The Audition Process:

1. Sign up for an audition time.
   • The sign up sheet is divided into 30 minute blocks. You must be available for the entire 30 minutes you sign up for.
2. There is no need to prepare a monologue for these auditions. Sides from the shows auditioning will be provided.
3. Audition!
   • Arrive at least 15 minutes before your audition time. You may forfeit your audition slot if you're not there 15 minutes before.
   • Check-in at the registration table in the Theatre Building lobby (look for the red carpet).
   • At your audition you will be paired with others in the same time block.
   • You may be asked to read more than once, please do not leave until you are released.
4. Attend callbacks if needed.
5. Accept or decline a role if you are cast.
6. If you have any questions or concerns about the audition process, please contact Savanha Moore, Production Stage Manager at savanha-moore@uiowa.edu.

You do not need to prepare a monologue for New Play Festival Auditions. Sides from the shows auditioning will be provided. At your audition you will be paired with others in the same time block. You may be asked to read more than once, please do not leave until you are released.

New Play Festival Auditions have closed.

By Registering for auditions you hereby expressly agree to allow broadcast and distribution of your performance on any medium, including but not limited to the University of Iowa YouTube Channel, Marketing videos, Iowa Public Radio, or via live stream at the discretion of the University of Iowa without any remuneration to you.

To use the Performer Bank:

• Login with your HawkID and password. If you do not have a HawkID, contact KatyBeth Schmid for access.
• Enter your basic information on the front page and select which auditions you are participating in.
• Save your information and logout. Directors will be able to see your information immediately.

Access the Performer Bank

Spring Show Dates (Rehearsal - Close)

• New Play Festival: March 31 - May 9
  • Pop! By Cianon Jones (Reading Series): April 7-May 5
  • Adaku by Sixtus Chetache Igbokwe (Production): March 31-May 5
  • LARPlay by Randy Jackson-Alvarenga (Reading Series): April 7-May 6
  • Undergraduate Playwrights Workshop (Workshop Reading): April 1-May 6
  • Terminal by Emily Kaufman-Bell (Reading Series): April 7-May 7
  • This is My Body by Darrin Terpstra (Reading Series): April 7-May 7
  • Go! By Adrian Enzastiga (Reading Series): April 7-May 8
  • salt tongue by Eli Campbell (Production): April 3-May 8
  • The Milk Miracle by Poonam Dhir (Reading Series): April 7-May 9
  • The Words of Ants by Xiaoyan Kang (Production): April 4-May 9

Important Dates & Holidays:

August - December 2024

7/7 Muharram, 8/26 Fall Classes Begin, 8/31-9/2 Labor Day Weekend, 9/2 Labor Day (Observed), 9/7 Ganesh Chaturthi, 9/16 Mawlid al-Nabi*, 9/16 Anant Chaturdashi, 9/22 Equinox (Mabon), 10/2-10/4 Rosh Hashanah*, 10/3-10/12 Navaratri, 10/12 Dasara/ Dussehra,​ 10/12 Yom Kippur*, 10/14 Indigenous Peoples' Day, 10/14 Columbus Day (Fed. Observed), 10/16-10/23 Sukkot*, 10/23-10/25 Sh’mini Atzeret *, 10/25 Simchat Torah*, 10/31 Halloween/ All Hallows Eve, 10/31-11/1 Diwali, 11/1 All Saints Day, 11/1 Dia de los Muertos, 11/1 Samhain*,  11/3 Daylight Saving Time Ends, 11/5 Election Day, 11/11 Veteran’s Day (Fed. Observed), 11/15 Loy Krathong, 11/23-11/30 Fall Break, 11/28 Thanksgiving Day, 12/1 Advent Begins, 12/16-12/20 Fall Finals, 12/21 -1/20 Winter Break, 12/21 Solstice (Yule/Litha), 12/25-1/2 Hanukkah*, 12/25 Christmas (Observed)

 * Holidays marked with an asterisk (*) begin at sundown on the previous day.

January - June 2025

12/21 -1/20 Winter Break, 1/1 New Year’s Day, 1/6 Epiphany, 1/7 Christmas (Orthodox), 1/14 Mahayana New Year, 1/14 New Year (Orthodox), 1/14 Tamil Thai Pongal Day, 1/14 Makar Sankranti, 1/18 Bodhi Day, 1/20 Martin Luther King Jr. Day (Observed), 1/21 Spring Classes Begin, 1/27 Lailat al Miraj*, 1/29 Seol-nal, 1/29 Chinese New Year (Year of the Snake), 1/29 Tet Nguyen Dan, 1/29 Tsagaan Sar, 2/2 Groundhog Day, 2/9 Superbowl, 2/11 Thaipusam, 2/12 Magha Puja Day, 2/14 St. Valentine's Day, 2/14 Lailat al Bara*, 2/15 Nirvana Day, 2/19 Presidents’ Day (Fed. Observed), 2/25-2/26 Maha Shivaratri, 2/28-3/2 Losar, 2/28-3/30 Ramadan*, 3/3 Beginning of Lent (Orthodox), 3/4 Mardi Gras, 3/5 Ash Wednesday (Beginning of Lent), ​​​​3/9 Daylight Savings Begins, 3/13 Palm Sunday, 3/14 Holi Phagwa*, 3/14 Purim*, 3/16-3/23 Spring Break, 3/17 St. Patrick's Day, 3/17 Nuzul Quran*, 3/20 Equinox (Ostara), 3/27 Laylat al-Qadr*, 3/30 Ougadi/Ugaadi, 3/30 Eid al-Fitr (End of Ramadan)*, 4/4 Qing Ming Jie, 4/6 Ram Navami, 4/10 Mahavir Jayanti, 4/12-4/20 Passover*, 4/13 Theravada (New Year), 4/18 Good Friday,  4/18 Good Friday (Orthodox), 4/20 Easter, 4/20 Easter (Orthodox),5/1 Beltane-Samhain, 5/5 Cinco De Mayo, 5/11 Mother's Day, 5/12 Vesak- Buddha Day, 5/12-16 Spring Finals, 5/17 Commencement, 5/17 Armed Forces Day, 5/26 Memorial Day (Observed), 5/29 Ascension Day, 5/31 Duan Wu Jie, 6/1-3 Shavuot*, 6/8 Pentecost, 6/14 Flag Day, 6/15 Father's Day, 6/19 Juneteenth (Fed. Observed), 6/20 Summer Solstice-Litha, 6/23 Pentecost (Orthodox)

* Holidays marked with an asterisk (*) begin at sundown on the previous day.

Spring Production Lab Cast vs Crew Chart:

Please complete the Conflict Survey prior to your audition. iPads will be available at the check-in table to complete your survey when you arrive for your audition.

Below you will find the links to show information for the productions and readings being produced Spring 2025. 

Iowa New Play Festival 2025: 

• Pop! By Cianon Jones (Reading Series)
• Adaku by Sixtus Chetache Igbokwe (Production)
• LARPlay by Randy Jackson-Alvarenga (Reading Series)
• 3 Cubes and a Ghostlight: a collection of work by the Undergraduate Playwrights Workshop (Production)
• Terminal by Emily Kaufman-Bell (Reading Series)
• This is My Body by Darrin Terpstra (Reading Series)
• Go! By Adrian Enzastiga (Reading Series)
• salt tongue by Eli Campbell (Production)
• The Milk Miracle by Poonam Dhir (Reading Series)
• The Words of Ants by Xiaoyan Kang (Production)

Production Callback Lists: 

• Adaku by Sixtus Chetache Igbokwe 

• 3 Cubes and a Ghostlight: a collection of work by the undergraduate Playwrights Workshop

• salt tongue by Eli Campbell

• The Words of Ants by Xiaoyan Kang

Below you will find links to the cast lists. Please note: cast lists will not be posted until the conclusion of the casting meeting on Sunday, March 30th (approximately 12:00pm).

CAST LISTS:

• Pop! By Cianon Jones (Reading Series)
• Adaku by Sixtus Chetache Igbokwe (Production)
• LARPlay by Randy Jackson-Alvarenga (Reading Series)
• Undergraduate Playwrights Workshop (Workshop Reading)
• Terminal by Emily Kaufman-Bell (Reading Series)
• This is My Body by Darrin Terpstra (Reading Series)
• Go! By Adrian Enzastiga (Reading Series)
• salt tongue by Eli Campbell (Production)
• The Milk Miracle by Poonam Dhir (Reading Series)
• The Words of Ants by Xiaoyan Kang (Production)

• First, know that everyone in the audition room wants you to do well and are excited to see you. We want you to audition and are grateful you have taken the time to prepare something for us. Directors and other casting personnel are pulling for you to do well. They're on your side. They want to discover new talent. They also want to see the growth you have made since they last saw you. The audition is a good chance for them to see you in new ways.

• A prepared piece gives you the advantage over a "cold" script reading because you can choose something that shows you off best. Remember that you, not the plays, are auditioning. A well-done prepared piece can cause a director to change their thinking about a role before they see you again.

• Suggestions for Selecting a Monologue: The audition is your opportunity to perform--not a hurdle or cruel and unusual punishment. Do something you enjoy. This is probably more important than anything else.

  1. Try to pick a piece from a play that is not hugely popular.  The piece should not be over-used. A piece that begins, "To be or not to be..." must be performed far better than one from a good but lesser-known play in order to make a positive impression in an audition.

  2. Make sure the piece is active (not reflective or remembering a moment from the past). Pieces are usually more successful when they convey a clear want, need or intention by your character. Choose accordingly.

  3. Pick a piece that showcases your strengths as an actor. Ask yourself if the piece demands qualities that you can project well. Don't choose a piece said to be a good piece if it doesn't compliment you. You are the important one in the audition.

  4. In professional and regional theatres, actors play their own ages. Choose a role that you could conceivably play.

  5. You should not have to set the piece in context by explaining who is talking to whom, etc. If you must explain anything, the piece is probably not a good audition piece.

  6. Most casting people know most plays. Do not waste your audition time by explaining or telling the story of the play.

• Time: You have 3 minutes to perform 1 or 2 monologues.  You do not need to use the full 3 minutes. 

  1. Time your pieces by doing them several times aloud for someone. You should be aware that directors form an impression of auditioners in the first minute. The second minute is for confirmation. 

  2. If a director needs to see more, they will call you back or talk to you.

  3. Auditions will be timed. This is done in order to be fair. Without it, the large number of actors who deserve to be seen, couldn’t be. The monitor will sit in a seat fairly close to the stage. They will signal when you have 10 seconds remaining by raising their hand, and will say "stop" when your 3 minutes are up. Timing will begin after you say your name and the names of your pieces. 

• Prepare yourself well. If you can, choose and prepare your pieces well ahead of time. You never know what good things may come from proper and full preparation. Give yourself the best chance you can.

  1. Know your material well. Rehearse it thoroughly. It is expected that pieces will be memorized for these auditions. However, in cases of not auditioning at all versus an audition using a script, an audition with script is preferable. A well-prepared audition is an indication that you care about your audition and the opportunity it presents. If need be, bring a copy of your pieces with you to the audition, in case you need to refer to it.

  2. Immediately before the audition, while you are waiting your turn, give yourself some time to concentrate and focus on yourself and the intentions of the character you are going to play.

• You will be asked to Slate your piece before you begin, which means giving the following information, your name and what pieces your are about to perform.  An Example: "My name is (your name). My pieces are (character's name) from (play title) and (character's name) from (play title)." OR if it is for a musical audition: "My song is (title) from (title of musical)."

  1. Pause briefly before you begin and again between pieces. Almost everyone is nervous before an audition (just like before any performance). Nerves can help you become more vibrant. Use the extra adrenalin energy to spur you on. Open yourself up to it and it can work for you.

  2. Don't be afraid to be extravagant and enjoy yourself. If you enjoy yourself, those watching will as well.

  3. When you are finished, thank those watching and leave the stage briskly. If someone wants to ask a question, they will. Time is precious to the others who are auditioning. Use your time fully, then move on so that others can do so.

Recording Your Audition

• Find a quiet space.
• Record Horizontal not Vertical.
• Phone Camera or Web Cam will work great! (DO NOT buy a new camera for auditions, it is not necessary).
• Record in HD -1080p at 30 frames or SD 720p. (No need to us HD 4K as it will make the file larger and harder to upload.)
  • How to check resolution on an iPhone: settings>Camera>Record Video> (Set to 1080p at 30fps)
  • How to check resolution on an Android: in the camera app, swipe from "Photo" to "Video." in either a dropdown menu (which you can open by tapping the arrow) or the Settings Menu (tap the Gear Symbol), you will have the options of resolution (choose 1920x1080 or 1080p) and Frames Per Second (choose 30)
• Frame the shot at Full body or 3/4 quarters if possible.
• Natural Lighting is great, just make sure you are visible.   Try to avoid large shadows, including casting large shadows on the wall behind you. 
• Camera at eye level if possible.
• Filming orientation should be horizontal and ideally a full body shot is best. We don't recommend a close-up shot.
• Neutral Background. Declutter the space as much as possible so we are not distracted by your background/surroundings. You could hang an neutral colored ironed sheet for your background, get rid of the wrinkles. 
• Make sure you slate at the top of your video (Your name, name of the play your piece is from, and playwright). Timing of piece will begin after the SLATE.  You have 3 minutes for your monologue(s).  You can end the piece with a simple "Thank you".
• No crazy edits please, keep it simple and have fun!

Uploading Your Video

• Once recorded, upload your video to YouTube.
  • Watch this video to learn how: https://www.youtube.com/watch?v=jT9ScMAe5yQ
  • If you want to make the video only accessible to the Team Leader and Directors, set the privacy setting to "unlisted". Then only those with the URL link will be able to view your video.
    • Watch this video to learn how: https://www.youtube.com/watch?v=poGiVTXuqS8\
• Send the link to your video to  savanha-moore@uiowa.edu
• Questions? Email Savanha Moore, NPF PSM at savanha-moore@uiowa.edu