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Actors: be seen by over 40 theater companies, casting directors and agents in a single audition … Theater Resources Unlimited



2019 Audition Weekend

Saturday, May 18, and Sunday, May 19, 2018

at The PIT (Peoples Improv Theater)
Deadline to apply: May 6th!

Theater Resources Unlimited (TRU)is presenting their annual Audition Weekend, Combined Auditions presented with sponsorship from BackStage, Dan Lane Williams Photography, The PIT, Todd Estrin Photography and on May 19 and 20 at The Peoples Improv Theater, 123 E 24thStreet, NYC. Non-singing auditions will be held on Saturday, May 18 10am – 6pm with limited slots on Sunday, May 19 10am – 11am. Singing Auditions will be held Sunday, May 19 10:30am – 6pm (monologues will also be required). Late Registration is now available, and closes May 6, 2019 (postmark), and is $99 for non-TRU members ($85 for AEA and TRU Members, or $165 for Audition/Membership package).

Times Square Chronicle readers get $25 off registration at checkout with code t2c25 – Registration is available at

New this year: to save actors expense, TRU will not require 60 headshot to be brought and distributed to the attendees. Instead, they will create casting sheets for the event, and attending industry will request headshots and resumes via email.  

Your commitment to providing value is what made this a winner for me. ~Alexander D. Carney, ’18

This was a wonderful experience. The efficiency and thoughtfulness of the staff was a rare treat and you created an amazingly actor-friendly environment that allowed actors to stay focused on their work and preparation, and feel well cared for.  ~Lynda Rodolitz, ’18

Just wanted to thank you and everyone on your staff for the TRU audition event yesterday. What could have been chaos was beautifully in sync. What could have been scary was harmonious and positive.~Kathie Kneese, ‘17

It was the most professionally run and enjoyable audition experience in which I have had the pleasure of being a participant.  Your volunteers were kind and “on the spot” without ever being intrusive.  My accompanist was wonderful and a friendly face to quell one’s nerves. Perfection from start to finish.  I will recommend the TRU Audition Event to all my thespian friends. ~ Pamela J. Nigro, ‘17

Over 50 producers, theater companies, writers and directors will be sitting in on two days of auditions. Sign up to be seen by them, and by at least two top New York agents and/or casting directors*! Here is a list of who has already confirmed – check the TRU website for ongoing updates.

Confirmed companies as of 4/23: 1776 Music, Abingdon Theatre Company, Acclaim Theatrical, The Actors Project NYC, American Bard Theater Co, American Renaissance Theatre Co, Antonia Arts, August Strindberg Repertory Theatre, BlakeAve Productions, Break a Leg Productions, Chris Reza Music, The Company Theatre Group, Cross-Eyed Bear Productions, dé time productions, Dirty Laundry Theatre, Ensemble Studio Theater, GF & Co, Gorilla Repertory Theatre Co, HME Productions, Hudson River Repertory Co, J. Jewell Productions, JMTC Theatre, KBO Theater Co, Killing Kompany Dinner Theater, The New Short Plays Festival, NewYorkRep, New York New Works Theatre Festival, Nu•ance Theatre, Nylon Fusion Theater Co, Open Hydrant Theater Co., The Players, Players Theatre Short Play & Musical Festival, Pulse Ensemble, Ripple Effect Artists, RolyPoly Productions, Speranza Theatre Co, TAPT, Theater To Go, TRU Voices Reading Series, vMHF Theatricals, WhiteWolf Theatrical Productions, Whore Presents Playwrights Collective, The Wild Whatever, Wildly Productive Productions.

Confirmed industry as of 4/23: agents Valerie Adami of SW Artists, Albert Bramante (Emerging Talent), Charlie Wright of Wright Talent Management; casting directors Robin Carus (Robin Carus Casting), Angela Citrola (Citrola Casting), Helene Galek (Helene Galek Casting), Bob Kale (MKA Casting), RJ Magee (Magee Casting), Scott Powers (Scott Powers Casting) and Tom Rowan (Tom Rowan Casting); managers Deborah Dotoli of AAG Talent and Bobby Holder of The Talent Express; casting consultant Bob Luke of Bob Luke Studios.

Registration includes discounted access to this pre-event workshops designed to prepare actors to do their best audition possible: Audition Technique & Protocol (plus Orientation) with agent Valerie Adami and casting director Bob Kale – Sunday May 5th. $10 for registered actors, $55 for others.

To apply: register and pay using the payment options on website at; then scan and email your application and headshot/resume to -everything (payment, application, headshot, resume) must be received before an application is considered complete. 

Only TRU members and Equity members are automatically accepted; non-member applications will be passed in after the final submission date of May 7th, subject to availability. If we do not have room for you, we will issue a full refund of your submission fee. 

Download PDF of application packet at Electronic submissions are preferred, but you may also hard copy mail your check and materials (application, headshot, resume, check or money order) to:

Theater Resources Unlimited/Audition
309 W. 104th St., #1D
NYC, NY 10025

To be guaranteed a slot, purchase a standard Membership/Audition Package for $165 after 4/7. FINAL SUBMISSION DEADLINE: May 6th (postmark); deadline may be extended if there are available slots.


* The presence of a casting director is absolutely not a guarantee or promise of employment.

Theater Resources Unlimited(TRU) is the leading network for developing theater professionals,a twenty-five year old 501c3 nonprofit organization created to help producers produce, emerging theater companies to emerge healthily and all theater professionals to understand and navigate the business of the arts. Membership includes self-producing artists as well as career producers and theater companies. 

TRU publishes an email community newsletter of services, goods and productions; presents the TRU VOICES Annual New Play Reading Series and Annual New Musicals Reading Series, two new works series in which TRU underwrites developmental readings to nurture new shows as well as new producers for theater; offers a Producer Development & Mentorship Program whose mentors are among the most prominent producers and general managers in New York theater, and also presents Producer Boot Camp workshops to help aspirants develop the business skills they need. TRU serves writers through a Writer-Producer Speed Date, a Practical Playwriting Workshop, How to Write a Musical That Works and a Director-Writer Communications Lab; programs for actors include the Annual Combined Audition, Resource Nights and “Speed Dating” as well as actor workshops. 

Programs of Theater Resources Unlimited are supported in part by public funds awarded through the New York State Council on the Arts (NYSCA) with the support of Governor Andrew Cuomo and the New York State Legislature the Montage Foundation. 

For more information about TRU membership and programs, visitwww.truonline.orgor call 212 714-7628.

Suzanna, co-owns and publishes the newspaper Times Square Chronicles or T2C. At one point a working actress, she has performed in numerous productions in film, TV, cabaret, opera and theatre. She has performed at The New Orleans Jazz festival, The United Nations and Carnegie Hall. She has a screenplay and a TV show in the works, which she developed with her mentor and friend the late Arthur Herzog. She is a proud member of the Drama Desk and the Outer Critics Circle and was a nominator. Email:


The Cast of Ain’t Done Bad Meets the Press And You Are There



Tuesday morning the cast of Ain’t Done Bad meet the press. This hybrid theatrical dance experience is conceived, directed, and choreographed by Jakob Karr (“So You Think You Can Dance”) and featuring the music of country star Orville Peck will play a limited engagement at The Pershing Square Signature Center with previews beginning July 9, opening July 14, and running through September 1st.

Ain’t Done Bad tells the powerful heartwarming story of coming out, falling in love, and finding one’s true voice as a queer person in the South. Told entirely through contemporary dance without a single spoken word, the 90-minute performance stars Jakob Karr along with ten leading dancers.

The Cast of Ain’t Done Bad that includes Jakob Karr, Joshua Escaper, Caden Hunter, Magma Iwama, Yusaku Komori, Adrian Lee, Jordan Lombardi, Madison O’Connor, Luke Qualls and Ian Spring Photo’s By Genevieve Rafter Keddy

Karr is joined onstage by Adrian Lee (Wicked) as the Father, Megumi Iwama (“Mean Girls” the movie) as the Mother, Ian Spring (Parsons Dance) as the Brother, Luke Qualls (The Radio City Christmas Spectacular) as Jakob Karr’s alternate, Yusaku Komori (“The Greatest Showman”) and Jordan Lombardi (Phantom Of The Opera Nat’l Tour) as the Friends, and Joshua Escover (“Empire Strips Back”) as the Lover. Swings include Caden Hunter (Juilliard) and Madison O’Connor (Radio City Rockettes), who also acts as Dance Captain.

Jakob Karr Photo’s By Genevieve Rafter Keddy

Ian Spring, Jakob Karr and Adrian Lee Photo’s By Genevieve Rafter Keddy

Ain’t Done Bad comes to The Irene Diamond Stage at The Pershing Square Signature Center after critically-acclaimed workshops in Orlando at Renaissance Theatre Company and in North Carolina at Durham’s PSI Theatre, Greensboro PAC, and the Wortham Center for Performing Arts in 2023. The production premiered in 2021 at the Orlando International Fringe Festival, where it received the festival’s highest honor (Best Show). Karr is joined by Scenic Designers Philip Lupo, Joey Coombs, and Blake Schulte, with Lighting Design by Philip Lupo. Morgan Lemos is the Stage Manager and additional creatives include Grace Buckley (Associate Choreographer) and Joi Marchetti (Additional Music Production). Evan Bernardin Productions is the general manager, Eli Owens in the production assistant, and digital advertising is by SINE Digital.

Patti Maurer, Jakob Karr and Donald Rupe Photo’s By Genevieve Rafter Keddy

The Cast of Ain’t Done Bad that includes Jakob Karr, Joshua Escaper, Caden Hunter, Magma Iwama, Yusaku Komori, Adrian Lee, Jordan Lombardi, Madison O’Connor, Luke Qualls and Ian Spring Photo’s By Genevieve Rafter Keddy

Jakob Karr with Adrian Lee, Megumi Iwama and Ian Spring Photo’s By Genevieve Rafter Keddy



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Off Broadway

“N/A” at LCT Delivers the Wit and the Anger Somewhat Lopsided, But Still With Value




We aren’t here to talk about him,” N states pretty early on in Mario Correa’s new play N/A which recently had its world premiere at the Mitzi E. Newhouse Theaterat Lincoln Center. And we all breathe somewhat a sigh of relief, even though my viewing of this playfully fascinating play winds its way forward through time, starting out with these two characters’ first meeting. It happens soon after the younger woman named A surprises them all by winning her primary against an established politician. A, to no one’s surprise, basically stands for Alexandria Ocasio-Cortez, or the AOC, as I like to call her. The other, N, stands for Nancy Pelosi, although don’t quote me, as those names don’t appear anywhere in the program or the press release.

What Correa (Tail! Spin!; Commander) does tell us quite quickly is that this play, written with a wit and a wink, is about the clashing of two types of liberals; the old guard and the new green. It’s preaching to the choir, though, on both sides of that L-word and for the crowd that has assembled at the Lincoln Center, we are all game to hear both sides.

Directed with a straightforward, somewhat loose easy by Diane Paulus (Broadway’s Jagged Little Pill), N/A dives in with both hearts fully exposed. Holland Taylor (Broadway’s Ann; The Front Page) as N revels in the part, giving us a masterclass of comic timing and sharp wit. Her character has been gifted quite generously with many of the stand-up comedy zingers, flung out with ease and clarity by an actress who’s relishing the experience. She’s a well-crafted machine, echoing her part’s strength of character and determination in all the ways it blesses and bruises her.

Holland Taylor and Ana Villafañe in LCT’s N/A, at the Mitzi E. Newhouse. Photo by Daniel Rader.

Ana Villafañe (“Castro’s Daughter“; UK’s Sinatra the Musical) as A isn’t given as much froth and fun to play with. You see the anger that leads her forward, coming off as less fun, for a good reason. It’s somewhat clear that this is the side where Correa’s heart truly lies (or is it?), but like our own sensibilities, it flies back and forth with almost every point made by both. The fencing match is almost always off-balance, with the older more experienced guard winning pragmatic points in abundance against the idealistic and less experienced Representative from Queens and the Bronx. And definitely don’t forget the Bronx, we are told.

But the framework is sharp enough to know that a shift is coming, and it happens with a somewhat overly dynamic departure from the one-on-one battle that has been laid out before us, with set and costumes designed by Myung Hee Cho (Shakespeare in the Park’s Richard III), with lighting by Mextly Couzin (Off-Broadway’s JOB), sound design by composer Sun Hee Kill alongside German Martínez, and projection design by ‘Possible’, taking on the charge with a non-fussy approach. “Change takes courage”, we are told, and the shifting of perspectives happens with almost every line. Whether pleased or disappointed, they are here to talk, even if not about him. They have come together to let us understand what’s at stake in our country, and give us some hope that these two ideals might find a way to come together, in a way that is needed even more today than back then.

Watching this fresh off last night’s debate (and posting this one day after the Supreme Court’s treacherous ruling), the clickity-clack of the work feels as fresh and as forced as it needs to be, even if we would like some theatrical relief from the world of politics. They fling slogans and formulations at one another within the clever text, sometimes feeling forced but also feeling true, and wickedly funny. It’s lopsided, this act that is both serious to A and to the world, and to the comedically enhanced N. Past triggers and memories of what has changed (and not) within those walls of the U.S. House of Representatives where this play takes place fill out the framing, trying to give it a bit more human alignment, and it does level out after the storm, but the play, in the end, after scoring fairly well for Holland, remains a teeter-totter of an ideal, where two women who orbit one another throughout never really find their way to come together. But these two actors certainly find their way into our conscious collective hearts.

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The Musical Titanic Successfully Sails onto the Stage at City Center



Titanic The Musical proves that the music and story does not need the special effects of a sinking ship to send the audience on an emotional journey. Twenty-five years ago when Titanic opened on Broadway, after reading headlines about the  malfunctioning unsinkable set, I skeptically went to the show; but, those first 18 minutes turned out to be the greatest opening number I had ever seen. The show is currently being performed at City Center in the Encores! Series and this score can stand alone without the trappings usually required to produce a Broadway spectacle. The opening number not only introduced us to the three focal people who each in their own way contributed to the disaster of the iceberg: Captain E.J. Smith (Chuck Cooper), Thomas Andrews (Jose Llana), J. Bruce Ismay (Brandon Uranowitz); but, also the members of all three classes aboard the ship and the crewmembers. As the 32 member cast raises their voices in beautiful harmony to cheer “Sail on, great ship Titanic” the hopes of the third class passengers, the wonder of those in first class and the pride of the crew are all felt by the audience. So moving is this song that we can suspend reality and wish that the maiden voyage of this “floating city” actually successfully makes it to New York.

This is not the Rose and Jack story that fictionalized a love story between a third and first class passenger but an even more beautiful story based on real people who either survived or were left onboard as the ship broke apart.

The music and lyrics by Maury Yeston are thrilling, cheerful, romantic and haunting. The story and book by Peter Stone who had previously done justice to the telling of the signing of the Declaration of Independence in 1776 again brings history to the stage with wit and suspense despite knowing the eventual tragedy.

Over twenty songs fill this musical score with a variety of styles and themes. Each one perfectly delivered by this amazing team of actors and singers briskly directed by Anne Kauffman. There is not a bad song in the mix nor a disappointing performer; but, in addition to that opening number I must highlight a few.

Lady’s Maid sung by the 3rd class passengers brings me to tears as three Irish lasses all named Kate start by telling their fellow travelers their dreams for America. Samantha Williams, Lilli Cooper, and Ashley Blanchet play the ‘three Kates’ and are joined by the ensemble all singing their own individual ambitions – to be a constable, engineer, and governess, etc. It fills my heart with pride that America is such a land of opportunity and then it breaks when I realize that some of these dreamers will never make it to their destination.

A pairing of two male singers, Ramin Karimloo and Alex Joseph Grayson, playing coal stoker Barrett and radio operator Bride, respectively sing two love songs one to his fiancé and one about his career choice is a magical duet where each voice is given a chance to shine.

Another example of Yeston’s genius is a song where three voices combine but certainly not in love; the ship’s owner, designer, and captain Blame each other for the inevitable sinking. It is a dramatic song that is rarely seen in such a show but too often seen in human nature.

The real life owner of Macy’s department store was actually onboard the Titanic with his wife. Chip Zien and Judy Kuhn portray the elderly Isidor and Ida Straus whose love proved even stronger than the two youngsters in the James Cameron film. Ida chose not to get on a lifeboat without her life long partner and that love is beautifully sung in their duet Still.

Love, anger, hope and desire are all represented on the stage but it is second class passenger Alice Beane that gives the tension a bit of comic relief. Wonderfully sung and acted by Bonnie Milligan, Mrs Bean dances into the first class salon and in one of the few choreographed numbers brings joy to the festivities. She and her husband Edgar (Drew Gehling) sing I Have Danced – a song that depicts the struggle of a happily married couple when ambitions are not in line.

We know the ship is going to hit the iceberg but as Matthew Scott as the ship entertainment sings the rhythmic tune Autumn coupled with the Company repeating the haunting No Moon the suspense grows as the ship sails in the night.

Anne Kauffman directs the cast seamlessly from scene to scene not only allowing the songs to tell a fantastic story but to bring out the wit and passion of Peter Stone’s words.

Rob Berman, the Encores! Music Director, again conducts this 30 piece orchestra with incredible ease despite the complicated orchestrations created by Johnathn Tunick. With every violin string, trumpet note, drum roll and cymbal clash the music envelops the huge theater yet touches every individual in it.

Encores! Began 30 years ago to honor scores that are not often revived. With minimal rehearsal time for this limited run some actors are still on book but that does not diminish either the music, story or the talent on the stage. Much has been written about the cost of producing on Broadway so a production with this many cast members and musicians may never be transferred to a Broadway theater as Encores other 2024 title, Once Upon a Mattress will be doing so do not hesitate to buy a ticket. Do not be left on the dock waving goodbye to this magnificent creation.

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Out of Town

Crow’s Theatre, Musical Stage Company, and Soulpepper Theatre Company Take Home Numerous 2024 Toronto Theatre Critics’ Awards




After a four-year hiatus, the Toronto Theatre Critics’ Awards (S) returned to honor excellence from the 2023-24 professional theatre season. The 11th TTCAs, announced Tuesday morning, June 11th, boast 19 winners across 14 categories, including a special citation for artistic achievement.

Crow’s Theatre and Soulpepper Theatre Company were the big winners this year, each receiving seven awards, with the sensationally well-received Crow’s Theatre/Musical Stage Company co-production of Natasha, Pierre and the Great Comet of 1812. The production led the musical division with three wins, including Best Production of a Musical, with two members of its company; George Krissa and Heeyun Park 박희윤, jointly awarded for Best Supporting Performance in a Musical.

Soulpepper Theatre Company followed close behind with two wines for the fascinatingly dynamic world premiere of De Profundis: Oscar Wilde in Jail. Damien Atkins, the production’s star, won the award for Best Lead Performance in a Musical. Gregory Prest, who directed and adapted the production from its source material; Wilde’s original love letter of the same name, was also recognized as Best Director of a Musical.

Damien Atkins and Colton Curtis in Soulpepper Theatre’s De Profundis: Oscar Wilde in Jail. Photo by Dahlia Katz.

In the Musical Division

  • Crow’s Theatre and Musical Stage Company co-production of Natasha, Pierre and the Great Comet of 1812: Best Production of a Musical, and George Krissa and Heeyun Park박희윤 were jointly awarded the prize for Best Supporting Performance in a Musical.
  • Soulpepper’s production of De Profundis: Oscar Wilde in Jail: Damien Atkins won the award for Best Lead Performance in a Musical, and Gregory Prest, who directed as well as adapted the material from Wilde’s original love letter of the same name won Best Director of a Musical.
  • Kelly v. Kelly, Britta Johnson and Sara Farb’s new musical inspired by true events, produced by the Musical Stage Company in association with Canadian Stage won Best Ensemble in a Musical.
Sean Arbuckle (left) as Thomas and Krystin Pellerin as Diana in Casey and Diana. Stratford Festival 2023. Photo by Cylla von Tiedemann.

The Play Division

  • Nick Green’s drama Casey and Diana, which ran at Soulpepper after premiering at the Stratford Festival, won the award for Best New Canadian Play, and actor Sean Arbuckle received the prize for Best Leading Performance in a Play.
  • Michael Healey’s satire The Master Plan, produced by Crow’s Theatre, also won Best New Canadian Play, and the cast won Best Ensemble in a Play
  • Amaka Umeh also won Best Leading Performance in a Play for their performance playing two characters in Soulpepper’s Sizwe Banzi is Dead.
  • Two actors were awarded the prize for Best Supporting Performance in a Play: Jadyn Nasato, for her performance in the Studio 180 Theatre production of Four Minutes, Twelve Seconds, and Oyin Oladejo for her turn in Three Sisters, co-produced by Soulpepper and Obsidian Theatre Company.
L-R: Antoine Yared, Stephen Jackman-Torkoff, Ben Page, Qasim Khan, and Daniel MacIvor in Canadian Stage’s production of Matthew López’s The Inheritance. Photo by Dahlia Katz.
  • Crow’s Theatre’s production Bad Roads won Best International Play, and Andrew Kushnir won Best Director of a Play. The work by Ukrainian playwright Natal’ya Vorozhbit is based on real-life testimonies from witnesses to Russia’s invasion of the Donbas in 2014.
  • Leora Morris also wins Best Director of a Play for their work on Coal Mine Theatre’s production of The Sound Inside by Adam Rapp.
  • Canadian Stage’s production of the two-part drama The Inheritance won Best Production of a Play.
  • Best Design, Play or Musical went to Nick Blais (lighting), Heidi Chan (sound), Anahita Dehbonehie (set), and Niloufar Ziaee (costumes) for their collective work on A Public Reading of an Unproduced Screenplay About the Death of Walt Disney, co-produced by Outside the March and Soulpepper Theatre Company.
  • Theatre legend Daniel MacIvor received a special citation for his work over the past season, which included a memorable performance in The Inheritance, and the revivals of his plays Monster and Here Lies Henry, both produced by Factory Theatre.
Mike Shara (front and center) and the cast of Crow’s Theatre’s The Master Plan. Photo by Dahlia Katz.
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Ken Fallin’s Broadway: Bernadette, Angela, Ethel and Patti




Gypsy turned 65 on May 21, and soon Audra mcDonald will take over the role. Let’s look at the other Mama Rose’s. Ethel Merman originated the character at the Broadway Theatre in 1959, and received a Tony nomination for her performance.

Patti LuPone last Rose, took home the 2008 Tony for her turn.

Angela Lansbury took on Rose in the 1973 London revival of Gypsy, which later transferred to Broadway in 1974. She was the first Rose to win a Tony Award for her performance.

Bernadette Peters took on Rose in the 2003 Broadway revival and received a Tony nomination for her perofrmance. At the 57th annual Tony Awards, she sang “Rose’s Turn.”

Bette Midler played Mama in the 1993 television adaptation of Gypsy and Barbra Streisand played the role on the big screen.

Looking forward to the next incarnation.

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