Entity Theatre Workshops in 2017!

Announcement: Casting Workshops for Stage Kiss.

The Winter 2017 Production - Stage Kiss by Sarah Ruhl, directed by Sophia Gonzalez and Em Filer!
If you would like to be part of the production, either on or off stage, please read through the casting call below.

The casting will be broken up into a few different parts. The first part will involve some acting games and warm ups to get comfortable, the second a few improvisational games to see how everyone works in a group and thinks on their toes, and lastly some reading from the script and a tiny bit of singing.

Because this play relies so heavily on the chemistry of the two main actors, we’d like to host a mini-callback to do some readings with potential He/She pairs. If we are considering you for one of those two roles, we will ask you to return for the final audition slot. If you cannot make the callbacks it doesn’t mean that you can’t be cast as one of the two, but we recommend attending if you can.

Wednesday July 19th from 19:15-22:00
Saturday July 22nd from 12:15-15:15
Saturday July 22nd from 15:30-18:00

WHERE - Tanz Studio Rebecca – Studio Rot, Anglerstrasse 6  (entrance on the left, downstairs – nearest SBahn/UBahn Heimeranplatz)
If you are interested in attending either of the general casting workshops, sign up by mailing the directors

PLAY SYNOPSIS - When two actors with a history are thrown together as romantic leads in a forgotten 1930s melodrama, they quickly lose touch with reality as the story onstage follows them offstage. As the two are put through the rehearsal paces by the director, issues of their own failed relationship bubble up. She’s now married to a sensible wealthy husband and the mother of a teenage girl. He is dating Laurie, an irritatingly nice schoolteacher. Yet their attraction to each other remains strong. Or maybe it’s just their character’s attraction that’s drawing them together. Is it life imitating art or art imitating life? And which is better in the end, real or fake love? Overall, it is a story about what happens when lovers share a stage kiss—or when actors share a real one.

SHE- A woman in her forties. Plays the role of Ada Wilcox in the 1930s melodrama The Last Kiss. She is a surprisingly good actress with a self-deprecating air and an awkward manner. Must sing (though not necessarily well).
HE- A man in his forties. Plays the role of Johnny Lowell in the 1930s melodrama The Last Kiss. He has an air of self-importance and is somewhat cruel (which he uses to hide his true romantic nature). Must sing (though not necessarily well).
ADRIAN SCHWALBACH- A director who doesn’t really know what he’s doing. He tries his best to seem confident but only ends up looking unsure.
KEVIN- the reader, also plays the understudy and the doctor and the butler. Kevin is an actor who, due to his ambiguous relationship with the director, ends up filling in wherever he is needed. He’s generally a mild-mannered man but the character is flexible and could be played many ways.
THE HUSBAND- A man in his forties. He’s a proper working man; serious, grown up, and practical. Must sing (though not necessarily well).
THE MAID/ANGELA- An actress in her early twenties who can believably play a teenager—plays the maid in Act 1 and Angela in Act 2. The maid is an inconspicuous character moving in the background of the melodrama whereas Angela, She’s teenage daughter, is an obnoxious caricature of a teenager.  
MILLICENT/LAURIE- in her late twenties or early thirties, plays Millicent in Act 1 and Laurie in Act 2. Millicent is cultured and snobbish, and Laurie (He’s girlfriend) is a teacher with a big heart and strong beliefs. Must sing (though not necessarily well).
STAGE MANAGER- A non-speaking role with many opportunities for physical comedy. The stage manager is the director’s assistant and the one who ultimately does most of the work for the production.
STAGE CREW (3-4)- A chorus (not originally in the script) of tech crew members. They will move set pieces and props, help the actors change costumes on stage, call out various tech changes, generally function to make the entire production seem like a dress rehearsal.
PIANIST- A non-speaking pianist who would be playing light instrumental music for the 3 songs in the play. One of the songs is a well-known musical number whereas the others are invented so some musical improvisation ability would be ideal. For this role, you will not be required to attend all of the early rehearsals, but you will need to attend more rehearsals as show dates approach (we'll work with you on a detailed plan for this).

If you’re interested please contact stagekiss_chiefs@entitytheatre.com directly to set up a separate audition date. 


  • This show is all about kissing on stage. This makes for a very funny and also poignant piece. However, this means that all of the actors (with the exception of Angela and non-speaking roles) MUST be comfortable kissing on stage and, in the case of He and She, kissing A LOT. Please take this into account when auditioning.
  • This show has 3 songs in it. While it’s not essential for actors to sing very well, it is important that the actors playing He, She, Husband, and Laurie feel comfortable singing on stage.


  • Rehearsals will be on Thursdays from 19-22 and Sundays 14-18 at Eine Welt Haus, starting September 3rd
  • Tech and dress rehearsal will be in GOROD on:
    • November 16th from 19-22
    • November 18th from 16-22
    • November 19th from 16-22
    • November 21st from 17-22
  • Performances will be November 23rd-26th and November 30th through December 2nd (evening performances – 7 in total).

Sign up by mailing to the directors at stagekiss_chiefs@entitytheatre.com.

The directors' comment on the play...
Stage Kiss is written by Sarah Ruhl, who is one Samuel French's premiere playwrights. We also (humbly) feel that she is one of the best modern playwrights still producing work. Not only does this play deal with Big Ideas (What is real in theater and what isn't? What does True Love really mean? What's more important - passion or commitment?), but it's also hysterically funny. The play within the play is a 1930s train wreck of a melodrama and most of the people involved in the production are mediocre - the director is indecisive and avoids conflict at all costs, the male understudy plays almost every role, and every other female character is named Millicent. There's also a second play within the play about a prostitute and a gangster in 1970s New York, and it is equally horrendous. Sarah Ruhl masterfully blends the riotous comedy with emotional honesty, so much so that you don't even see it coming. We absolutely love this play, and we think you will too.

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