Details
Union:
Non union
Area of media:
Microdrama
Network:
Paid?:
Yes
Rates:
COMPENSATION
Rate: (Non Union)
$300 - Lead Roles
$200 - Supporting Roles
Lodging: Provided (Night prior of performance)
Food: Meals are provided on set, as well as a per diem on travel days.
Travel: $150 one-time travel stipend provided if in Toronto, $50 from Ottawa
Deadline:
Nov 21, 2025
Auditions:
(NO AUDITION, BOOKING OFF REELS)
Shooting starts:
Dec 8, 2025 5:00 PM
Shooting finishes:
Dec 8, 2025 2:00 AM
Shooting locations:
Montreal, Quebec
Cities for response:
Toronto, Montréal, Ottawa
Comments
?? WHY THIS PROJECT MATTERS
VerticalDrama.ca is committed to producing bold, character-driven stories made for the next generation of audiences. He Divorced Me, Then I Won the Lottery puts women’s stories, economic vulnerability, and found family at the center of a high-stakes emotional ride.
If you're an actor who thrives on intimate, intense scenes, layered characters, and stories where a single choice can change a life—we want to hear from you.
VerticalDrama.ca is committed to producing bold, character-driven stories made for the next generation of audiences. He Divorced Me, Then I Won the Lottery puts women’s stories, economic vulnerability, and found family at the center of a high-stakes emotional ride.
If you're an actor who thrives on intimate, intense scenes, layered characters, and stories where a single choice can change a life—we want to hear from you.
Storyline
MAYA REED keeps going: mid-treatment, still working, still convinced her marriage will hold. That ends when she comes home to ERIC REED, her polished, image-hungry husband, standing beside a broken suitcase as he flings a wad of cash and gives her ten minutes to pack before he changes the locks. Shaking on the sidewalk, Maya meets RILEY HART, a warm widow with a photo of her late husband NATE on the shelf, who offers a couch, tea, and a place to land.
In Riley’s small living room, a call from Maya’s boss becomes a termination speech—too many missed days, not enough “reliability,” no job. What she has instead is a friend with a ritual of hope: every week Riley buys two lottery tickets and presses one into Maya’s hand as housewarming karma. A week later, they watch the numbers land; the woman Eric threw out like trash is suddenly holding a winning ticket big enough to erase every bill.
The win draws Eric and his mistress back, suddenly apologetic and sure they’re owed a cut. Maya quietly collects receipts of his abandonment, walks into attorney LILY CARTER’s office to end the marriage and lock down the money, then turns to Riley to build The Nate Project, a shelter and medical-debt fund for women kicked out like she was. A post-credit sting shows Eric’s mistress, now pregnant, at Riley’s door with an envelope for The Nate Project, more scared than angry. When illness makes people disposable and sudden luck paints a target on your back, what does Maya really owe the man who left—and what if real power is using her miracle to pull other women through the door he slammed on her?
In Riley’s small living room, a call from Maya’s boss becomes a termination speech—too many missed days, not enough “reliability,” no job. What she has instead is a friend with a ritual of hope: every week Riley buys two lottery tickets and presses one into Maya’s hand as housewarming karma. A week later, they watch the numbers land; the woman Eric threw out like trash is suddenly holding a winning ticket big enough to erase every bill.
The win draws Eric and his mistress back, suddenly apologetic and sure they’re owed a cut. Maya quietly collects receipts of his abandonment, walks into attorney LILY CARTER’s office to end the marriage and lock down the money, then turns to Riley to build The Nate Project, a shelter and medical-debt fund for women kicked out like she was. A post-credit sting shows Eric’s mistress, now pregnant, at Riley’s door with an envelope for The Nate Project, more scared than angry. When illness makes people disposable and sudden luck paints a target on your back, what does Maya really owe the man who left—and what if real power is using her miracle to pull other women through the door he slammed on her?
Roles
| Role type | Role | Gender & Age range |
| Lead | MAYA REED | Female 20 - 30 Years old |
Description MAYA REED (Lead, Female, late 20s–mid 30s)A quietly fierce woman in the middle of medical treatment whose life implodes in a single afternoon. Maya is stunned, humiliated, and literally left on the sidewalk with a broken suitcase—then slowly reclaims her power after a lottery win puts her future back in her hands. A deeply emotional, layered role with subtle strength and a huge internal arc. Must convey: vulnerability, quiet resilience, shock, grief, and a slow-building core of steel. Wardrobe: Hospital-day casual (leggings, loose tops), simple workwear, cozy loungewear, later elevated but grounded “new chapter” looks. | ||
| Role type | Role | Gender & Age range |
| Lead | ERIC REED | Male 30 - 40 Years old |
Description ERIC REED (Supporting, Male, 30s)Maya’s polished, image-hungry husband who cares more about appearances than vows. Eric kicks her out mid-treatment with a wad of cash and a deadline, then reappears when the lottery win hits, suddenly full of apologies and entitlement. A great role for an actor who can play charming, cruel, and desperate—often in the same scene. Must convey: weaponized charm, cold cruelty, entitlement, and rattled ego when the power shifts. Wardrobe: Business-casual/upper-middle-class (dress shirts, slacks, smart casual jackets). | ||
| Role type | Role | Gender & Age range |
| Lead | RILEY HART | Female 30 - 40 Years old |
Description RILEY HART (Supporting, Female, 30s)A warm, wry widow and Airbnb host who finds Maya on the sidewalk and offers her a couch, tea, and a soft landing. Riley is living with active grief for her late husband but refuses bitterness; she becomes Maya’s anchor and co-creator of The Nate Project, a shelter and medical-debt fund in his honor. Must convey: lived-in grief, kindness, humor, and quiet strength; feels like instant “chosen family.” Wardrobe: Cozy, practical (jeans, sweaters, cardigans, house slippers), with a lived-in, homey feel. | ||
| Role type | Role | Gender & Age range |
| Lead | LILY CARTER | Female 30 - 40 Years old |
Description LILY CARTER (Supporting, Female, 30s–40s)A razor-calm attorney who believes in timestamps over tears. Lily listens, takes notes, and quietly turns Maya’s story of abandonment into legal leverage. She’s not showy; her power is in stillness and precision. Must convey: grounded authority, empathy under control, intelligence, and strategic calm. Wardrobe: Simple, professional law-office attire (blouses, blazers, tailored pants or skirt). | ||
| Role type | Role | Gender & Age range |
| Lead | ERIC'S MISTRESS | Female 20 - 30 Years old |
Description ERIC’S MISTRESS (Supporting, Female, 20s–30s)Initially seen as the “other woman” who helps push Maya out, but by the stinger we see another side: pregnant, scared, and holding an envelope for The Nate Project. A compact but powerful role that moves from smug complicity to raw fear and regret. Must convey: early arrogance, pettiness, and later genuine fear and vulnerability. Wardrobe: Trendy casual (leggings/jeans, fitted tops, designer knock-offs); later, more subdued, stressed look. | ||
| Role type | Role | Gender & Age range |
| Lead | MAYA'S BOSS | All 30 - 50 Years old |
Description MAYA’S BOSS / HR (Any Gender, 30s–50s)Voice or brief on-camera role delivering the “we have to let you go” call. Represents corporate coldness and the institutional side of Maya’s abandonment. Must convey: professional detachment, subtle discomfort, and corporate spin. Wardrobe: Office attire if on camera (button-down/blouse, headset, simple background). | ||
| Role type | Role | Gender & Age range |
| Lead | LOTTERY ANNOUNCER | All 20 - 60 Years old |
Description LOTTERY CLERK / ANNOUNCER (Any Gender, 20s–60s)A small but pivotal role landing the win moment—either at the counter or via broadcast. Must convey: everyday friendliness or polished broadcast ease; clear diction and presence. Wardrobe: Convenience-store uniform or simple “on-air” look, depending on final blocking. | ||