Auditions: See Yourself on the Stage
Current Audition Opportunities
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DCP is seeking principals for its summer 2026 production of Evita. Actors are welcome to submit a video audition for the roles of Eva, Che, and Perón anytime before October 15 at noon.
Following this round, select actors will be invited to attend an in-person callback late October.
All actors must be 18+ to audition.
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This production will be directed by DCP Executive Director Steve Kaliski, with choreography by Tod Kubo and music direction by Matthew Primm.
Rehearsals will begin late April and will largely be nights and weekends in Cornelius and Davidson, NC.
Principal actors will receive an artist stipend for participation.
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A Note on Identity: Evita is both distinctly historical and also out of time. On the one hand, it tells a story about one particular white Argentine woman who rose to influence in one particular era of Latin American politics. On the other hand, it is a conceptual exploration of celebrity and populism created by two Englishmen with an inherent distance from 1930s-50s Argentine reality.
DCP will be mindful of the importance of representation in the story of Eva Perón, but we also welcome actors of all races, ethnicities, and nationalities to audition, appreciating that this musical has much to say about the world we actively share together.
A Note for Principal Roles: All roles require singing, acting, and dancing. Eva is a particularly demanding physical and vocal role, with considerable stamina required.
Eva Perón (Soprano/Mezzo, 20s–40s)
Vocal range: Mezzo with strong belt to soprano (up to G5).
Character: Ambitious, charismatic, and relentless. Eva rises from poverty to become Argentina’s First Lady, revered by the masses and reviled by the elite. She is at once manipulative, vulnerable, commanding, and deeply human.
Notable songs: “Buenos Aires,” “High Flying, Adored,” “Don’t Cry for Me Argentina.”
Che (Tenor/High Baritone, 20s–40s)
Vocal range: Strong rock tenor/baritone (to B♭4).
Character: The narrator and commentator, often portrayed as a revolutionary figure (echoing Che Guevara). He is cynical, biting, and witty, challenging both Eva’s myth and the audience’s perception.
Notable songs: “Oh What a Circus,” “And the Money Kept Rolling In (And Out).”
Juan Perón (Baritone, 30s–50s)
Vocal range: Rich baritone (to G4).
Character: A career military officer who becomes President of Argentina. Perón is authoritative and pragmatic, but also somewhat passive—drawn into Eva’s orbit and elevated by her charisma.
Notable songs: “She Is a Diamond,” “Dice Are Rolling.”
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To audition: Submit a video self-tape with the following:
16 bars of a contemporary musical theatre or legit song in the style of Andrew Lloyd Webber (Selections from Evita are encouraged but not required).
A 30-60-second monologue from a contemporary drama of your choice (theatre or film).
Click here to fill out a form and upload your video audition.
Questions or tech issues? Email Production Manager Carrie Cranford at carrie@davidsoncommunityplayers.org
EVITA
Lyrics by Tim Rice; Music by Andrew Lloyd Webber
Directed by Steve Kaliski
Principal Auditions for Summer 2026 Production
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WHO: Youth actors ages 8-18 are encouraged to audition. No experience necessary! All roles are available and full character descriptions can be found below.
WHEN: Saturday November 1, 1pm-3pm
or
Sunday November 2, 4pm-6pm
**You only need to attend one audition date, expect to stay the entire 2 hours
WHERE: Cain Center for the Arts / 21348 Catawba Ave, Cornelius
AT THE AUDITION:Please come prepared with sheet music of about 16 bars of a musical theatre song of your choice. An accompanist will be there to play your song. No acapella please.
There will be a dance portion of the audition, so please come dressed to move. You'll learn it together and then perform in groups for the Directors.
Pre-registration is required for auditions. Please review the following production details and register at the link below. If you are unable to attend either audition date, but still wish to be considered, complete the registration link and we will contact you with an alternative solution.
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This production will be Directed by Jackie Obando Carter, with Musical Direction by Matthew Primm, and choreography by Rachel Peterson.
Rehearsals and performances will take place at the Cain Center for the Arts in Cornelius.
Rehearsals will begin on December 13 with performances running February 6-14, 2026.
Rehearsals are tentatively set to take place Monday through Thursday from 6:00pm-8:00pm and Saturdays 1pm-4pm. The full tentative rehearsal and performance schedule will be found on registration form.
Please note that there may be school performances on Friday February 6 and Friday February 13 that will be required.
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ALL ROLES AVAILABLE. Performers ages 8-18 are encouraged to audition. Newbies are welcome!
Storytellers: Bold, energetic actors with natural stage presence and big, clear voices. These characters are important for setting up the world and moving the story forward.
Shrek: Our story's title character. A big, green, terrifying ogre who lives alone on a swamp. He embarks on a journey to rid his land of fairytale creatures and, along the way, falls in love with Fiona. Begins as a grumpy hermit, but reveals his layers and eventually becomes the hero. Requires strong solo singing and advanced acting skills.
Fiona: She may appear to be an ideal princess straight from the fairy tale books, but there is more to Fiona than that stereotypical image. She is an audacious young lady with a wonderful sense of humor and - surprisingly - manners akin to those of a teenage boy. This is a premiere role for an experienced performer with a lovable spirit.
Young Fiona: Young Fiona and Teen Fiona are younger versions of Fiona and should have solid singing voices.
Teen Fiona: Young Fiona and Teen Fiona are younger versions of Fiona and should have solid singing voices.
Lord Farquaad: A very short man with gargantuan ambition! He is solely interested in gaining as much power as possible. Behind his princey charm, he is pompous, self-centered and cruel. This is a role for a good singer, but most importantly, your very best comedian who isn't afraid of making bold choices or looking silly.
Donkey: A talking donkey who joins Shrek on the run from Farquaad's guards. Sassy and confident, he yearns to belong somewhere. is a brash, loud, fast-talking animal with no concept of "quiet time” and feels he can be the best companion EVER to anyone who might accept him. He is energetic and overenthusiastic.
Dragon: A lonely and soulful dragon that has been charged with guarding Princess Fiona in her isolated castle. She eventually falls in love with Donkey and attempts to keep him there forever. Imposing and flirtatious, but tired of her job as the glorified baby-sitter. Best suited for a performer who has tremendous presence and a good pop singing voice.
Mama & Papa Ogre: Good roles for a dynamic duo that can kick off the show with a lot of energy and presence.
Little Ogre: This role is just right for a smaller, younger performer who is new to the stage. He may not have lines but he is very important to the storytelling.
Pinocchio: The wooden boy who cannot tell a lie without being belied by his growing nose. Pinocchio begins in a sour mood about his second-class status but ends the story as a natural leader among the Fairy Tale Creatures. Suited for a young performer with a lot of personality who can sing well.
The Three Little Pigs: Pig 1, Pig 2 And Pig 3. The classic three little pigs with a German twist. It isn't necessary that they look identical; focus on finding a fun and dynamic trio.
Ugly Duckling: He may be bitter about his unfortunate appearance, but he does find camaraderie among his fellow fairy tale outcasts. This is a fun comedic role for a new performer
Bear Family: Mama Bear, Papa Bear, and Baby Bear. Great cameo roles for young performers who have little performing experience but make a complementary group.
Wicked Witch: A great role for a young performer destined to be a character actress and has a big personality.
Big Bad Wolf: He doesn't need to be a scary, threatening big-bad-wolf type. At this point, he's a pretty tame wolf who is reduced to wearing Little Red Ridinghood's grandmother's dressing gown. This is a fun role for a newcomer to the stage.
Gingy: A great cameo role for a young performer who is as earnest as can be. Gingy is based on the Gingerbread Man who runs away like a fugitive from his baking captors. Best suited for a performer with great energy.
Peter Pan: The boy who never grew up, and he continues to act the part in this story. Great for a young actor who will have fun physicalizing the character.
Captain of the Guard: This role is just right for an actor with some inherent strength and authority. They do not have to have a lot of stage experience, but great for somebody who has a big, booming voice and who isn't scared to put all the Fairy Tale Creatures in their place.
Knights: Dragon's background singers who all tried at some point to save Fiona from her tower but were held hostage by the Dragon. Great for young performers who can sing well and have some soul just like Dragon.
Dwarf: Farquaad's comparably short and grumpy father. This is a perfect cameo role for a young performer.
Ensemble: The Fairy Tale Creatures make up the heart of the show. These characters are taken from the story books but have a bit of a comedic twist. Standout ensemble roles include: The Guards, Duloc Performers, Puss in Boots, Rooster, Pied Piper, Rats and the Bishop. Ensemble roles like Birds, Trees, Deer, Woodland Creatures and Fairy Tale Creatures help make up the backbone of the musical.
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To attend the audition, you’ll need to first register at this link…
If a young actor has specific accessibility needs, please let us know how we can best accommodate them. If you have any other other questions about auditions or performances, contact Production Manager Carrie Cranford carrie@davidsoncommunityplayers.org
SHREK JR The Musical
Book & Lyrics by David Lindsay-Abaire
Music by Jeanine Tesori
For performers ages 8-18
AUDITION WITH DCP
Join Us On Stage
DCP is a place where you in the audience can also have the chance to be on stage. Acting with DCP is largely volunteer-based, though financial assistance and actor stipends may be available depending on the show’s needs.
About Auditioning
DCP encourages everyone to audition for a show regardless of your acting experience. We want you to feel comfortable at auditions, and we strive to make this a rewarding experience for everyone.
In order to provide you with the best audition experience possible, we have compiled a few helpful hints and bits of information about the audition and rehearsal process.
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Read over the audition notice thoroughly. The audition information will provide details about character description, audition requirements, and general information about the rehearsal schedule.
Read the script and/or research the play. For non-musicals, directors generally ask for cold readings from sides, which are scene selections from the script, so familiarity with the script is certainly beneficial.
If you are auditioning for a musical, you will be asked to perform a song of your choice as well as participating in a group dance audition. You will need to provide sheet music for the accompanist at the audition. Choose a song that showcases your voice. Read the audition notice carefully to see if there is a particular style of song requested by the director. DCP offers musical theatre audition workshops, which are a great way to prepare for auditions!
Update your resume and headshot. Your resume should include your theatre and/or performance experience, if any. If you have special skills or training that is relevant to theatre, please list on the resume. Your headshot does not need to be professional; however, it is suggested that it be a recent photograph.
Pre-register for the audition if instructed to do so.
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Depending on the director, auditions may be run by appointment or as large group blocks.
For a non-musical, you will be asked to do cold readings with others who are auditioning.
For musicals, you will be asked to perform your musical selection and then learn and present a dance sequence. The director may ask you to do a cold reading as well.
If you are auditioning for a Connie Company production, you may be asked to participate in theatre games and improvisations.
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Some directors will schedule a “callback,” or second round of auditions. You will be notified by phone or email if you have been invited to a callback. Being called back does not mean you are cast in the production and likewise NOT being called back doesn’t mean that you are NOT cast in the production.
Casting the show is the responsibility of the director and, in the case of a musical, the music director.
Casting offers will be made by phone or email. After the cast is confirmed, the cast list will be posted publicly. DCP will send out notices to those who are not cast via email.
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Rehearsal schedules are variable, and we try to alternate schedules to provide accessible options to folks with all sorts of work and personal commitments. In general, plays rehearse 6 weeks and musicals 8-10 weeks. The director and stage manager will provide a rehearsal schedule ASAP following casting.
Actors are expected to disclose all conflicts prior to casting. No conflicts will be honored during tech week or performance weeks.
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For both professional and amateur actors, the results of an audition are largely out of your control. Directors must balance countless factors before defining a cast, and the strength of your audition is only one element.
So, do your best, have fun, and if you aren’t cast, don’t be discouraged. Come back next time!
NON-DISCRIMINATION POLICY:
All roles, unless otherwise announced, are open. DCP encourages anyone who is interested to audition and we are always eager to welcome new faces and fresh talent to our stage. Except as specifically required by the playwright for certain roles, DCP provides equal opportunity to all individuals regardless of race, color, religion, gender identity or expression, sexual orientation, age, disability, or any other characteristic protected by law.