Theatre Cedar Rapids is excited to announce auditions for our upcoming production of Glengarry Glen Ross. All performance opportunities are volunteer roles.

This page contains everything you'll need to register, prepare for auditions, and understand the casting process. Whether you've performed at TCR many times or are considering auditioning for the first time, we hope you'll join us!

Table of Contents

Production Information
Key Audition Dates
Rehearsal & Performance Commitment
Registration & Audition Options
Our Commitment to Inclusive Casting
What to Prepare
What to Expect at Auditions
Callbacks & Casting
Content & Participation Information
Casting Breakdown
Accessibility & Questions

Production Information

Glengarry Glen Ross

by David Mamet

Director: Ron Clark

Rehearsals Begin: January 25, 2027
Tech Rehearsals: February 27–28, 2027
Dress Rehearsals: March 1–4, 2027
Performances: March 5–28, 2027

All roles are volunteer and unpaid.

Our Approach to Glengarry Glen Ross

Our aim is to create a production the captures the no-hold-barred wildness that David Mamet instilled in his Pulitzer Prize-winning script. The play is set in the early 1980s and examines the "greed is good" mentality of that time.

Director Ron Clark is "actor-focused" in his work and welcomes a highly collaborative approach to this project. The rehearsal process will be designed to stretch performers, encouraged them to break down old habits, to work outside their comfort zones, and to explore Mamet's rhythmic dialogue structure. Actors are encouraged to make bold choices that make the characters memorable and believable and that enhance the outrageous action of the story.

Key Audition Dates

Registration & Video Submissions

• Registration opens: Monday, November 2, 2026. The link to register will appear on this page.
• Registration submission deadline (for in-person and video auditions): Friday, November 13, 2026 at 7 PM
• Video audition submission deadline: Friday, November 13, 2026 at 7 PM

All performers must register and (if applicable) submit their materials by the deadlines posted above.

In-Person Acting Auditions

• Sunday, November 15, 2026 (evening) – By appointment
• Monday, November 16, 2026 (evening) – By appointment

In-person auditions are scheduled in individual 10-minute appointments. Available appointment times will be shown during registration.

Callbacks

• Tuesday, November 17, 2026 (evening) – By invitation

Rehearsal & Performance Commitment

TCR builds its rehearsal schedule around the availability and conflicts disclosed by the cast at the time of auditions. Not every performer will be called to every rehearsal. Rehearsals will typically be held five days per week, scheduled on weeknights and potentially one weekend day, to be determined based on cast availability and conflicts. Actors should expect to be called at least 3–4 times per week for 3–3.5 hours per rehearsal.

We know our volunteer performers balance theatre with work, school, family, and other commitments. Please disclose all known rehearsal conflicts when registering for auditions so we can build a schedule that works for the entire company. If an unavoidable rehearsal absence arises, we'll work with performers on an appropriate plan to catch up.

All technical rehearsals (February 27–28), dress rehearsals (March 1–4), and performances are required. Performance conflicts cannot be accommodated. View the performance schedule.

Registration & Audition Options

All performers must complete TCR's online audition registration form.

During registration, you'll provide contact information, disclose known conflicts, and select a video or in-person initial audition method.

In-person audition appointments are limited and available on a first-come basis. We encourage you to register early to secure your preferred time.

Performers choosing the video audition option may register before their recording is complete and return using their registration edit link to add the video before Friday, November 13 at 7 PM.

Performers ages 25+ are invited to audition for all roles.

Our Commitment to Inclusive Casting

New to TCR—or new to theatre altogether? You're welcome here. Previous performance experience is not required unless specifically noted in the casting breakdown.

TCR welcomes performers of all races, ethnicities, gender identities and expressions, body types, abilities, and backgrounds. When a character's identity is essential to the story, TCR and the creative team are committed to casting that role as authentically as possible.

The Character as Written information in the casting breakdown describes the character as presented in the licensed material; it is not intended to limit who may audition. Performers of any gender identity are welcome to audition for roles they feel comfortable portraying, provided the character can be presented as required by the licensed material.

All roles are open and actors of all ethnicities are encouraged to audition.

What to Prepare

In-Person Auditions

Prepare one of the audition sides below or a monologue from a contemporary play (in modern language) that showcases your skill and emotional range. Your monologue should not exceed two (2) minutes. If you present a monologue from another script, you may also be asked to read from of the sides selected by the director.

Video Auditions

Record no more than two (2) minutes of a monologue following the same preparation as an in-person audition. Upload your recording to a video hosting site (YouTube, Vimeo, Google Drive, etc.) and confirm that your sharing settings allow the casting team to view it without requesting additional access.

Submit the link to your video through your audition registration by Friday, November 13 at 7 PM. Video auditions receive the same consideration as in-person auditions.

Audition Sides

Use this perusal copy of the script to prepare your audition monologue.

Side #1: Levene

• Begin: pg. 43 – "Bruce, I don't want to..."
• End: pg. 44 – "... I did it."

Side #2: Roma

• Begin: pg. 28 – "I don't know. For me, I'm saying..."
• End: pg. 29 – "What are you drinking?"

What to Expect at Auditions

The TCR casting team will include Ron Clark (director), Angie Toomsen (TCR Artistic Director), and members of the TCR Production Team.

No intimacy, staged violence, or sensitive physical contact will be required during initial auditions.

Auditions are scheduled in individual 10-minute appointments. When you arrive, a member of the TCR Production Team will check you in and direct you to the waiting area.

The creative team may occasionally offer an adjustment or ask you to try something again. This isn't a judgment on your first attempt; it simply gives us an opportunity to see another choice and how you respond to direction.

Callbacks & Casting

Callbacks will take place Tuesday, November 18, 2026 and are by invitation. Invited performers will receive timing and preparation information via email after the initial auditions conclude.

Not receiving a callback does not necessarily mean you are no longer being considered for the production.

If you are unavailable for callbacks, disclose that conflict during registration. Alternate arrangements may be possible depending on production needs and the availability of the creative team.

Every performer will hear from TCR twice: once to let you know whether you're needed at callbacks, and again after final casting decisions have been made.

If you're offered a role, you'll have an opportunity to review the role and any significant participation information before accepting.

Callback Sides

You are not expected to memorize anything for callbacks; however, in the interest of providing an opportunity to prepare, here are some of the sides we will explore at the callbacks:

Side 1: Williamson / Levene

• Begin: pg. 7 – Williamson: "Shelley, you blew the last..."
• End: pg. 9 – Levene: Yes. (pause) I am. I'm sorry to antagonize you."

Side 2: Moss / Aaronow

• Begin: pg. 20 (top) – Moss: "Of doing the thing..."
• End: pg. 21 (bottom) – Moss: "... I don't know."

Content & Participation Information

This play makes use of very profane, sexist, and occasionally racist language. It reflects a particular time and culture shared by men who are each in their own way desperate to succeed in a cutthroat real estate business. None of the salesmen is a "nice guy" by any contemporary standard of behavior. The play accurately reflects the time and place in which it is set. The script will not be edited to make it more palatable for sensitive audiences or company members.

Honestly (and sadly), Mamet's script still mirrors the perspectives of many people in modern society. The play doesn't include any staged violence, but the language is highly confrontational.

Some roles may involve sensitive material beyond the general production information above. Where applicable, this is noted in the character breakdown so performers can make informed decisions.

Casting Breakdown

Unless otherwise noted, performers who can believably play men in their 30s and older are invited to audition for all roles.

Character Ages: All the characters should appear to be between 30–69 years of age.
Characters as Written: All the characters present as male.

• Shelley Levene: He is nearing the end of his career (must appear to be in his 50s–60s) and he senses that time is catching up with him. He has extraordinary family pressures pushing him to succeed and is desperate to stay in the game. He is waiting impatiently for his luck to change.
• Richard Roma: The top earner who is a master manipulator and views life through a completely transactional lens. He sees women as objects and under no circumstances would you want him to date your sister.
• John Williamson: The office manager, he's a man who must always be in control of every situation. He is not liked by the salesmen and he doesn't care.
• Dave Moss: A very aggressive guy who pushes people out of his way to achieve the results he feels he deserves. He will do anything (legal or illegal) to be top dog.
• George Aaronow: He does not have the same killer instincts as the other men and is easily led by more dominant personalities. He lives with a constant level of anxiety.
• James Lingk: The nicest man in the play. As a potential buyer, he gets pushed around by Roma but fortunately, Lingk has a spouse that sees through the con and he answers to her.
• Baylen: A youngish detective who is not intimidated by the hard-nosed salesmen he has to interrogate after the office is robbed. He too is anxious to rise in the ranks and enjoys intimidating the salesmen.

Ready to Audition?

If Glengarry Glen Ross sounds like a production you'd like to be a part of, we'd love to meet you.

Registration opens Monday, November 2. The link to register will appear on this page. Registration and video submission deadlines are Friday, November 13 at 7 PM.

Accessibility & Questions

TCR wants every performer to have an equitable opportunity to audition. If you need an accessibility accommodation or adjustment to participate in the audition process, please let us know. We're happy to work with you to identify an appropriate accommodation.

Questions about auditions, registration, or accessibility accommodations may be sent to auditions@theatrecr.org.

We look forward to meeting you!