Mary Skees:  The Next Stage casts through a combination of open auditions, invited auditions, and invitations to individuals who have already worked with us. We bring in new people for almost every dramatic presentation and every full production, often quite a few. We also call on a core of a dozen or so people who have acted with us for decades. If you are interested in receiving notifications about open opportunities, please contact us directly, using the website’s contact form.

MS:  Our casting in 2025 provides a good example of how that mix might typically work:​

For our mainstage productions, out of a total of eight roles, two moved from our dramatic presentations to our full productions, and one moved from a small role to his first big speaking parts. In most years, the number of new people is higher than it was in 2025.

MS:  Again, looking at 2025, if you include the mainstage productions and the readings, we used some actors new to us. The way in? Readings—a chance to show us what you have. So there’s plentyof opportunity. We’re always looking for new talent.

MS:  I would love to be able to cast every part by open auditions. And in a big city, with auditioners lined up around the block, that would work. 

Here in State College, though, casting only by open auditions has proved, each time we’ve tried it over the last 30 years, to be very risky.

For certain parts, we might need to cast by personal invitation based on our experience with particular actors and on recommendations from our sources. 

Why? To start with, the acting pool is small, the scripts chosen are difficult, other companies compete for actors who can handle challenging material, our standards are high, and the rehearsal process and performance schedule are intense and long. 

The biggest reason? For most plays, I need to know that I can cast before I can commit to the script’s rights, to a performance space, to a rehearsal space, and to a director – all of which must be done as much as a year in advance. 

The timing limitation is complicated by having no understudies. As a result, I need actors that can commit reliably, as much as six months to a year before rehearsals start. If an actor has to withdraw when their life changes, often late in the game, we risk having to cancel the production. And then what happens to our commitments to the other actors, the rented spaces, the director, and the licensing agency? 

MS:  Absolutely.  We have every intention of being open and transparent about our process.  Our website is our primary tool for detailing audition information.

Watch this space for announcements for each production about which parts we will open-audition for and which parts we have had to pre-cast.