Auditions for Sense & Sensibility
Auditions for Sense & Sensibility
Sense & Sensibility
By Kate Hamill
Based on the novel by Jane Austen
Directed by Natalie Novacek
Performance & Rehearsal Information
February 15–March 3, 2019 (11 performances)
First read-through tentatively scheduled for scheduled for January 2, 2019
Full performance schedule and show description can be found here
Potential rehearsal schedule can be downloaded here.
Note on Diversity and Inclusive Casting
Actors of all gender identities and expressions, racial and ethnic backgrounds, and physical abilities are strongly encouraged to audition. Lyric Arts and Director Natalie Novacek are committed to equity, diversity, and inclusion in the casting of all productions and, therefore, urges actors of diverse backgrounds and those from underrepresented groups to audition. Please contact Lyric Arts if audition accommodations are needed.
Open Call Auditions
Monday, October 15
6:30 to 9:30 p.m.
Tuesday, October 16
6:30 to 9:30 p.m.
Doors open for registration 15 minutes prior to audition start time.
Final registration accepted 30 minutes before the end of auditions.
Tuesday, October 23
Auditions will consist of a prepared monologue of your choosing, one-minute maximum. This monologue should contain heightened or classical language (prose, not verse) and showcase your skill and personality.
You can download or fill out our standard audition form here.
ELINOR DASHWOOD – Female identifying, any ethnic or racial identity, late teens to early 20s
The eldest daughter of Mr. and Mrs. Henry Dashwood and the heroine of the story. Elinor is composed but affectionate, both when she falls in love with Edward Ferrars and when she comforts and supports her younger sister Marianne.
MARIANNE DASHWOOD – Female identifying, any ethnic or racial identity, mid-teens to early 20s
The second daughter of Mr. and Mrs. Henry Dashwood. Marianne's spontaneity, excessive sensibility, and romantic idealism lead her to fall in love with the debaucherous John Willoughby, though he painfully spurns her, causing her to finally recognize her misjudgment of him. After this turn of heart, she ultimately marries her long-standing admirer, Colonel Brandon.
MARGARET DASHWOOD – Female identifying, any ethnic or racial identity, early to mid-teens
The good-humored youngest daughter of Mr. and Mrs. Henry Dashwood, Margaret shares her sister Marianne's romantic tendencies.
MRS. DASHWOOD – Female identifying, any ethnic or racial identity, early 40s to early 50s
The kind and loving mother of Elinor, Marianne, and Margaret and second wife to Henry Dashwood. She has inherited no fortune of her own but wants the best for her daughters and shares Marianne's romantic sensibilities.
JOHN DASHWOOD - Male identifying, any ethnic or racial identity, late 20s to mid-30s
The weak-minded and money-grubbing heir to the Norland estate. At his wife Fanny's suggestion, he leaves his mother and sisters with very little money and remains largely unconcerned for their welfare.
EDWARD FERRARS - Male identifying, any ethnic or racial identity, mid-20s to mid-30s
The sensible and friendly older brother of Fanny Dashwood and Robert Ferrars. Edward develops a close relationship with Elinor while staying at Norland and ultimately marries her, after he is freed from a four-year secret engagement to Lucy Steele.
FANNY DASHWOOD - Female identifying, any ethnic or racial identity, late 20s to mid-30s
The selfish, snobbish, and manipulative wife of John Dashwood and the sister of Edward and Robert Ferrars.
COLONEL BRANDON – Male identifying, any ethnic or racial identity, mid-30s to early 40s
A retired officer and friend of Sir John Middleton who falls in love with Marianne Dashwood and acts kindly, honorably, and graciously towards the Dashwoods.
JOHN WILLOUGHBY – Male identifying, any ethnic or racial identity, late 20s to mid-30s
An attractive but deceitful young man who wins Marianne Dashwood's heart but then abandons her (greedily) in favor of the wealthy Miss Sophia Grey.
SIR JOHN MIDDLETON – Male identifying, any ethnic or racial identity, early 40s to mid-50s
The jovial but vulgar distant relation of the Dashwoods who invites Mrs. Dashwood and her three daughters to stay at Barton Cottage after Mr. and Mrs. John Dashwood inherit Norland, leaving the women homeless.
MRS. JENNINGS – Female identifying, any ethnic or racial identity, 60s+
Lady Middleton's gossipy but well-intentioned mother who invites the Dashwood sisters to stay with her in London and makes it her "project" to marry them off as soon as possible.
LADY MIDDLETON – Female identifying, any ethnic or racial identity, early 40s to mid-50s
A distant relation of the Dashwoods who lives at Barton Cottage with her husband Sir John Middleton and their four spoiled children.
LUCY STEELE – Female identifying, any ethnic or racial identity, late teens to mid-20s
Mrs. Jennings' cousin and a sly, selfish, and insecure young woman. She has been secretly engaged to Edward Ferrars for four years but she ultimately marries his brother, Robert, once Edward is disinherited.
ANNE STEELE – Female identifying, any ethnic or racial identity, late teens to mid-20s
Lucy Steele's older, unmarried sister who accidentally reveals her sister's secret engagement to Edward Ferrars.
ROBERT FERRARS – Male identifying, any ethnic or racial identity, mid-20s to mid-30s
A conceited coxcomb and the younger brother of Edward and Fanny. Robert inherits his mother's fortune after she disinherits Edward. Ironically, he ultimately marries Lucy Steele, even though it was Edward's engagement to this same woman that caused his mother to disinherit him.
MRS. FERRARS – Female identifying, any ethnic or racial identity, early 40s to mid-50s
The wealthy, manipulative mother of Edward and Robert who disinherits her first son when he refuses to marry a rich heiress.
OTHER ROLES – Gossips, Servants, Thomas, Doctor
PLEASE NOTE – Roles may be doubled or tripled among the company.
- Stipend paid.
- All auditions are held at Lyric Arts Main Street Stage, 420 E Main St, Anoka 55303.
- Auditioners will be seen in the order they arrive. No appointments are necessary.
- Please come prepared with headshot (or other non-returnable current photo) and résumé, if available.
- Please arrive with a calendar outlining all possible conflict dates between the first read-through and the final performance. (No conflicts for tech week or performance dates will be accepted.)
- Age ranges listed in character descriptions signify the age of the character to be played.
All other questions about auditions—including those regarding audition conflicts—should be sent to our auditions e-mail.