Connecticut Theaters Innovate Casting Approaches for New Productions

The casting process for theater productions in Connecticut showcases a mix of creativity and formal structure. Regional theaters like *TheaterWorks Hartford*, *Hartford Stage*, and *Goodspeed Musicals* each have unique methods for assembling their casts, often influenced by their connections and the requirements of the Actors Equity union.

At *TheaterWorks Hartford*, the journey to cast the current production of “The Counter” began with a desire to collaborate again with actor Tim DeKay, who had previously starred in “Fever Dreams.” Unsure about the role, DeKay participated in an informal reading where Rob Ruggiero, the producing artistic director, invited Justis Bolding to read for the other main character. The inclusion of seasoned actress Erika Rolfsrud, who has a long history with the theater, added depth to the reading, ultimately leading to the decision to schedule “The Counter” for the 2025-26 season. The production has since received positive acclaim, prompting an extension of its run until March 22, 2025.

Meanwhile, *Hartford Stage* is gearing up for its anticipated production of “Death of a Salesman.” Director Melia Bensussen chose Peter Jacobson, a fellow actor from her student days at Brown University, to portray Willy Loman. Bensussen’s previous collaborations with actress Adrianne Krstansky, who will play Linda Loman, facilitated a smoother rehearsal process. The casting also included new faces discovered through open auditions, showcasing the blend of familiar and fresh talent that characterizes Hartford Stage’s productions.

Open auditions, mandated by the Actors’ Equity Union, form the backbone of the casting process for many theaters. Zoe Golub-Sass, associate artistic director at Hartford Stage, explained that their casting is influenced by specific union agreements, which can vary by theater. For recent productions like “The Cottage” and “Hurricane Diane,” the casting processes were distinct, highlighting the flexibility required in regional theater.

At *Goodspeed Musicals*, casting can be a large undertaking, especially for musicals like “Ragtime,” which saw around 800 to 900 auditions. Music director Adam Souza noted that they conduct a mix of Equity Principal Auditions (EPA) and Equity Chorus Calls (ECC), which allow them to evaluate a wide range of performers. “We sit through 1,500 auditions a season,” Souza stated, emphasizing the scale of the casting effort.

The audition process is not only about filling roles but also about ensuring the right chemistry among cast members. Directors often consider how well actors will work together, especially since many productions require cast members to live in close quarters for extended periods. “In a small town like ours, you’ve got to come and live with us for three months,” Souza remarked, referring to the Goodspeed’s unique setting.

Theaters also focus on local talent; *TheaterWorks Hartford* made a conscious decision to cast the original piece “Circus Fire,” based on a local tragedy, exclusively with Connecticut-based actors. This approach reinforces the theater’s connection to the community and enhances the authenticity of the production.

While the casting process is often guided by union regulations, directors maintain significant influence over final decisions. Souza noted that some directors prefer to treat auditions as informal interviews, allowing them to gauge the overall vibe of potential cast members. The dynamic nature of casting means that directors might build a production around specific performers or aim for a more ensemble-driven approach.

In addition to established actors, regional theaters sometimes attract stars from television and film, as they present unique roles not available in larger markets. Ruggiero shared an instance where *TheaterWorks* secured Richard Dreyfuss for the role of Albert Einstein in “Relativity” because of the actor’s passion for the character.

As casting progresses, open discussions among theater staff become crucial. “My favorite part of the process is when you clear the floor, spread all the headshots on the floor and talk about it,” said Souza. This collaborative effort helps to ensure that the final casting decisions align with the vision of the production.

In conclusion, the casting processes at Connecticut theaters reflect a blend of structure and creativity. By valuing both established relationships and fresh talent, these organizations are successfully navigating the complexities of theater casting while enriching their productions. As the 2025 season unfolds, audiences can expect to see the results of these thoughtful casting choices on stage.