Student Call Board

AUDITIONS
Monday, November 17th, 2025 – beginning at 6pm
Please prepare your audition from the provided sides. You may choose to read with another actor who is auditioning, or a reader can be provided for you. You may be asked to read a different character on the night of auditions.

AUDITION SIGN UP

 

CALLBACKS
Tuesday, November 18th, 2025, 6–10pm
You will be asked to read from the provided sides and may be asked to cold read. Please come prepared to do some movement and improvisational work. There will be a movement/dance portion and group reading. Please plan to be available at 6pm and be prepared to stay until released.
 

You can read the full script here: Animal Farm Script. Please be aware that for copyright reasons, you should not take photos or distribute this script in any way. Please read online only. 

SIDES

REHEARSALS
Typically 20–25 hours per week until tech rehearsals begin.
This play will rehearse Monday–Friday between the hours of 6–11pm until tech week.
There may be some Friday and Saturday rehearsals.
Additional hours for tech and dress rehearsals (including weekends) will lead to performances.

First Rehearsal: January 5th, 2026
Tech Begins: February 8th
First Dress: February 12th
Opening: February 20th
Closing: February 28th

ACADEMIC CREDIT
3 units of THTR 49 and/or 149 will be given to cast members.

AUDITION PREPARATION
Any full-time UCSB student is welcome and encouraged to audition.

Please read the script carefully and prepare the following:

• Sign up for an audition slot.
• Choose and prepare a side from the character of your choice (sides are available on the callboard).
• You do not need to memorize the material, but it should be well prepared.
• A reader will be available at auditions to read with you, or you may prepare with a partner.
• It’s fine if your partner is not auditioning for the role they read in the scene.
   

ABOUT THE PLAY

All animals are equal!
But some animals are more equal than others.

Animal Farm is George Orwell’s classic allegory of power, corruption, and revolution—adapted by Tatty Hennessy into a fiercely theatrical and darkly comic retelling for our times.

When the animals of Manor Farm overthrow their human owner and seize control, they dream of a society built on equality and justice. But as the pigs rise to power and ideals are twisted by fear and propaganda, the promise of freedom gives way to tyranny.

Hennessy’s version is urgent, physical, and ensemble-driven. This production embraces the grotesque—a world where the animals are recognizably human and the humans are distorted, monstrous, and larger-than-life. Through humor, movement, and transformation, we confront what it means to be complicit, hopeful, and human in systems that devour their own ideals.
 

CHARACTER BREAKDOWNS

Note from the Playwright:
“The animals in the play look like us. The humans look nothing like us. Anyone can play any part.”

All roles are open to performers of any gender, race, or background.
Actors will be cast as both animals and humans in some cases; versatility, physical expressiveness, and vocal range are key.
While dialect work is not required for auditions, most characters in this production will use a British West Country accent.
 

THE ANIMALS

Old Major (Pig)
The visionary elder whose dream of freedom ignites the revolution.
A commanding presence—both prophet and ghost. Carries wisdom, regret, and fire.
Napoleon (Pig)
A self-confident, media-friendly politician, accustomed to being the pride of the farm. He doesn’t mind listening to good ideas, as long as they are for the good of the farm (which, of course, needs a strong leader like himself). A heavyweight politician with the muscle to back it up. He is not immune to weakness, but he’d have you believe otherwise.
Nutmeg (Pig)
Napoleon’s partner and the quiet power behind his rule. Sharp, strategic, and emotionally intelligent—the real strength beneath the regime’s surface. Balances tenderness and ruthlessness. The epitome of Animal Pride.
Snowball (Pig)
Brilliant, idealistic, charismatic, and full of restless energy. Believes in education, progress, and the power of persuasion. Will not let petty distractions like weather, time, or exhaustion get in the way of his vision.
Squealer (Pig)
The voice of the regime. Slick, ingratiating, and terrifyingly cheerful.
A performer who sells the party line with conviction, creativity, and joy.
Minimus the Pig
A poet and composer who writes for the state.
Boxer (Horse)
Massive-hearted, physically strong, and emotionally pure. Dignified, honest, and embodies devotion to labor and belief in “the cause.”
Clover (Horse)
Gentle-hearted but strong-spirited, patient, and tender. Everyone’s friend. She is practiced at shaking off unpleasant realities and needs this cause to be worthy.
Mollie (Horse)
Vain, delicate, and charming. She loves her creature comforts and her routines. Change isn’t her thing. Cares about her friends but knows herself.
Benjamin (Donkey)
Dry, intelligent, and detached. Has the wisdom of age. Knows more than he says; speaks plainly but poignantly. His sardonic skepticism might be charming—until it is heartbreaking.
Blue (Dog)
Starts as an earnest and playful pup, but through training becomes loyal, fierce, and obedient.
Minty (Sheep)
An impressionable lone lamb, happy to be part of something again. Wants to feel alive. Begrudges the old oppressions, especially from the sheepdog.
Milo (Pigeon)
A messenger, wanderer, and giddy gossip. Sees beyond the farm’s borders. Quick, curious, and always in motion. Loves an audience.
Clara (Hen)
Maternal and fierce—a true mama bird. Though emotionally vulnerable and insecure in her skills, her persistent dedication has almost no limit. Almost. Doesn’t do anything in half measures, and her courage matches her tenacity.

THE HUMANS

Farmer Jones
A grotesque of neglect and greed—sweating, swaggering, self-pitying.
The old order in decay: both absurd and cruel.
Farmer Pilkington
Smiling opportunism. Smooth, jovial, and corrupt.
A politician in human skin; he wins even when he loses.
Farmhands / Ensemble Animals
An ensemble of bodies—sometimes part of the grotesque machinery of power, sometimes the equally grotesque oppressed. Sometimes shadows. Sometimes fluffy chickens.

ABOUT THE PLAYWRIGHT
Tatty Hennessy is a British playwright and director whose work blends political urgency with inventive theatrical storytelling. Her adaptation of Animal Farm premiered at the Watermill Theatre in 2022, acclaimed for its physical ensemble style and sharp relevance. Hennessy’s other plays include A Hundred Words for Snow, All That Lives, and F**k You Pay Me. A graduate of the Royal Central School of Speech and Drama, she is known for creating theatre that reimagines classic texts with wit, compassion, and bold theatricality—work that challenges power while celebrating imagination and resilience.
 

DANCE AND THEATER MAJORS WORKING ON CLASS CURRICULUM ONLY.

Steps for booking a room:

1. Most theater/dance majors already have an account that was created for them.  Just click this link to start booking: theaterdance.skedda.com
2. If that does not work, click here to register an account
3. Please only reserve one hour per day per project.
4. If you no longer need a reservation, please delete it so it can be used by your colleagues.
5. Leave your contact information in the event of an emergency.
6. Don't see the room you're looking for? Scroll to the right! 

Looking to book a room further out than a week or on a re-occuring basis? Email theaterdance-prodoff@ucsb.edu

Do you know your 29D, 49 or 149 requirement? Find it HERE

POSITIONS AVAILABLE (DEPENDS ON THE PRODUCTION)

• Light Board Operator
• Sound Board Operator
• Fly Crew
• Deck/Props Crew
• Followspot Operator
• Wardrobe/Makeup Crew

HOW TO APPLY FOR RUN OR WARDROBE CREW:

1. If you have any general pre-emptive questions about crew assignments, positions feel free to email either our Production Manager Rafael Gonzalez rafaelgonzalez@ucsb.edu. The dates for each of the productions can be found in the Calendars section below.
2. Fill out the following google form to express your interest in specific shows/ assignments throughout the year. NOTE: Filling this out does not guarantee that position or show. 25-26' Run Crew Sign Up 
3. We will schedule an appointment via email to discuss/finalize position assignments and to potentially assign your add code through the Academic Advisor Sean O’Shea.

IMPORTANT NOTES:

• All crew positions are first-come, first-served your spot is not secure until you have signed the crew contract after meeting with Dawnette or Andrew.
• All events listed on the calendars are required. It is not possible to partially participate in a production.
• There are no opportunities to make up for an unexcused absence or lateness.

CALENDARS:

In order to see the specific dates and times of the shows, go to the following link to view the crew calendars. Each show has its own calendar to view. 

CALENDARS LINK 

CONTACTS:

• Rafael Gonzalez, PRODUCTION MANAGER, (Run/Board Crews and Costume) rafaelgonzalez@ucsb.edu

Email Sean at sposh@ucsb.edu with your @ucsb.edu address and the subject "Please add me to the Mailing List." The Mailing List will have the latest information regarding department events such as auditions, run/wardrobe crew, and special events.