Auditions
Bachelor of Arts in Theatre with a Concentration in General Theatre
No audition or interview is required for admission to the General BA Program.
General Theatre BA Requirements
Bachelor of Arts in Theatre with a Concentration in Performance
The next in-person auditions will be held at the Department of Theatre on Saturday, January 24, 2026, beginning at 1:00 p.m. The deadline for submitting a video audition is Friday, January 23, 2026.
Bachelor of Arts in Theatre with a Concentration in Design and Technology
Students interested in applying for the Design & Technology Concentration should submit a digital portfolio (either as a website or PowerPoint style presentation), resume, and a brief statement expressing your interest in the design/tech concentration through email to Therrin Eber, Head of Design & Technology, at
If you have questions about portfolios and resumes, those should also be addressed to
Bachelor of Fine Arts in Musical Theatre
Deadline to submit prescreen application: January 15, 2026
- CAP Auditions in St. Louis, MO: November 14-15, 2025
- Chicago Unified Auditions: Monday-Wednesday, February 2-4, 2026
- On-Campus Audition Dates:
- Saturday, November 22, 2025
- Saturday, January 31, 2026
- Virtual Audition: Saturday, January 17, 2026
Musical Theatre BFA Admission and Audition Requirements
Casting Policy
Casting for productions is influenced by the need to provide students with a process and performance experience that is educational, practical, challenging, and significant in a professional setting that models the real-world dynamics our students are likely to encounter following graduation.
At the Audition
- Wear simple, attractive, comfortable clothes and shoes.
- Minimize jewelry.
- Style your hair so that it flatters your face, not hides it.
- Warm up your voice and your body.
- Assess the acoustic qualities of the performance space and make choices regarding how much vocal energy you will need to be heard.
Presenting a Monologue
- Find material that you could be cast in today.
- Use material that is within your age range, your vocal range (especially if you're singing), your emotional range, and within the scope of your movement skills.
- Avoid material that requires a dialect.
- See that the material moves to a conclusion. Begin somewhere and go somewhere through the material.
- Use material that focuses on your character.
- Avoid material that you have performed in a complete production.
- Discuss your choice of material with your director, and your other acting teachers.
- Choose material in which you have faith, and as you rehearse allows you to gain confidence.
Rehearsing the Material
- Make strong, positive choices aimed at putting your character in charge of the scene.
- Locate and exploit counterpoints and tensions between yourself and the character, tensions within the character, tensions between the character and the dramatic situation.
- Allow time for audience reaction when the character has to make a choice. Share choices with the audience.
- Give movement specificity, dramatic validity, and theatrical finish. Simple but completely realized movements and gestures are the most effective.
- Avoid literal interpretations of the text in movement and gesture.
- Keep body and face forward. Avoid too much profile.
- Maintain vocal control throughout the scene. Don't let emotions drive you beyond vocal expression you can control.
- Imagine the physical space appropriate for your scene; set the boundaries and maintain control of that space during the performance. Movement should develop organically from the material; the connection between the physical action and its emotional source should be strong and clear.
- Clearly specify the ending of the first piece and the start of the next. Do not run the scenes together.
- The confidence, poise, and polish characteristic of outstanding auditions is the result of dedicated, concentrated rehearsal and astute coaching. Ask your acting teachers and your coaches to help you with your audition. Adequate rehearsal is vital.
Note
Each student who elects to participate in UAB Department of Theatre auditions for main stage productions must audition for all productions being cast at that time, musical or non-musical. By auditioning, the student both acknowledges and consents that they can be cast as needed in any production for which auditions are being held.
Questions?
Call or write
Theatre UAB Head of Performance Dennis McLernon
(205-934-8300
or
Theatre UAB Department Chair Kelly Allison
(205-934-8776
Casting for productions is influenced by the need to provide students with a process and performance experience that is educational, practical, challenging, and significant in a professional setting that models the real-world dynamics our students are likely to encounter following graduation.
Due to our dual emphasis on classroom and practical training, only students who have achieved a 2.25 grade point average are eligible for casting in UAB main-stage productions and UAB touring companies.
Casting decisions are made based on actor-training opportunities. We strive to provide performance opportunities for our diverse student body.
Race, gender, gender identity, ethnic origin, and/or age of characters may be changed when legally permissible and artistically feasible to take advantage of available student talent, and to provide a greater range of experiences to underserved populations in the department.
The department gives priority in casting to UAB Theatre majors. Non-majors will also be cast when a play cannot be cast exclusively from the pool of eligible Theatre majors. Invited guest artists, professional alumni, as well as Theatre faculty and staff will be considered for roles in order to enhance the training experience of student actors in a particular play or process.
These guidelines are reviewed annually and evolve with student and departmental needs. Any omission here does not constitute an intentional exclusion.
Your portfolio is your story as an artist, technician, and collaborator. It shows how you think, how you solve problems, and how you bring ideas to life through design and craft. At UAB, we’re not just looking for finished products — we’re looking for process, imagination, and growth.
Before the Interview
1. Résumé
Include a current, professional résumé in PDF format.
If meeting in person, bring a few printed copies. For virtual reviews, have it embedded or linked within your portfolio site. Your résumé should highlight both your theatre experience and any relevant creative or technical work (art, design, fabrication, media, leadership, etc. It doesn't have to be just theatrical work — we want to see you as an overall artist).
2. Portfolio Format
Digital portfolios are now the industry standard. Most students use a website, interactive PDF, PowerPoint/Google Slides to share their work.
If you prefer a physical book, make sure it mirrors your digital version—organized, concise, and easy to navigate.
Aim for 10–20 curated examples that show quality, range, and growth rather than quantity.
3. What to Include
Depending on your focus area (scenic, lighting, costume, sound, projections, props, stage management, or technical direction), your portfolio might include:
- Design & Process Work – sketches, renderings, drafting, research boards, cue sheets, scenic models, or digital storyboards
- Technical Documentation – ground plans, construction drawings, lighting plots, scenic automation paperwork, sound system diagrams, budgets, or production schedules
- Production Photos – clearly labeled with the show title, producing organization, date, and your credited role
- Artistic Foundations – drawings, sculpture, photography, or digital art that demonstrates your eye for composition and craft
- Coursework & Lab Projects – sewing samplers, carpentry builds, paint elevations, rigging exercises, or drafting assignments that show skill development
- Media Samples – short (under one-minute) video or audio clips of realized work or cue sequences
4. Show Your Process
Include at least one project that follows your entire creative or technical process—from concept and research to execution and reflection. Reviewers want to see how you think and problem-solve, not just what you produce.
5. Label Everything Clearly
Each piece in your portfolio should include:
- Your name and contact information
- Project title / production name
- Producing organization and year
- Your specific role (e.g., Scenic Designer, Assistant Lighting Designer, Carpenter)
- Collaborators
During the Interview
Your interview is a conversation, not a presentation.
The goal is to get to know you as an artist and collaborator.
- Start by sharing who you are and what excites you about storytelling through design and technology.
- Highlight a few key projects that best represent your growth, problem-solving, or artistic perspective.
- Be ready to discuss:
- Challenges you faced and how you overcame them
- How collaboration shaped your work
- What you learned and how you’d approach things differently next time
- Allow time for discussion — reviewers may ask questions about your creative process, your technical choices, or how you work within a team.
UAB Design and Technology Tips for a Strong Portfolio
- Keep it updated. Add new work each semester to reflect your latest skills and projects.
- Prioritize clarity over flash. Clean design and thoughtful storytelling always impress more than over-designed slides.
- Stay professional. Use your name consistently in your file naming so we know it's yours. (Resume.pdf can get confusing)
- Be ready to talk about collaboration in your process. We love collaboration and meeting collaborators.
- Show your range. We love to see work that crosses boundaries—design, tech, digital media, drafting, art, or even projects outside of theatre.
Questions?
Call or write
Theatre UAB Head of Design and Technology Therrin Eber
(205) 934-1137
or
Theatre UAB Department Chair Megan Lewis
(205) 934-1433