Dog Sees God

Dog Sees God is an emotionally demanding play that addresses complex themes involving adolescence, identity, trauma, sexuality, bullying, grief, mental health, and interpersonal violence. The production includes scenes and dialogue that may be emotionally challenging or potentially triggering for some individuals.

Content within the production may include, but is not limited to:

*Emotionally heavy and psychologically intense scenes

*High-stakes interpersonal conflict and confrontation

*Harsh bullying, intimidation, humiliation, and emotional abuse

*Homophobic language and anti-LGBTQ+ harassment

*Gay bashing and physical violence or threats of violence

*Discussions and references related to suicide and self-harm

*Grief, death, and emotional trauma

*References to abortion and pregnancy-related decisions

*Mature sexual themes and discussions

*Same-sex kissing and other moments of physical intimacy

*Partial nudity and/or scenes involving changing or implied nudity

*Strong language and mature adult themes

*Scenes involving emotional vulnerability, fear, anger, distress, or psychological intensity

Actors should understand that the material may require them to explore emotionally vulnerable and complex situations. While performers are never expected to compromise their personal boundaries, some roles may involve physical contact, staged intimacy, or depictions of emotionally or physically intense interactions and may be required of some characters in order to stay true to the script.

To support a safe, respectful, and professional rehearsal and performance environment, the production will be working with a hired Intimacy Director. The Intimacy Director will help facilitate and choreograph scenes involving intimacy, kissing, physical contact, partial nudity, and other potentially sensitive interactions. Their role is to ensure that all such moments are approached with clear communication, consent-based practices, established boundaries, and appropriate professional protocols.

Actors will have the opportunity to discuss boundaries and ask questions regarding the specific requirements of a role during the casting and rehearsal process. No intimate or physically sensitive material should be improvised or introduced without appropriate discussion, choreography, and consent.

We encourage all actors considering an audition to carefully review the content of the production and reflect on their personal comfort level with the themes and material involved. Our goal is not to discourage participation, but rather to ensure that every actor enters the process with transparency, informed awareness, and the opportunity to make decisions that feel appropriate for their own boundaries and well-being.

By participating in the audition process, actors acknowledge that they have been informed that Dog Sees God contains mature, emotionally intense, and potentially triggering subject matter. Questions regarding specific content, character requirements, intimacy, nudity, or staging may be directed to the production team. We are committed to fostering an environment built on professionalism, communication, respect, consent, and care for every member of the cast and creative team.

See link for available monologues

Actors are required to attend Strike directly after the closing performance.

Beethoven (Schroeder) - has embraced his life as an outcast prior to events in the play. A bit of a recluse, Beethoven takes solace in playing the piano, but when he and CB become romantically involved, he's subjected to a world of unwanted attention. (The subject of constant bullying, f slurs, physical harm, shares on stage intimate moments and kisses with same sex actor)

CB's Sister (Sally) - is in the midst of "an eternal identity crisis," often trying on bold and fringe personalities and philosophies, from wiccan to punk to pirate throughout the course of the show. Her unrequited crush on Beethoven leads to her heartbreak when his relationship with her brother is publicly revealed. (Deals with heavy grief, subject of multiple sexual advances)

Van (Linus) - always the philosopher in childhood, is now a pothead with a worldview to match. He numbs his frequently intellectual and thoughtful mind with marijuana and as a result is often depicted as the least connected and emotionally unaffected throughout the events of the play. (Heavy drug user, asks other actress for sexual favor)

Matt (Pig-Pen) - has become CB's best friend and a self-aggrandizing alpha male whose childhood neglect has left him a compulsive germaphobe, with an increasingly short-fuse. His good looks just barely mask the rampant misogyny, homophobia, and rage that ultimately comes to a boiling point when his close bond with CB is threatened by CB's feelings for Beethoven, the most frequent target of Matt's malice and ridicule.

(Internal Homophobia, f slurs, most vulgar language in show come from Matt, aggressor, bully, physically abusing, should be comfortable being half clothed)

Tricia (Peppermint Patty) - a party girl, fancies herself the most popular girl in school, but is still attached at the hip to her sidekick Marcy. She is deeply image obsessed. Her own delusions and desperation to be perceived as "pretty" and "popular" become more and more transparent over the course of the play. (discusses eating disorders, homosexuality, should be comfortable with the suggested nature of being half clothed )

Marcy (Marcie) - Tricia's sidekick. Her role as Tricia's follower is as apparent as ever while the intellect she held in her youth has been seemingly neglected and pushed aside to make room for more important things like boys and mixology. At the start of the play she is pursuing a romantic relationship with CB, but following his public outing with Beethoven, she switches her attention to Matt. Ultimately, destined to end up alone... at Tricia's side. (discusses eating disorders, struggles with rejection of affection toward peers, should be comfortable with the suggested nature of being half clothed)

Van's Sister (Lucy) - is mysteriously and noticeably absent throughout the first half of the play, before it is ultimately revealed has been institutionalized for setting the Little Red-Haired Girl's hair on fire in biology class. She was CB's on-again, off-again girlfriend before being taken away and, in the play, serves as his moral confidante and guides him as he attempts to break his status quo. (talks about the termination of a pregnancy, discusses mental illness)