Mustard Seed Theatre
  • 2015-2016 Open AUDITIONS!
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Mustard Seed Theatre announces general auditions forThe Amish Project and Dancing at Lughnasa to be held on April 18 between 1-3 pm.  Roles are available for 6 women and 3 men (show details below).  Auditions and callbacks will be held in the Fine Arts Theatre at Fontbonne University; directions to the theatre are available at     

For actors who have NOT previously worked for MST, please call Jane at 314-401-8771 to make an appointment.  If auditioning for Dancing at Lughnasa only, please prepare a contemporary dramatic monologue.  Women auditioning for both shows should prepare two sharply contrasting contemporary dramatic monologues with a smooth transition between the monologues. All actors should bring two headshots/resumes to the audition.

Actors who HAVE previously worked for MST and are interested in being considered for these shows, please send an email with current phone number to This email address is being protected from spambots. You need JavaScript enabled to view it..  Actors will be invited to callbacks at the discretion of the director.  Callbacks will be held May 2, 1-4 pm. 

The Amish Project runs August 28 – September 13, 2015, directed by Deanna Jent.  Written by Jessica Dickey, this one-woman show is a fictional exploration of the Nickel Mines schoolhouse shooting in an Amish community, and the path of forgiveness and compassion forged in its wake.  The actress plays eight unique roles which range from young female students to the male shooter to a Hispanic teen who works at a local store.  

Dancing at Lughnasarun February 5 – 21, 2016, directed by Gary Wayne Barker.  Set in Donegal, Ireland in 1936, the play explores the tension between dogma and free choice in the lives of five sisters and their brother, a priest recently returned from service in Africa.


Father Jack (50's) --  gentle, elder brother of the sisters. Left home as a young man to work as a missionary in Uganda.   Returns home confused and sick.   Perhaps has strayed from strict Catholicism, professing admiration for pagan beliefs of Africa.

Kate Mundy (40-50) -- eldest of the Mundy sisters and behaves as a mother figure. As a schoolteacher, she is the only wage-earner.  Fiercely devout Catholic.   Stern but loving.

Maggie Mundy (35-45) -- tom-boyish and chief family homemaker.   Fun-loving, defusing tension with humor.  Both challenger and confidante to Kate.

Agnes Mundy (35-45) -- quiet and contemplative, knitting gloves while also helping to keep the house in order. Silently infatuated with Gerry.  Protective guardian of Rose.

Rose Mundy (30-40)  --  behaves much younger than her years, due to a developmental disability.   Open and loving, yet vulnerable.  Very close with Agnes with whom she knits gloves to sell in the town.

Chris Mundy (25-35) --  the youngest of the Mundy sisters.  Unmarried mother of Michael.  Wrestles with both optimism and depression concerning on/off relationship with Gerry.

Gerry Evans (30-35) --  charming father of Michael.  Smooth-talking and fun.  Traveling salesman.   Unreliable in support of Chris and Michael.

Michael Evans (30's-50's) --  acts as adult narrator of this memory play, not only dictating the action but revealing the futures of the other characters. Childhood self is alluded to by other characters, while the adult Michael speaks lines as the boy from the side. 

An Invitation Out by Shualee Cook

April 17 - May 3, 2015

General Admission $30.00
Students/Seniors(65+) $25.00

Thursdays - Saturdays at 8:00 PM
Sundays at 2:00 PM

Group rates available!


Mustardseed Blog

Bet on the Kiss

by Shualee Cook

One of the secret pleasures of writing your own plays is that you get to use them as a way to try and fix the things that annoy you in other people’s plays. Case in point: As I’ve often mentioned, I’m a huge fan of Oscar Wilde, and his works were a major influence on my play, “An Invitation Out,” but something he did in one of his early comedies has always bugged me.

At the end of Act One of “A Woman of No Importance,” witty Mrs. Allonby challenges the dandyish Lord Illingworth to kiss a visiting American puritan named Hester Worsley, and Illingworth gladly accepts. But once the challenge is made, Illingworth and Hester are never actually onstage at the same time, no tension is built, and their tete-a-tete happens entirely offstage. Hester just runs on yelling about how she’s been terribly insulted, other plot mechanics kick in, and that’s pretty much the end of it. Which has always struck me as a huge missed opportunity. There was an interesting scene that happened out of our view, I was sure of it, and the fact that I would never get to see it continued to irk me every time I picked up the play. But as I worked on “Invitation,” I noticed that a few of my characters had some surface resemblance to Wilde’s trio – there was the witty young lady, the dandyish gentleman, the awkward outsider in their midst – and I suddenly realized I had a once-in-a-lifetime chance to write my own version of the scene I’d been dying to read for years.

I started with the same basic situation – the lady bets the dandy he can’t get a kiss out of the outsider – but since the similarities between our characters were superficial at best, my dandy’s attempt to get that kiss became a much different scene than the one between Hester and Lord Illingworth that I’d been imagining for so long. As I went through various drafts of the play, that scene always stayed in, but in each draft the answer of who exactly “won” the bet became murkier and more complex, and I began to think that maybe Mr. Wilde was on to something when he decided not to open that can of worms. Even so, it’s still one of my favorite scenes I’ve written. So if you happen to come see my play next month, you’ll have to let me know if you think it was, in fact, a good bet, or if Oscar was right all along and I should have left well enough alone.



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