Casting Equity Actors for 2026 Season Shows

Female-presenting. Walter Lee’s mother and the matriarch of the Younger family. Noble, spirited and grounded. A woman of traditional values who dreams ofbuying a house for her family. Walter Lee Younger: 35. Black. Male-presenting. A dreamer whose big plans and schemes are fueled by his aspirations and ambitions to become something in the world. Wants more for himself and his family. "A RAISIN IN THE SUN"

About thirty. Female-presenting. Pragmatic, strong and hard-working. Is exhausted from bearing the weight of running a family, working a full-time job and managing their tight finances. Occasionally exhibits moments of radiance and joy that were fundamental to the early years of her marriage but is now filled with a weariness that has made her older than her years. Alto singing voice for gospel song. "A RAISIN IN THE SUN"

Female-presenting. Mama’s daughter and Walter Lee’s younger sister. A college student studying to be a doctor. An intellectual. Bright, confident, opinionated, and intense. Fully invested in exploring new ideas about her identity, heritage and religion which sometimes alienates her from her more traditional family. "A RAISIN IN THE SUN"

Male-presenting. A Nigerian student in love with Beneatha. Intelligent, sophisticated, humorous and charming. He is proud of his country and culture, and he woos Beneatha with the poetry and music of his homeland. Nigerian accent. "A RAISIN IN THE SUN"

Male-presenting. A wealthy young man who dates Beneatha. Upper middle class. Aloof and cares about appearances. Takes great pride in his family’s social status. "A RAISIN IN THE SUN"

Male-presenting. A friend of Walter Lee, the two plan on going into business together opening a liquor store. Vulnerable, polite and sensitive. "A RAISIN IN THE SUN"

Mid-40s. Male-presenting. A representative of the Clybourne Park Improvement Association, which seeks to dissuade the Youngers from moving to its all-white neighborhood. A weaselly, non-threatening and politic middle-aged man. "A RAISIN IN THE SUN"

Male-presenting. "A RAISIN IN THE SUN"

The Youngers’ meddling neighbor in their apartment building who takes a voyeuristic interest in their decision to move to all-white Clybourne Park. "A RAISIN IN THE SUN"

Male-presenting. Vocal range: Gruff, natural sounding Baritone with a strong high G. One of the locals. The gregarious and well-liked Mayor of Gander, Newfoundland; he loves his work, the townspeople and daily traditions. Has never had to deal with a crisis of this magnitude. Intimacy needs: Physical touch between friends (in celebration and grief). Has a regional Newfoundland dialect. Doubles as Derm (Brenda's Brother) and Eddie. "COME FROM AWAY"

Female-presenting. Vocal range: Mezzo with belt up to B. One of the locals. A no-nonsense mother of three, she is the head of the Gander SPCA. When she discovers animals are trapped on the planes, she stops at nothing to ensure their safety - she often lashes out at those around her. Married to Doug, the Air Traffic Controller. Intimacy needs: Physical touch between friends (in celebration and grief). Has a regional Newfoundland dialect. Doubles as Martha. "COME FROM AWAY"

Female-presenting. Vocal range: Mezzo with belt up to B. One of the locals. The head of the Gander Legion with a firefighter son who walks Hannah to her church and prays with her. Intimacy needs: Physical touch between friends (in celebration and grief). Has a regional Newfoundland dialect. Doubles as Delores. "COME FROM AWAY"

:Male-presenting. Vocal range: Strong contemporary Tenor up to G. One of the locals. The quirky constable in the two-person Gander police force. When the town's population suddenly doubles, Oz helps out in unexpected ways. Intimacy needs: Physical touch between friends (in celebration and grief). Has a regional Newfoundland dialect and other dialects as well be able to speak in Hebrew. Doubles as Joey; Customs Officer; Mr. Michaels; Terry; Matty; Rabbi;Head Cardiologist. "COME FROM AWAY"

Female-presenting. Vocal range: Contemporary Soprano with strong pop belt and a mix up to E. One of the locals. An eager new local TV reporter who is thrown into the deep end on her first day. Initially naive about the world, she must face the pain and confusionaround her. Intimacy needs: Physical touch between friends (in celebration and grief). Has a regional Newfoundland dialect and other dialects as well as be able to speak in Hebrew. Doubles as Britney; Flight Attendant. "COME FROM AWAY"

Female-presenting. Vocal range: Strong mezzo with an easy mixed or belted C#. One of the “Come From Away”s. The first female captain for American Airlines. Beverley Bass has always loved flying. Doubles as Annette: 40s-60s. A local teacher at the Gander Academy & mother to a lot of children. Doubles as Reporter. Intimacy needs: Physical touch between friends (in celebration and grief). Has a regional Newfoundland dialect & other dialects as well as be able to speak in Hebrew. "COME FROM AWAY"

Male-presenting. Warm, natural Baritone/Baritenor with an easy E and strong pop sensibility. Intimacy needs: New romantic partner - kissing, hugging, touching. Physical touch with friends in celebration/grief. Possible physically aggressive moments. Doubles as Doug — 30s-40s. A local Air Traffic Controller who is married to Bonnie & tries to help his wife & the animals; Officer Stephenson; Male Townsperson. Has a British dialect as well as regional Newfoundland dialect. "COME FROM AWAY"

Female-presenting. Warm, natural contemporary Soprano with strong mix up to D. One of the “Come From Away”s. A traditional divorcee from Texas. When she finds out that heis safe, she is given a new lease on life and discovers a wilder, more carefree side of herself. Intimacy needs: New romantic partner - kissing, hugging, touching. Physical touch with friends in celebration and/or grief. Doubles as Crystal and Brenda. Has a Texas dialect. "COME FROM AWAY"

Male-presenting. Strong contemporary Teno up to G. One of the “Come From Away”s. Intimacy needs: Part of a same sex couple so public couple physical intimacy. Physical touch with friends in celebration and/or grief. Possible physically aggressive moments. Doubles as Garth — The head of the local Gander union representing bus drivers. Has a regional Newfoundland dialect, Texan accent (does an impersonation of George Bush), and be able to speak in Hebrew. "COME FROM AWAY"

Muslim or Middle Eastern. Male-presenting. Tenor or Baritenor. One of the “Come From Away”s. He’s Kevin T’s boyfriend & secretary. Intimacy needs: Part of a same sex couple so public couple physical intimacy. Physical touch with friends in celebration/grief. Possible physically aggressive moments. Doubles as Ali — a chef for an international restaurant chain whofaces fear and discrimination in the wake of the attacks. Doubles as Dwight. Arabic as well as New York dialect. "COME FROM AWAY"

Black or East African. Male-presenting. Baritone. One of the “Come From Away”s--a hardened New Yorker, Bob is suspicious of where he has landed, fearing that it’s World War III. Doubles as Muhumuza: An African Passenger who, despite a language barrier, finds common ground with a local bus driver; Captain Bristol. Intimacy needs: Physical touch between friends (in celebration and grief). Possible physicallyaggressive moments. African as well as New York dialect. "COME FROM AWAY"

Female-presenting. Vocal range: Contemporary Soprano with strong pop belt and mix up to E. One of the “Come From Away”s. The mother of a firefighter in Manhattan, Hannah waits for news about her son and is comforted by Beulah. Intimacy needs: Physical touch between friends (in celebration and grief). Doubles as Margie, Mickey. Has a regional Newfoundland dialect and New York dialect. "COME FROM AWAY"

Female-presenting. Young daughter to Egeus, Helena’s best friend, in love with Lysander. Decisive, fiery, wild at times, physically shorter than Helena. Intimacy and fight needs: comfortable with sensuality, fight choreography and very physical play. Comfortable wearing female-presenting undergarments onstage. Requires strong Shakespeare language skills and movement skills. "A MIDSUMMER NIGHT’S DREAM"

Male-presenting. A gentleman in the court of Athens, in love with Hermia. Sensual, adventurous, smart, strategic. Intimacy and fight needs: comfortable with sensuality, fight choreography and very physical play. Comfortable wearing malepresenting undergarments onstage. Requires strong Shakespeare language skills and movement skills. "A MIDSUMMER NIGHT’S DREAM"

Female-presenting. In love with Demetrius, Hermia’s best friend, sweet, playful, witty, very comedic, blinded and driven by love/passion. Takes risks and is bold. Taller than Hermia. Intimacy and fight needs: comfortable with sensuality, fight choreography and very physical play. Comfortable wearing female-presenting undergarments onstage. Requires strong Shakespeare language skills and movement skills. "A MIDSUMMER NIGHT’S DREAM"

Male-presenting. In love initially with Hermia, then with Helena. Adventurous, smart, can be entitled and harsh at times. Intimacy and fight needs: comfortable with sensuality, fight choreography and very physical play. Comfortable wearing malepresenting undergarments onstage. Requires strong Shakespeare language skills and movementskills. "A MIDSUMMER NIGHT’S DREAM"

Male-presenting. King of Athens. Doubles as Oberon: King of the fairy world - “king of shadows” – comes from a world of mythology. He’s connected to the elements and the deities. Has a strong physical/spiritual presence. Powerful, God-like, masculine, entitled, jealous. He’s complex. Intimacy and fight needs: May kiss and be sensual with Hippolyta, and/or Titania. Physical, sings and dances. Comfortable wearing a fantastical costume/wig/headdress. "A MIDSUMMER NIGHT’S DREAM"

Female-presenting. Warrior queen engaged to Theseus. Doubles as Titania: Queen of Fairies – comes from the world of mythology, lover of nature, creatures, music and dances. Powerful, feminine, nurturing, kind, sensual, magical. Intimacy and fight needs: may kiss and be sensual with Bottom and/or Oberon. Sings. Able to learn and perform dance/choreography. Playing aninstrument is a plus. Comfortable wearing a fantastical costume/wig/headdress. "A MIDSUMMER NIGHT’S DREAM"

Master of revels or party planner of Theseus & Hippolyta’s wedding. Doubles as Puck: A fairy and Oberon’s servant and right hand. Very playful, imaginative, surprising, physical. Shrewd and knavish sprite, a jokester. A surprising character, unique, unpredictable in rhythm and possesses a boundless sense of joy and play. Strong comedic skills. Sings. Able to learn and perform dance/choreography. Comfortable wearing a fantastical costume/wig/headdress. "A MIDSUMMER NIGHT’S DREAM"

Male-presenting. A weaver and amateur actor who gets the lead part. He’s overly confident, eager, creative, imaginative, and is well loved by his friends. He is easily led by Titania and transported into the fairy world in the shape of an ass. Intimacy needs: Sensual/comedic play with Titania. Strong comedic skills. Sings. Able to learn and perform dance/choreography. Wears a donkey’s head at times. "A MIDSUMMER NIGHT’S DREAM"

A carpenter and amateur writer and director of their play. Struggles to maintain order and a sense of direction. Loves their friends and is proud of their work. Able to partake in a chase. Strong comedic skills. Sings. Abl to learn and perform dance/choreography. Playing an instrument is a plus. Comfortable wearing afantastical costume/wig/headdress. Doubles as Cobweb, a fairy to Titania. "A MIDSUMMER NIGHT’S DREAM"

Male-presenting or non-binary. A bellows mender. Chosen to play Thisbe. Reluctant at first, he gets into it and plays it in a high-pitched voice. A comedic character. Able to partake in a chase. Strong comedic skills. Sings. Able to learn and perform dance/choreography. Playing an instrument is a plus. Comfortable wearing a fantastical costume/wig/headdress. Doubles as Peaseblossom, a fairy to Titania "A MIDSUMMER NIGHT’S DREAM"

The Tinker (repairs metal objects) chosen to play Pyramus’s father - actually plays “the Wall”. A comic, eager participant,offers creative input. Able to partake in a chase. Strong comedic skills. Sings. Able to learn and perform dance/choreography. Playing an instrument is a plus. Comfortable wearing a fantastical costume/wig/headdress. Doubles as Mustardseed, a fairy to Titania. "A MIDSUMMER NIGHT’S DREAM"

Male-presenting. A joiner, as in making furniture. He plays the Lion. Able to npartake in a chase. Strong comedic skills. Sings. Able to learn and perform dance/choreography. Playing an instrument is a plus. Comfortable wearing a fantastical costume/wig/headdress. Doubles as Mote or Moth, a fairy to Titania. Doubles as Egeus. Father of Hermia-- An authoritarian father who demands loyalty and obedience from his daughter and does not respect her feelings. "A MIDSUMMER NIGHT’S DREAM"

Female-presenting or non-binary. Atailor, shy and indecisive. Plays Moonshine with a lantern. Able to partake in a chase. Strong comedic skills. Sings. Able to learn and perform dance/choreography. Playing an instrument is a plus. Comfortable wearing a fantastical costume/wig/headdress. Doubles as Fairy to the Queen, Titania. Witty and smart, playful and bright. "A MIDSUMMER NIGHT’S DREAM"

Asian American, Chinese descent. Male-presenting. Comedic, high physical stamina to play charismatic, impassioned, sharp-witted playwright with the neurosis of a writer that wants to be liked. "YELLOW FACE"

Male-presenting. Comedic, physically agile to play the leading man in DHH play. Handsome, affable, earnest. "YELLOW FACE"

Asian American, Chinese descent. Male-presenting. Versatile, Comedic, doubles as multiple roles which may include - HYH (DHH's father), Frank Chin, BD Wong, Wen Ho Lee, Bernard Jacobs, Frank Rich. "YELLOW FACE"

Male-presenting. The Announcer, New York Times, [Name Held on Advice of Council]. Comedic, with a wry wit to play dry, even acerbic reporters and ensembles and represents multiple facets of the press. "YELLOW FACE"

Female-presenting. Versatile, Comedic, doubles as multiple roles which may include - Leah (DHH's former girlfriend), Lily Tomlin, Vinnie Liff, National Review, Dorothy Hwang, Student, Rodney Hatimaya, Margaret Fung, Margaret Cho, Sen. Brownbach. "YELLOW FACE"

BIPOC, Male-presenting. Versatile, Comedic, doubles as multiple roles which may include - Cameron Mackintosh, Joseph Papp, Pravda, Theatre Week, Miles Newman, Anthony Agoglia, Bill Craver, Student #3, Fred Thompson, Rep. Kingston, FBI Agent, Jay Binder, Dr. Pichorak, Ed Koch, Student, Fritz Friedman, Sen. Shelby, Sen. Dominici. "YELLOW FACE"

BIPOC, Female-presenting. Versatile, Comedic, doubles as multiple roles which may include - Sen. Schumer, George F. Will, Dick Cavett, Stuart Ostrow, Jane Krakowski, Gish Jen, Student, Beatrice Chang, Rocco Palmieri, Sen. Bennett, Rep DeLay, Sen. Dominici, OCC Regional Director. "YELLOW FACE"

20, M has the lived experience of being Assigned Male At Birth. Uses they/them pronouns. The star. Our MC. M is an emerging drag performer moonlighting as a bar back at the local hole-in-the-wall gay bar downtown. Intimacy needs: Very minimal intimacy with Will, M's boyfriend. Holding hands, etc. Will perform two choreographed numbers. Performs as their femme drag persona, Miss Cassie-O-Peia. "YOU ARE CORDIALLY INVITED TO THE END OF THE WORLD!"

Male-presenting. M's father. The earth. Clumsily making his way through this world. Intimacy needs: We see the beginnings of a sexual encounter, which is quickly interrupted (kissing, hands wandering, etc.). Performs in some way in a final spectacle "number." Also engages in "physical labor" for a prolonged period of the play: digging, pushing a wheelbarrow, moving rocks, etc. "YOU ARE CORDIALLY INVITED TO THE END OF THE WORLD!"

Female-presenting, M's mother. The space between. Slightly neurotic and easy to get riled up, she wants with all her might to spend her last days with Greg, alone in a bed with M by their side. Intimacy needs: We see the beginnings of a sexual encounter, which is quickly interrupted (kissing, hands wandering, etc.). Clothing becomes undone -- may see a glimpse of bra, etc. Performs in some way in a final spectacle "number." "YOU ARE CORDIALLY INVITED TO THE END OF THE WORLD!"

Female-presenting. Chameleonlike with comedic chops and accent work. Lila: Viv's younger sister, a high-maintenance yoga gal, who's the center of her own universe. Greta: Part-Greta Thunberg, part-Peter Pan, part-screaming-teenage-girl-at-a-Taylor-Swift-concert, part-Angel of Death. Will be specifically costumed to resemble Greta Thunberg. Ensemble A: Performs a brief stand-up set. Performs in some way in a final spectacle "number”. "YOU ARE CORDIALLY INVITED TO THE END OF THE WORLD!"

Male-presenting. Chameleon-like with comedic chops & accent work. Will: is good-natured and wellmeaning, but uncomfortable in social situations. He’s M's boyfriend. Intimacy needs: Very minimal intimacy with M, Will's partner. Holding hands, etc. Melomys: is an extinct rodent with a lot of rage. Will perform as Melomys, either in full rodent costume/operating puppet/TBD. Performs in some way in a final spectacle "number." "YOU ARE CORDIALLY INVITED TO THE END OF THE WORLD!"

Female-presenting. Chameleon-like with comedic chops. Janet: is dealing with her wife's cancer diagnosis by at times lashing out. Blue collar. Dr. Thomas: Greg's doctor with a near-robotic, perhaps excessively cold bedside manner. Toad: a now extinct Golden Toad. A kind of washed-up drama queen, quick to sob. Will perform as Golden Toad, either in full toad costume/operating puppet/TBD. Performs in some way in a final spectacle "number." "YOU ARE CORDIALLY INVITED TO THE END OF THE WORLD!"

38 years old. Male-presenting. Has a vicious scar running down the left side of his face. Struggling to make ends meet after having spent seven years in prison. Strives to live by his own moral code. "KING HEDLEY II"

60s. Female-presenting. King’s mother. A former big band singer who recently moved back to Pittsburgh, she has a complicated relationship with her son. "KING HEDLEY II"

36. Male-presenting. King’s best friend since grade school and sometimes business partner, street-smart, loyal. "KING HEDLEY II"

60s. Male-presenting. Ruby’s sporadic, longtime flame. A professional hustler, charming and elegant. "KING HEDLEY II"

35. Female-presenting. King’s pregnant wife. Studying for her GEDs, striving to better herself in the world, reluctant to bring a child into a world that she sees as tumultuous and corrupt. "KING HEDLEY II"

Late 60s. Male-presenting. King’s next-door neighbor. The Hill’s spiritual and practical truth sayer. "KING HEDLEY II"

Female-presenting or non-binary. Kate is seen as an outcast in her society. She possesses great ferocity, wit and vulnerability but does not have the ability until later in the play to express her deepest needs through verbal language. Kate is unpredictable, passionate, stubborn, physical, fierce, witty, funny. Intimacy and fight needs: Kate engages in physical combat with many characters and sexual intimacy like kissing with Petruchio. "THE TAMING OF THE SHREW"

Male-presenting. Petruchio is an outsider, arriving in Padua to play the game of finding a wealthy wife. He understands the rules and game of how to succeed in main stream society, but he also possesses a unique sense of humor, wit and POV that. Intimacy and fight needs: Petruchio engages in physical combat with many characters and sexual intimacy like kissing with Kate. Petruchio wears a wedding dress to show solidarity with Kate in their wedding scene. "THE TAMING OF THE SHREW"

Male-presenting. A loving father who is in way over his head trying to raise these two girls on his own. He begins the play thinking thatadhering to the status quo and getting both girls married to wealthy men. The participation of the actor playing Baptista in the Induction scene will be built around their physical comfort as well as what makes sense for the character. Possible Doubling: Haberdasher, Curtis, Petruchio's Servants, Police Officer. "THE TAMING OF THE SHREW"

Female-presenting/non-binary. A young girl who is winning at the game of life as prescribed by the status quo in Padua. She understands the rules of this game and plays it brilliantly. Intimacy & fight needs: She engages in physical combat with Kate. She may kiss Lucentio. Singing & dancing skills are helpful to support an ode to the Kiss Me Kate musical number "I'm a Girl Who Would Marry". Possible Doubling: Haberdasher, Curtis, Petruchio's Servants, Police Officer. "THE TAMING OF THE SHREW"

Male-presenting. This is a tour de force clown track requiring great physical dexterity & ability to transform from character to character within seconds. Intimacy/fight needs: Hortensio makes many sexual advances towards Bianca. He kisses the Widow. He may engage in light physical combat and gets beaten. Dancing skills are helpful to support an ode to the Kiss Me Kate musical number "I'm a Girl Who Would Marry". Possible Doubling: Petruchio's Servants. "THE TAMING OF THE SHREW"

Male-presenting. Gremio is the oldest & richest of Bianca's suitors. Money gives him tremendous power in this world. Intimacy and fight needs: Gremio makes many sexual (but failed) advances towards Bianca. He may engage in light physical combat with Kate and Hortensio. Dancing skills are helpful to support an ode to the Kiss Me Kate musical number "I'm a Girl Who Would Marry”. Possible Doubling: Haberdasher, Curtis, Petruchio's Servants, Police Officer. "THE TAMING OF THE SHREW"

Male-presenting. A wealthy and privileged young man who has grown up secluded with only the company of his beloved books and attendant/governess Tranio. He is experiencing the world beyond his childhood home for the first time, as well as his first love. Intimacy needs: He may kiss Bianca. Dancing skills are helpful to support an ode to the Kiss Me Kate musical number "I'm a Girl Who Would Marry". Possible Doubling: Haberdasher, Curtis,Petruchio's Servants. "THE TAMING OF THE SHREW"

Female-presenting or non-binary. The personal assistant/governess of Lucentio. She has lived a life in the service of others and while smarter and more capable than most everyone around her because of her low status due to class and gender, she is used to living in the shadows. Agility at shifting between playing high and low status is helpful. Fight needs: He gets beaten by Vincentio. Possible Doubling: Haberdasher, Curtis, Petruchio's Servants. "THE TAMING OF THE SHREW"

Male-presenting or non-binary. Petruchio's attendant/right hand. They can be contemporaries or more of a father/son dynamic but have known each other forever and are able to be completely free with one another. Clowning and comedic skills are needed, Grumio is often watching the chaos and saying what we're all thinking. Fight needs: He engages in physical combat with Petruchio and the Tailor. Possible Doubling: Baptista's attendants, Police Officer. "THE TAMING OF THE SHREW"

Any gender but presents as male so that Kate is alone as the only female presenting person in Petruchio's house. High status, high fashion designer from Padua like Karl Lagerfeld perhaps. The Tailor is extremely good at what they do and is used to being lauded and idolized. Fight needs: Engages in a physical altercation with Petruchio and Grumio. Possible Doubling: Haberdasher, Curtis, Petruchio's Servants, Baptista's attendants, Police Officer. "THE TAMING OF THE SHREW"

Female-presenting. The widow has determined that the best way to win at the game of life in Padua is by having a dead husband and inheriting his wealth. She has tremendous status and confidence because of said wealth but ultimately has never experienced true love or friendship. Intimacy needs: She kisses Hortensio. Possible Doubling: Haberdasher, Curtis, Petruchio's Servants, Baptista's attendants Police Officer. "THE TAMING OF THE SHREW"

Male-presenting. Lucentio's father, a wealthy and privileged patriarch from Pisa. He is strict and stern and has very high expectations about what he thinks his son and employees (like Tranio) should be doing and how they should be behaving out in the world. A serious and intimidating straight man. Fight needs: He beats up Tranio and Biondello. Possible Doubling: Haberdasher, Curtis, Petruchio's Servants, Baptista's attendants. "THE TAMING OF THE SHREW"

Male-presenting. Larger than life, a complete sensualist and pleasure seeker; lewd, crass, egotistically, wildly inappropriate, but so charming that all his faults are forgiven. Full of life, a lively and ebullient presence but also has a dark side; potentially a mean drunk and definitely an opportunist. Intimacy and fight needs: sword fight and physical intimacy of a sexual nature (e.g. women sitting on his lap, perhaps kissing and fondling). May sing a cappella. "HENRY IV, PART ONE"

Male-presenting. Once an admired, strong, charismatic leader, he’s now a brooding, troubled man, riddled with guilt about how he became King.A warrior unaccustomed to his new role as statesman – he knew how to lead as a soldier but is less comfortable as a politician. Has the presence and look of a ‘faded 5 star general’ – still retains vitality. Fight needs: Sword fighting. "HENRY IV, PART ONE"

Male-presenting. Charismatic, charming, easy-going, the kind of person that everyone wants to be close to but no one really knows fully; mercurial, witty, sharply intelligent, wild with a central calculating core. Needs to be someone that we root for, someone who draws us in. Intimacy and fight needs: Needs to be athletic and have strong fighting skills. Physical intimacy of a sexual nature with potentially both female presenting and male presenting characters. "HENRY IV, PART ONE"

Male-presenting. Northumberland's son. Hot-headed, stubborn, impetuous, tightly wound but unpredictable – he’s a loose cannon, dangerous. Has the fiery ambition of a young man who sees the older generation ‘playing it safe.’ A ‘career’ soldier he has deeply held feelings about what it means to be honorable. Intimacy and fight needs: Needs to be athletic and have strong fighting skills. Physical intimacy with Lady Percy, including kissing and embracing. "HENRY IV, PART ONE"

Male presenting. Northumberland: Hotspur’s father. Old, respected, powerful nobility, he put Henry IV on the throne. Glendower: Leader of the Welsh rebels, Mortimer's father-in-law – an intimidating physical presence, a rough physicality, proud, stubborn, boastful, superstitious, can weave a tale. Needs to be able to speak with a Welsh accent. Sherriff: Has one tiny scene at a critical juncture when the Eastcheap gang might get caught for robbery. A loyal servant. "HENRY IV, PART ONE"

Male presenting. Mortimer: Was named by Richard II as his heir, therefore is in many people’s mind the rightful King - has allied with the Welsh. Intimacy needs: Mortimer has physical intimacy with Lady Mortimer including kissing and embracing. Blunt: Noble in Henry’s court. A stalwart captain, loyal and brave, (fills in as a double for the King in final battle sequence). Intimacy and fight needs: strong fighting skills. "HENRY IV, PART ONE"

Female-presenting. Worcester: Northumberland’s sister, Hotspur’s aunt, she fought to put Henry on the throne. Perhaps resentful that she has had to play second fiddle to her older brother. Outspoken and rebellious, an experienced soldier. Mistress Quickly: Big hearted, lively - gullible and may appear silly, but also knows how to handle herself, a shrewd, no-nonsense businesswoman underneath it all. Intimacy needs: physical intimacy of a bawdy nature as Mistress Quickly. "HENRY IV, PART ONE"

Female presenting. Poins: One of the Eastcheap gang, she has always been ‘one of the lads’. Intimacy needs: physical intimacy of a sexual nature with potentially both female presenting & male presenting characters. Lady Mortimer: dutiful, loving, loyal & open-hearted, a survivor. Intimacy needs: physical intimacy with Mortimer including kissing and embracing. Lady Mortimer speaks in Welsh. Sings in Welsh. Would be great if she played a string instrument, but not necessary. "HENRY IV, PART ONE"

Male-presenting. Westmoreland: Henry’s right-hand man an elder statesman. Loyal and steadfast, is politically shrewd. Bardolph: one of the Eastcheap gang – a calmer presence than the others, he’s loyal and a peacemaker; he’s a ‘quiet, happy drunk,’ rather than a rambunctious one. Perhaps slightly 'slow' because of his years of drinking. "HENRY IV, PART ONE"

Male-presenting. Prince John: Hal’syounger brother. Dutiful with a quiet shrewdness. Gadshill: Quintessential scam guy – street wise, cocky, the go-between but usually not the mastermind of capers. Intimacy needs: Gadshill may have physical intimacy of a sexual nature as part of the Eastcheap gang. "HENRY IV, PART ONE"

Male-presenting. Peto: one of the Eastcheap gang; perhaps not as quick-witted as the others. Intimacy needs: may have physical intimacy of a sexual nature as part of the Eastcheap gang. Douglas: A warrior soldier of mythic reputation who knows it – fearless and fearsome. Vicious and ferocious. Physically strong and imposing – doesn’t have to be really tall but does need to seem like someone who inspires awe and fear. Has excellent fighting skills. "HENRY IV, PART ONE"

Female-presenting. Lady Percy: has a strong inner core and is no pushover. A soldier’s wife,she is forthright and smart - she has strong emotional intelligence and knows how to use humor to communicate with her husband. Needs to operate from a core of emotional truth. Intimacy needs: physical intimacy with Hotspur including kissing and embracing. May wear a corset. Vernon: A noble of Henry’s court. Has fighting skills. "HENRY IV, PART ONE"

Female-presenting. Almost unbelievably charming; anatural comedienne. Bouncily flirty; possesses more power of manipulation than even she understands; has a certain sunny, charming self-regard - it’s what allows her to get away with so much. Very, very clever – and fancies herself even more clever than she is. Capable of getting ahead of herself. Intimacy needs: kisses Knightly romantically twice. Able to learn dance, lots of running around in heels. Will wear form fitting dresses. "EMMA"

Female-presenting. A very physical comedienne. A deeply likable girl from the lower classes, who’s been given a basic education. A sweet, naturally affectionate human being, but not the brightest flame in the stove. A born enthusiast: the kind of person who leaps WAY before she looks. Has a strong tendency towards hero worship. A born follower. VERY impressionable. Has a desperate adoring friend-crush on Emma. Wants to be in love. "EMMA"

Female-presenting. Emma’s former governess. A very smart woman with a good sense of humor; Doubles as Mrs. Bates (of an unknown age elder)/ as cast: An elderly lady, very opinionated, who communicates exclusively in grunts and hand gestures. Mrs. Bates is completely obscured by bonne and scarves and shawls; she’s a big pile of fabric, rather like Cousin It. We never see what’s underneath all the layers. Played by multiple cast members. Able to learn dance. "EMMA"

Female-presenting. Headmistress of a struggling school for girls. An incredibly good-natured, if motor-mouthed and daft, woman. Very, very proud of her niece Jane Fairfax, whom she talks about obsessively. Once she starts talking, you can’t get a word in edgewise. Able to learn dance, move furniture and vocally sustain frequent yelling. "EMMA"

Female-presenting. You know that girl who always seems to do everything right? Jane is that girl. An overachiever. Very composed. Doubles with Mrs. Bates/As cast: An elderly lady, very opinionated, who communicates exclusively in grunts and hand gestures. Mrs. Bates is completely obscured by bonnet and scarves and shawls; Covered by multiple actors. Intimacy needs: Muppet-like, non-mouth-to-mouth, over the top "making out" with Frank in a dumb show. Able to learn dance & move furniture. "EMMA"

Female-presenting. She has a laugh that’s the auditory equivalent of nails being torn out of your fingers. Is delighted by everything. Her libido is.... Quite active. Thinks her new husband, Mr. Elton, is the most desirable, thrilling brilliant man alive. A truly intolerable woman. May actually be a hyena, wearing a human suit. Intimacy needs: Muppet-like, non-mouth-to-mouth, over the top "making out" with Mr. Elton. Able to learn dance and move furniture. "EMMA"

Male-presenting. A handsome man; a super charming man; an upright fellow. He’s also a bit of a rule-follower; maybe sometimes a bit of a stick in the mud. Very clever. Capable of getting ahead of himself and edging towards know-it-all. Competitive. Is preoccupied with Emma – they get under each other’s skin in the most delightful way. Gets quite jealous of Frank Churchill. Has the best intentions. Feels deeply. Intimacy needs: Two romantic kisses with Emma. Able to learn dance. "EMMA"

60s+. Male-presenting. An over-anxious, melancholy hypochondriac, but people humor him, as he’s a nice man under it all. Obsessed with the healing powers of gruel. Tends to darkly predict fatal illnesses as a sign of concern. Doubles as Mr. Weston: late 40s-50s, – the kind of man who likes to make awkward “dad jokes”. Very, very proud of his son, Frank Churchill. An unsubtle matchmaker. A good man; not a mean thought in his head. Able to learn dance. "EMMA"

Male-presenting. A clergyman who sometimes gets the wrong idea. ADORES poetry. A born social climber. Doubles as Mrs. Bates (of an unknown age elder): An elderly lady, very opinionated, who communicates exclusively in grunts and hand gestures. Played by multiple cast members. Intimacy needs: Muppet-like, non-mouth-to mouth, over the top making out with Mrs. Elton. Able to learn dance. Sings karaoke Boyz 2 Men "I'll Make Love to You" to whatever degree of "success". "EMMA"

Male-presenting. An incredibly charming, handsome, mischievous flirt of a man - the kind of man who gets away with almost everything because he’s so irresistible. Not a bad guy, really; just a bit too likable for his own good. Ladies love him. Funny. Gossipy. Clever. Doubles as Robert Martin – a sweet groundskeeper, in love with Harriet. Non-speaking. Intimacy needs: Muppet-like, non-mouth to mouth, over the top "making out" with Jane in a dumb show. Able to learn dance & move furniture. "EMMA"