(480) 483-1664 info@desertstages.org






Video auditions will consist of:
1. Google form (please be completely honest with your outdates).
Outdates will not be allowed for tech week, February 28-March 4)
2. Headshot and resume (digital copy or a link will suffice)
3. Video audition that should consist of a 32-bar cutting in the style of the show
(i.e. 80’s mega musical, rock musical, rock opera).
Please do not audition with anything from the show.
Also state in the video which role(s) you are interested in.

Auditions will be accepted by email (auditions@desertstages.org) until midnight Sunday, January 9, 2022. If you are unable to submit or if you have issues uploading your video audition, please let us know via the same email address.

Submit Video Auditions to


Music/dance callbacks and cold readings will take place Wednesday, January 12, 2022, 6-10pm (a scheduled breakdown will be provided to invited actors).


Tuesday, January. 18 at 7:00pm
Rehearsal will be Sunday 6-9pm and Monday-Thursday, 7-10pm

February 28 through March 4

Friday, March 4, 7:30pm
Saturday, March 5, 2:00pm (tentative)
Saturday, March 5, 7:30pm
Sunday, March 6, 2:00pm

Friday, March 11, 7:30pm
Saturday, March 12, 2:00pm (tentative)
Saturday, March 12, 7:30pm
Sunday, March 13, 2:00pm

Friday, March 18, 7:30pm
Saturday, March 19, 2:00pm
Saturday, March 19, 7:30pm
Sunday, March 20, 2:00pm

Masks may be required during rehearsals and performances.
Weekly Covid-19 PCR tests may be required during rehearsals and performances.

Each performer and production team member will be asked to abide by the rules of Desert Stages Theatre.
Show communications will be through SLACK app.
Each performer will be asked to help promote this DST show.

Safety will be priority #1 as we continue to bring live theatre back to the DST stage.
For more information, please visit desertstages.org/auditions.
Scottsdale Desert Stages Theatre
Mainstage Production of


Book by Richard Nelson

Lyrics by Tim Rice

Music by Bjorn Ulvaeus and Benny Andersson

CHESS is presented by arrangement with Concord Theatricals. www.concordtheatricals.com

Directed by Chris R. Chávez
Music Direction by Ken Goodenberger
Choreography by Ruby Wagner


In this musical, written as a metaphor for the Cold War and written by the men of the super-group ABBA, the ancient game of chess also becomes a metaphor for romantic rivalries, competitive gamesmanship, super-power politics, and international intrigue. The pawns in this drama form a love triangle: the loutish American chess star, the earnest Russian champion, and a Hungarian American female assistant who arrives at the international chess match in Bangkok with the American, but falls for the Russian. From Bangkok to Budapest the players, lovers, politicians and spies manipulate and are manipulated to the pulse of a monumental rock score.
The story involves a politically driven, Cold War-era chess tournament between two men—an American grandmaster and a Soviet grandmaster—and their fight over a woman who manages one and falls in love with the other. Although the protagonists were not intended to represent any real individuals, the character of the American grandmaster (named Freddie Trumper in the stage version) was loosely based on Bobby Fischer, while elements of the story may have been inspired by the chess careers of Russian grandmasters Viktor Korchnoi and Anatoly Karpov.



Actors of all races, ethnicities, sizes, abilities, and genders (conforming and non-conforming) are highly encouraged to audition.



– Female identifying; plays age late 20’s-mid 30’s; strong belt voice up to E. Florence was born in Hungary and raised in America since fleeing in 1956 with her father. She is clever, theatrical, vivacious, volatile, and conflicted. She is Frederick’s chess “second” and falls for Anatoly.
Anatoly – Male identifying; plays 30’s to 40’s (must read older than Freddie). Anatoly is Freddie’s rival, a Russian chess champion. He is quiet, gentle, charming, charismatic, intelligent, feeling and passionate. Although, he doesn’t seem it at first, he must be able to portray the “romantic man” subtly through his personality.
Molokov – Male identifying; plays late 40’s to 50’s; bass down to a F sharp. Molokov is a Soviet Leader. He is cold, stoic, intellectually formidable, but never comes across as a stereotype. He appears to be a type of father figure to Florence. He is Anatoly’s chess “second”.
Svetlana – Female identifying; strong belt; plays mid-late 30’s. Svetlana is Anatoly’s wife. She is domestic, dependent, and in a word, wholesome. She is quite the opposite of Florence, set in her old ways and in no way a contemporary cosmopolitan person.
Walter – Male identifying; bass-baritone down to G sharp; plays 40’s-50’s. Walter is a marketing agent. He seems to be a respectable fellow of substance that is trustworthy.
Arbiter – Male identifying; high rock baritone belt up to A. No specific age identity. He is a smooth, sexy, no-nonsense, authoritative kind of person, but can have a short temper. Narrator of much of the show, must be able to carry the show with charisma.
Gregor – Male identifying; bari-tenor low A to high G. Gregor is Florence’s father.
Young Florence – Role is female presenting, but can be played by any gender. Small speaking role. Minimal commitment. Open to double casting. No need for video audition, but must submit Google form and headshot/resume.
Ensemble – looking for 10-15 actors of all genders and ages 16+; must have strong vocal experience; some ensemble members will also require some strong dance experience