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Patience 2026 GSA Audition Form
Gilbert & Sullivan Austin
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(Optional) Link to any video of you singing
(Optional) You can list your most recent acting/singing experiences if you did not upload a résumé or have a link to a talent profile entered above. There are more specific questions below the conflict schedule and audition times.
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Please tell us about any recent theatrical training you have had, or list special skills you have that might be useful in this production. More specific questions are below the conflict schedule and audition times.
Please select at least one.
- (bass or “dark baritone”). He is commanding officer of the Dragoons, stuffy, lacking a sense of humor, “in charge,” and with two challenging patter-songs in Act I, so he must also have excellent diction. A large man. Dances in Act II.
- (baritone). A rather small part with excellent comic possibilities, such as his leg cramp that gives him so much trouble when he tries to imitate the aesthetic poets! Dances in Act II.
- An aristocratic soldier, who joined the army because he wearied of toadies. He finds military a good change-of-pace from aristocratic living. Dances in Act II.
- (light baritone). One of Gilbert’s great comic creations, Bunthorne is a sham “aesthetic poet,” who affects the dress, behavior and writing abilities of a poet in order to get the admiration of the village maidens. The opera centers on Bunthorne’s quest for the love of the village milkmaid, Patience, and he is content to change his ways in order to get it. He finds out as so many others do that the path to true love doesn’t run smooth—and in fact, his is bumpy indeed. The sub-title of Patience is Bunthorne’s Bride—but who (or what?) ends up as his bride?
- (high baritone). He’s also a poet: “the Apostle of Simplicity.” He loved Patience when but a tot, and Patience loved him, but his path to true love crosses Bunthorne’s, and for a while it’s equally bumpy. He has better fortune, however, than his rival, even if he has to cast off his poetic trappings and become “an every-day young man” in order to claim his bride.
- (silent role). He appears in the Act I finale to run the raffle (Bunthorne attempts to raffle himself off as a bridegroom to one of the maidens since he can’t have Patience!), and in the Act II finale. He has no speaking or singing, but a mobile face and good acting skills are musts.
- (mezzo-soprano). An important singing and acting role, she rather sets the tone for the lovesick maidens. Lovely singing and a good comic sense are essential.
- (mezzo-soprano). Another aesthetic maiden, a follower. Something of a scholar and user of arcane expressions. A good actor and singer.
- (soprano). Still another aesthetic maiden, with a short but dynamic solo as a part of the opening chorus, calling for a beautiful and strong singing voice.
- (contralto). Another of Gilbert’s great creations, the part calls for a commanding contralto voice and a great sense of humor. She’s one of those aging females, but loves to sing about her fading charms and growing proportions while accompanying herself on a ‘cello. She loves Bunthorne, too—much to his chagrin.
- (lyric soprano). She is a simple and naïve dairy-maid who has no idea “what this love may be” that’s so captured the rapturous maidens, but when she learns that it’s her duty to love, she sets forth to fall in love with all her heart. Alas, the road on which she sets forth is that same bumpy one that Bunthorne and Grosvenor are using, and—well, her perseverance is rewarded.
- Composed of the Chorus of Dragoon Guards (gentlemen resplendent in scarlet and gold uniforms, who know how to march and perform facing movements) and the Chorus of Rapturous Maidens (languid ladies, over-the-top in their expressions of unrequited love, dressed in “aesthetic draperies” of muted colors, playing “archaic instruments,” and speaking with the latest “aesthetic slang,” which is “too, too utter”!).
Conflicts
Please mark any conflicts you have with these rehearsal
dates.
Understanding this schedule - please read before filling out: These are possible dates from which the rehearsal schedule will be planned, based on performers' conflicts. Weekday rehearsals are in the evening, and weekend rehearsals are in the afternoon and/or evening. Please check your calendar and check any dates when you cannot attend a rehearsal, so we can schedule rehearsals for specific scenes to minimize conflicts. Conflicts will be a factor reviewed during the audition process.
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| 7 | 8 | 9 | 10 | 11 | 12 | 13 |
No absences allowed (shown in bold):
Starting June 7, attendance is required at all rehearsals and all performances.
Performances
June 12, 2026 7:30pm
June 13, 2026 7:30pm
June 14, 2026 2:00pm
June 18, 2026 7:30pm
June 19, 2026 7:30pm
June 20, 2026 2:00pm
June 21, 2026 2:00pm
Conflict notes
Schedule your Audition
Choose an audition appointment time slot.
Saturday, January 31
Official Name*:
Official name (for checks, tax forms, etc.)
Name for Publicity:
Name as you'd like it in the program or for publicity if different from official name
Preferred Name:
Preferred name you'd like to be addressed by in the audition and during the show if different from official name
Audition Song Info:
Audition song, source, composer. Per the Music Director: One solo piece, art song or aria, in any (major) language - English preferred. Music in the correct key must be provided for the accompanist. You may bring your own accompanist if you want, but we will have one ready to play. No unaccompanied auditions will be permitted. The audition song must be memorized.
Can you read music?*:
Other Roles*:
Will you accept a different role from those you chose (especially if you are interested in one of the principal roles above)?
Chorus Availability*:
If you did not choose "chorus" as your role, would you be available for the chorus if not cast in your preferred role?
Volunteer Interest:
Would you like to volunteer in another capacity if you are not cast?
Agreement*:
We ask that you agree not to post audition results to social media until you receive the cast list from Gilbert & Sullivan Austin. Please initial your agreement below:
Notification*:
Email will be used to notify you of your audition results. However, if we need to talk to you about your audition, what is the latest evening hour we may call?
How Did You Find Us?*:
How did you find out about this audition?
Musicales*:
Please indicate if you would like to be considered for participation in our Gilbert & Sullivan musicale performance opportunities offered throughout the season. Performers are paid, and musicale presentations require minimal rehearsal. Being involved in our other performances or events is separate from casting in the grand production.
Under 18?:
If under 18, please provide 24-Hour Parent/Guardian contact information- name, address, phone, cell phone for texts. Who will pick you up/take you to rehearsals? Should you be cast in this production, your parent or guardian will be required to sign the Permission Slip & Agreements form.
Callback Conflicts*:
Callbacks are held at the discretion of the production team. Being invited to a callback does not guarantee a role, and not being called back does not indicate that you are out of consideration. Please don’t worry if you are not called back; many roles are cast directly from the initial audition, and you may still be under full consideration. List any times that you cannot attend between 2-5pm on Sunday, February 1. If you are fully available, write "No conflicts." You may be paired with another performer for reading/singing during callbacks.
Optional Talent Link:
If you are on the waiting list, please upload a recent recording of yourself singing an art song by January 31st.