Woolly Mammoth Theatre Co. 2026-27 Season - Washington, DC EPA (05.21.26) & (05.29.26)

DESCRIPTION

Notice: Audition Call Type: EPA

AUDITION DATE

Thursday, May 21, 2026

10:00 AM - 6:00 PM (E)

AND

Friday, May 29, 2026

10:00 AM - 6:00 PM (E)

BREAKS: 1:00PM - 2:00PM

APPOINTMENTS

Please use the airtable form to make an appointment: https://airtable.com/apphDH2jd...

CONTRACT

SPT

$885 weekly minimum (SPT 9) through 1/5/27 increasing to $911 weekly minimum.

SEEKING

Equity actors for roles in Woolly Mammoth Theatre Company's 2026-2027 Season (see breakdown).

PREPARATION

Please prepare two contrasting monologues of your choosing. Total audition should not exceed 3 minutes. Please bring your headshot and resume stapled together.

LOCATION

Woolly Mammoth Theatre

641 D St NW

Washington, DC 20004

Workshop in Lower Lobby area.

PERSONNEL

Aysha Zackria, Lin-Manuel Miranda Family New Work Fellow

Leah Packer, Theatre Washington mentee

Trinity Graham, Woolly Mammoth intern

Elizabeth Enworom, Woolly Mammoth intern

See breakdown for production-specific personnel.

EXPECTED TO ATTEND:

Danica Rodriguez (Casting Director)

Mina Morita (Resident Director/Creative Producer)

Reggie D White (Artistic Director and Director of VENUS and TEN GRAND)

OTHER DATES

See breakdown for production-specific dates.

OTHER

www.woollymammoth.net

An Equity Monitor will not be provided. The producer will run all aspects of this audition.

Equity’s contracts prohibit discrimination. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to attend every audition.

Always bring your Equity Membership card to auditions.

Breakdown

Woolly Mammoth Theatre Company 2026-2027 Season

VENUS 

by Steve Yockey

Directed by Reggie D. White

September 9 – October 4, 2026

Produced in Association with The Season

A National New Play Network Rolling World Premiere

Sometimes the scariest part of dating is what you bring with you.

Nicole likes things orderly: clear dating profiles, curated decor, and clean breaks. Beth is all instinct: showing up to book club meetings uninvited, sending too many flowers, and spontaneous first kisses. What begins as an intoxicating collision of opposites turns bizarre as romance descends into obsession, fear takes on a life of its own, and both women find themselves haunted by their pasts, their patterns, and a strange woman in a red raincoat.

SEEKING:

NICOLE

A woman, poised, specific, with a degree in passive aggression. Would never ask someone out, they should be asking her. Secretly sees the world as full of horrors.

BETH [CAST]

A woman, sharp, a bit of a player, a “bull in a china shop” with dating. Not great at boundaries. Assumes everyone thinks like she does. Enjoys things from the past.

HANUKKAH SPECTACULAR 

by Max Posner

Directed by David Cromer

November 14 – December 13, 2026

World Premiere

Four artists, three days, one conference room, and a play that could combust before it’s even finished.  

Set over a long weekend in a Midtown talent agency, Hanukkah Spectacular drops us into a glass-walled pressure cooker where a group of Jewish artists attempt the seemingly impossible: to make a commercially viable holiday hit about Hanukkah. What starts as a rehearsal comedy becomes a reckoning as lines between actor and character dissolve, a brother and sister's unresolved history cracks the room open, a writer's nervous system short-circuits, and a veteran director discovers his real job: to be the parent nobody cast him as.  

SEEKING:

ELI GOLUB

Submerging American playwright in his 20s. Shellshocked. Jewish.

DANIEL SIMON

Decorated veteran stage director in his 50s/60s. Jewish. (Reads STAGE DIRECTIONS in Eli’s play…)

NATE STONE

Regular on peak TV show, former child star in his 20s/30s. British. (Reads JONAH & MICKEY in Eli’s play…)

BECCA BLAU

Beloved off-Broadway actress, pregnant in her mid-40s. Jewish. (Reads ESTER & CHAVAH in Eli’s play…)

The AGENT via ZOOM:

ALEX ASHKENAZI

Represents stars, a partner at Entertainment Talent International. Zooms live from remote location. Doubles one of the other roles.

The SISTER via FACETIME:

GABY GOLUB

Raising a family on the other side of the globe, Eli’s actual sister. 40s. Doubles with Becca.

TEN GRAND

by Kate Cortesi

Directed by Reggie D. White

February 1 – 28, 2027

World Premiere

Welcome to Goodwill, where everything has a past and everyone has a story.  

In a Boston-area Goodwill store, it’s business as usual. Employees and customers form quiet alliances, rituals, and rivalries amid piles of stuff that’s been “gently used” and “twice loved.” One highly detail-oriented worker crushes on a coworker. A production assistant working on a nearby film set likes her too. Her manager just wants her to get to work on time. And All My Children plays in the breakroom every day like gospel.  

But when an unexpected item shows up in the donation bin, ordinary workplace drama takes on life-or-death stakes. 

Setting: A Goodwill in Medford, Massachusetts, one winter and spring in the early 2010s.

SEEKING:

PAUL

A man, 30s to 50s. Our Goodwill’s participant.

TRINA

A woman in middle-age, first generation Asian American. Massachusetts born and bred. The manager of all 32 Goodwill branches in Middlesex County.

JULIA

A woman, 20s to early 30s, artsy with well-masked depression. An employee.

GUINEVERE

A genderqueer person in her 30s with a fancy vintage style. An employee. She hasn’t spoken aloud for a year. She will start speaking by the end of the play.

CATH

A woman in her late 20s with a Southie accent and a newborn. A customer.

BRENDAN

A man in his 20s, (probably) White. A customer and production assistant on a gangster film shooting in the area.

ROSE

A woman, 60s–70s. A widow. Paul’s case worker.

TRACK 1 (MINUTEMAN, SLEEPER, COP, SOCCER DAD)

MINUTEMAN

A local man who occasionally dresses as Paul Revere and rides a horse.

SLEEPER

A vagrant who comes in to escape the cold.

COP

A man, 30s to 50s.

SOCCER DAD

A man, 30s to 50s.

BOBBY ROBOTOWITZ

by Matt Schatz 

Directed by Jared Mezzocchi

March 29 – April 25, 2027

A co-production with City Theatre

World Premiere

Dina is a novelist. Technically. 

Down on her luck and running out of words, Dina turns to a chatbot—Bobby Robotowitz—for a little help: punch up a sentence, polish a pitch, maybe some life coaching. Bobby delivers. And then some. As Bobby evolves from assistant to collaborator to something a little more…intimate(?), Dina’s real life starts to glitch. Who’s writing  whom?  

Place: A room in a house or a space in Dina’s mind. What’s the difference?

Time: The present future past moment.

SEEKING:

DINA (47)

Is a Jewish woman.

BOBBY (47)

Is a chatbot.

LOVE I AWETHU FURTHER

by a.k. payne

Directed by Tamilla Woodard

June 1 – 27, 2027

Produced in Association with Jamila Ponton Bragg

World Premiere

Time slips. Breath syncs. A revolution begins. 

Callie dreams up a plan—slow-grown in tobacco rows, memorized in the body, waiting for the right storm. On the  plantation that Mistress Catherine insists is a utopia of women, a constellation gathers around Callie: twin, lover, reader, seer, ancestor. Together, they wrestle with an infinite question—what does it cost to be free? 

Casting Parameters from the Playwright:

The playwright invites a wide range of Black women, non-binary, and genderqueer people. The word “woman” is always trans-inclusive.

“Wide range” as defined by the playwright includes: queer Black women & non-binary people; dark-skinned Black women & non-binary people; disabled Black women & non-binary people; global south Black women & non-binary people; fat and thick Black women & non-binary people; poor Black women & non-binary people; and Black women & non-binary people who were not formally trained in acting and who can embody and/or spit a poem vital to this revolution.

The playwright notes that gendered pronouns and language describing all characters besides Antoinette and Mistress may be adjusted to hold the people in the room.

Setting:

Antebellum, something like Virginia. Also: “time is made by he who hold the power so take the era with a grain of salt; in our time; this is perhaps tomorrow too.” Three cabins (Callie’s, Portia’s, and Awethu’s) which hold space for the fields; the church house; and the Mistress’ House, behind which is a great oak tree.

NOTE: all characters are Black except where otherwise noted.

SEEKING:

CALLIE

Black. Dreams up the plan that drives the play’s revolution. Part of C.A.P. (Callie, Awethu, Portia) who have grown together on this ground.

BENEATHA

Black.

GIRL / WHO TRIES TO FLY

Black. Opens the play and sets the tempo of its breath; the ensemble’s anchor in the real-time casting model. Speaks the prologue.

AWETHU

Black. Builds the church house in the play’s world. Part of C.A.P.

PORTIA

Black. Part of C.A.P.

CINNA

Black. Per the playwright: “relative elder, anchor, constant, facilitator and wisdom keeper.” In the alternative rotational casting model offered by the playwright, Cinna remains constant across all performances and acts as the company’s ritual facilitator.

ANTOINETTE / AMANDLA

Black.

MISTRESS CATHERINE

White woman. The only character outside the Black ensemble.

SALARY

SPT $885 weekly minimum (SPT 9) through 1/5/27 increasing to $911 weekly minimum.

• UNION
  AEA