Yearning for the spotlight? Casting Has Begun

Open auditions are held each year in the late winter or early spring. Dates and requirements are announced on this page, on our social media pages, and in our e-mail newsletter. A press release announcing auditions is sent to the media.

During auditions, callbacks, and rehearsals, all those present must abide by ASGT’s official Audition Policy (see below) and by Board of Education policies (if at a public school) or the policies of the host. This includes a prohibition against smoking anywhere on public school grounds.

Thank you in your interest in auditioning with ASGT!

Upcoming workshops will be posted here.

Join our e-mail list and/or like us on Facebook, Twitter, or Instagram for timely updates! (@asgtannapolis)

We are seeking to fill one fun, key role at this time:

Justice (female) – 30-40’s – Ethnicity: Black/African descent or African American – strong presence, an easy sensuality about her, once a performer, she now operates a gentlemen’s club. Maternal figure with street smarts. Limited dancing. Vocal: strong, soulful, belt voice; RANGE: (G3 – E5)

Additional openings may be available for male and female ensemble (dancing and non-dancing).

Interested actors should send an email with interest, resume, and recent picture (does not need to be professional headshot) to and

Be prepared to follow with short video audition tape if requested.

  • Saturday, February 22nd, 1-4 pm (CADE 124 – West Campus)
  • Tuesday, February 25th, 7-10 pm (CADE 122 – West Campus)
  • Callbacks – Thursday, February 27th from 7-10 pm (CADE 122 – West Campus)

Please note: These are open auditions.  No need to sign up for an audition spot.

Campus Map

Audition Requirements:

Come prepared to sing 16-32 bars of two contrasting songs, at least one song must be from the musical theatre canon. The other may be folk song/Americana/bluegrass or a second musical theatre song No recorded tracks or songs from the show.

  • Bring a résumé and headshot.
  • All ethnicities and genders are welcome.
  • Be prepared to dance and move. Please bring dance shoes.

If you desire to bring additional resources to the audition, please reach out to the director at

Casting Men 7/Female 9

  • Alice Murphy (Lead) – plays both 16-17 and 36-37. Alice at age 36-37 is an editor of a southern literary magazine; intelligent, attractive, professional – but with an air of melancholy. Young Alice at age 16-17 is rebellious, high-spirited, adventurous – looking to break out of small-town life and experience the world. She must be a very strong singer and comfortable in folk and bluegrass styles.
  • Jimmy Ray Dobbs (Lead) – plays both ages 18-20 and 38-40. Jimmy Ray in his early 20s in flashbacks is Mayor Dobbs’ son and young Alice’s beau; handsome, boyishly charming, well-built and intelligent; from a family of wealth and power and is being groomed by his father for a similar future in the family business; an independent thinker who is not afraid to stand up to his father for what he believes in; he has a sense of personal responsibility and morality as well as a deep reserve of passion and emotion. The same actor will also play an adult Jimmy Ray at age 38-40.
  • Billy Cane (Lead) – a young soldier returning home from WWII; an aspiring young writer; fresh, open, optimistic, charming, and a little naïve.
  • Margo Crawford (Supporting) – a small-town bookstore owner; a childhood friend of Billy’s who now harbors romantic feelings towards him; a natural beauty with a keen intellect.
  • Mayor Josiah Dobbs (Supporting) – the Mayor of Zebulon; a political and financial powerbroker – distinguished, an imposing and controlling presence; has a genuine interest in protecting his son’s future and his family name, but in doing so, is ultimately pushed to a point of extreme and irrevocable cruelty.
  • Daddy Cane (Featured) – Billy’s father. A widower. Spry, good looking. Kind-hearted, if a bit lonely.
  • Mama Murphy (Featured) – Alice’s mother. A caretaker to her family and her rural community. A warm, loving, sensible woman. Hardworking, with great inner strength and compassion.
  • Daddy Murphy (Featured) – Alice’s father; an authoritative and a stern disciplinarian; devoutly religious, hard-working, a poor but proud farmer.
  • Daryl Ames/Ensemble (Featured) – An assistant at a literary magazine. Funny, with a dry and officious sense of humor. Insecure, and perhaps a bit socially awkward, but endearing and innately likable.
  • Lucy Grant/Ensemble (Featured) – A junior editor at a literary magazine. An ambitious, professional young “modern” career woman of the 1940s. Strong, forthright and provocative with a sharp sense of humor.
  • 3 Male Ensemble Members
  • 3 Female Ensemble members

Additional character information:

Show Synopsis:

Inspired by a true event and featuring the Tony-nominated score by Steve Martin and Edie Brickell, Bright Star tells a sweeping tale of love and redemption set against the rich backdrop of the American South in the 1920s and ’40s. When literary editor Alice Murphy meets a young soldier just home from World War II, he awakens her longing for the child she once lost. Haunted by their unique connection, Alice sets out on a journey to understand her past—and what she finds has the power to transform both of their lives. With beautiful melodies and powerfully moving characters, the story unfolds as a rich tapestry of deep emotion. An uplifting theatrical journey that holds you tightly in its grasp, Bright Star is as refreshingly genuine as it is daringly hopeful.

Auditions will be held at Anne Arundel Community College on the following dates:

  • Wednesday, February 26th from 7-10 pm (CADE 122 – West Campus)
  • Saturday, February 29th from 10 am – 1 pm (CADE 122 – West Campus)
  • Callbacks on Wednesday, March 4th from 7-10 pm (CADE 122 – West Campus)

Campus Map

Audition Signups

We are using Signup Genius to schedule auditions for The Drowsy Chaperone.  For more information about auditions and to signup for a spot, click HERE.

Plan to arrive ahead of your time block in order to complete audition forms and be ready to start on time.

Meet the production team for The Drowsy Chaperone:

Character Breakdown

  • Man In Chair (male, age 30-50) – Musical theatre aficionado who mourns the end of the Golden Era. He narrates the show as he listens to the record on vinyl.
  • Mrs. Tottendale (female, age 50-60) – The air-headed, proper, and bossy host of the wedding.
    Vocal range top: Db5, vocal range bottom: G3
  • Underling (male, age 35-50) – Mrs. Tottendale’s savvy butler who is thrifty and stiff yet has an understated sense of humor.
    Vocal range top: G4, vocal range bottom: Ab2
  • Robert Martin (male, age 25-35) – The dashing, ever-cheerful groom; played by matinee-idol Percy Hyman.
    Vocal range top: Ab4, vocal range bottom: C3
  • George (male, age 35-50) – Robert’s anxious, dim-witted best man who has Robert’s best-interest always at heart.
    Vocal range top: Bb4, Vocal range bottom: F3
  • Feldzieg (male, age 25-35) – Broadway producer who is desperate for his star to return to his show; played by Jack Adler.
    Vocal range top: Db4, vocal range bottom: Db3
  • Kitty (female, age 25-35) – Feldzieg’s dim-witted companion who has hopes of being a star; played by Sadie Adler.
    Vocal range top: F5, vocal range bottom: Bb3
  • Gangsters (male, age 35-45) – Posing as pastry chefs, this duo is intending to collect from Feldzieg; played by the vaudeville duo Tall Brothers.
    Vocal range top: Gb4, vocal range bottom: Db3
  • Aldolpho (male, age 35-45) – European self-proclaimed “ladies man”; played by former silent movie star Roman Bartelli.
    Vocal range top: G4, vocal range bottom: A#2
  • Janet Van De Graaf (female, age 25-35) – The famous bride. Glamorous and talented star of Feldzieg’s Follies; played by rising star Jane Roberts.
    Vocal range top: -1, vocal range bottom: G3
  • The Drowsy Chaperone (female, age 45-55) – Janet’s alcoholic confidante and friend; played by well-established stage actress Beatrice Stockwell
    Vocal range top: D5, vocal range bottom: F3
  • Trix (female, age 30-40) – The brave and brash female aviator who, by chance, is recruited to perform the wedding.
    Vocal range top: Eb5, vocal range bottom: Ab3
  • Ensemble – Staff; Reporters

General Policies for Auditions

  • During auditions, callbacks, and rehearsals, all those present must also abide by Board of Education policies (if at a public school) or the policies of the host. This includes a prohibition against smoking anywhere on public school grounds.
  • There shall be no pre-casting of actors. All potential cast members must audition.
  • A minimum of two audition dates will be scheduled for each show.
  • In exceptional circumstances only, if an actor has a valid conflict with scheduled auditions the Director may accept a recorded audition or conduct an initial audition at the beginning of callbacks.
  • All auditions are made public and open to all who wish to participate. Auditions are announced on ASGT’s website, social media, and in our e-mail newsletter. A press release announcing auditions is sent to the media.
  • Actors of all shapes, sizes, ethnicities, and experience levels are encouraged to audition.
  • Auditions are open to anyone 18 years or older, which is defined as anyone who will reach the age of 18 by opening night of the production for which they’re auditioning. Individuals who will not reach the age of 18 by opening night of the production may not audition.
  • Age restrictions may be waived for particular roles depending on the needs of each show. Any such waiver of age restrictions will be published in the official audition notice.
  • It is ASGT policy to cast “age appropriate” actors in all roles when possible.
  • ASGT does not accept audition forms, resumés, or headshots prior to the scheduled auditions.
  • Auditions are open or closed at the discretion of the Director and Board Production Director. Only those invited may come to callbacks. No one may observe callbacks without prior permission.
  • The Director, Music Director, and Choreographer for a production may not audition for, be cast in, or appear in that production except under special circumstances and with approval of the Board. Also, no one auditioning may sit at the casting table.
  • The following people must be present for the duration of auditions and callbacks: Director, Music Director, Choreographer, Stage Manager, and two members of the Board.
  • The Director should be efficient in the use of the auditionees’ time and respectful of their efforts.
  • The Director has final say on all casting decisions. ASGT leadership will provide input only if the Director asks for their input and/or if prior personnel issues (quitting a show, being fired, failure to show for rehearsals, etc.) are unknown to the Director and might affect casting decisions.
  • Individuals are expected to come to auditions and callbacks dressed appropriately and professionally, with proper footwear for dancing/movement and legible music that is marked for the accompanist.
  • They should bring a current headshot or a photo will be taken for them, and may bring a resumé (optional).
  • No one will be notified of casting deliberations or decisions during the public audition/call back process.
  • All who audition will be thanked by phone or e-mail for their participation by the designated production staffer. Individuals in consideration for a role but not ultimately cast will not be notified until those who were cast have accepted the roles offered.
  • Additional auditions (outside of the initial two nights and callbacks), if necessary, will be publicly announced.
  • Performers are encouraged to audition for more than one ASGT show per season. ASGT and the Directors will make every effort to accommodate conflicting rehearsal schedules, with the earlier show taking precedence over the later show.
  • The use of illegal drugs or alcohol is never permitted during any ASGT audition or call back, or before/during any rehearsal or performance. Firearms/weapons are never permitted with the exception of Board-approved use for a production.
  • Roles are nonpaid/nonequity