, the way we tend to think of ourselves as a single personality  but it’s not true.  Each of us is many different complex people, and all of those people live inside of us.  We discover this when we suddenly find ourselves doing something that defines us, and we hang there, as if in chains, summed up, for all time, by a single actions.  Now do you understand how this girl betrayed me?  By accident she found me in a place I had no right to be, doing something I had no right to do.  And now she wants to fix me in a reality that is alien to my nature, that came from a single uncharacteristic action of my life.  That is what really hurts.  You’ll see what a tremendous impact the play will have when this theme of mine becomes clear.  But other positions have to be considered.

Look how they’re ganging up on me.   But consider my point of view.  One day I’m sitting home quietly when this creature, acting as if she owns the place, comes in and asks for my father.  God knows what business she has with him.  The next minute, with the same bold look in her eye, she comes back with that little girl there.  And she begins to treat my father, I don’t know why, in the most suggestive and forward way – demanding money from him as if he owed her.  
How was I supposed to know her mother was my mother?  I had never seen her before.  I had never heard her name mentioned. Little by little I begin to understand.  But I’m out of it.  Believe me, I’m an undeveloped dramatic character, and I’m very uncomfortable in their company. So please leave me out of it.

You don’t understand.  It’s happening now too; it’s happening all the time.  My suffering is not an act.  Can’t you understand that?  That awful moment happens over and over in my mind.  And these two children, why do you think they never speak?  It’s because they can’t speak any more, not now.  All they can do is hang on to me, keeping my grief alive – but in themselves they don’t exist any more.  No more.  And she (indicating stepdaughter)….she has gone away, lost to me completely.  She’s only here now for one reason – to keep my suffering alive forever.

No! No! Do you know what he actually said when I told him to ignore what I was wearing?  He said,  “Well, let’s take off your little black dress and get down to business.”  It’s the truth.  
I know what you have in mind.  You want to turn our scene into a saccharine little soap opera.  You want him to ask me why I’m in mourning and have me reply with tears streaming down my face that my father died just two months ago.  I simply won’t have it.  The only thing he’s going to say is, “Well, let’s take off your little black dress and get down to business”  And I, still grieving for my father, will go behind that screen there and unfasten my bra with trembling fingers.  It’s the truth.  You’re hearing the truth.
Oh, you two have planned it all out, haven’t you?  Now I understand everything.  He’s only interested in the part where he talks about his spiritual suffering – but what I want is my drama!  Mine!

*The ‘company’ will be an ensemble developed in rehearsal.  The text we are using is meant to be adapted to whatever group is using it – individuals may be actors, musicians, technicians, stage manager, director.  Most importantly, they play, essentially, some version of themselves in a current, natural context.

Do you think it’s possible for a dramatic character to exist after an actor’s done playing the part?  Listen – isn’t that what we try to do when we act – we try to bring life to something that’s dead on the page.  Now who’s to say if, when we bring this character to life, you know, this personality, that maybe it does continue to live on in some way.  Maybe it does haunt the theatre, you know.  Wouldn’t you feel better if you knew something you’d created, that you brought to life, could continue to exist?  I mean, in the movies there’s a record; but here, on the stage, all we do is rehearse it, perform it, and then it closes and it’s gone.

For ages 9-13 tuition $450
Directed by Stephen Stearns with Chris Yerlig & Bill Forchion

AUDITIONS: Sunday June 5th 1-3:30pm

The clowns are back in town for CLOWN TOWN 2016!
Come explore clown, mime, and physical comedy with NEYT founder and Clown of the first order, Stephen Stearns.

This year we ask: What happens on a typical day in the Clown Factory? We will explore the roots of clowning and comedy - and put on our own show! You will learn the "tricks of the clown's trade" and become and ensemble of clowns!

Come ready to move, have fun, watch, listen, and be willing to try new things!  Make up & rehearse up to a 30 second speech about why you love, or think you will love, acting, and perform your speech as a zany, eccentric, unusual person who is pretty much unlike who you are in real life. This will do very well to have lots of physicality in it, such as an unusual and interesting walk, body posture, hand and arm movements, and so on. Be inventive and have fun with it. Come to the audition ready to take off your shoes, let your "hair down", and dare to look and be silly. We are all silly at times, and the "Clown Town" audition is a great time for all of us to have massive fun, and to look silly! And that means me, Uncle Stevie, too!!  :O)

REHEARSALS: Begin Monday, September 12th
Monday, Tuesday, Thursday 3:45-6:30 & some Saturdays
Extended hours during tech week.

Friday, October 28th 7pm
Saturday, October 29th 2pm & 7pm
Sunday, October 30th 2pm

Friday, November 4th 7pm
Saturday, November 5th 2pm & 7pm
Sunday, November 6th 2pm

It is possible to audition for both CLOWN TOWN & MARY POPPINS


For ages 9-19 tuition $500
Directed by Hallie Flower

AUDITIONS: Sunday, June 5th 12-4:30pm
Junior Company 12 -2pm (dance call at 12)
Senior Company 2-4:30pm (dance call @ 2)
Callbacks, Monday, June 13th

“Anything can happen if you let it…”

Mary Poppins is the story of the Banks family who live in a big house in London on Cherry Tree Lane. Things are not going well for the family – The parents are at distant odds and the children are out of control and in need of a new nanny. Jane and Michael have their own ideas about what sort of caretaker they should have, while their father is insistent on someone strict for the job. When a mysterious young woman named Mary Poppins appears at their doorstep, the family finds that she’s the answer to their prayers, but in the most peculiar way. Mary Poppins takes the children on many magical and memorable adventures, but Jane and Michael aren’t the only ones she has a profound effect upon. Even grown-ups can learn a lesson or two from the nanny who advises that “anything can happen if you let it.”

FAMILY MEETING: October 10th 6:30-8pm

REHEARSALS: Begin October 11th 3:45-6:45pm
Monday, Tuesday, Thursday, Friday with some Saturdays
Most actors will be called 3-4x a week
Extended hours during tech week

Thursday, December 8th 7pm
Friday, December 9th 7pm
Saturday, December 10th 2pm & 7pm
Sunday, December 11th 2pm

Thursday, December 15th 7pm
Friday, December 16th 7pm
Saturday, December 17th 2pm & 7pm
Sunday, December 18th 2pm


CHOOSE ONE MONOLOGUE AND ONE SONG TO PREPARE FULLY – with comprehension, memorization, and passionate commitment.


Young people who would like to be considered for Jane & Michael Banks should prepare the following material.

measure 32 – 52
From “Boring” to “nothing to excite us in the park.”

And this monologue:
“Are we going on an outing with father? I don’t believe it! He’s never taken us on an outing before. He’s never taken us anywhere! However did you manage it? You must have put the idea in his head somehow. Where’s he taking us? Oh, I hope it’s to the city! And we’ll see all the sights and father can point them out to us!”

All other actors should select a song and a monologue from below:

measure 30 – 54
From “With tuppence for paper” to “go fly a kite”

measure 6 – 44
From “By the time the wind has blown” to “perfect in every way.”

measure 42 – 61
From “Precision & Order” to “such a nanny in Cherry Tree Lane”

BEING MRS. BANKS (reprise)
measure 42 – 80
From “Being Mrs. Banks” to “being Mr. Banks.”

measure 3 -42
From “Anything can happen” to first “Anything can happen if you let it.”

Oh yes you do want to go to the park. ‘Cause when you’re with Mary
Poppins, you go to places you never dreamed of. And if she says it’s a game, she’s got something in mind. You can be certain of that. Something along these lines, I shouldn't be surprised. "Punting on the Thames." That's always good if you like an outing. Here we go.  The circus. How about a lovely circus? Lions and tigers. World-famous artistes performing death-defyin' feats of dexterity and skill before your very eyes. Ta-da! Ta-da! Or take this picture of the park. I think you’ll find it’s just the way I’ve drawn it. All it takes is a spark, then something plain as a park becomes a wonderland.

Good morning. I’ve come in answer to the advertisement. George and Winifred Banks live here, do they not? And you are looking for a nanny? Very well then. Now, let’s see. (Reading from letter)  "Item one: a cheery disposition" I am never cross. “Play games, all sorts.” Which I most certainly can. “Take us on outings, give us treats. Rosy cheeks and fairly pretty.” There’s no objection on that score, I hope? (Closes letter). I make it a rule never to give references. A very old fashioned idea to my mind. The best people never require them now. The best people give every second Wednesday off from six ‘till late, ma’am, and that is what I shall take. I’ll see the children now, thank you.

Well, I never. So that’s where I put them. Stars. Gingerbread stars I hid once from my nanny. I always knew I’d put them somewhere no one would find them. Trouble was I couldn’t find them either. They’re very bright. Even after all this time. I used to dream that when I grew up I’d learn everything there was to know about the stars. Funny. I haven’t thought about all that in years. I’m not usually sentimental. It’s good to look back sometimes. You know what I think? It’s Mary Poppins! From the moment she stepped into the house, things began to happen to me! It’s that Poppins woman! She’s responsible for all this!

I suppose we do need a nanny, George. Is it out of the question to do without one? I know you want me to do more charity work and entertain… but I’m not so sure. This tea party... It seems odd to send out invitations to people I hardly know. They’re not my friends. Actually, I heard today from Clemmie Bunting. She’s rehearsing a new play at the moment and I thought I might ask her – George, I was an actress. Lots of people might find that interesting… though you always talk as if I should be ashamed of it.

Choosing a nanny for the children is an important and delicate task. It requires judgment, and an ability to read character. Under the circumstances I think it might be apropos to take it upon myself to, uh, select the next person. Obviously the way to find a proper nanny is to go about it in a proper fashion. I shall put an advertisement in the Times. Take this down please. “Wanted.” Uh, no. Uh. “Required. Nanny. Firm respectable, no nonsense.” Are you getting this, Winifred?

Hardcopies will be available in the front office by 4/15. We will also have scanned copies of music available for emailing. Please contact: This email address is being protected from spambots. You need JavaScript enabled to view it.

Some students will be asked to return with additional material. The callback gives the director a chance to focus on specific vocal and acting needs.
Just because someone is not called back does NOT mean they will not be cast.

Actors called back for Jane & Michael will be asked to sing:

measure 3 -42
From “Anything can happen” to first “Anything can happen if you let it.”

Actors called back for Mary will be asked to sing:

Measure 2 – 48
From “you find the fun & snap” to “their task is not a grind.”

Measure 190 – 226
From “Ah” to “treacle won’t work”


Three Sisters by Anton Chekhov
Directed by Eric Bass
Acting Intensive by Hallie Flower


Chekhov’s Three Sisters is a beautifully subtle play about disappointed dreams.  In a Russian rural town, three sisters dream of moving to Moscow, the glamorous big city, and having a life of culture, wealth, romance, and elegance.  Events conspire to make this dream fade, and the sisters must adjust to new realities.  Three Sisters is a bittersweet drama with touches of comedy.  It is a play in which very little really happens in the plot, and yet quite a lot happens inside the characters in which they are swept away by passions, and in which they accept their fates.  This is a play for actors who want to go inside their characters and explore the fertile ground where what one shows to the outside world may be very different from what one experiences within.

AUDITIONS: February 26th 4-6:45pm

Ages: 14-19
Tuition: $500

July 25th – August 12th
Monday to Friday, 9am-4pm

Performances: August 12-14
Friday, August 12 at 7pm
Saturday, August 13 at 2pm & 7pm
Sunday, August 14 at 2pm

INTO THE WOODS – Summer Musical
For ages 13-19


Directed by Micheal Trzos
Vocal Intensive by Alisa Hauser
Musical Director Mary Sugar

(MARY SUGAR is a musical director, pianist, and teacher based in Syracuse, NY. She spent 11 years on and off-Broadway. She has toured & worked internationally with many Broadway artists such as: James Naughton, Charles Strouse, John Kander & Fred Ebb, Sheldon Harnick, Marni Nixon, Barbara Cook, Lonny Price and many, many more. She has toured nationally with Disney’s Beauty and the Beast, The Full Monty, Hairspray, Mamma Mia, The King and I, The Producers, Peter Pan, Joseph and the Amazing Technicolor Dreamcoat, Sweet Charity, Annie, Spamalot, Cinderella, and Aida. Mary has worked for The Kennedy Center, Lincoln Center, Arena Stage, Signature Theatre, Syracuse Symphony Orchestra, Syracuse Stage, Syracuse University Drama among others. She has served as musical director and/or pianist productions for numerous central New York productions, including Jesus Christ Superstar, Phantom, Evita, A Chorus Line, The Secret Garden, Into The Woods, Cabaret, Sweet Charity, Pippin, Chicago, A Little Night Music, Falsettos, Into The Woods, Songs For A New World, and Andrew Lippa’s The Wild Party. Mary has taught at New York University, Mannes College of Music, Fordham University, Pace University, Musical Theater Works Conservatory, and more; teaching classes in musical theater performance, scene study, and audition technique.)

Auditions – February 28th 12:30-4pm

Rehearsals: please note this is earlier than previous years
June 20th – July 8th 9am-4pm M-F
also please notice that there will be rehearsal on July 4.

Performances: July 8-16

Friday, July 8 at 7pm
Saturday, July 9 at 2pm & 7pm
Sunday, July 10 at 2pm
Tuesday, July 12 at 7pm
Wednesday, July 13 at 7pm
Thursday, July 14 at 7pm
Friday, July 15 at 7pm
Saturday, July 16 at 2pm & 7pm

Stephen Sondheim’s and James Lapine’s INTO THE WOODS offers a whimsically modern twist to classical fairy tales. A wavering Cinderella, conflicted princes, a rapping witch and many more come together, venturing far into a dark forest with a wish to find happiness. Bravery, determination and a bit of magic propel these characters through the tick of midnight. But as the world around them begins to break away from the confines of a fairy tale universe, these unlikely characters have to go deeper into the unknown; forced to recognize that what they want most in the world may have dire consequences.  

INTO THE WOODS confronts the fears of growing up, the battle to establish morality and the powerful relationship between parents and children. It is also a promise, a promise that in this world, even the meekest can make a difference.

This musical is sure to be a wickedly good time! To audition, please prepare 16-32 bars of a song from the list provided and a brief contemporary monologue from the provided selections. Looking forward to seeing you at the audition!

-Micheal Trzos


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