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Audition Information
"Measure STILL for Measure"

This website is designed to make this audition process as transparent as possible.

All updates will be posted here, so please check back for the most current information.


If you have any additional questions (after reading through the 411 below), please email me directly 

With Gratitude Always,



All updates will be posted here. The newest information will be listed at the top. We will also date and time any new details so that you know you have the most current information.​​​​​​


  • August 4th: 1:40pm

    • Understudy Casting: We are currently recasting the understudy for the roles of J. TODD and GRIFFIN (one actor covers both roles)

  • Please see UNDERSTUDY INFO below.  

  • Dropbox link with video audition material:

  • We would rather you hold text and stick to script than be off book and improv (especially since the playwright will be viewing these auditions..)

  • FAQ:

    • PLEASE BE CHECKING YOUR SPAM FOLDERS FOR EMAILS. Unfortunately, not everyone has been getting our emails, so check spam and then add us to your contact list. If you have an aol, Hotmail or yahoo email address, more than likely, our emails will end up in your spam so please check there. Thank you!​​​​​​​​​​​



Please visit Boston Court's website for their Land Acknowledgement and Anti-Racist Ethos


  • We will be adhering to all current Health and Safety and AEA requirements. 


First Rehearsal: 7/25  Tech Begins: 8/22-8/27   Immersive explorations with audience: 7/29-9/6 (Mondays off) Previews: 9/7-9/15   Opening: 9/16  Closing: 10/15 (possible extension thru 11/5)


  • AEA Los Angeles 99-seat Theatre Agreement. Actors are paid $18.00 per hour.

    • ​There is no minimum on the 99-seat contract. It is $18/hour based on actual call.

  • There is no pension and health under this agreement. 36 hours of rehearsal maximum / one,  and occasionally two days off per week



  • Rehearsal Schedule: TBD but generally weeknights and weekend days, some days possible depending on actor availability. 36 hours rehearsal weekly maximum/one, and occasionally two days off per week.

  • Performance Schedule: Generally, a four show week, some combination of Thursday through Saturday evenings, Sunday matinees, Monday evenings. Occasional Saturday matinee and five-show weeks are also possible.


Please audition ONLY if these dates and terms are agreeable to you.

Please clear any/all conflicts with Flores Casting prior to your audition

Thank you!



Rehearsals began on 7/26

Start possibly on Tuesday, 8/8, but definitely attend rehearsal on 8/17
Attend the final table read (~3 hours) 
Attend the designer dress (~3 hours) 
Attend 4 of the 7 previews (3-4 hours each, depending on final length of show) 
We anticipate at least 2 understudy rehearsals, 5 hours each, after opening 
Watch one show per week once the show opens to stay familiar with it (3-4 hours each time, depending on final length of show) 
Be on call to fill in for sick or otherwise absent cast members. You do not need to be at the theatre. 


The understudies will be paid for all hours worked at a rate of $18.00. With the hours outlined above, we anticipate minimum compensation for each understudy of around $1000, possibly more depending on how many understudy rehearsals are held and when/if you go on.



  • A gentle reminder that it is preferred that video auditions should be submitted via Eco Cast, but if this is not possible, then you may submit directly ( via Youtube, Vimeo or Dropbox. We will not view auditions submitted with direct downloads or google links, etc. 

  • If you are emailing your video audition, please include the role you're auditioning for in the subject line of the email and in the body of the email



  • Please clear ANY AND ALL conflicts with Julia Flores BEFORE you audition

  • Please bring a stapled copy of your Headshot and Resume

  • Please bring a copy of your Actor Contact Sheet 

  • Please bring audition material for the role(s) you have been asked to read and any others you are interested in


    • After 2+ years of being mostly on camera, many actors have let their stage muscles slacken a bit. I'm talking about the size of your voice (both volume and placement) and the size of your bodies. Take up space. Use your full instrument. 


CALLBACK AUDITIONS: April 20th and 21st

LOCATIONBoston Court Theatre (70 North Mentor in Pasadena. Parking lot is behind the theatre. Please use the the main entrance on Mentor and make yourself comfortable in the lobby)

Who Will Be There: Jessica Kubzansky (Artistic Director.Director) and  Julia Flores (Casting Director). Will Block (Reader/Casting Assistant) 

NOTE: Casting for J. TODD and GRIFFIN UNDERSTUDY ONLY. Thank you!


Boston Court’s first-ever immersive play, utilizing the entire building, will take you on a journey behind the curtain to experience the layered and intimate complexities of creating theatre. In this play-within-a-play, a renowned director rehearses a spectacular new production of Shakespeare’s Measure for Measure, “the original #metoo story.”  But backstage, there’s an even bigger drama playing out as the power dynamics of the play and the rehearsal blow up in the course of the night.


The Actor Playing Lucio (BIPOC Male, 30s to 40s). The actor, like the character he’s playing, can be snarky, witty, often the life of the party or the rehearsal room, happy to go where angels fear to tread. Solid Shakespearean actor.



The Actor Playing Claudio (BIPOC Male, 25-32). Young, brash, passionate, THRILLED to be cast in this prestigious production. A really good Shakespearean actor eager to be educated and inspired by the more experienced company, occasionally saying very awkward things because he’s still learning rehearsal etiquette.


The Actor Playing Duke Vincentio; also the play’s Director (White Male, 40s-50s). Wonderful, charismatic Shakespearean actor, also a terrific director. Smart, inspiring, compassionate, deeply passionate, loves actors. Old-school touchy-feely, and occasionally demonstrates for actors when he’s not getting what he needs. A master manipulator (in the best way possible): able to inspire great performances and artistry. What he himself feels may be hidden even to him.



The Actor Playing Isabella (BIPOC Female, 20-32). Passionate, charismatic, with hints of vulnerability, a really wonderful Shakespearean actor. Playing Isabella has been a bucket list item all her life. Outwardly she is feisty, intellectual, and not afraid to argue for things she believes in. Also guarded and tends to keep her own counsel. A young woman coming into her own, but secretly still unsure about her own abilities, and her outer calm belies her inner turmoil and insecurity. Occasionally we glimpse her vulnerability, but life has made it hard to trust people.



The Actor Playing Angelo (White Male, 40s). Brilliant Shakespearean actor, also very hard on himself, sensitive, has played Hamlet, so somewhat of a tortured artist. 


The Actor Playing Escalus/Provost (Any Ethnicity, Female, late 40s to 60). A strong, smart woman, grounded, has been plausibly cast in formerly male roles, so capable of playing the gravitas and empathy of the Provost and Escalus. A woman who has been around many blocks in the course of her career and is happy to be in an excellent production (roles for older women ever diminishing as they are).  Solid Shakespearean actor.



The Actor Playing Marianna (Any ethnicity, Female, 20-32). “The newbie” thrilled to be stepping into this production, smart, curious, eager to be a team player, overjoyed to be covering Isabella and working with Bruce. A bright spirit. Solid Shakespearean actor.



The Assistant Director (BIPOC Female, 25-32). Really smart young woman on the cusp of being a great director, insightful, passionate, diplomatic (and also of course secretly insecure about her own directing skills), not afraid to have her own opinions and stand up to power, while still wrestling with secret imposter syndrome that she’s still a little kid trying to sit at the grown-ups’ table.



The Stage Manager (Any ethnicity, Female, 40-50s). Like all the best stage managers, she’s a fulcrum of calm in a storm, anticipates what is next, knows how to read a room and keep all participants good-humored. She has a wry, dry wit, and manages to get people to do all the things she needs them to do. She is loyal to people she loves.

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