By Dan Goggin 
Directed by Sue Dziura 

Sister Mary Regina (Mother Superior)
Female-presenting, 40s–60s. The authoritative and charismatic leader of the convent. A natural performer with a flair for the dramatic, she maintains control with discipline and wit while revealing a strong comedic sensibility. Requires confident physical comedy. 
Vocal range: Mezzo-soprano with strong belt 
Movement: Musical theatre movement 

Sister Mary Hubert (Mistress of Novices)
Female-presenting, 40s–60s. Second-in-command and Regina’s primary foil. Nurturing yet formidable, with a dry sense of humor and a desire for greater authority. Strong comic presence required. 
Vocal range: Mezzo-soprano with belt 
Movement: Musical theatre movement; tap preferred 

Sister Robert Anne
Female-presenting, 20s–40s. Streetwise, irreverent, and sharp-tongued, with a rebellious past. Brings high-energy comedy and a contemporary edge to the ensemble. 
Vocal range: Mezzo-soprano/belt (with some soprano extension) 
Movement: Musical theatre movement; tap preferred 

Sister Mary Amnesia
Female-presenting, 20s–40s. A nun suffering from memory loss; whimsical, unpredictable, and endearing. Requires strong comic timing and versatility. 
Vocal range: Soprano with belt/mix 
Special skills: Ability to perform in multiple vocal styles (e.g., legit and country/western); puppetry/ventriloquism a plus 
Movement: Musical theatre movement; tap preferred 

Sister Mary Leo
Female-presenting, late teens–20s. A novice with aspirations of becoming the first ballerina nun. Earnest, enthusiastic, and technically skilled. 
Vocal range: Soprano 
Movement: Advanced ballet required, including pointe; musical theatre movement 

By Ken Ludwig 
Directed by Myka Plunkett 

Max
Male-presenting, 20s–30s. The Cleveland Opera Company’s anxious and eager assistant. Well-meaning but high-strung, he is thrust into an increasingly chaotic situation requiring quick thinking and physical agility. Strong farce and physical comedy skills are essential. 
Role requires: Comfort with heightened comedy and stage movement; may be required to sing briefly. 

Saunders
Male-presenting, 40s–60s. The general manager of the opera company. Authoritative, temperamental, and deeply invested in the success of the evening’s performance. Commands the room but is prone to panic under pressure. Strong comedic timing required. 

Tito Merelli
Male-presenting, 30s–50s. A world-famous Italian tenor (often referred to as “Il Stupendo”). Charismatic, passionate, and larger-than-life, with a flair for drama both onstage and off. 
Role requires: Operatic tenor voice (or strong classical sound); comedic ability. 

Maria Merelli
Female-presenting, 30s–50s. Tito’s wife. Fiery, jealous, and strong-willed, with a commanding presence. Quick to anger and deeply suspicious of her husband’s behavior. Strong comedic instincts required. 

Maggie
Female-presenting, 20s–30s. Saunders’ daughter. Bright, charming, and romantic, with an affection for opera and a growing interest in Max. Grounded amid the chaos but capable of comedic energy. 

Diana
Female-presenting, 20s–30s. An ambitious and flirtatious soprano. Confident in her allure and determined to advance her career. Requires bold comedic choices and comfort with physical farce. 

Julia
Female-presenting, 40s–60s. A wealthy patron of the opera company. Elegant, persuasive, and accustomed to getting what she wants. Brings sophistication and humor to the role.

Bellhop
Male-presenting, any adult age. A comedic supporting role. Observant and opportunistic, often present at key moments of confusion. Strong physical comedy and timing required. 

By Jonathon Spector 
Directed by Rand Foerster 

Note: All roles are open. This production will be cast with attention to the script’s exploration of race, privilege, and community dynamics. Actors of all backgrounds are encouraged to submit; however, the cultural identities listed below reflect the world of the play and will be considered in casting. 

Suzanne
Female-presenting, 40s–50s. Typically portrayed as white. Co-head of the Eureka Day School board. Warm, diplomatic, and deeply committed to consensus-driven decision-making. Increasingly strained as conflict escalates. Requires strong facility with heightened language and nuanced comedic timing. 

Don
Male-presenting, 40s–50s. Typically portrayed as white. Thoughtful, measured, and progressive. often serves as a mediator within the group. Requires grounded realism and strong listening skills. 

Eli
Male-presenting, 30s–40s. Typically portrayed as white. Passionate and sincere, with an undercurrent of emotional urgency. Invested in community ideals but challenged under pressure. Strong emotional accessibility required. 

Meiko
Female-presenting, 30s–40s. Asian American. Direct, pragmatic, and increasingly outspoken. Offers a clear-eyed perspective that cuts through groupthink. Strong comedic precision and command of text essential. 

Carina
Female-presenting, 20s–30s. Black and/or Latina. New to the board. Open, earnest, and eager to connect, while navigating complex social and cultural dynamics within the group. Requires vulnerability, specificity, and strong comedic awareness. 

By Arthur Miller 
Directed by James Warwick 

Note: Offers are out for male principal roles. Seeking possible replacements and/or understudies for all roles. 

Victor Franz
Male-presenting, 50s. A New York City police officer nearing retirement. Practical, dutiful, and shaped by years of sacrifice. Carries deep emotional weight beneath restraint. 

Esther Franz
Female-presenting, 40s–50s. Victor’s wife. Perceptive, frustrated, and yearning for more from life. Direct, with underlying vulnerability. 

Walter Franz
Male-presenting, 50s–60s. Victor’s estranged brother, a successful surgeon. Intelligent, articulate, and complex, with both charm and defensiveness. 

Gregory Solomon
Male-presenting, 70s–80s. Elderly furniture dealer. Wry, philosophical, and perceptive, with a strong sense of humor and timing. 

Music by Leonard Bernstein
Lyrics by Stephen Sondheim
Book by Arthur Laurents 
Directed by Sue Dziura 

Note: The role of MARIA has been cast, all other roles are open. Seeking strong singer/actors and advanced dancers. 

Tony 
Male-presenting, late teens–20s. White. Former Jet seeking a new path. Romantic, idealistic. 
Vocal range: Tenor 
Movement: Strong dance ability preferred 

Maria This role has been cast
Female-presenting, late teens–20s. Latina. Bernardo’s sister. Hopeful, romantic, and strong-willed. 
Vocal range: Soprano 
Movement: Movement ability required 

Anita
Female-presenting, 20s–30s. Latina. Fierce, passionate, and resilient. 
Vocal range: Mezzo-soprano with belt 
Movement: Advanced dance required 

Bernardo
Male-presenting, 20s–30s. Latino. Leader of the Sharks. Proud and commanding. 
Movement: Strong dance ability required 

Riff
Male-presenting, late teens–20s. White. Leader of the Jets. Charismatic and volatile. 
Movement: Advanced dance required 

Chino
Male-presenting, late teens–20s. Latino. Quiet, earnest, and sincere, with significant emotional arc. 

Doc
Male-presenting, 50s–70s. White. Owner of the neighborhood drugstore. Compassionate and grounded. 

Schrank
Male-presenting, 30s–50s. White. Police lieutenant. Authoritative. 

Krupke
Male-presenting, 30s–50s. White. Police officer. Strong comic timing. 

Ensemble (Jets & Sharks)
All genders, late teens–30s–Seeking strong singer/dancers with excellent technique (ballet/jazz) and acting ability.