AUDITIONS: GODSPELL

AUDITIONS: GODSPELL

Playing in the Long Beach Playhouse’s Mainstage Theater

Book by John Michael Tebelak, Music & New Lyrics by Stephen Schwartz

Directed by Sonya L. Randall

Choreographed by Sonya Randall & Omar Ceja

Musical Direction by Stephen Olear

NEW AUDITION DATES:  April 27, 28, & 30, 2026

• Monday, April 27, 2026 – 7pm – 9pm: Open Call
• Tuesday, April 28, 2026 – 7pm – 9pm: Open Call
• Wednesday,  April 29, 2026 – OFF
• Thursday,  April 30, 2026 – 7pm – 11pm: Callbacks – By invitation only.

(Auditioners only need to come to one night of open call auditions.  We are only seeing in-person auditioners during audition times – no video submissions. Auditioners will be seen on a first come, first serve basis determined by when they signed-in at the Open Call.)

PERFORMANCE DATES:  June 27 – Aug. 2, 2026

AUDITION NOTICE:

TITLE: GODSPELL

BOOK BY: JOHN-MICHAEL TEBELAK

MUSIC & NEW LYRICS BY: STEVEN SCHWARTZ

DIRECTOR: SONYA L. RANDALL

MUSICAL DIRECTOR: STEPHEN OLEAR

CHOREOGRAPHER:  SONYA RANDALL & OMAR CEJA 

RUN:  June 27, 2026 – August 2, 2026

Fridays & Saturdays 8pm, Sundays at 2pm. Special performances on Thursday and Sunday nights may be added for private parties and special events.

This is a volunteer community theater production.  Non-Equity.  There is no pay. 

AUDITION DATES:

Open Call: 

Dates: Monday, April, 27 & Tuesday, April 28, 2026

(Auditioners only need to come to one night of Open Call Auditions.)

Times: 7pm – 9pm

Location: Long Beach Playhouse  

Callbacks: By Invitation Only.

Date: Thursday, April 30, 2026

Times: 7pm – 11pm

REHEARSALS:

First Read-Through: May 2, 2026, Sat. 1pm – 5pm

Regular Rehearsal: Starts Sunday, May 3, 2026; Monday – Thursday from 7pm – 10:30pm, Sundays 5pm – 10pm.

(Please see beginning rehearsal schedule BELOW for specific dates and times.)

Location: Long Beach Playhouse

NOTE: Open to working with some limited minor conflicts, but we will not be casting people with conflicts on tech dates and performances.

AUDITION REQUIREMENTS:

Bring headshot and resume.

Bring 16 bars of a pop musical theatre song (no Sondheim or Jason Robert Brown, please.) An accompanist will be provided, so please bring sheet music that is in your key, clearly prepared, indicating where you start and stop. No tracks or a cappella.

Be prepared to dance.

Sides for cold readings will be provided at the auditions/callbacks.

SHORT SYNOPSIS:

Godspell is a musical that retells the parables from the Gospel of Matthew through song, dance, and comedic storytelling, focusing on themes of friendship, love, and community, and culminates in the Passion of Christ. A group of eclectic disciples helps Jesus bring these timeless lessons to life using creative games and a blend of musical styles, ultimately forming a community around him, with the narrative moving toward his crucifixion. GODSPELL was the first major musical theatre offering from three-time Grammy and Academy Award winner, Stephen Schwartz (Wicked, Pippin, Children of Eden). Boasting a score with chart-topping songs, a book by a visionary playwright (John-Michael Tebelak), GODSPELL is a sensation that continues to touch audiences.

CASTING THE FOLLOWING ROLES:

All roles are available, open to any age (18+), ethnicity, or gender.

In addition to each individual being able to stand out, it is important that all cast members are able to function as an ensemble, without any feeling that any one (other than Jesus) stands out above the others. Other important traits to have for the roles are a sense of comic ability, and some skill at improvisation.

JESUS (Tenor, 18+):  Must be the most charismatic individual in the cast. High energy, charming, funny, gentle, but with strength. He is the sort of person others instinctively follow.  He sings “Save the People,” “All for the Best,” Alas for You,” and “Beautiful City”

JOHN THE BAPTIST/JUDAS (Baritone, 18+): Will perhaps split this role between two actors. He has attributes of both Biblical figures: He is both Jesus’ lieutenant and most ardent disciple, and the doubter who begins to question and rebel. Like Jesus, he is also charismatic, but in more of an overt revolutionary way. Usually played by someone handsome and masculine, with an undertone of sexuality. He is the most “serious” and intellectual of the group, though as with all the actors, he must still possess a good sense of physical comedy. He sings “Prepare Ye,” “All for the Best,” and “On the Willows.”

NICK (Tenor, 18+):  Very high energy. Impish and playful. In the original, he might play several musical instruments, including concertina, recorder or guitar if the actor has this ability, but not a requirement of the role. He sings “We Beseech Thee.”

TELLY (Tenor, 18+):  Not the brightest in the bunch, he is a little slow on the uptake. But there is a great sweetness and innocence about him. He sings “All Good Gifts.” 

GEORGE (Tenor, 18+):  The comedian, the class clown. The guy who can do a hundred voices and imitations. He sings “Light of the World.”

ANNA MARIA (Alto, 18+):  A bit of a tomboy, but basically open and sweet. Perhaps the youngest of the group. She is the first of the group to commit to following Jesus in the song “Day by Day.”

LINDSAY (Soprano, 18+):  The confident one, the show-off. The first one to volunteer, sometimes she jumps in before she really understands what’s going on. She sings “Bless the Lord.” 

UZO (Alto, 18+):  The shy one. Sometimes a little slow to get things, but when she does, she commits all the way. Has an “earth mother” kind of warmth to her. She sings “By My Side.” 

MORGAN (Alto, 18+):  Sassy and slightly cynical, the most urban of the group. Also the “sexy” one, but her sexiness contains a large element of put-on, in the manner of Mae West or Madonna. She sings “Turn Back, O Man.”

CELISSE (Mezzo-Soprano, 18+): The female equivalent of the class clown. Goofy and a cut-up. She might play some instruments, including conga, ukulele and guitar if they can, but not a requirement of the role. She sings “Learn Your Lessons Well.”

Two to four ensemble will be added to cast at the director’s discretion.

BEGINNING REHEARSAL SCHEDULE: