Spring 2026
Power Play throws The Taming of the Shrew onto the ice and straight into a media firestorm.
When a no-nonsense PR director is forced to manage a newly traded star defenceman with a reputation problem, sparks fly fast. Set in the world of professional hockey, this adaptation is packed with rivalry, bad optics, chemistry, and enemies-to-lovers tension. In brand-new play that explores reputation versus reality, Full Circle Theatre reimagines Shakespeare’s most controversial comedy as a sharp, playful sports rom-com with plenty of bite.
Full Circle Theatre is holding self-tape auditions for our upcoming production of Power Play (by Erin Weir with additional material by Megan Baldrey).
Interested actors are asked to fill in a Google Form to express their interest.
On April 17, audition sides and instructions will be sent out to all actors who have filled out the form.
Self-tapes are due on April 25 at 23:59.
Callbacks will take place on May 9, 1 - 4pm.
Performance Dates: June 25 - July 4, 2026, West Village Theatre
Rehearsal Schedule: Mon & Tues evenings, Sat & Sun afternoons. Rehearsals to start the week of May 23, 2026.
Tech Schedule: Tech rehearsals on evenings of June 22 & 23. Invited Preview on Feb 24.
POwer Play
Notes: All roles require strong comic timing. Some intimacy is required for Kate, Pete, Bianca, and Luc, and potentially other roles - to avoid spoilers, we won’t say more here, but please email us if you have concerns.
Actors auditioning for hockey players should be confident with movement and physical storytelling.
These roles do not require real hockey ability.
All actors must be 18+.
Characters:
Kate Baptista – late 20s to 30s. Head of Communications for the Padua Pythons. Smart, sharp, capable, and deeply allergic to nonsense. Dry, funny, tightly wound, and very good at turning chaos into strategy. Central romantic lead. Kate and Pete will need to kiss.
Bianca Baptista – 20s to early 30s. Social media coordinator for the team and Kate’s younger sister. Charming, warm, quick, and more emotionally perceptive than people assume. Great with people, great on camera, and tired of being treated like a distraction instead of a person. Secondary romantic lead. Bianca and Luc will need to kiss.
Joanna/Joe Baptista – 40s to 60s. Owner of the Padua Pythons. Polished, commanding, strategic, and very used to setting the rules. Loves her/his daughters, but is not especially interested in being warm about it.
Petruchio “Pete” Ruff – late 20s to 30s. A star player recently traded to the Pythons. Gruff, unmedia-trained, and carrying a very public reputation. Combative, skeptical, and sharper than he first appears. Central romantic lead opposite Kate. Kate and Pete will need to kiss.
Luc Normand – 20s to early 30s. Rookie. Sweet, earnest, sincere, and almost aggressively well-intentioned. Awkward in a genuine way, occasionally surprisingly funny, and possessed of just enough backbone to surprise you. Secondary romantic lead opposite Bianca. Bianca and Luc will need to kiss.
Tensy Hollaway – 20s to 30s. Flashy right winger. Cocky, high-scoring, and fully committed to being a problem. Flirts recreationally, chirps professionally, and rarely shuts up.
Julius Gremio – late 20s to 30s. Goalie. Weird. Intensely, specifically weird. Deadpan, unpredictable, and occasionally bizarrely sweet.
Serena Tranio – 20s to 30s. Pythons physical therapist and Bianca’s best friend. Grounded, observant, and quietly lethal. Funny in a stealth way, with the energy of someone who has seen every flavour of athlete nonsense and is no longer impressed.
Greer Mio – 30s to 50s. Pete’s agent/publicist combo. Smart, polished, exhausted, and always thinking three moves ahead. Excellent in a crisis and fully aware she is managing a human disaster.
Finley Rossi – 20s to 40s. Hockey reporter. Quick, curious, ambitious, and a little bit of a gossip goblin. Very good at spotting the real story and even better at enjoying it.
Please note that we may also be casting several smaller parts not listed and there is a possibility that one actor may be playing several roles. If cast in a smaller role, you may be asked to understudy a larger role.
Full Circle Theatre operates on a profit-share model, so an honorarium may be available, but please keep in mind this relies on a lot of factors.
If there are any further questions, please don’t hesitate to contact us: fullcircletheatre.yyc@gmail.com
