Spamalot

2025-09-13

–

2025-09-20

Book and Lyrics by Eric Idle
Music by John Du Prez and & Eric Idle

Directing Team

Directed by Robert Michael Sanders
Music Direction by Trent Hines
Choreographed by Ronni Stark
Assistant Director/Assistant Choreographer – Kelly Kates Stage Manager – Sierra Corbin Assistant Stage
Manager – Kacy Rouse

Rehearsals

December 7, 2025 – January 15, 2026
Generally Sunday through Thursday evening

Tech

January 17 – 22, 2026

Performances

January 23 – February 22, 2026

This production will utilize 20 actors – 16 core actors and 4 Swings. We are looking for strong actor/ singer/dancers of all ages 18+. Tap Dancers strongly encouraged to audition!

All roles are open to actors of all ethnicities/races, gender identities, and abilities. All are welcome and encouraged to audition.

Compensation

All roles are paid a $500 rehearsal stipend and a per show rate between $65 and $75. Understudies will receive an additional rehearsal stipend. Swings are paid a $500 rehearsal stipend and $100 per week on-call stipend for the run, plus a per-show rate for any shows they cover.

Rehearsal and Performance calendar available on the SignUpGenius: HERE

In-Person Auditions

Saturday September 13, 2025 – 10am to 3pm (may extend to 5pm based on necessity)

Location: Town Hall Arts Center
2450 W Main St, Littleton, CO 80120

Requirements

32-ish measures of a song in the style of the show. Please bring sheet music in the appropriate key. An accompanist will be provided.Short comedic monologue in the style of the showHard copy of headshot and resume (please also upload a digital copy prior to the day of auditions at the link below)

Video Submissions

IF YOU ARE UNABLE TO SECURE A SLOT YOU MAY SEND A VIDEO AUDITION. THE DEADLINE TO SUBMIT THIS VIDEO IS 11:59PM Wednesday September 10. YOU CAN SEND IT TO thacauditions@gmail.com AND IT WILL BE FORWARDED ON TO THE DIRECTING TEAM.

Click HERE to sign up for an in-person audition slot.

Click HERE to upload a headshot and resume prior to audition day.

Invited callbacks will be held on
Saturday September 20 – 12pm to 5pm
Location: Town Hall Arts Center
Further information will be provided to those invited to attend.

Rehearsal and Performance Schedule:

Due to the nature of the material, please ensure you have read the script and are comfortable with all the material BEFORE auditioning. Per our licensing contract, we must perform the show as written and will not be making any changes.

Access a PDF of the Script HERE

Character Breakdown

NOTE: The genders listed with characters are as they identify in the script. However, just as in real life, genders may be/can be/will be/queen bee open to interpretation. All roles are open to actors of all ethnicities and racial backgrounds.

Roles

King Arthur (M)
Age: 40+
Vocal Range: Baritone – G2 to F4
King of England who sets out to create the Knights of the Round Table (who dance whene’er able) and acquire
the Holy Grail.
Strong humor. Competent singer. Mover.

Sir Robin (M)
Age: 30-40
Vocal Range: Bari-Tenor – D3 to G4
Ironically named “Sir Robin the Brave,” though he couldn’t be more cowardly, he joins the Knights of the Round
Table…mostly for the singing and dancing. This track also plays other ensemble/featured characters.
Strong humor. Strong Singer. Mover.

Sir Lancelot (d/b/a Lance) (M)
Age: 30-40
Vocal Range: Bari-Tenor – C3 to E4
As a Knight of the Round Table, he is buﬀ, his is masculine, he is brave. But….he discovers during his quest that
he also has a….”softer side.”
This track also plays other ensemble/featured characters.
Very strong comedic skills and voices. Strong singer. Mover.

Patsy (M)
Age: 30-40
Vocal Range: Bari-Tenor -Bb3 to G5
King Arthur’s servant…and horse. Underappreciated but always on his own quest to achieve Arthur’s approval.
This track also plays other ensemble/featured characters.
Strong comedic skills. Strong singer. Dancer – Tap preferred.

Sir Galahad (M)
Age: 30s
Vocal Range: Tenor -Bb3 to Bb5
Begins the journey as “Dennis,” a mud-gatherer who is eventually knighted and transforms into a dashing
ladies man.
This track also plays other ensemble/featured characters.
Very Strong singer. Mover.

Sir Bedevere (M)
Age: 30s
Vocal Range: Bari-Tenor – D3 to G4
A Knight of the Round Table and an inept scholar.
This track also plays other ensemble/featured characters.

The Lady of the Lake (F)
Age: 20-40s
Vocal Range: Tenor – E3 to B6
Diva. Stonrg. Beautiful. Mysitcal.
Very Strong singer capable of multiple styles. Strong comedic skills.

Supporting/Featured/Ensemble (All genders)
Age: 18+
Vocal Range: Varied
All ensemble tracks will play multiple characters of all kinds – many will have featured vocal and dance moments. Notably: Historian, Not-Dead-Fred, Laker Girls, Prince Herbert. All roles will require strong dance and ability to harmonize.

Understudy and Swing Tracks

Some Ensemble members will also be contracted to Understudy Lead/Supporting Roles. Additionally “Oﬀ-Stage” Swings will be contracted to learn and cover multiple tracks.

Access a PDF of the Script HERE

Town Hall Arts Center Operating Statement

By acknowledging this statement, you confirm your understanding that Town Hall Arts Center operates as a Semi-Professional Theater and not a Regional, Equity, LORT, or Professional Theater. While THAC is proud of the high-quality productions we have come to be known for, and the fact that we pay our artists comparable to, or better than, other local non-professional theaters, we are not currently able to operate as a living wage theater. We are also financially unable to offer amenities often available at Equity- or LORT-level houses. We are entirely transparent about our pay scale from the moment auditions are announced, in our offer letters, and as disclosed in our contracts. By receiving this statement, auditioning, signing a contract, and acknowledging this statement, you are stating that you are ready and willing to perform duties as specified in your contract, and have been made aware of THAC’s:

Audition stipends – THAC pays a rehearsal stipend. While professional theaters have the resources to pay actors per day or per week, from first rehearsal to closing performance, we are not able to do so at this time. Our stipends are offered in good faith to assist contractors offset costs accrued during the process.

Performance pay – THAC will compensate every performer for every performance, as well as additional rehearsals after opening (such as put-in/Swing rehearsals) at the contracted per-show rate.

Rehearsal schedules – THAC is entirely transparent about the rehearsal schedule from the time auditions are announced, in our offer letter, and as disclosed in our contracts. Performers who are cast in our productions will be expected to attend every rehearsal to which they are called, unless conflicts were approved prior to casting. The Directing Teams will do their best to not call actors who are not in the scenes/songs being worked and will release actors at a point when they are no longer being utilized in rehearsal. While we work hard to respect everyone’s time, there will be instances when an actor will have down time at rehearsal. We encourage you to use down time to work independently on your materials.