Hello! We’re delighted that you’re submitting a self-tape for The Depot Theatre’s 2026 Season. Please carefully review and follow all instructions below regarding what to tape and how to tape for your selected role and production. Be sure to read the entire page, as it includes important notes and specific guidance.
INCIDENT AT OUR LADY OF PERPETUAL HELP
PLEASE TAPE THE FOLLOWING:
-SLATE: Name, Preferred Pronouns, Height & Location
-SIDES: Tape the side for your role as indicated (Sides can be accessed via the link below)
Note: When audience direct address is indicated in the script, you can speak/look directly to camera!
JO SELF TAPE SIDE (CLICK HERE TO ACCESS MATERIAL)
LINDA SELF TAPE SIDE (CLICK HERE TO ACCESS MATERIAL)
TERRI SELF TAPE SIDE (CLICK HERE TO ACCESS MATERIAL)
TRACK 1/ CHARACTER ACTOR SELF TAPE SIDES (CLICK HERE TO ACCESS MATERIAL)
*Note: For this track, please pick TWO sides to tape. We only need TWO from this packet.
BECKY SIDE (CLICK HERE TO ACCESS MATERIAL)
*Note: We will not be seeing Becky’s in NYC - the team is only considering talent local to the Theatre for this role.
TICK, TICK…BOOM!
PLEASE TAPE THE FOLLOWING:
-SLATE: Name, Preferred Pronouns, Height & Location
-SONG CUT: A song cut of your choice (16-32 bars) in the style of or from the show that shows range. The song cuts included in these folders are for callbacks. The team prefers you submit your OWN song in the style - rather than the material from the show, but you may use the material from the show in these folders, if you don’t have anything in the style!
-SIDES: Prepare the scene sides as indicated below.
SUSAN (CLICK HERE TO ACCESS MATERIAL)
Note: Prepare TWO of the scene sides included in the packet - pick the two you like best so we can see you in two different characters.
JON (CLICK HERE TO ACCESS MATERIAL)
Note: Prepare Only Side 1 for this initial self tape.
MICHAEL (CLICK HERE TO ACCESS MATERIAL)
Note: Prepare TWO of the scene sides included in the packet - pick the two you like best so we can see you in two different characters.
RING OF FIRE
Note: For this production, we hope to make offers based on initial submissions and team ideas. I will be sending a list of the submissions to the team and if we need any additional material, I’ll reach out directly!
THE DEPOT THEATRE – 2026 SEASON – EPA
Producer/Theatre Company: The Depot Theatre
Artistic Director: Aaron Jodoin
Executive Producer: Sarah Wilson
Casting: Holly Buczek, HDB Casting
Contract:
ITC
Union: $480/week (plus benefits)
Non Union: $480/week
plus housing, travel
www.DepotTheatre.org
The Depot Theatre encourages and actively seeks actors of all Ethnicities, Nationalities and Gender. The Depot Theatre strives to cultivate an inclusive environment which welcomes differences of ethnicity, religion, sexuality, income, or any other divisions with generosity and openness among its artists, audiences, leaders, and community. Through support and understanding of our differences, we can recognize our commonalities. The Depot Theatre encourages performers of all ethnicities, races, gender identities, ages, body types, and abilities to audition. *When a gender is included in a character description, it refers only to the gender identity and/or presentation of that character as scripted by the playwright and not that of the performer.
Tick, Tick…Boom!
Director: Shawn Churchman
Musical Director: Aaron Jodoin
Rehearsals Begin: June 15, 2026
Performances: June 25, 2026 - July 12, 2026
Tick, Tick… Boom! follows Jonathan Larson, a young, fiercely driven composer racing against the clock as he approaches 30 and desperately tries to break into the New York theatre world before time—and his chances—run out. While juggling his diner job, a make-or-break workshop for his sci-fi musical, and the unraveling relationships with his girlfriend and best friend, Jonathan feels the pressure mounting from every direction. But when life delivers an emotional wake-up call, he discovers that the real ticking isn’t about career deadlines—it’s about love, loss, and the fire that pushes an artist to create against all odds.
JONATHAN: (Male, 25 - early 30s) Dynamic, charismatic leading man. Struggling East Village composer turning 30; smart and likeable, extremely passionate and determined; edgily ironic and irreverent and a little self-involved. Strong rock voice. Tenor. Vocal Range (middle C is C4): A2 – A4 (two octaves)
MICHAEL: (Male, 25 - early 30s) Jonathan's roommate and best friend. A gay business professional with an artist's soul. Career-minded and image-conscious but also supporting of and caring toward Jonathan. Soulful and devoted, but secretive. Doubles several additional character roles. Strong rock voice. Tenor. Vocal Range (middle C is C4): Bb2 – G4
SUSAN: (Female, 25 - early 30s) Jonathan's girlfriend. A compelling personality in her own right, she is both nurturing, loving and supportive but also growing increasingly frustrated with Jonathan's pre-occupation and lack of commitment. This track doubles several additional character roles. A dancer. Mezzo-Soprano. Vocal Range (middle C is C4): Strong belt Ab3 to D5
The Incident at Our Lady of Perpetual Help
Director: Ginna Hoben
Rehearsals begin: July 13, 2026
Performances: July 23, 2026 - August 9, 2026
Incident at Our Lady of Perpetual Help is a fast-paced, heartwarming comedic play that follows 19-year-old Linda O’Shea as she narrates the hilariously disastrous day when her attempt to give her younger sister “the talk” spirals completely out of control. Set in a tight-knit 1970s Irish Catholic community, the family’s private conversation is overheard by the parish’s most fearsome gossip, sending rumors flying and putting the O’Sheas’ reputation—and their sanity—on the line. As Linda tries to retell and reclaim the events of the day, with her family chiming in to correct her version of the story, the play becomes a joyful, chaotic celebration of family, faith, and the fine art of surviving small-town scandal.
LINDA O’SHEA: (Female, 19-years old) Linda is highly intelligent, caring, and curious. She alternates between thinking she knows everything and thinking she knows nothing. Responsible and rarely impetuous.
JOSEPHINE ‘JO’ O’SHEA: (Female, late 40s, early 50s) Jo juggles more plates than Cirque de Soleil. A great mom who defines multi-tasking. She's also a little more emotional and prone to outbursts than usual because, well…you’ll see.
THERESA ‘TERRI’ CHARMICHAEL: (Female, late 50s) Terri is definitely going through a rough patch, but she is not a depressive or phlegmatic. Think Thelma Ritter or Eve Arden, with a touch of Dorothy Parker. Fast talker.
CHARACTER ACTOR: (All Gender Identities, 50s) This track wil play three roles - Mike O’Shea (50s)/ Father Lovett (50s)/ Betty Heckenbach (50s)
• Mike is loud, loyal, and single-task oriented. His definition of a father is: Breadwinner and disciplinarian. Lousy listener.
• Father Lovett is an old school, Catholic priest. Egotistical, imperious, and pampered. Unused to any kind of pushback from parishioners or anyone else for that matter.
• There is a Betty Heckenbach in everyone's life. She's right up there with death and taxes—only less fun. Even though the role is played by a man, it has to be played absolutely straight—no winking or flamboyance. Just a homely, judgmental, middle-aged woman sticking her big puss into other people's business.
Ring of Fire
Director: Michael Santora
Music Director: TBD
Rehearsals begin: August 10, 2026
Performances: August 20, 2026 - September 6, 2026
Ring of Fire is a spirited, toe-tapping musical that celebrates the life, legacy, and music of Johnny Cash by threading together his greatest hits to tell a sweeping American story. Rather than following a traditional plot with one main character, the show uses a cast of performers to trace the arc of Cash’s journey—from humble beginnings in the Arkansas cotton fields, through love, struggle, faith, rebellion, heartbreak, and redemption—while capturing the grit, humor, and soul that defined him. Through iconic songs like “I Walk the Line,” “Folsom Prison Blues,” and “Ring of Fire,” the musical becomes a vibrant portrait of resilience and the power of music to carry us through every season of life.
TRENNA: (Female, 20s-40s) Trenna functions as the primary female voice of the ensemble—warm, intuitive, and grounded. She often embodies the perspective of June Carter Cash, though not as a literal portrayal. Her presence brings emotional balance, humor, and vitality to the storytelling. She is capable of both tender vulnerability and playful charm, anchoring many of the show’s emotional arcs. Vocal Range: Flexible alto to mezzo; strong lead and harmony skills. Instruments: Acoustic guitar (preferred), basic percussion.
JASON: (Male, 20s-40s) Jason often carries central narrative threads tied to young Johnny Cash’s spirit—hopeful, yearning, searching. While not a direct impersonation, he channels youthful energy, earnest charm, and emotional clarity. He functions as one of the musical anchors of the ensemble and frequently leads transitions between thematic segments. Vocal Range: Tenor/baritone with strong lead capability. Instruments: Acoustic guitar, hand percussion, auxiliary percussion.
EDDIE: (Male, 20s-40s) Eddie embodies the raw drive and rock-leaning edge of Johnny Cash’s influence. He often brings intensity, swagger, and musical grit to the ensemble. A dynamic presence, he helps fuel the show’s rhythmic engine and frequently leads the more energetic or heavily guitar-driven numbers. Vocal Range: Tenor/baritone with commanding lead voice. Instruments: Acoustic guitar, electric guitar, various percussion.
DAVID: (Male, 20s-40s) David is the ensemble’s multi-instrumental backbone, bringing texture, color, and authenticity to the musical landscape. He often embodies the show’s rural, roots-driven heart. His character presence tends to be calm, warm, and subtly humorous—someone who helps tie the ensemble together musically and emotionally. Vocal Range: Flexible tenor/baritone with strong harmonies. Instruments: Electric guitar, banjo, mandolin, fiddle.
MARK: (Male, 20s-40s) Mark provides the musical foundation—steady, grounded, resonant. He often embodies a storyteller or observer role, offering reflective warmth and a grounded presence within the ensemble. While not always the focal soloist, his contributions are essential to the show’s structure and feel. Vocal Range: Baritone/bass-baritone; strong blend and occasional solo lines. Instruments: Bass (upright preferred; electric acceptable).
