Casting Performers for Theatre Plays

"In the Land of Oz" Role: Apathetic Museum Employee Description: A disinterested, deadpan guide to the Marvelous Museum of Oz, Frankie wears flannel with a grunge edge and barely musters enthusiasm. Sarcastic, dry, and a bit of a burnout, Frankie sets the tone with their half-hearted welcome and muttered commentary. Think Hot Topic meets ghost town tour guide.

"In the Land of Oz" Role: Crooked Magician/Mad Inventor (Floater track, to be combined) Description: A jittery, eccentric spellcaster hiding in a cave full of magical failures. His twisted lair is a graveyard of arcane experiments. Pipt is obsessed with his “Powder of Life,” and his enthusiasm is matched only by his disregard for consequence. A gremlin in goggles, part inventor, part nightmare.

"In the Land of Oz" Role: Wicked Witch of the North Description: Shrouded in filth and fury, Mombi is a manipulative, terrifying presence. She enslaves Tip, builds monsters, and turns villages to stone. Her magic is old, dangerous, and cruel. Her true weapon is her will. Ferocious, sinister, and commanding – she is Oz’s lingering curse.

"In the Land of Oz" Role: Youth Held Captive by Mombi (secretly Ozma, the rightful Princess of Oz) Description: A scrappy, defiant teen with a spark of mischief and a deep well of pain. Trapped on Mombi’s farm, Tip is a reluctant hero who crafts Jack Pumpkinhead in an act of rebellion and wonder. Their arc is central: from forgotten child to destined ruler. Vulnerable but growing stronger with each step.

"In the Land of Oz" Role: Tip’s Living Scarecrow Creation Description: A recently animated being with a carved pumpkin for a head and a gentle, staggering gait. Despite his appearance, Jack is ultimately a friendly face to the visitors of Oz. His movements are puppet-like, and his loyalty is pure. Think Frankenstein meets a handmade Halloween decoration brought to life.

"In the Land of Oz" Role: Leader of the Army of Revolt Description: Fierce, intelligent, and deeply charismatic. General Jinjur commands a female- led army rebelling against the cowardly rulers of Oz. She’s a revolutionary with a manifesto and style. Her war cry is justice, gems, and glorious vengeance. Think Joan of Arc meets glam rock general.

"In the Land of Oz" Role: King of Oz Description: A charming but bumbling monarch, stuffed with straw and stuck in over his head. Once a loyal friend of Dorothy, now overwhelmed by war. He is painted, patched, and slowly unraveling—literally and politically. Comic and tragic, a ruler made of stuffing watching his world fall apart.

"In the Land of Oz" Role: Attendant to the Scarecrow Description: A nervous, rule-following Emerald City official, decked entirely in green. He delivers bad news with a stammer and a bow. A classic bureaucrat who knows things are falling apart but still clings to procedure.

"In the Land of Oz" (Appears only via Video) Role: Good Witch of the South Description: Regal, composed, and otherworldly. Glinda is a beacon of light and mystery. She knows more than she says and carries centuries of wisdom behind her calm gaze. She guides Tip to their true identity as Princess Ozma. Think moonlight on marble: serene but powerful.

"In the Land of Oz" Role: True Identity of Tip, Rightful Ruler of Oz Description: A young woman with a gentle smile and royal grace. Her presence is ethereal, visible only through the magic mirror. Ozma is the rightful heir, hidden in plain sight. A symbol of lost legacy and transformative power.

"In the Land of Oz" Role: Mayor of Munchkinland, Cult Leader Description: Outwardly cheerful and welcoming, Boq is the affable mayor who hides a dark obsession. By night, he leads a cult in hopes of summoning Dorothy back to Oz. Charismatic and two-faced—a small-town leader with dangerous devotion.

"In the Land of Oz" These roles may be standalone, or may be combined with other floater tracks. Casting note: Some roles (Mombi, Tip, etc.) will stay in their respective locations and their scenes will loop throughout the experience. Some roles will be designated as “floaters” (cultists, royal guard, etc.), will have more flexibility build into their tracks, and may be asked to cover multiple roles if necessary.

"In the Land of Oz" These roles may be standalone, or may be combined with other floater tracks. Casting note: Some roles (Mombi, Tip, etc.) will stay in their respective locations and their scenes will loop throughout the experience. Some roles will be designated as “floaters” (cultists, royal guard, etc.), will have more flexibility build into their tracks, and may be asked to cover multiple roles if necessary.

"In the Land of Oz" These roles may be standalone, or may be combined with other floater tracks. Casting note: Some roles (Mombi, Tip, etc.) will stay in their respective locations and their scenes will loop throughout the experience. Some roles will be designated as “floaters” (cultists, royal guard, etc.), will have more flexibility build into their tracks, and may be asked to cover multiple roles if necessary.

"Mr. Scrooge" Scrooge’s employee. Often maligned by Ebenezer’s greedy ways, Bob remains kind and does his best to be understanding with his grumpy employer/Jacob Marley, Scrooge’s now deceased former business partner. Appears in spirit form as a warning to Scrooge.

"Mr. Scrooge" Wife of Bob and Mother to the Cratchit children, she is kind like Bob, but recognizes that Scrooge has mistreated her husband for too long. She pushes Bob to demand better working conditions and treatment/A spirit that visits Scrooge to show him the error of his ways.

"Mr. Scrooge" The youngest Cratchit, who walks with a mobility device. Despite his illness and general frailty, Tim is the heart of the show, an empathetic and gentle soul.

"Mr. Scrooge" The older Cratchit son, a wide-eyed and playful young boy.

"Mr. Scrooge" The younger Cratchit daughter, a kind and loving girl.

"Mr. Scrooge" The oldest of the Cratchit children/Young Ebenezer’s love interest. When Isabel leaves Ebenezer because he focuses too much on his money, Ebenezer starts to become the miserly, unhappy man we his character to be.

"Mr. Scrooge" Scrooge’s Housekeeper, a fiery but loyal woman/Fezziwig’s wife, a source of great joy in Ebenezer’s memory/A spirit that visits Scrooge to show him the error of his ways.

"Mr. Scrooge" Scrooge’s former employer, an eccentric and generous man/a collector for charity who emplores Scrooge to give money to support the children of the local orphanage/A spirit that visits Scrooge to show him the error of his ways.

"Mr. Scrooge" Ebenezer’s carefree and jovial nephew/Scrooge’s younger self, In love with Isabel and grappling with his priorities/the undertaker.

"Mr. Scrooge" A collector of money for charity, to benefit the local orphanage/assistant to the undertaker.

"Mr. Scrooge" Ensemble and Featured Roles*

"Guys and Dolls" Just like his name suggests, he is the nicest and cheeriest of the gambling crooks. High-spirited and a bit naïve, but sincere and genuine. Nathan's loyal friend and lackey. Vocal range top: B5 Vocal range bottom: D4

"Guys and Dolls" Nathan's right-hand man and a gambler himself. Smart, slick, always moving and shaking, but with what he thinks are Nathan's best interest at heart. Vocal range top: G5 Vocal range bottom: D4

"Guys and Dolls" A pretty, bright-eyed woman who serves as Sergeant of the local Mission. She fully believes in her worthy cause and wishes to convert the gambling sinners to saints. Falls unexpectedly in love with Sky along the way. She is prudish and uptight, but eventually lets go. Vocal range top: G5 Vocal range bottom: B3

"Guys and Dolls" The bass drum and cymbal player in the Mission band, he is Sarah's loving grandfather. Wise and sweet, he wants nothing but the best for her. Vocal range top: F5 Vocal range bottom: D4

"Guys and Dolls" A crook and gambler. He is a tough guy with dollar signs as his bottom line. Brings Big Jule into Nathan's craps game and backs his cheating, but is also a man of his word in the gambling community. Vocal range top: G5 Vocal range bottom: F3

"Guys and Dolls" A New York police officer who is on to Nathan's illegal craps games and is dead-set on catching him. A tough, no-nonsense character.

"Guys and Dolls" A good-hearted gambler and craps game organizer who could never hit the bigtime. He loves Adelaide, but cannot quit his gambling ways. A broke schemer with unwitting ways. Vocal range top: F5 Vocal range bottom: D4

"Guys and Dolls" Nathan's fiancé and a lead performer at the Hot Box nightclub. She loves Nathan more than anything in the world and desperately wants to get married. Pretty, outspoken, stubborn. Vocal range top: E5 Vocal range bottom: A3

"Guys and Dolls" A high-stakes gambler whose luck never seems to run out, and a wild card who surprises himself when he falls in love with the unlikeliest of women. Suave, smart, handsome. Vocal range top: E5 Vocal range bottom: B3

"Guys and Dolls" A big time craps player from Chicago who uses a gun and his own pair of rigged dice to bully his way into never losing. Tough looking. A bit of an oaf. Vocal range top: G5 Vocal range bottom: F3

"Guys and Dolls" Ensemble.

"Guys and Dolls" Ensemble. Mission Band.

"Guys and Dolls" Ensemble. Mission Band.

"Guys and Dolls" Ensemble. Mission Band.

"Guys and Dolls" Ensemble. Crap Shooters.

"Guys and Dolls" Ensemble. Crap Shooters.

"Guys and Dolls" Ensemble. Crap Shooters.

"Guys and Dolls" Ensemble.

"Guys and Dolls" Ensemble.

"Guys and Dolls" Ensemble.

"Cabaret" Host at the Kit Kat Club-- a gender-nonconforming-presenting, exuberant figure; comfortable with being close to the audience; dark, comedic, sinister, vulgar...yet lovable; requires a strong presence that is playful and mysterious. Must act, sing (some in foreign languages), move well, and be comfortable with bawdy/suggestive staging/choreography. Accent: German Vocal range top: C3-C#5

"Cabaret" A British cabaret singer at the Kit Kat Club. Quirky and flighty. Struggles with knowing the darkness of the reality of her life and has woeful luck in her relationships with men. Must act, sing, and dance well; comfortable with moments of intimacy and bawdy/suggestive staging/ choreography. Accent: British Vocal range: A3-C5

"Cabaret" An American novelist and English teacher traveling to Berlin. Through his journey he explores the many facets and complexities of his sexuality, politics, and artistic goals.) Must act and sing well, comfortable with stage movement, light dance, and moments of intimacy. Accent: American Vocal range: A2-E4

"Cabaret" A landlady who rents rooms to Cliff, Sally, and several other characters in her large flat. She is alone and is resigned to her place in life, but secretly longs for companionship. She is very critical of some people while looking the other way with others; comfortable with stage movement and light dance (waltz). Must act and sing well; comfortable with moments of intimacy. Accent: German Vocal range top: D3-Ab4

"Cabaret" A Jewish fruit shop owner who falls in love with Fraulein Schneider; sweet, lovable, and adoring; heartbreakingly naïve about the political turmoil in Germany. Must act and sing well; comfortable with stage movement, light dance (waltz), and moments of intimacy. Accent: German Vocal range top: G3-F4

"Cabaret" A prostitute who rents in Fraulein Schneider's boarding house; larger than life personality, quick witted and sharp tongued; should be comfortable exhibiting a strong sexual and commanding nature; must act and move well and sing in German. Accent: German Vocal range: Ab-high F

"Cabaret" A friendly and likable German, takes English lessons from Cliff, and smuggles funds for the Nazi party; comfortable with stage movement and light dance (waltz); and sing in German. Accent: German Vocal range top: Ab-high F

"Cabaret" The Kit Kat “Girls” & “Boys” These performers are an eclectic mix of types and aren’t necessarily a matching unit. It is very important they act, sing, dance / move well and with confidence. They will be part of various scenes in and out of the Club; should be comfortable interacting with the audience and comfortable with bawdy/suggestive staging/choreography; also sing in German. Accent: German Non-speaking

"Cabaret" The Kit Kat “Girls” & “Boys” These performers are an eclectic mix of types and aren’t necessarily a matching unit. It is very important they act, sing, dance / move well and with confidence. They will be part of various scenes in and out of the Club; should be comfortable interacting with the audience and comfortable with bawdy/suggestive staging/choreography; also sing in German. Accent: German Non-speaking

"Cabaret" The Kit Kat “Girls” & “Boys” These performers are an eclectic mix of types and aren’t necessarily a matching unit. It is very important they act, sing, dance / move well and with confidence. They will be part of various scenes in and out of the Club; should be comfortable interacting with the audience and comfortable with bawdy/suggestive staging/choreography; also sing in German. Accent: German Non-speaking, doubles as Gorilla, also non-speaking

"Cabaret" The Kit Kat “Girls” & “Boys” These performers are an eclectic mix of types and aren’t necessarily a matching unit. It is very important they act, sing, dance / move well and with confidence. They will be part of various scenes in and out of the Club; should be comfortable interacting with the audience and comfortable with bawdy/suggestive staging/choreography; also sing in German. Accent: German

"Cabaret" The Kit Kat “Girls” & “Boys” These performers are an eclectic mix of types and aren’t necessarily a matching unit. It is very important they act, sing, dance / move well and with confidence. They will be part of various scenes in and out of the Club; should be comfortable interacting with the audience and comfortable with bawdy/suggestive staging/choreography; also sing in German. Accent: German Non-speaking

"Cabaret" The Kit Kat “Girls” & “Boys” These performers are an eclectic mix of types and aren’t necessarily a matching unit. It is very important they act, sing, dance / move well and with confidence. They will be part of various scenes in and out of the Club; should be comfortable interacting with the audience and comfortable with bawdy/suggestive staging/choreography; also sing in German. Accent: German

"Cabaret" The Kit Kat “Girls” & “Boys” These performers are an eclectic mix of types and aren’t necessarily a matching unit. It is very important they act, sing, dance / move well and with confidence. They will be part of various scenes in and out of the Club; should be comfortable interacting with the audience and comfortable with bawdy/suggestive staging/choreography; also sing in German. Accent: German

"Cabaret" The Kit Kat “Girls” & “Boys” These performers are an eclectic mix of types and aren’t necessarily a matching unit. It is very important they act, sing, dance / move well and with confidence. They will be part of various scenes in and out of the Club; should be comfortable interacting with the audience and comfortable with bawdy/suggestive staging/choreography; also sing in German. Accent: German

"Cabaret" The Kit Kat “Girls” & “Boys” These performers are an eclectic mix of types and aren’t necessarily a matching unit. It is very important they act, sing, dance / move well and with confidence. They will be part of various scenes in and out of the Club; should be comfortable interacting with the audience and comfortable with bawdy/suggestive staging/choreography; also sing in German. Accent: German Non-speaking, doubles as Rudy, a sailor, also non-speaking

"Cabaret" The Kit Kat “Girls” & “Boys” These performers are an eclectic mix of types and aren’t necessarily a matching unit. It is very important they act, sing, dance / move well and with confidence. They will be part of various scenes in and out of the Club; should be comfortable interacting with the audience and comfortable with bawdy/suggestive staging/choreography; also sing in German. Accent: German Non-speaking, doubles as Customs Official and Max, both speaking.