Buy Tickets
Make a Donation
Loading Events


DH Sides

Accusations, mistaken identities, and romances run wild in this traditional, laugh-out-loud farce. Two nuns at the Sisters of Perpetual Sewing have been secretly making wine to keep the convent’s doors open, but Paul and Sally, reporters and former fiancees, are hot on their trail. They go undercover as a nun and priest, but their presence, combined with the addition of a new nun, spurs paranoia throughout the convent that spies have been sent from Rome to shut them down. Wine and secrets are inevitably spilled as everyone tries to preserve the convent and reconnect with lost loves.

Thank you for your interest in auditioning for this production of Drinking Habits, written by Tom Smith.  In this comedy, two nuns of the Sisters of Perpetual Sewing have been secretly making wine to keep the struggling convent open, but Paul and Sally, reporters and former fiancées are hot on their trail.  Sprinkle in some additional nuns, accusations, mistaken identities, and romances, and you’ve got a heavenly laugh-out-loud farce.

PERFORMANCE DATES:  February 29th through March 3rd.

DIRECTOR:  Troy Wulfemeyer – Troy has been involved with the Corbin Theatre Company for 15 years from acting to directing, tech, set design and build, and serving on the board of directors.  He is currently the Drama Chair for Corbin


Please make sure to fill out the audition sheet completely.  Please write legibly and take extra care to print your email address correctly.  Please list all known conflicts.  


We will be using a rehearsal schedule that reflects the fact that most of us have real live day jobs, families, and other requirements.  We will run rehearsals twice a week until the final two weeks of production, when we will rehearse each weeknight.  This will allow actors time to memorize lines and blocking.


You will be asked to read from the script sides that are provided online where you downloaded this packet.  Understand, this is a farce, so your comedic timing, intonation, and all the rest will be what we’re looking for during your audition.  All plays rely on the chemistry of the actors – so how well you interact (on and off stage) with others is also a factor.


If necessary, callbacks will be held on Wednesday evening.


Those who wish to help with set build and dressing will be welcome to attend once specific times are decided upon.  However, ALL cast members are expected to participate in strike after the final performance.


Sunday Monday Tuesday Wednesday Thursday Friday Saturday
Jan 21 Jan 22

Auditions 6:30-8:00

Jan 23



Jan 24

Read Through


Jan 25 Jan 26 Jan 27
Jan 28 Jan 29

Rehearsal 6:30-8:30

Jan 30 Jan 31

Rehearsal 6:30-8:30

Feb 1 Feb 2 Feb 3
Feb 4 Feb 5

Rehearsal 6:30-8:30

Feb 6 Feb 7



Feb 8 Feb 9 Feb 10
Feb 11 Feb 12

Rehearsal 6:30-8:30

Feb 13 Feb 14

Rehearsal 6:30-8:30

Feb 15 Feb 16 Feb 17

Set Build


Feb 18 Feb 19

Rehearsal 6:30-8:30

Feb 20

Rehearsal 6:30-8:30

Feb 21

Rehearsal 6:30-8:30

Feb 22

Rehearsal 6:30-8:30

Feb 23 Feb 24
Feb 25


Feb 26

Rehearsal 6:30-8:30

Feb 27

Rehearsal 6:30-8:30

Feb 28

Rehearsal 6:30-8:30

Feb 29


Mar 1


Mar 2


Mar 3

SHOW and Strike


  1. What should I bring?  A list of your conflicts, an acting resume (if you have one), a headshot or picture of yourself if you have one.  Dress comfortably.
  2. What if I have a conflict with the rehearsal dates, does that mean I won’t get cast?  Not necessarily.  I cast who I think would be best.  However, the question is how many conflicts and WHEN the conflict occurs.  Conflicts close to performance time are more problematic.
  3. What if I get sick?  If you wouldn’t go to work or school – notify the stage manager or director and stay home.  We don’t want to get sick either.
  4. What if I only want to audition for a specific role?  Be sure to note that on your application.  I would rather know that going in than offer you a role you don’t want.  However, if you do state that you only want to be considered for one role, I will NOT consider you for others.  So, be clear about a preference versus an “all or nothing” stance.  


5 females and 3 males.

All age ranges are considered “can play as”.  Some younger folks can play older than they are and some “veteran actors” can play younger.  But relative ages are important due to the relationships in the script.

CHARACTERS (Line counts are approximate – very much an ensemble piece.)

Sister Philamena (F)  20’s to mid 50’s.  She is one of the three nuns who live at the Sisters of Perpetual Sewing.  Has secretly been making wine for several years with Sister Augusta in order to keep the convent open.  Devout and dedicated to her calling, joyful and humorous, yet incapable of lying.  (111 lines)

Sister Augusta (F)  20’s to mid 50’s.  Much like Sister Philamena – but might be able to squeeze a lie past her lips if necessary.  (90 lines)

Sister Mary Catherine (F) early 20s.  A novice nun sent to the convent to finish her training.  Meek and timid.  (90 lines)

Mother Superior (F) 40’s through early 60’s.  Has been in charge of the Sisters of Perpetual Sewing for many years.  Hates alcohol, especially wine.  Somewhat wily.  (180 lines)

George (M) 20’s to 30’s.  Caretaker and gardener at the convent.  George isn’t dumb, but he is a little slow to understand at times. (85 lines)

Paul (M) mid 20’s.  Newspaper reporter.  Former fiancé and current co-worker of Sally.  Paul is an orphan.  He is a good writer, but his conscience sometimes gets in the way of his reporting. (130 lines)

Sally (F) mid 20’s.  Award-winning reporter.  Used to be engaged to Paul but left him standing at the altar on their wedding day to cover an important story.  Quick witted and sometimes sharp-tongued. (138 lines)

Father Chenille (M) 40’s to 60’s.  Priest of the local parish next to the convent.  Patient, understanding, and a little clumsy. (90 lines)


Share This Event! Choose Your Platform:

Go to Top