AUDITIONS

Chino Community Theatre will be holding auditions for our annual “Theatre on the Edge” Festival (formerly “3 on the Edge”) that will consist of the two following plays, performed in repertory (May 15-31, 2026):

(1) DEAD MAN’S CELL PHONE by Sarah Ruhl, Directed by Melissa Bossard

Performances: May 15, 23, 29 @ 7:30 pm; May 16, 24, 30 @ 2:30 pm

(2) POTUS: Or, Behind Every Great Dumbass are Seven Women Trying to Keep Him Alive by Selina Fillinger, Directed by Paige Polcene

Performances: May 16, 22, 30 @ 7:30 pm; May 17, 23, 31 @ 2:30 pm

TWO CHANCES TO AUDITION:

SUNDAY, MARCH 22 @ 7 PM or MONDAY, MARCH 23 @ 7 PM

Both shows will audition at the same time, so you may audition for both if desired. Auditions will consist of cold readings from the scripts. If you have show-specific questions not answered here, please reach out to the individual directors. There is no pay, but each actor receives two comp tickets for their own show, and free admission to the other.

DEAD MAN’S CELL PHONE Character Breakdown:

While at a café, a man dies. But his cell phone will not stop ringing. The woman at the next table, Jean, picks up the cell phone and ends up stuck in the middle of all his troubles, meeting his widow Hermia, his mother Mrs. Gottlieb, and his mistress. In the course of meeting all these people, she ends up falling in love with the dead man’s brother, Dwight. The dead man himself, Gordon Gottlieb, eventually tells his last moments himself.

Mostly Female Cast, Includes Adult, Mature Adult, Elderly, Young Adult Characters:

Jean: A woman

Gordon: A dead man

Mrs. Gottlieb: Gordon’s mother

Hermia: Gordon’s widow

Dwight: Gordon’s brother

The other woman: Also plays the stranger. Has an accent.

Open casting - age of supporting roles will be based on casting age of Gordon. No limits for auditions. Please come out and read!

Questions? Email Melissa: singysing@yahoo.com

POTUS Character Breakdown:

One of the most talked about comedies in recent years, Selina Fillinger’s POTUS is a riotous modern-day farce that explores the chaotic world of the White House through the eyes of seven women who work tirelessly to keep the President out of trouble amid a PR disaster. These flawed and fascinating females must risk careers, families, and sanity to manage the situation and keep the President from further embarrassment. POTUS offers a hilarious yet insightful look at women behind the scenes in the political arena. It doesn’t matter if you are a Democrat, Republican, Independent or couldn’t care less about politics – this is MUST SEE theater at its boldest, and the kind of show you’ll be laughing about for days after!

Characters (in order of their emotional proximity to POTUS - closest to furthest):

Harriet (40s to 70s): Chief of staff. Brilliant, always moving, likes to think she doesn’t need anyone. She hopes to be president someday.

Jean (30s to 50s): Press Secretary. Wants to trust people but past relationships have made that difficult. Always thinking about the optics. Onstage kiss.

Stephanie (30s to 70s): Secretary to the president. Though she is very intelligent, she has no confidence in herself. She’s working on it. Strips down to undies on stage, high for a good portion of the play, speaks Arabic fluently…even while high.

Dusty (20s-40s): POTUS’ girlfriend. Smarter than she lets on. Always up for a good time.

Bernadette (White, 30s-60s): Sister of POTUS. Recently pardoned. Also always up for a good time. Onstage kiss…two of them.

Chris (Black, 20s-40s): Reporter. Mom to twin infants and older child. Doing it all and aiming for a Pulitzer. On stage kiss. Stage fight while using a breast pump.

Margaret (Black, 40s-60s): POTUS’ wife. Sick and tired of trying to be all things to all people. She’s ready to kick some ass.

Notes on casting from the author:

American power structures are rooted in, and shaped by, white supremacy. Racism permeates our institutions, compounding gender and class inequity everywhere, but especially in electoral politics. This play is a critique of complicity in white patriarchy; thus, the following requirements speak to those dynamic and must be followed. International productions should analyze and reflect in their casting a similar understanding of marginalized communities’ struggle for voice within their governing bodies

In America: Bernadette is white. Margaret is Black. Chris is Black. Jean, Harriet, Dusty, and Stephanie can be played by actors of any ethnicity; but be aware that lines and relationships will land differently depending on the racial breakdown of the cast. Some of the insults will be more cringe, some less, depending on the privilege each character possesses. These are interesting dynamics to explore, but they should be interrogated consciously, with care for each community.

At least three of the characters must be women of color. Actors can be cis, or trans. Age is flexible, Beauty is subjective. So long as they’re fast, fierce, and fucking hilarious.

Notes from Paige:

I strongly encourage you to read the play before auditions. It is fast paced and full of risqué, colorful, and explicit language. We will be playing it as written.

I’m looking for a diverse, smart, quick ensemble. Ages listed are approximate. We will be following the author’s requirements for the racial make-up of the cast.

Questions? Email Paige: ppolcene@yahoo.com