• What Would Have to Happen - Audition Form

    Project Leader: Saniah Johnson | Faculty Mentor: Tim Kane

  • Hello! Thank you for your interest in the being a part of What Would Have to Happen! Auditions will be on Monday, September 14th, from 6:00PM-10:00PM in MUND 125. Please fill out this form to reserve an audition slot.

  • Format: (000) 000-0000.

  • AUDITIONS:

    6:00-10:00PM | September 14, 2026 | MUND 125

    Actors should prepare a 1-2 minute contemporary dramatic monologue that demonstrates their ability to connect emotionally to text and communicate a character's thoughts and feelings clearly. Because this is a staged reading, actors will be evaluated primarily on: 

    • Strong vocal storytelling and clarity 
    • Emotional connection to the text
    • Comfort with emotionally vulnerable material 

    **Memorization is not required. Actors will be reading from scripts during the performance, so the ability to work comfortably and expressively with a script is especially important.

    The project lead Saniah Johnson, sjohnson58@luc.edu, will notify you if you are cast.

     

    IMPORTANT DATES:

    De-Rolling Workshop: September 28, 2026 from 4:30-6:00PM

    Rehearsals: October 9 - October 10, 2026
    Presentations: Sunday, October 11, 2026 at 5:00PM

    Rehearsals and presentations will be in the Underground Theatre.

    This project conflicts with TARTUFFE.

  • Is this your first time auditioning for the DFPA Theatre Department?*
  • Audition Time Slot - Please choose a time slot that works for you. All auditions will be individual 5-minute slots, but we will be scheduling in groups of three.*

  • Production Information

  • PROJECT DESCRIPTION:

    What Would Have To Happen? is an original one-act play presented as a staged reading that explores the fragile intersection of love and mental illness within a young couple’s relationship. The story follows Sadie as her intrusive thoughts—embodied by a haunting “Voice”—begin to unravel her sense of security and self-worth. Blending realism with internalized theatrical style, the play examines the quiet battles we fight within ourselves and the cost of believing we are unlovable.

    CASTING CONSIDERATIONS:

    What Would Have To Happen? It is about love, fear, self-sabotage, and the ways our internal struggles can affect the people closest to us. Hence, this being a staged reading, the focus will be on the actors' relationship with the text, vocal storytelling, emotional honesty, and connection with their scene partners.

    I am looking for performers who can approach these characters with empathy and care. Sadie, August, and the Voice are all connected to the emotional heart of the play, and I want their experiences to be portrayed as human and nuanced rather than stereotypical.

    The play contains mental-health-related themes and emotionally difficult material. These themes are intended to be approached with compassion and without stigmatizing mental-health experiences. Actors are encouraged to communicate their boundaries and needs throughout the rehearsal and reading process.

    Because the material can become emotionally intense, the creative team will incorporate brief character-separation/derolling exercises following rehearsals and, when appropriate. The goal is to create a supportive environment where actors can engage honestly with the material while also taking care of themselves.

  • CHARACTERS:

    SADIE GREY: Female, 23 | Any race or ethnicity

    Sadie is quick-witted, warm, funny, and seemingly confident. She deeply loves August, but underneath her humor is a persistent fear of losing him. As the play progresses, that fear causes her to question his words and actions until her attempts to protect herself begin to damage the relationship she is trying to preserve.

    AUGUST BENNETT: Male, 25 | Any race or ethnicity

    August is kind, patient, affectionate, and deeply in love with Sadie. He wants to be someone she can depend on, but as her fears increasingly affect their relationship, he begins to experience confusion, hurt, and emotional exhaustion.

    VOICE: Any gender | Any age

    The Voice represents Sadie's internal thoughts and self-sabotage. Only Sadie can hear the Voice, although the audience can hear and see them.

    STAGE DIRECTION READER: Any gender | Any age

    The Staged Direction Reader delivers the play’s stage directions, scene transitions, and other non-spoken action to the audience. The reader should maintain a clear, neutral presence, allowing the words to support the actors and atmosphere without drawing focus away from the story.

     

  • CHARACTER ACTION DISCLOSURE: 

    This staged reading contains romantic, emotionally intense, and mental-health-related material such as,

    • Sadie and August are a romantic couple.
    • The script includes affectionate physical contact such as holding hands, leaning against one another, and playful interaction.
    • Kissing (Forehead and/Cheek)
    • Physical contact during the staged reading will be limited and clearly communicated/choreographed in advance.

    **Sensitive Themes such as, 

    • Fear of abandonment
    • Anxiety and insecurity
    • Self-sabotaging thought patterns
    • Emotional distress
    • Mental-health-related themes
    • Relationship conflict
    • Reassurance-seeking
    • Crying
    • Guilt and feelings of being difficult
    • Emotional exhaustion
    • Separation

    **The play does not identify a specific diagnosis for Sadie. The intention is to explore her internal experience and its effect on her relationship rather than present a specific mental-health disorder as a definitive explanation for her behavior.

  • Please select the roles you're interested in being considered for.*

  • Rehearsal Conflicts

    We anticipate that the workshop and rehearsal period for this show will be Monday-Friday nights, from 6:30 PM-10:00 PM. Additionally, there will be a Saturday rehearsal from 10:00 AM-4:00 PM. Although those cast may not be called to every rehearsal, you are expected to be available. Because of this, it is suggested to avoid scheduling any night-time classes that will regularly conflict with these rehearsal dates.
  • Please check each rehearsal date the you DO have a conflict with. Then, in the field below, elaborate on the nature of each conflict, with date and time indicated.*

  • Presentation Conflicts

    Due to the wider needs of the entire production team it becomes important that all members of the company are available for all of the tech and presentations of a production. It is very rare conflicts will be accepted during this period (tech and performances). Below are all of the dates and times for technical rehearsals and presentations. If you have any known unresolvable conflicts please list them below, they will be reviewed during the casting period. Do note that these conflicts may affect your ability to be cast in the production. Reminder that this project conflicts with TARTUFFE.
  • Please check each tech and performance date the you DO have a conflict with. Then, in the field below, elaborate on the nature of each conflict, with date and time indicated.*
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  • Should you be cast in the production, the conflicts you have listed above will be the only ones accepted, all other rehearsals you are expected to be available for if called and you are healthy and able to be present. This includes any night classes that may have been required for you to complete your coursework. It is expected that you would work with your professor ahead of time to work around tech and performances. If you have further questions regarding this, please email DFPAProduction@LUC.edu in advance of auditions.
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