Auditions for “The Little Foxes”

Elmwood Playhouse in Nyack NY will be holding auditions for its upcoming production of “The Little Foxes“, written by Lillian Hellman and directed by Alan Demovsky. “The Little Foxes” is the classic cynical play of family greed and revenge.

AUDITIONS: Monday, April 22nd at 7:00 pm and Wednesday, April 24th at 7:00 pm

CALLBACKS: Thursday, April 25th at 7:00 pm (by invitation only)

PERFORMANCES: Friday, July 12th thru Saturday, August 3rd (Fridays, Saturdays and Sundays with possible Wednesday and Thursdays)


Consumed with greed, three wealthy siblings form a partnership with a Chicago capitalist to build a cotton mill in the South, where costs are cheap and profits are high. The conspiracy touches off a vicious circle of avarice, lying, scheming and cruelty that sweeps them inexorably to a shocking finale. Though produced in 1939, this scenario could have been ripped out from today’s headlines. “Take us the foxes, the little foxes, that spoil the vines: For our vines have tender grapes.” (Song of Solomon: 2:15)

CAST REQUIREMENTS: (4 Females, 6 Males)

The Play takes place in the deep south (Alabama) therefore a southern dialect will be required HOWEVER DO NOT CONCENTRATE ON DIALECT FOR AUDITIONS! Interpretation is key – the dialect will come after several weeks in rehearsal.

REGINA GIDDENS – A handsome outgoing woman in her 40’s. She is the sister of the 2 brothers in the play. She is smarter and more intelligent than them, however her misfortune is that she was born a woman in a time when women could not inherit property. The “choices that she makes are in order to gain more financial freedom for herself and for her daughter.” Make no mistake, those choices are lethal. She will stop at nothing to get what she wants!

BIRDIE HUBBARD – A woman of about 40, with a pretty face and well bred demeanor. Oscar Hubbard’s wife is a delicate flower who was southern aristocracy before she married a store keeper’s son who is clearly beneath her. She longs for a return to the refined elegance of a bygone day where she was raised at the plantation Lioness. She hides her pain by drinking too much. She calls these binges “her headaches”. She is dominated by her family.

OSCAR HUBBARD – Mid 40s. One of Regina’s brothers, Oscar married Birdie only to gain hold of her cotton plantation and make lots of money off of it. Out of the three siblings (Oscar, Regina, Ben), Oscar shows the most outward greed, which is his most defining trait. His sham marriage with Birdie shows just how far he will go to make money. He sees desire and wanting as the ultimate reality, saying at one point, “The ones that are rich enough to give are smart enough to want” (Hellman 42). His personality and greed drives him to abuse Birdie and to use his son for his personal gain.

HORACE GIDDENS – Regina’s husband. Late 40’s early 50’s. Heart condition. Outwardly a weak character but in truth it is only because of his illness which leaves him physically weak. Horace arguably has the most noble conscience in the entire play, or the least morally apathetic one. Horace stays in his derelict relationship with his wife only for his daughter’s sake, so that she does not have to grow up in a (conspicuously) broken home. Horace and Regina disagree on many things that Alexandra does not know about, and both have their own visions for how she should be raised. Horace just desires to let her grow as she pleases. He comes to despise his wife’s manipulative and greedy ways, especially after discovering her and her brothers’ scheme to build a cotton mill, saying, “Maybe it’s easy for the dying to be honest. I’m sick of you, sick of this house, sick of my unhappy life with you” (Hellman 79).

LEO HUBBARD – Late 20’s An amoral personality disorder with a streak of meanness probably inherited from his father. A basically lazy person who has not a modicum of intelligence. The best way to describe him is to quote this following dialogue he has with his boss from the movie version of the play.

Leo Hubbard : [Arriving for work at the bank] Good morning, Mr. Manders… Well, what can I do for you today?
Sam Manders : You can do one thing, Leo.
Leo Hubbard : Yes, sir? What’s that?
Sam Manders : You can try keeping awake… ALL day.

ALEXANDRA GIDDENS – The daughter of Regina, Alexandra seems to have the only true shred of innocence and kindness probably due to her young age of 17. At first she seems oblivious, but eventually stands up for herself and her family. Many other characters in the play know Alexandra as a simple girl but she is, after all, her mother’s daughter.

BENJAMIN HUBBARD – A man in his 50’s. An avaricious, scheming, conniving older brother with the gift of gab – a salesman in the true sense. He is unmarried, probably because he cannot and will not let anyone else get that close to him. Also its cheaper to stay single. He is a narcissist and should not be trusted by anyone or with anything. Hellman’s reference to The Song Of Solomon refers to most of the characters in this play but most assuredly to Ben

ADDIE – A black maid/servant to the Giddens family. A religious kind descent woman who has brought up Alexandra from birth. She is the one character that gives this family class.

WILLIAM MARSHALL – A rich, well put together visiting older gentleman from Chicago. A decent sort in the parlor, but make no mistake, a businessman to the core. He is after all making a deal with Regina and her brothers

CAL – A black butler who has worked for years in the Giddens’ family. Congenial

Sides from the script will be made available at the audition. All roles available. Casting is open to all. Ethnicities, races, and newcomers are especially welcomed. Crew and other volunteers are also needed for the event. For more information or directions, call 845-353-1313 or visit

You may also wish to read our Twelve Commandants of Auditioning post.

Elmwood Casting Policy

Elmwood Community Playhouse is a Non-Equity theater and cannot cast members of Actors Equity. Casting of actors in roles is done on the basis of acting skill and ability demonstrated during the audition process, as well as on the actor’s appropriateness and suitability (physical, vocal, mental, emotional) for available roles. We are committed to providing equal opportunity and nondiscrimination in all aspects of our organization. Except in plays where race, gender, or age is an issue, casting is decided on the basis of ability. Any member of the community or any invited guest artist regardless of race, ethnic origin, sexual orientation, age, or special need is invited to participate. Non-traditional and equal-opportunity casting is encouraged. If, in the opinion of the director, a suitable cast cannot be selected from those who have auditioned, auditions may be extended beyond the original schedule, or else specific individuals may be invited to fill the need(s). Elmwood has an open door casting policy, meaning you do not need previous experience with us to be cast. We often cast performers the first time they audition for us. Elmwood maintains a “no pre-casting” policy, meaning all roles are available during the time a show is auditioning. If you have a part that you are interested in, make note of it on your audition form or speak to the director. Anyone cast in a show must become a member of the Elmwood Playhouse. Elmwood Playhouse maintains an “open auditions” policy. All are welcome to “try out” for a show or a particular part in a show. Dates for upcoming auditions are listed on the web site, and announced in the members’ newsletter. Some casting processes may involve two dates for primary auditions, and one date for callbacks. You will be asked to fill out an audition form, and if you have a head shot &/or resume, definitely bring it along, but it is not necessary for our audition process. Come prepared to list all your schedule conflicts from the day of auditions through the closing performance of the show.

Acting Opportunities

Elmwood Playhouse produces: Six “main stage” shows a year. Involvement in these generally requires an average of 2-3 nights a week rehearsal for approx 8 weeks, and 12 to 20 performances over a period of 4 to 6 weeks. Actual schedules will vary by show. A variety of “one performance” workshops for the monthly membership meetings, generally the first Monday of the month and open to the public. Special event performances throughout the year. This gives a broad range of opportunities for actors of varied skills and backgrounds to get on stage, whether you’re looking for a leading role or a small part to “get your feet wet”. Our shows run four to five weekends, occasionally with benefit performances during the week.

If you are cast…

All cast and crew personnel are required to become members of Elmwood Community Playhouse and are required to attend strike, which is held the Sunday after the final performance. By taking part in a production, you also allow that images of yourself captured by Elmwood Community Playhouse during their activities (including but not limited to rehearsals, productions and special events) through video, photo and/or digital camera, to be used solely for the purposes of Elmwood Community Playhouse promotional materials/publications and web site, and waive any right of compensation or ownership thereto. As is true in the professional world of theatre and dance, if the director or choreographer believes that a cast member’s participation in a production is unsatisfactory, it is his/her right to replace the person. A professional attitude and commitment to productions are expected at all times.