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PERFORMANCES: January 22-31, 2027
Antelope Valley College Performing Arts Center

3041 W Avenue K, Lancaster, CA 93536
register to audition
 
​AUDITION NOTICE
LITTLE WOMEN: THE MUSICAL

 

LITTLE WOMEN is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.mtishows.com
 
Auditions and Callbacks will be at The Barn:
42524 23rd Street W, Lancaster, CA 93536

Parking is on the street only. (Please do not pull into the driveway or park in front of the neighbors' houses.)

​AUDITIONS: Saturday, October 3, 2026, 10:00am-3:00pm.
CALLBACKS: Sunday, October 4, 2:00pm-4:30pm.

**REGISTER TO AUDITION at the link above.**

Please arrive 15 minutes before your audition block. Plan to stay for the entire hour of your audition block.

Those called back will be contacted to confirm attendance at Callbacks.
All who audition will be contacted within a week of Callbacks, either way.
​
Questions? Email: 
[email protected]
Unavailable on October 3? Email: [email protected] to arrange a virtual audition, to be received no later than October 1.

CREATIVE TEAM
DIRECTOR: Jared Porter
ASSISTANT TO THE DIRECTOR, BACKSTAGE MANAGER: Jaci Ramondo
STAGE MANAGER: Gina Weinstein
PIANIST/MUSIC DIRECTOR: TBD
VOCAL PARTS ASSISTANT: Jake Rodriguez
CHOREOGRAPHER: Reina Santa Padilla
STAGE COMBAT: Ryan Solano, Logan Solano
INTIMACY COORDINATOR: Kelsey Weinstein
SCENIC DESIGN: Jared Porter
PROPS MASTER: Cam Jennings
COSTUMES: Mina Abdella
SOUND DESIGN: Eric Weinstein
*LITTLE WOMEN will be performed with a live Orchestra.*

 
At its heart, Little Women is a story about a family bond. We are seeking participants who understand the value of creating and maintaining an environment reflecting the nature of this enduring family classic.
 
All roles are available.
Roles available to minors (ages 12-17): (Younger) Amy, Beth, potentially Ensemble
Children under 12 are not permitted to audition. 

We celebrate and welcome diversity in race, physical ability, gender identity, sexuality, socio-economic background, age, and body type. Character age ranges reflect how the characters should appear onstage and are not required to match the performer’s actual age.
 
Ensemble Notes:
This is not your typical Ensemble. The Ensemble will participate in an adventure sequence with acting and singing, along with a few potential opportunities as characters during transitions between scenes. Some Ensemble members will dance one number. The exact involvement of the Ensemble will be determined based on Auditions.
 
Intimacy Notes:
The following roles will have moments of intimacy:
Jo, Meg, (Older) Amy, Mr. John Brooke, Laurie, Professor Bhaer, Clarissa, Braxton
Please only audition for these roles if you are comfortable with intimacy. 

ACTING AUDITIONS (All Characters):
Prepare a MONOLOGUE, approx. 30 seconds max, that demonstrates the nature of the character you would most like to play.
Please choose your monologue from some known work for the stage, TV or film.
 
VOCAL AUDITIONS (All Characters):
Prepare a VOCAL SOLO, approx. 30 seconds max, that demonstrates the range and singing style of the character you would most like to play.
Please do not sing songs from Little Women.
Please do not sing a cappella.

DOWNLOAD YOUR BACKING TRACK to your device prior to arrival.
​(Cell service is spotty at The Barn). You may connect to our speaker by Bluetooth or cable (provided at The Barn).

 
BETH PIANO AUDITIONS (Beth only):
We would like Beth to play the piano live on stage during "Off to Massachusetts." (Link)
If you are auditioning for the role of Beth and you DO play the piano, please bring a
PIANO SOLO of your choice to perform, approx. 30 seconds max.
If you DO NOT already play the piano, please indicate that in your Audition Registration Form. You do not need to play the piano at Auditions.
For reference, here is the actual sheet music Beth would be playing during the production: (Link)
No one is required to learn this music for Auditions. Please do not play this for your Audition.

 
DANCE AUDITIONS (See Lists Below):
Arrive prepared to learn a Dance Audition.
Wear comfortable clothing and appropriate shoes.

Roles that WILL dance: Jo, Meg, Beth, Amy, Marmee, Laurie
Roles that MIGHT dance: Mr. John Brooke, Ensemble
Roles that DO NOT dance: Aunt March, Professor Bhaer, Mr. Laurence, Mrs. Kirk

 
Unfamiliar with the show? Listen to the cast recording!

Spotify: https://open.spotify.com/album/1QiR5VFJTTvKsRW5WCsm2N?si=6BiRpvvVT_e5XVKK4XzTxA
YouTube: https://youtube.com/playlist?list=OLAK5uy_koJmYWc5UspfhC1SZrIyzVvpngUlilleo&si=y-LCu-q75j8a-avt
Apple Music: https://music.apple.com/us/album/little-women-the-musical-original-broadway-cast-recording/1303796026


CHARACTER LIST:

JO MARCH
Soprano (strong belt & mix), E3 - A5
19-24
The second eldest March sister. Spirited, ambitious, independent, outspoken, tempestuous. An aspiring writer who fiercely resists traditional societal expectations. Her family is everything.


MEG MARCH
Soprano/Mezzo-Soprano, A#3 - Gb5
20-25
The eldest March sister. Traditional, elegant, romantic, responsible. Values a family and home above status and wealth.


BETH MARCH
Soprano, A3 - G5
17-21
The second youngest March sister. Gentle, quiet, selfless, deeply observant. The peace-maker of the family, who lives to love her sister Jo. She plays the piano (hopefully live) on stage.


AMY MARCH
Soprano, Cb4 - Gb5
15-19
The fourth and youngest March sister. Ambitious, vain, and artistic. Fancies herself a socialite, but develops emotional intelligence while traveling abroad with Aunt March.

*The role of AMY may be divided into (Younger) AMY and (Older) AMY, depending on Auditions.

MARMEE MARCH
Mezzo-Soprano, Eb3 - Eb5
40s-50s
Mother of 4 incredible daughters. The warm and courageous backbone and emotional center of the family. The source of most of the best qualities of each of her daughters and their beacon of hope.


AUNT MARCH
Mezzo-Soprano, E3 - F5
60s-70s
The March sisters’ formidable and over-bearing great aunt. A comedic lioness with a bellowing voice. A wealthy socialite expecting strict adherence to traditional societal views.


PROFESSOR BHAER
Baritone, G2 - F#4
34
Professor from Germany (mild German accent) staying in Mrs. Kirk's boarding house. He exemplifies proper manners and challenges Jo intellectually.


MR. JOHN BROOKE
Tenor/Baritone, C#3 - F#4
late 20s
Laurie's tutor. Sincere, modest, hardworking, honorable. A scholar who is changed by his relationship with Meg before he enlists for the war.


MR. LAURENCE
Baritone, C3 - D4
70s
Laurie’s grandfather and the March family’s neighbor. Solidly-built, gruff and hardened by the sadness of loss. He softens due to Beth’s influence.


LAURIE LAURENCE
Tenor (high belt), Bb2 - Bb4
19-24
The bright-eyed boy-next-door with considerable charm and many talents who becomes a brother to the March sisters even before marrying into the family.


MRS. KIRK
Non-singer (may sing with Ensemble)
40s-70s
The owner of the New York boarding house where Jo and Professor Bhaer cross paths. A practical landlord with a secret sense of adventure, who gets caught up in Jo's tales.


CLARISSA / ENSEMBLE
Soprano
20s-30s
The ingénue in Jo’s story. Prone to fainting and sobbing dramatically, yet ultimately finds her courage.


BRAXTON / ENSEMBLE
Tenor
20s-30s
The villain in Jo’s story. The classic mustache-twirling, dastardly devil.


RODRIGO / ENSEMBLE
Tenor
20s-30s
The hero in Jo’s story. Handsome, saving-the-day with much bravado.


KNIGHT / ENSEMBLE
Baritone
Elderly
The elderly Knight in Jo’s story who possesses the key to Clarissa’s destiny.


HAG / ENSEMBLE
Mezzo-Soprano
Middle-Aged to Elderly
A hag in Jo’s story whose unseemly looks hide wisdom.


TROLL / ENSEMBLE
Soprano
Adult
The classic lives-under-the-bridge troll in Jo’s story who hoards jewels and gems and makes bargains.


RODRIGO 2 / ENSEMBLE
Soprano
20s-30s
The true hero in Jo’s story and Clarissa’s long-lost sister in disguise.


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​Why This Story Still Matters Today
 
In today's world, young people often receive messages that their value comes from popularity, appearance, social media, achievement, or financial success.

Little Women offers a refreshing alternative.
It asks questions that remain deeply relevant:

What does it mean to live a meaningful life?
How do we balance personal ambition with responsibility to others?
What kind of person do I want to become?
How do we remain connected to family while forging our own identity?
How do we find hope after disappointment or loss?

 
These are timeless questions.



YOU HAVE TO BELIEVE THERE IS REASON FOR HOPE
YOU HAVE TO BELIEVE THAT THE ANSWERS WILL COME



Little Women has endured for more than 150 years because it speaks to something that never goes out of style: the search for purpose, the importance of family, and the courage to become who you are meant to be. Although it is set during the American Civil War, its themes are remarkably contemporary.

The story also models empathy, resilience, generosity, and emotional intelligence - qualities communities increasingly recognize as essential for healthy relationships and successful leadership.

For a community theatre production, Little Women offers something increasingly rare: a story that brings generations together. Grandparents recognize the classic story they loved. Parents see themselves in the challenges of balancing dreams, work, and family. Teenagers connect with characters wrestling with identity, friendship, independence, and purpose. Children see role models who demonstrate kindness, creativity, and perseverance. The production becomes an opportunity for families to experience meaningful conversations together long after the curtain falls.

In a time when communities can feel fragmented, Little Women reminds us that love, compassion, and mutual support create resilient families and stronger neighborhoods.

In the end, Little Women isn't simply about four sisters in nineteenth-century New England. It is about every family learning to navigate change, every young person searching for their place in the world, and every individual discovering that true success is measured not by what we accumulate, but by the love we give, the character we develop, and the lives we touch. Those truths remain just as powerful today as when Louisa May Alcott first wrote them over a century and a half ago.

TIKTOK: @CEDARSTREETTHEATRE
​EMAIL: [email protected]
MAILING: PO BOX 1506, LANCASTER CA 93539