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AUDITION DATES: January 19 & 20, 2026 – 6:30 PM to 10:00PM

CALLBACK: Thursday, January 22, 2026 – 6:30 to 10:00 PM

PERFORMANCE DATES: April 10 – 12th, 2026 (4 Performances)

READTHROUGH: January 26, 2026 – 6:00PM

REHEARSAL SCHEDULE: Sundays, Mondays & Wednesdays (You may not be called for all days, a schedule will be provided)

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PRODUCTION TEAM

Director: Bob Gatchel

Music Director: Julie Lawrence

Choreographer: Madalynn Martino

Stage Manager: Tess Meredith-Greene

*IMPORTANT NOTE*

Due to the nature of the show and setting, all actors should be comfortable and confident in sexual situations with all genders. The show will also involve some stage combat (Sally being slapped by Cliff, Cliff being beaten by Max and henchmen), simulated drug and alcohol use, and some characters will wear Nazi armbands (Ernst, Max, henchmen, Emcee, possibly ensemble/club members) and give the “Heil” salute during the show (everyone except Sally, Cliff, Schneider, Schultz). We will only see actors who are 18+ at the time of auditions due to the mature nature of this material.

If you are unfamiliar with the show, there are several versions and selections available on Youtube. We will be producing the 1998 Mendes script, and nearly any modern production will work to give you an idea of the tone and story.

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AUDITION PROCESS & STRUCTURE

For the INITIAL AUDITIONS, you will be asked to:

Bring a headshot / resume if you have one, we will take photos if you do not have one.
Perform a one minute cut of a song in the style of the show. However singing from the show IS ENCOURAGED! Bring your own backing track (no a capella auditions), we will provide a speaker for playback

For the CALLBACK AUDITIONS, you will be asked to:

Perform a one minute of a SONG FROM THE SHOW that best shows your range, or for the character you are auditioning / called back for – we will provide the backing tracks / sheet music (you can find them at the callback material link below).
The materials for callbacks (sides, tracks, sheet music) can be found here: Cabaret Callback Material
Read from provided monologue / dialogue sides provided
Learn and perform some brief choreography for the show. Bring appropriate clothing and shoes for the dance call.

IF YOU ARE UNABLE TO ATTEND THE AUDITIONS, WE WILL BE ACCEPTING VIDEO AUDITIONS UNTIL 6:00 PM, JANUARY 20! Videos may be submitted here: [email protected]

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THE STORY

The show opens on December 31st of 1929, New Years Eve, as the Master of Ceremonies at the Kit Kat Club welcomes the audience, introduces the cabaret performers, and insists that everyone leave their troubles outside. This sets the stage for the rest of the show, which is the story of three relationships.

Cliff, a young American writer newly arrived in Berlin, who is immediately taken with English singer Sally Bowles; Fräulein Schneider, proprietor of Cliff’s boarding house, who begins a romance with Herr Schultz, a mild-mannered fruit seller; and the people of Germany to their country and the Nazi party.

With the Emcee’s songs as commentary, Cabaret explores the dark and tumultuous life of Berlin’s natives and expatriates as Weimar Germany slowly falls apart. Cabaret is an emotional examination of the rise of fascism and the banality of evil.

ROLES

Cabaret has a wide variety of roles that range from extremely intense singing/dancing to almost zero singing/dancing. Please see the following breakdown!

NOTE: GERMAN & ENGLISH ACCENTS will be used in the production as appropriate. HOWEVER we understand that not all actors will have the tools to perform in an accent successfully in the audition process, don’t panic. We just ask you to give it your best shot and have fun. We will be providing professional accent training material for those cast in the production.

Emcee

Any Gender – A sinister, sexually ambiguous master of ceremonies. They move the story along and pepper the show with musical interludes. Complex and mysterious. German accent – Tenor/Alto.

Clifford Bradshaw

Male, an American and somewhat closeted bisexual/homosexual novelist searching Europe for inspiration for his next novel. Upon reaching Berlin he quickly gets entangled with its underground party scene and political climate. American Accent – Tenor – Minimal singing, but strong acting is required.

Sally Bowles

Female, 20s-30s, a transient English second rate cabaret singer living in Berlin. Sally is energetic, bordering on frantic, and has a complex breakdown over the course of the show. She entangles herself with Clifford and they begin a fated relationship – British Accent – Mezzo/Soprano.

Fraulein Schneider

Female, 50s-60s, the owner of a boarding house in Berlin. She rents rooms to several of the show’s characters. A core of the show, Schneider is the closest the show has to an audience surrogate. German Accent – Alto.

Herr Schultz

Male, 50s-60s, A Jewish fruit-stand owner and the love interest of Fraulein Schneider. Also an “everyman” character, relatable and sweet. – German Accent – Tenor.

Ernst Ludwig

Male, 30s – 40s, an up and coming political figure in the Nazi political party. – Only sings a few lines in a single song, more emotion needed than technique, and must be a strong actor – German Accent – Tenor.

Fraulein Kost (will double as Kit Kat girl)

Female, 20s-30s, a prostitute living and working in Fraulein Schneider’s boarding house and often at odds with Schneider. – German Accent – Alto/Mezzo – Strong singer who can belt.

Kit Kat Girls

Rosie, Lulu, Frenchie, Texas, Fritzie, and Helga. The dancers at the Kit Kat Klub. These individuals will also be part of various scenes as performers, citizens, and as club patrons. Highly dance- intensive roles, will also need to sing in several numbers. Features (“Two Ladies,” etc.) will be drawn from this group.

Kit Kat Boys

Bobby, Victor, Hans (doubles as Rudy, a Sailor), and Herman (doubles as Customs Official and Max, both speaking). Dancers at the Kit Kat Klub. Highly dance-intensive roles, although slightly less than the club girls— do not need to be strong singers.