Auditions
Information for all auditions
Location (unless otherwise specified):
Playcrafters of Skippack
2011 Store Road, Skippack, PA 19474.
Beginning with our 2025 season, all artists who are cast in one of our productions must become a member of Playcrafters. You do not need to become a member prior to auditioning.
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Dracula
The Thanksgiving Play
Dracula
Audition Dates: June 1, 10AM - 5PM
Callbacks by invitation: June 7, 12-4PM
Performance Dates: October 10 through October 25
Playcrafters of Skippack will be holding auditions for "Dracula: A Feminist Revenge Fantasy" by Kate Hamill on June 1st, 2025. Artists will be asked to present 2 monologues (one from a supplied list, and a contrasting one from another source). Memorization is NOT required, but artists SHOULD be familiar with their chosen pieces. Character breakdowns below.
To audition, please fill out an Audition Form. More information and a signup link for time slots will be provided upon completion of the form. Please note that a time slot is required in order to audition.
A note regarding character descriptions: Most roles one encounters [currently] are written with binary pronouns. Please note that however limiting this can feel, our casting process is inclusive and seeks to transcend flawed language. Artists are invited to submit for any role with which they identify. We will list race/ethnicity/age if required for a character - otherwise, we are seeking ALL races/ethnicities/ages. Please reach out with any questions, concerns, or requests for accommodations. Madame Director seeks to cast artists whose energies align with the characters in her productions, and is dedicated to representation and inclusion in her theatrical endeavors. Neurodiverse artists, disabled artists, and members of the alphabet mafia are encouraged to audition. Please reach out with your specific accommodations and any questions.
Mina Harker (20s-30s, Fem)
Very smart. Caring. Loyal. Wants to do the right thing. Was raised to be a Lady, and is thus suppressing an inner fire that emerges throughout the progression of the play. Great emotional depth, good sense of humor. Must face her darkest fears — comes out stronger at the end of it. Secretly an adventurer, and fighter. Is called to be more than she once was.
Lucy Westenra (20s-30s, Fem)
Bright, funny, vivacious, playful, and mischievous. Feels trapped and torn by expectations. About to be married, and deeply conscious of how that puts her under a 19th century man's control. Reflexively flirtatious. Believes she must pretend to be less than she is. Yearns for freedom. Falls desperately ill after being bitten by Dracula... and then becomes a completely different being — an animalistic vampire demon — a naturally manipulative predator. Lucy's vampire self is deeply unpredictable and frightening.
Dr. Van Helsing (40s+, Fem)
American vampire hunter. She takes no nonsense from anybody. She wears dusty beaten clothing and a big cowboy hat. She has a long nasty old scar all up and down the side of her face, as if someone has taken their hand and RIPPED down, long ago. It's from an encounter she'd rather not talk about. She's been through it. A bit of a know-it-all; okay, she's a lot of a know-it-all. She's prickly. She's strong. She's brilliant. She's no Lady. She's on the hunt. She is badass — and 19th century men do not, as a rule, appreciate it.
Renfield (20s-40s, Fem)
A madwoman. Worships Dracula. Believes that if she can earn his approval, she will be free. Not a bad soul, really, but capable of extreme brutality or duplicity in service of her religious zealotry. Almost a child, in her way.
Marilla / Maid (20s-30s, Fem)
A vampire. More animal than human. Was lured into vampire-hood by Dracula, who then proceeded to exploit her. Enjoys being a predator. Finds pleasure in consuming others. Resents her objectification. Manipulative; vicious; probably sociopathic. Capable of moving very fast — blink, and oh God, she's right behind you. Sister-wife to DRUSILLA. Doubles with MAID — an underpaid, resentful servant.
Drusilla / Merchant / Miller (20s-30s, Fem)
A vampire. More animal than human. Was lured into vampire-hood by Dracula, who then proceeded to exploit her. Enjoys being a predator. Finds pleasure in consuming others. Resents her objectification. Manipulative; vicious; probably sociopathic. Capable of moving very fast — blink, and oh God, she's right behind you. Sister-wife to MARILLA. Doubles with MILLER — a casually brutal asylum attendant, and MERCHANT — a merchant looking to make a sale.
Dracula (a few centuries old… but late 30s-late 50s in appearance, Masc)
A physically imposing man. He is... extremely confident. Strong. Funny. Charming. Sexy. You'd like him, reader — no, really, you would. He makes people lose their heads. Manipulative. Commanding. Capable of being very, very frightening. Unpredictable. Physically strong. Incredible with language. Unimaginably powerful. Brilliant. Casually takes pleasure in cruelty. An equal opportunity sexual sadist. A toxic predator; a wolf in the fold; a very old and clever parasite, capable of adapting and surviving. Fundamentally enjoys himself.
Jonathan Harker (20s-40s, Masc)
A nice man. A truly decent man. A lawyer; a man of letters; a slight man; a slightly fussy man. If being unkind, one could say he's delicate. He's very, very British. Cares about people. Is maybe a little rule-bound. Loves his wife, Mina, deeply. Is bitten by Dracula, and then loses his mind — becoming an easily-confused, raving shambles. After recovering from sickness, he slowly gives in to Dracula's darkness — becoming an abusive, toxic man. Once he's under Dracula's influence, we can't always tell if he's telling the truth. Can quickly switch from likable to extremely volatile.
Dr. George Seward (30s-40s, Masc)
The head physician of a lunatic asylum. A good man, but starts out the play as a product of his era — has some trouble listening to women. Believes only in the evidence of his own eyes. Tends to mansplain. Deeply in love with his fiancé Lucy Westenra, of whom he is overprotective. Has a very contentious relationship with Van Helsing. Doesn't like to not feel in control. Chivalrous. Thinks of himself as a modern man; a man of science. Over the course of the play, he learns to accept female leadership and question his assumptions. A brave man. Likeable.
The Thanksgiving Play
Audition Dates: July 23, 7-10PM; August 1, 7-11PM; August 2, 10AM - 7PM
Callbacks by invitation: August 5, 7-10PM
Performance Dates: November 21 through December 6
The Thanksgiving Play: Where good intentions collide with absurd assumptions. 2020 MacArthur Fellow playwright, Larissa FastHorse (Sicangu Lakota Nation), expertly balances societal critique, true-to-life comedy, and a lesson on performative activism in this wickedly funny play. The satirical comedy centers around a group of four well-meaning (but self-involved) theater artists. Their mission is to devise a politically correct play about the First Thanksgiving. Cultural sensitivity is their utmost priority with only one problem ... all of them are white. Follow these artists as they muddle through the playwrighting process despite the lack of Native representation. The Thanksgiving Play takes some surprising turns and features live vignettes of school children participating in traditional seasonal activities.
All roles are open to performers of all backgrounds, identities, and abilities. Non-binary, trans, and gender non-conforming actors are encouraged to apply for the character they feel most comfortable playing. Please note that we cannot alter the pronouns of the characters in the script. The named characters are all specifically white. We encourage white-passing actors of any ethnic, racial, or cultural background to audition. The script places no requirements on actors in the company. We strongly encourage BIPOC actors 18 and older to audition for those roles.
To audition, please select a timeslot and fill out an audition form
CHARACTERS:
Logan: (25-35) Female, white/white-passing, the high school drama teacher that’s always pushing the envelope and doing too much. Earnest about theatre and proving herself. Is producing this play as a desperate attempt to save her job.
Jaxton: (25-35) Male, white/white-passing. Actor/yoga practitioner, Logan’s boyfriend, politically correct to a fault. He’s the confident guy that everyone loves, but his overly logical PC thinking takes weird turns.
Alicia: (20-35) Female, brunette white/white-passing with looks that would’ve been cast as “ethnic” in 1950s movies. Without guile. Sexy and compelling, but not at all intellectual. She is simple in a way that is often comical, and occasionally profound.
Caden: (Any) Male, white/white-passing. The earnest and hard-working academic. He is an awkward elementary school history teacher with dramatic aspirations but no experience.
Company: 18-112, Any Gender, Any Race. The company will portray school children performing Thanksgiving songs, giving Thanksgiving reports, singing in a Punk Band, etc ... These vignettes are interspersed throughout the show. The rehearsal requirement for these roles will be substantial, but less than the four primary characters.