*All first round auditions will be via video submission*
Video Submissions Due By Friday, Oct. 10
In-Person Second Round Auditions: Sunday, Oct. 19, 3pm – 7pm
In-Person Callbacks: Saturday, Oct. 25, 11am – 3pm
In-person auditions will be held at the BLUEBARN Theatre
1106 S 10th St, Omaha, NE 68108
See link at the bottom of the page for audition requirements and submissions.
A Chorus Line is a Non-Equity production.
Preliminary choreography rehearsals: After casting is complete, February/March, dates/times TBD. Three 2-hour dance rehearsals.
Music Rehearsals begin April 6th, 2026
Full Rehearsals (including Tech Week): April 13th – May 13, 2026
Performance Dates: May 14 – June 14, 2026
Performance Times: Thursdays, Fridays, and Saturdays @ 7:30pm, Sundays @ 2pm or 6pm
A Chorus Line is a stunning concept musical capturing the spirit and tension of a Broadway ensemble audition. Exploring the inner lives and bittersweet ambitions of professional Broadway performers, the show features one powerhouse number after another, including “What I Did for Love,” “One,” “I Can Do That,” “At the Ballet,” “The Music and the Mirror” and “I Hope I Get It.” A brilliantly complex fusion of song, dance and compellingly authentic drama, A Chorus Line was instantly recognized as a classic.
Zach (40s – Male – Baritone)
The director and choreographer of the show for which the dancers are auditioning. He is a stage veteran and thus can be curt and harsh, but he is revealed to be a caring and empathetic man who truly grows to care about these dancers. Non-singing, but should have movement ability, as he demonstrates a few dance moves.
Larry (25+ – Male – Tenor) – or Lori if played by a female
Zach’s assistant who teaches and demonstrates the audition dances. Needs to be a great dancer, as he is the standard to which all of the auditioning dancers are held. Does not need a strong singing ability.
Bebe Benzenheimer (18-25 – Female – Mezzo)
Very insecure about her looks and tries to be funny to cover her insecurities. Feels a little excluded but just wants to be liked. She is quiet, vulnerable and kind. Sings the middle harmony in “At the Ballet.”
Judy Turner (Female – Mezzo)
Funny, gawky, nervous. Warm and hopeful. Very awkward except when dancing. Ideally seeking a taller dancer.
Maggie Winslow (Female – Mezzo)
A sweetheart, little sister type. Dreamer. Fairly experienced dancer from California. Seeking an incredibly warm singer with a mix belt up to E natural for the soaring climax of “At the Ballet.”
Cassie Ferguson (30-35 – Female – Mezzo belt)
Returning to the chorus after years of being a featured performer. She is having to humble herself to audition for the chorus again with younger and less experienced dancers. Previously had a relationship with Zach and it did not end well. Seeking a true triple threat performer, as she sings the iconic “The Music and the Mirror.”
Connie Wong (Female – Alto)
Experienced dancer. Married. Petite. A bit of a mother hen with a great sense of humor. Born in Chinatown, New York. Should believably play 4’10’’.
Val Clark (Female – Mezzo belt)
Sassy, funny. A foul-mouthed but excellent dancer who couldn’t get performing jobs because of her looks until she had plastic surgery. A brazen, direct, attention-seeker from Vermont. Sings the infamous “Dance 10, Looks 3.”
Sheila Bryant (30s – Female – Alto )
Oldest dancer on the line. Confident, brassy, sassy, bratty and sophisticated. One of the more popular dancers; humorous. Sings the low harmony in “At the Ballet.”
Diana Morales (22-30 – Female – Mezzo belt)
A streetwise Latina who is a little bit tough, and eternal optimist. A determined and athletic dancer from the Bronx. Sings “Nothing,” in which she reveals herself to be funny, charming, and vulnerable.
Kristine Urich (18-25 – Female)
Al’s scatter-brained wife who can’t sing. She is awkward, anxious and hilarious. She “speaks” the song “Sing,” but does sing in the ensemble numbers of the show.
Paul San Marco (Male – Baritone)
Introverted and slightly insecure but loves performing; only now starting to feel comfortable about being gay and accepted by his parents. From Spanish Harlem, New York. Friends with Diana. Great actor. Delivers a beautiful, raw and vulnerable monologue about coming out to his parents.
Al Deluca (25 – Male – Baritone)
From the Bronx. Street tough, macho, and newly married to Kristine; very protective. Seeking a strong singer, as he is the contrast to the non-singing Kristine in “Sing.”
Don Kerr (Male – Baritone)
Ladies’ man, married, and into cars, money, and women. Very sure of himself. All American guy. Cocky because he has worked with Zach before. From Kansas City.
Gregory Gardener (25 – Male – Baritone)
Quite a smart-alec and has worked with Zach before. Very East Side New York. Sassy, Jewish, gay man.
Richie Walters (Male – Tenor)
From Missouri. Enthusiastic, cool and very funny. Likeable and laid back. African-American; strong dancer.
Mike Costa (20-25 – Male – Tenor) or Mikki if played by a female
Quite aggressive, determined, cocky, sure of himself, but likeable. Tap dancer who worked with Zach before. Experienced; flirtatious. From New Jersey. Must be able to tap.
Bobby Mills (25+ - Male – Baritone) Flamboyant, funny and witty. Very sharp tongued. Covers everything over with a joke; had a very hard childhood. From upstate New York.
Mark Anthony (18 – Male – Tenor) Optimistic; first-timer; naïve but charming. Great dancer and All-American kid.
Lois Dilettente
A ballerina who is able to get through the ballet combination but not the jazz combo. Ballerina; non-speaking.
Tricia
Believed to be from Ohio. She has been with a touring company but not in a Broadway show before. She dances the ballet combination too big and even crosses in front of Sheila at one point. Tricia is traditionally the only cut dancer with a vocal solo in “I Hope I Get It” (this may or may not be the case in our production).
Vicki Vickers
A pretty California-blonde type. She has not had any ballet training nor done any Broadway shows. She is only able to get through the jazz combination with Larry demonstrating in front of the group.
Butch Barton
Believed to be from Oklahoma, and has a bit of an attitude. He is unable to correct his mistake in the first boys’ combination. Non-speaking.
Frank
Continually looks at his feet while dancing, based on Serrecchia having polio as child. He wears a headband – is referred to as headband boy; non-speaking.
Tom Tucker
Believed to be from Memphis. He does not speak but is seen mouthing the counts during both combinations. Counts with his mouth; non-speaking.
Roy
Has only had one year of ballet training and continually brings his arms on the wrong downbeat. “Wrong-arm boy.”
1) Please include a SLATE: your name, height, and which character(s) you want to be considered for.
2) Please prepare a short song (no longer than 3 minutes) in the style of the show that showcases your vocal range (you may sing from the show). With accompaniment preferred. A capella accepted.
BLUEBARN Theatre acknowledges the historic exclusion and lack of opportunity for artists who identify as Global Majority (Black, Indigenous, and people of color), LGBTQIA2S+, neuro-diverse, and artists with disabilities. We are actively working against the field-wide implicit bias and systemic inequities that result in default white, cis, heteronormative casting. BLUEBARN is likewise committed to countering all modes of discrimination in casting.
BLUEBARN Theatre is committed to fostering a culture of civility, dignity and respect as a right and responsibility of all who walk through its doors. Employees, guest artists, volunteers, and patrons are entitled to and responsible for maintaining an environment of mutual trust – free from intimidation, exploitation, harassment and discrimination. Offensive, abusive, or unwelcome verbal or physical conduct will not be tolerated. Adhering to this standard is vital to the BLUEBARN’s mission: “to provoke thought, emotion, action, and change.”