Long Wharf Theatre's 2026/27 Season

State of the Union

As our nation marks its 250th year, Long Wharf Theatre invites audiences to gather around stories that ask where we are, where we’re headed, and how we move forward together.

Building on the momentum of another landmark season—including sold-out productions, an Off-Broadway co-production, and citywide community initiatives—Long Wharf Theatre continues to redefine what a regional theatre can be. Through boundary-breaking productions, bold partnerships, and civic-centered programming, Season 62 explores the condition of our communities while affirming the power of theatre to connect us.

This season features documentary theatre, a reimagined American classic, a deeply human story of immigration, the return of the Artistic Congress, and the seventh annual Black Trans Women at the Center festival, all united by the belief that theatre can help us understand one another and imagine what’s possible next.

Season 62

Now in its fourth year of producing theatre across Greater New Haven and beyond, Long Wharf Theatre continues to bring performances into the communities where people already gather.

From universities and cultural centers to regional theatres and digital spaces, this season reaches audiences across Connecticut while remaining rooted in New Haven. Rather than asking audiences to come to us, we continue bringing theatre to the people, creating experiences that spark conversation, strengthen civic life, and foster deeper connections across our communities.

Each production is an invitation not only to witness a story, but to participate in the questions it raises. Through collaborations with artists, educators, and community partners, Season 62 expands Long Wharf Theatre’s vision of theatre as a shared civic experience grounded in artistic excellence, radical inclusion, and meaningful dialogue.

State of the Union

Long Wharf Theatre’s producing model continues to challenge traditional ideas of what a regional theatre can be. Untethered from a single building, we create performances in theatres, universities, cultural institutions, civic spaces, museums, and communities throughout Greater New Haven and beyond. 

State of the Union reflects our response to this moment.

It’s an invitation to gather.
To listen.
To wrestle with difficult questions.
To celebrate resilience.
To imagine a future together.

Since embracing this producing model, Long Wharf Theatre has become a national leader in reimagining the future of American theatre, earning recognition for building a theatre that is collaborative, adaptive, and deeply embedded in community.

Season 62 continues that vision through partnerships that extend across Connecticut, productions that meet audiences where they are, and programming that positions theatre as a catalyst for conversation, change, and collective imagination.

Thank you to our season sponsors, learn more about their work in the links below:

Connecticut Public
DocuprintNow
WSHU

New York City Auditions
August 13, 2026 | 9:00 AM–5:00 PM
Lunch break: 1:00–2:00 PM
Actors’ Equity New York Audition Center
165 W. 46th Street, 16th Floor
New York, NY 10036
*Log in to your Equity portal for sign-up

New Haven Local Auditions
August 25, 2026 | 11:00 AM–7:00 PM
Lunch break: 2:00–3:00 PM
The Sandbox
70 Audubon St
New Haven, CT 06510
*Equity sign-ups begin 8/12/26, non-equity sign-ups begin 8/5/26 
*Sign-up registration linked HERE

Contract: LORT Non-Rep — $889 weekly minimum (LORT D)

Seeking: Equity actors for roles in Long Wharf Theatre's 2026–27 Season (see breakdown below). No roles will be understudied.

Preparation: Prepare one contemporary monologue. No longer than 3-minutes. Bring 2 copies of your headshot and resume, stapled together.

EPA Procedures are in effect for this audition. An Equity Monitor will be provided.
Equity's contracts prohibit discrimination. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to attend every audition.

Always bring your Equity Membership card to auditions.

Audition Call Type: EPA
 

Breakdown

THE FORD/HILL PROJECT
Written and Created by Lee Sunday Evans & Elizabeth Marvel
Directed by Lee Sunday Evans

Long Wharf Theatre Dates:
- First Rehearsal September 15, 2026
- First Tech, September 18, 2026
- Opening September 19, 2026
- Closing September 27, 2026

Seeking:
Christine Blasey Ford and others, a white woman
Anita Hill and others, a Black woman
Kavanaugh and others, a Black man
Thomas and others, a white man

ARTHUR MILLER'S THE PRICE
Written by Arthur Miller
Directed by Ralph B. Peña

Long Wharf Theatre Dates:
- First Rehearsal September 29, 2026
- First Tech, October 24, 2026
- Dress Rehearsal October 29, 2026
- First Preview October 30, 2026
- Opening November 5, 2026
- Closing November 22, 2026

Seeking:
ESTHER FRANZ. She/her, AANHPI, 40s. Victor’s wife. She's perceptive, witty, and practical. She longs for a fuller life. She loves Victor but resents his martyrdom and the limitations it has put on their lives. Walter’s arrival represents both danger and possibility. Emotionally candid and humorous, she is not just the “dissatisfied wife.” A drinker.

VICTOR FRANZ. He/Him, AANHPI, 40’s-50’s. A career police officer. He is grounded, principled, and tightly contained. He has built his identity around the sacrifice he made for his father and will not tolerate that story being challenged. His marriage is strained by money and stagnation. His brother Walter’s return explodes long-held resentment. Quiet authority with powerful feeling beneath the surface.

WALTER FRANZ. He/Him, AANHPI, 50’s. Victor’s older brother. He is a successful surgeon: polished, intelligent. He is persuasive, but emotionally guarded. He seeks reconciliation while protecting his version of the past. Guilt, pride, and genuine affection for Victor coexist. Must not read as a villain. This role requires warmth, ambiguity, and command.

GREGORY SOLOMON. He/him, 60’s, character identifies as Jewish. A shrewd furniture dealer with theatrical flair. He has strong survival instincts and hard-won compassion. His comical repartee masks grief; he sees the family’s fractures with startling clarity. Requires impeccable timing, emotional depth, and authentic Jewish specificity without resorting to caricature.

72 MILES TO GO...
Written by Hilary Bettis
Directed by Jacob G. Padrón

Long Wharf Theatre Dates:
- First Rehearsal January 5, 2027
- First Tech, January 29, 2027
- Dress Rehearsal February 4, 2027
- First Preview February 5, 2027
- Opening February 11, 2027
- Closing February 28, 2027

Seeking:
Billy – Chicano, 47-55, pastor at a Unitarian church. Billy holds his grief quietly for his children and marriage. He’s the ultimate caretaker and protector - warm, sturdy, and able to flip on a dime. He sometimes has a hard time finding his words.

Anita – Mexican, 42-50, living in Nogales, Mexico. Anita, unlike Billy, has all the words and expresses herself freely to “show” her love and care for her children. There is a resolve to Anita that is undeniable.

Christian – Chicano, 23-31, dreams of being a Marine. He wishes life were different and there’s an angst that sometimes clouds his ability to see what could be. He presents as unbothered, but it’s his protection. He wants to be seen, and he wants his life to mean something.

Eva – Chicano, 17-25, the caretaker. Puts everyone else first. Eva is smart, attentive, and quick to judge. She’s learning to find her own voice.

Aaron – Chicano, 14-22, loves science. Aaron loves his family in ways he can’t even express sometimes. He’s wise beyond his years. He’s tender but there’s also a quiet strength about him. He’s curious about the world and wants to make it better, not for him, but for his family. He’s the heart of the play. This actor needs to be a shapeshifter with enormous emotional range.