Auditions

Pomona College values creating a space in which all beings can flourish, thrive, and create, knowing that their personhood will be respected and honored. We also recognize that each person carries with them a multitude of experiences and cultural influences.

In short, we recognize and honor the brilliant complexity of our humanity.

We are in the process of building our anti-racist framework and guidelines to aid in our creation of a compassionate, dynamic, inclusive artistic space.

In the meantime, we know and will hold to the following:

• The Pomona College Theatre Department recognizes the importance of a clear and transparent casting process. We invite students of all gender orientations, ethnicities, body types, abilities, races, religious beliefs, and experience levels to audition for our productions.
• We invite non-binary, gender non-conforming and trans students to audition for any roles they feel comfortable playing on stage.
• We aim to serve the needs of student growth while honoring inclusive casting practices and faithfulness to the playwright’s intentions.
• We aim for consent-based processes in our casting, including transparency around staged intimacy in our casting notices as well as bringing on an intimacy director for all productions.

The Department recognizes the intrinsic educational value in its productions, and endeavors to provide significant performance opportunities. Therefore, a student may be cast in only one faculty directed production per semester.

Once a student is cast in a production, they are expected to attend all rehearsals to which they are called; we expect full attendance for tech week and performances.

The Department encourages students to direct any questions about casting to the director, production manager, and/or department chair.

Auditions for Yoga Play will be held January 23-25, 2026 in The Allen Theatre.

Students interested in auditioning need to fill out both the Signup form and Audition form. 

Please come prepared with a 1-minute monologue (preferably modern/comedic) from a play, movie, or even song lyrics.

Sunday callbacks will be group or paired activities which will include cold readings from script sides. At callbacks students are asked to come ready to move. 

Students of ALL experience levels and abilities are encouraged to audition!

Lina Patel is directing Yoga Play. 

A word from the director:

I’m an actor and writer, and more recently, a director, producer, and educator. The throughline in my multi-hyphenate career has been a deep curiosity about power, identity, and belonging, especially through the lens of women and people of color navigating complex systems. That’s what drew me to Yoga Play - a sharp, funny, and surprisingly tender satire about wellness culture and hyper-capitalism’s obsession with “authenticity.” Yoga Play skewers the contradictions of corporate wellness, but it also makes space for the genuine longing, absurdity, and grace of the people who work within that system.

What excites me about directing Yoga Play at Pomona is the opportunity to collaborate with young artists in a community that values rigor, generosity, and risk. We’re also working with top-tier professional designers, and staging the show in Pomona’s black box Allen Theatre - a space where intimacy and innovation can truly thrive. This play walks a tonal tightrope - from farce to pathos - and I’m looking forward to exploring that emotional range with students who bring curiosity and heart into the room. We’ll be laughing, asking big questions, and creating something that feels timely... and dare I say... authentic!

Yoga Play by Dipika Guha

When a scandal rocks the top yoga apparel company in America, newly appointed CEO Joan must steady the ship with a radical new strategy: bring on a "real" Indian guru to re-center the brand. There’s just one problem -- finding a guru who fits their glossy brand image... and corporate timeline.

In this hilarious and timely satire, Yoga Play skewers the wellness industry, the commodification of Eastern culture, and the absurdities of capitalism, while never losing sight of the genuine yearning for connection and meaning beneath the branding.

This is a fast-paced, character-driven ensemble comedy that invites actors to play big, bold, and true. Actors will have a willingness to bring physical and vocal dexterity and make a range character choices.

Content Disclosure –

This production contains satirical commentary and themes that may be sensitive for some audience members, including:

• Corporate culture and workplace pressure
• Cultural appropriation and racial stereotypes, addressed critically through satire
• Discussions of body image, wellness culture, and commercialization of spirituality
• Mild adult language and sharp humor
• Social and ethical discomfort presented for comedic and critical effect

There is no sexual content or romantic intimacy, but the play intentionally provokes reflection on modern wellness trends, privilege, and identity.

Feel free to ask any questions about any content in this show if you need more information in order to consent to a role/being a part of this production.

Please note, the roles of JOAN, RAJ, and FRED are precast for a senior thesis projects.

Roles Being Cast:

ROMOLA (Also plays Lauren Clark Rose & Lucy (voice only) 20s, Latina. American.

Romola is the yoga teacher you’ve seen on Insta: centered, confident. At first glance, Romola may seem like an L.A. cliché, a serene wellness guru with perfect posture and an endless supply of mantras, but underneath the spandex is a woman navigating the contradictions of branding, identity, and belief. A scene stealer with her confident presence and surprising sincerity. Must be able to do yoga poses, ideally headstand or tree pose or something complicated. This actor also plays

LAUREN LILY CLARK ROSE - 20s, American, Jojomon's Brand Ambassador. Tries very hard to be culturally sensitive. Energetic and positive. Looks a lot like Romola.

LUCY (voice only) 20s, American. Jojomon Employee, highly educated. Means well. Clueless.

Seeking a vocally and physically versatile actor willing to dive in, make strong vocal and physical choices to distinguish characters, and have some fun!

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NOOYI, South Asian (Indian) American, a young 20-something. Joan's secretary. And fan. Efficient. Loyal. Over-worked. Helpful. Too helpful. Ability to convey emotions through physicality is key. Ability to do both standard American and Indian dialects a plus.

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GURUJI (Also plays John Dale and Alan Carr) - 40s, 50s, White. American. A seeker. The "Indian guru" brought in to save the brand. But is he real, fake, or something more ambiguous? Full of warmth, mystery, and contradiction.

JOHN DALE (voice only) – Wealthy Founder of the Jojomon empire, determined to be both wildly successful and achieve inner peace. This role will be voice only, live streamed during performance from backstage.

ALAN CARR (voice only) A BBC Reporter who uncovers a scandal. British accent required. Voice only, live streamed during performances from backstage.

Seeking a physically expressive actor with a strong presence, ability to do convincing Indian, American and British dialects, and the ability to balance sincerity and satire.

Rehearsals for Yoga Play will most likely occur Tuesday through Friday nights, 6-10pm, AND Saturday afternoons, 12-4pm. There will also be a rehearsal on Monday, February 23 6-10pm. Call times are subject to change and will be announced by the stage manager. Rehearsals begin Tuesday, January 27, 2026.

Actors may not be called for every rehearsal but you are expected to be present for every rehearsal for which you are called. During the last two weeks of production, everyone will need to be present for the entirety of rehearsal.

Yoga Play by Dipika Guha

Allen Theatre

January 27th through March 8th

Auditions: January 23rd – 25th

Rehearsals: January 27th – February 27th

Designer Run: Thursday, February 19th, Friday, February 20th, or Saturday, February 21st

Tech: Friday, February 27th, Saturday, February 28th

Dress Tech: Sunday, March 1st through Tuesday, March 3rd

Preview: Wednesday, March 4th

Performances: Thursday, March 5th, Friday, March 6th, Saturday, March 7th at 7:30pm; Saturday, March 7th and Sunday, March 8th at 2pm

Strike: Sunday, March 8th, following the performance

Here is the script.

Auditions for Pride and Prejudice will be held January 23-25, 2026 in The Seaver Theatre.

Students interested in auditioning need to fill out both the Signup form and Audition form.

Please come prepared with a 1-minute comedic or dramatic monologue from a play, movie, or even song lyrics.

Sunday callbacks will be group or paired activities which will include cold readings from script sides. At callbacks students are asked to come ready to move.

Students of ALL experience levels and abilities are encouraged to audition!

Margaret Starbuck is directing Pride and Prejudice. 

A word from the director:

Pride and Prejudice is one of my all time favorite books, and a bit of a lifelong obsession for me, so I am truly thrilled at this opportunity to direct the Kate Hamill adaptation! I love that no matter who you are there is likely a character that you can identify with in Pride and Prejudice, whether you are an Elizabeth, a Darcy, a Bingley, a Charlotte, or god forbid, even a Mr. Collins. The world of this play is full of joy, ridiculousness, witty satire, and feels to me like one, big, swirling, giddy dance. I can’t wait to dive in and have some fun!

Pride and Prejudice by Kate Hamill

This isn’t your grandmother’s Austen! Bold, surprising, boisterous, and timely, this P&P for a new era explores the absurdities and thrills of finding your perfect (or imperfect) match in life. The outspoken Lizzy Bennet is determined to never marry, despite mounting pressure from society. But can she resist love, especially when that vaguely handsome, mildly amusing, and impossibly aggravating Mr. Darcy keeps popping up at every turn?! Literature’s greatest tale of latent love has never felt so theatrical, or so full of life than it does in this effervescent adaptation. Because what turns us into greater fools…than the high-stakes game of love?

Overall Content Advisory:

Pride and Prejudice contains themes of social classes and historical societal expectations. It includes implied and discussed sexual situations with underage characters, and underage drinking. 

 

Feel free to ask any questions about any charged content in this show if you need more information in order to consent to a role/being a part of this production.

Content advisory: Pride and Prejudice contains themes of social class and classism, and gender and class-based historical societal expectations. It includes implied and discussed sexual situations with underage characters, and underage drinking.

Please note: The role of MR DARCY is precast for a senior thesis project.

We may double cast or cast individual roles.

JANE. Late 20s-early 30s. The eldest and most beautiful Bennet daughter. Kind, idealistic, diffident. Always tries to do the right thing.

NOTE: The script includes an instance of comedic playful butt smacking between MRS. BENNET and JANE. An Intimacy Director will be present to choreograph.

LIZZY. A year or two younger than Jane. Clever, spirited; can be sharp-tongued. Gets flustered, which makes her klutzy. Prides her­self on good judgment. Not especially beautiful. Very very scared of marriage, after absorbing the lessons of her parents' marriage. (The actor playing Lizzy will not double.)

NOTE: The script includes a kiss between the roles of LIZZY and MR DARCY and an instance of comedic playful butt smacking between LIZZY and MRS. BENNET. An Intimacy Director will be present to choreograph.

MARY. The third Bennet girl. Violent and dark undertones; prone to pedanticism and sulking. A dark goth Bronte character trapped in an Austen world. Coughs to get attention, or to make a point; may fancy that she is dying.

LYDIA. 14. The youngest Bennet. Lively, prone to imitating others' behavior and eavesdropping.

MR. BENNET. 50’s-70’s. The patriarch of the Bennet family. Finds amuse­ment in absurdity; often looks for respectable escape from the chaos of his family life. Can be somewhat apathetic; probably a bit depressed, under everything. Enjoys antagonizing. Disappointed in marriage.

NOTE: There is comedic physical affection and cheek kissing between MR. and MRS. BENNET. An Intimacy Director will be present to choreograph.

MRS. BENNET. 40’s-60’s. The matriarch of the Bennet family. Mostly a silly woman, of mean understanding and variable temper. Hypochondriac; when she's upset, she fancies that she's dying. The business of her life is to get her daughters married. She traumatizes her family with some regularity.

NOTE: Mrs. Bennet lacks awareness and boundaries when it comes to affection or physical offenses with the members of her family. The script includes an instance of comedic playful butt smacking between MRS. BENNET and LIZZY and between MRS. BENNET and JANE. There is also physical affection and cheek kissing between MR. and MRS. BENNET. An Intimacy Director will be present to choreograph.

LADY CATHERINE. 40’s-70’s Patrician Caesar-meets-drill sergeant. Darcy’s aunt and Miss De Bourgh’s mother. Mr. Collins’ patroness.

MISS DE BOURGH. 30’s Lady Catherine's daughter and Darcy’s cousin; a gremlin. Probably allergic to sun. Underneath all her veils, she may be covered in scales.

MR. COLLINS. 30’s-40’s A pedantic, obtuse man. The original mansplainer. Rector to Lady Catherine and cousin to the Bennet sisters.

WICKHAM. 20’s An unfairly handsome and charming gentleman. Probably a sociopath. Raised with Darcy.

MISS BINGLEY. 20’s-30’s A very rich, very beautiful young woman. Fancies herself witty.

MR. BINGLEY. Late 30s-40s. Loves the world and the world loves him. Mr. Darcy's particular friend. Almost literally a dog.

CHARLOTTE LUCAS. Same age as Lizzy. A practical girl with a good sense of humor. Lizzy’s best friend.

SERVANTS. Various.

Rehearsals for Pride and Prejudice will most likely occur Monday through Friday nights 6-10pm. Call times are subject to change and will be announced by the stage manager. 

Actors may not be called for every rehearsal but you are expected to be present for every rehearsal for which you are called. During the last two weeks of production, everyone will need to be present for the entirety of rehearsal.

Pride and Prejudice by Kate Hamill

Seaver Theatre

February 16th through April 12th

(closed: March 16th-22nd Spring Break; closed: March 27th Cesar Chavez Day observed)

Auditions: January 23rd – 25th

Rehearsals: February 16th – April 3rd

Designer Run: March 25th, 26th or 28th

Tech: Friday, April 3rd and Saturday April 4th 

Dress Tech: Sunday through Tuesday, April 5th – April 7th

Preview: Wednesday, April 8th

Performances: Thursday, April 9th, Friday, April 10th, Saturday, April 11th at 7:30pm; Saturday, April 11th and Sunday, April 12th at 2pm

Strike: Sunday, April 12th, following the performance

Here is the script.