Archives for posts with tag: The Milwaukee Repertory Theatre


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 sat through the Milwaukee Generals for the last several years, 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 over those couple of days 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 white space 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 did, 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 troope.  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.  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 unless you live in a suit and tie 24/7, 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 audience member 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 concentrating on 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 was, 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 auditionee.


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.


The 2019 Non-Equity Milwaukee General Auditions will take place on Monday, January 21st, 2019, from 8:45am to 6:00pm, at Milwaukee Repertory Theater.  This is a locals only audition – only adult-aged, Milwaukee-based, non-union professional actors who do not require assistance with travel and housing should attend.


Due to the continued high demand for these audition slots, we will again implement the lottery system used last year:

  • The lottery will be conducted for this year’s audition and waiting list slots.   There is an in-person component to this process in order to maintain focus on local talent.
  • Actors who auditioned in the 2018 Milwaukee General Auditions will not be allowed to do so in 2019. Actors who auditioned in 2017 are eligible to do so again in 2019.
  • Actors enrolled in college or university and in their final semester of study before graduation at the time of the auditions will be eligible to attend.  All other student actors must wait until they meet this requirement.
  • Actors born after January 21st, 2001 are not eligible to audition.

On Saturday December 15th, 2018, interested actors will be able submit their respective Non-Equity Milwaukee General Auditions Lottery Entry Forms outside of Milwaukee Repertory Theater’s  Stackner Cabaret–Parking/ on the 2nd floor atrium of the Patty & Jay Baker Theater Complex, accessible via elevator or via the escalator near building security.

Lottery forms are available for download here in advance of these auditions so that interested actors may download, print, and complete them in advance of the lottery day.  Paper copies of the form will not be made available on the day of the lottery.  Lottery Entry Forms must be downloaded, printed, and completed in advance.  Interested actors must also present a valid form of photo identification (driver’s license or state-issued identification is recommended) in order to submit their lottery entry.  In addition, please note that an individual is eligible to submit one Lottery Entry only, and only for oneself-entries made for other individuals will not be accepted.




Here are the specifics of the sign-up process that will take place on December 15th, 2018:

  • From 8:30a to 9:30a, Lottery Entry Forms will be validated and accepted.
  • At 9:30a, the Lottery will take place. Participating actors must be present to accept a slot resulting from a Lottery Entry.  If your name is called and you are not present, your entry will be forfeited.
  • As Lottery Entries are drawn, that actor will have the opportunity to sign up for a remaining available Audition or Waiting List slot. Entries will be processed in the order in which they are drawn.

There will be 10 Waiting List slots available.  Sign-up for these slots will occur in the same manner as outlined above once all auditions slot have been filled.  Obtaining a Waiting List slot does not guarantee an audition, but preference for any slots that open (due to cancellation, for example, at a later date) will be given to those actors on the Waiting List. As we have streamlined this process over the last few years, we now recommend any interested actors on the Wait List come to the auditions in the very likely case we are running ahead of schedule and are able to offer a slot in the moment. Please note that this is not a guarantee of being seen.


Audition slots will be 4 minutes long, and will consist of any two of the following:

  • One contemporary monologue
  • One classical monologue (preferably Shakespeare)
  • One musical theater selection – 60 to 90 seconds in duration. An accompanist will be in attendance.

Please note that the actor’s introduction and any time necessary to communicate with the accompanist will count as part of the 4 minutes.  Please prepare and time your selections carefully, as actors who exceed the audition time of 4 minutes will be stopped.

Actors should plan to bring 35 headshots/resumes that must be neatly stapled back to back prior to the audition date. (Please no paperclips or loose paper.) Actors who choose to audition with a musical theater selection and desire accompaniment should come prepared with sheet music arranged in a way that will be easy for our accompanist to read.

All actors must check in 30 minutes prior to their scheduled audition times. This will allow the auditions to move forward with fewer interruptions.

Questions?  Please email Dylan K. Sladky, Artistic Administrator, at  Due to the volume of questions, please allow two business days for a response.

All interested actors should visit this page regularly for information and updates.

2019 Non-Union Milwaukee General Auditions

Lottery Entry Form





Phone number:                                                                                                               

Phone type:                       O Mobile            O Home              O Work                (Check one)

Email Address:                                                                                                                                                                                 

By submitting this lottery form for the 2019 Milwaukee General Auditions, I hereby acknowledge the following:

  • I understand that submission of this form does not guarantee an audition slot or a waiting list slot in the 2019 Milwaukee General Auditions.
  • I was born before January 21st, 2001.
  • I will not be enrolled in college or university as of June 2019.
  • I am a resident of the Greater Milwaukee area.
  • I did not audition in the 2018 Milwaukee General Auditions.
  • I am not a member of Actors’ Equity Association.





The 17th Annual

Milwaukee General Auditions

January 21st, 2019





Position:               Group Sales Coordinator

Department:      Marketing

Reports to:          Director of Sales

Status:                  Full-Time, Annual


Milwaukee Rep is looking for a Group Sales Coordinator to join our expanding Group Sales Department. The Group Sales Coordinator will develop the strategy, execution and attainment of revenue goals. This high-performance sales position is responsible for developing and growing group sales in a fast-paced environment with multiple priorities and deadlines to meet. The Group Sales Coordinator will be responsible for directly managing an individual portfolio of accounts as well as identifying external group sales opportunities and clients.


Essential Duties and Responsibilities: 

  • Research potential partners for cross promotion and ways to connect with relevant communities.
  • Develop specific sales strategies, tactics and sales plans to meet and exceed organization goals for group sales.
  • Identify and develop new customer segments.
  • Increase the level of business from current group patrons.
  • Deliver sales presentations to corporations, associations, community and volunteer organizations as needed.
  • Coordinate closely with Director of Marketing and Director of Sales to take full advantage of sales synergies.
  • Perform other duties, as assigned.




  • Bachelor’s degree or equivalent experience preferred.
  • Minimum two years sales experience required.
  • Must be strategic and goal-oriented.
  • Creative and outgoing sales professional that is comfortable delivering presentations and working with diverse constituencies.
  • Highly motivated self-starter with an interest in the arts.
  • Excellent verbal and written communications skills.
  • Ability to travel regionally for sales calls and presentations.
  • Ability to work some nights and weekends.
  • Expertise in Microsoft Office, especially Word and Excel.
  • Tessitura and/or Adobe Creative Suite experience a plus.




To Apply:

Milwaukee Repertory Theater is interested in receiving applications from a broad spectrum of people, including women and minorities. Interested candidates should send cover letter, resume and references to Director of Sales Jeremy Scott at . The submission deadline is August 8. No phone calls please. Position pay structure is a combination of hourly and commission.


Department:   Development
Supervisor:   Director of Annual Giving
Classification:   Full-Time, Annual, Exempt
Status:   Open

________________________________________________________________________________ Basic Function:

Milwaukee Repertory Theater seeks a highly organized, self-motivated individual who has strong written communication skills and grant writing experience to support the institutional giving and donor relation communication efforts of one of the nation’s most exciting and highly regarded theater companies.


The Associate Director of Annual Giving (ADAG) will work closely with and report to the Director of Annual Giving (DAG) to execute a comprehensive campaign including the individual and institutional campaigns.


Duties and Responsibilities:

  • While maintaining primary responsibility for the institutional portion of the annual campaign, write grant applications to corporate and family foundations, local, regional and national government funding agencies, in support of Rep programming.
  • Maintain Annual Giving tracking reports
  • Research potential prospects amongst Rep patrons to provide broadest solicitation opportunities for annual campaign.
  • Support ongoing donor cultivation/relations and stewardship program.
  • Work with the DoD and DAG to support the annual UPAF Campaign.
  • Provide staff support for annual membership and volunteer efforts of The Friends of The Rep.
  • Manage all philanthropic communication efforts with assistance of Development staff, by utilizing print, electronic, and web-based/social media.
  • Support all other Development activities, events, and programs on an “as needed” basis



The ideal candidate will have:

  • 3-5 years experience in successful development program
  • Excellent written and oral communication skills
  • Strong time management skills and strict adherence to deadlines
  • Strong Volunteer support experience and skills
  • Knowledge of donor database and Moves Management process
  • Ability to analyze and track giving patterns
  • Creative problem solving skills


Professional performing arts experience or knowledge is preferred but not mandatory, and some flexibility in weekly hours is necessary to support periodic evening events. Experience with Tessitura database a plus. Salary competitive and commensurate with fundraising. Start date will be ASAP.


To Apply:

We are interested in receiving applications from a broad spectrum of people. Position is salaried and includes benefits. Send cover letter and resume to Marina S. Krejci, Director of Development at  Applications accepted until Monday, August 15 2016




The Rep Lab is coming and it’s selling out fast.  My play, Give Until It Hurts, is in the line-up as well as Patrick Holland’s, The Cowboy, so Bunny Gumbo is well represented.  Hop to it!


Tickets now on sale!

The Rep’s highly-lauded Intern Ensemble presents its annual short-play festival.
Now in its fifth season, the critically-acclaimed performance includes
everything from comedy to drama to music – and much more!

Tickets available at 414-224-9490 and cost just $15.
The last three years have sold-out, so get your tickets now while you can!

Tickets available at 414-224-9490 and cost just $15.

April 10-13, 2015

Stiemke Studio

Performance times:

Friday, April 10, 8 pm

Saturday, April 11, 4 & 8 pm

Sunday, April 12, 7 pm

Maonday, April 13, 7:30 pm


Every Show You’ve Ever Seen

by Amelia Roper

Directed by Literary Coordinator and 2010-2011 Directing Intern Leda Hoffmann
Commissioned for REMIX 38 (2014) at the Actors Theatre of Louisville, this tribute to the theater features the Acting Intern Ensemble. Calling upon the collective memory of artists and audiences alike, it begs us to consider our experience of theater as something much greater than any single moment.

by Jose Rivera
Directed by 2014-2015 Directing Intern Hannah Greene
Prolific playwright and Academy Award Nominee Jose Rivera (The Motorcycle Diaries, 2004) ponders the consequences of one man’s lifetime of lies.
The Latest News from the Primordial Ooze 
by Rich Orloff
Directed by Literary Coordinator and 2010-2011 Directing Intern Leda Hoffmann
A primordial creature reveals to his girlfriend that his fins are really fingers. What’s worse, he can breathe air! In this punny short originally produced in 2012 by Milwaukee’s Pink Banana Theatre Co., Barry considers taking one small step for an amphibian, and one giant leap for amphibian-kind.

People Are Dancing 
Book and Lyrics by Sarah Hammond, Music by Benny Gammerman
Directed by 2014-2015 Directing Intern Philip Muehe
This 10-minute musical by Sarah Hammond, whose Hum of the Arctic appeared in Rep Lab 2013, showcases two strangers who meet on a plane to Venice, fall in love, and eat gelato three times a day. On their last night together, Jim wants to make a clean break, but Rebecca reminds him that they still have time. They are, after all, in Venice. And in Venice, people are dancing.

Give Until It Hurts 
by James Fletcher (1989-1990 Acting Intern)
Directed by Artistic Associate and 2011-2012 Directing Intern JC Clementz
Local actor and Bunny Gumbo Artistic Director James Fletcher takes non-profit fundraising to the extreme. Two goons hired by National Public Radio bust in on Robert at dinner time and guilt him into giving…at gunpoint.

by Steve Yockey
Directed by 2014-2015 Directing Intern Philip Muehe
From Yockey’s award-winning short-play cycle very still & hard to see, this “play that tastes like black licorice” catches Elizabeth in the throes of a Jaegermeister-fueled breakdown. Repeating a cycle of love, loss, and alcohol abuse, she hallucinates an unusual and somewhat unsympathetic companion.

The Cowboy 
by Patrick Holland (1998-1999 Acting Intern)
Directed by 2014-2015 Directing Intern Hannah Greene
In this thrilling offering, featured in “The Best American Short Plays 2011-2012,” The Cowboy muses on his role in the deaths of three women: Linda, Kim, and Amanda. But are their flirtations with The Cowboy their only connection?

Devised Piece
created by Artistic Intern Ensemble
Directed by 2014-2015 Directing Interns Hannah Greene and Philip Muehe
With a reputation as the highlight of every Rep Lab, this eagerly-anticipated play is a world-premiere created and devised by the Artistic Intern Ensemble.

Rant on.


Tonight I attended the Cooperative Performance Milwaukee’s Season Selection event.  Different from last year, they allowed six members to give a presentation to explain why their work should be produced next season.  Audience members were invited to ask questions after each presentation, but more importantly, they were given two chips with which to cast their vote as to which projects might actually be produced.


Think about that.  A producing group is not only asking for input, they are actually allowing folks to influence their season.  At the end of the night, one of the six suggested productions would be eliminated by a public vote, but perhaps more importantly, the top vote getter would significantly improve its odds of being produced.


I’m going to put this event against some recent history in Milwaukee.  The Milwaukee Generals are only a few weeks in the past.  The sign-up for said auditions caused quite a bit of angst.  Some folks who weren’t able to procure an audition slot were quite upset and quite vocal in the social media world, and criticized the process and essentially bemoaned the fact that they weren’t able to audition, which meant that they had no chance of being included in the Milwaukee theatre scene, whatever that may mean.  Professionalism was called into question.  This is really sad to me.  The Milwaukee Repertory Theatre does this as a service to the other theatre companies in Milwaukee, but more importantly, to the actors in Milwaukee.


Posting all of that on social media is funny in a lot of ways, not least-wise the fact that getting a slot at the Milwaukee Generals guarantees nothing.  I would have to contact all of the theatre companies involved, but I think it’s a fair guess to say that few people get specific jobs from a specific appearance at the Milwaukee Generals.  Some companies already have their seasons cast by then and some companies are looking for really specific types for a really specific character.   Still, it’s a great chance to put yourself out in front of a bunch of theatre companies and remind them that you are still out there and available for work.  And some of those folks will be cast or at least called back for roles.  Some of them.


But those companies aren’t closed for business.  How many of the folks who couldn’t get in to the Generals asked the individual companies if they could come in and audition for them personally?  My understanding is that out of the folks who were most upset and critical of the process via social media, not one of them thought it might be a good idea to schedule a personal audition.  Of course, lambasting a company for their practices publically is probably the death knell for future work with said company, but still.  Scheduling a personal audition with a specific company in which the auditor from that company would be likely to have far more time with said auditioner and be able to give much more useful feedback than the three minutes and no feedback you’ll get at the Milwaukee Generals, is likely to yield better results.


And this brings me back to tonight’s preview of Cooperative Performance Milwaukee’s Season Selection event.  How many of you folks that were up in arms about not getting into the Milwaukee Generals were present?  Here’s a theatre that is actively encouraging new folks to get involved and once again it was poorly attended.  At some point it’s not anyone else’s fault but your own that you’re not being asked to participate in the arts.  Get off your collective asses and ask not what these theatre companies can do for you, but what you can do for them.


Rant off.





The Annual Non-AEA Milwaukee General Auditions

Take note: The audition slots were basically gone by 9:00 last year, so if you’re strolling in the door at that time, you’re likely to be disappointed.  If you want a slot, set that alarm early and get there by 6:oo am.  I know this is not a perfect situation, but Master Kroeker is doing his darndest to give everyone a shot.


The 2014 Non-Union Milwaukee General Auditions will take place on Monday, February 24th, 2014, from 9:30am to 6:30pm, at Milwaukee Repertory Theater.  This is a Locals Only audition – only Non-Union actors that do not require assistance with travel and housing should attend.

We will again implement an in-person sign-up process for this year’s auditions.  On Saturday, January 18, 2014, from 9:00am to 12:00 Noon, interested actors will be able to sign up in person for the 2014 Non-Union Milwaukee General Auditions outside of Milwaukee Rep’s Stackner Cabaret – (Directions)- on the 2nd floor Arboretum of the Patty & Jay Baker Theater Complex, accessible via elevator or via the escalator near building security.  Please note that the doors to the Milwaukee Center are scheduled to be unlocked at 6:00am, and are not under the control of Milwaukee Repertory Theater.  A line formed very early last year, and there is no reason to expect otherwise in 2014.

Slots will be available on a first-come-first-served basis – all slots will very likely be filled well before 12:00 Noon.  This span of time is provided only as an estimate of the time commitment necessary for this sign-up process.  Attendance on January 18 will not guarantee an audition slot.  Interested actors must present a valid form of photo identification (driver’s license or state-issued identification is recommended) in order to obtain a slot.  In addition, please note that an individual is eligible to request one slot only – requests made for other individuals will not be honored.

There will also be 25 Waiting List slots available.  Sign-up for these slots will occur in the same manner as outlined above, once all auditions slot have been filled.  Obtaining a Waiting List slot does not guarantee an audition, but preference for any slots that open at a later date will be given to those actors on the Waiting List.

Should there be audition or waiting lists slots available after this sign-up period, they will be made available via an additional in-person sign-up at The Rep’s administrative offices. Additional details will be announced on this page should any slots remain.

Slots for this Non-Equity day will fill quickly. Please plan accordingly.

PREPARATION Audition slots will be 4 minutes long, and will consist of any two of the following: 1. One contemporary monologue 2. One classical monologue (preferably Shakespeare) 3. One musical theater selection – 60 to 90 seconds in duration.  An accompanist will be in attendance.

Please note that the actor’s introduction and any time necessary to communicate with the accompanist will count as part of the 4 minutes.  Please prepare and time your selections carefully, as actors who exceed the audition time of 4 minutes will be stopped. Actors should plan to bring 25-30 headshots/resumes – please check the website listed below often for updates on the number of producers attending.  This list is subject to change at any time.

Actors who choose to audition with a musical theater selection and desire accompaniment should come prepared with sheet music.

Questions?  Please visit the website below for additional information.  For additional information, please email Michael Kroeker, Artistic Associate, at  Due to the volume of questions, please allow two business days for a response.

All interested actors should visit this page regularly for information and updates.

COMPANIES EXPECTED TO ATTEND IN 2014 (updated 04Dec13) Actor’s Craft The Alchemist Theatre American Players Theater The Bunny Gumbo Theater Company Cooperative Performance Milwaukee Door Shakespeare First Stage Children’s Theatre Forward Theater Company Great River Shakespeare Festival In Tandem Theatre Lori Lins Talent Management Milwaukee Chamber Theatre Milwaukee Repertory Theater Next Act Theatre Optimist Theatre Peninsula Players Pink Banana Theatre Company Renaissance Theaterworks Rhode Center for the Arts Skylight Music Theatre Splinter Group Theater RED UPROOTED Theatre Company Youngblood Theatre Company Zoological Society of Milwaukee/Kohl’s Wild Theater