Book by Allan Knee, Music by Jason Howland, Lyrics by Mindi Dickstein.
Based on the novel by Louisa May Alcott.
Direction by Ann M. Shanahan. Choreography by Kristin Roling.
Music Direction by Adam Shelton
Rehearsals begin: Monday, September 22, 2025
Performances: November 13-23, 2025
Mitchell Theatre
Auditions are open to all students, regardless of major, as well as staff, faculty, and members of UW-Madison communities.
Generals: Friday, September 5th, from 5-10pm, Saturday, September 6th, from 11am-2pm in Vilas 1090.
Please sign up for a time via this link: https://www.signupgenius.com/go/70A0D49AAA822AAF49-57960495-little
Callbacks: Sunday, September 7th, from 11am-6pm in Vilas 1090, 1132, and 1153.
Actors are encouraged to read the script prior to auditions. A content advisory notice is below. Perusal copies of the script are available in the Department of Theatre and Drama Main Office, 6173 Vilas, 821 University Ave, during regular hours 8 am-5 pm Monday to Friday. A digital copy of the script can be found at this link.
For Generals:
Acting
Please prepare a 1-2 minute monologue, comedic or dramatic
For new students who do not have audition material prepared, please come and audition anyway! We will have cold readings available to audition.
Singing
Please prepare and perform 32 bars / 1 minute of a song in the style of Little Women by Jason Howland.
If possible, we suggest you listen to Little Women when considering shows with similar styles. Some potential options are: Great Gatsby, Anastasia, Amélie, Jane Eyre, Grey Gardens, Scarlet Pimpernel, Man of No Importance, etc. Additional song options are listed at the bottom of this posting. Feel free to utilize songs from these options or use them as a jumping off point for a song that shows off your skill.
Please have your cut(s) clearly marked, 3 hole-punched in a 3-ring binder for the accompanist. Make sure all staves of music are present on the page. You may be asked to sing part of your cut again at the request of the production team. Please feel free to let us know if you have any questions. If this is an access issue, please contact Jahana Azodi jazodi@wisc.edu.
If you are interested in auditioning but do not have something prepared, please come and audition anyway! We can test your range, hear you sing “Happy Birthday / This land is your land / Amazing Grace” and assess if a callback is needed.
For Callbacks:
Actors called back will receive and email in advance with details.
Louisa May Alcott’s beloved tale of the March sisters is given fresh life in a powerful and heartfelt musical. The aspiring writer Jo takes advice to write about her own life, and weaves together stories of her growing up with her mother and sisters. Set during the American Civil War, Jo, Meg, Amy, and Beth March navigate creativity, poverty, jealousy, love and loss; strengthening their family bond with laughter, tears, and soaring spirit.
Content advisory: This production contains themes of grief, terminal illness, and the loss of a sibling. It includes emotionally intense scenes related to death and familial conflict. Suitable for most audiences, but some material may be emotionally challenging for young children.
Rehearsals for University Theatre will take place Monday-Friday 6-10 pm with 1-2 TBD Saturdays.
Student actors cast in this production must register for 1-3 credits of THEATRE 360.
Roles may be cast by actors who identify as any gender, race, ethnicity, ability, or nationality unless indicated below.
The specifics below are from the characters in the original novel but may be cast with actors who identify differently than those people in the novel. The production team is flexible with considerations regarding vocal range and accessibility for characters.
Actors will be given an opportunity to fill in opt in, preferences and questions on the audition form. If you have questions about this please don’t hesitate to reach out to Ann Shanahan at amshanahan@wisc.edu at any time.
Jo March
The passionate, determined, and fiercely independent second eldest March sister. She dreams of becoming a famous writer and rebels against the societal expectations placed on women. She struggles with change and loss but ultimately discovers her own path. She’s brave, loving, and a whirlwind of determination.
Vocal Range: E3 – A5; Vocal Type: Mezzo-Soprano / High Belt
Age: Late teens to early-20s
Meg March
The eldest March sister who is responsible, kind, and maternal. She dreams of a simple life filled with love and family, and while she occasionally longs for the finer things, she stays grounded in her values.
Vocal Range: A#3 – Gb5; Vocal Type: Soprano / Mezzo
Age: Early 20s
Beth March
The third March sister. She is shy, gentle, and musically gifted. She is the moral compass of the family and deeply cherished by her sisters. She is selfless and serene, often retreating into her piano playing. Her illness and death are central emotional events in the musical, affecting everyone, especially Jo.
Vocal Range: A3 – G5; Vocal Type: Soprano
Age: Late teens
Amy March
The youngest March sister. She is ambitious, artistic, and sometimes vain, but also deeply sensitive and sincere. She matures significantly throughout the show—from a slightly spoiled child to a poised young woman.
Vocal Range: -1 – Gb5, Vocal Type: Mezzo Soprano
Age: Young teen to late teens/early 20s
Marmee March
The strong and loving matriarch of the March family. She is wise, nurturing, and emotionally resilient. She serves as a moral guide and rock of stability for her daughters, often sacrificing for their happiness.
Vocal Range: Eb3 – Eb5; Vocal Type: Mezzo-Soprano
Age: 40s
Theodore (Laurie) Laurence (also known as Teddy)
The charming and spirited boy next door. He forms a close bond with the March sisters, especially Jo. He’s playful, emotional, and musically inclined, with a deep desire for connection and belonging. He undergoes emotional growth as he learns to navigate unrequited love and self-worth.
Vocal Range: Bb2 – Bb4; Vocal Type: Tenor
Age: Late teens to early 20s
Professor Bhaer
A reserved and intelligent German professor living in New York. He becomes Jo’s mentor and eventual love interest. Though stiff at first, he reveals a passionate and romantic nature. His relationship with Jo is based on mutual respect, intellect, and emotional growth. Speaks with a German accent.
Vocal Range: G2 – F#4; Vocal Type: Baritone
Age: 30s–40s
Aunt March
The March sister’s wealthy, domineering great-aunt. She’s snobbish, proper, and expects her family to uphold her high standards. Despite her strictness, she ultimately wants the best for Jo and the girls. Often provides comic relief through her sharp wit.
Vocal Range: E3 – F5; Vocal Type: Soprano/Mezzo
Age: 60s+
Mr. Laurence
Laurie’s grandfather, a stern and dignified man who is softened by his bond with Beth. He reveals a deep capacity for kindness and sentimentality beneath his gruff exterior.
Vocal Range: C3 – E4
Age: 60s+
John Brooke
Laurie’s tutor and Meg’s love interest. He’s earnest, proper, and quietly romantic. He represents the responsible, loyal kind of love. Though not as flashy as Laurie or Bhaer, he’s dependable and sincere.
Vocal Range: C#3 – F#4
Age: Early 20s
Characters from Jo’s operatic story
*May be double cast with characters above as designated or from the Ensemble
Clarissa
The fictional heroine in Jo’s melodramatic tales. She is the damsel caught in a story of revenge, betrayal, and escape. She’s theatrical, noble, and melodramatic. [May be double cast with actor playing Meg.]
Vocal Range: Soprano
Age: Early 20s
Rodrigo
Jo’s fictional hero—bold, swashbuckling, and exaggerated. He represents the kind of action and flair Jo craves in life and literature. [May be double cast with actor playing Laurie.]
Vocal Range: Tenor/Baritone
Age: 20s-30
Mrs. Kirk
The no-nonsense Irish landlady at Jo and Professor Bhaer’s boarding house in New York. She’s comic, direct, and full of energy. Speaks with an Irish accent.
Age: 50s-60s
Braxton Prendergast
A fictional villain or love interest in Jo’s melodramatic writing. Over-the-top and theatrical. [May be double cast with actor playing John Brooke.]
Vocal Range: Tenor/Baritone
Age: 20s-30s
Troll
A villainous character in Jo’s fantasy tales—represents the danger or conflict in her writing. Physical and comic role. [May be double cast with actor playing Amy.]
Age: 60s-70s
Rodrigo II, Knight, Hags, Trolls, Monks
These characters appear in Jo’s fantasy stories, adding a whimsical and theatrical layer to her imagination.
Little Women casts an ensemble of 6-8 people who may be cast in the roles above and as:
Ballroom dancers
Iceskaters
Beachgoers
Chorus of Trolls, Monks, Hags
Additional ensemble
Understudies/Swings
This production will also cast 2-4 understudies. These may be cast as additional opportunities or as swings from the Ensemble.
Understudies learn designated roles and attend specified rehearsals. Expectations will be clearly laid out in the syllabus in advance.
*Understudying is an invaluable educational and training opportunity, which the industry has relied on increasingly since the COVID-19 pandemic. Please reach out to the director or any member of the performance faculty, Director of Theatre Production or Artistic Director if you have any questions.
The following are moments of staged intimacy required of the production.
MEG and MR. BROOKE kiss, Scene 6 pg 60
LAURIE kisses JO, pg. 64
JO kisses AUNT MARCH on the cheek, pg. 107
BHAER and JO kiss 3 times, pgs 113-114
The March Family also have moments of embracing and contact with one another throughout the show in a familial nature.
A Note on Staged Intimacy: All staged intimate contact will be led in rehearsals by a consultant trained in staging intimacy. All instances of staged intimacy for the characters required of the script are noted with the character description below. Other instances of scripted intimacy (such as kisses to the hand, embraces) are optional and based on actors’ consent, with the intimacy director, director, or in partnership with both, in line with UT guidelines. If actors have questions, they will be given an option to indicate this on the audition form.
The following are moments of staged violence required of the production.
JO and LAURIE box. JO punches LAURIE and chops his back. pg. 36
Sword fight between CLARISSA and BRAXTON, pg. 76
A Note on Staged Violence: All staged contact will be led in rehearsals by a consultant trained in staging violence. All instances of staged violence for the characters required of the script are noted below. If actors prefer not to be considered for characters because of required staged violence or have questions they will be given an option to indicate this on the audition form.
***There will be no staged intimacy or violence of any kind in auditions or callbacks***
A Note on Ensemble Movement/Choreography: All movement will be led in rehearsals by a faculty artist and/or consultant trained in ensemble practices and/or movement. All movement exercises and choreography will be adapted to the abilities and experience level of members of the ensemble. No experience is necessary, although an interest and investment in collaborative, devised movement and dancing is desired!
A Note on Dialects/Voice: All dialect work will be led in rehearsals by a consultant trained in stage dialects.
Important Note on COVID-19: Please note that with safety considerations related to COVID-19, staging, including movement, intimacy and violence may be curtailed, abstracted, or cut. The University Theatre adheres to all University policies on COVID-19 concerning events and classes UW COVID information https://www.uhs.wisc.edu/covid/. As such, UT highly recommends practices that align with the current CDC guidelines https://www.cdc.gov/covid/prevention/index.html.
Outside Song Suggestions: (Soprano and Mezzo/Soprano)
“Gimme Gimme” – Thoroughly Modern Millie
“Watch What Happens” – Newsies
“Vanilla Ice Cream” – She Loves Me
“Love, Look Away” – Flower Drum Song
“Somebody, Somewhere” – The Most Happy Fella
“In My Own Little Corner” – Cinderella
“The Girl I Mean to Be” – The Secret Garden
“Far From the Home I Love” – Fiddler on the Roof
“Pulled” – The Addams Family
“I Know It’s Today” (Young Fiona) – Shrek
“Much More” – The Fantasticks
“Mean” – Mean Girls
“When You’re Good to Mama” – Chicago
“Class” – Chicago (duet)
“Everything Changes” – Waitress
“Children Will Listen” – Into the Woods
“I Know Where I’ve Been” – Hairspray
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Outside Song Suggestions (Tenor and Baritone)
“Her Voice” – The Little Mermaid
“Giants in the Sky” – Into the Woods
“Corner of the Sky” – Pippin
“If I Can’t Love Her” – Beauty and the Beast
“You Should Be Loved” – Side Show
“I Chose Right” – Baby
“Mean” – Mean Girls
“When You’re Good to Mama” – Chicago
“Class” – Chicago (duet)
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Do you have questions?? Please don’t hesitate to reach out to Aly Amidei at aramidei@wisc.edu or Jahana Azodi at jadzodi@wisc.edu
Audition Announcement
cullud wattah
By Erika Dickerson-Despenza
Directed by ILesa Duncan
Rehearsals begin: Tuesday, January 20, 2026
Performances: February 26-March 8, 2026
Mitchell Theatre
GENERAL INFORMATION:
Auditions are open to all students, regardless of major, as well as staff, faculty, and members of UW-Madison communities.
Generals: Friday, September 12th 2-5 pm, Saturday, September 13th 10-11 am in Vilas 1090.
Please sign up for a time via this link:
https://www.signupgenius.com/go/70A0D49AAA822AAF49-58045288-cullud#/
Callbacks*: Saturday, September 13th, 12-3 pm Vilas 1090.
*Callbacks 12-1 pm held for Dance Nation company
AUDITION REQUIREMENTS:
Actors are encouraged to read the script prior to auditions. A content advisory notice is below. Perusal copies of the script are available in the Department of Theatre and Drama Main Office, 6173 Vilas, 821 University Ave, during regular hours 8 am-5 pm Monday to Friday. For a digital copy, go to this link https://drive.google.com/file/d/1is0mgr6KUEStcIs7LagoOBm8n0XGZ1LT/view?usp=drive_link&elqTrackId=BAE13F025861C5556A9EDB70C900D86A&elqTrack=true .
For Generals:
1-2 minutes, contemporary monologue, or personal story. Alternatively, auditionees can use one of the provided monologues here:
https://drive.google.com/drive/folders/1yWGFHonycXydxA0M5A_qMGal-bdRHcn6?usp=sharing
For Callbacks:
Actors called back will receive an email in advance with details. Sides will be provided.
THE PLAY:
It is 2016 and it has been 936 days and counting since Flint, Michigan, has had clean water. Third-generation General Motors employee Marion finds herself on the cusp of a promotion until her sister begins participating in protests accusing the company of poisoning the water. Forced to confront their past and weigh their limited options for the future, the family finds their tight-knit unit threatened by more than just the toxicity of the water. Written by UW-Madison and First Wave alumna Erika Dickerson-Despenza, this powerful play deconstructs the linear passage of time to ponder the choices we make for the sake of our survival.
Content advisory: This production includes mature language, and distressing topics including abortion, miscarriage, illness, and racism.
PRODUCTION INFORMATION:
Rehearsals for University Theatre will take place January 20-February 25, 2026, Monday-Friday 6-10 pm with 1-2 TBD Saturdays based on company availability.
Student actors cast in this production must register for 1-3 credits of THEATRE 360 in the Spring term.
ROLES OPEN FOR AUDITIONS:
Roles may be cast by actors who identify as any gender, age, race, ethnicity, ability, or nationality unless indicated below. The directing team is committed to primarily casting from UW-Madison’s student population and therefore seeks actors with flexibility who can play younger or older aged characters.
*/** All instances of staged intimacy and staged violence for the characters required of the script are noted below.
PLUM – 9. physically frail, arithmetically sharp African American girl. curious, intuitive & wise.
MARION – 34. a robust cinnamon-colored African American woman, worn from care-taking. she is responsible, pragmatic & status quo. a third-generation engine assembly line worker at general motors. A widow. plum & reesee’s mama.
REESEE – 17. a queer, brass African American young woman devotee of yemoja. deeply curious about the spiritual nature of healing. A dancer & aspiring doula.
BIG MA – 60s. slight build with an elegant presence. a stern but deeply loving African American woman. the widowed matriarch of the cooper family – but only in title. a mississippi migrant with the south in her mouth; she often talks in pictures. rooted in a Blk southern baptist aesthetic that she finds herself queering.
AINEE – 37. a 34 weeks pregnant African American woman the color of pulled taffy. addiction survivor. frank, humorous & slick-mouthed; a straight shooter. fiercely maternal. the family historian & rebel interested in building political power. marion’s older sister.
A Note on Staged Intimacy: All staged intimate contact will be led in rehearsals by a consultant trained in staging intimacy. All instances of staged intimacy for the characters required of the script are noted with the character description below. Other instances of scripted intimacy (such as kisses to the hand, embraces) are optional and based on actors’ consent, with the intimacy director, director, or in partnership with both, in line with UT guidelines. If actors have questions, they will be given an option to indicate this on the audition form.
Intimacy moments:
Page 52-54 – Marion stands in her bathroom wearing only her panties and bra. She examines her body and kneads the rashes adjacent to her navel and on her inner thighs. She rubs ointment over the rashes. She puts on a pair of nylons. She covers herself with a towel. Ainee tugs Marion’s towel, It falls to the floor. Marion tries to cover the rashes with her bare hands. Marion picks up the towel and wraps it around herself, holds it in place.
Page 106 – Plum sits close to Ainee. Ainee carefully sits Plum in her lap.
A Note on Staged Violence: All staged contact will be led in rehearsals by a consultant trained in staging violence. All instances of staged violence for the characters required of the script are noted below. If actors prefer not to be considered for characters because of required staged violence or have questions they will be given an option to indicate this on the audition form.
Physical/Violence moments:
Page 9 – Big Ma jabs Reese with her cane.
Page 11 – Big Ma whacks Ainee with her cane.
Page 31 – Big Ma jabs Ainee with her cane.
Page 37 – Reesee’s Yoruba dance w/ machete
Page 39 – Reesee swings the machete above her head, almost nicks Ainee in the process, she ducks.
Page 40 -Reesee dances again
Page 66 – Big Ma tries to hit Reesee with her cane, but Reese successfully dodges her.
Page 103 – Big Ma pops Reesee on the back on her head.
Page 130 – Big Ma jabs Reesee with her cane.
Pages 131-133 – The tub overflows with contaminated water. Plum is submerged and unconscious. Marion attempts to solitarily lift Plum. Plum rises out of the tub and exits the bathroom. Marion tries to lift the memory of Plum from the tub. She slips and loses her grip. She tries again and again.
***There will be no staged intimacy or violence of any kind in auditions or callbacks***
Heightened Content moments:
Page 13 – Big Ma and Marion discuss abortion.
Page 26 – Ainee references past miscarriages.
Page 53-55 – Ainee runs to the toilet, her panties slide to her ankles below her dress and she plops down on the toilet seat. Ainee wipes herself, pulls her panties up.
Page 89 – Ainee’s water breaks
Pages 91-98 – Intermission – Ainee in a bloody hospital gown redacts the class action lawsuit text, including a description of her stillbirth.
Page 101 – Blood runs between Reesee’s thighs. She finds a pad or tampon, reaches for a pair of panties and changes. Removes remaining blood with baby wipes. Cleans soiled panties.
Page 103 – Big Ma discusses the love of but constraint exploring a lesbian relationship with her best friend..
Page 108 – Ainee is lactating though her shirt.
Page 116 – Ainee lactating through her robe.
A Note on Ensemble Movement/Choreography: All movement will be led in rehearsals by a faculty artist and/or consultant trained in ensemble practices and/or movement. All movement exercises and choreography will be adapted to the abilities and experience level of members of the ensemble. No experience is necessary.
A Note on Mental Health Resources: A mental health advisor from University Health Services will be assigned to all University Theatre shows as a resource for questions and concerns.
Important Note on COVID-19: Please note that with safety considerations related to COVID-19, staging, including movement, intimacy and violence may be curtailed, abstracted, or cut. The University Theatre adheres to all University policies on COVID-19 concerning events and classes UW COVID information https://www.uhs.wisc.edu/covid/. As such, UT highly recommends practices that align with the current CDC guidelines https://www.cdc.gov/covid/prevention/index.html.
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Do you have questions?? Please don’t hesitate to reach out to Artistic Director Aly Amidei at aramidei@wisc.edu or Director of Theatre Production Jahana Azodi at jadzodi@wisc.edu
Do you have questions? Please don’t hesitate to reach out to Aly Amidei at aramidei@wisc.edu or Jahana Azodi at jadzodi@wisc.edu