Auditions

We’re pleased to host an open casting call for our upcoming production of Feeding Beatrice!

In Feeding Beatrice, a young Black couple eager to buy their first home moves into a crumbling old mansion for a suspiciously low price. Soon, they discover they’re not alone—Beatrice, a mysterious white woman from another era, haunts the house with sinister charm. As her influence grows, the couple must confront the home’s—and the country’s—racial and historical ghosts. Equal parts horror and social satire, this haunting play explores privilege, assimilation, and the cost of belonging.

Written by Kirsten Greenidge

Directed by Jordan Gregson

Sponsored by Cecilia & David Cristol

October 16, 17, 18, 22, 23, 24, 25, 29, 30, 31, 2026
On the PBTS Studio Stage

• You will be asked to read selections from the script.

• Please bring a headshot and resume. (If you pre-register, we will have your headshot and resume at the audition.)

• Please bring ALL known conflicts between August 17 – October 31, 2026.

• Although the schedules are currently not set, productions typically rehearse *select* weeknights (Monday – Friday, anywhere between 6:30pm – 10:00pm.) Occasional weekend rehearsals may occur depending on the conflicts and needs of the production.

• Most, if not all, rehearsals will be held onsite at Players by the Sea. If offsite locations are needed, these will be communicated to the cast with as much advance notice possible.

June – (She/Her, Black, mid 30s) Lurie’s wife, a new homeowner. A dance teacher turned bank manager. Warm, determined, smart, cares deeply about appearances and social status but she is not shallow. June lives with an inescapable sense of urgency. Role requires onstage intimacy and violence.

Lurie – (He/Him, Black, mid 30s) June’s husband, a new home owner. A caption writer for the news. Smart, cautious, pensive, goes with the flow for the sake of June’s joy. Lurie likes to take things slow. Role requires onstage intimacy and violence.

Leroy – (He/Him, Black, early to mid 30s) Lurie’s younger brother. A contractor. Playful, opinionated, sincere, funny, and suspicious. Leroy is very pro-Black and speaks his mind often. He cares deeply about his family and community and shows this through directness, honesty, banter, and compassion.

Beatrice – (She/Her, White, 16) A ghostly guest from the 1950s. Naive, youthful, sheltered and violently entitled, but also deviously flirtatious. Beatrice would identify as a victim before an aggressor, even in the middle of terrorizing you. Longs to be like Shirley Temple. Role requires onstage intimacy and violence.

Take a look at the audition sides prior to the audition!

We’re pleased to host an open casting call for our upcoming production of Ragtime!

Sweeping and powerful, Ragtime paints a portrait of America at the turn of the 20th century—when industrial progress collided with racial and class divides. Through the intersecting stories of an upper-class white family, a Black musician from Harlem, and a Jewish immigrant and his daughter, the musical captures the struggle for justice, freedom, and the elusive American Dream. With its lush score by Stephen Flaherty and Lynn Ahrens, Ragtime remains a timeless story of hope, change, and the pursuit of equality.

Book by Terrence McNally • Lyrics by Lynn Ahrens • Music by Stephen Flaherty
Based on the novel Ragtime by E.L. Doctorow

Directed by Bradley Akers
Music Direction by Anthony Felton
Choreography by Jillianne Tamillo
Associate Music Direction by Shelley Golden

November 20, 21, 22, December 3, 4, 5, 6, 10, 11, 12, 13, 2026
There are *NO* performances Thanksgiving weekend (November 26, 27, 28, 29)

On the PBTS Mainstage

• Please prepare 16-32 bars of a piece of musical theatre similar to the style of music found in Ragtime. Singing from the show will be accepted.

• An accompanist will be provided; please provide clearly marked sheet music. Instrumental tracks will be accepted and played from your device on a Bluetooth speaker provided by PBTS. No acapella auditions.

• You may be asked to read selections from the script.

• Please bring a headshot and resume. (If you pre-register, we will have your headshot and resume at the audition.)

• Please bring ALL known conflicts between August 30 – December 13, 2026. (PLEASE NOTE: There are no planned performances Thanksgiving weekend, November 26 – 29)

• Although the schedules are currently not set, productions typically rehearse *select* weeknights (Monday – Friday, anywhere between 6:30pm – 10:00pm.) Occasional weekend rehearsals may occur depending on the conflicts and needs of the production.

• Most, if not all, rehearsals will be held onsite at Players by the Sea. If offsite locations are needed, these will be communicated to the cast with as much advance notice possible.

Casting Note: Ragtime tells the intersecting stories of three distinct communities in early 20th-century America: a white, upper-class family from New Rochelle; Black residents of Harlem; and Eastern European Jewish immigrants living on New York’s Lower East Side. Authentic representation of these communities is important to the storytelling, and individual character breakdowns below identify roles where race, ethnicity, or cultural identity is integral to the character.

THE NEW ROCHELLE STORY

MOTHER
Late 20s-30s | White | Female Identifying

The reflective center of the show. A devoted wife and parent who begins the story sheltered and dutiful, then grows into a woman with her own conscience and convictions as the world around her shifts.

FATHER
30s-40s | White | Male Identifying

An accomplished businessman and amateur Arctic explorer. Confident and set in his ways, he returns home to find that the country — and his own family — has moved on without him.

YOUNGER BROTHER

20s | White | Male Identifying

Mother’s restless, idealistic sibling. Drawn first to Evelyn Nesbit, then to the radical politics of Emma Goldman, he eventually channels his passion into Coalhouse’s fight for justice.

LITTLE BOY
10-13 | White | Male Identifying
Mother and Father’s young son. Watchful, curious, and strangely perceptive, he often senses the truth of a situation before the adults around him do.

GRANDFATHER
50s-60s | White | Male Identifying
A retired, opinionated scholar living in the family household, quick to grumble about the changing times.

THE HARLEM STORY

COALHOUSE WALKER, JR.
Late 20s-30s | Black | Male Identifying

A gifted ragtime pianist with quiet pride and faith in his own future. His belief that he deserves fair treatment in America collides with brutal prejudice, sparking the musical’s central tragedy.

SARAH
20s-30s | Black | Female Identifying

A young laundress with a fierce will to live beneath her gentle exterior. After early heartbreak, she falls completely in love with Coalhouse and their bond becomes the show’s emotional anchor.

SARAH’S FRIEND
20s-30s | Black | Female Identifying
A fellow Harlem resident who stands by Sarah through hardship and grief.

BOOKER T. WASHINGTON

Mid 40s-50s | Black | Male Identifying

The real-life educator and orator, portrayed as a dignified voice of patience and gradual progress who clashes with Coalhouse’s growing militancy.

THE IMMIGRANT STORY

TATEH
30s | Eastern European Jewish | Male Identifying
A Latvian Jewish immigrant artist freshly arrived with little money but enormous determination. His devotion to his daughter and his artistic talent eventually carry him to unexpected success.

LITTLE GIRL
10-13 | Eastern European Jewish | Female Identifying
Tateh’s daughter, newly motherless and wary of her surroundings. She stays close to her father as the two of them find their footing in a new country.

HISTORICAL FIGURES

HARRY HOUDINI
Late 20s – 30s | European Jewish | Male Identifying
The celebrated escape artist, an immigrant himself, whose daring feats embody the era’s fascination with reinvention and spectacle.

EVELYN NESBIT
20s-30s | White | Female Identifying
A vaudeville beauty and tabloid darling whose name became notorious after a sensational love-triangle scandal.

EMMA GOLDMAN
30s | Russian Jewish | Female Identifying
A real-life anarchist and labor activist whose fiery speeches stir Mother’s younger brother toward radical action

HENRY FORD
Late 30s-40s | White | Male Identifying
The visionary industrialist behind the assembly line, representing the era’s rapid mechanization and industrial ambition.

J.P. MORGAN
50s-60s | White | Male Identifying
The formidable financier whose wealth and influence loom over the era’s industrial and social order

WILLIE CONKLIN
Late 20s-30s | White | Male Identifying
A bigoted volunteer fireman whose act of vandalism against Coalhouse’s car ignites the story’s central conflict

ENSEMBLE: Baseball fans, Coalhouse’s supporters, Volunteer firemen, Newly arrived immigrants, New Rochelle townspeople, Newspaper reporters, Atlantic City vacationers