Volunteer usher for a Lyric Stage Company performance and stay to see the show for free! All ushers are required to attend a brief orientation where we’ll introduce you to the Lyric staff and House Management team, review ushering procedures, and provide a sneak peek at our upcoming season. Please contact the box office directly to sign up!
All ushers must arrive one hour before curtain, wearing all black or black and white. Ushers must be physically able to stand for 30-45 minutes at a time, walk up and down stairs, navigate the theatre, and provide assistance to our patrons as needed. You will be trained by our house management staff prior to your selected performance. Please note that we require ushers not wear jackets or hold bags/purses while working – you will be able to store your items securely with our staff.
Ushers will be seated in available seats for their chosen performance, subject to availability. Please note that while we will do our very best to ensure ushers will be able to sit in a seat, should a performance sell out in its entirety, ushers may have to stand or avail themselves of folding chairs in the back of the house. If you have any questions or concerns about these requirements, please contact the box office.
If you will be late or unable to usher for your scheduled performance, please call the box office as soon as possible to let us know. Ushers who are more than 15 minutes late for ushering without notifying the box office may not be allowed to usher for future performances.
All ushers must be signed up under their own name and provide a contact phone number and e-mail address, where possible. We regret that we are unable to reserve an ushering space without contact information.
Educational & Youth Outreach Programs
In 2018, the Lyric Stage acquired City Stage Company, a leading provider of educational theater programs in Boston, merging the resources of both companies to reach more families and youth in the City of Boston. Lyric Stage educational and youth outreach programs include:
The SpotLit program is designed to expose students at all levels to theater as a part of their regular curriculum. SpotLit is based on the Performance Cycle, created by the Arts Literacy Project at Brown Univ., and engages students in creative drama, scripting, and acting-out of narrative that enable them to analyze, interpret, and deeply experience plays, poetry, memoirs, and fiction. Through SpotLit, students develop theatre and language arts skills and create art in alignment with state curriculum standards. We offer a variety of versions of SpotLit to elementary, middle, and high schools in Boston. For the 2018-2019 school year, City Stage is confirmed to be at five Boston Public Schools: Nathan Hale Elementary School and Orchard Gardens in Roxbury; Thomas J Kenny Elementary School in Dorchester; William McKinley Elementary School in the South End; and Joseph P. Tynan Elementary School in South Boston. We will work with approximately 800 students through these BPS programs.
Approximately 84% of the children reached through SpotLit are from low- and moderate-income families. Research demonstrates the positive impacts of the arts on low-income neighborhoods – reducing criminal activity and lowering truancy rates. It is because of this that Lyric Stage is devoted to supporting these communities.
The study and practice of theatrical art provides young people with social capital and establishes a number of soft skill essential for success. Chief among these are problem-solving, teamwork, written and verbal communication, ability to analyze text, self-confidence and public speaking.
Students served through the Boston Public School system are: 45% Black, 32% White, 17% Hispanic, 4% Asian, and 3% Other.
In partnership with the Boston Children’s Museum since 1988, KidStage has created hands-on exhibits, participatory plays, and education programs. Lyric Stage actors offer 800 to 1,000 annual KidStage performances for as many as 65,000 children and their families. For many attendees, kids and adults alike, KidStage is their first exposure to live theatre.
Currently, our touring shows offer three productions: The History and Adventures of Tom Thumb; Folktales East & West; and Folktales North & South. The shows range from 30-40 minutes and are produced for family audiences. Each show is performed by two professional, adult actors and put a strong focus on participation from audience volunteers. The shows tour primarily to schools and libraries: efforts will soon be underway to create a more ambitious touring calendar to reach all branches of the Boston Public Library, with multi-lingual productions.
Lyric First Stage
Established in 2006, First Stage is a summer-time intensive for students with some previous theatrical training. Following an audition, students work with professional theatre artists who regularly work on Lyric Stage professional productions, with a focus on the music of Stephen Sondheim – a frequent staple of Lyric Stage professional seasons.
Lyric First Stage is currently on hiatus as the program is re-vamped.
Lyric Neighborhood Stage
In the 2020-2021 Season, the Lyric Stage will pilot Lyric Neighborhood Stage. Working in collaboration with a local affordable housing agency, teaching artists will provide a five-week acting and playwriting program focusing on at-risk youth. This program will provide weekly stipends to children who are “too old” for traditional summer camp and “too young” for a summer job. At the end of the program, the students will mount their own devised theatre piece for an audience of friends and family.
BOSTON DANCE ALLIANCE & CLARENDON HALL
Opened in 2016, Clarendon Hall is the Lyric Stage’s rehearsal studio. When not in use by the Lyric Stage’s professional productions, the facility is rented at below-market rates to members of the Boston Dance Alliance. For information and to request to book this space, please email email@example.com. Can’t View The Space In Person? Check Out The Interactive 3D Tour Below!
FRESH INK THEATRE
Fresh Ink, the Lyric Stage’s new play production partner, develops new work with theatre artists in the New England area. They challenge the Boston community to engage in the evolution of dynamic new work as it transforms from first draft to first production, and beyond.
BOSTON CHINATOWN NEIGHBORHOOD CENTER
BCNC, one of Lyric Stage’s premiere community partners since 2012, recently opened the new Pao Arts Center in Chinatown, where the Lyric Stage collaborates with BCNC’s after-school programs.
FRONT PORCH ARTS COLLECTIVE
Inspired in part by the Lyric Stage’s production of Saturday Night/Sunday Morning, the Front Porch Arts Collective, now in residence at Central Square Theatre, examines the interactions between race, economics, culture, gender, and sexuality from a black and brown perspective. The Lyric Stage is committed to supporting “The Porch” as they grow.
ACTORS’ EQUITY ASSOCIATION
Actors’ Equity Association (AEA) was founded in 1913 as the first of the American actor unions. Equity’s mission is to advance, promote and foster the art of live theatre as an essential component of our society. Equity represents more than 40,000 actors, singers,
dancers, and stage managers working in hundreds of theatres across the United States. Equity members are dedicated to working in the theatre as a profession, and upholding the highest artistic standards. Equity negotiates wages and working conditions and provides a wide range of benefits including health and pension plans for its members. Through its agreement with Equity, this theatre has committed to the fair treatment of the actors and stage managers employed in this production. AEA is a member of the AFL-CIO and is affiliated with FIA, an international organization of performing arts unions.
UNITED SCENIC ARTISTS (USA-LOCAL 829)
United Scenic Artists (USA-Local 829) is a labor union representing designers and artists in the entertainment industry. Membership includes the security of working under a collective bargaining agreement, better working conditions and wages, and access to health insurance, a pension plan, an annuity plan, and a 401(K). The members of Local 829 are artists and craftspeople working in film, theatre, opera, ballet, television, industrial shows, commercials, and exhibitions.
AMERICAN FEDERATION OF MUSICIANS (LOCAL 9-535)
80,000 musicians comprise the American Federation of Musicians of the United States and Canada (AFM). We perform in orchestras, backup bands, festivals, clubs and theaters—both on Broadway and on tour. AFM members also make music for films, TV, commercials and sound recordings. As the largest union of musicians in the world, we have the power to make the music industry work for musicians.
STAGE DIRECTORS AND CHOREOGRAPHERS SOCIETY
SDC is the theatrical union that unites, empowers, and protects professional Stage Directors and Choreographers throughout the United States. Our mission is to foster a national community of professional stage Directors and Choreographers by protecting the rights, health and livelihoods of all our Members; to facilitate the exchange of ideas, information and opportunities, while educating the current and future generations about the role of Directors and Choreographers; and to provide effective administrative, negotiating and contractual support.
The Lyric Stage Company holds Seasonal Open Call Auditions for its productions in the spring preceding the season. Auditions are announced on this website, with Actors Equity Association, and in StageSource’s weekly hotline. We also attend StageSource’s general auditions every year.
An essential aspect of the Lyric’s mission is to cast and hire local talent. Area actors and out-of-town actors with local housing are encouraged to send their headshots and resumes to firstname.lastname@example.org or by mail to:
The Lyric Stage Company of Boston
140 Clarendon Street, Boston, MA 02116
AEA and Non-AEA Stage Managers are encouraged to submit their resumes to Stephanie Hettrick, Production Manager, at the Lyric Stage Company address above.
Questions? Please e-mail email@example.com
Dates of Auditions
April 22, 2019 & April 24, 2019
For Equity members to schedule an appointment, please visit our digital sign up sheet at: https://www.signupgenius.com/go/20F0B4EA8A829A7FD0-lyric12 for Monday, 4/22 and https://www.signupgenius.com/go/20F0B4EA8A829A7FD0-lyric13 for Wednesday, 4/24, and select a time you would like to be seen. Equity members must fill in an email address, a contact phone number, and AEA Member Number. You can opt to receive an email confirming your audition time and you will receive an appointment reminder the day before your audition.
The Lyric Stage Company of Boston
140 Clarendon Street, 2nd Floor, Boston, MA.
Audition slots are FIVE (5) minutes long. Each actor has TWO (2) minutes to perform. Please prepare appropriate material of your choosing, which may be from one or more of the season’s shows. Scripts and a reader will be provided at both auditions. If selecting a side, please be prepared to state your starting and stopping places. You may audition for one or more roles in the season. There are no audition sides. If singing, please bring sheet music.
Please bring a headshot and resume to the audition, stapled together.
At the Auditions
Spiro Veloudos, Producing Artistic Director
Courtney O’Connor, Associate Artistic Director
The Lyric Stage Company of Boston will also be attending the StageSource Auditions on April 7-9, 2019 at ImprovBoston, 40 Prospect Street, Cambridge MA 02139. For more information on those auditions, visit www.stagesource.com or call (617) 350-7611.
NEAT Category 6
Scripts will be available for review at StageSource, 15 Channel Center Street, Suite 103, Boston.
Callbacks for individual productions will be announced at a later date. All shows, dates, and information are subject to change.
For pre-cast roles, auditioning performers will be considered as possible (emergency) replacements, should any become necessary. No understudies are being cast.
All roles are available for inclusive casting, unless otherwise specified.
Pursuant to the terms of a concession made to this employer’s agreement, the employer has agreed that any Equity member who attends this call will have an opportunity to be seen.
Actors of color are strongly encouraged to audition. The Lyric Stage Company of Boston shall conduct all auditions/interviews in a manner that continues to promote fair consideration to ethnic minorities, women, seniors, and performers with disabilities. The Lyric Stage Company of Boston is an Equal Opportunity Employer.
Note: It is an essential element of our mission to support local artists, so we rarely cast out-of-town and we do not have housing. There are no New York auditions scheduled.
The Lyric Stage Company of Boston 2019-2020 Season
The Thanksgiving Play
By Larissa FastHorse
First Rehearsal: September 24, 2019
Opening: October 18, 2019
Closing: November 10, 2019
LOGAN: Female identified, Caucasian looking, the high school drama teacher that’s always pushing the envelope in potentially inappropriate ways. Earnest about theater and proving herself.
JAXON: Male identified, Caucasian looking, yoga practitioner/actor. Politically correct to a fault, a big one. He’s that confident guy that everyone loves, but his logical PC thinking takes weird turns.
ALICIA:Female identified, brunette Caucasian looking but has looks that would have been cast as ethnic in the 1950s movies. Without guile. Sexy and hot, but not bright.
CADEN:Male identified, Caucasian looking, the academic. Awkward elementary school history teacher with dramatic aspirations but no experience.
Agatha Christie’s Murder on the Orient Express
Adapted for the Stage by Ken Ludwig
Director: Spiro Veloudos
First Rehearsal: October 30, 2019
Opening: November 22, 2019
Closing: December 22, 2019
HERCULE POIROT: 50s-60s, Male identified. a famous Belgian detective; a “Big” personality; authoritative, witty, charismatic and slightly pompous; driven to find the answers, good or bad, with a strong moral sense. Very aware of his ability and his well deserved reputation.
MONSIEUR BOUC: 30-60s, Male identified, a Belgian man of good humor; playful, proud, generous; a predilection for grandeur; a whirlwind of energy.
MARY DEBENHAM: 30s-40s, Female identified, an English beauty; a governess, capable yet romantic; a sadness around her eyes and a hardness about her person.
HECTOR MACQUEEN: 30s-40s, Male identified, tightly wound, edgy and nervous; he seems to always be on the verge of falling apart or coming unwound.
MICHEL THE CONDUCTOR/HEAD WAITER: 30s-60s, Male identified, Plays two parts. Michel: a good-looking Frenchman, about 40, a quiet, almost grave sense of humor; unfailingly polite. / Marcel: a Turkish waiter, snooty, smooth.
PRINCESS DRAGOMIROFF: 60s-80s, Female identified, a Russian dowager; very formal, a sweeping, impressive presence; imperial, impatient.
GRETA OHLSSON: 20s-60s, Female identified, inherently odd, and very devout Swedish woman; a frightened, nervous quality.
COUNTESS ANDRENYI: 20s-40s, Female identified, brilliantly graceful, like something out of a fairytale; impeccably put together, with a warmth that wins over everyone she meets; her delicacy belies a steely edge; she is no wilting flower. Hungarian accent.
HELEN HUBBARD: 40s-70s, Female identified, an outspoken and flamboyant American from the Midwest; jovial, obnoxious, domineering, deliciously nosy and brash; unapologetic.
COLONEL ARBUTHNOT/RATCHETT: 40s-60s,Male identified, Samuel Ratchett: American businessman, evil at heart and frightening, brusque, unforgiving, stern demeanor. Pushy, domineering. Colonel Arbuthnot: Scotsman, handsome, very matter of fact, occasionally tender.
By Bekah Brunstetter
Director: Courtney O’Connor
First Rehearsal: December 10, 2019
Opening: January 10, 2020
Closing: February 9, 2020
DELLA: Female identified, 50s, pleasant and maternal. The type to bustle around and make sure everyone is happy.
TIM: Male identified, 50s, her husband, a good ol’ boy.
MACY: Female identified, African American, early 30s. Her reluctant fiancee. Hard-line activist and idealist, with a soft spot for Jen.
The role of Jen has already been cast.
Warning: This play includes nudity for the roles of Della and Tim.
By Max Posner
Director: Rebecca Bradshaw
First Rehearsal: January 28, 2020
Opening: February 21, 2020
Closing: March 22, 2020
THE SON: Male identified, bikes to work, lives in Denver, vaguely Jewish, in his sixties.
IDA: Female identified, his mother, lives in Albany, in her eighties.
MALE ACTOR: Any ethnicity, early forties. Plays JEREMY, the son’s brother, LUKE from the Albany Symphony Orchestra, STRANGER, KENNY from the Verizon Store, Bedding SALESMAN, WAITER, and GUY.
FEMALE ACTOR: African American, late twenties. Plays ALLEN, the son’s brother, RONETTE from Talbots, INTERNET BANKING VOICE, WOMAN on airplane.
Fabulation or, The Re-Education of Undine
By Lynn Nottage
Director: Dawn Simmons
First Rehearsal: March 10, 2020
Opening: April 3, 2020
Closing: May 3, 2020
UNDINE: Female, mid 30s – mid 40s, African American. Born in the Walt Whitman projects of Brooklyn, she’s re-invented herself as a successful public relations professional.
FLOW / OTHERS (AS CAST): Undine’s brother, African American. A hipster with a tatty Afro and goatee, with the habit of speaking a bit too loudly. Has been writing an epic poem about Brer Rabbit for years. May also play Agent Duva, Rapper, Drug Dealer, Mover, Addict, Applicant.
MOTHER / OTHERS (AS CAST): Undine’s mother, African American. Works as a security guard at Long Island University. May also play: Allison, Rosa, Inmate #2, Addict, Applicant.
ACCOUNTANT / OTHERS (AS CAST): An elegantly-clad Caucasian man in his mid-thirties. May also play: Addict #1, Mover, Applicant, Doctor #2.
HERVÉ / GUY / OTHERS (AS CAST): Male, Latino. Hervé –Undine’s husband. An Argentinian con man with the grace of a flamenco dancer. Guy — a recovering addict making the most of sobriety. Works as a security guard but is preparing to take the fireman’s exam. May also play: Lance.
STEPHIE / OTHERS (AS CAST): A spacy twenty-something, African American. Undine’s assistant, she later gets a job at Duane Reade, where she struggles to not become employee-of-the-month every month. May also play: Counsellor, Devora, Pregnant Woman, Applicant.
FATHER / OTHERS (AS CAST): Undine’s father, African American. Works as a security guard at Long Island University. Believes the impossible is possible. May also play: Babalawo, Gregory, Applicant.
GRANDMA / OTHERS (AS CAST): Undine’s grandmother, African American. All warmth and care, she came to New York with nothing, got her high school diploma, worked two jobs, and raised five beautiful children. Now addicted to heroin. May also play: Doctor Khdair, Inmate #1, Case Worker.
A Gentleman’s Guide to Love and Murder
By Robert L. Freedman & Steven Lutvak
Director: Spiro Veloudos
First Rehearsal: April 21, 2020
Opening: May 15, 2020
Closing: June 21, 2020
MONTAGUE “MONTY” NAVARRO: 20s-30s, Male identified, While he is intent on killing off the entire family tree, he is effortlessly charming, clever and charismatic. Standard British accent. High baritone with a strong top; solid low A to high A.
MISS SHINGLE: 40-60s, Female identified, Monty’s unexpected visitor. Ex housekeeper/governess to the D’ysquith family with a bone to pick. Persuasive, charming, and scheming, Shingle is the brains of the operation. Cockney accent. Mezzo soprano, G to high A.
SIBELLA HALLWARD: 20s-30s, Female identified, the woman Monty loves. Flirtatious, narcissistic, calculating, and mischievous. Tremendous wit and high style. Posh british accent. Character mezzo, low F# to high A
PHOEBE D’YSQUITH: 20s-30s, Female identified, Monty’s cousin. Idealistic and virtuous, yet with a backbone of steel. Youthful innocence mixed with sophistication. Posh british accent. Coloratura soprano up to a high sustained C# with an optional high Eb. B below middle C on the bottom. Also open to performers from a strong operatic background.
ASQUITH D’YSQUITH/LORD ADLABERT D’YSQUITH/REVEREND EZEKIEL D’YSQUITH/LORD ADLABERT D’YSQUITH SR/HENRY D’YSQUITH/LADY HYACINTH D’YSQUITH/MAJOR LORD BARTHOLOMEW D’YSQUINTH/LADY SALOME D’YSQUITH PUMPHREY/CHAUNCEY D’YSQUITH: All of Monty’s victims, played by one actor. Lots of physical comedy and farce. Multitude of british accents. Does not necessarily need to be a phenomenal singer, but must be able to carry a tune.
ENSEMBLE: Six actors who play a variety of roles. Comic, and strong singers.
Stage Managers: Equity Stage Managers are invited to send resumes to Stephanie Hettrick, Production Manager, at the Lyric Stage Company, 140 Clarendon St., Boston, MA 02116. Please note all Equity Stage Manager positions have been filled at this time. ASM positions are available for Agatha Christie’s Murder on the Orient Express, Fabulation or, the Re-Education of Undine, and A Gentleman’s Guide to Love and Murder.
Contact: For questions, firstname.lastname@example.org or 617.585.5684.
Employment & Internships
Rent our Space
ROOM FOR YOUR CREATIVITY
We operate a 240-seat theatre and rehearsal space equipped for dance and musical needs as well as two conference spaces all in the heart of Boston.
When not in use by the Lyric Stage’s professional productions, our rehearsal hall is rented at below-market rates to members of the Boston Dance Alliance, but anyone can rent our space.
For information and to request to book this space, please contact our Production Manager Stephanie Hettrick.
PHONE / 617.863.8942
We operate an intimate 240-seat 3/4 thrust theatre on the second floor of 140 Clarendon St. at Boston’s Copley Square.
Can’t View The Space In Person? Check Out our Interactive 3D photos Below!
Breath & Imagination 2018
The Wolves 2019
View of Stage from Second Row
Use the arrows below to take a virtual tour through our space!
The Rehearsal Studio
Opened in 2016, Clarendon Hall is the Lyric Stage’s rehearsal studio. When not in use by the Lyric Stage’s professional productions, the facility is rented at below-market rates to members of the Boston Dance Alliance. For information and to request to book this space, please email email@example.com.
Dimensions of Clarendon Hall
Can’t View The Space In Person? Check Out The Interactive 3D Tour Below!
The Conference Spaces
Our office on the second floor of 140 Clarendon St. operates two conference rooms for rent while not in our use. The Kuumba Library holds a maximum of 80 people while the Stuart conference room can hold meetings of around 12 people. For more information and to host your meeting at 140 Clarendon St. contact firstname.lastname@example.org.
Stuart Conference Room
Kuumba Library Conference Room