Adult Programs

Adult and Advanced Programing

Any adults interested in auditioning please email or click on the registration link 

Winter Intensive
17 years old (seniors) and up only

The winner of eight Tony Awards, including Best Musical, told by Duncan Sheik and Steven Sater through what Entertainment Weekly called, “the most gorgeous Broadway score this decade,” Spring Awakening explores the journey from adolescence to adulthood with a poignancy and passion that is illuminating and unforgettable. The landmark musical is an electrifying fusion of morality, sexuality and rock and roll that is exhilarating audiences across the nation like no other musical in years.

It is Germany, 1891, a world where the grown-ups hold all the cards. The beautiful young Wendla explores the mysteries of her body and wonders aloud where babies come from… until Mama tells her to shut it and put on a proper dress. Elsewhere, the brilliant and fearless young Melchior interrupts a mind-numbing Latin drill to defend his buddy, Moritz – a boy so traumatized by puberty that he can’t concentrate on anything… not that the Headmaster cares. He strikes them both and tells them to turn in their lesson. One afternoon, in a private place in the woods, Melchior and Wendla meet by accident and soon find within themselves a desire unlike anything they’ve ever felt. As they fumble their way into one another’s arms, Moritz flounders and soon fails out of school. When even his one adult friend, Melchior’s mother, ignores his plea for help, he is left so distraught that he can’t hear the promise of life offered by his outcast friend, Ilse. Naturally, the Headmasters waste no time in pinning the “crime” of Moritz’s suicide on Melchior to expel him. And soon, Mama learns that her little Wendla is pregnant. Now the young lovers must struggle against all odds to build a world together for their child.

This celebration of rebellion provides the perfect opportunity to feature performers of all types, as well as the creative flexibility with the use of costumes, set pieces and lighting. Featuring a pop rock score, this is an ideal show for talented vocalists with strong acting abilities. Join this group of late nineteenth century German students on their passage as the navigate teenage self-discovery and coming of age anxiety in a powerful celebration of youth and rebellion in the daring, remarkable Spring Awakening.

*  Policy Update

Here at the Shoreline Theater Academy our theater family is our top priority. When You reach out we do our best to accommodate our actors. Actors wanting to audition for Spring Awakening will not be required to pay the production fee** prior to auditions, but should reserve an audition slot by November 19th. Once the cast list is out and you have accepted your role you will need to complete the registration located here https://kidzkonnection.regfox.co If you would like to complete this prior to auditions please feel free to do so

    The Academy firmly believes in ensemble acting and that all our cast members are intricate parts to our productions no matter what role an actor is cast in. That all roles are featured roles. We hope that regardless of the role you receive that you will choose to perform with us. Not only will you be getting amazing instruction from some of the best directors on the shoreline but you will be a part of a theater family that is truly unlike any other in the area. Plus, being a part of any production in any capacity is a great way to hone your craft. All roles are open. We do not precast shows at the Shoreline Theater Academy

 Any actor 21 or under that drops the show after the cast list comes out will not be able to audition for a production at the Academy for a full year. For more information on our dropping protocol for those of you 21 and under please refer to the Advanced musical page.  To reserve and audition slot please follow this link:    please fill out the following form as well

** production fees cover costumes, rights to the show, sets, and many other things that go into putting on the show. If an actor is having financial strain please reach out and we will work with you in any way we can to help

Adults 22+ $65 production fee I Adults 17-21 years of age $105 production fee I Actors must be signed up by Nov.19th I Auditions:November 22nd I Actors should be off book or close to it by the first rehearsal I  Show: 01/14 7:00 p.m. (Additional show on the 13th might be added)
Tentative Rehearsal Schedule: December 19th 3:00-8:30 pm, 20th 3:00pm-8:30pm, 22 3:00-8:30pm, 23rd-26th off, 27th 3:00-8:30pm 28th 5-9pm, 29th 5-9pm, tech January 7th 10am-4pm, tech January 8th 11:30-3:30 tech, Jan 13th 4:30-9 finale dress/added show if needed
Additional tentative tech days Jan 9th 4:00-9 tech, January 11th 4:30-9pm
This is a tentative schedule and times subject to change
All actors may only miss 3 rehearsals. We understand that our adults actors may have to arrive at rehearsal late/leave early due to work commitments.


** production fees cover costumes, rights to the show, sets, and many other things that go into putting on the show. If an actor is having financial strain please reach out and we will work with you in any way we can to help

8th* Grade and up Musicals

After 19 years as a prisoner, Jean Valjean is freed by Javert, the officer in charge of the prison workforce. Valjean promptly breaks parole but later uses money from stolen silver to reinvent himself as a mayor and factory owner. Javert vows to bring Valjean back to prison. Eight years later, Valjean becomes the guardian of a child named Cosette after her mother’s death, but Javert’s relentless pursuit means that peace will be a long time coming.

Rehearsals: Saturdays, 10:00-2:30pm l Mandatory Tech WeeK:Sunday, 11/27-11/30 l Show Dates: 12/01,02,03,09.10 and Christmas in Clinton 12/4

*7th  and 8th graders must be currently enrolled students, and also be signed up for one of the Main stage/Jr show/Advanced Play running congruent to the advanced musical they are wanting to participate in

**9th graders must be signed up for either the fall mainstage musical, the fall advanced play or two classes running at the Academy

***Actors are only permitted to miss 3 rehearsals, must be available for all of tech week and all performances. Any breach of this will mean immediate dismissal from the show with out refund. No exceptions will be made

A musical about teens in love in the 1950s. It’s California 1958 and greaser Danny Zuko  and Australian Sandy Olsson are in love. They spend time at the beach, and when they go back to school, what neither of them knows is that they both now attend Rydell High.

Rehearsals: Saturdays, 10:00-2:30 l Mandatory Tech: Sunday, 05/11, 5/24,5/25,5/30,05/31, (non Mandatory tech day 5/27 and 5/29) l Show Dates: 06/01,06/02, 06/03 (Donor Night), 06/04 (2 show day)

*7th  and 8th graders must be currently enrolled students, and also be signed up for one of the Main stage/Jr show/Advanced Play running congruent to the advanced musical they are wanting to participate in

**Actors are only permitted to miss 2 rehearsals, must be available for all of tech week and all performances. Any breach of this will mean immediate dismissal from the show with out refund. No exceptions will be made

Advanced Play Series

Grades: 8 & up | T Time: Mondays 5:30pm – 7:30pm | Location: 61 E. Main Street – The Academy Building, Clinton CT




Monologues for Ages 18+ (College/ Young Adult)

WARNING: Some of these monologues may contain adult language or content.

These monologues are pulled from serious dramas, often with small casts and very little set. These monologues may be hard to understand without context. Feel free to look up a synopsis of the show to help you. Monologues for this age group range from classical plays like Sophocles’ Oedipus to modern dramas like Doubt or Angels in America. Most of these are extremely serious, dramatic monologues. There are comedic monologues for this age group, but it is usually a more sophisticated kind of comedy like satire.

Women’s Monologues

From: Who’s Afraid of Virginia Woolf? – Martha

You’re all flops. I am the Earth Mother, and you are all flops. (To herself) I disgust me. You know, there’s only been one man in my whole life who’s ever made me happy. Do you know that?…George, my husband…George, who is out somewhere there in the dark, who is good to me – whom I revile, who can keep learning the games we play as quickly as I can change them. Who can make me happy and I do not wish to be happy. Yes, I do wish to be happy. George and Martha. Sad, sad, sad…Whom I will not forgive for having come to rest; for having seen me and having said, ‘yes, this will do’… who has made the hideous, the hurting, the insulting mistake of loving me and must be punished for it. George and Martha. Sad, sad, sad…Some day, hah! Some night, some stupid, liquor-ridden night, I will go too far and I’ll either break the man’s back or I’ll push him off for good which is what I deserve.

From: Doubt – Mrs. Miller

You accept what you got to accept and you work with it. … Well he’s got to be somewhere, maybe he’s doin’ some good too … Well maybe some of them boys want to get caught. … That’s why his father beat him. Not the wine. … I’m talkin’ about the boy’s nature, nun. Not anything he’s done. You can’t hold a child responsible for what God gave him to be. … But then there’s the boy’s nature … Forget it then. Forcing people to say things. My boy came to your school ‘cause they were gonna kill him in the public schools. His father don’t like him. He come to your school, kids don’t like him. One man is good to him, this priest. And does a man have his reasons? Yes. Everybody does. You have your reasons but, do I ask the man why he’s good to my son? No. I don’t care why. My son needs some man to care about him. And to see him through the way he wants to go. And thank God this educated man, with some kindness in him, wants to do just that.

From: Angels in America – Harper Pitt

Night flight to San Francisco. Chase the moon across America. God! It’s been years since I was on a plane. When we hit 35,000 feet we’ll have reached the tropopause, the great belt of calm air. As close as I’ll ever get to the ozone. I dreamed we were there. The plane leapt the tropopause, the safe air and attained the outer rim, the ozone which was ragged and torn, patches of it threadbare as old cheesecloth and that was frightening. But I saw something only I could see because of my astonishing ability to see such things. Souls were rising, from the earth far below, souls of the dead of people who’d perished from famine, from war, from the plague and they floated up like skydivers in reverse, limbs all akimbo, wheeling and spinning. And the souls of these departed joined hands, clasped ankles and formed a web, a great net of souls. And the souls were three atom oxygen molecules of the stuff of ozone and the outer rim absorbed them and was repaired. Nothing’s lost forever. In this world, there is a kind of painful progress. Longing for what we’ve left behind and dreaming ahead. At least I think that’s so.

Men’s Monologues

From: Sophocles’ Antigone – CREON

Sirs, the vessel of our state, after being tossed on wild waves, hath once more been safely steadied by the gods: and ye, out of all the folk, have been called apart by my summons, because I knew, first of all, how true and constant was your reverence for the royal power of Laius; how, again, when Oedipus was ruler of our land, and when he had perished, your steadfast loyalty still upheld their children. Since, then, his sons have fallen in one day by a twofold doom–each smitten by the other, each stained with a brother’s blood–I now possess the throne and all its powers, by nearness of kinship to the dead. No man can be fully known, in soul and spirit and mind, until he hath been seen versed in rule and law-giving. For if any, being supreme guide of the state, cleaves not to the best counsels, but, through some fear, keeps his lips locked, I hold, and have ever held, him most base; and if any makes a friend of more account than his fatherland, that man hath no place in my regard. For I–be Zeus my witness, who sees all things always–would not be silent if I saw ruin, instead of safety, coming to the citizens; nor would I ever deem the country’s foe a friend to myself; remembering this, that our country is the ship that bears us safe, and that only while she prospers in our voyage can we make true friends. Such are the rules by which I guard this city’s greatness. And in accord with them is the edict which I have now published to the folk touching the sons of Oedipus; that Eteocles, who hath fallen fighting for our city, in all renown of arms, shall be entombed, and crowned with every rite that follows the noblest dead to their rest. But for his brother, Polyneices–who came back from exile, and sought to consume utterly with fire the city of his fathers and the shrines of his fathers’ gods–sought to taste of kindred blood, and to lead the remnant into slavery–touching this man, it hath been proclaimed to our people that none shall grace him with sepulture or lament, but leave him unburied, a corpse for birds and dogs to eat, a ghastly sight of shame.

From: The Death of a Salesman – Willy

Business is definitely business, but just listen for a minute. You don’t understand this. When I was a boy-eighteen, nineteen—I was already on the road. And there was a question in my mind as to whether selling had a future for me. Because in those days I had a yearning to go to Alaska. See, there were three gold strikes in one month in Alaska, and I felt like going out. Just for the ride, you might say. Oh, yeah, my father lived many years in Alaska. He was an adventurous man. We’ve got quite a little streak of self-reliance in our family. I thought I’d go out with my older bother and try to locate him, and maybe settle in the North with the old man. And I was almost decided to go, when I met a salesman in the Parker House. His name was Dave Singleman. And he was eighty-four years old, and he’d drummed merchandise in thirty-one states. And old Dave, he’d go up to his room, y’understand, put on his green velvet slippers—I’ll never forget—and pick up his phone and call the buyers, and without ever leaving his room, at the age of eighty-four, he made his living. And when I say that, I realized that selling was the greatest career a man could want. ‘Cause what could be more satisfying than to be able to go, at the age of eight-four, into twenty of thirty different cities, and pick up a phone, and be remembered and loved and helped by so may different people? Do you know? When he died— and by the way he died the death of a salesman, in his green velvet slippers in the smoker of the New York, New Haven and Hartford, going into Boston—when he died, Hundreds of salesmen and buyers were at his funeral. Things were sad on a lotta trains for months after that. See In those days there was personality in it, Howard. There was respect, and comradeship, and gratitude in it. Today, it’s all cut and dried and there’s no chance for bringing friendship to bear—or personality. You see what I mean? They don’t know me any more!

From: Tale of Two Cities – MANETTE

My child, all that matters is that you did see him – you saw Charles. Tomorrow you’ll marry him. Had it not been Charles it would have been another. If there had been no other I might have felt myself the cause – and the… dark part of my life would have cast its shadow beyond myself… and fallen upon you.
Look at the moon! When I looked upon her from the window of my prison I could not bear her light. It was the worst of tortures to me that she shone so brightly on all that had been taken from me. I looked at the moon and wondered upon the wife and the unborn child from whom I had been torn. Was my child alive – looking up at the moon, or had the shock of its birth killed the mother? Was that child a son who would some day avenge me? Or a son who would never learn of my existence? Or was it a daughter who would grow into a woman knowing nothing of my fate. Year after year I imagined myself wiped from the remembrance of everything I had loved – of everyone who had loved me.
There were other moonlit nights when in my sadness the darkness – silence touched me in a different way. I imagined a daughter – like a vision of the of the wife I had lost – coming to lead me out of my cell – to take me to the home she had made – to a loving husband – beautiful children about her feet –
I’ll not have life long enough to thank God sufficiently for the happiness you brought me. You have brought me out of the darkness.

From: The Glass Menagerie – TOM

I was fired for writing a poem on the lid of a shoebox. I left Saint Louis. I descended the step of this fire‐ escape for a last time and followed, from then on, in my father’s footsteps, attempting to find in motion what was lost in space – I travelled around a great deal. The cities swept about me like dead leaves, leaves that were brightly coloured but torn away from the branches. I would have stopped, but I was pursued by something. It always came upon me unawares, taking me altogether by surprise. Perhaps it was a familiar bit of music. Perhaps it was only a piece of transparent glass. Perhaps I am walking along a street at night, in some strange city, before I have found companions. I pass the lighted window of a shop where perfume is sold. The window is filled with pieces of coloured glass, tiny transparent bottles in delicate colours, like bits of a shattered rainbow. Then all at once my sister touches my shoulder. I turn around and look into her eyes … Oh, Laura, Laura, I tried to leave you behind me, but I am more faithful than I intended to be! I reach for a cigarette, I cross the street, I run into the movies or a bar, I buy a drink, I speak to the nearest stranger – anything that can blow your candles out!