Student Call Board

 BFA Auditions will be held Saturday, May 30, 2026 in TDW 1507.

Please click HERE for audition sign-ups!

AUDITION ANNOUNCEMENT

ALL MY SONS by Arthur Miller

Directed by – Julie Fishell

PERFORMANCE DATES:

Thursday, NOVEMBER 12 -- 7:30pm

Friday, NOVEMBER 13 -- 7:30pm

Saturday, NOVEMBER 14 -- 2:00pm & 7:30pm

Sunday, NOVEMBER 15 -- 7:30pm

GENERAL AUDITIONS*

SUNDAY, MAY 31

6pm until 10pm

CALLBACKS

MONDAY, JUNE 1

6pm until 11pm

LOCATION

UCSB - TDW – Room 1507

Please note auditions are taking place

this SPRING QUARTER for a FALL QUARTER 2026 production.

*Auditions are OPEN TO ALL ENROLLED UCSB STUDENTS

MAJORS AND NON-MAJORS

INCLUSIVITY STATEMENT

We encourage any UCSB enrolled student actor who identify as/with any gender,

race, age, sexual orientation, disability, religious or political belief and affiliation to

audition. ALL ARE WELCOME!!!

COURSE CREDIT:

All enrolled UCSB students are eligible to participate and receive course credit!

Actors cast in this production have the option or earning 3 units of THTR 49 and/or

149 course credit.

VERY IMPORTANT REHEARSAL INFORMATION:

Rehearsals will be conducted Monday – Friday between the

hours of 6PM-10PM.

Hours may extend during Tech Rehearsals.

SCRIPT:

THE EXPECTATION FOR THIS AUDITION IS THAT ALL ACTORS HAVE READ THE SCRIPT AND ARE VERY FAMILIAR WITH THE GIVEN CIRCUMSTANCES.

The script is available to read here:  link

AUDITION REQUIREMENTS AND INFORMATION

PLEASE READ CAREFULLY AS ALL 3 STEPS ARE CRUCIAL TO A SMOOTH AUDITION!

STEP 1

IT IS MANDATORY THAT YOU RESERVE A TIME-SLOT TO AUDITION ON SUNDAY, MAY 30 Audition Timeslot Sign-up HERE

STEP 2

PLEASE thoroughly complete the electronic audition form that you receive after you sign up for a timeslot.  Please complete this step BEFORE your audition.

Audition Form HERE

STEP 3

PREPARE ONE OF THE FOLLOWING MONOLOGUES FROM THE PLAY TO SHARE IN THE AUDITION.  PLEASE DO NOT READ FROM YOUR PHONE. (sides will be available at the audition)

◼ PLEASE NOTE: Your text need not be memorized but please be very familiar with it and thoroughly invest yourself in the language, situation, and needs of the character.

CHRIS KELLER

It takes a little time to toss that off. Because they weren’t just men. For instance, one time it’d been raining several days, and this kid came to me, and gave me his last pair of dry socks. Put them in my pocket. That’s only a little thing . . . but . . . that’s the kind of guys I had. They didn’t die; they killed themselves for each other. I mean that exactly; a little more selfish and they’d’ve been here today. And I got an idea—watching them go down. Everything was being destroyed, see, but it seemed to me that one new thing was made. A kind of . . . responsibility. Man for man. You understand me? — To show that, to bring that on to the earth again like some kind of a monument and everyone would feel it standing there, behind him, and it would make a difference to him. (pause) And then I came home and it was incredible. I . . . there was no meaning in it here; the whole thing to them was a kind of a—bus accident. I went to work with Dad, and that rat-race again. I felt . . . what you said . . . ashamed somehow. Because nobody was changed at all. It seemed to make suckers out of a lot of guys. I felt wrong to be alive, to open the bank book, to drive the new car, to see the new refrigerator. I mean you can take those things out of a war, but when you drive that car, you’ve got to know that it came out of the love a man can have for a man, you’ve got to be a little better because of that. Otherwise, what you have is really loot, and there’s blood on it. I didn’t want to take any of it. And I guess that included you.

JOE KELLER

The man was a fool but don’t make a murderer out of him. You got no sense? Look what it does to her! (to Ann) Listen, you gotta appreciate what was doin’ in that shop in the war. The both of you! It was a madhouse. Every half hour the Major callin’ for cylinder heads, they were whippin’ us with the telephone. The trucks were hauling them away hot, damn near. I mean just try to see it human, see it human. All of a sudden, a batch comes out with a crack. That happens, that’s the business. A fine, hairline crack. All right, so . . . so he’s a little man, your father, always scared of loud voices. What’ll the Major say? —Half a day’s production shot. . . What’ll I say? You know what I mean? Human.  (he pauses) So he takes out his tools and he . . . covers over the cracks. All right . . . that’s bad, it’s wrong, but that’s what a little man does. If I could have gone in that day I’d a told him—junk ’em, Steve, we can afford it. But alone he was afraid. But I know he meant no harm. He believed they’d hold up a hundred percent. That’s a mistake, but it ain’t murder. You mustn’t feel that way about him. You understand me? It ain’t right.

KATE KELLER

I was fast asleep, and . . . Remember the way he used to fly low past the house when he was in training? When we used to see his face in the cockpit going by? That’s the way I saw him. Only high up. Way, way up, where the clouds are. He was so real I could reach out and touch him. And suddenly he started to fall. And crying, crying to me . . . Mom, Mom! I could hear him like he was in the room. Mom! . . . it was his voice! If I could touch him, I knew I could stop him, if I could only . . . (breaks off, allowing her outstretched hand to fall). I woke up and it was so funny . . . The wind . . . it was like the roaring of his engine. I came out here . . . I must’ve still been half asleep. I could hear that roaring like he was going by. The tree snapped right in front of me . . . and I like . . . came awake. (to Joe)  See? We should never have planted that tree. I said so in the first place; it was too soon to plant a tree for him.

GEORGE DEEVER (edited)

I couldn't go back to work when you left.  I wanted to go to Dad and tell him you were going to be married. It seemed impossible not to tell him. He loved you so much. (pause) Annie... we did a terrible thing. We can never be forgiven. Not even

to send him a card at Christmas. I didn't see him once since I got home from the war! Annie, you don't know what was done to that man. You can't know, you wouldn't be here. (pause) Dad came to work that day. The night foreman came to

him and showed him the cylinder heads... they were coming out of the process with defects. There was something wrong with the process. So Dad went directly to the phone and called here and told Joe to come down right away. But the morning passed. No sign of Joe. So Dad called again. By this time he had over a hundred defectives. The Army was screaming for stuff, and Dad didn't have anything to ship.

So Joe told him... on the phone he told him to weld, cover up the cracks in any way he could, and ship them out. Dad was afraid. He wanted Joe there if he was going to do it. But Joe can't come down... He's sick. Sick! He suddenly gets the flu! Suddenly! But he promised to take responsibility. Do you understand what I'm saying? On the telephone you can't have responsibility! In a court you can always deny a phone call and that's exactly what he did. Joe is a big shot and your father is the patsy.  Now what're you going to do? Eat his food, sleep in his bed?  Answer me. What're you going to do?

ANN DEEVER

Never mind, Kate, I’m all right. They are unable to speak to each other. There’s something I want to tell you. I’m not going to do anything about it. . .  I’ll do nothing about Joe, but you’re going to do something for me. (directly to Kate):  You made Chris feel guilty with me. Whether you wanted to or not, you’ve crippled him in front of me. I’d like you to tell him that Larry is dead and that you know it. You understand me? I’m not going out of here alone. There’s no life for me that way. I want you to set him free. And then I promise you, everything will end, and we’ll go away, and that’s all. I know what I’m asking, Kate. You had two sons. But you’ve only got one now. And you’ve got to say it to him so he knows.

SUE BAYLISS (edited)

Jim's a successful doctor. But he's got an idea he'd like to do medical research. Discover things. You see?  (pause) Research pays twenty-five dollars a week minus laundering the hair shirt. You've got to give up your life to go into it. Chris makes people want to be better that it's possible to be. He does that to people.

And my husband has a family, dear. Every time he has a session with Chris, he feels as though he's compromising by not giving up everything for research. As though Chris or anybody else isn't compromising.  Chris is working with his father, isn't he? He's taking money out of that business every week in the year.  (pause) I resent living next to the Holy Family. It makes me look like a bum, you understand?  So, if Chris wants people to put on the hair shirt let him take off the broadcloth. He's driving my husband crazy with that phony idealism of his and I'm at the end of my rope on it!

ABOUT THE PLAY:  Arthur Miller received the 1949 Best Play of the Year Tony for this groundbreaking and controversial play.  Inspired by true events, All My Sons is story of a successful self-made businessman, Joe Keller, who sold the government defective airplane parts during WWII. The blame for the subsequent death of 21 airmen fell on his partner, with Joe exonerated for the crime. Now, after the war, Joe and his wife Kate live with the ghosts of the past – especially the status of their oldest son Larry, missing in action and presumed dead by all but his mother. Eager to move on with his life, their youngest son Chris prepares to propose to the woman he loves – Larry’s ex-fiancée. A day of reunions becomes a day of reckonings and the fragility of the American dream. (U. of M. context)

ABOUT THE PLAYWRIGHT: After his first foray on Broadway failed miserably; Arthur Miller seriously considered giving up writing. He set his sights on his next play to decide his fate. Fortunately for the literary world All My Sons was an immediate hit; establishing Miller as a leading voice in the theatre. The debut of Death of a Salesman just two years later and The Crucible (1953) would cement his place as a preeminent American playwright. All My Sons earned Miller his first of three Tony Awards along with the 1947 Drama Critics Award for Best Play.

SETTING:  The backyard of the Keller home in the outskirts of an American

town.  August.

ACT I A morning in August, after a storm.

ACT II Same as before, evening, as twilight falls.

ACT III Same as before.  2AM the following morning.

CHARACTERS:

Joe Keller — Joe, middle-aged, was exonerated after being charged with shipping defective aircraft engine cylinder heads during the war. For over three years he has placed the blame on his partner and former neighbor, Steve Deever, although he himself committed the crime.

Kate Keller (Mother) — Kate, middle-aged, knows that Joe is guilty but lives in denial while mourning for her eldest son Larry, who has been “missing in action” for three years. She refuses to believe that Larry is dead and maintains that Ann Deever — who returns for a visit at the request of Larry’s brother Chris— is still “Larry’s girl.”

Chris Keller — Chris, early 30’s, idolizes his father, a good listener, and capable of immense affection and loyalty.  He has returned home from the war two years before the play begins, disturbed by the realization that the world was continuing as if nothing had happened. He has summoned Ann Deever to the Keller house ask her hand in marriage.

Ann Deever — Ann, 26, arrives at the Keller home having shunned her “guilty” father, Steve, since his imprisonment.  She is gentle with a backbone and strong moral code. She had a relationship with Larry Keller before his disappearance and has since moved on because she knows the truth of his fate. She hopes that the Kellers will consent to her marriage to Larry’s younger brother, Chris, with whom she has corresponded by mail for two years.

George Deever — George, 31, is Ann’s older brother: a successful New York lawyer, veteran, and a childhood friend of Chris. He initially believed in his father’s guilt, but upon visiting Steve in jail, realizes his innocence and becomes enraged at the Kellers for deceiving him. He returns to save his sister from her marriage to Chris, creating the catalyzing final events.

Dr. Jim Bayliss — Jim, 40, is a successful doctor.  A wry and self-controlled man, an easy talker, but with a wisp of sadness. He wants to become a medical researcher but continues in his job as it pays the bills. He is a close friend to the Keller family and spends a lot of time in their backyard.

Sue Bayliss — Sue, 40, is Jim’s wife: at once needling and affectionate. She too is a friend of the Keller family but is secretly resentful of what she sees as Chris’s idealistic influence on Jim.  She places high importance on ambition and wealth.

Frank Lubey — Frank, 33, was always one year ahead of the draft, so he never served in the war, instead stayed home to marry George’s former sweetheart, Lydia.

Lydia Lubey — Lydia, 27, was George’s love interest before the war; after he went away, she married Frank and they soon had three children. She is robust, straightforward, positive and a model of peaceful domesticity.

Bert — Bert, elementary school-aged child who lives in the neighborhood; he is friends with the Bayliss’ son, Tommy, and frequently visits the Kellers’ yard to play “jail” with Joe. (This role will be cast with an actor of any gender or age)

Questions:  Please contact Julie Fishell – fishell@ucsb.edu

HOPE TO SEE YOU AT AUDITIONS!

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.