Get Involved

SpeakEasy’s mission to connect our audience, staff and artists through production means that we are constantly seeking the best new talent in Boston to join our community. In this section you’ll find information on job opportunities, internships, fellowships and auditions throughout SpeakEasy’s season. We also post all opportunities on the StageSource hotline, and most major job sites when applicable.

Of course, to stay as up-to-date as possible on everything SpeakEasy has going on, you can always join our e-mail list.

Interested in volunteering as an usher for one of our shows? Click here and “RSVP” to the production for which you’d like to be considered. Questions about ushering may be directed to



There are no audition dates for our 2017-2018 Season at this time. 

Headshots and resumes may be sent to Please be sure to include:

  • A contact phone number and email
  • Equity status
  • The shows for which you would like to be considered.



Seeking all ethnicities for all roles.


    By: Jaclyn Backhaus
    Director: Dawn M. Simmons
    Rehearsals: Starting on Aug. 14th
    Performances: Sep. 8th – Oct. 7th, 2017 possible extension to Oct. 14th
    A note from the Playwright: MEN ON BOATS is a piece that begs to be cast gender-fluid, outside of the realm of the white cisgender male who would normally play these characters. It is important to populate the world of the play with people who would not have originally been on these boats, people who stand outside of the realm of the white male conquest storyline, and who are normally not allowed to tell stories like these. All of the roles are open to any race or gender.

    Any ethnicity. Gender fluid, outside of the realm of the white cisgender male. 18-80, Lost one arm in a previous battle, the leader of the expedition, one of the greatest geologist, had experienced both physical and mental hardship. Fiery temper. Hates suits, loves adventure.

    Any ethnicity. Gender fluid, outside of the realm of the white cisgender male. 18-80, loyal, trustworthy, hunter and trapper, Powell’s right hand man.

    Any ethnicity. Gender fluid, outside of the realm of the white cisgender male.18-80, brash, explorative, former soldier, current explorer, type of person who does something because “no one had done it yet”.

    Any ethnicity. Gender fluid, outside of the realm of the white cisgender male. 18-80, Powell’s older brother, Civil War vet. Oldest person on the boat. Hates people.

    Any Ethnicity. Gender fluid, outside of the realm of the white cisgender male. 18-80, lieutenant, manic with youth. Genuinely loves people. Earnest, so very earnest.

    Any ethnicity. Gender fluid, outside of the realm of the white cisgender male. 18-80, printer and hunter. Stern, reserved, stoic, proud/ TSAUWIAT- a Ute chief (doubles with OG HOWLAND) tobacco-addled, calm.

    Any ethnicity. Gender fluid, outside of the realm of the white cisgender male. 18-80, OG’s quiet little brother. Loyal, reserved, will defend his brother to the end/ THE BISHOP- Tsauwiat’s wife (doubles with SENECA HOWLAND) tobacco-addled, calm, like his brother.

    Any ethnicity. Gender fluid, outside of the realm of the white cisgender male. 18-80, British, so excited/ MR. ASA- a desert settler (doubles with GOODMAN) red-faced, eccentric, uncomfortably positive

    Any ethnicity. Gender fluid, outside of the realm of the white cisgender male. 18-80, mapmaker, old soul, teams up with Hawkins bro/dude

    Any ethnicity. Gender fluid, outside of the realm of the white cisgender male. 18-80, the cook, teams up with Hall, bro/dude


    Based on the novel by Mark Haddon
    Adapted by Simon Stephens
    Director: Paul Daigneault
    Rehearsals: Starting on Sep. 25th
    Performances: Oct. 20th – Nov. 18th, 2017 possible extension to Nov. 25th

    CHRISTOPHER BOONE: Male, 18+ to play a teenager.
    ROLE CAST. An English teenager who is an outsider due to his unique perception of the world, which he sees in surprising and revealing ways. He notices things in minute detail yet has difficulty understanding social and emotional cues and difficulty empathizing with others. This lack of understanding often makes the world seem frustrating and frightening to him, and he can become agitated and even violent when he has to deal with too many overwhelming external stimuli. Incredibly intelligent but shy and mistrusting of strangers, Christopher feels things deeply but doesn’t know how to express or articulate them. He has a brilliant mind, can be fixated on certain topics, and thinks in a highly logical way, which makes him excel in math and science, but because he perceives language literally, he does not understand sarcasm or metaphors; Must be physically very fit and agile. English accent. This role has been cast; actors may audition for possible replacements.

    ED BOONE/OTHER: Male, 35-55
    Christopher’s father; estranged from his wife, Judy and struggling as a single parent trying to raise his son the best he can. A working class man. Proud, gruff, and brusque, he is unable to convey his emotions and feelings but loves his son deeply. He is a good man but there is a lot on Ed’s shoulders when he first enters the play in pain and near breaking point, though he does not openly express it. He has trouble communicating with Christopher, who often frustrates him. And though he’s naturally practical and much more patient in dealing with Christopher than Judy, a difficult situation can make him lose it, sometimes violently. A plumber and heating engineer by trade, naturally good with his hands; English accent appropriate to working middle class.

    JUDY BOONE/OTHER: Female, 35-55
    Christopher’s mother; estranged from her husband, Ed after having an affair with her neighbor Roger. She works as a secretary and is a working class woman with a tough exterior who has no support system to raise her son and blames herself for her inability to cope with him effectively. She has had a hard life and had to fight for things, which she is ready to do, as she is feisty and doesn’t take anything lying down. Loving, yet impatient, she has felt very alone in her situation with Christopher and it frustrates her to a point of absolute desperation. She wishes she knew how to truly reach and care for Christopher. Independent, lonely and proud, she doesn’t easily ask for help and has never had the proper social resources to help her. English accent appropriate to working middle class;

    SIOBHAN/OTHERS: Female, 25-49
    Christopher’s teacher and mentor, the only person in Christopher’s life with an understanding of his situation. She strives to teach Christopher how society works and how to behave within its guidelines. Constantly negotiating around Christopher’s anger, she is professional, warm, caring, calm, gentle and self-possessed and also sensitive to his strained relationship with his father. She often serves as the narrator of Christopher’s story and of his feelings; English or Irish or Welsh or Scottish accent.

    Mrs. Shears is Rogers’s ex-wife and Christopher’s neighbor, she is rough around the edges. She is furious at the world as a result of being betrayed and abandoned by her husband. Worn out by life, disappointed, haggard. It is her dog, Wellington that was found killed in the night. Mrs. Gascoyne is the headmistress of the school for ?special needs? children that Christopher attends; condescending and lacking in sensitivity, nuance and imagination. English accents appropriate to class.

    Roger Shears is Mrs. Shears ex-husband, a middle class man who works at a bank. Has left his wife as a result of his relationship with Judy, which not built on sturdy ground. Doesn’t have a clue or any interest in understanding Christopher. Duty Sergeant is a local Swindon desk sergeant (policeman) who releases Christopher to Ed’s custody after Christopher’s been arrested. Firm, experienced, tough but fair-minded; English accents appropriate to class; must be strong, fit and agile.

    MRS.ALEXANDER/OTHERS: Female, 60-79
    one of Christopher’s neighbors who has probably lived in Swindon her entire life. May be middle class or middle working class. She is a lonely older woman without a lot of means. She is kind, and so hungry for a connection with Christopher that she tries to help him and ultimately reveals information to him about his mother that he did not know. English accents appropriate to class.

    Policeman 1 is a Swindon policeman who arrests Christopher after Christopher hits him while being questioned about the death of Wellington, the dog. He has no patience or understanding of Christopher’s way of thinking. Mr. Thompson is a neighbor that Christopher interviews during his investigation of who killed Wellington, the dog. Doesn’t have patience for Christopher’s line of questioning. Man with Socks is a guy waiting for the tube in London who suddenly has to help convince Christopher to get up from the train tracks; English accents appropriate to class; must be strong, fit and agile.

    No. 40 is a woman who is a neighbor of Christopher’s who he interviews during his investigation of who killed Wellington the dog. She tries to gently suggest to Christopher that he should talk to his father before asking these questions. Information is a busy information clerk in a London Railroad Station who Christopher asks for directions. Punk Girl is a young woman in the tube station who tries to help Christopher; English accents appropriate to class; must be strong, fit and agile.


    Screenplay by Marc Norman & Tom Stoppard
    Adapted for the stage by Lee Hall
    Director: Scott Edmiston
    Rehearsals: Starting on Dec. 18th
    Performances: Jan. 12th – Feb. 10th, 2018, possible extension to Feb. 17th

    Seeking team players who are able to make heightened language feel personal and spontaneous, contribute strong comedic skills, and move extremely well. It is essential that our cast bring a sense of youthfulness, sexiness, exuberance, and edge to this piece. Ability to sing and play an instrument a plus but not required
    WILL SHAKESPEARE – Male, 20s-30s. Poet currently suffering from writer’s block. Romantic, intelligent, fiery, sexy, and dreamy (in all senses of the word). A romantic rebel rock star genius. Swordfights with Wessex. Onstage for nearly the entire play. Seeking performers who have exceptional skill with language and comedy. Actor must be a skilled swordsman.

    VIOLA DE LESSEPS – Female, 20s. Noblewoman woman who loves poetry, language and the theatre. Passionate, full of life, desirous of adventure. Dresses up as a man to be part of Shakespeare’s world. She is Juliet, Rosalind, and Viola all rolled into one effervescent, intelligent, beautiful dynamo. Must have great ease with language and physical humor. Seeking performers who have exceptional skill with language and comedy.

    KIT MARLOWE –Male, 20s-30s. Will’s best friend, also a poet. Intelligent, creative, lovable. and reckless with a punk rock idol quality. He helps Will write some of his most famous poetry and acts as Will’s sounding board and confidante. Seeking performers who have exceptional skill with language and comedy. Singing a plus, instrument abilities, especially guitar or drums, a strong qualifier..

    HENSLOWE– 40-50. Philip Henslowe is the owner of the Rose Theatre. Bold, generous fellow who will work any angle to keep his theatre afloat. He has lots of spirit and cheekiness but questionable personal hygiene. Requires a fearless comic character actor.

    FENNYMAN– Male, 40s-50s. Henslowe’s creditor. Big, Intimidating business man who is all about the numbers. The last person you would expect to be a theatre lover. Is overjoyed to be cast as the Apothecary in Romeo and Juliet. Joins Shakespeare’s company in Act II. Seeking performers who have exceptional skill with language and comedy.

    NED ALLENYN – Male, 20s-40s. A quick-witted and dashing matinee idol. Member of Shakespeare’s company, plays Mercutio- and all that suggests. Seeking performers who have exceptional skill with language and comedy. Actor must be a skilled swordsman.

    LORD WESSEX–30s. Lord Wessex is William Shakespeare’s opposite in almost every way. He’s humorless. He’s an aristocrat. He’s arrogant. He’s petulant. Requires an actor who understands how to play a dignified comic fool. Must be a skilled swordsman.

    RICHARD BURBAGE –Male, 30-40. An actor and a grand theatre impresario. Owner of the Curtain theatre. Lovable actor-manager with a larger than life presence with a larger than life presence. Seeking performers who have exceptional skill with language and comedy. Actor must be a skilled swordsman..

    QUEEN ELIZABETH I – 50+. Regal. imposing. Tough. See through everything. Does not suffer fools, loves theatre and dogs.

    NURSE – Female, 40s-50s. Viola’s nursemaid, servant, and ally. Motherly. A great comedienne with a huge heart. Seeking performers who have exceptional skill with language and comedy, and a beautiful singing voice.

    TILNEY/SIR ROBERT LESSEPS– Male, 40s-60s. Elizabeth’s Lord Chamberlain and advisor. Pompous and rigid, he is the inspiration for Malvolio. Doubles as Viola’s father, Seeking performers who have exceptional skill with language and comedy.

    MISTRESS QUICKLY/MOLLY – 25-45. Wardrobe Mistress, fun, playful.
    Molly is sultry, a silly bar wench

    RALPH – Male, 30s-50s. A waiter at the tavern, and also a member of Shakespeare’s company. Plays the Nurse in Romeo and Juliet. Funny, sweet and great with physical humor. Seeking performers who have exceptional skill with language and comedy. ?

    4 Ensemble Actors- Male/Female, 18-60+ will play the following roles JOHN WEDSTER, WABASH, SAM, ADAM/BOATMAN, NOL, PETER/BARMAN and ROBIN/FREES. Actor need to be playful, and versatile.


    Written by Duncan MacMillan with Jonny Donahoe
    Rehearsals: Starting on Feb. 5th
    Performances: Mar.2nd – Mar. 31st

    THE NARRATOR—Male/Female 30-55, warm, personable, ability to feel comfortable and interact with audience.
    This role has been cast; actors may audition for possible replacements.


    Book by Marc Acito, Jay Kuo & Lorenzo Thione
    Music and Lyrics by Jay Kuo
    Director: Paul Daigneault
    Rehearsals: Starting on April 9th
    Performances: May 4th – June 2nd, 2018 possible extension to June 24th

    Male, 70-79. Asian, South Asian, Southeast Asian / Pacific Islander.
    Both roles are played by the same actor, but they are complete opposites. Sam is a World War II hero, and Ojii-san is his grandfather. Sam is American-born, resolute and stern, military in bearing, a person who shut down a lifetime ago and has steadfastly refused to open up since. Ojii-san, or Ojii, is Japanese-born, sweet-natured and observant, quick to make a joke, even quicker to laugh at one. Uneducated, he is as free in spirit as Sam is locked up, though he does rely on the precepts of Japanese tradition to order his life and sustain him. Bass-baritone to classic baritone. Not a “singer” role, but more of an actor who sings.
    Female, 30-35. Asian, South Asian, Southeast Asian / Pacific Islander
    A single woman at the start of World War II, having dedicated her life to serving her family; having lost her mother as a girl, she is the obedient daughter to her domineering father and the only mother her much younger brother has ever known; a hard-working farm girl, there’s a sturdy dependability to her, as if she’s constructed a solid well around a deep, dark reserve of emotion; paradoxically, the internment provides her a liberation she’s never experienced, a chance to make up for the adolescence she lost and finally find love and become politically outspoken; mezzo; solid belt/mix to Eb.

    Male, 25-29, Asian, South Asian, Southeast Asian / Pacific Islander
    An industrious and dutiful son but longs to find his own way in the world; whip-smart and irrepressibly friendly, he secretly fears he will never measure up, particularly since he disappoints his father when he doesn’t get into law school; the internment provides him the opportunity to become an enthusiastic and effective community leader; he goes on to face unthinkable carnage as a platoon sergeant in World War II, earning him a Purple Heart; strong tenor with solid A.
    Male, 30-35. Asian, South Asian, Southeast Asian / Pacific Islander
    a Japanese-American graduate student; bookish and serious; a natural-born leader; his inherent sense of justice is catalyzed by the internment to the point of open rebellion in the name of liberty; high baritone to Ab.

    Male, 50-59
    a Japanese born (Issei) farmer, father of Kei and Sammy, faithful, conservative. Striving to uphold what he believes are American ideals, his resistance to their internment drives a wedge between him and Sam, and leads to his segregation from his family. Classic baritone to F. Principal.

    Male, 20-29. Asian, South Asian, Southeast Asian / Pacific Islander.
    A real life historical figure, Mike is the newly appointed 26-year-old national spokesman for the Japanese American Citizens League. At the outbreak of war, he finds himself thrust onto the national stage, so he must summon the fortitude to speak on behalf of his people. He is sincerely determined to do what is best and turns to his deeply held faith in God to eventually find the confidence. But that zeal and certainty will eventually blind him to moral compromises that sacrifice lives. This is a non-singing role. Singing is a plus but not necessary. Principal.

    Female, 20-29. Caucasian.
    A small-town girl with big dreams, Hannah’s sense of justice motivates her to volunteer at the internment camps; her forthright bravery bonds her with Sammy, in whom she finds an unexpected kindred spirit; mezzo with belt to D/Eb; classic Broadway with a contemporary twist; strong mix to E.

    Female, 20-69. Asian
    Strong singers. Excellent movers. Possible principal understudy assignments.

    Male, 20-69. Asian
    Strong singers. Excellent movers. Possible principal understudy assignments.

    Male, 20-40. Caucasian.
    Strong singers. Excellent movers

Play Submissions


The 2018 Boston Project

The 2018 Boston Project is a new play development initiative which aims to create plays set in our hometown. Thanks to all the wonderful playwrights who submitted proposals by the May 30th deadline. Proposals are currently under review and selections will be announced by August 1, 2017.

Boston & New England Playwrights
As part of our mission to support local artists, SpeakEasy Stage Company accepts unsolicited scripts directly from playwrights who live in New England (this does not include New York). Local writers, please email the full text of your play, saved as a .pdf, and a current theatrical resume to No paper submissions, please.

Non-Local Playwrights
We are not able to accept unsolicited submissions from writers outside of the New England area. However, we accept submissions from agents and development organizations in the United States, Canada, and the UK.

Local Readings & Workshops
We understand that the best way to experience a script is live and on its feet, and so we try to see as many local staged readings, workshops and world premieres as possible. If your play is receiving a public reading or performance, e-mail information on the date, time, and responsible theatre company to, and we’ll make every effort to have a representative attend.


We are an equal opportunity employer and do not discriminate based on race, religion, gender, age, sexuality, gender identification, or physical ability. We will make reasonable accommodations for interviews and service.
When emailing resumes and materials, please be sure to put the name of the position to which you are applying in the subject line.



There are no job openings at this time. 


SpeakEasy internships are an excellent way to learn more about the workings of a professional theatre company, through hands-on experience and mentorship. Our work environment is supportive and open, giving interns access to the multidisciplinary art of theatre management, which includes the rehearsal and production process, community outreach, development, marketing and general management.

All internships are available for one semester, for the season (Aug/Sept-May), or for the calendar year. Production internships may also be undertaken on a show-by-show basis. Internships are a minimum of 16 hours per week, are unpaid, and do not carry promise of employment after completion, though they may be used for school credit (if your college permits). In addition, we are happy to offer free tickets to our shows and events to all interns, along with full access to other company events whenever possible.

Applications for Spring 2018 internships are now closed. Please check back later for information about applying for Summer & Fall 2018.

  • Arts Administration

    Administrative Interns gain exposure to all facets of managing a mid-sized non-profit theatre company, working closely with the Artistic, Development, Marketing, and Production departments as they:

    • Prepare dramaturgical and marketing materials for upcoming productions
    • Coordinate and assist with special events, readings and benefits
    • Lay the groundwork for donor and audience engagement initiatives
    • Read and Assess script submissions from local and national writers
    • Build relationship with audiences and volunteers

    Interns will be expected both to help with general office duties, and also take on and manage a wide variety of necessary tasks throughout the semester. Candidates with a passion and love of theatre, good writing and computer skills, and a gregarious, outgoing, and enthusiastic personality will be the best fit for this position. Administration internships are directly supervised by Jennifer Morris, Administrative  Associate.

  • Marketing

    Marketing Interns assist SpeakEasy’s marketing team as they:

    • Plan production marketing campaigns, including poster and postcard design, web design, ad placement, promotions, group sales, special events, business partnerships and more
    • Work with the press to ensure a show gets maximum exposure, including photos, preview articles, reviews, and features
    • Enact public relations efforts, including community building and outreach, educational efforts, and charity donations Interact with patrons and subscribers, and help the public learn about a production from all sides

    Candidates for this internship should be motivated, with good people skills, computer literacy and experience with Microsoft Office (familiarity with Adobe Photoshop is a plus). The ideal applicant will have a basic knowledge of common social networking devices, such as Facebook and Twitter, and will possess superior writing skills. Some graphic design experience is preferable. Marketing internships are directly supervised by Jim Torres, Director of Marketing & Communications.

  • Theatre Management

    Theatre Management Interns assist SpeakEasy’s administrative and production staffs as they:

    • Develop and maintain contracts and vendor relations
    • Handle day-to-day accounting and payroll
    • Plan medium and long-term schedules and budgets
    • Manage the many details that keep an organization running smoothly.

    Candidates should have some experience in theatre production (either professional, community, or educational), as well as knowledge of Microsoft Office apps (especially MS Excel), and strong self-management skills. If everyone says you’re organized, yet you never feel organized enough, this is the position for you. Must love lists. Theatre Management internships are directly supervised by Paul Melone, General and Production Manager

  • Theatre Production

    Production interns assist SpeakEasy’s production and stage management staffs as they coordinate, design and execute mainstage productions and special events. Interns have the opportunity to assist with multiple facets of a show, including:

    • Stage Management
    • Props
    • Costumes
    • Set Construction and Painting
    • Lighting and Electrics
    • Sound
    • Load-in and Strike

    Candidates should have some previous experience working backstage, as well as basic computer skills.  Individuals with a passion for a specific discipline (stage management, or sound design, for example) are encouraged to apply and list their primary area of interest. Production Management internships are directly supervised by Paul Melone, General and Production Manager

  • Application Information

    To apply, please submit:

    • A cover letter indicating your areas of interest and experience, your preferred start date, weekly availability (if available), and whether you plan to receive college credit for your internship
    • A resume or resumes detailing both your administrative and theatrical experience
    • The names and contact information of two references
    • A writing sample (optional)

    Application materials should be e-mailed to, with the position to which you are applying in the subject heading. Internship Applications are reviewed on a rolling basis, so early application is encouraged.


The SpeakEasy Fellowship Program acts as a bridge for early-career arts administrators between their academic experience and a professional life in the arts. Working closely with the director of their department, fellows gain mentorship, career guidance, and hands-on experience through independent and collaborative projects over the course of a full theatrical season.

Next season’s fellowships will run from August 1st, 2018 to June 30th, 2019, and involve 25 hours of on-site work per week, with occasional evening and weekend events. Each fellowship is paid.

Specific criteria for each position and application information are below, but successful candidates for any of the fellowships will have:

  • A high level of motivation and a passion for theatre
  • The ability to work effectively in a highly-collaborative environment
  • Working knowledge of Microsoft Office, Google Apps and Adobe Creative Suite
  • Excellent written and verbal communication skills
  • Drive, initiative, and professionalism
  • Excellent creative problem-solving, brainstorming, and multi-tasking skills

Applications for the 2018-2019 Fellowships will open in Spring 2018. Check back for more information in March!

  • Artistic Fellowship

    Working under the Producing Artistic Director, the Artistic Fellow will spend the season gaining experience in high-level theatrical administration, with responsibility in multiple areas, including auditions and casting, dramaturgy and literary management, season development, special event production, and general administrative duties. Applicants for this fellowship should be interested in pursuing a career as an artistic director of a theatre company.

  • Marketing Fellowship

    Working under the Director of Marketing, the Marketing Fellow will gain both high level and hands-on experience in theatrical publicity and communications, with responsibility in multiple areas, including press outreach and promotion, audience engagement events, group sales, e-blasts and social media, subscription campaigns, budgeting and finance management, and audience relations. Applicants interested in this fellowship should be interested in pursuing a career in marketing, public relations, and/or arts administration.



Application Requirements

To apply for any of the fellowships, please prepare:

  • A cover letter detailing which fellowship you are applying for
  • A resume containing relevant job history and theatre experience
  • A narrative of no more than three pages addressing:
    • Why you are interested in the fellowship to which you are applying
    • The qualities, skills, and interests that make you the best candidate
    • What you are hoping to gain from the fellowship experience
    • A description of your broader career goals, and what impact or transformation you would like to have in the Boston theatre community
  • A brief description (no more than one page) of either the most moving piece of theatre you’ve ever seen, or an artist who inspires you
  • Two letters of recommendation from former employers, professors, or supervisors (with at least one being from a staff member of an arts organization or a theatre professor). These letters may be sent separately via e-mail to, but must be received by the application due date.

Application materials should be saved in .pdf format and submitted via e-mail to Please indicate the fellowship to which you are applying in the subject heading of your e-mail.

Any questions regarding SpeakEasy, the Fellowship program, or the application process may be directed to