AUDITION NOTICE – A CHORUS LINE
Conceived and Originally Choreographed by Michael Bennett
Book by James Kirkwood & Nicholas Dante
Music by Marvin Hamlisch
Lyrics by Edward Kleban
Clear Creek Community Theatre (CCCT) announces auditions for our upcoming production of “A Chorus Line”. The production will be co-directed by Stephanie Hendrickson and Kathleen Richardson, with Musical Direction by Phyllis Harris. This production is presented in partnership between San Jacinto College South Theatre & Film program and Clear Creek Community Theatre, and is sponsored by the South Fine Arts department.
We are using Cast98 to manage our auditions, which requires you to set up a free profile. If you prefer not to sign up for a free profile, please email Stephanie Hendrickson or Kathleen Richardson, to let us know which day of auditions you plan to attend. Either way, those signing up for auditions ahead of time will receive some of the sides to be used, a few days prior to the auditions. To sign up for Cast98 and fill out our online audition form, click this link:
https://app.cast98.com/shows/a-chorus-line-2026-ccct#auditions
Please contact us with any questions!
Kathleen Richardson
Stephanie Hendrickson
Audition Details:
- Sat, July 18 1:00pm to 4:00pm
- Sun, July 19 6:00pm to 9:30pm
- Auditions will be held in the Dance Studio at San Jacinto Community College South Campus, 13735 Beamer Rd., Houston TX 77089 Building 15 – Fine Arts Building
- Possible Call backs Mon, July 20 6:00pm to 9:00pm
- If call backs are needed, they will be held at a different location, to be advised
- If you are unable to make the above times in person, please email one of the directors above for instructions on submitting a video audition
- Rehearsals will begin Sunday, July 26 6:30pm – 9:30pm, and thereafter generally Monday through Thursday evenings approx 6:30pm – 9:30pm, with several Saturday afternoons.
- The role of Val has been cast; all other roles are available
- Non-Paying / Non Equity
Production Details:
Performance and Rehearsal Dates:
- Sep 18/19/20 and Sep 25/26/27 – Friday evenings at 7:30pm, Saturdays at 2:00pm and
7:30pm, and Sundays at 2:00pm - Tech Week begins Saturday Sep 13 and runs through Thu Sep 17
- All performances are at San Jacinto Community College South Campus, Proscenium
Theatre, 13735 Beamer Rd., Houston TX 77089 Building 15 – Fine Arts Building - Rehearsals will begin Sunday July 26 and generally be on Mon – Thu evenings plus most
Saturdays during the rehearsal period. Evening rehearsals will be 7pm to 10pm unless
otherwise noted. - Rehearsals will be held at various locations TBA. A complete rehearsal
schedule will be available at auditions.
What to prepare for auditions:
Auditions will consist of a vocal audition, a dance audition, and readings from the script. If you let us know ahead of time which day of auditions you’ll be attending (see above), you’ll get one set of sides via email a few days prior to the audition. Other readings will be cold readings from the script. In addition:
- Prepare a song from musical theatre in the style of this show. Please bring recorded music on your device or be prepared to sing a capella, as no accompanist will be available at auditions
- There will be a dance audition so dress appropriately for movement and bring dance footwear. All auditioners are required to participate in the dance audition.
- Please bring a list of your known conflicts during the rehearsal period (or provide them on the Cast98 audition form)
- A copy of your headshot and resume is appreciated, but not required (if you upload these on Cast98, you don’t need to bring extra copies in person.)
Synopsis:
“A Chorus Line”, a ground-breaking musical, examines one day in the lives of seventeen dancers, all vying for a spot in the “chorus line” of a Broadway musical. After the first round of cuts, Zach, the director and choreographer, asks each dancer to speak about themselves. Discomfort opens into revelation, confession leads to redemption, and within the bright, outwardly homogenous chorus, the audience begins to see each dancer’s individuality. As Zach pushes them to share their personal stories, they reveal their struggles, dreams, and sacrifices for a life in theatre. Through heartfelt monologues and iconic songs like “One” and “What I Did for Love,” the dancers expose their deepest fears and aspirations. From Cassie, the star who just needs the “music and the mirror and the chance to dance,” to Val, a small-town girl with a brand-new big-town body, to Mike, who took his sister’s place in dance class, saying “I can do that” to Maggie, still seeking a father’s approval that parallels with the approval of a director or choreographer – this show highlights themes of identity, perseverance, and the fleeting nature of artistic success. With its intimate, character driven storytelling and dynamic choreography, A Chorus Line captures the raw emotions and relentless dedication of performers, celebrating the passion and resilience that fuel their pursuit of a place on the stage. Based on real Broadway dancers’ stories, and winner of nine Tony Awards and the Pulitzer Prize for Drama, A Chorus Line remains one of Broadway’s top 10 longest-running shows, celebrating the passion and resilience that fuel the pursuit of a place on the stage.
Roles Available:
This musical is set in a specific historical and cultural context, and some roles may require certain ethnic, cultural, or gender presentations as specified in the script. These requirements are noted below, and all other roles are open to performers of any background, ethnicity, gender identity, or sexual orientation.
Character Breakdown
(The role of Val has been cast; all other roles are available for casting.)
Zach – Male, 30s-50s, Baritone The demanding but passionate director/choreographer leading the audition. Primarily speaks but has some singing lines as part of the group. The actor playing Zach has the opportunity to be a strong dancer, but at a minimum needs to move well.
Larry – Male, 20s-30s, Tenor C,L,D – Strong Dancer Zach’s assistant and an excellent dancer. Non-singing role, except with ensemble. Can be cast as Lori, a female 20s-30s.
Dancers On the Line (in order as they stand on the line, left to right):
Don Kerr – Male, 20s -30s, Baritone, D3-F4, from Kansas City, KS. Married, but used to work at a strip club. Cool, cocksure, and flirtatious, Don loves cars, money, and women. Don is a charming, easygoing dancer with a laid-back personality that contrasts with some of the more intense auditionees. He carries himself with confidence, but without the edge of arrogance. Sung/Spoken monologue in Montage.
Maggie Winslow – Female, 25, Soprano, A3 – F5 from San Mateo, CA. Maggie has a sweet, almost wistful personality, and her story is infused with nostalgia. Unlike some of the others, who approach the audition with boldness or sarcasm, Maggie carries herself with a quiet dignity. She is not the loudest or flashiest dancer, but her vulnerability makes her memorable. Featured solo on “At The Ballet”.
Mike Costa – Male, Italian-American, 24, Tenor, A2-G4, from Trenton, NJ. Strong Dancer. Mike is full of energy, confidence, and swagger, often presenting himself as the bold young man eager to prove himself. Mike’s personality is lively and extroverted, which makes his presence on stage stand out. He is competitive but also charismatic, a combination that embodies the spirit of many ambitious dancers. Performs vocal and dance solo “I Can Do That”.
Connie Wong – Female, Asian-American, 32, Alto C4-C5 Evasive about her age, from the Lower East Side of New York City. Connie’s career started at age 5 in “The King and I”, and she’s been a working actor ever since. As one of the smaller dancers physically, she often jokes about her height. Despite this, Connie carries herself with a confident and upbeat personality, refusing to let her stature define or limit her. NOTE: Can also be cast as Connie MacKenzie, a Scottish-American, with all other descriptors the same. Solo on “4’10””.
Greg Gardner – Male, 20s-30s, Baritone, D3-E4 Very East Side Greg is Jewish and flamboyantly gay. He is sassy, funny, and has done and seen it all. He loves his job, mostly because for him, it’s play. His monologue during the Montage is about how he discovered he was gay.
Cassie Ferguson – Female, 30s, Mezzo-Soprano, E3-C#5 – Strong Dancer A former featured dancer struggling to return to the chorus after failed attempts at solo success. She has a past romantic history with Zach and performs the demanding dance and vocal solo “The Music and the Mirror.”
Sheila Bryant – Female, 30s, Alto, F3-Bb4, From Colorado Springs, CO. At thirty, she is one of the oldest dancers auditioning and is self-conscious about her age, and she carries herself with a cool, sardonic wit that often masks her insecurities. Sheila exudes confidence on the surface, but her sharp humor and cutting remarks are often a defense mechanism, protecting her from the fear of rejection and from the reality of her age in a youth-driven industry. Featured solo in “At the Ballet”.
Bobby Mills – Male, 25, Baritone, D3-C4, from Upstate NY. Bobby uses humor as both a defense mechanism and a way to command attention. His monologues are filled with outrageous anecdotes about his eccentric childhood and his tendency to get into trouble His personality leans toward the eccentric and sarcastic, often delighting the audience with his wit Monologue during “And…”
Bebe Benzenheimer – Female, 22, Mezzo-Soprano, G3-C5; from Boston. Bebe is a thoughtful and somewhat insecure dancer, wrestling with questions of identity and self-worth. She comes across as sensitive and introspective, revealing that she often struggled with comparisons to her parents’ expectations. Bebe’s reflections center on her relationship with her mother, who constantly pushed her toward a conventional life rather than the stage. Featured solo on “At The Ballet”.
Judy Turner – Female, 26, Mezzo-Soprano, Bb3-Bb4; From El Paso, TX. Awkward, scatterbrained, and charming, often delighting the audience with her quirky personality She comes across as somewhat ditzy at times, but her charm lies in her openness and sincerity Judy doesn’t try to project an image of perfection; she embraces her awkwardness and lets her natural humor shine through, which makes her instantly likable. Sung/spoken monologue during “The Montage”.
Richie Walters – Male, Black, 20s-30s, Tenor, G2-G4; from Herculaneum, MO. Richie exudes energy, confidence, and humor, often bringing a burst of liveliness to the audition room. Richie is confident in his abilities, but unlike some of the more arrogant characters, he maintains a sense of joy and playfulness that makes him especially appealing. Vocal and dance lead on “Gimme The Ball”.
Al Deluca – Male, 20s-30s, Baritone, E3-G; A confident, streetwise dancer from the Bronx. He projects a tough, slightly cocky demeanor, shaped by his working-class, Italian-American background. His personality is pragmatic; he doesn’t indulge in long stories about dreams or insecurities, preferring instead to present himself as capable and grounded. He comes across as steady and self-assured, not someone who is shaken easily by the pressures of the audition room. Married to Kristine, he sings for her and with her on “Sing!”.
Kristine Urich – Female, 20s-30s, Mezzo-Soprano, from St Louis, MO. Kristine is defined by her nervous energy and her insecurity about her singing voice. While she is a skilled dancer, she openly admits that singing has always been her weak spot. This vulnerability sets her apart from others in the audition, who tend to project confidence even when they are nervous. Sings duet (badly) with Al on “Sing!”.
Val Clark – Female, 20s-30s, Mezzo-Soprano, G3-C5; From Arlington, VE. Val is brash, outspoken, and unapologetically confident in her pursuit of success. She is candid about how she got ahead in the industry and not afraid to talk openly about the pressures placed on dancers, especially women, to meet certain physical standards in order to book jobs. Her bold personality ensures that she commands attention whenever she speaks. Lead Vocals on “Dance Ten, Looks Three”.
Mark Anthony – Male, 18-20, Tenor, A2-G4; from Tempe, AZ. Mark is the youngest dancer in the audition, radiating youthful enthusiasm and energy He is eager to share his experiences, sometimes with the unfiltered candor of someone who has not yet learned the art of restraint His personality is earnest, excitable, and slightly awkward, which makes him endearing to both the audience and the other dancers His monologue about puberty kicks off the “Montage: Hello Twelve, Hello Thirteen”.
Paul San Marco – Male, Hispanic (Puerto Rican), 20s-30s, Baritone, C3-F4; from Spanish Harlem, NY. Paul is introverted and soft-spoken at first, almost hesitant to reveal much about himself, but when Zach presses him, Paul delivers a heart-wrenching monologue that becomes the emotional centerpiece of the musical. His journey is one of self-discovery, shame, resilience, and ultimately acceptance. Demanding monologue.
Diana Morales -Female, Hispanic (Puerto Rican), 20s-30s, Mezzo-Soprano, G3-Bb4, from the Bronx, NY. Tough and streetwise, Diana exudes energy, warmth, and a no-nonsense attitude, which makes her stand out among the group. Attended New York’s High School for Performing Arts. From the very beginning, Diana asserts herself as someone unafraid to speak up, whether it’s to challenge Zach’s methods or to share her personal experiences honestly. Her straightforwardness is balanced by her sense of humor, which makes her instantly engaging. Sings lead on “Nothing” and “What I Did For Love”.
The Ensemble (who get cut):
Lois – Female, 20s-30s, Ensemble Soprano/Alto – A skilled dancer but ultimately doesn’t stand out enough to make the final cut.
Tricia – Female, 20s-30s, Ensemble Soprano/Alto – She is an eager dancer but doesn’t make it through.
Vicki – Female, 20s-30s, Ensemble Soprano/Alto – Identified as “the dancer who keeps ending up in the wrong spot.” She struggles with precision in the audition combination and is cut early.
Roy – Male, 20s-30s, Ensemble Tenor/Baritone – Identified as “the guy who messes up” or “the guy who can’t get the steps.” He struggles to keep up with the choreography and is quickly cut.
Frank – Male, 20s-30s, Ensemble Tenor/Baritone – Identified as“the guy with the headband.” A solid dancer but doesn’t quite make the cut.
Butch – Male, 20s-30s, Ensemble Tenor/Baritone – Sometimes depicted as a strong but not refined dancer, as his name suggests a more rugged energy.
Tom – Male, 20s-30s, Ensemble Tenor/Baritone – A hopeful dancer who auditions with enthusiasm but is eliminated early.
**Ensemble who are cast will learn the vocal parts for the large group numbers “I Hope I Get It,” “Montage,” “One,” and “What I Did for Love” and will provide off-stage vocal support for those numbers.
Crew Members & Newbies
CCCT prides itself as being a place for people who have always wanted to get involved in theatre but never had the chance. We often cast people with little experience – our job is to serve our community by providing an artistic release for everyone. We’d love to have you join us. Audition nights are a perfect time to come out, meet the director, and express your interest in helping backstage, be it in the role of a stage manager, lights and sound operator, concessions, or whatever else you might like to do.