Announcing Auditions for You Can’t Take it With You!
You Can’t Take It With You
by George S. Kaufman & Moss Hart
Directed by Jake Cote
Lyric Music Theater is delighted to announce upcoming auditions for YOU CAN’T TAKE IT WITH YOU – the second production of Lyric Music Theater’s 75th Diamond Jubilee Season!.
Winner of the 1937 Pulitzer Prize for Drama and celebrated through numerous acclaimed revivals—including a Tony Award-nominated Broadway production in 2015 – this timeless comedy by Moss Hart and George S. Kaufman has delighted audiences for generations with its wit, warmth, and unforgettable characters. YOU CAN’T TAKE IT WITH YOU will be directed by Jake Cote who is well known throughout the Southern Maine theater community as an accomplished director, actor, fight choreographer, and scenic and sound designer. We are pleased to welcome him in his Lyric directing debut!
Audition Information
Open Auditions will be held on Friday, August 14 and Saturday, August 15, from 6:00PM–9:00 PM each evening. Callbacks, if required, will take place on Sunday evening, August 16 (Location TBA). No advance sign-up is required—simply attend the evening that works best for your schedule.
What to Prepare/What to Expect
Preparing for Auditions
We want auditions to be a welcoming, collaborative experience and an opportunity for Jake to get to know you as a performer. No advance preparation required beyond what is listed below.
What to Expect
These are open auditions, and no advance appointment or sign-up is required. Simply arrive during the scheduled audition hours on the evening that works best for you. Upon arrival, you will complete an audition form before being called into the audition room.
Because performers will be seen on a rolling basis throughout the evening, there may be some waiting between check-in and your audition. We appreciate your patience and encourage you to allow enough time to complete the full audition process.
Callbacks, if required, will take place on Sunday evening, August 16 (Location TBA).
Before You Arrive
Before attending auditions, please carefully review the rehearsal, technical rehearsal, and performance schedule (appearing below) to ensure you are able to make this production a priority.
Come to your audition prepared with a complete understanding of all known schedule conflicts between the first rehearsal and the completion of strike following the final performance. You will be asked to list all conflicts as part of your audition paperwork.
If it is helpful, we encourage you to bring a calendar or other scheduling tool to reference while completing your paperwork. Headshots and résumés are welcome, but not required.
Audition Preparation
Please prepare a one-minute humorous story that actually happened to you. How you choose to present the story is entirely up to you – you might tell it directly to the audience in a conversational style (think The Moth), or you may choose to shape it into a more theatrical,
character-driven monologue. We’re interested in seeing your personality, storytelling ability, sense of humor, and connection with an audience.
Your audition piece should be memorized and approximately one minute in length. There’s no need to worry if you run slightly over – we’re more interested in an engaging, authentic performance than a perfectly timed one.
Following the storytelling portion of the audition, performers will participate in cold readings from the script. Sides will be provided at the audition and will not be distributed in advance. Depending on the needs of the audition, readings may take the form of individual monologues or scenes with another auditioning performer or a member of the production team.
Questions can be directed to Director Jake Cote: cote.n.jacob@gmail.com
Rehearsal Schedule Overview
Please note: The schedule below reflects the anticipated rehearsal plan. A finalized rehearsal schedule will be developed after casting and shared with the company.
Rehearsals begin on Tuesday, September 1 and will be held primarily on Sundays, Mondays, Tuesdays, Wednesdays, and Thursdays.
With the exception of two scheduled daytime rehearsals, rehearsals will generally take place in the evenings, typically 6:30–9:30 PM.
The two planned daytime rehearsals are:
- Sunday, September 13: 10:00 AM–2:00 PM
- Sunday, September 20: 10:00 AM–2:00 PM
In late September and early October, the rehearsal schedule is expected to ease somewhat, with fewer rehearsals during that period. Beginning the week of October 11, rehearsals will resume a regular full schedule as the company prepares for technical rehearsals and opening night.
Regular rehearsals are not anticipated on Fridays or Saturdays until the production enters its technical rehearsal period.
Technical Rehearsal Overview
To support a safer, more collaborative, and less stressful process for both the cast and production team, YOU CAN’T TAKE IT WITH YOU will utilize an extended two-week technical rehearsal period rather than a traditional compressed tech week.
The schedule below reflects the current technical rehearsal plan. While some details may be adjusted after casting, all performers should plan to keep the following dates available.
Saturday, October 24
Actor Call: 5:30 PM (cue-to-cue)
Sunday, October 25
Actor Call: 1:00 PM (tech rehearsal)
Technical rehearsal runs will continue on the following evenings, with a 6:30 PM call each night:
- Monday, October 26
- Wednesday, October 28
- Thursday, October 29
- Friday, October 30
The current plan is for the company to have Saturday, October 31, Sunday, November 1, and Monday, November 2 off before the final week of rehearsals.
Technical rehearsals will resume with 6:30 PM calls on:
- Tuesday, November 3
- Wednesday, November 4
- Thursday, November 5
The final technical rehearsal schedule, including any additional notes or adjustments, will be confirmed with the cast following auditions and casting.
Performance Schedule
YOU CAN’T TAKE IT WITH YOU will be presented over two weekends, November 6–15. Performances are scheduled for Fridays, Saturdays, and Sundays with the following call and curtain times:
- Fridays & Saturdays: Actor Call – 6:30 PM | Performance – 7:30 PM
- Sundays: Actor Call – 1:00 PM | Performance – 2:00 PM
All cast members must be available for every performance.
Following the opening night performance, the company is invited to celebrate with an opening night reception. After the final performance, all cast and crew are expected to participate in strike and cast gathering as we celebrate the close of the production.
Schedule Conflicts
As part of the audition process, all known schedule conflicts must be disclosed on your audition form. We understand that life happens and occasional conflicts are inevitable; however, because this production depends on a strong commitment from the entire company, significant ongoing conflicts or extended travel during the rehearsal period may impact casting. If you anticipate being unavailable for substantial portions of the process, we encourage you to join us for a future production later in the season. We look forward to seeing you at auditions!
Questions can be directed to Director Jake Cote: cote.n.jacob@gmail.com
About the Play
At the heart of the story is the wonderfully unconventional Vanderhof family, whose joyful, chaotic household celebrates creativity, individuality, and living life on your own terms. When Alice Vanderhof falls in love with Tony Kirby, the son of a wealthy Wall Street family, the collision between two very different worlds leads to an unforgettable dinner party filled with misunderstandings, mayhem, romance, and, yes… a few fireworks. Beneath its sparkling comedy is a surprisingly poignant reminder that happiness isn’t measured by wealth, status, or success, but by the people we love and the life we choose to build together.
Because this play has remained a staple of the American theater for nearly ninety years, we also want to acknowledge that some audience members may remember earlier versions that included racialized language and stereotypes reflective of the era in which it was written. The
currently licensed acting edition has thoughtfully updated this material, removing language and references that no longer reflect contemporary values while preserving the heart, humor, and humanity that have made the play an enduring classic. We believe these revisions allow today’s artists and audiences to embrace everything that has made You Can’t Take It With You a theatrical treasure for generations.
Available Roles
Performers of all ethnicities are encouraged to audition and will be considered for all roles. Character age ranges below represent the approximate stage playing age of each role and are intended as a guide – they do not reflect the actual age of the performer. At the discretion of the director, some roles may be doubled or otherwise adjusted.
Martin Vanderhof (60–75) The unconventional patriarch of the Sycamore family. A cheerful philosopher, snake enthusiast, and unapologetic tax evader, Grandpa has built a home where individuality and creativity flourish.
Penelope Sycamore (40–55) Alice and Essie’s mother. A prolific playwright and painter whose boundless creativity is matched only by her warmth and honesty. She longs for Alice to find happiness while embracing the family’s joyful eccentricities.
Paul Sycamore (40–55) Penelope’s husband. An amateur pyrotechnics expert whose chemistry experiments regularly shake the basement. Curious, inventive, and endlessly enthusiastic.
Alice Sycamore (20–26) – The practical daughter of an extraordinary family. Intelligent, kind, and deeply in love with Tony, she worries that her unconventional home life will stand in the way of their future together.
Essie Carmichael (25–35) – A devoted amateur ballerina and enthusiastic candy maker. Sweet, absent-minded, and constantly dancing. This role requires movement and dance throughout the production.
Ed Carmichael (25–35) – Essie’s husband. A lovable xylophone player and amateur printer who happily supports every creative pursuit around him. Xylophone experience is a plus, but not required.
Rheba (25–35) – The Sycamore family’s housekeeper in title, though she functions more as friend, confidante, and enthusiastic supporter of the household. Sharp-witted, charming, and flirtatious.
Donald (25–35) A kindhearted handyman and honorary member of the family. Easygoing, loyal, and completely at home among the Sycamores’ delightful chaos.
Mr. De Pinna (40–55) – A former mail carrier who now assists Paul with fireworks experiments and poses for Penelope’s paintings. Clever, proud, and quietly eccentric.
Boris Kolenkhov (40–55) – Essie’s passionate Russian ballet instructor. Boisterous, opinionated, and intensely committed to his art. This physically demanding role includes fight choreography. A Russian accent is preferred.
Tony Kirby (20–26) – A young Wall Street executive who genuinely loves Alice and iscaptivated by the freedom and warmth of her unconventional family.
Mr. Kirby (40–55) – Tony’s father. A successful businessman whose orderly worldview is completely upended by the Sycamores. Includes minor fight choreography.
Mrs. Kirby (40–55) – Tony’s mother. Refined and proper, yet quietly yearning for excitement beyond her carefully structured life.
Gay Wellington (50–65) – A once-famous actress whose fondness for alcohol creates comic chaos throughout the evening. A highly physical comedic role requiring fight choreography.
Olga Katerina (50–60) – A former Russian Grand Duchess now working as a waitress. Proud, gracious, and generous despite her changed circumstances. A Russian accent is preferred.
Henderson (30–40) – An IRS agent attempting to collect decades of unpaid taxes from Grandpa Vanderhof. Increasingly bewildered by the family’s complete disregard for convention.
Three Government Officials (Age and Gender Flexible) – The officials who arrive to arrest members of both families. Though they have relatively few lines, these are energetic, physical ensemble roles.
Questions can be directed to Director Jake Cote: cote.n.jacob@gmail.com