Have a play, idea, or movement piece your itching to try out? 


Attention Cooperative Performance Artist Members! 

We are now accepting proposals for our 2018-2019 season. If you are interested in submitting, please contact Eric Scherrer at escherrer@cooperformke.com to receive preliminary information about the pitch process and expectations, along with an example presentation.

Drink, be merry, and listen to some creative ideas! Only members are allowed to pitch a project for the season but anyone can participate! After pitch presentations, members and non-members are allowed to vote for their favorite projects with tokens. Members receive 5 voting tokens and Non-Members receive 2. The five projects with the most tokens at the end of the night move on to the Board of Directors for consideration and final selection for the upcoming season!

Deadline for submissions is January 7, 2018. 

Thank you for your continued support and can’t wait to what innovative ideas are in store!
Sunday, January 28th

Riverwest Public House
815 E Locust St, Milwaukee, WI

  • In order to submit a project for our 2018-2019 season, you must be a member of Cooperative Performance.
  • Any member submitting a pitch must be present at the 2018 Pitch Event.
  • Not a member yet? You may submit a proposal to be considered if you pay membership dues by the time of the pitch event!
Please contact Eric Scherrer at escherrer@cooperformke.com to submit proposals and have any questions answered.

The Milwaukee Generals are almost upon us, so I thought now would be a good time to revisit some thoughts on auditioning.  Here are my thoughts from a couple of years ago.  I’ve done a bit of judicial editing, but my thoughts on this process haven’t changed that much.  Hope it helps.




Having attended the Milwaukee Generals for over a decade now, I’ve come across all sorts of things that auditionees do which sabotage the work at hand.  I’m continually amazed by some of these gaffs, but to be fair, how could they know?  I understand just how hard and awful the process of auditioning is having been an actor for the last 35 years.  To that end I’ve decided to share some of the dos and don’ts of auditioning.  I throw in the caveat that these are strictly from my own viewpoint and that while they deal with auditioning in general, they are specific to the peculiarities of myself and the Milwaukee Generals.


I’m dividing this “tutorial” into three parts: the Introduction, the Headshot and Resume, and the Audition.


The Introduction 


If you have the chance (and that’s a big if) take a peek at the room you are going to walk into ahead of time.  Auditioning is an intimidating thing and walking into a room blind is hateful.  Find out where the auditors are going to be sitting and figure out where you are going to sit or stand.  Find out if there is a chair available and what kind it is.  Nothing worse than preparing a piece that requires you to spin a chair around and sit on it backwards only to find out that the chair has arms.  For those of you new to the Milwaukee Generals, you are walking into a room to face a group of auditors in a horseshoe configuration. 


If you walk into the room and you find that there are auditors behind you, you’ve come in too far.  Back up so that we can see your face.


Take your time introducing yourself and your pieces.  Know that we are furiously passing your headshots around as quickly as we can, flipping them over, and pouring over your resume and then trying to catch what pieces you are going to do and, in many cases, trying to jot that info down.  We see a lot of auditions during the course of the day, and it’s extremely difficult to keep them straight.  Give us a chance to remember you.  I’ll never fault an auditionee for taking his or her time introducing their pieces.  When in doubt, wait until the majority of us have finished and are looking back up at you before you begin your first piece.


Don’t undress in the room.  This is a rather new phenomenon that has started happening lately.  When you walk into the room, be prepared to go.  I don’t want to see you come in, and then slowly take off a coat, scarf, shirt or any other item of clothing as you are introducing yourself.  That’s weird and distracting.  Leave that stuff outside.


This is for both your intro and exit; don’t apologize for your audition.  Look, you only get one shot at this, so no matter how poorly you’ve prepared or think you’ve done during the audition, do it boldly and with a smile on your face.  I can’t tell you how many people come into the room with the body language of, “Uh, hi.  I don’t really know why I’m here and I’m sorry to waste your time.”  Conversely, I’ve seen a lot of people who have finished a perfectly fine audition and then ruin it by sheepishly excusing themselves on the way out.  Don’t do it!  It sucks all of the energy out of your audition.


Generally speaking, goofy introductions and/or exits will fall flat and have a good chance of being irritating.  I know it’s a defensive thing, but just don’t do it.  Come in, smile and introduce yourself.  When you are finished, say thank you.  Resist the urge to ask us if we have any questions or if there’s anything else we’d like to see.  Trust me; if we have those questions we won’t let you leave the room until we know the answers.


Give us the info we need.  It has become fashionable of late to name the play your audition is from, but not the part; or worse yet, not tell us anything at all.  This seems particularly true of Shakespeare.  Don’t make it a guessing game.  Conversely, don’t give us too much information.  In most cases I don’t need to know the author and I certainly don’t need to be told that Hamlet was written by Shakespeare.  And occasionally an auditionee will give us a summary of the piece they are about to give.  Nope, don’t do it.


While we are on the subject of introducing your pieces, proceed to do your pieces in the order in which they were introduced.  Different auditors are there for different reasons.  Shakespeare companies have less interest in your modern/comic piece and are waiting for the Macbeth you are going to do.  If you say you are going to do your classical piece second, do so.  They may use that brief period of time while you are performing your first piece to scan your resume and see what other classical pieces you have done and where.


Oftentimes the audition goes wrong during the intro.  I spend a whole day with my students having them do nothing but walking into a room and introducing themselves.  This is surprisingly difficult, and few people spend any time on that part of their audition.  Auditionees actually stumble over their names, forget what pieces they are doing, mispronounce the playwright’s name (which is just one more reason that info is unnecessary), mumble their info in such a way that we can’t understand it or turn their back and drag a chair across the room while making their intro.  Enter the room.  If you are going to use a chair make a decision; either get the chair, pick it up and set it where you want and then introduce yourself, or introduce yourself and then get set.  Trust me; we will welcome the extra time to look at your resume.


Unless we stand up and stick our hands out, no need to come over and shake our hands.  As I’ve stated, we’re going to a whole lot of people over the course of this very long day.  There are also upwards of twenty people in that room and you won’t want to shake all of our hands.


The Headshot and Resume 


Look like your headshot.  It’s bothersome when you don’t.  You’re a little heavier than you’d like to be?  So what.  Maybe we’re looking for just that heavy person.  It’s going to be very difficult to remember you later if you don’t look like your headshot.


Staple or glue your resume to your headshot.  I can’t tell you how irritating it is to get a loose resume.  Or worse yet, one in which the resume is paper-clipped to the headshot, actually covering the headshot.  It does nothing but make you look unprofessional and your audition might fail right there before you even get in the room.  And take the time to trim it to fit.  I file these away and those odd sized ones just might not make it into my filing cabinet.


While we’re on the subject of attaching your resume, don’t attach anything else.  I’m really happy you’re currently employed with your one-man show, but I don’t want a flyer or postcard attached advertising said show.


Leave whitespace on your resume.  We’re doing everything we can to remember the interesting things about you in case we should want to cast you.  If you jamb-pack your resume from margin to margin we have no room for such notes.  It also makes them hard to read and smacks of desperation.  “Look how much I’ve done!”  We don’t need to know everything you’ve done and if you have stuff on there from twenty years ago you might think about some judicial editing.


Use a decent sized font.  We’re at this all day and my eyes get tired.  If you give me an 8 point font I’ll want to throw your resume in the discard pile then and there.  Also, weird or funny fonts are irritating.  It just adds an extra hurdle where I don’t need one.  And if you use comic sans I will throw your resume away.


There is a somewhat uniform way of setting up your resume.  Feel free to diverge, but just know that doing so will increase the likelihood that I won’t be able to find the info I’m looking for.  At the top should be your name and under that your vitals.  Height, weight, eye color, hair color, telephone and email address.  If you are a singer you may want to put your vocal range.  Do not give us your address.  In this day and age that simply isn’t safe and every now and then you send your resume to an unscrupulous person who turns around and sells your resume to other places.  Don’t include your age or tell us what your age range is.  That’s our job and why would you want to limit yourself that way?  Likewise, don’t include the dates of your productions.


Below your name and vitals should come the body of your resume which is your stage experience.  There are four things I want to know here: the theatre you worked at, the show you performed in, the part you played, and who directed you.  Set them up in neat columns so that I can easily scan through them.  Don’t be afraid to list multiple shows with one theatre, that’s a good thing; that says that you worked at that theatre and they liked you enough to ask you back.  I am very leery of the auditionee that has 30 theatres listed and has only one show at each of them.


Below the stage experience section should be your education and special skills.  Still in high school?  It’s okay, we won’t hold it against you, so don’t be ashamed of it.  Tell us where you went to school and who some of your teachers were, but leave your GPA off.  Those names may open up a conversation.  I’m not really interested if you took a weekend class here or there.  Special skills should be special.  I don’t know how special having a driver’s license is.  Fire eating is more impressive (although at this last audition every other person had that listed) and I certainly want to know if you can speak a foreign language fluently.  I assume a good actor can learn dialects, so for me I don’t really care.

You may have a lot of film and/or TV credits; you may have a lot of directing credits.  I don’t care.  I’m here to audition stage actors.  In this day and age you should be able to have several different resumes at your disposal.  If you are coming to the Milwaukee Generals, cater your resume to your clients, which are almost exclusively theatres.


Have enough resumes.  We don’t like sharing.


Don’t lie on your resume.  You will be busted and then you’ve lost all credibility.  If you took a weekend class don’t make it sound like you received a degree.  If you took a beginning improv class don’t say you are part of the troupe.  If you were Gregory in Romeo and Juliet once upon a time, don’t claim that you are a trained fighter.  You’re not.  We know, we always know.


The Audition 


So now we come to the heart of the matter.  First know that within the first ten or fifteen seconds we know if we like you or not.  Sometimes we’ve already made up our minds during the intro.  That’s just the way it goes.  Knowing that, limit the length of your pieces.  They really should be no longer than a minute a piece.  I spent one whole afternoon timing auditions.  I would look down at my watch when I started to lose interest and it was always between 55 and 65 seconds.  Even if you’re great, going beyond that is too much.  In the past, many people were going over three minutes and that was just for one of their pieces.  Leave us wanting more.


In picking your pieces be very selective.  If you choose something offensive it is likely to offend and turn off at least a few people in the room.  Have a really good reason for picking such a piece. Of course if you are still looking for a piece right now you are probably in trouble.


Don’t do stand up.  I’ve never seen it work and theatre is not stand up.  I’ve also never seen a piece that an actor has written for themselves work.


Contrast your pieces.  That doesn’t mean that one has to be modern comic and the other classical dramatic.  You can contrast two modern funny pieces and I will be quite delighted.  But standing during one and sitting during the other is not contrast.  Show us two different sides of yourself and hopefully those two pieces are different than your introduction.  Remember that your intro is a chance to show us a different side of yourself that will be contrasted by your two pieces.  Prove that you can act.


Don’t do serial killer monologues.  They are overdone and not usually all that interesting.


Don’t find a monologue in a monologue book.  They generally aren’t very good and they are overused.  Nothing like seeing the same bad monologue four times in the same day.  Read plays, lots of them, and find something that speaks to you.


People bend over backwards trying to find the obscure Shakespeare piece that no one has ever seen.  In doing so they generally go to some of Shakespeare’s lesser known plays.  You know why they are lesser known?  Because they’re not as good.  You know what I’ve never seen?  Someone audition with “To be or not to be.”


Don’t wear anything that is more disturbing or more interesting than you are.  I’ll spend the whole audition wondering, “Why did he wear that?” instead of watching your audition.  Look nice, but make sure you are comfortable and can move around.  And men, unless you live in a suit and tie 24/7 and look great in it, don’t wear a suit and tie.  It always comes off as amateurish.


Your pieces should actually be scenes in which you are engaged in some kind of action as opposed to telling us a funny story.  I want to see your struggle, not your charming me with a funny anecdote.


Feel free to use me as your point of focus.  I will always sit in one of the corner seats for just that reason.  But know that not everyone is okay with that.  However, if you stand two feet in front of me and confront me, you’re going to lose me.  I’ll still stare straight at you and be the best auditor I can be, but I’m no longer really watching you.  I’m beginning to wonder if you’re crazy enough to jump the table, and others in the room are wondering the same thing.


After you are done with a piece do not say scene.  Worse yet, do not wave your hand in front of your face and say scene.


Do make your transitions clear and clean.  Do something, usually a physical move, to let us know one piece has ended and the next has begun.  Of course, if they are highly contrastable pieces, that shouldn’t be a problem.


If you have an emotional piece and are able to go to that place, good for you.  If you end that piece and take a long time coming out of it and composing yourself, showing us just how hard that it was to deliver that piece, I will no longer love you.


If you get off to a bad start, ask if you can start over.  We will always say yes.


No props.  We’ll see the letter in your hand if you are invested in your scene.  And never, ever, ever…NEVER! bring a gun into the room.  Especially not one loaded with a half-charge blank which you then hold to your head and pull the trigger.  Sigh.  It now needs to be said.


And that’s my spiel.  I’m sure other things will come to mind and I’ll update this from time to time.  I also welcome observations from other auditors whether they agree with me or not.  Know that during the course of my stumbling career, I have made many of these mistakes myself, and it was only because some kind person took me in hand that I got past some of them.  I’m still an awful auditioner.


Be bold and good luck.




P.S. The people in the room really want you to be good.  We’ve got a lot on our collective minds during the course of that very long day.  Please don’t read anything into our dour faces.  And know that if you come in with a bright smile and a chipper attitude we will immediately light up and take notice.

written by Shirley Lauro​
directed by Abigail Stein

Amid the anti-war protests of the 1960s were 15,000 women who felt it was their patriotic duty and honor to aid soldiers fighting overseas in Vietnam. This play follows six women on a tumultuous journey – as they enthusiastically enlist in the military, through the horrors they faced in the war zone, and the reintegration back into American culture.

Performances will be from April 20 – 29, 2018.

The rehearsal schedule will vary, beginning late February through the run of the show. It may include weekends, based on cast availability.

MARTHA (22-42) – Strong, self-composed, aura of self-discipline, military bearing. American, almost pioneer in feeling

MARY JO (17-37) – Outgoing, bubbly personality. Texas accent. Sexy; a funny comedienne quality, but sad inside. Must be skillful guitarist and singer.
SISSY (20-40) – Sweet, feminine, outgoing. Sense of fun. Also sense of harmony and warmth to personality.
WHITNEY (21 – 41) – Withdrawn, contained. Very aristocratic in bearing and quality. A Vassar graduate.
LEEANN (20 – 40) – Asian or Amerasian. Strong, tough, determine in nature. An urban, hip quality to her personality.
STEELE (35 – 55) – African-American. Extremely strong, military bearing. Very intelligent, outgoing, great sense of humor. A pragmatist. Southern.
AMERICAN MEN (18 – 60) – Very American looking. Versatile actor for a variety of roles.

*Please note that the six women are seen over a twenty year period, from the 1960s to the present. The actors portraying these roles will also play a variety of other parts throughout the piece from military personnel to friends, relatives, and acquaintances. One male actor plays all male roles. Veterans are strongly encouraged to audition.

-While a headshot and resume is not required, it is strongly recommended.
-Please bring a monologue to present. If not, one will be provided for you. In addition, prepare to share a personal story about a time you’ve felt scared. You may also be asked to do a cold reading from the script.
-There will be a short movement portion to the audition, please wear comfortable clothes and be prepared to move.
-If you are auditioning for the role of Mary Jo, bring a guitar and American Folk song to present during our audition.

To book a slot, use the link below:

Stage Management Internship Expectations

The Brothers Size

Description 2018


Estimated Hours

(span of day averaged)

Prep Week January 23-29 15-30 (negotiable)
Rehearsal Jan. 30-Feb. 16 44 hours/week
Tech February 17-22 60 hours
Performance Feb. 23-Mar. 18 28 hours/week




  • Attend all rehearsals as arranged and all performances as required by MCT’s Production Manager.
  • Work one-on-one with the Stage Manager (AEA) to facilitate rehearsals.
  • Resetting the rehearsal hall, assisting with scene shifts, preparing run sheets and being on book during the rehearsal period.
  • Coordinate with the Stage Manager, Deck Chief and Wardrobe Mistress to finalize run sheets and setup the backstage and greenroom areas in the theatre during Tech Week.
  • Be in attendance for every performance to run the show on deck with the Deck Chief.
  • Assist the Deck Chief and Stage Manager in minimal strike duties immediately following the final performance.



  • This position is paid a fee of $100 per week OR class credit can be arranged.
  • Participants gain experience working within the structure of an Equity SPT production, working with and observing an Equity Stage Manager.
  • Participants can collect EMC points towards Equity membership.
  • Participants gain contacts with professional actors, directors and designers in the local theatre community and beyond.



To apply, please send a cover letter and resume to Brandy Kline, Production Manager brandy@milwaukeechambertheatre.com or call 414-617-2500 for more details.


The Bunny Gumbo Theatre Company in association with The Waukesha Civic Theatre is looking for young performers to participate in Combat Boot Camp: an evening of short plays written, directed and acted within 48 hours.  The time commitment is Friday, January 5 from 5-10 pm, and Saturday, January 6 from 10 am until 9:30 pm.  Performers must not have graduated high school as of yet and must be at least 13 years old.  There is no cost to take part in this program.  There are only a few slots left so act soon.  Sorry, but the writing and directing slots have already been filled.

Contact James Fletcher at bunnygumbo@wi.rr.com

ACACIA THEATRE COMPANY will be holding auditions for its March production of The Hiding Place adapted by Bradley Winkler on Saturday, January 6 (10-2). Cast: 5 Women and 5 Men (ages 18-75) of any race or ethnicity. Director: Therese Goode. Readings will be from the script. Auditions will be held by appointment only at Church in the City, 2658 N. Hackett Ave. Performances (March 16-25) are at Concordia University. To make an appointment, contact the office at (414) 744-5995 or office@acaciatheatre.com.

Additional info:
Director: Therese Goode
Scripts are available through the Acacia office (phone number and email above).
Callbacks will be Monday, January 8 (6:30-9) (If unable to attend, please still come to initial audition)
Please arrive 10 minutes early in order to fill out necessary forms. If you cancel at the last
moment, please leave a message at 744-5995. Messages will be checked.
Rehearsals and auditions are at Church in the City. For directions to Church in the City, go to: http://www.citcweb.org/service-information/

Corrie Ten Boom
Betsie Ten Boom (Corrie’s sister)
Casper Ten Boom (Corrie’s father)
An ensemble with the ability to take on multi-characters. See script for details.

About the Play
Adapted from the book by John and Elizabeth Sherrill. In wartime Holland, the ten Boom family take part in the anti-Nazi resistance by quietly sheltering Jewish refugees in their small house – until their “hiding place” is discovered. This play is the remarkable true story of Corrie and Betsie ten Boom and their courage, endurance and hope in the face of injustice.

Artist tickets are available for all remaining shows of ‘Twas The Month Before Christmas, including tonight’s 7:30 performance.  Come on out and get some Christmas cheer!

For more information, click here: ‘Twas the Month Before Christmas

Come see these three Wise Guys in Doug Jarecki’s delightful Christmas play.

“Twas the Night Before Christmas runs December 15th through the 23rd at Next Act.  More info can be found here: http://nextact.org/rental-events/month-before-christmas/

Oh, and Sara’s in it too.

And remember, $10 artist tickets are available for all shows.

Directed by James Fletcher

Featuring John Cramer, Lindsey Gagliano, Doug Jarecki, Mithch Weindorf and Sara Zientek

We’ve put the whole gang back together again for this fabulous show.  Two weeks only, December 15 through December 23.  Get on it, tickets are selling fast.

‘Twas the Month Before Christmas by Doug Jarecki

Directed by James Fletcher

with John Cramer, Lindsey Gagliano, Doug Jarecki, Mitch Weindorf and Sara Zientek

For more info and ticket reservations: http://nextact.org/rental-events/month-before-christmas/


Auditions for Bard and Bourbon’s Henry V (drunk!) will be held at The Underground Collaborative (161 W Wisconsin Ave, in the Grand Avenue Mall under the TJ Maxx) on Monday, December 4th.


SIGN UP at http://www.signupgenius.com/go/30e0b44aaa829a3f58-henry

Or through http://www.BardAndBourbon.com


Please prepare a Shakespeare monologue and, if you like, a joke you really enjoy telling. If you don’t have a monologue, one will be provided for you. If you don’t have a joke, make something up about the French.


CALLBACKS will be held December 11th, the Monday following the 4th. Let us know if you can’t make it to auditions on the 4th and we may be able to reserve a time for you on the 11th.


REHEARSALS take place week day and Saturday evenings, starting January 3rd. More details about the schedule will become available once actors submit availability.



Preview Feb 7

Shows Feb 8 – 10,

Feb 12 PWYC

Shows Feb 15-17

Shows will take place in the Underground Collaborative.


All are encouraged to audition – seasoned actors, new to the stage, Shakespeare dorks and newbies. Sober roles available