Rehearsal for Murder! presented in Thrilling RadioVizion Audition Notice

PEGASUS THEATRE AUDITION ANNOUNCEMENT

Rehearsal For Murder! by Kurt Kleinmann.
Presented in thrilling RadioVizion®️ by Pegasus Theatre in the Studio Theatre at The Addison Performing Arts Centre, March 20 - April 5, 2026.
Directed by Natalia Borja.

AUDITION DATES

Saturday, 1/31 1 - 5 pm
Sunday, 2/1 3 - 6 pm

Audition Appointments can be made immediately.
Sign up at https://www.theaterforms.com/PegasusDallas/RFMRV/auditionform/

Auditions will consist of readings from the script. Audition Sides will be made available in advance via e-mail to all auditioners.

Auditions will be held in the Boardroom at The Addison Performing Arts Center, 15650 Addison Rd, Addison, TX 75001

VIDEO AUDITIONS - Can't make it to the initial auditions? Send us a video audition! It doesn't need to be anything fancy or super high-tech. We just need you to be audible and in focus. Enlist a friend to help you as a reader or pick a monologue/speech from the sides. Don't worry about gender.

DEADLINE FOR VIDEO SUBMISSIONS IS SATURDAY, JANUARY 31 AT 5 pm.

THE STORY - Set in 1946, Lt. Foster has inherited a guest inn from his Great-Grand Uncle Cyrus Johnson in the Green Mountains of Vermont. Mrs. Holmes (the housekeeper) and Seth Murdock (the groundskeeper) occupy the guest inn, which, as the play begins, is hosting famed writer/director Adrian Garson and a troupe of actors who are rehearsing a new Broadway play (Miracles Can Happen) away from the scrutiny of the Manhattan theatre critics. Before Lt. Foster arrives, one of the actors, leading man Allen Simpson, falls to his death from Eagle Point. It looks like a tragic accident — but was it? Before Lt. Foster can even unpack, Harry Hunsacker and Nigel Grouse arrive and confuse things even more.

WHAT IS RADIOVISION?
RadioVizion®️ is an alternative technique devised by Pegasus Theatre for the presentation of the Living Black & White®️ series of Harry Hunsacker adventures. RadioVizion®️ does not employ the trade-secret makeup, but instead focuses on evoking the experience and glamour of being in a live radio studio of the 1930s and 1940s. Live sound effects, actors at period-style live microphones, and costumes suggestive of the era complete the effect.

AVAILABLE ROLES:

EDGAR DOYLE: A ruthless, manipulative, and desperate man. He is, of course, a producer.

ADRIAN GARSON: A self-confident playwright. A genius who expects perfection from himself and those around him. In addition to an aloof quality, there is something mysterious about him—something hidden. FRANK CAMERON: A reporter for the New York Daily Journal. A former theatre critic, he now writes about anything that interests him. He's on vacation.

SETH MURDOCK: The groundskeeper. He is older, or at least looks to be older, having dissipated himself through years of drinking. He has been the groundskeeper for as long as anyone can remember.

A STRANGER: A very suspicious man who should appear to be the murderous type. When he speaks, he keeps his voice in low tones—he is very careful about who hears him. His dialect has a hint of German, but it should sound as if he's trying to disguise it.

JENNY STEWART: An ingenue. This is her big break. Not above "playing the system."

ALEXIS EDEN: The star of the show. She has been a star for some time and will occasionally put her foot down. She, however, does not, as a rule, have a prima donna attitude.

REBECCA HOLMES: The housekeeper. A rather creepy sort who seems to live in shadows, she has been with the house as long as Seth Murdock. She does not walk—she seems to glide. She is perpetually unruffled and calm. She might be Polish or Russian in origin.

POSSIBLY AVAILABLE ROLES:

NIGEL GROUSE: Harry Hunsacker’s paid-by-the-hour assistant. While Nigel is far smarter than Harry, he would never let Harry know that. Nigel is a bit of a ladies’ man.

LT. FOSTER: The real police! Lt. Foster is once again forced to team up with Harry Hunsacker. Harry’s “unconventional approach” to crime-solving is a constant frustration for the lieutenant.