Jewish Community Center
of Greater Kansas City
October Promo
Announcements & Closings

White Theatre: Auditions

Auditions for Dancing at Lughnasa, Kindertransport &
A Funny Thing Happened on the Way to the Forum

Auditions for Dancing at Lughnasa and Kindertransport by Appointment Only

Dancing at Lughnasa Kindertransport
Directed by: Sidonie Garrett Directed by: Darren Sextro
Written by: Brian Friel Written by: Diane Samuels

Auditions by Appointment Only: October 10 between 2pm-6pm
Auditions will be held at the White Theatre at the Jewish Community Center and will be for both Dancing at Lughnasa and Kindertransport.  All auditioners are asked to schedule an appointment through Jayson Chandley, Facility and Production Coordinator at the White Theatre by emailing him your Name and Telephone Number to An audition time will be scheduled on a first come, first serve basis. A confirmation email will then  be sent confirming time, location and any additional information.  Auditioners are asked to prepare a 1-2 minute monologue either memorized or script in hand.  It should feature your early attempt at the appropriate accent for the production, specifically, British, Irish, or German accents.  For more information on desired dialects, please visit the following links.

Regional Dialects - Donegal, Ireland:

Post auditions, the directors reserve the opportunity to hold callback auditions if they feel that is necessary.  You will know by the evening of October 10 if you are needed at callbacks.  Not being requested for callbacks does not necessarily mean that you aren't being considered for a role.

Performance Dates for Dancing at Lughnasa

January 9, 14, 16 at 7:30pm
January 10, 17 at 2pm

Synopsis for Dancing at Lughnasa

Donegal, 1936; a time when life is simple but making ends meet seems impossibly hard.

The five unmarried Mundy sisters laugh, cry and dance together through daily difficulties until their missionary brother returns home from decades in Africa. Frail and different through years living abroad, he challenges the sisters’ relationships within the family. As dusk sets on the only life the sisters have ever known, they question their beliefs and their place within the community, as dreams of love begin to crumble.

Told through the eyes of 7-year old Michael, Brian Friel’s Olivier and Tony Award-winning play is a magical, moving story of a rural world on the brink of revolution. Rated PG.

Character Descriptions for Dancing at Lughnasa

Kate Mundy: 50’ish. Kate is the eldest of the Mundy sisters and behaves as a Mother figure as a result. As a schoolteacher, she is the only wage-earner in the house, but her reputation as 'The Gander' in the schoolroom is seen to extend into the household. She is a fiercely devout Catholic, indicated by her distaste for the pagan practices at Lughnasa and Jack's loss of faith. However, her sensitivity is evident throughout the play and through the narratives provided by Michael, who claims she was "inconsolable" when Father Jack died.

Maggie Mundy: 45 - 47.In place of a career, Maggie acts as the chief family homemaker. Throughout the play she is revealed as serving a deeper purpose as the "joker" of the family, defusing tensions as they arise. She cheekily challenges Kate's authority by calling her "Kitty", whilst being her confidant at the same time. Maggie is seen to have dreams of her own when she learns of her best friend's success. Her sudden quiet contemplation in her monologue is deeply contrasted with her usual fun-loving way of speaking.

 Christina Mundy: 26. At 26 years old, Chris is the youngest of the Mundy sisters, and, like Maggie, has no paid job. Gerry Evans fathered her son, Michael, seven years ago and is seen as walking in and out of their lives as he chooses. As a result, Chris fluctuates between falling into a deep depression when he leaves, yet being renewed with optimism that his next visit will be a permanent stay. Her lack of income can lead Chris to be defensive on the upbringing of her son, shown when Kate buys Michael a new spinning top at the beginning of the play.

Rose Mundy: 32. Rose is 32, but behaves much younger than her years, due to a developmental disability. This condition makes her particularly vulnerable to an unseen character, Danny Bradley, who Rose believes is in love with her. However, her sisters believe that Danny Bradley is exploiting Rose's simple nature for his own gain. She is particularly close to her older sister, Agnes, with whom she knits gloves to sell in the town. We learn through Michael's narrative that, after leaving home with Agnes, Rose eventually dies in a hospice for the destitute in Southwark, London, in the 1950s.

Agnes Mundy: 30 - 35. Agnes is quiet and contemplative, knitting gloves with Rose whilst also helping to keep the house in order; along with Maggie. She appears to be silently infatuated with Gerry and is quick to leap to his defence. However, Michael's narratives reveal Agnes' future to be bleak. Her knitting fails to support her when the knitware factory opens. Due to her sense of parental regard for Rose, she emigrates with her to London, breaking off all contact with the family, and dies in dire circumstances in the 1950s.

Michael Evans (main character): 25 - 30. Michael does not appear onstage as an adult, but his presence is alluded to by the other characters, while the adult Michael speaks his lines from the side of the stage. As a child, Michael is seen as being surrounded by love, since all five of the sisters dote on him. Michael also acts as a narrator, not only dictating the action as it goes on, but revealing the futures of the other characters in the play.

Gerry Evans: 26 - 30. Gerry Evans is initially portrayed as an intensely negative character, particularly by Kate, for having left Chris after fathering her illegitimate son, Michael. However, upon his first appearance in the play, Gerry is shown to be charming and genuinely affectionate towards Chris. His current job as a gramophone salesman (and his former job as a ballroom dancing instructor) represent his freedom in sharp contrast to the stagnant lives of the Mundy sisters. This is made all the more obvious by the fact that he is leaving Ireland to join the International Brigade and fight in the Spanish Civil War, something that is further disapproved of by Kate. Through Michael's narrative, we learn that Gerry is later left with a limp after falling off a motorbike in Barcelona. As well as having romantic feelings for Chris, Gerry seems particularly inclined towards Agnes, although the true state of their relationship remains in doubt. We learn later that he secretly has another family back in Wales, and that all his proposals of marriage to Christina have been false. Adult narrator Michael reveals that, after Gerry's death in the 1950s, he had been contacted by a half brother in South Wales, who revealed that Gerry had had a wife and several sons there at the time depicted in the drama.

Father Jack: 57 - 59. Jack is in his late fifties. He had left home as a young man to work as a missionary in a leper colony in Uganda. Beyond this, he had been a Catholic chaplain in the British Army in East Africa during World War I. He is well respected in Donegal for his missionary work in a leper colony. However, his sudden return to Ballybeg for undisclosed reasons has paved the way for great changes. He has difficulty with his memory, often forgetting the names of his sisters or confusing them with his former house boy Okawa, with whom we are told he was very close. Jack professes a broad admiration for the pagan beliefs of the native people of Africa, and appears to have lost his Catholic faith, which may be the true reason his superiors have sent him back. This is a great worry for Kate, who is concerned about the family's reputation. Jack refers to Michael as a love child rather than an illegitimate child and says they are common and accepted among the people of Uganda. In a scene near the close of the play he swaps his British colonial tricorn hat, a gift from a British governor, for a lesser hat worn by Gerry. Jack turns the swap into a non-catholic ceremony as well as referring to Uganda as his home. It is Gerry who is now to go abroad seeking adventure just as Jack settles back into his home country. Father Jack recovers from his malaria and confusion, but Michael as narrator tells us that he died of a heart attack soon after the events portrayed in the play.

Performance Dates for Kindertransport

March 26, 31, April 2 at 7:30pm
March 27, April 3 at 2pm
Possible Daytime School Performance: TBA – March 30 or 31, 2015.

Synopsis for Kindertransport

As life for Jews in Germany becomes intolerable, Eva, aged 9, travels alone to England to find sanctuary. Years later, Eva has become Evelyn. She eschews everything about her early life, now the archetypal middle-class Englishwoman. But Evelyn has a daughter who uncovers her mother’s secret and won’t stop asking questions. As the edifice crumbles we see what denying her background and culture has done to Evelyn and ask ourselves – where does our identity come from? Rated PG.

Character Descriptions for Kindertransport

EVA: She begins the play at nine years old with a German accent, and she finishes the play at age seventeen with an accent that has shifted to English. This role requires a talented teenage actress who will work hard at the accents as well as the evolving age of the character.

EVELYN: This is Eva, now grown into an English woman in her fifties.

FAITH: Evelyn's only child, in her early twenties. English accent.

LIL: Eva/Evelyn's adopted English mother. She shifts from being in her eighties to being in her forties and back again. Seeking an older actress who can deliver both "old age" and "undefined youthfulness in the past."

HELGA: Eva/Evelyn's birth mother, in her thirties. German accent.

RATCATCHER: The play's one male role...a swing that also plays four other male characters, some German, some English. The director reserves the right to have one actor or 2-3 actors playing the various roles.


Open Call Auditions for A Funny Thing Happened on the Way to the Forum

Directed by Chris McCoy
Music Directed by Kevin Bogan
Choreography by Chris McCoy
Book: Burt Shevelove and Larry Gelbart
Music & Lyrics: Stephen Sondheim

Open Call Vocal Audition: Saturday, October 24 Noon to 4pm

Call Back Date: Saturday, October 31st 12pm to 4pm
Call backs are by invitation only and will include Reading, Singing and Dance Call Back work.  More details and information to be published Sunday, October 25th.

Auditions will be held at the White Theatre at the Jewish Community Center and will be be open call.  Please prepare 32 bars of an up-tempo Musical Theatre Comedy song.  Bring sheet music for an accompanist to play in the correct key. Please provide head shot and resume if available.

Performance Dates

February 13, 18, 20, 25, 27 at 7:30pm
February 14, 21, 28 at 2pm


“Tragedy tomorrow, comedy tonight!” Broadway’s greatest farce is light, fast-paced, witty, irreverent and one of the funniest musicals ever written – the perfect escape from life’s troubles. The Tony award-winning A Funny Thing Happened On The Way To The Forum takes comedy back to its roots, combining situations from time-tested, 2000-year-old comedies of Roman playwright Plautus with the infectious energy of classic vaudeville. The result is this joyous, musical romp through Rome with lovers searching for each other, neighbors scheming together, and everyone is hiding something. Will anyone get what they what? Does anyone really know what they want? Rated PG.

Character Descriptions

Pseudolus: A Roman slave, owned by Hero, who seeks to win his freedom by helping his young master win the heart of Philia. Quick-witted, scheming, childlike spirit. Male, 30-50 years old; Range: A2 - A4; also plays Prologus, an actor.

Senex: An old man and father to Hero and husband to Domina. Male, 45-70 years old Range: B2 - G4

Domina: Senex's wife. A shrewish woman who dominates to the point of answering herself the questions she asks of others. Loves her husband deep down, but is outwardly controlling, demanding, and manipulative. Female, 40-60 yrs. old Range: B3 - F5

Hero: The young son of Senex and Domina. He falls in love with Philia and agrees to give Pseudolus his freedom if he can help Hero woo her. Practical, privileged, romantic. Male, 18-30 years old; Range: B2 - G4

Hysterium: The chief slave in the House of Senex. Believes he is in control, but is actually Pseudolus' puppet to carry out his schemes. Anxious, conservative, loyal. He desperately wants everything to be in order. Male, 40-55 years old; Range: D4 - G5

Erronius: An old man, searching for his lost children. Male, 45-70 years old; Range: B2 - G4

Philia: A virgin in the House of Lycus whom we also find out is Erronius' daughter. She is promised to Miles and vows to give him bodily what he has paid for, but loves Hero and promises he will always have her heart. Young, pretty, devoted. An archetypal ingénue. Female, 18-30 years old; Range: B3 - G5

Miles Gloriosus: The archetype of the braggart soldier. A captain in the Roman army to whom Marcus Lycus has promised Philia. Commanding, boastful, manly and strong. Male, 25-45 years old; Range: B3 - F5

Lycus: The owner of the house of Courtesans. Always out to make a profit, but also wants to provide good on what business offers. Female or Male, 30-50 years old; Range: A3 - F5

Tintinabula: A courtesan from the East.  Female, dancer.

Panacea: A courtesan from Nubia.  Female, dancer.

The Geminae: Two courtesans who look alike.  Female, dancers.

Vibrata: A courtesan described as a desert bloom.  Female, singer and dancer.

Gymnasia: An athletic courtesan.  Female, dancer.

The Proteans:
Three performers with athletic ability.  Male or Female able to play many parts.

Ensemble: Citizens, Soldiers and Courtesans

For more information regarding auditions, please contact Jayson Chandley, Facility and Production Manager for the White Theatre, at 913-327-8074 or





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