Welcome to the 2016-2017 Theatre Arts & Dance, Musical Theatre & Opera Season

Continuing students, new students and students from across campus in all fields of study are encouraged to audition, as well as faculty and staff. Auditions are open to the general public and we welcome off-campus actors and community members to audition as well. Our main stage productions provide terrific opportunities to perform and collaborate with others, and to earn course credit.  

Fall 2016 Season

Waiting for the Parade by John Murrell – MAY AUDITIONS
Fall Dance Concert / Student Choreography– AUGUST AUDITIONS
The Bluebird by Maurice Maeterlinck; Adapted by Alison Farina – AUGUST AUDITIONS

Spring 2017 Season

The Magic Flute, music by Wolfgang Amadeus Mozart, libretto by Emanuel Schikaneder– AUGUST AUDITIONS
Spring Dance Concert / Guest & Faculty Choreography– NOVEMBER AUDITIONS
Playwrights Festival (working title) – JANUARY AUDITIONS

Please note: If you are cast in Waiting for the Parade (Fall) or Bluebird (Fall), you will NOT be able to be considered for the cast of Magic Flute (Spring), due to scheduling conflicts.  If you are cast in The Magic Flute (Spring), you will NOT be able to be considered for Playwrights Festival (working title) (Spring), due to scheduling conflicts

Waiting for the Parade
Auditions: M May 9, from 6-9p, Ives 76
Callbacks: T May 10, from 6-9p, Ives 76

Bluebird  & The Magic Flute
Auditions: TH Aug 25 or FRI Aug 26, from 6-10:30p, Person Theatre           
Callbacks: S Aug 27, from 10a-7p, Ives 101, 119 & 80             

Fall Dance Concert
Preliminary Meeting: W Aug 24 at 7p, PE1  (optional)         
Auditions:M Aug 29 at 7p, PE1           

Spring Dance Concert
Auditions: M Nov 7 at 7p, PE1   

Playwrights Festival (working title)
Auditions: F Jan 27, from 6-10p, Ives 119 
Callbacks: S Jan 28, from 10a-4p, Ives 119


  1. Download to desktop here: Audition Questionnaire - SSU CPA
  2. Please complete the text portion of the questionnaire, print 3 copies then attach a printed copy of your head shot to each form and bring to the audition.
  3. Click the Audition Sign-up link for your specific audition and select an available audition time slot.
  4. Review all the information (audition format, rehearsals, performance dates) for each production, to ensure your schedule can accommodate all show commitments.


If you are auditioning for Waiting for the Parade please choose one of the three following monologues to present:

  • Catherine, page 3
  • Eve, page 8, from "Yesterday..." to "...Don't you think so?"
  • Marta, page 10, from "He was never..." to "...We don't know any Nazis!"

If you are not a THAR major/minor or do not have a monologue prepared and memorized, please show up anyway! 
The director will give you a monologue to read.

If you are auditioning for The Bluebird, please prepare and memorize two monologues.  

  1. Dramatic piece
  2. A modern or contemporary humorous piece

If you are not a THAR major/minor or do not have a monologue prepared and memorized, please show up anyway!

The director will give you a monologue to read.


All cast members must register for these courses - you will not be automatically enrolled. 

Cast lists will be sent to the Theatre Arts & Dance office, and a permission number for the correct course (THAR 301, 302, THAR 340, and MUSIC 340) will be provided to all cast members.

All students who are cast in Waiting for the Parade or Bluebird should register for THAR 302 for 3 units in the semester in which the show rehearses and performs.

Dance ensemble members for Fall Dance 2016 concert and The Playwrights Festival (working title) should register for THAR 301 for 3 units in Fall 2016 and Spring 2017, respectively.

Since The Magic Flute rehearses in the fall of 2016 but performs in the spring of 2017, cast members should register for 3 units in both semesters. Students cast in The Magic Flute register for THAR 340 in the fall and spring semester, while Music majors and minors should register for MUSIC 340.

Waiting for the Parade

By John Murrell
Directed by Danielle Cain
October 13-23, 2016
Studio 76 / Ives Hall

In "Waiting for the Parade," women work for the war effort while their men are away. Cast of 5 women In the play five Calgary women respond very differently to civilian life during WWII, providing a portrait of Canadian society in the 40s.
Catherine’s husband is overseas, and she copes by working in a canteen and socializing with another man; Margaret has one son overseas and one who joins the communist party, and she believes that both are lost to her; Janet’s husband avoids active service by working for CBC radio, and she compensates by a display of bullying patriotism and volunteer work.

Eve, a young school teacher, tries to keep her students from enlisting, and despises the militaristic posturing of her much older husband; Marta is a German immigrant, whose father is interned as a spy. The dynamics and tensions between the women were a reflection of the war itself, how the pressure of such extraordinary circumstances reveals character – how some thrive and some recoil, how some find laughter and others only worry. It comes down to getting through, to surviving. As Marta says towards the end of the play, “So that’s how she manages to stay alive. I wonder if it would work for me.”

 "Waiting for the Parade is an honest play that captures precisely the texture of ordinary hopes and despairs…"
--The Guardian

For auditions the actors need to choose one of the three following monologues to present:

  • Catherine, page 3
  • Eve, page 8, from "Yesterday..." to "...Don't you think so?"
  • Marta, page 10, from "He was never..." to "...We don't know any Nazis!"


NOTE:  If you are cast in Waiting for the Parade, you will NOT be considered for the casts of Bluebird or The Magic Flute, due to scheduling conflicts.

Monday, May 9, 6-9p; Ives 76

Tuesday, May 10, 6-9p; Ives 76

Waiting for the Parade

First Rehearsal

Rehearsal Call Times
Sundays 4-7p
Mondays 6-10p
Tuesdays 6-10p
Thursdays 6-10p
Fridays 10a-2p

Technical Rehearsals
F Oct 7 10:30a-10:30p
S Oct 8, 10:30a-10:30p

Dress Rehearsals
M Oct 10, from 6-11p
T Oct 11, from 6-11p
W Oct 12, from 6-11p

Week One: TH Oct 13, 7:30p (OPENING); F Oct 14, 2p; S Oct 15, 7:30p; Su Oct 16, 2p (MATINEE) + Post Show Discussion;
Week Two: TH Oct 20, 7:30p (Fac/Staff night + Pre-show Talk 6:30p); F Oct 21, 7:30p; S Oct 22, 7:30p; Su Oct 23, 2p (MATINEE & CLOSE)

Special Notes
Those who are cast in this production must be available for all rehearsal hours. No night classes. You must be available for all tech rehearsals and performances.

Available Roles
CATHERINE, early 30s, works in a factory, husband serving overseas
JANET, late 30s, volunteers at the local Red Cross, husband not in military
EVE, 20s, teaches at a teacher training school, older husband not in military
MARGARET, 50s, two sons, one in military

MARTA, 30s, runs her father's tailoring shop, of German descent


Fall Dance Concert 2016

Original SSU Student Choreography
Directed by Christine Cali
November 3-6, 2016
Evert B. Person Theatre

Fearless, new and cutting edge, SSU’s talented dance artists perform “Heart” and “Soul,” two explosive shows guaranteed to keep you on the edge of your seat. Full of raw energy, movement and emotion, the Fall Dance Concert includes a broad range of dance genres - including hip-hop, jazz, lyrical, contemporary and ballet pieces.

W Aug 24, 7p, PE1, Preliminary Meeting - for more info (optional)
M Aug 29, 7-10p, PE1, Dance Auditions - OPEN audition for anyone with dance experience

Come in your dance attire and be ready to move
Callbacks - None

Dancers must be available for all rehearsals and performances.

TBA (depending on casting)

F Oct 28, from Noon-9p
S Oct 29, from 10:30a-10:30p

Su Oct 30, from 10:30a-3:30p
T Nov 1, from 6-11p
W Nov 2, from 6-11p

One Week Only:  TH Nov 3, 7:30p (OPENING) (Fac/Staff Night + Post Show Discussion), F Nov 4, 7:30p (Fac/Staff Night. + Post Show Discussion); S Nov 5, 2p (MATINEE) & 6:30p; Su Nov 6, 2p  (MATINEE)  & 6:30p (CLOSE)


The Bluebird

By Maurice Maeterlinck, Adapted by Alison Farina
Directed by Judy Navas
December 1-10, 2016
Evert B. Person Theatre

The Bluebird, a play for children by Maurice Maeterlinck, was published as L’Oiseau bleu in1908. In Alison Farina’s adaptation, The Bluebird is a beautiful and enchanting fairy-tale that tells the story of one child’s Christmas search for The Bluebird of Happiness. Through a journey that spans the Lands of Memory, the Palaces of Night and Luxury, and the Kingdom of the Future, we find excitement, adventure, new friends, old enemies and perhaps the answer to the greatest question of all: what is the secret of true happiness?

In a fairy-tale-like setting, Tyltyl and Mytyl, the son and daughter of a poor woodcutter, are sent out by the Fairy Bérylune to search the world for the Blue Bird of Happiness. After many adventures, they find it in their own backyard.

Please prepare and memorize two monologues.

1.  Dramatic piece
2.  A modern or contemporary humorous piece

NOTE:  If you are cast in Bluebird, you will NOT be able to be considered for the casts of Waiting for the Parade (Fall) or The Magic Flute (Fall), due to scheduling conflicts.  

Thursday, August 25, 6-10:30p, Person Theatre           
Friday, August 26, 6-10:30p, Person Theatre                 
Saturday, August 27, 10a-7p, Ives 101,76 & 80

The Bluebird

First Rehearsal

Rehearsal Call Times
Monday through Thursdays from 7p-10p, and Friday from 3-7p. Weekly schedule will be posted each Saturday for the following week.

Technical Rehearsals
S Nov 19 10:30a-10:30p; M Nov 21, T Nov 22 6p-11p

Dress Rehearsals
M Nov 28, T Nov 29, and W Nov 30, 6-11p

Week One: TH Dec 1, 10a (K-12 MATINEE & OPENING); F Dec 2, 7:30p; Sa Dec 3, 7:30p; Su Dec 4, 2p (MATINEE + Post Show Discussion
Week Two: W Dec 7, 10a (K-12 MATINEE); TH Dec 8, 7:30p (Fac/Staff night +Pre-show talk 6:30p); F Dec 9, 7:30p; Sa Dec 10, 7:30p (CLOSE) 

Note:  Actors of all cultural and ethnic backgrounds are welcome.

Available Roles
TYLTYL, a boy, our hero
BERYLUNE, the fairy princess searching for the Bluebird of Happiness
TYLO, Tyltyl’s faithful dog
FUTURE CHILD (Mytyl, Tyltyl’sister)


The Magic Flute

Music by Wolfgang Amadeus Mozart
Libretto by Emanuel Schikaneder
Direction by Lynne Morrow / Stage Direction Amanda McTigue

Coproduced by the Departments of Music and Theatre Arts & Dance
Feb 23 - Mar 5, 2017
Evert B. Person Theatre

We are welcomed into a world of global storytelling whose characters reflect diverse eras and cultures. A prince, Tamino, is attacked by a giant serpent. Three Devis (goddesses), servants of the Queen of the Night, come to his rescue. He faints. They lust for him, fighting over who might win his heart as they exit.

Meanwhile, Papageno, a lowly bird-catcher, tries to trap songbirds for the Queen in return for some of her figs. He's not very good at it, hampered by the fact that he can't stop thinking about how to get a girlfriend.

He comes upon Tamino, and boasts that it was he who killed the serpent. The Devis return incensed. They padlock Papageno’s mouth for lying. Then they hand Tamino a gift from the Queen: a portrait of her daughter, Pamina. One look, and Tamino falls in love.

Within seconds, the Queen appears to make Tamino a proposition. She tells him that her daughter has been kidnapped by the "evil" king Sarastro. She promises Tamino rich rewards if he will save Pamina.

The Devis release Papageno from his padlock. Then they give Tamino a magic flute whose sound inspires peace. Papageno gets a set of magic bells that are supposed to "deter disaster." The Devis tell the heroes (though Papageno is more of an anti-hero) to look for Die Spieler, three playful spirits who will help them find their way. Thus equipped, Tamino and Papageno set off to rescue Pamina.

In another corner of the world, Sarastro's wicked servant Monsostatos, threatens his captive, Pamina. Papageno comes upon the two of them and accidentally scares Monostatos off. Pamina and Papageno become instant friends. He complains about having no luck in the find-a-girlfriend department. Together they think about what friendship and love might mean.

Tamino, meanwhile, is searching for Sarastro, led by Die Spieler. They guide him to the portal of Sarastro's world guarded by the Holy Ones, representatives of various religions. Tamino's ready to do battle. The Holy Ones suggest that he take a deep breath, that Sarastro is not what the Queen says he is. They advise Tamino to pursue his own growth by meeting a series of challenges.

Desperate to find Pamina, Tamino pulls out his magic flute and plays it, hoping to attract her. Instead, he summons all the animals of the world, charming them with his music.

Pamina and Papageno search for him nearby, but they’re just out of earshot. Monostatos intercepts them, threatening to enslave them both. That’s when Papageno pulls out his magic bells. He manages to charm Monostatos and his minions for a quick get-away. Once again, Pamina and Papageno take a moment to consider how powerful music can be as an agent of peace, friendship and love.

Sarastro and his royal retinue come upon Pamina and Papageno who’s convinced he’s about to die. Pamina pleads her case, outing Monostatos for his evil ways. But Sarastro is way ahead of her. He says that sending her home to her mother would not be wise for reasons he can’t yet explain. Besides, he says, a special someone is looking for her...

Monostatos rushes in having captured Tamino. Pamina takes one look at him, and he at her: true love! Monostatos expects a reward from Sarastro; instead he is given forty lashes. Act One ends with a collective expression of praise for light, for love and for divine grace. In the last measures, Sarastro sheds his kingly garb for the robes of a monk.

Sarastro sets the tone of Act Two by gathering his people in prayer. Over the course of the events to come, Tamino and Pamina are to undergo a series of character-building tests, guided (even, sometimes, misguided) by the Holy Ones, Die Spieler and the Devis. Papageno too will have to face his own challenges in his own way.

For their first trial, the Holy Ones tell Tamino and Papageno that they must maintain absolute silence no matter what comes. Papageno immediately breaks the rule by engaging with the Devis. They try to tempt the heroes away from Sarastro, back into the schemes of the Queen of the Night.

Meanwhile, in yet another corner of the world, Monostatos has managed to get his hands back on Pamina. He threatens to avenge Sarastro's humiliating treatment by having his way with her. That's when her mother, the Queen, swoops in, enraged at—not Monostatos, but Sarastro. She calls on her daughter to murder Sarastro on her behalf. Then she disappears, leaving Pamina once again in Monostatos's clutches.

But Sarastro arrives to save her. He banishes Monostatos to bond with Pamina. As misused as she has been by her mother, Pamina still asks Sarastro to forgive the Queen. He in turn pleads for the dissolution of hate. Both join in the project of peace.

Papageno, wandering on his own and chattering despite being sworn to silence, encounters a flirtatious old woman. He has an inkling that she might be his true love--whom he calls Papagena--but she disappears before he can get her name.

Die Spieler zoom in on a magic carpet to help guide Tamino. At their suggestion, he plays his magic flute and--voila!--this time, Pamina is summoned. She's over the moon to see him, but he will not speak to her, faithful to his oath of silence. Pamina goes to pieces at his perceived indifference, heart broken.

But here comes Sarastro, praising them both. They enjoy a brief moment when Tamino is free to speak. Then the pair is introduced to a second trial: they must parted from each other. Pamina and Tamino exchange aching goodbyes mediated by Sarastro.

Papageno continues idling. He plays his magic bells just to keep himself company. The flirtatious old woman reappears, and they make an agreement based on lies. He swears he will give himself to her (until a better girl comes along), at which point she reveals herself to be--Papagena!

Immediately Die Spieler whisk her away, chastising Papageno for being unworthy of love. They send him off to (literally) clean up his act.

No sooner has he gone than Pamina staggers in suicidal at losing Tamino. Die Spieler talk her out of killing herself, promising that "true love cannot stay hidden.”

Because she rallies, embracing the notions of faith and trust, Die Spieler lead her straight to Tamino. Now the two lovers face a third and final trial, one they will brave together, passing through fire and water side by side.

But it's busy times for Die Spieler. Papageno is suicidal over the loss of his just-glimpsed girlfriend. They remind him to use his magic bells. Sure enough, Papagena reappears, and the two discover that they are, in fact, meant for each other, two peas in a pod, on their way to marriage, and a host of little Papagenos and Papagenas.

The Queen of the Night, the Devis and Monostatos are on their way to wreak havoc with everyone when the giant serpent pops up one last time to swallow them whole.

In the end, all the characters of "The Magic Flute"--wise and foolish, mortal and divine, human and animal, living and even those marinating in a serpent's belly--all gather on the bank of the Ganges river to celebrate two marriages, and to commit to universal peace, friendship, and love.

The opera, “The Magic Flute,” opened on September 30th, 1791. Its composer, Wolfgang Amadeus Mozart, conducted the orchestra that night. Onstage, singing the role of Papageno, was his librettist and partner in theater, Emanuel Schikaneder. These two innovators created "The Magic Flute" not for the aristocrats of the court, but for audiences that included "ordinary" people. It proved to be a blockbuster, performed one hundred times over the course of its first run alone. Tragically, Mozart did not live to see the end of that run. Only thirty-five years old, he died of unknown causes. "The Magic Flute" was the last opera he composed. Its on-going popularity with both opera- and theater-goers is as magical as the flute it celebrates, beloved for its blend of fantastical storytelling, appealing characters, scope (think Shakespeare), emotional range (from silly to wrenching) and, always, the exquisite beauty of its music.

Prepare and memorize:

1. One monologue, not to exceed 90 seconds
2. Two contrasting songs (at least one in English) not to exceed 3 minutes combined
3. Together, the monologue and song(s) should not be more than 5 min

Be sure to bring legible sheet music for the pianist/accompanist in a 3-ring binder that makes it easy for the pianist to turn pages

If you have not prepared either a monologue or songs, please come anyway. We’d love to see you! We can work out a way to get a feel for your interests, experience and skills.

Thursday, August 25, 6-10:30p, Person Theatre
Friday, August 26, 6-10:30p, Person Theatre

Saturday, August 27, 10a-7p, Ives 101,76 & 80


Participation in the “The Magic Flute” will be credited as a class, MUS 330. Rehearsal times fall as indicated below on Tuesday and Thursday nights, and on one Saturday per month. For this production, only those rehearsing will be called, but the cast must be available for all the times listed below.

First Rehearsal
T August 30, 7-10p

Rehearsal Call Times: FALL 2016, GMC 1027 & 1028
Tuesday and Thursday evenings from 7-10p plus the following Saturdays:
S Sept 24 from 10a-5p
S Oct 29, from 10a-5p
S Nov 12, from 10a-5p
S Dec 3 from 10a-5p

Rehearsals resume
T Jan 24 (2017) from 7p-10p

Rehearsal Call Times: SPRING 2017 in Person Theatre
Tuesday and Thursday evenings, 7-10pm plus the following Saturdays:
S Jan 28 from 10a-5p
S Feb 4 from 10a- 5p

Technical Rehearsals
TH Feb 16 from 7p-10p (Sitzprobe with Orchestra)
S Feb 18 from 10:30a -10:30p
Su Feb 19 from 10:30a -10:30p

Dress Rehearsals
M-T-W Feb 20-22, from 6:30p -11p

Week One: TH Feb 23, 7:30p (OPENING); F Feb 24, 7:30p; S Feb 25, 7:30p; Su Feb 26, 5p (Post-Show Discussion)
Week Two: W Mar 1, 10a (K-12 MATINEE, Piano Only); TH Mar 2, 7:30p (Fac/Staff night); F Mar 3, 7:30p; S Mar 4, 7:30p; Su Mar 5, 2p (CLOSING MATINEE)

Available Roles
All roles are open to all ethnicities and cultural heritages. Some roles are open to male/female cross-casting of characters. There are opportunities for non-singing choral and puppetry casting as well.

TAMINO, Prince (tenor)
PAMINA, Daughter of the Queen of the Night (soprano)
PAPAGENO, Bird-catcher (baritone)
SARASTRO, King (very low bass)
HOLY ONES, One or more singing roles, either female (mezzo-soprano) and/or male (baritone)

QUEEN OF THE NIGHT, A distraught mother (very high soprano)
MONOSTATOS, Servant who’s out for himself (tenor or high baritone)
THE DEVIS, Trio of Goddesses (soprano, mezzo-soprano and alto--or counter tenor)

DIE SPIELER, Trio of Spirits (soprano, mezzo-soprano and alto--or counter tenor)
PAPAGENA, Papageno’s true love (soprano)
DIE ZAUBEREI, Chorus of singers, male and female, multiple roles (all ranges)
THE WOLF GANG, Group of actors for multiple, non-singing, non-speaking roles
THE SERPENT and THE ANIMALS, original puppets created and animated onstage by puppeteers (No auditions; inquire about a related class)


Spring Dance Concert

Original Guest & Faculty Choreography
Directed by Christine Cali
April 21-29, 2017
Evert B. Person Theatre

Join SSU’s Dance faculty member Christine Cali and guest artists TBA as they present new works with SSU dancers.

Monday, Nov. 14, from 6-9p in PE1


Come in your dance attire and be ready to move.

Dancers must be available for all rehearsals and performances.

Rehearsal call times
TBA (depending on casting)

Technical Rehearsals
F Apr 14, from Noon-9p
S Apr 15, from 10:30a -10:30p
 Sunday Easter Off

Dress Rehearsals
M Apr 17, from 6-11p
T Apr 18, from 6-11p
W off
TH Apr 20, from 6-11p

Week One: F April 21, 7:30p (OPENING); S Apr 22, 7:30p, Su Apr 23, 2p (Post Show Discussion)

Week Two:  Th Apr 27, 7:30p (Fac/Staff Night); F Apr 28 7:30p; S Apr 29, 7:30p (CLOSE)


Power Lines

POWER LINES: A New Play Festival with Hard Hats
Written by SSU Students
Festival Director - Scott Horstein
May 4-13, 2017
Performance Space TBD

For the first time ever!  After years of the magmatic Mega Hot new play festival of readings, we couldn’t contain the lava any longer, so this year instead of Mega Hot we’re having POWER LINES.  Come see a new generation of plays, written by students, directed by students, designed by students!


  • Playwright must be an enrolled SSU student during 2016-2017 academic year.
  • Plays may be of any length, number of characters, and/or genre; from short 10-minute plays to one-acts.
  • Plays must be previously unproduced (but may have received a staged reading in the Mega Hot festival, for example).
  • We generally encourage writers to work in depth with a small number of characters in order to focus their writing, but are open to large casts as well. 
  • Full-length plays (that is, with multiple acts and a playing time of an hour or more) will be considered but we generally encourage writers to work in shorter forms, again, in order to help focus their work.  
  • SSU students may submit up to two plays for consideration in the festival. 
  • The deadline for submission is F Sept 30, 2016.

If you have any questions about this please contact Festival Director Scott Horstein at (he’s happy to chat about it with you)

Submit your play(s) via e-mail to with the following information:

  • Your name
  • Major
  • Year in school
  • Phone number
  • E-mail address you actually check regularly
  • Any conflicts you anticipate with the show commitments listed below.
  • An attachment(s) with your play(s) in PDF or Word format (no Pages, Google doc, or any other format, please). Script pages in your play must be numbered.
  • Play (script) selections will be announced F Oct 14, 2016


  • Any SSU student may apply to be a director for one of the plays in the festival. 
  • Directors will interview with the Festival Director.  
  • Playwrights may not direct their own play.
  • Interested directors should read as many of the scripts selected for the Festival as possible, as you will be asked to discuss your impressions and any staging ideas you may have for as many of the plays as possible in your interview.
  • Applications accepted between TH, Oct 20 and TH, Nov 3, 2016

To apply, directors should send the following information via e-mail to the Festival Director at

  • Name
  • Major
  • Year in school
  • Phone number
  • E-mail address you actually check regularly
  • Directing experience (list classes taken, also performances you’ve directed and where)
  • Any conflicts you anticipate with the show commitments listed below

F Sept 30, Play Submissions due
F Oct 14, Play (script) Selection Announced (and posted on Audition Moodle)

At the beginning of Spring Semester 2017 TBA. There will be a few workshop rehearsals during the first half of Spring, with full production rehearsals beginning after Spring Break. Exact schedule and audition guidelines available SOON on Audition Moodle.


Multiple plays (exact number to be determined) will be selected and announced by Friday, October 14. If play is accepted, playwright must enroll in THAR 302, Drama Ensemble Workshop, for Spring 2017.  Playwright will also agree to participate fully in script development workshop process to develop the script in Spring 2017 and be present throughout the rehearsal process.