Triad StageNationally Recognized. Locally Produced.

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Play Submissions & Auditions

Play Submission Policy

Thank you for your interest in Triad Stage. We are unable to accept unsolicited scripts at this time. Due to the volume of material we consider each year Triad Stage only accepts play submissions from playwrights, agents, and theatre artists with whom we have an existing professional relationship. Unsolicited scripts will be returned when there is a SASE enclosed; those without a SASE will be recycled.

Please note that Triad Stage does not provide any comments or suggestions about work that we do not intend to develop or produce. If you have any questions or need additional information, please email Sarah Hankins, Associate Artistic Director.



Friday, August 3, 2018
11:00 AM - 7:00 PM
Lunch 1:30 to 2:30

Location: Sloan Rehearsal Hall, 3rd Floor of Triad Stage

To schedule an appointment, please email Associate Artistic Director Sarah Hankins at:

Equity and non-Equity adult actors for the 2018-2019 Season. 

Please note: Auditions for our production of Man of La Mancha will be held at a later date. Auditions for And Then There Were None were held in May 2018.

Children’s auditions for A Christmas Carol and A Midsummer Night’s Dream will be held on August 10th. More information to come!

Prepare a 1-2 minute monologue appropriate for the season. Please bring a picture and resume.


A Midsummer Night’s Dream by William Shakespeare
Directed by Preston Lane
Location: The Pyrle Theater in Greensboro
First Rehearsal: October, 2018
First Preview: October 28, 2018
Opening: November 2, 2018
Closing Performance: November 18, 2018

Available Roles:
Helena/Peter Quince/Ensemble as cast -- (female, early to mid 20s, open ethnicity) Helena is a passionate and highly verbal woman, who has fallen in love with Demetrius. Even though he repeatedly rejects her, she continues to pursue him and do everything in her power to convince him to love her. Helena has a tendency to fall into a deep self-loathing because of his rejection and feels inferior to Hermia. When Lysander and Demetrius actually do pursue her, she immediately doubts their love and believes that the other three lovers are mocking and bullying her. As the director of the play within the play, Quince wrangles the various mechanicals into rehearsing through cajoling, bullying, pleading, and firm instruction. However, Quince is constantly undermined by Bottom’s popularity in the troupe, which adds to Quince’s frustration and the general stress of producing a play. Quince has to navigate how to get to opening night with a very inexperienced cast and without alienating the star. Should be comfortable with fight choreography. Actor over 5’7 preferred. 

Titania/Hippolita -- (female, 30s-40s, open ethnicity) As Queen of the Fairies, Titania wields incredible magical powers that can affect the world around her. A confident, intelligent, and powerful woman, Titania refuses to be dominated by her husband Oberon and will destroy the world around her before giving in to him. When placed under a magic spell, Titania immediately falls in love with the changed Bottom and passionately woos him. She is playful, flirtatious, and sexually-demanding. In opposition, Hippolita is a more reserved and politically-savvy woman. She is forthright, well-spoken, and not easily wooed.

Oberon/Theseus -- (male, 30s-40s, open ethnicity) As King of the Fairies, Oberon wields immense power, but cannot defeat his wife, Titania. Oberon develops a plan to “torment” and humiliate Titania to get what he wants. Oberon is clever and not beyond using deceit and trickery to get his own way. Despite his sometimes selfish motives, he feels sorry for Helena -- seeing himself in her sadness and frustration with love. Oberon is poetic in his rage and despair, using language as a means to channel his frustration. Theseus is a magnanimous ruler, that uses language as a tool to negotiate everything from political meetings to seducing Hippolita, his bride to be. Like Oberon, Theseus is proud and competitive, but he is also more playful and generous. Theseus rules with a dedication to the law, but also with care for his subjects.

Bottom/Egeus -- (male, late 40s-50s, open ethnicity) Bottom has a bold personality and fills a room with his confidence and humor. A braggart when it comes to his acting talents, Bottom believes he can play any role and is offended whenever Quince does not defer to Bottom’s theatrical knowledge. Bottom easily impresses his fellow mechanicals and thrives on their adoration. He is naturally ebullient and quickly bounces back from any setback. Egeus is a hide-bound traditionalist, who believes strongly that his daughter Hermia should obey his demands for her to marry Demetrius. He so fiercely believes in his own right that he will allow his daughter to die rather than give in to Hermia’s preferences. Egeus is a passionate man who demands to be heard and respected. Role requires an actor skilled in physical comedy.

Puck/Philostrate -- (open ethnicity and gender, 20s-30s) An arrogant and devious sprite, Puck serves Oberon, the Fairy King. Puck proudly plays tricks on mortals and delights in humiliating Titania with the magic spell. Although the sprite obediently obeys Oberon’s instructions, Puck is not above taking liberties in interpreting those tasks and creating opportunities for more fun. Philostate is a somewhat self-important and pompous servant to Theseus. Well-versed in court etiquette and politics, Philostrate confidently speaks against the mechanical’s play.


A Christmas Carol by Charles Dickens, adapted by Preston Lane
Directed by Sarah Hankins
Location: Hanesbrands Theater in Winston-Salem
First Rehearsal: November 6, 2018
First Preview: November 28, 2018
Opening: December 1, 2018
Closing Performance: December 23, 2018

Available Roles: 

Ebenezer Scrooge -- (male, 50s - 60s, open ethnicity) Ebenezer Scrooge is the miserly owner of a counting house. He has lived a selfish life and has isolated himself from everyone and everything. He is constantly angry by years of having his way and his old age has made it worse. While he finds himself funny, his humor is usually at the expense of other people’s feelings and tragedies. Scrooge is excitable, quick to judgment, strong willed, and powered by his greed. His stubbornness is only matched by his need to control those around him. However, somewhere in his dark soul lies the ability to feel love and joy if he could only look deep enough. He speaks with a standard British dialect.

The Ghost of Christmas Present (also plays Mrs. Fezziwig and Ensemble) -- (female, 30s-50s, open ethnicity, Mezzo Soprano) The Ghost of Christmas Present is the life of the party and has a joyous nature. Her jovial laugh is as big as her stature and voluminous robe. She is friendly, strong, compassionate, intelligent, and faithful. Filling a room with joy and life she loves playing a good joke, particularly on Scrooge. However, when pushed she can be demanding and forceful. She genuinely cares about the welfare of others and hopes to help them to see the error of their ways. She speaks with a standard British dialect and must be able to sing a big ballad. Must dance in a lively English country dance as Mrs. Fezziwig. Must not be afraid of heights, as Present is played in a tall rolling steel frame representing the bottom of her dress.

Beggar Woman -- (female, 40s - 50s, open ethnicity) The Beggar Woman narrates the story of Scrooge and his fantastical one night journey. She lives inside and outside the story, effortlessly weaving herself throughout the action. She is accompanied by a group of beggar children who she protects and loves. She is mystical, bold, passionate, thoughtful, encouraging, and loving. Despite her low standing in the world, she displays more compassion and strength than the affluent. There is power and dignity in her nature that commands respect from those around her. She speaks with a Cockney dialect.

Bob Cratchit (also plays Villager and Ensemble) – (male, 30 – 40s, open ethnicity)  Bob Cratchit is a clerk at Scrooge’s counting house and is paid very little. A diligent employee, he maintains a good face and allows Scrooge to take out his anger on him. He is a devoted husband and father and everything he does is for them. Barely being able to provide for them, it is his love and guidance that keeps them together. He is kind, hardworking, generous, resilient, thoughtful, and possesses a firm love for his fellow man. Bob sees the bright side of things and even in the darkest times his spirit is joyful. He speaks with a Cockney dialect and must have some singing ability.

Jacob Marley (also plays Old Joe and Ensemble) -- (male, 50 – 60s, open ethnicity) Jacob Marley was Scrooge’s partner before his death and like Scrooge he was selfish and miserly. However, in death he has seen the error of his ways and is paying for his sins. Shackled by the chains he created in life, he is determined to change the path of Scrooge.  He is forceful, intimidating, pained, and in tremendous agony.  There is a desperation that runs through his being and his heart is filled with grief and concern for his friend. He speaks with a standard British dialect and must have some singing ability. Must be under 6 feet.

Mr. Fezziwig (also plays Businessman, Villager, and Ensemble) -- (male, 40s-50s, open ethnicity) Mr. Fezziwig gave Scrooge his start as a young apprentice and was a father figure to him. A successful businessman, he created a workplace that was warm, inviting and nurturing to those that worked for him. He is loving, kind, compassionate, faithful and knows how to throw a fantastic party. His drive and integrity keeps the office open without needing to shout to get his way. A smile and a hand shake are his tools for a successful work place. He cares deeply for Scrooge and wants nothing but the best for him. He speaks with a standard British dialect and must have some singing ability. Must dance in a lively English country dance.


White Lightning by Elyzabeth Gregory Wilder
Directed by Sarah Hankins
Location: The Pyrle Theater in Greensboro
First Rehearsal: January 2, 2019
First Preview: January 27, 2019
Opening: February 2, 2019
Closing Performance: February 17, 2019

Available Roles:

Avery -- (male, 20s, Caucasian) A brash and ruggedly handsome young man, Avery is trying to make his way in the world following his discharge from the Army after WWII. A checkered past gives him few options for financial success and his fast car and his fearless driving skills make him a perfect choice to run moonshine for Hank’s illegal operation. Avery is cocky, incredibly charming, and competitive, but he is also earnest and loyal. He’s struggling to find his path in life and wants to have status and prestige. As he balances a racing career and bootlegging, Avery is torn between fast money and the girl he loves. When he loses everything he cares about, Avery finds what he truly values and wants from life.

Dixie -- (female, early - mid 20s, Caucasian) A smart and determined woman, Dixie is not afraid to speak her mind. Because of her father’s addiction to alcohol, Dixie strongly opposes Avery’s work in the moonshine business. She has high expectations for herself and others. A factory worker by day, she studies accounting at night to create a more secure future for herself. Against her better judgement, she falls for Avery’s charm and confident swagger, but refuses to let go of her own values or to settle for less. Dixie is passionate, confident, and deeply in love with Avery.

Mutt -- (male, late 30s - early 40s, Caucasian) A gruff and quiet mechanic, Mutt’s engine expertise is essential to Avery’s success as both a bootlegger and a racer. Mutt takes time to warm up to people and is naturally cautious. Perhaps because of his quiet nature, he has a skill for seeing what other people do not. A realist about business, Mutt recognizes that Hank sees the rest of the team as only a means to an end. Mutt knows that he will only be employed and protected as long as he is useful, but this doesn’t stop him from advising Avery about cars and women. Although he has allowed Hank to dominate and direct his life, Mutt refuses to let Avery have the same experience. Also plays an announcer for stock car races. An actor who can sing and play guitar preferred.

Hank -- (male, 40 - 50s, Caucasian) Hank runs the moonshine operation and has the hardened demeanor of a man who has spent most of his life avoiding arrest. His primary concern is his financial success and he won’t let anything or anyone get in the way of that, even if it means burning down the competition’s still or getting physically violent. Hank is naturally competitive and demands respect. He can be exacting with his employees, but can also be an inspirational leader. Because of Hank’s savvy negotiating skills and quick thinking, he is able to manipulate the world around him to achieve his goals. Also plays an announcer for stock car races.

Chester -- (male, late 40s - 50s, Caucasian) Deceptively charming, Chester can easily convince people he is simply harmless and talkative. In truth, he is an equal match to Hank in duplicity and ambition. He is a county revenue officer, but gets a cut of the moonshine profits for keeping the bootleggers out of jail. He is always looking for ways to make more money -- from illegal gambling to seeking out new partners for his scams. A natural storyteller, Chester enjoys a tall tale and a good laugh, but isn’t afraid of a fight when the chips are down. Also plays an announcer for stock car races.


Two Trains Running by August Wilson
Directed by Keith Arthur Bolden
Location: The Pyrle Theater in Greensboro
First Rehearsal: February 12, 2019
First Preview: March 5, 2019
Opening: March 10, 2019
Closing Performance: March 31, 2019

Available Roles:

Memphis -- (male, 40s-60s, African American) A self-made businessman who has seen his share of injustice and discrimination and has managed a small piece of success. Memphis has a hard time balancing his hopes and dreams with his well-earned cynicism. Juggling the injustices in life has made him a little rough around the edges. Exacting and unyielding, he has a sense of determination that cannot be abated. Though talkative, opinionated, and a bit judgmental, he only takes what he’s owed and treats people right, as best he can. 

Wolf -- (Male, late 20s - late 30s, African American) A slick number’s runner whose relationships with women are complicated and may be fabricated. He’s popular in the community and always “keeps money in his pocket and a decent pair of shoes on his feet”. He carries all the same anxieties with him that any number’s runner would, as he is always either the bearer of the best or worst news. 

Risa -- (female, late 20s - late 30s, African American) A young woman who works for Memphis in his restaurant and deftly, if not quietly, navigates all the men who frequent the diner. She has a quiet control of herself, her body, and her womanhood, but her need not to be defined by the standards of men and their desires has driven her to permanently scar herself. She cares for the men in the restaurant and has a particular softness for Hambone. Even in these moments of vulnerability, kindness, and sensuality, however, she maintains a certain level of autonomy in a world which tries to determine her life for her. 

Holloway -- (male, 65, African American) An older man who has a deep understanding of the world in both its natural and supernatural spheres. While one may say he borders on superstitious, his ability to lean on a particular brand of spirituality is the cornerstone of his upright personality, creating a way for him to accept the injustices he’s experienced and live a full and happy life. The sage of Memphis’ restaurant, he provides with a wealth of knowledge, wisdom, and reason to the characters who frequent the establishment. 

Sterling -- (male, late 20s - late 30s, African American)  Recently released from prison for a bank robbery, Sterling is a complex man whose difficult and poverty-stricken upbringing has created in him a dark sense of entitlement. He believes that the world owes him better than what he got and the only way to get it is to take it. Sterling, like everyone else, is seeking a way to take control of his life and his unbalanced logic often gets him into trouble. He has, however, a deep sense of justice and injustice. Sterling has a clear need to protect those he sees as more vulnerable than him and is willing to put himself on the line for others he deems worthy.  

Hambone -- (male, Late 40s, African American) A man whose encounter with the injustices of the world has rendered his mind into a deteriorated state. Despite this, he takes care of himself, as he has no known family. His persistence in the face of opposition is rivaled by none of the other characters and it is this simple, direct, and keen sense of what is right and wrong, coupled with his willingness to work for what he is owed, that makes him a central and important figure in the lives of those around him.  

West -- (male, Early 60s, African American) A complicated, wealthy funeral director who has gained his wealth, one could argue, at the expense of others. The people in the community both respect him and are critical of his choices. On one hand, he does a great deal of good for people in their worst moments – treating them with a polite respect. On the other hand, he is a clear hustler who attempts to conduct shady business deals with Memphis and is accused of cutting corners and fabricating fees to line his own pockets. It is remarked that his greed could be motivated by the grief of losing his wife.