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AUDITIONS: Family Dinner 2018

Family Dinner is holding auditions!

Please fill out the form below to request an audition time for Family Dinner 2018 – directed by Rita Boersma

Family Dinner, created by M Ritchie and now in its 7th year at HUGE, is improvised realism. An unscripted dramatic comedy in two acts about a family gathering for a holiday meal. Act One is the arrival and Act Two takes place at the dinner table sharing REAL FOOD.

PERFORMANCES
Family Dinner will run Fridays and Saturdays at 8pm in November and December at HUGE Improv Theater
You must be able to make at least 6 of the shows.

AUDITION times will be scheduled:
Saturday 9/22, 10am-1pm & 4pm-7:30pm
Monday 9/24, 5-7pm

REHEARSALS
You must be able to attend at least 4 of the 5 rehearsal times:
Sunday 9/30, 1-3pm
Saturday 10/6, 1-3pm
Saturday 10/13, 1-3pm
Saturday 10/20, 1-3pm
Saturday 10/27, 1-3pm

If you do not see the form below – CLICK HERE

Job Posting: Managing Director (Part-Time)

Application deadline: September 29, 2018
Start date: Negotiable, targeting November 2018
To apply: Send your resume, your ideal number of hours (between 20-30/week), and a cover letter to jobs@hugetheater.com

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Hours: 20-30 hours/week (some evenings and weekends are required)
Compensation: Salaried employee, per year earns: from $21,500 (for 20 hours/week) to a maximum of $32,250 (for 30 hours/week)
Other benefits: Results-oriented work environment (flexible hours), free parking. At 30 hours per week, employees receive stipend for health care premiums (currently set at $300/month).

ORGANIZATION SUMMARY
HUGE Improv Theater (HUGE) is an artist-led non-profit dedicated to supporting the Twin Cities improv community through performance and education.

HUGE Theater was started in 2005 by five improvisers: Butch Roy, Jill Bernard, Joe Bozic, Mike Fotis, and Nels Lennes. HUGE incorporated as a non-profit in 2009 and found a permanent space in the Lyn-Lake neighborhood of Minneapolis in 2010. Our 2018 budget is $600,000.

Improv is theater for everybody. The raw material of improvisation is the honest expressions, experiences and passions of the performers and audience. It’s immediate theater.

Long form improvisation is the art of creating performances that are unscripted. It is different than playing improvised “games” or improvising within a scripted piece. HUGE gives long form improvisation – and the people who enjoy performing and watching it – a stage.

(http://www.hugetheater.com/)

RESPONSIBILITIES
The managing director creates and sustains community relationships, writes and manages grants, leads human resources, develops and maintains systems and infrastructure, and coordinates board meetings. The managing director acts in the capacity of executive director in their absence.

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Fundraising, Community Building and Special Events
As part of fundraising, meaningfully engage the improv community in HUGE’s work and mission, and make sure our organization’s gratitude is fully expressed. Examples of fundraising include the annual 28-hour Improvathon (timed to coincide with GiveMN’s Give to the Max Day) and the monthly-donation based Member Program.

Grants
*Manage grant calendar, track deadlines for proposals and reports, and work with executive director and other staff to write and submit proposals.

*Ensure systems of evaluation and data tracking are in place, and that accurate financial and programming data is available for reporting.

Financial Management
*Lead the annual budgeting process, assisting the management team and other staff with the strategy and creation of budget.

*Monitor monthly financials closely, charting progress and identifying trends as well as potential issues and opportunities.

*Communicate with the Board Treasurer to develop financial strategy and policies.

*Work with the independent bookkeeper to verify coding and to produce monthly financial reports.

Human Resources
*Assist in the hiring process by interviewing all potential new employees, including house managers and bartenders.

*Manage staff benefits, including health insurance

*Support the program coordinator and bar manager in training new staff, as needed

*Document and investigate allegations of harassment and coordinate necessary remedies as appropriate

*Work with legal experts and with staff, draft policies and procedures that protect staff, performers, and students

Rentals
*Create enticing rental packages, negotiate contracts and line up staffing, performances (as applicable) and logistical support.

Board Support and Administrative Responsibilities
*Provide financial reports for Board meeting

*Work with the external bookkeeping service and the Board Treasurer, prepare annual 990 filing, including accurate statistical data on program

*Oversee the development, implementation and ongoing improvement of administrative systems and processes, including (but not limited to) staff policies/procedures and evaluation processes/procedures

*Documentation of processes, manuals, and guides (as needed)

EXPERIENCE
*Experience in managing events and projects, supervising staff, and developing and adhering to budgets.

*Attention to detail, accuracy.

*Excellent written, verbal and interpersonal communication skills. Engagement and understanding of the improv community a must. Practicing artist preferred.

*Ability to handle multiple demands.

*Demonstrated ability to follow through on commitments and to meet deadlines.

*Willingness and ability to learn and grow to meet the changing requirements of the job.

*Interest in creating and managing systems to meet the needs of a highly innovative, entrepreneurial and creative organization.

*A minimum of 3 years experience in nonprofit or project management required. The ideal candidate will also have experience building and managing databases.

When someone is banned from HUGE for sexual harassment or assault

We have been asked by our colleagues at FairPlay MN to speak about when someone is banned from the theater for sexual harassment or assault.  First we would like to explain that the management team of HUGE Theater is not a court of law, we have never banned someone as a punishment. That is outside our scope. In the few instances when we have banned someone, it has been to protect their victims, protect potential victims, and to reclaim our space as a safe place.  

Our protocol for sexual harassment investigations ends with various possible outcomes. We first take into account the wishes of the known victims as to the outcome that would be best for them. Then we consider what would make sense to protect our community.

When we first began sexual harassment investigations a couple of years ago, there were cases in which we banned someone for a limited amount of time – the logic was in some cases a person needs a window of time to examine their behavior and do some research and education, and their victims need some space.  When the ban expires the individual would be free to submit shows to HUGE, attend shows, perform as part of a cast, or audition for shows. The report we took in these cases had a list of people with whom we would never cast them, or put together in an audition group. In all honesty, although we do not want to rule it out because there may be cases where it is the victim’s preferred solution, we do not know if we would consider a limited time ban again, for the logical questions that it raises: how do you measure if someone is no longer a risk, and how do you notify anonymous reporters that the ban has expired so they may see that person at HUGE again?

We have permanently banned very few individuals. Whether it is a permanent ban or a limited ban, the community is not notified of the ban. It is our job to make sure the ban is enforced, we would never put that work on community members. We alert the front of house staff, the house managers and staff. We also have alerted directors, casts and team members who had active shows which would require either recasting or cancelation.

We are always working to make HUGE an even safer space where creativity and artistic expression can thrive. Please let us know if you have any questions or if there is anything you suggest we do to further this mission. My email is jill@hugetheater.com and the anonymous feedback form is on the bottom of the contact page if you click the link above. 

 

HUGE Theater Happy Hour with the Board 2018

Hey everyone – we had a really wonderful Annual Happy Hour with the Board on Thursday August 16th. I didn’t take any notes on it because I was still reeling from Molly Chase‘s resignation earlier in the day. Molly is a beloved colleague. I admire her as a compassionate advocate and one hell of a sharp cookie. These years working alongside her have been an irreplaceable education, I am so grateful to her. It was difficult enough to get through the presentation, I didn’t have it in me to be the scribe you deserve, apologies.

I can, however, provide the slides containing ticket sales, financial information and education statistics for you to read: Happy Hour 2018 Board slides

Adia Morris opened the meeting with a recorded message to everyone!

If you have any questions, I will do my best to answer them. You can email me at jill@hugetheater.com. We also have an anonymous contact form, please scroll down on our contact us page.

Thank you, friends

Dear friends of HUGE,

I am posting to let you know that I am resigning as managing director and from the board of HUGE Improv Theater. My last day will be Sunday, September 2, 2018. While my heart is willing to keep going forever, I need a rest from the schedule and responsibility that comes with this important work. It’s time to give someone else a chance to make their mark and to help guide HUGE through its next chapter.

I first walked through HUGE’s doors in March 2011, three days after I arrived in Minneapolis. I started as managing director a few months later, about six months after HUGE opened.

In an earlier draft of this post I tried to mention some key moments, but it’s overwhelming. It’s maybe enough to say what you probably already know: HUGE has been repeatedly saved and sustained by the involvement and support of its community, that HUGE is where we instinctively gather when terrible things happen, that HUGE is where people come when they need respite from hate, that HUGE offers a creative home that encourages people to recognize improv as art and themselves as artists.  

It would be hard to overstate how essential HUGE has been to my life here, to my work and growth as an artist, and for introducing me to the incredible people of the Twin Cities improv community.

I thank you so much for being a big part of my life the last seven years. I encourage you to give some extra support to those working to make our community an inclusive and safe space. It’s some of the hardest work there is. Financial spreadsheets are easy; creating a space that’s a haven from toxic masculinity, sexism, racism and hatred is hard. The great news is, everyone can help shoulder the load. We can participate in Fair Play public meetings, engage with diversity and inclusion forums like Our Cities, Our Stages, and we can all take responsibility for educating and challenging ourselves.

I truly appreciate the opportunity to have worked at HUGE, and I’ll still be around regularly in my capacity as a performer and teacher. I look forward to see y’all there.

All my best,
Molly

p.s. I will not be able to attend the Open House/Meeting at HUGE – there is 0% chance I could make it through without being a total mess – but I have put some slides together and I know it will be a great meeting, as always.

HUGE Theater announces new Artistic Director

HUGE Improv Theater is thrilled to announce that our new Artistic Director is Rita Boersma.

Rita has been part of the Twin Cities theater community for 16 years, as an improviser, actor, storyteller, teacher, writer and director. Rita is a 15-year ComedySportz veteran who also has been a writer and performer in the MN Fringe Festival for the past six years. At HUGE, she is a performer in The Mess and Show X and over a dozen other productions including Family Dinner, Off Book, Ka-baam!!, Beatbox and The Show. As a director of long-form improv, she most recently helmed Attenborough, the 2017 season of Family Dinner, the 2016 season of Neutrino, and she was a co-director of Party Riot. Rita has extensive show production experience and is also one of HUGE’s most highly-rated teachers.

Rita has worked in the non-profit sector for ten years: coaching speakers, training staff and developing programs. While at nonprofit Youth Frontiers, she was a trusted mentor who fostered the creative process and encouraged the growth of individuals as well as the organization. Rita’s background also includes video production; she uses her sharp sense of story and her ability to move people to communicate her clients’ message with humor and heart.

Rita will begin her work as Artistic Director in mid-August. Part of her vision for her new role is: “to seek out innovative ways to get new faces and new types of shows on stage, to further HUGE’s vision of artistic excellence, and to push the potential of this incredible art form.”

Please join us in welcoming Rita to HUGE!

Additionally, we want everyone to know that announcing Rita as our new Artistic Director concludes an incredible search. We at HUGE were blown away by the resumes and cover letters we received, locally, nationally, and one from the UK. Narrowing the field to four finalists was a difficult task, and we found the finalist interviews for this position were inspiring and exciting. From this experience, we are heartened that the health of the Twin Cities improv community is strong and the bench of talent is deep. We are so grateful to all of the applicants, and we are enormously grateful for this community.

EDIT: POSITION FILLED Job Posting: Artistic Director

EDIT: THIS POSITION HAS BEEN FILLED. THANK YOU.
WHY IS THIS IN ALL CAPS? I DON’T KNOW.

 

ARTISTIC DIRECTOR : HUGE Improv Theater

Job Posting

Application deadline: June 28, 2018
Start date: Negotiable, targeting August 2018
To apply: Send your resume, your ideal number of hours (between 20-30/week), and a cover letter to jobs@hugetheater.com

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Hours: 20-30 hours/week (some evenings and weekends are required)
Compensation: Salaried employee, per year earns: from $21,500 (for 20 hours/week) to a maximum of $32,250 (for 30 hours/week)
Other benefits: Results-oriented work environment (flexible hours), free parking. At 30 hours per week, employees receive stipend for health care premiums (currently set at $300/month).

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HUGE Improv Theater (HUGE) is an artist-led non-profit dedicated to supporting the Twin Cities improv community through performance and education.

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HUGE’s artistic director is responsible for shaping, communicating and implementing the artistic vision of HUGE, for the continued development of performers at HUGE, and for major decisions regarding the hire and ongoing professional development of artistic staff. This role is part of the management/operations team, along with the executive director, director of education, and managing director; and is accountable to the management/operations team and reports to the executive director.

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ABOUT ARTISTIC DIRECTION AT HUGE THEATER

HUGE’s vision is to continue the development of the art form of longform improv, and to foster diversity and inclusion in all aspects of our work. We do not constrain our programming to a particular style of longform improv. Instead we seek to showcase a variety of styles that demonstrate excellence in performance; for example, we celebrate foundational forms of improv and we encourage experimentation.

Another important aspect of HUGE’s organizational philosophy is that there should be a clear path to the stage: for students to transition into performers, and performers to continually develop as artists and artistic leaders.

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RESPONSIBILITIES

Big Picture

  • Align artistic programming with HUGE’s mission, and support artistic excellence
  • Articulate HUGE’s artistic vision and represent the theater
  • Influence theater direction and management as part of the management/operations team
  • Contribute time, talent and general support for HUGE’s fundraising efforts
  • Foster working relationships and familiarity with the Twin Cities improv community, which is at the heart of all we do

Show development and scheduling

Currently, approximately 30% of shows on our stage are produced by HUGE directly, while the remaining 70% of shows are produced independently.

For shows produced by HUGE:

  • Direct 1 to 3 shows a year
  • Hire and supervise directors and assistant directors
  • Oversee auditions and continue to refine audition process for all HUGE-produced shows

For independently produced shows:

  • Oversee, promote, and refine the show submission process
  • Communicate and coordinate with independent directors and producers regarding artistic decisions
  • Program show schedule
  • Provide guidance on audition and rehearsal best practices

Evaluation and feedback

  • Provide artistic evaluation and feedback for HUGE Wednesdays shows and all weekend shows by: attending a minimum of two performances during their run, monitoring and assessing quality, and providing formal feedback to show producers and directors and/or cast that includes recommendations for potential next steps.
  • Work with program coordinator to gather online feedback from evaluation form that goes to all casts, directors and assistant directors; targeting an 80% minimum participation rate. Include this information in feedback given to the shows’ director (and assistant director and/or producer, as applicable). Meet with Directors (and Assistant Directors) to discuss.

Program Development

  • Interface with Director of Diversity and Inclusion to develop continued progress in the areas of diversity and inclusion on HUGE’s stage
  • Oversee and continue to develop the Assistant Director Program. Formally create a description of purpose, path, expectations, evaluation and feedback
  • Create avenues for artistic and professional development of directors. Formally create a description of purpose, path, expectations, evaluation and feedback
  • Expand show pipeline and evaluation process and communication with an eye on transparency and timeliness
  • Develop new shows and programs in alignment with HUGE’s mission

Logistics and communication

  • Communicate show selection and coordinate scheduling with producers and directors
  • Announce show selection and schedule with public
  • Schedule auditions and callbacks (as applicable) in coordination with program coordinator
  • Ensure that safety standards and boundary check-in practices are known and followed
  • Be the general artistic point of contact for HUGE, for example manage artistic queries regarding licensing shows, or general inquiries from theaters, festivals, and show producers

REQUIRED EXPERIENCE:

  • 7+ years professional improv experience
  • 3+ years experience teaching and directing improv, with an emphasis on longform
  • Must demonstrate effective management skills that align with artistic values and HUGE’s mission and values
  • Strong organizational, oral and written communication skills
  • Ability to work independently and manage multiple projects and deadlines
  • Ability to lead others
  • Strong supporter of artists and students, including fostering a safe and inclusive environment.

The ideal candidate will also have experience in nonprofit management.


 

Glossary of terms

Because of the changing nature of improv groups and productions, it’s useful to clarify the terms as HUGE is using them:

Show:  Any production proposed and/or booked at HUGE
Group : May be a set cast (i.e. The Mess) or may be a production entity that assembles a cast for a run of show.
Producer:  Person responsible for production support on the show side – may include all aspects of the group’s responsibilities outside of the artistic direction of show content, i.e. scheduling rehearsals, point of contact for logistics for both cast and venue, etc.
Director:  Person responsible for the quality and content of what is performed on stage – point of contact with venue for matters of artistic vision and quality as well as any issues,  concerns and feedback involving the cast.
Assistant Director: Responsible for working with the director to co-create and communicate the vision for the show with the cast through rehearsals and notes.

 

Big changes at HUGE Theater 

Nels Lennes has announced he has decided to step down as Artistic Director of HUGE Improv Theater to prioritize his family. He will continue to serve on the Board of Directors of HUGE. Nels said, “As a founder of HUGE, I still feel my input and contributions to be valuable, and the responsibilities of a board member would suit me more than both board member and staff.”

We are grateful to Nels’ work as a founder, board member, and Artistic Director of HUGE Theater since its founding in 2009. Nels got his start in Twin Cities improv in 1995, and went on to train at The Groundlings, Annoyance Theater, and The Upright Citizens Brigade before coming back to Minnesota to perform in and direct dozens of shows and train hundreds of improvisors.

HUGE will announce information about a search for the new Artistic Director shortly. Meanwhile, we extend our thanks to Nels for his foundational work and contributions to the Twin Cities improv community.

Twin Cities Improv Festival Workshops!

The Twin Cities Improv Festival is an annual celebration of the best of improvisation. The 2018 festival features workshops from nationally-known instructors on Saturday June 23. Scholarships are available! Please CLICK HERE


PRICES
Individuals: $60 per class
TCIF performers: $50 per class

There are opportunities to study with Tara DeFrancisco and Rance Rizzutto (Here)!
and/or Pepper Barry and Laura Eichorn (Virginia Slims)!
and/or Rich Baker and Rolland Lopez (Rollin’ in Riches)!

TCIF workshops are not suitable for absolute beginners – and all workshops are 18+

Register now – These will sell out. 


SATURDAY, JUNE 23RD:  10-1PM

Improv Rehab with Rance Rizzutto (HERE)

Looking to get out of your head, create richer environments and stay connected to your group while improvising? Every improviser picks up a bad habit or two along their journey. Improv Rehab targets the big ones and keeps the entire group actively participating throughout


SATURDAY, JUNE 23RD:  10-1PM

Play the RiR way! (Rollin’ In Riches) 

Cut-to’s, tag-outs, time dashes…Rollin’ in Riches has these often (but not always!) in their shows! We get asked a lot about it…how do we know when to do it? How do we know WHAT the move is? When one person makes a move, how do we know it’s a new move and how do we know what they’re intending? In this workshop, we teach how we go about doing these things when we play!


SATURDAY, JUNE 23RD:  10-1PM

My Status, My Choice with Tara DeFrancisco (HERE)

“No one can make you inferior without your consent.” Improvisation tells us to say yes to things, but creative yeses help us avoid traps of low-status or being pigeon-holed. You make choices, you don’t have your right to choices made! Let’s laugh and do the unexpected. (Female-identifying and non-binary players encouraged, but all are welcome.)


SATURDAY, JUNE 23RD:  2-5PM

Your Show from the Top Down with Pepper Berry (Virginia Slims)

This unique workshop focuses not just on scene work but on your show as a whole. Your show has a beginning and end so it has structure, it slows down and it speeds up so it has a tempo, it can have an emotional through line or a narrative. There are so many things to do with it other than a mixed bag of random scenes leading to a blackout. Whether you come to this workshop with your teammates or individually we will explore how to make your shows unpredictable to your audience, your teammates and YOU through variety, effective action, character choice and most importantly communication with your teammates through those choices. This ain’t your average workshop. I’ve flipped it on its head so don’t expect to be sitting down half the time, come to play hard!


SATURDAY, JUNE 23RD:  2-5PM

POV: Passion, Originality, Voice. with Laura Eichhorn (Virginia Slims)

Why just BE in the scene when you can LIVE in the scene? It’s all about specificity of POV. Laura delves into what makes your characters tick and will help you get laughs using their honest and unique wants and needs. Learn how to quickly find your character’s point of view and stick the fuck to it.


INSTRUCTOR BIOS

Tara DeFrancisco (Here) was awarded “Funniest Person in Chicago” by the Free Press, “30 Under 30” in the Windy City Times, and “25 Funniest Females 2009” in Curve Magazine for her ventures in stand up, sketch, and improv. She teaches improv courses and workshops to people of all ages and backgrounds across this nation, and that’s about the most rewarding thing ever – traveling to elementary and high schools, colleges, and offices all over the country as both an introductory instructor and a professional Comedy Consultant. Tara has taught for all ComedySportz, iO, and Second City in Chicago, both in-house and on location. Tara is a 3-year veteran of Second City Touring Company, a decorated ComedySportz 3-time MVP, and an iO teacher, coach, house performer, and enthusiast. There are no words for how very thankful she is.

Rance Rizzutto (Here) has performed, coached and taught improv for years. Long-form with iO Chicago (Chaos Theory) and other various independent groups. Short-form with ComedySportz and Second City Theatricals (aboard NCL ships). Musical and hip-hop/rap with The Deltones, Baby Wants Candy, and The Beatbox. Even silent improv in The Silent Treatment. Rance has coached and designed team building and provided services for Intel, Nike, AT&T, Wells Fargo, IBM, Hewlett Packard and more. He’s even done improv all over the world, mostly in Here, a two person musical with Tara DeFrancisco herself! He is also known for his photography, hypnotism, and hosting.


 

Rich Baker (Rollin’ In Riches) has been improvising since May of 1999 and  began teaching in 2005. Since then he has been a faculty member for Second City Chicago, Second City Hollywood, Westside Comedy Theatre, ComedySportz Chicago and The Comedy Shrine.

Rolland Lopex (Rollin’ In Riches) is a student, teacher, player, coach. Short-form enthusiast, long-form lover.
“I didn’t know I was gonna fall in love with this art form but I love the moments that occur when you don’t know what you’re about to do and say.”


 

Laura Eichorn (Virginia Slims) grew up in Portland, Oregon, where she started acting as a wee sprite. She moved to New York at the age of eighteen and got her BFA in acting from Marymount Manhattan College.

In New York, Laura worked as a model, making the cover of two magazines… and over twenty covers of cheesy romance novels. She continued working as a model when she moved to Los Angeles, until she discovered that doing comedy was much more interesting and fun. (Even more fun than posing with a hunky guy while wearing an old timey wedding dress.)

Laura is a graduate of The Second City Conservatory and Long Form Program as well as iO West and spends most of her time writing and performing.

Pepper Barry (Virginia Slims)  –  After a brief stint at stand up in Texas, Pepper Berry moved to L.A. to be a screenwriter and then fell into music where he spent 15 years playing in bands around the Los Angeles punk scene, touring the United States and recording albums with either his old band Buck or his current band Bobot Adrenaline.

Being a fan of SCTV he began studying at The Second City Hollywood where he quickly fell in love with improv. He is a graduate of The Second City’s Conservatory and Long form programs, iO West, UCB, The Nerdist, Comedy Sportz, The Second City Directing Program as well as studying at the Groundlings. Besides Virginia Slims, Pepper is a cast member of The Second City Hollywood’s long running The Really Awesome Improv Show as well as a past member of The Second City House Ensemble, the iO Honor Roll team. He has played on iO Harold teams B-Side and (nebraska), and can be seen on the Nerdist House team Aeroplane. He is currently a teacher and director at The Second City Hollywood.

Between the two of them Laura and Pepper are grads of or have studied at The Second City Hollywood, Upright Citizen Brigade, iO West, Comedy Sportz, The Nerdist, and the Groundlings. They are ridiculous improv nerds at heart and available to teach workshops at your festival as well.

 

AUDITION NOTICE: Creature Feature & Ka-Baam!!

We are holding JOINT audition times for two shows coming to HUGE this Fall: Creature Feature and Ka-Baam!

YES – you may absolutely audition for both of the shows listed!

We will collect responses and send audition schedules as quickly as possible – rehearsal and performance schedules are listed below

KaBaam!! the improvised comic book:  
director: MJ Marsh
assistant director: Emily Lindholm

Creature Feature
director: Meghan Wolff
assistant director: TBA


The Details

AUDITION TIMES will be scheduled:
Saturday 6/9 – 10am-6pm
Monday 6/11 – 4pm-7:30pm
Callbacks will be held Friday 6/15 and Saturday 6/17 from 5pm-7pm if needed to see more of your skills.

PERFORMANCES
Creature Feature – Sept/Oct on Fridays at 8pm
KaBaam!! – Sept/Oct on Saturdays at 8pm

REHEARSALS
Please check to make sure you are able to make the scheduled rehearsal times for the show(s) you would like to audition for – rehearsals will run 8-10 weeks, cast are expected to miss no more than 2 rehearsals.

Creature Feature – Thursdays 7-9pm

Ka-Baam!! – Sundays 6-9pm


CLICK HERE TO SIGN UP FOR AUDITIONS

If you have any questions about auditions or casting – please email Butch@hugetheater.com