UPCOMING AUDITIONS
Whether you’re a stage veteran or an amateur, you’re invited to perform with us.
What’s Next
A Raisin in the Sun
By Lorraine Hansberry
Directed by Aaron Moore
A Raisin in the Sun debuted on Broadway in 1959. The title comes from the poem “Harlem” (also known as “A Dream Deferred”) by Langston Hughes. The story tells of a black family’s experiences in south Chicago as they attempt to improve their financial circumstances with an insurance payout following the death of the father. The play deals with matters of housing discrimination, racism and assimilation—and is widely considered one of the greatest and most influential works of all time.
SHOW DATES
Jan. 31, Feb. 1, 7, 8 at 7:30 p.m.
Feb. 2, 9 at 2:30 p.m.
AUDITIONS
Nov. 18 and 19 at 7 p.m. (sign in at 6:30 p.m.)
Auditions will consist of cold readings from the script. All auditioners should bring a list of conflicts from Nov. 24 to Jan. 25. Tech week is Jan. 26–30 (no conflicts).
Please reach out to Aaron with any questions.
AVAILABLE ROLES
Walter Younger. Sometimes called “Brother.” Passionate, ambitious and bursting with the energy of his dreams, Walter Lee is a desperate man shackled by poverty and prejudice—and obsessed with a business idea that he thinks will solve all of his economic and social problems.
Ruth Younger. A “soft” personality type. Ruth is not aggressive; she just lets life “happen” to her. She is the “worn-out wife” with a tedious, routine lifestyle. Ruth has only simple dreams and would be content to live out her life being moderately comfortable.
Beneatha Younger. The most educated of the Youngers, she sometimes seems to be obnoxious and self-centered. Especially in the early scenes, she freely verbalizes her views in a household that has difficulty understanding her perspectives. She favors her African suitor over her rich boyfriend, much to the puzzlement of her family.
Travis Younger. In spite of his manipulative nature, Travis is a likeable child because, although he might be mischievous at times, he is always mannerly. He seems sheltered and overprotected by the numerous adults in the household. Yet he is a “street kid,” drawn to the life of his neighborhood.
Lena Younger (Mama). A proud woman, Lena does not have much material wealth, but she walks tall, exudes dignity and carries herself with the “noble bearing of the women of the Heroes of Southwest Africa” [a pastoral people). She lives vicariously through her children, for even her dream of having a house is motivated only by her desire to make living conditions better for her family.
George Murchison. George is pedantic—an academic show-off—constantly making literary allusions even when he knows that this information is lost upon his audience.
Joseph Asagai. An African student courting the attentions of Beneatha. In trying to win her affections, he is persistent but never overbearing. He flatters her with gifts.
Karl Lindner. Comes off extremely shy and timid, never threatening or abrasive or loud. He is polite and mannerly even though everything he says is insulting to the Youngers. (Caucasian)
Mrs. Johnson. Comic relief. She is a flat caricature of the nosy, jealous neighbor.
Bobo. Somewhat dimwitted, but he is basically honest and appears to be a loyal friend.
Moving Men. No speaking roles, but memorable pieces of the story.