INTERVIEWS/AUDITIONS FOR GAMM ON THE GO TEACHING ARTISTS
INTERVIEW/AUDITION DATES
The Education Department at the Sandra Feinstein-Gamm Theatre (The Gamm) will hold interviews/auditions for teaching artist positions in their 2026-2027 school-year “Gamm on the Go” residency program as follows:
Monday, August 3rd, 2026 from 9:30 AM to 12:00 PM & 1:00 PM to 3:30 PM
Tuesday, August 4th, 2026 from 9:30 AM to 12:00 PM & 1:00 PM to 3:30 PM
Interviews/auditions will take place at The Gamm Theatre, 1245 Jefferson Blvd., Warwick, RI.
Important Note: At this time, no video (digital) submissions will be accepted. Please reach out if you would like to be considered but are unable to attend auditions as scheduled.
Fall Residency Information & Dates
Show: Romeo & Juliet by William Shakespeare, directed by Joey Del Santo
Workshops and programs will be built around this production.
REHEARSAL & DEVELOPMENT
First Rehearsal: Monday, September 14th, 2026
Rehearsal & Development Period: Monday, September 14th, 2026 to Saturday, October 3rd, 2026
Rehearsal Schedule: Monday - Saturday between 9:00 AM and 3:30 PM. Exact schedule will be determined based on Teaching Artist availability with an estimated 25-30 hours of rehearsal & development time each week.
RESIDENCY SCHEDULE
Residencies are scheduled in coordination with schools and will be booked based on teaching artist availability that is collected at the beginning of the contract. In general residencies will be scheduled Monday through Friday between 8:00 AM and 3:30 PM. Some afternoons or weekend work is possible based on mutual availability of teaching artists, Education staff and school/community partners.
INTERVIEW/AUDITION INFORMATION & WHAT TO PREPARE
We are seeking 6 teaching artists to bring the story to life through both live performance in front of student audiences and classroom residencies and workshops.
Each auditioning teaching artist will be assigned to a group with a 1 hour time block.
During the first portion of the interview/audition, each teaching artist will be individually allotted 10 minutes. Please prepare one of the approved monologues from Romeo & Juliet listed below. Monologues need not be memorized but you should be comfortable enough and prepared to “play”/ adjust and take direction.
Remaining time will be used for questions and conversation and to demonstrate any additional performance skills you wish to share (e.g. vocal/musical performance, dance, clowning and improv). Please note, this year’s piece will incorporate musical performance. If you are a vocalist or instrumentalist please prepare a demonstration. An accompanist will not be provided but you will have access to a bluetooth speaker and electric piano.
Following individual appointments, each teaching artist assigned to the hour block will be asked to participate in a short community building exercise.
Please also provide a hard copy of your CV with relevant teaching experience, production & artistic resume and headshot/picture at the time of your audition.
Callbacks will be held by invite only on Wednesday, August 5th from 1:00 PM to 3:30 PM.
Final notification will be made by Tuesday, August 18th.
SCHEDULE AN APPOINTMENT
For an appointment, please email gammonthego@gammtheatre.org. In your email, please indicate which day and time block (morning or afternoon) you are available for. We will reply with a specific hour-long appointment time slot or waiting list block.
EMAIL IS PREFERRED. If you do not have email, please call 401-723-4266 x122.
PERSONNEL
Director of Education & Community Programs Joey Del Santo will attend all auditions.
COMPENSATION & CONTRACT INFORMATION
Pay is $400 per week during rehearsal & development.
Presentation and workshop hours are compensated at hourly rates between $25.00 and $40.00 per hour. Residencies range from single 2 hour presentations to 6 to 8 part recurring 1 hour workshops. Each contracted teaching artist is guaranteed to work all presentations and at least one workshop during the contract.
The initial contract is for rehearsal and development work in September 2026 and residencies from October to December. There will be an estimated 10 performances during Fall 2026.
Travel reimbursement is provided for all travel to and from schools and community organizations during the residency period.
EQUAL OPPORTUNITY
The Gamm Theatre is an Equal Opportunity Employer committed to providing an environment of mutual respect where equal employment opportunities are available to all applicants without regard to race, color, religion, national origin, age, disability, sexual orientation, gender identity, gender expression, veteran status, and any other characteristic protected by applicable law.
PARENTAL NEEDS
The Gamm Theatre is a family-friendly organization and recognizes that parental needs such as childcare, space for caregivers, or lactation/pumping privacy during auditions can create access to employment opportunities. If you are a parent who needs support in these areas, please contact joey@gammtheatre.org so we may evaluate our resources and take supportive measures for the most audition appointments possible.
ABOUT GAMM ON THE GO
Launched in 2026 with an inaugural season of programming surrounding The Comedy of Errors, Gamm on the Go is a program of the Gamm Education Department designed to introduce students to Shakespeare and the power of theatre in the comfort of their school. Collaborating with schools and community organizations across Rhode Island and Southeastern Massachusetts, Gamm on the Go provides an enriching experience for children and children at heart. Each residency begins with a 45-minute presentation of an abridged Shakespeare play, followed immediately by a talk-back focused on comprehension and thematic analysis. Schools and teachers may opt into an 8-visit program where students perform Shakespeare’s words themselves.
For three weeks prior to the launch of the residency program each season, Gamm on the Go teaching artists gather for 3-weeks of rehearsal and curriculum development in the Gamm Studio, culminating in a presentation of their work for invited community partners.
ABOUT THE GAMM THEATRE
Founded in 1984 as Alias Stage, the non-profit Sandra Feinstein-Gamm Theatre creates the finest of live theater, engaging the audience intensely in current and recurrent issues of consequence. The Gamm further serves the public with educational outreach programming designed to support the theatrical experience, and help sustain and enhance the intellectual and cultural life of its community. Under the leadership of Artistic Director Tony Estrella and Interim Executive Director Myran Parker-Brass, The Gamm is a regionally recognized, award-winning theater and a proud member of New England Area Theatre (NEAT), a bargaining unit of the Actors’ Equity Association.
APPROVED SCENES
Please see the approved monologues listed below. A link to a google doc version of this is available by clicking here. If you have any trouble accessing these monologues, please reach out to gammonthego@gammtheatre.org.
Monologues need not be memorized but you should be comfortable enough and prepared to “play”/ adjust and take direction.
Please note, these monologues are provided for audition purposes only and may not reflect the cuts or character doubling of the final production.
Romeo - Act 3, Scene 3
ROMEO:
'Tis torture and not mercy. Heaven is here
Where Juliet lives; and every cat and dog
And little mouse, every unworthy thing,
Live here in heaven and may look on her,
But Romeo may not. More validity,
More honorable state, more courtship lives
In carrion-flies than Romeo. They may seize
On the white wonder of dear Juliet's hand
And steal immortal blessing from her lips,
Who even in pure and vestal modesty
Still blush, as thinking their own kisses sin.
But Romeo may not; he is banishèd.
Flies may do this, but I from this must fly.
They are free men, but I am banishèd.
And sayest thou yet that exile is not death?
Hadst thou no poison mixed, no sharp-ground knife,
No sudden mean of death, though ne'er so mean
But 'banishèd' to kill me? 'Banishèd'!
O friar, the damnèd use that word in hell;
Howling attends it. How hast thou the heart,
Being a divine, a ghostly confessor,
A sin-absolver, and my friend professed,
To mangle me with that word 'banishèd'?
Juliet - Act 3, Scene 2
JULIET:
Gallop apace, you fiery-footed steeds,
Towards Phoebus’ lodging! Such a wagoner
As Phaeton would whip you to the west
And bring in cloudy night immediately.
Spread thy close curtain, love-performing night,
That runaway’s eyes may wink, and Romeo
Leap to these arms, untalked of and unseen.—
Lovers can see to do their amorous rites
By their own beauties; or, if love be blind,
It best agrees with night.—Come, civil night,
Thou sober-suited matron, all in black,
And learn me how to lose a winning match,
Play’d for a pair of stainless maidenhoods.
Hood my unmanned blood bating in my cheeks,
With thy black mantle till strange love, grown bold,
Think true love acted simple modesty.
Come, night;—come, Romeo; come, thou day in night;
For thou wilt lie upon the wings of night
Whiter than new snow on a raven’s back.—
Come, gentle night; come, loving, black-brow’d night;
Give me my Romeo; and, when I shall die,
Take him and cut him out in little stars,
And he will make the face of heaven so fine,
That all the world will be in love with night,
And pay no worship to the garish sun.—
O, I have bought the mansion of a love,
But not possess’d it; and, though I am sold,
Not yet enjoy’d. So tedious is this day
As is the night before some festival
To an impatient child that hath new robes,
And may not wear them. O, here comes my nurse,
And she brings news; and every tongue that speaks
But Romeo’s name speaks heavenly eloquence.—
Lady Capulet - Act 1, Scene 3
LADY CAPULET:
What say you? Can you love the gentleman?
This night you shall behold him at our feast.
Read o'er the volume of young Paris’ face,
And find delight writ there with beauty’s pen;
Examine every married lineament,
And see how one another lends content,
And what obscured in this fair volume lies
Find written in the margent of his eyes.
This precious book of love, this unbound lover,
To beautify him only lacks a cover.
The fish lives in the sea, and ’tis much pride
For fair without the fair within to hide.
That book in many’s eyes doth share the glory
That in gold clasps locks in the golden story;
So shall you share all that he doth possess,
By having him making yourself no less.
Friar Laurence - Act 5, Scene 3
FRIAR LAURENCE:
I will be brief, for my short date of breath
Is not so long as is a tedious tale.
Romeo, there dead, was husband to that Juliet;
And she, there dead, that Romeo’s faithful wife:
I married them; and their stol’n marriage-day
Was Tybalt’s dooms-day, whose untimely death
Banish’d the new-made bridegroom from the city,
For whom, and not for Tybalt, Juliet pined.
You, to remove that siege of grief from her,
Betroth’d and would have married her perforce
To County Paris: then comes she to me,
And, with wild looks, bid me devise some mean
To rid her from this second marriage,
Or in my cell there would she kill herself.
Then gave I her, so tutor’d by my art,
A sleeping potion; which so took effect
As I intended, for it wrought on her
The form of death: meantime I writ to Romeo,
That he should hither come as this dire night,
To help to take her from her borrow’d grave,
Being the time the potion’s force should cease.
But he which bore my letter, Friar John,
Was stay’d by accident, and yesternight
Return’d my letter back. Then all alone
At the prefixed hour of her waking,
Came I to take her from her kindred’s vault;
Meaning to keep her closely at my cell,
Till I conveniently could send to Romeo:
But when I came, some minute ere the time
Of her awaking, here untimely lay
The noble Paris and true Romeo dead.
She wakes; and I entreated her come forth,
And bear this work of heaven with patience:
But then a noise did scare me from the tomb;
And she, too desperate, would not go with me,
But, as it seems, did violence on herself.
All this I know; and to the marriage
Her nurse is privy: and, if aught in this
Miscarried by my fault, let my old life
Be sacrificed, some hour before his time,
Unto the rigour of severest law.
Nurse - Act 1, Scene 3
NURSE:
Even or odd, of all days in the year,
Come Lammas-eve at night shall she be fourteen.
Susan and she — God rest all Christian souls —
Were of an age. Well, Susan is with God;
She was too good for me. But, as I said,
On Lammas-eve at night shall she be fourteen;
That shall she. Marry, I remember it well.
'Tis since the earthquake now eleven years,
And she was weaned, — I never shall forget it —
Of all the days of the year upon that day,
For I had then laid wormwood to my dug,
Sitting in the sun under the dove-house wall.
My lord and you were then at Mantua —
Nay, I do bear a brain — but, as I said,
When it did taste the wormwood on the nipple
Of my dug and felt it bitter, pretty fool,
To see it tetchy and fall out with the dug!
“Shake!”, quoth the dove-house. Twas no need, I trow,
To bid me trudge.
And since that time it is eleven years,
For then she could stand high-lone — nay, by the rood,
She could have run and waddled all about;
For even the day before, she broke her brow,
And then my husband — God be with his soul,
A' was a merry man — took up the child.
'Yea,' quoth he, 'dost thou fall upon thy face?
Thou wilt fall backward when thou hast more wit,
Wilt thou not, Jule?' and by my holidam,
The pretty wretch left crying and said 'Ay.'
To see now how a jest shall come about.
I warrant, an I should live a thousand years,
I never should forget it. 'Wilt thou not, Jule?' quoth he,
And, pretty fool, it stinted and said 'Ay.'
Mercutio - Act 1, Scene 4
O, then I see Queen Mab hath been with you;
She is the fairies' midwife, and she comes
In shape no bigger than an agate-stone
On the forefinger of an alderman,
Drawn with a team of little atomi
Over men's noses as they lie asleep;
Her wagon spokes made of long spiders' legs;
The cover of the wings of grasshoppers;
Her traces of the smallest spider web;
Her collars of the moonshine's wat'ry beams;
Her whip of cricket's bone, the lash of film;
Her wagoner a small grey-coated gnat,
Not half so big as a round little worm
Pricked from the lazy finger of a maid.
Her chariot is an empty hazelnut
Made by the joiner squirrel or old grub,
Time out o' mind the fairies' coach-makers.
And in this state she gallops night by night
Through lovers' brains, and then they dream of love;
O'er courtiers' knees, that dream on curtsies straight;
O'er lawyers' fingers, who straight dream on fees;
O'er ladies ' lips, who straight on kisses dream,
Which oft the angry Mab with blisters plagues,
Because their breaths with sweetmeats tainted are.
Sometime she gallops o'er a courtier's nose,
And then dreams he of smelling out a suit;
And sometime comes she with a tithe-pig's tail,
Tickling a parson's nose as he lies asleep —
Then dreams he of another benefice.
Sometime she driveth o'er a soldier's neck,
And then dreams he of cutting foreign throats,
Of breaches, ambuscadoes, Spanish blades,
Of healths five-fathom deep; and then anon
Drums in his ear, at which he starts and wakes,
And being thus frighted swears a prayer or two
And sleeps again. This is that very Mab
That plaits the manes of horses in the night,
And bakes the elflocks in foul sluttish hairs,
Which, once untangled, much misfortune bodes.
This is the hag, when maids lie on their backs,
That presses them and learns them first to bear,
Making them women of good carriage.
This is she —