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EBS Builders Theatre Student-Intern-Trainees

Announcing the 2016 EBS Theatre Student-Intern-Trainees Opportunities!

Selections are based upon casting decisions. If offered an onstage role OR offstage position, the EBS Theatre Student-Intern-Trainee may be offered to successful candidates who meet our broad eligibility requirements: college/university students, recent graduates, and talented high school students. In ranked order, eligibility centers on student majors (typically in the theatre and related arts), career goals (desire to continue in theatre), “arc of learning” (individuals interested in pursuing professional level experiences), and specific desired talents.

Student-Intern-Trainees shall receive advanced training in theatre under the direction of theatre professionals. The purpose of the program is to advance the professional level skills of our student-intern-trainees who seek to continue professional-level training during the summer-stock season.

Successful candidates receive stipends that range from $250 to $1,000. While the exact number of internships are established by the available pool of candidates, last year 10 internships were awarded for the 2015 summer season. Individuals who are cast in multiple shows or who are offered seasonal positions, receive greater attention.

If you are interested in obtaining one of our EBS Builders Theatre Student-Intern-Trainees (for acting OR off-stage work) please indicate this desire on your audition form AND also describe what’s makes you eligible according to the specifics mentioned above.

You may also send an email to to express your interest in on-stage and/or off-stage work… Actors cast in shows may also work at the Barn in back-off stage positions.

Back-Off Stage opportunities include: technical skills (lighting/sound); stage management; stage crew; set design/construction; graphic design; marketing; ticketing; programs, posters, and print work; photography; front of house; concessions; and building and grounds.



INFORMATION on Nittany Theatre at the Barn auditions for the 2016 Summer Season!


Nittany Theatre at the Barn Audition Form2016

LOCATION: Windmere Hall (Odd Fellows Hall) 454 Rolling Ridge Drive, State College, PA 16801…. (Behind Weis Market at Hills Plaza, off South Atherton… turn at McDonalds and follow Rolling Ridge…)


February 25 (Thursday) 6:00pm to 9:00pm

February 26 (Friday) 6:00pm to 9:00pm

February 27 (Saturday) 12:00pm to 4:00pm


February 28 (Sunday) 2:00pm to 5:00pm

February 29 (Monday) 6:00pm to 9:00pm

AUDITION PREPARATION, its as easy as one-two-three:

(1) A show song of your choice reflecting your skill and personality (we’ll check range independently);

(2) Prepare to participate in a cold reading taken from seasonal shows; and

(3) A brief dance routine… we’ll demonstrate, you perform (for ALL SHOOK UP candidates ONLY).


Company: 8 Females/6 Males


Casting Note: This is one of Broadway’s best vocal showcases… a singers show! Casting the VERY BEST voices available is essential to deliver this Sondheim classic!

Robert: The story’s protagonist, he is a keen observer who appears happy but holds pain in his heart. He is the only one of his friends still single. Terrified of marriage and fears a lifelong loneliness. Age: Plays 30s/40s; High Baritone/Tenor

Sarah: Harry’s hypercritical wife. She is an avid learner of karate and tends to overeat. Open, accepting, and full of love. Age: Plays 30s/40s; Vocal range: top A5/bottom: A3

Harry: Sarah’s husband. He is a recovering alcoholic continually falling off the wagon. Believes the advantages of marriage outweigh the disadvantages. Age: Plays 35 to 50s; Vocal range: top A5/bottom, A3

Susan: A delicate southern belle. Peter’s wife and ex-wife. Motherly in her affections towards Robert. Age: Plays 30s to 40s; Vocal range: top A5/ bottom: A3

Peter: Susan’s husband. The perfect husband and ex-husband. He is very liberal in his view of relationships. Age: Plays 30s to 40s; Vocal range: top A5/bottom B3

Jenny: Quietly manipulative, simultaneously square and wise. Loves her husband, David, will indulge him from time to time. Age: Plays 30s to 40s; Vocal range: top A5/A3

David: Jenny’s husband, he is relaxed and always in control. Believes a man should be married and that the sacrifice of freedom is worth what you get in return. Age: Plays 30s to 40s; Vocal range: top A5/bottom B3

Amy: A frantic neurotic engaged to Paul but terrified of marriage. After a mental breakdown, she finally realizes that Paul is, in fact, her soul mate. Age: Plays 30s to 40s; Vocal range: top A5/bottom G3

Paul: Amy’s fiancé. Mildly clingy, but patient to her neurotic nature. He is fully committed to the idea of marriage and encourages Robert to do the same. Age: Plays 30s to 40s; Vocal range: top A5/bottom B3

Joanne: Acerbic, demanding, and blunt. Too old to be part of the young crowd, but not old enough to be part of the older crowd. Puts on a brassy front that melts when she is alone with her husband. Age: Plays 50s; Vocal range: top B5/bottom G3

Larry: Joanne’s husband. He is stoic and centered, but has moments of goofiness. Indulges his wife’s behavior but knows when to put his foot down. Age: Plays 50s plus; Vocal range: top A5/bottom B3

Marta: A girlfriend of Robert’s. Intensely modern, who is seeking adventure and excitement in the City. Age: Plays 20s to 30s; Vocal range: top A5/bottom A3

Kathy: An old girlfriend of Robert’s, now considered a good friend. She plans to leave the City for a life of domesticity. Sweet and loving. Age: Plays 20s to 30s; Vocal range: top A5/bottom A3

April: A girlfriend of Robert’s. She is a flight attendant who came to New York to live in Radio City. Ditzy and adorable. Age: Plays 20s to 30s; Vocal range: top A5/bottom A3 ……………………………..

12 Angry Men: 12 roles-Gender Mixed Cast  (ALL ROLES OPEN to male OR female; Ages are relative) 


Casting Note: This show is one of Broadway’s classic dramas (based on a 1950s telecast). We aim to cast the VERY BEST actors (male AND female)!

Foreman: 35 years old. Assistant high-school coach. A small petty person who is at first wary of, and then impressed with his/her authority. Quite formal, but not overly bright.

Juror #2: 38 years old. Bank clerk. A meek, hesitant person who finds it difficult to maintain any opinions. Easily swayed and usually adopts the opinion of the last person to whom he/she has spoken.

Juror #3: 40 years old. Head of messenger service. A very strong, very forceful, extremely opinionated person within whom can be detected a streak of sadism. A humorless person who is intolerant of opinions other than his/her own, and accustomed to forcing his/her wishes and views upon others.

Juror #4: 50 years old. Stockbroker. A person of wealth and position. A practiced speaker who presents well at all times. Seems to feel a little bit above the rest of the jurors. His/her only concern is with the facts in this case and he/she is appalled with the behavior of the others. Constantly preening, combing his/her hair, cleaning his/her nails, etc.

Juror #5: 25 years old. Mechanic. A naive, very frightened young person who takes his/her obligation in this case very seriously but who finds it difficult to speak up when his/her elders have the floor.

Juror #6: 33 years old. Housepainter. An honest, but dull-witted person who comes upon decisions slowly and carefully. A person who finds it difficult to create positive opinions, but who must listen to, digest and accept those opinions offered by others which appeal to him/her most.

Juror #7: 42 years old. Salesman. A loud, flashy, salesperson type who has more important things to do than to sit on a jury. Is quick to show temper, quick to form opinions on things about which he/she knows nothing. He/she is a bully, and, of course, a coward.

Juror #8: 42 years old. Architect. A quiet, thoughtful, gentle person, someone who sees many sides to every question and constantly seeks the truth. A person of strength tempered with compassion. Above all, a person who wants justice to be done, and will fight to see that it is.

Juror #9: 70 years old. Retired. A mild, gentlefolk, who has experienced long winded life, but is now merely waiting to die. A person who recognizes his/her lot in life and mourns the days that he/she was not courageous. Pops pills whenever he/she is excited, obviously displaying that he/she has a heart condition.

Juror #10: 46 years old. Garage owner. An angry, bitter person, who antagonizes almost at sight. A bigot who places no values on any human life except his/her own. A person who has been nowhere and is going nowhere and knows it deep within. Has a bad cold and continually blows nose, sniffs a Benzedrine inhaler, etc.

Juror #11: 48 years old. Watchmaker. A refugee from Europe who speaks with an accent and who is ashamed, humble, almost subservient to the people around, but will honestly seek justice because he /she has suffered through so much injustice.

Juror #12: 30 years old. A slick, bright advertising person who thinks of human beings in terms of percentages, graphs and polls, and has no real understanding of people. A superficial snob, yet still tries to be a good person. Throughout the play doodles on a scratch pad.


ALL SHOOK UP! 5 Females/5 Males plus ensemble


CASTING NOTE: This is THE fun show of the season! The classic all singing-lots of dancing Broadway bash! Based on Shakespeare’s “Twelfth Night” All Shook Up centers on small-town racial tensions/opinions as reflected between two racially distinct groups. To address potential limits of local talent pools, the ASU’s authors present alternative dialogues/situations that allows casting directors to reflect local talents; for example, racial tensions may be cast either as featured with All Shook Up’s Broadway cast OR with approved dialogue alternatives, appears more like West Side Story’s Sharks vs Jets.

Natalie is a young girl who dreams of falling in love with a special guy. She lives with her father, Jim, and helps him run his gas station. (A challenging and engaging role for a good character actress with a fine sense of comedic timing and a strong, versatile singer – the lynchpin of the production. Alto. G Flat/E # 3 – C5.)

Miss Sandra is the beautiful curator of the town museum and becomes the love interest that Natalie wishes to have for her own. Beautiful and intelligent, she wants substance in a guy. (A challenging cameo role requiring a sense of poise, strong character acting, ability to dance, and a strong and versatile singing voice. Alto. E3E4)

Lorraine is the daughter of Sylvia who runs the local honky tonk/blues bar – Sylvia’s. She is also looking for youthful love. She is a strong independent character who is determined to take her chances when they arise! (A challenging role requiring strong character skills, a good strong voice, and an ability to dance. Belt to C, gospel mix to high F)

Sylvia is the owner of the local night stop and bar where folks gather to have a good time with good music be it rock or blues. (A pivotal role requiring strong characterization skills, a powerful, versatile voice, and a sense of good comedic timing. Belt to at least B Flat, gospel riff to High G.)

Mayor Matilda Hyde wants to keep the devil out of her town. Her son, Dean, is being shipped off to a military school because he’s become too cozy with Lorraine. (A comic cameo role requiring strong skills of characterization, good comedic skills, and an ability to dance. Alto. C3 – C4. Uses Belt voice.)

Chad is a loner who is a rebel in the James Dean, Marlon Brando, and Elvis Presley mold. He has driven his motorcycle into a small but conservative town where he finds several opportunities for love and causing confusion. (A pivotal role requiring good acting skills, a good sense of comedic timing and fun, a strong and versatile voice, and an ability to dance. Rock baritone with solid F pops a few A flats)

Dennis is a young man who is in love with Natalie, but who Natalie is only interested in as a friend. Ever present, Dennis would do anything for Natalie, but eventually finds love with…? (A challenging, pivotal, interactive role requiring good acting and singing skills, an ability to dance and a fine sense of comedic timing. Tenor to B Flat.)

Dean is the son of the conservative mayor, Matilda, who does not like what she sees in his development and decides she will send him off to military school. He becomes interested in and is the love interest of Lorraine. (A challenging, cameo role requiring good acting skills, a good singing voice, and an ability to dance. Tenor to B flat.)

Jim is Natalie’s father and he, too, is looking for love. He eventually finds her in the person of Miss Sylvia but only after a lot of character‐changes! (A central role which, like the others, requires an ability to characterize including a good sense of comedy and comedic timing an ability to dance, and a good singing voice. Baritone to E Flat.)

Sheriff Earl has been enforcing the consistently conservative laws of the town under the leadership of Ms. Matilda. They eventually find one another but only after a lot of ear‐bashing.! (A nice cameo role requiring good characterization skills, and a nice sense of comedy with an ability to say little! Big Baritone to E Flat.)

The Ensemble – Male/Female

ALL SHOOK UP is anchored around a talented, energized Ensemble – who sing, dance, and characterize; framing the principal characters and the story itself. The Ensemble – both as a collective and as individuals, often playing multiple roles – is crucial to the success and dynamism of a production and this will be the case in ALL SHOOK UP. Our Ensemble will be required to sing, dance, characterize, and energize with some specializing in song and dance more so than others. Auditionees will be required to sing well, dance and characterize – a sense of energy and solid skill levels in these areas will be the major determinants to be selected for our dynamic Ensemble.


Calendar Girls… 9 Females/4 Males


TWO ISSUES: Accents and Nudity

Accents: As based on the film (Calendar Girls starring Helen Mirren), the show is set in England complete with English accents and very English cultural references. While set in England, our production will NOT attempt to present “authentic” English or site-specific accents. While UK natives may gasp at our attempts, our “American” cast will merely present a “flavor” of what Americans perceive English accents to be… For your audition, attempts at “English accents” will be appreciated but not required… (we’ll work on this in rehearsals)

Nudity: For those concerned about “anything showing,” let me reassure you that nudity in fact is NOT the point! As the author, Tim Firth describes; “As in the best tradition of Vaudevillian fan dances, the art of the play’s nudity lies in what is withheld. The choreography of this sequence is best described as ‘fabulous concealment’. Should the audience see anything we oughtn’t, the whole scene will deflate like a soufflé on which the oven door has been opened too quickly. “

Chris, playing age 50’s. You want Chris at your party. She will talk to people she doesn’t know, find things to say to fill silences and generate laughter. Part of this is because Chris is at home in crowds, holding court, being the center of attention. Without Chris in her life, Annie would be better behaved, her life less fun. The two of them are like naughty schoolgirls.

Annie, playing age 50’s. Annie will join in mischief but is at heart more conformist and less confrontational than Chris. After Chris has put a waiter’s back up in the restaurant, Annie will go and pour calm. The mischievousness Chris elicits save Annie from being a saint. She has enough edge to be interesting, and enough salt not to be too sweet.

Cora, playing age around 40. Cora’s past is the most eclectic, her horizons broadened by having gone to college. This caused a tectonic shift with her parochial parents. She came back to them pregnant and tail-between-her-legs, but Cora has too much native resilience to be downtrodden. She is the joker in the pack, but never plays the fool. Her wit is deadpan. It raises laughter in others, but rarely in herself. Her relationship with her daughter is more akin to that between Chris and Annie. Cora doesn’t need to sing like a diva but must be able to sing well enough to start the show with Jerusalem and sing the snatches of other songs as required. The piano keyboard can be marked up to enable her to play basic chords should she not be a player.

Jessie, playing age late 60’s to 70’s. Get on the right side of Jessie as a teacher and she’ll be the teacher you remember for life. Get on the wrong side and you will regret every waking hour. A lover of life, Jessie doesn’t bother with cosmetics – her elixir of life is bravery. Jessie goes on rollercoasters. Her husband has been with her a long time and is rarely surprised by her actions. Jessie bothers about grammar and will correct others regarding their abuse of the apostrophe “s”.

Celia, playing age 35 – 50. The fact that Celia is in the Woman’s Institute (the ladies club) is the greatest justification of its existence. A woman more at home in a department store than a church hall, she may be slightly younger than Chris or the same age, but she always feels like she’s drifted in from another world.  Which she has. She is particularly enamored of Jessie, and despite the fact Jessie has very little time for most Celias of this world, there is a rebelliousness in Celia to which Jessie responds. It’s what sets Celia apart from the vapid materialism of her peer group.

Ruth, playing age 40’s. Ruth’s journey is from the false self-confidence of the emotionally abused to the genuine self-confidence of the woman happy in her own skin. Ruth is eager to please but not a rag doll, and despite being Marie’s right-hand woman she is desperate to be the cartilage in the spine of the WI and keep everyone happy. She has spine herself – if she was too wet, no one would want her around. But they do, and they feel protective of her because they sense that there is something better in Ruth than her life is letting out. They are proved right. The Rabbit Costume: Ruth made this last night. It should be a cocktail of good intention and not enough time.

Marie, playing age 50’s. Marie has gradually built the current ‘Marie’ around herself over the years as a defense mechanism. She went to her Oz, Cheshire, and found Oz didn’t want her.  She came back scorched. The WI is a trophy to her, which justifies her entire existence. There is a lingering part of Marie that would love to be on that calendar.

John, Annie’s husband, playing age 50’s. John is a human sunflower. Not a saint. Not a hero. Just the kind of man you’d want in your car when crossing America. When he dies it feels like someone somewhere turned a light off.

Rod, Chris’ husband, playing age 50’s. You have to be a certain kind of guy to stick with Chris and Rod loves it. He can give back what he gets, and has a deadpan humor which has always made Chris laugh. He drinks a lot but never so much as to have a problem. He would work every hour to make his shop a success. And John was his mate, even though the relationship was originally channeled through their wives.

Lawrence, playing age late 20’s. Hesitant without being nerdy. Lawrence is a shy young male with enough wit to make a joke and enough spirit to turn up at the WI hall in the first place.  When he arranges the shots he is close to female nudity but sees only the photo.

Lady Cravenshire, playing age 60’s. Lady Cravenshire really doesn’t mean to be so patronizing. But the WI girls seem from another world. The world of her estate workers. Dress: When she makes an entrance, she must make an entrance. Largely white or cream to outplay the others, with a bigger hat than Marie. She is not a tweed-wearer. She must glide in like a galleon.

Elaine, playing age 20’s. Elaine really doesn’t mean to be so patronizing. But Jessie seems from another world. The world of her grandmother. Dress: her clinical whites slice through like a knife, very sexy and provocative. You feel you could cut yourself on that dress.

Liam, playing age late 20’s. Liam would like to be directing other things than photo shoots for washing powders. He’s not so unprofessional as to let it show, but we can sense a slight weariness at having to deal with these women. There’s a resigned patience to his actions and each smile he makes we feel is professional. For Liam, this photo shoot is a job. And not the job he wanted.


The Complete Works of William Shakespeare (revised) [abridged] 3 Males


Casting Note: Shakespeare’s entire volume of work in 97 minutes! Any questions?

This play is an ensemble piece for Three Actors: ages 20s to 60s, it is a highly demanding piece that demands split second timing, a great sense of comedy and moves at a breakneck pace, so stamina is a factor. There’s a great deal of memorization involved so, if cast, be prepared to be “nearly” off book (except for the blocking) by the first rehearsal.


Play Murder! 6 Males/4 Females


Casting Note: As a new play (world premiere), actors have the opportunity to develop characters within the script as directed in consultation/collaboration with the playwright.

Susan: Age: Plays 20s/30s. Extremely efficient stage manager, sassy and opinionated.

Tom: Age: Plays 20/30s. Technical director for the company. Thoughtful, imaginative, daring, willing to try new ideas

Bobby: Age: Plays 20’s/30s. The company’s new resident playwright. Eager to please, willing to compromise to a point but not willing to rock-the-boat.

Julia: Age: Plays 20’s/30s. Very business-like costumer. Practical and witty.

Bill/Geno: Age: Plays 20’s/30s. As Bill, silent and efficient. As Geno, very attractive, an actor just interested in doing his part.

Doty/Tony: Age: Plays 20’s/30s. As Doty, silent younger version of Bill. As Tony, very attractive, just an actor on assignment.

Don: Age: Plays 40s/50s. The flamboyant director (owner) of the theatre. Totally captivated by beautiful full-figured women, determined to see vision fulfilled but willing to follow suggestions from staff.

Tara: Age: Plays 20’s/30s. A very attractive diva, somewhat ditzy and distracted but totally aware of her charms and how to direct them to her best advantage.

Amy: Age: Plays 30’s/40s. Ex-wife of Don. A little older (and much more wiser) than Tara, but physically her match. Sassy, sarcastic and in control.

Alphonso: Age: Plays 20’s/30s. A large stereotypical Italian “mobster” on his first job. Good natured and willing, firm but a bit slow.









2016 Auditions!

Nittany Theatre at the Barn will be auditioning for our sure-to-be-a SMASH summer season in February… Tentative Dates are 25-26-27 with Callbacks on February 28.

Details on specifics will be posted ASAP!




2015 Tony (B) Award Nominations!

Nittany Theatre at the Barn….Announces…
Our 1st Annual “TONY (B) Awards” NOMINATIONS
(winners to be announced in January 2016)
To Participate: send your selections to
using TONY AWARDS as title:
* ONE VOTE PER email!
* You may vote for ONE nomination in each category
* You may vote in ANY or ALL categories
* Email Votes Received by December 31, 2015
Let the balloting begin!
Best Production:
“Forever Plaid”
“The Addams Family”
“Always, Patsy Cline”
“Betty Crocker, Kinsey, and Rock n’ Roll”
Best Musical:
“The Addams Family”
“Forever Plaid”
Best Play:
“Betty Crocker, Kinsey, and Rock n’ Roll”
Best Director:
Courtney Young, “The Addams Family”
Dave Saxe, “1776”
Richard Roland, “Betty Crocker, Kinsey, and Rock n’ Roll”
Best Choreography:
Courtney Young, “The Addams Family”
Julia Hemp, “The Taffetas”
Best Light Design:
Andrew Saxe: “Always, Patsy Cline,” “Forever Plaid,” “The Addams Family,” “1776”
Best Sound Design:
Michael Tony Cooper: “Betty Crocker, Kinsey, and Rock n’ Roll,” “The Addams Family”
Best Costumes:
Julia Snyder: “1776,” “The Addams Family,” “The Taffetas”
Best Set:
William Snyder: “Betty Crocker, Kinsey, and Rock n’ Roll,” “1776,” “The Addams Family”
Best Technical Contribution:
Katie Carriero, Stage Manager, “Forever Plaid”
Matthew Doty, Stage Hand, “The Addams Family”
Dory Ferguson, Stage Hand, “The Addams Family”
Funniest Moment: “Lady of Spain” (Ed Sullivan), Ensemble, “Forever Plaid”
”Bonnie Sue Stuffs Her Bra, “Betty Crocker, Kinsey, and Rock n’ Roll”
”Lurch and Alice, “The Addams Family”
“Matilda,” “Forever Plaid”
Most Unforgettable Moment:
“You Belong to Me,” Kristi Branstetter, “Always, Patsy Cline”
“Happy, Sad,” Dave Saxe and Christina Kidd, “The Addams Family”
“Molasses to Rum,” Deb Saxe, “1776”
“Baby Pick Up,” Steve Raybuck, Mercer Bristow, Frank Wilson, John Koch, Rod Egan, “Betty Crocker, Kinsey, and Rock n’ Roll”
Best Actor:
Dave Saxe, Gomez, “The Addams Family”
Steve Raybuck, Earl, “Betty Crocker, Kinsey, and Rock n’ Roll”
Best Supporting Actor:
Jerrod Miller, Fester, “The Addams Family”
Frank Wilson, Ralph, “Betty Crocker, Kinsey, and Rock n’ Roll”
Jacob Tarconish, Lucas, “The Addams Family”
Best Actress:
Christina Kidd, Joy, “Betty Crocker, Kinsey, and Rock n’ Roll”
Laura Saxe, John Adams, “1776”
CJ Greer, Morticia, “The Addams Family”
Best Supporting Actress:
Hannah Richardson, Bonnie Sue, “Betty Crocker, Kinsey, and Rock n’ Roll”
Christina Kidd, Wednesday, “The Addams Family”
Deb Saxe, Edward Routledge, “1776”
Sammy Saddicario, Thomas Jefferson, “1776”
Morgan Sichler, Abigail Adams,”1776”
Best Ensemble:
“The Taffetas”
“Forever Plaid”
Best Performance Number (Individual):
“Waiting,” Laura Saxe, “The Addams Family”
“Mama Look Sharp,” Hannah Richardson, 1776“
Molasses to Rum,” Deb Saxe “1776”
“Pulled in a New Direction,” Christina Kidd, “The Addams Family”
Best Performance Number (Ensemble):
“Death Is Right Around the Corner,” C.J. Greer/Ensemble, “The Addams Family”
“Baby Pick Up,” Steve Raybuck, Mercer Bristow, Frank Wilson, John Koch, Rod Egan, “Betty Crocker, Kinsey, and Rock n’ Roll”
“Sit Down John,” “1776”“
When You’re an Addams,” “The Addams Family”
“Matilda,” “Forever Plaid”

We are ART!

Happy to Announce that Nittany Theatre at the Barn is now FAMOUS! Out little Barn Theatre is now represented as a work of art on the streets of State College! IMG_8110 IMG_8112IMG_8113 IMG_8118 IMG_8119 IMG_8121-2


Announcing 2016 Summer Season

Drum Rolling….

Here’s a sneak peek at Nittany Theatre at the Barn’s 2016 Summer Stock Season*

Fresh, Bold, and Daring (to be sure!)


12 Angry Men (gender mixed cast)—June

All Shook Up—July

Calendar Girls—August

Complete Works of Shakespeare (abridged)— September

Play Murder—September

(* pending rights finalization)