Auditioning at FCT:

Auditioning for a show can be scary. Just remember that the directors all want you to do your best and succeed. We try our best to make the experience fun and a time to meet new people. But there are things that you should know. Each director for each show may need to see and hear things in a different manner. This means that you should check the audition announcement carefully. For a straight (non-musical) play you will probably be asked to do cold readings from the script. Occasionally, you may be asked to prepare a short monologue to perform. For a musical, you will be given some pretty specific information about selecting and performing your audition song. You may be given a type of song to perform, a way to perform (with or without accompaniment or tracks), and a time to come depending on your age range. You will generally be asked to learn a short dance routine with a group and perform that. The audition form and sometimes a rehearsal schedule is generally available online. These should be downloaded and completed prior to auditions. We love all our performers and hope that you will join us for a show in the future.

 Sign-up to receive audition newsletter from FCT

deathtrap logoAuditions
FridayNovember 10 at 7pm
SaturdayNovember 11 at 1pm 
Callbacks if needed,  Sunday, November 12 from 12-2.

Progressions Dance School  331 Walker Dr #6, Warrenton

Audition Requirements

Prepared Comedic Monologue
Cold Readings
List of Conflicts
A Picture you don’t mind parting with. 
Please bring this completed Audition Form with you to the audition. 

Any questions, please email the director Scott J. Strasbaugh at 


Sidney Bruhl – 40-50

Classy, clever, devious, dashing, polished, jaded, witty, wry, distinguished. Once a celebrated playwright on the Broadway scene, his recent flops and concurrent writer’s block have chiseled him into a man now defined by a savage hunger for a new hit play and a seeming willingness to go as far as murdering to get it.  Driven not only for his professional resurrection, but to regain his reputation.  Secure his fortune, and win the passion of a younger playwright.

Clifford Anderson – 25-30

Charming, charismatic, cunning, brilliant, innocent, devious, smarter than he appears. A mannerly, good‐looking young man who is star‐struck by the famous, older playwright, and eagerly intent on making a name for himself with a successful thriller of his own. A member of Sidney’s drama seminar, he seems delighted to collaborate with him on a thriller. Murder does not appear to be on his agenda, but like Sidney, Clifford is driven and has more up his sleeve than meets the eye.

Myra Bruhl – 40-50

Emotional, nervous, aloof, gleeful with a little bit of a dark streak thrown in. A match to Sidney, she is sophisticated and upper class. She is incredibly supportive of Sidney’s career and altering moods. Sweet, caring, emotional, nervous, even skittish, she suffers from a heart condition. She married Sidney eleven years earlier, just as his reputation was declining and his string of flops was beginning to grow. She is now his primary financial support. She did not get what she bargained for, but hides it well.

Helga ten Dorp – 40-60 – Dutch accent is needed., even if its possibly a bad one

Eccentric, mysterious, sensitive, strong, determined, confident, and a bit scary. Her magical powers are very real and potent. She’s a celebrity and buys into the show of her gift. Is disarming and brave when faced with pain & violence. Combines the uncanny powers of psychic divination with the everyday frailties of a dotty old lady,she has her own style to sensing and feeling.

Porter Milgrim – 30-60

Pragmatic, observant, confidential, stoic, meddlesome, direct, surprising. Professional & personal long‐time‐friend to Sidney. A blend of New England decorum and obscene vice. By day an upright lawyer, by night he makes dirty phone calls in a fake voice to his friends.



Audition Dates
Thursday, December 14 at 7 pm
Saturday, December 16 at 1pm
Callbacks, Sunday, December 17 at 2pm




Big Fish Logo





presented in memory of award-winning costumer Susan Kirk Noe

Audition Dates

Friday, January 19, 7:00 PM
Saturday, January 20, 10:00 AM
callbacks Sunday, January 21, 2:00 PM

Audition Location

Hope Christian Fellowship (4173 Bludau Drive, Warrenton, VA)

Be Prepared

Arrive promptly to sign in and be ready to go at the beginning of auditions! Prepare a song from a Broadway musical (other than Big Fish), and bring either piano sheet music or recorded trax without vocals (either CD or digital to plug in from a headphone jack). You may be asked to perform a “cold reading” from the show. Wear comfortable clothes and appropriate shoes; you will be asked to learn and perform a brief piece of choreography. Bring your completed Audition Form-Big Fish as well as a head shot.

Performance Dates

May 4, 5, 6, 11, 12, 13, 18, 19, 20


Edward Bloom has lived a full and fantastical life, populated by witches, giants, and mermaids, marked by true love that stops time in its tracks, and framed by heroics that push the limits of believability. His adult son, Will, is no longer amused by his father’s fantastical tales, insisting on a rational rather than a fantastical account of one’s life. When Edward’s health declines, and Will learns that he and his wife, Josephine, will have a son of their own, Will decides to find out his father’s “true” life story, once and for all. Big Fish is a heartfelt, powerful, and truly magical musical about fathers, sons, and the stories that we use to define our identities. With spine-tinglingly beautiful music and lyrics by Andrew Lippa, and a funny, heartwarming book by John August, Big Fish is a magnificent “big fish” of a tale, itself — spectacular, fantastical, and overflowing with love.


Edward Bloom — a loving husband and father who leads a complex imaginary life with many fantasy friends; requires a singer, dancer who ages from 18 to 60+; a huge heart, a great sense of humor and a vivid imagination. (bari-tenor, G2 to G4).

Sandra Bloom – Edward’s wife, a loving wife who completely understands her husband and who seeks and believes in the possibility of reconciliation between her husband and son. This is the leading female role that requires an actor who ages from 18 to 60+ and who is both a strong actress and singer – and very good mover. (soprano with mix/belt, G3 to E5)

Will Bloom – Edward’s son, a realist and a pragmatist; and the polar opposite of Edward. His journey of reconciliation with his father is the story of the musical. This is the second male lead and requires a strong actor who sings beautifully. (tenor, C#3 to G4)

Jenny Hill – the other woman, one of Edward’s early childhood friends who he forgets but then who later becomes the recipient of his kindness. This supporting role also requires a good actress, singer, and mover who ages from 18 to 60+. (mix/belt to E5)

The Witch – the earliest and most fantastic of Edward’s “imaginary” acquaintances, who shows him how he’ll die. This supporting role requires a strong, singer-dancer with commanding acting skills. (mezzo with high belt, useable F3 to F5)

Josephine Bloom – Will’s wife, a lovely young woman who provides balance for Will’s pragmatism. With Sandra, she supports and helps guide Will’s journey toward reconciliation with his father. This supporting female role requires a strong actor-singer. (mix/belt to C#5)

Young Will – 8-12 years old – The young version of Will is intrigued by his father’s stories, but already starts to doubt their truth. With his father always on the road, he feels he is the man of the house (voice B2 to C5)

Karl the Giant – a giant, one of Edward’s fantasy friends. This supporting role requires an actor who is 6’6” or over. Through Edward’s friendship, he grows from being a ‘beastly’ outcast to a highly successful businessman. This supporting role requires an actor who acts, sings, has an appreciation for comic irony, stilt walks, and dances. (bass, A3 to D4)

Amos Calloway – a werewolf, another of Edward’s fantasy friends. Masquerading as a ringmaster of a broken-down circus, he begins as Edward’s tormentor but then, through Edward’s acceptance, he accepts himself and becomes highly successful. This supporting role requires an actor-comic who acts, sings, and moves well. (baritone, C3 to F5, touches a G5)

Don Price – Edward’s childhood frenemy, an early buddy, bully, and rival for Sandra’s hand. This is a supporting role requires a strong actor with a comic sensibility, a good singer and has movement skills. (baritone, C3 to F#4)

Zacky Price – Don’s younger brother (high school, college, and aging to later). Zacky is somewhat nerdy and easily-spooked, a shadow of the older brother he idolizes. He ultimately becomes instrumental in helping save the town of Ashton. The performer needs STRONG comic chops. Vocal range: Tenor to sustained A-flat.

Ensemble – Wedding Guests, Citizens of Ashton, Circus Performers, Alabama Lambs, singers & dancers