Auditions

Witches of Eastwick

by John Dempsey (book and lyrics) and Dana P. Rowe (music)

Eastwick. A small little town where everyone knows everything about everybody. Under the iron fist of townleader Felicia Gabriel this little town runs on perfection, rules and small town gossip. Meet Alexandra, Sukie, and Jane. Living in the rural town of Eastwick these three seemingly ordinary women feel like fish out of water in this rigid town. Bored and fed up with the humdrum of their everyday small town lives they are longing for a change, for some…. excitement! On one stormy night, high on Martinis and brownies, Alex, Sukie, and Jane make a wish for the one thing they truly desire– “all manner of man in one man”. Not knowing of their magical capabilities, they get more than they bargain for when the man they wished for shows up the very next day. The devilishly handsome Darryl van Horn. The change they have longed for shows up right at their doorstep, but their wish might have consequences they could never have dreamed.

Performance Dates: October 23-25 and October 26-November 1, 2026
Venue: Het Amsterdams Theaterhuis

Audition form opening on April 1st!

Everything you need to know

Audition timeline

Audition Form and Self Tape Submissions Open : April 1, 2026

Self-Tape Submission Deadline:  April 22, 2026

After submitting the form, you will be asked to submit an audition video for each role you are auditioning for to auditions@heaproductions.nl by April 22.

Callbacks: Saturday May 9th and Wednesday evening May 13th.

Applicants selected for callbacks will receive further details following review of self-tapes.

Rehearsal Schedule

Rehearsals will begin on August 2nd and will take place:

  • Sundays from 10:00-17:00

  • Wednesday evenings from 19:00 - 22:00

A detailed rehearsal calendar will be distributed upon casting.

Character Breakdown

Character Descriptions

All genders, ethnicities, body types, and ages are encouraged to audition.

Principal Characters

ALEXANDRA SPOFFORD

Belt Mezzo with good head tones or mix

A sculpture artist. Creates with a passion, bestowing her own individuality on each piece she makes. Unique, strong minded, and clever. Divorced her husband who ran off with a younger woman much to her dismay. Has a son named Micheal who she loves dearly but she doesn't always know how to interact with. Longs for some excitement and creative stimulation but is not getting any. Has a close friendship with Jane and Sukie in which she finds comfort. Often acts as the leader of the group. 

JANE SMART

Belt Mezzo with good head tones or mix. It’s a pro if the actress playing this part can play an instrument. 

A musician who seems revered and quiet at first glance but don’t let that fool you. She has a straight-laced appearance but has a cheeky sense of humor and an unexpected wild side when she lets loose. Her passion for music matches her sexual drive. She is energetic and emotional but also brings her own special brand of sarcasm. Longs for true connection. Loves her friends Alex and Sukie dearly but feels inferior to them when it comes to men which comes with a touch of jealousy. 

SUKIE ROUGEMOUNT

Belt Soprano with good head tones or mix 

A journalist who works for the towns paper and is not focused in her work. Conveniently scatterbrained from time to time and talks faster than she can think. Often has a hard time expressing herself verbally through words. She sees Jane and Alexandra as the sisters she never had, cherishing their bond. Can be on the shyer side and is more of a follower than a leader. Is having an affair with Felicia’s husband Clyde which brings her in hot water with Felicia. Has a hidden maternal side that she discovers throughout the show.

DARRYL VAN HORNE

Baritone with a solid high E-flat

The stranger that shows up to shake up Eastwick. Has major sex appeal and charm. Women become hypnotised by his manner and every man wants to be him. He breaks all the rules and has the ability to win everyone over without trying. Has humor and wit, knows how to play a room and knows how to disguise his darker side for his own gain. Dangerous and effortlessly alluring. So much so that Alex, Sukie and Jane all fall for him. 

FELICIA GABRIEL 

Belt Soprano 

Eastwick’s First Lady. She is the self appointed leader and has an unshakeable belief that she knows what is best for the town. Her brand of dictatorship is dispensed with saccharine sweetness. She doesn’t have the class she thinks she does but the veneer is always on. She has money and power but feigns happiness. She does not have a close bond with her daughter Jennifer, and her marriage with Clyde is on edge. She takes an instant dislike to Darryl on his arrival and makes herself his nemesis.

CLYDE GABRIEL

Character Baritone

A pathetic down-trodden man, who realises he is trapped in a loveless marriage. He is having an affair with Sukie. You feel for him because of the relationship he has with his wife. He is hen-pecked but stays with Felicia because it's easier too; he is scared of her. Has a good relationship with his daughter Jennifer who he loves dearly. 

JENNIFER GABRIEL

Light Belt Soprano 

She is the direct opposite of her mother Felicia with her natural innocence. Her mother is a smothering presence in her life and she is used to acting in a certain way to keep her mother happy. Has a secret relationship with Michael of which she knows her mother will never approve. Felicia has tried to mold her into the perfect ‘Barbie’ doll. 

MICHAEL SPOFFORD

Lyric Tenor up to A plus pop falsetto to C

Alexandra’s son. Has an innocence to him but with a non conformity and wild edge about him as well. Very much a teenager rebelling against his mother. Has a naivete and sweetness about him, especially when it comes to his relationship with Jennifer Gabriel who he is head over heels in love with. 

Featured Ensemble Characters

FIDEL

Singing not essential 

Darryl’s ‘not of this world’ servant. Always around. More of a physical acting role.

LITTLE GIRL

Light Soprano 

The youngest girl of the town who represents a clean slate, not yet corrupted like the rest. Big singing part that has a very important part to play in driving the story forward. Knows more about what is going to happen then the characters themselves do. 

GINA MARINO

Belt Soprano

Is completely on Felicia’s side and loves a little gossip. One of the gossip trio that follows Felicia without question. Has a sexy side to her. Even though she is married to Joe she has the hots for other men in town. 

BRENDA PARSLEY

Belt Soprano

She is the Minister’s wife and is a huge busybody. Part of the Felicia gossip trio of which she is the first in command. She is eyeing Felicia’s positions and would no doubt step into her shoes when Felicia is no longer there. 

GRETA NEFF

Married to Raymond the school principal. Part of Felicia’s gossip trio together with Gina and Brenda. Very devoted to Felicia’s cause. She runs a string quartet.

JOE MARINO

Tenor 

Gina’s husband. A construction worker who is handsome and fancied by many of the townswomen. Bit of a ladies man. 

RAYMOND NEFF

Tenor 

Married to Greta. A bit of a mousey school principal but quite camp and has a sense of humor. 

ED PARSLEY

Baritone

He is the minister of the town church and Brenda’s husband. A good man who has been in the church for too long. Not really in touch with his faith anymore, he does it more as a job not as a calling. It’s convenient for him. 

And many more.

Audition FAQ’s

  • YES! Please audition for all of our shows for the year that you are interested in. There will be very few conflicts between them, despite some overlapping rehearsal schedules.

  • Fill in the form. Please include your full name as you would like it on a program. Include any major holidays or conflicts that you know you have. Look at the character descriptions on the website and select which shows and roles you would like to be considered for.

  • YES! We rarely precast our productions, and when we do we will only hold auditions for the understudy. Actors who have worked with us in the past, whether it be a production or a bootcamp, may have a better chance at being cast if they have shown a history of hard work, dedication, talent and are in general an asset to the team.

  • An understudy is an actor who is prepared to perform the role of another actor if that actor is unable to perform. Understudies are crucial for ensuring that the show can go on without interruption, maintaining the continuity and quality of the performance. In HEA shows, an understudy is always guaranteed at least one performance.

    Double casting is when two people are cast in the same role and split the shows evenly. This may be done due to a particularly demanding role or to provide more opportunities to play a role. It is expected for someone who is double cast to be able to step in for an additional show if their counterpart is unable to perform for any reason.

    Both cases help ensure that a show can go on in the case of illness, injury, or other unforeseen circumstances. The financial impact of cancelling a show due to an actor being unable to perform is massive for any theatre group, so we need to take steps to ensure this doesn't happen.

  • YES! We always need help behind the scenes, and if you want to be involved in a specific production, we will figure out where you fit. If you are only interested in performing, we encourage you to sign up for one of our Musical Theater Bootcamps! This will help you practice your skills, enjoy the process of putting on a production, and give you a chance to play a role without the pressure of a full scale production.

  • The team of each production will decide together for the most part, but the final decision is that of the director. The casting team consists of the director, vocal coach, band director, and choreographers of each production. The level of influence directly correlates with the demands of each show.

  • Absolutely! Ability to pay has no influence on casting decisions. If you are unable to pay the contribution, we will find other ways for you to contribute to the production.

  • Amateur theater is expensive to produce, while maintaining the quality. The cost of sets, costumes, rehearsal space, theater rentals, rights to productions, sound equipment, lighting equipment, programs, posters, stipends for professionals working on the productions, etc. far exceeds the average amount that ticket sales alone can cover. We do not get funding and every production carries a huge financial risk, and the actors contribution helps us offset some of the upfront costs.

  • Cast members need to commit to selling tickets because it significantly boosts audience attendance, which is essential for the financial health and success of the production. By leveraging their personal networks, cast members can reach a wider audience, ensuring that costs are covered and the theatre can plan future shows. This personal investment also builds community support, creates a vibrant atmosphere for performances, and generates authentic buzz and excitement.

    Cast members inviting audience is the number one seller of tickets, and crucial to ensure the success of a show.

Different from previous years, we are introducing a more formal process to ensure the success of each show without burning out volunteers. For each show, we will be asking each cast member to indicate which committees they have the skills to join, and will assign a committee to each cast member to contribute to the show’s success.

Show committees

Committees will include front of house, makeup & hair, costume assistance, flyering, props, set build up, set tear down, social media, and photography. Even if you don’t have skills in hair and makeup for example, you can easily be on the flyering committee to volunteer some extra time distributing and handing out flyers to help sell tickets for the show.