Adam Theatre 2026-2027 Season Auditions
Adam Theater is accepting virtual submissions for the 2026-2027 season. Show specific in-person callbacks will be held at a later date.
To submit please email a downloadable version of your self-tape to lckc.casting@gmail.com. Please also include an updated resume, headshot, and Actors’ Access name (if you have an account). WeTransfer can be utilized to create a link containing downloadable versions of your submission tape. Please select “create a link” and drop the link in the body of your email.
Submissions are due no later than 5:00 PM on Friday, May 22, 2026.
Material
LIBRARY LION
Please prepare the sides (including songs) that correspond to the role(s) you are auditioning for.
Slides
THE FLOOD
Please prepare the sides (including songs) that correspond to the role(s) you are auditioning for.
Slides
WHEN WE HAD WINGS
Please prepare the provided side. Note: this is a one person show. Please demonstrate your ability to transition into and create 4 distinctly different characters both vocally and physically.
Slides
Personnel
Reviewing video submissions: Lyndsay Allyn Cox (Casting Director - LCKC Casting), Kelly Jean Chick (Associate Casting Director - LCKC Casting), Ran Bechor (Artistic Director - Adam Theater), Karin Sharav Zalkind (Executive Director - Adam Theater)
Other
Adam Theater is an Equal Opportunity Employer and encourages actors of all backgrounds and abilities to audition. Although pronouns are defined in the text, we welcome actors of any gender expression to audition.
Actors must be local to the Greater Boston area for the duration of the rehearsal and performance period. No housing or transportation is provided.
The producer runs all aspects of this audition.
All dates are subject to change.
Some, if not all roles may be understudied, exact plan to be determined.
LIBRARY LION
Producer/Theatre Company: Adam Theater
Executive Director: Karin Sharav Zalkind
Artistic Director: Ran Bechor
Based on the book by: Michelle Knudsen
Written by: Eli Bijaoui
Directed by: Ran Bechor
Casting by: Lyndsay Allyn Cox (LCKC casting)
Rehearsal hours are 10AM to 4PM
First Rehearsal: December 1, 2026 or December 8, 2026 TBD
Tech begins: Wednesday, January 6, 2027
Opening: January 8, 2027
Closing: January 31, 2027
Note:
No rehearsal from Dec 22 to Dec 28 2026
No Rehearsal Dec 31 and Jan 1
Weekday performances are at 10:30 AM
Weekend performances are at 11:00 AM and 2:00 PM
All rehearsals and performances will take place at the Calderwood Pavilion at BCA
Contract type: Non-Union
Rate of Pay: $400 weekly
Location: Boston, MA
NOTE: You must be a Boston local hire to submit. No housing or transportation will be provided.
SYNOPSIS
Library Lion, based on one of Time Magazine’s 100 Best Children's Books of All Time by Michelle Knudsen, had its premier as a site specific production at the Boston Public Library in 2024, returning to the Calderwood for the third time. The musical play, featuring a cast of five, three musicians and three puppeteers, operating a puppet designed by Jim Henson’s Creature Shop. In the library, there are books. But also very clear rules: no shouting, no running, no eating or drinking. But what happens when one day a lion enters the library?
MCBEE (A mature man):
A librarian. Meticulous. Single. Very organized. Dresses with all the possible articles of clothing from his wardrobe (hat, jacket, coat, buttoned shirt, undershirt, scarf, etc. Of course, he has a bag, an umbrella, and more accessories). The rules in the library are very important to him. He loves order. Secretly envies authors and wants to become one. In some ways, he is very much like a religious man zealous for God and His laws. During the show, this aspect of his personality comes out. Sings. Vocal Range: Tenor (ROLE CAST)
MS. MERRIWEATHER (A mature woman):
Young at heart. Manages a department in the library. Loves children and people in general. Single. Her life is really dedicated to the library and books. She could have been many things in her life, but the library, in her opinion, is the most wonderful place to be. She sees the library as a place to liberate people. She is not disorganized like the Storyteller and not as orderly as McBee. She is more of a free spirit who allows herself to move freely in space. Requires some singing and some dance/movement. Vocal Range: Mezzo Soprano
MICHELLE (plays 8, actor 18–26):
Energetic, decisive, wields power over Kevin. She is energetic and curious. Requires some singing and some dance/movement. Vocal Range: Soprano
KEVIN (plays 8, actor 18–26):
A curious, bookish kid who dreams of becoming a writer. He is a bit nerdy and eager to please, especially around Michelle, whom he admires. Lacks confidence but makes up for it with attentiveness and imagination. Loves to read, follows rules closely, and is always trying to prove himself. Requires singing (tenor) and some dance/movement. Vocal Range: Tenor (ROLE CAST)
STORYTELLER (18–35): Quirky, warm, and a bit scatterbrained. She is often late and speaks quickly. Has an offbeat, whimsical presence. With children, she’s fully present and imaginative — able to draw them in and hold their attention with ease. Requires some singing and some dance/movement. Vocal Range: Mezzo-Soprano
For roles already cast, we are seeing actors for understudies or replacements.
THE FLOOD
Producer/Theatre Company: Adam Theater
Executive Director: Karin Sharav Zalkind
Artistic Director: Ran Bechor
Written and Directed by: Ran Bechor
Casting by: Lyndsay Allyn Cox (LCKC casting)
Rehearsal hours are 10AM to 4PM
First Rehearsal: TBD Spring 2027
Tech begins: TBD
Opening: TBD
Closing: TBD
Note:
There will be a workshop mid-August / early September
Weekday performances are at 10:30 AM
Evening and Weekend performances: TBD
All rehearsals and performances will take place at the Calderwood Pavilion at BCA
Contract type: Non-Union
Rate of Pay: $400 weekly
Location: Boston, MA
NOTE: You must be a Boston local hire to submit. No housing or transportation will be provided.
SYNOPSIS
At the center of The Flood are two 11-year-olds: a boy whose parents are going through a divorce, and a girl who interprets her world through a video camera and is afraid to leave her home. The play takes place in the girl’s house over the course of an evening. As she films her neighbors, her camera lands on the boy’s window. Sensing that he is being watched, the boy notices the camera and climbs out of his window to confront whoever is filming him.
Their meeting brings together two opposite worlds: a boy who wants to escape his home, and a girl who is afraid to step outside of hers. They become curious about each other’s lives. When the boy shares his secret—that his parents are divorcing and that he feels responsible—the girl, who has been observing his family through her camera, tries to help him understand that it is not his fault.
She invites him into a game: she will tell him a story, and together they will play its characters. Using the medium she knows best—the camera—she creates a set where they act out her version of the story of Noah’s Ark. She chooses this story with the understanding that Noah is someone whose world collapses, yet instead of blaming himself, he takes responsibility and builds an ark to save himself and what matters most from the flood.
Through this shared imaginative play, the children explore their relationships with the world, with their parents, and with each other, forming a meaningful friendship. In the process, they begin to understand what the “flood” represents in their own lives—and what kind of “ark” they each need in order to endure it.
THE BOY (plays 11-12, actor 18-26)
An 11–12-year-old boy whose world has collapsed following his parents’ divorce. He is introverted and sensitive, with a sharp sense of humor and a vivid imagination. He uses humor as a defense mechanism but struggles to carry the emotional weight he holds inside. In his inner world, he is convinced that he is to blame for the separation, and he carries a deep fear of losing love
THE GIRL (plays 11-12, actor 18-26)
An 11–12-year-old girl (looking for an actor aged 18-26 who looks young ) who interprets reality through the lens of a camera and storytelling. She is intelligent, creative, and often takes the lead, but also uses imagination and photography as defense mechanisms that allow her to maintain control over her world.
Together with the boy, she initiates and sustains an imaginative game in which they step into other roles. In this shared fiction, she allows herself a freedom she does not access in her real life — particularly when she takes on the role of Noah’s wife. Within the game, she is more open, expressive, and emotionally available.
For her, the camera is both a tool of expression and an emotional barrier — through it, she can observe without fully exposing herself. As the play unfolds, it becomes clear that this need for control prevents her from forming direct and unmediated connections with reality and with others. Through her encounter with the boy, and through the limits of the game itself, she is pushed to confront what cannot be mediated or controlled.
By the end, she undergoes a shift: she allows herself to let go of the camera — relinquishing control — and to meet the world, and human connection, in a more open, immediate, and vulnerable way.
How to Apply
Via Email
Lyndsay
lckc.casting@gmail.com
WHEN WE HAD WINGS
Producer/Theatre Company: Adam Theater
Executive Director: Karin Sharav Zalkind
Artistic Director: Ran Bechor
Based on the book by: Tami Shem-Tov
Written by: Ori Urian
Directed by: Ran Bechor
Casting by: Lyndsay Allyn Cox (LCKC casting)
Rehearsal hours are 10AM to 4PM, subject to change
Note:
This is a solo play, with the actor portraying multiple characters. The production will tour middle schools during the 2026-2027 school year, and we will be casting multiple actors at this time. In addition to playing the role, the actor should be prepared to assist with setting up and taking down the physical production which will be designed to fit in a van and for quick assembly.
Contract type: Non-Union
Rate of Pay: rehearsals $400 weekly and $50 per performance
Location: Boston, MA
NOTE: You must be a Boston local hire to submit. No housing or transportation will be provided.
SYNOPSIS
When We Had Wings tells the story of Yanek, a streetwise boy and the son of a thief, who survives by stealing food, until he is caught and sent to a Jewish orphanage in Warsaw. There, he encounters an extraordinary place inspired by the real-life educator Janusz Korczak: a home run by children, where fairness, responsibility and compassion guide daily life. For the first time, Yanek has enough to eat, a clean bed, and hope that his injured leg, and his future, might be healed. But joining this democratic children’s community means more than safety; it requires trust, accountability, and the courage to leave his old life behind. The play explores whether Yanek can learn to believe in himself and others, and whether a community built on dignity and respect can truly give children the wings they need to soar.
YANEK (plays 11-15, actor 18-26)
A streetwise orphaned boy in 1930s Warsaw who arrives at the orphanage carrying a past shaped by survival, theft, and deep mistrust of others, yet beneath that exterior lies sharp intelligence, humor, imagination, and a profound need to belong. He lives in constant tension between the label “thief” imposed on him and his emerging desire to be seen, understood, and valued, and his journey traces a shift from a reactive, defensive child to one capable of accountability, empathy, and self-definition. In this solo performance, the actor must embody Yank as both protagonist and storyteller, directly engaging the audience and inviting them into his inner world, while fluidly transforming into multiple supporting characters (Korczak, Stefa, Itcho, Rozi, Mira, and others) through clear physical, vocal, and rhythmic shifts. The role requires strong versatility, moving seamlessly between vulnerability and bravado, humor and dramatic intensity, immediacy and reflective narration. Yank is a highly physical role (holding the duality of a former “runner” now living with a limp), emotionally layered yet guarded, and gradually awakened to the power of language and human connection; it requires an actor with dynamic range, precise transformation skills, strong audience rapport, and the ability to sustain a compelling solo presence throughout.
ABOUT ADAM THEATER
Established in May 2023, Boston based Adam Theater is a non-profit professional theater offering a repertoire of plays for young audiences and families. Adam Theater is co-founded by Artistic Director Ran Bechor and Executive Director Karin Sharav Zalkind. We are devoted to bringing exceptional, high-quality theater to every child in the Greater Boston area. Working in close partnership with local school systems, we seek to make the transformative power of live art accessible for all. We believe that art and education are inseparable companions. Both awaken a child’s capacity to question, to imagine, and to seek meaning. Through our work, we invite young audiences to reflect on ethics, justice, freedom and the human experience, while cultivating curiosity, empathy and critical thought.
Our productions are live, bold, and artistically daring, blending a distinctive visual and poetic language that illuminates the essence of theater itself. Drawing inspiration from timeless tales and familiar myths, our performances invite children to engage deeply with the theatrical form while journeying through rich, imaginative worlds filled with emotion and insight. Every Adam Theater production is a work of art, an act of education, and a celebration of community, an open invitation to wonder, to feel, and to begin a conversation about life, culture, and the values that shape the world to come.
Adam Theater is an Equal Opportunity Employer and encourages actors of all backgrounds and abilities to audition. Although pronouns are defined in the text, we welcome actors of any gender expression to audition.
SALARY
$400.00 – $400.00 per week
NON-UNION