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Auditions - It's Only a Play & Terms of Endearment

Theatre Workshop
Event organized by Theatre Workshop

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Questions? Email auditions@theatreworkshop.com


Challenges in life and love test the resilience of a mother-daughter relationship in Dan Gordon's adaptation of Terms of Endearment, based on the book by Pulitzer Prize-winner Larry McMurtry and James L. Brooks's screenplay of the Oscar-winning film. Though Emma is often exasperated by her highly-opinionated mother, Aurora, they talk every day about their problems, from Aurora finding unexpected love even as she becomes a reluctant grandmother, to Emma's struggle in her troubled marriage. But when they need one another most, will they be able to find courage in each other? This funny and touching story captures the delicate, sometimes fractured bonds between mothers and daughters, husbands and wives, and lovers, both old and new.


AURORA GREENWAY - A difficult, yet loving mother to Emma. Witty, sarcastic, and stubborn. Does not like to show emotion, but certainly releases it when the moment is right.

EMMA GREENWAY - Daughter of Aurora Greenway, and just as stubborn. She always seems to butt heads with her mother, but loves her deep down. She is the only person who fully understands her mother.

GARRETT BREEDLOVE - A retired astronaut living next door to Aurora Greenway. He is a womanizer who is used to things always going his way. Seems lazy and selfish, but is intrigued with the idea of being with Aurora.

PATSY CLARK / DORIS / NURSE - Emma’s best friend. Blunt and fun-loving. / A girl that Garrett Breedlove is trying to sleep with after a drunken night. / A nurse taking care of Emma in the hospital [All roles played by the same actress.]

FLAP HORTON - Emma’s husband. Likes to move through life fast without taking time to appreciate the people and moments around him. Doesn’t understand the bond between Aurora and Emma.

RUDYARD / DR. MAISE - Aurora’s late-husband and Emma’s father. / A doctor caring for Emma in the hospital. [Both roles played by the same actor.]



It’s the opening night of The Golden Egg on Broadway, and the wealthy producer Julia Budder is throwing a lavish party in her lavish Manhattan townhouse. Downstairs the celebrities are pouring in, but the real action is upstairs in the bedroom, where a group of insiders have staked themselves out to await the reviews. The group includes the excitable playwright; the possibly unstable wunderkind director; the pill-popping leading lady, treading the boards after becoming infamous in Hollywood; and the playwright’s best friend, for whom the play was written but who passed up this production for a television series. Add to this a drama critic who’s panned the playwright in the past and a new-in-town aspiring singer, and you have a prime recipe for the narcissism, ambition, childishness, and just plain irrationality that infuse the theatre—and for comedy. But don’t worry: This play is sure to be the hit they have all been hoping for.


JULIA BUDDER - Female, 45-59. The extremely wealthy, first-time producer of the play; enthusiastic and passionate devotee of ''the theatre," charmingly dotty and benevolent dilettante, not the most self-aware woman in the world, such as when explaining the concept of ''breaking a leg'' to a roomful of seasoned theatre people.

IRA DREW - Male, 50-59. A fawning, sycophantic, two-faced drama critic who is a closet playwright, skewers the theatre world he desperately wants to be a part of. Wears glasses and has food stains on his tie.

JAMES WICKER - Male, 40-59, A witty, sarcastic, middling sitcom star; has been best friends with Peter since their off-off Broadway days, egotistical but insecure, Just coming off of his cancelled TV series. Secretly thrilled with the terrible reviews the play receives.


Bennett Hall