Open Auditions for The Spitfire Grill
Music and Book by James Valcq
Lyrics and Book by Fred Alley
Based on the film by David Zlotoff
Directed by Joe Garoutte
Musical Direction by Dan Kenealy
Saturday, May 3 | 1:30 - 4:00
Monday, May 5 | 6:30 - 9:00
Callbacks (if needed) Tuesday, May 6 | 6:30 - 9:00
It all happens at The Bingen Theater. 210 Oak St Bingen, WA
This is an open audition, no need to sign up for a slot.
What to expect:
SINGING: Please prepare no more than 3 minutes of a song to perform. Bring your backing track on your phone/ speaker, or have a YouTube karaoke track ready to share. There will not be an accompanist provided. If you would like to accompany yourself on guitar, you are welcome to do so.
ACTING: Be prepared for short cold readings from the script which we will have available when you arrive if you'd like to look over the scenes.
DANCING: There is no real dancing in this musical, but please wear shoes that you can move in comfortably, as we will move around on stage a bit. Flip-flops or backless shoes are not a good idea.
CONFLICTS: Please look at your calendar and be prepared to list anything you have going on that would conflict with your ability to be at rehearsal. This is important. We'll create the final rehearsal schedule based on people's availability.
Rehearsals begin May 19 from 6:30 - 9:00, usually three days a week until we get close to opening and then will be more frequent.
Performances - August 1, 2, 8, 9, 15, & 16 - Show at 7:30 pm
August 3 & 10 - Show at 2:00 pm
Mandatory Set strike on August 17
SHOW SYNOPSIS:
Upon finishing a five-year jail sentence, Perchance “Percy” Talbott heads to Gilead, a Wisconsin town whose beautiful natural surroundings she found a photograph of in a donated travel book. In the economically depressed town, Percy finds work at the Spitfire Grill, run by the tough and bitter Hannah Ferguson, who has been trying to sell the Spitfire Grill and start over. When Percy comes up with the idea of having a nationwide raffle and essay contest to find a new proprietor, she and the town learn that, in order to have a brighter future, one must first move on from the past.
The story of “The Spitfire Grill” has drawn widespread praise for its heartening take on the human spirit and its beautifully crafted score.
The music score for The Spitfire Grill is a rich, folk-inspired blend of bluegrass, Americana, and contemporary musical theater. Written by James Valcq (music and book) with lyrics by Fred Alley, the score beautifully captures the rustic charm and emotional depth of the story.
The instrumentation leans into the folk aesthetic, with acoustic guitar, violin, mandolin, and piano giving the show an intimate, down-to-earth feel. The harmonies and storytelling through song make the score both haunting and uplifting, reinforcing the musical’s themes of redemption, renewal, and finding beauty in the simple things.
Overall, The Spitfire Grill’s score is one of its greatest strengths—soul-stirring, emotionally charged, and deeply resonant with audiences.
CHARACTER DESCRIPTIONS:
Percy Talbott – (Female, 20s)
A young woman with a troubled past, Percy arrives in the small town of Gilead, Wisconsin, hoping for a fresh start. She is tough, guarded, and independent, but beneath her rough exterior, she carries deep pain and vulnerability. Over time, she proves to be resilient, kind, and full of heart, helping to bring change to the town and its people.
Hannah Ferguson – (Female, 60s-70s)
The strong-willed and no-nonsense owner of the Spitfire Grill. A widow with a hidden sorrow, she has run the grill for years but is ready to sell it. Initially wary of Percy, she eventually comes to see her as a surrogate daughter, revealing her own buried grief and finding new hope.
Shelby Thorpe – (Female, 30s)
A sweet, gentle woman who is trapped in an emotionally stifling marriage. She begins working at the grill alongside Percy and, in the process, discovers her own inner strength and independence. Shelby’s kindness and quiet resilience make her one of Percy’s strongest allies.
Caleb Thorpe – (Male, 30s-40s)
Shelby’s husband and Hannah’s nephew. He is bitter and frustrated, feeling stuck in a life that hasn't turned out the way he hoped. He struggles with his pride and the changing dynamics around him, especially as Shelby starts to assert herself.
Joe Sutter – (Male, 20s-30s)
The town sheriff, Joe is skeptical of Percy at first but gradually develops a deep connection with her. He is a good-hearted man who longs for something beyond Gilead but finds himself drawn to Percy and the town’s quiet beauty.
Effy Krayneck – (Female, 40s-60s)
The town’s nosy postmistress and biggest gossip. She loves to be in everyone’s business, but deep down, she cares about the town and its people. Effy provides humor and a touch of cynicism in the story.
The Visitor (Eli Ferguson) – (Male, 40s-60s)
A mysterious, silent figure who haunts the outskirts of the town. His true identity and connection to Hannah hold an emotional secret that plays a pivotal role in the story’s resolution.
General information about our Auditions
Big Britches Productions is always looking for new people to come play! Whether you’ve "tread the boards" for years or are new to the stage, we want to encourage everyone to audition.
WHAT YOU SHOULD KNOW
- At some auditions you will cold read from sides from the show and some directors prefer you prepare sides from the show or a monologue or a song for a musical production. Be sure to keep an eye on this Auditions page for the particular show you are interested in.
- We know that it can be disappointing not to get a part. (We've been there!) If we have more people audition than roles available, directors have to weigh several factors when choosing a cast. We encourage you to come and audition often. Just because you weren’t right for one role doesn’t mean that you won’t be perfect for another.
- Keep your options open when auditioning. It is easy to say “there’s no part for me” or “I’m too old, young, tall, short, etc. for this role” but you never know what the director has in mind and you could be just what they are looking for in a role.
- We also like to encourage performers to get involved in the production side of shows. Helping backstage, with props, in the booth, or as a stage manager is a great way to get involved with the theatre.
- It's a good idea to come prepared with your calendar so you can mark any conflicts you may have with a proposed rehearsal schedule. We know people have lives outside the theater and do our best to accommodate people's conflicts.
