Coming to Oberlin in the Fall of 2026, The Making of Mr. Lincoln is a brand new play written by Wesley Brubaker and produced by the Oberlin Student Theater Organization (OSTA). Based on a true story.
Set during the events of the 1964 New York World's Fair, The Making of Mr. Lincoln follows a group of engineers, colloquially known as "imagineers," working at The Walt Disney Company to construct the first ever audio-animatronic replica of a human being.
Auditions: August 29th from 1:00pm-4:00pm and August 30th from 6:00pm-9:00pm in Warner Studio 4.
Callbacks: September 2nd from 4:30pm-9:00pm in Warner Studio 4.
Rehearsals: September 6th-November 12th.
Performances: November 13th-15th.
Please prepare two contrasting monologues, collectively totaling approximately three minutes in length. Alternative to one or both monologues, you may use a monologue from the show.
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Additionally, please fill out the audition form and sign up for a time slot. Time slots are every 7 mins. Plan on arriving 5 mins ahead of your slot.
Additionally, please consider auditioning for OMTA's production of Little Shop of Horrors, directed by Robin Oliveira!
Auditions: August 28th-29th in Warner Studio 3.
Callbacks: August 30th and September 1st in Warner Studio 3.
Performances: November 20th-22nd.
Marc Davis: Known as Walt's "Renaissance Man," Marc Davis was a brilliant engineer who pioneered the Lincoln animatronic. A people pleaser who's confidence in Walt's decision making deteriorates over the course of the show. The heart of the play.
Roger Broggie: Walt's first imagineer, Roger Broggie was a diligent worker who aided in constructing the Lincoln animatronic. Determined to a fault. Among the first to raise flags concerning Walt's endeavors, fearing what future consequences may unfold.
Walt Disney: President of The Walt Disney Company. He ordered the creation of Mr. Lincoln for the 1964 New York World's Fair. A monolith of American Industry, he sought to alter his legacy in the final years of his life, dissatisfied with the "Uncle Walt" persona that he had built. Friendly one second, furious the next, he is on a pendulum of emotions.
James Algar: Writer and producer for Great Moments with Mr. Lincoln, he organized the imagineers and acted as a close companion to Walt. Stern and professional, he was deeply passionate about the company.
Bob Gurr: Another imagineer at The Walt Disney Company, he designed the mechanics for the Lincoln animatronic. Deeply empathetic, but often blunt and prone to argument. Good friends with Harriet Burns.
Jack Gladish: An up and coming imagineer at The Walt Disney Company. Carefree and aloof, but with a desire to prove himself to his peers.
Roy Disney/Robert Moses: Roy Disney was the CEO of The Walt Disney Company. A caring and attentive older brother to Walt who wasn't afraid to push back on his more controversial ideas. Doubles as Robert Moses, the organizer of the 1964 New York World's Fair. A bitter and power hungry man, he sought to achieve his ambitions by any means necessary.
Harriet Burns/Lillian Disney: Harriet Burns was an artist working on many of Disney's pavilions for the fair. With both a strong work ethic and strong moral compass, she found the Lincoln project deeply discomforting, but contributed to its creation nonetheless. Good friends with Bob Gurr. Doubles as Lillian Disney, Walt's wife. Despite Walt's flaws, she loved him, and stood up to those who would attack him or his ideas.
Mr. Lincoln/Royal Dano: Mr. Lincoln was an audio-animatronic figure created for the 1964 New York World's Fair. A human playing a robot playing a human. Doubles as Royal Dano, the actor who voiced the animatronic.
Wathel Rogers/Announcer: A grumpy, straight talking imagineer riddled with back pain as a result of his work providing the motion capture for Lincoln. Doubles as the announcer for the 1964 New York World's Fair. Low time commitment role. May also be cast as a swing, more information about swings below.
Actors of all identities are encouraged to audition for all roles. Pronouns listed in character descriptions do not indicate what gender identities will be considered for casting.
We are open to considering actors who are participating in other theater productions at Oberlin during Fall Semester. However, please note the level of responsibility that will be asked of you across both productions, and ensure that you have proper time available to accommodate both rehearsal schedules.
We are also looking to cast swings in this production. Each swing would cover multiple roles in the show and provide runcrew support during performances. You would be welcome, but not required, to come to blocking rehearsals for the roles you are covering, and will have biweekly plug-in rehearsals. Recordings will be made available to swings so you can familiarize yourselves with the blocking. Memorization not required.
Director & Playwright: Wesley Brubaker (wbrubake@oberlin.edu)
Stage Manager: Lucy Zener (lzener@oberlin.edu)
Lighting Designer: Leor Nelson-Chaver (lnelsonc@oberlin.edu)
Sound Designer: Noah Spector (nspector@oberlin.edu)
Set Designer: Owen Shirrell (oshirrel@oberlin.edu)
Costume Designer: Rain Branstetter (dbranste@oberlin.edu)
Props Designers: North/Linnea Paul (lpaul@oberlin.edu) and Audrey O'Donnell (aodonnel@oberlin.edu)
Fight Choreographer: Gabriel Semrau (gsemrau@oberlin.edu)
Dramaturg: Jacob Fife (jfife@oberlin.edu)
Assistant Director
Assistant Stage Manager
Assistant Lighting Designer
Assistant Sound Designer
Assistant Costume Designer
Please reach out to wbrubake@oberlin.edu and lzener@oberlin.edu if interested.