Auditions

Want to be involved but don’t want to act? There’s always plenty to do backstage – see our membership page for details.

Non-members are welcome but please read the notes on this page.

Membership Commitment – as part of your membership we expect all members to support the theatre by assisting with our Front of House Operations when the theatre is open for performances by either Stewarding, working on the Bar or Coffee Bar. We term this as a “Duty” and members are expected to do ten “Duties” per membership year.

New Members will be asked to do three duties before the run of any production they are cast in. Existing members should ensure that they have fulfilled their quota of duties before auditioning or they may not be considered for a production.

All members should do a minimum of three duties within a four month period.

 

**AUDITION NOTICE**

Collaboration by Ronald Harwood

I have wanted to direct Ronald Harwood’s ‘Collaboration’ for several years now.   It was first presented at the Chichester Festival in July 2008 as a companion piece to ‘Taking Sides’ (performed at the Crescent Theatre in January 2015).

The action begins in 1931 and it charts the often stressful relationship between Richard Strauss, the pre-eminent composer of the day, and Stefan Zweig, the equally impressive playwright and novelist. They are to collaborate on a new opera, “The Silent Woman”, with Zweig as librettist.

The opera will demonstrate to the world the lofty cultural ambitions of the increasingly powerful National Socialist Party.   The premier will be massive.   Both Hitler and Goebbels will be present. The eyes of the world will be focused on Germany.

But, embarrassingly for the Nazi Party, Zweig is a Jew.   What persuasion must be applied to a national treasure to make him concede to the party line?

The cast is as follows:

Richard Strauss:   sixty-seven, internationally famous composer and conductor, a German national treasure, which saved his life on numerous occasions but did not protect him from the humiliation inflicted by Hitler.   He has been accused of cosying up to the Nazi authorities for his own survival.   Or was he striving to protect his beloved Germany from what he saw as the total destruction of its culture in the only way he know how?

Pauline Strauss (his wife):   sixty-eight, a fine soprano, eccentric, snobbish, ill-tempered and outspoken, but a source of great inspiration to her husband.   Strauss described her as “very complex, very feminine, a little perverse, a little coquettish, never like herself, at every minute different from how she had been a moment before”.

Hans Hinkel:   thirty-three, a member of the National Socialist Party Propaganda Party.   Utterly charming gentleman who can ‘smile and smile and still be a villain’

Paul Adolph:   sixty-six, theatre manager, just one small scene but the bearer of bad news

Lotte Altman:   twenty-four, Zweig’s secretary, described as being “a withdrawn, slender, self effacing woman”   Later to become Zweig’s wife.

Stefan Zweig:   Fifty, an internationally popular novelist, playwright, journalist and biographer, Fastidious and sensitive, he was a pacifist and a man of strong moral belief.

 

The action of the play is based on incidents that happened.   The real human beings were the ages that are indicated.   Do not be put off.   Wonders can be done with subtle make-up and good acting.

 

The audition dates are:

Tuesday 22nd January (7.30pm – 10.00pm)

Thursday 24th January (7.30pm – 10.00pm)

Please bring your diaries.

 

Audition pieces will be available on the night and there will be time to rehearse individually or in groups as the script requires.

Performances take place from Saturday 30th March to Saturday 6th April.   Evening performances begin at 7.45 pm

There are two Matinee performances, one on Sunday 31st March at 2.45pm and one on Saturday 6th April also at 2.45pm.

There are two performances on Saturday 6th April.

I hope that the prospect of involvement in this play excites you as much as it does me and I look forward to seeing you at the auditions.

 

Alan K. Marshall

**AUDITION NOTICE**

 

Monty Python’s SPAMALOT

SUNDAY 3rd FEBRUARY, 2.00pm and MONDAY 4th FEBRUARY, 7.30pm       AT THE CRESCENT THEATRE

King Arthur and his horse, Patsy are searching for the Holy Grail, singing and dancing along the way with various brave and not so brave knights, Finnish villagers, the Lady of the Lake, the Laker Girls, dead people, villagers, casino workers, farting French taunters, killer rabbits, a cow, a shrubbery and lots and lots of extreme silliness!

If you fancy being a part of this utter stupidity and silly horseriding then come and audition at The Crescent Theatre on Sunday 3rd and/or Monday 4th February.

In keeping with Monty Python tradition, the casting calls for many of the principal characters to double in a variety of supporting roles.

For our production, based on audition results and production needs, supporting roles may be doubled by principal actors OR played by members of the ensemble.  This will be determined during final casting.

 

KING ARTHUR

The King of England who sets out on a quest to form the Knights of the Round Table and find the Holy Grail. Great Humour. Good singer.

SIR ROBIN

A Knight of the Round Table. Ironically called ‘Sir Robin the Brave,’ though he couldn’t be more cowardly. Joins the Knights for the singing and dancing.

Can also double as GUARD 1 and BROTHER MAYNARD, a long-winded monk.

SIR LANCELOT

A Knight of the Round table. He is fearless to a bloody fault but through a twist of fate, does discover his ‘softer side.’

This actor MUST be good with character voices and accents, as he could also double as THE FRENCH TAUNTER, an arrogant, condescending, over-the-top Frenchman, the KNIGHT OF NI, an absurd, cartoonish leader of a peculiar group of Knights, and TIM THE ENCHANTER, a ghostly being with a Scottish accent.

PATSY

King Arthur’s horse and servant. Underappreciated but always longing for King Arthur’s approval. Good, funny, physical mover with some tap dancing and coconut banging.

SIR GALAHAD

A Knight of the Round Table. Begins as Dennis, a lower class ‘mud gatherer’ who becomes knighted and transforms into the dashing Sir Galahad.

Can also double as PRINCE HERBERT’S FATHER, a wealthy, brutish Yorkshireman man at odds with his sensitive son, THE BLACK KNIGHT who is always ready to duel despite multiple injuries.

SIR BEDEVERE

A Knight of the Round Table. An inept scholar.

Could also play DENNIS GALAHAD’S MOTHER, a shrill peasant woman, and CONCORDE, Sir Lancelot’s horse.

THE LADY OF THE LAKE

A Diva. Strong and beautiful, possesses mystical powers. The leading lady of the show. Great singing voice is essential, as she must be able to sing effortlessly in many styles and vocal registers.

 

THE FOLLOWING ROLES ARE PLAYED BY THE SAME ACTOR:                              Tenor singing required. Very good mover.

NOT DEAD FRED: A sickly little fellow who, despite others’ beliefs, claims he is “not yet dead.”

FRENCH GUARD: The condemnatory French sidekick to the French Taunter.

MINSTREL: In Sir Robin’s band.

PRINCE HERBERT: The hopeful and frilly prince who loves to sing and pines for his love atop a tower.

 

OTHER CHARACTERS:

HISTORIAN, a tweedy academic.

6 LAKER GIRLS, singers and dancers.

FINNISH MAYOR, a jolly red-faced man who advertises the merits of his home town.

GUARD 2, a useless drunkard.

SIR NOT APPEARING IN THIS SHOW, Knight who appears very briefly.

ENSEMBLE

Male and female, to play various villagers, dead (or not so dead) people, French peasants, minstrels, and to generally stand around singing and occasionally dancing.

 

AUDITIONS:

At the audition, you will be asked to sing a song from a musical (style not important). Please bring either sheet music (2 copies if you don’t know the song from memory) or a backing track.

You will also be required to do a few simple dance steps under the instruction of our choreographer and to read and improvise movement from the script.

 

PERFORMANCE DATES:

Saturday 1st June 7.30pm

Sunday 2nd June 2.30pm

Tuesday 3rd June – Friday 7th June 7.30pm

Saturday 8th June 2.30pm and 7.30pm

 

REHEARSALS:

Rehearsals will be held each Sunday at 2.00pm and Monday and Thursday at 7.30pm from Sunday 10th February.

Rehearsals will be scheduled and not everyone will be required for each rehearsal.

 

Further information from:

Keith Harris, Director,  keith.harris4@gmail.com

Gary Spruce, Musical Director,  garyspruce56@gmail.com

**AUDITION NOTICE**

Constellations by Nick Payne

Auditions: Friday 1st March at 7:30pm and Sunday 3rd March at 10am

Call backs: Monday 4th March

Rehearsals start Friday 8th March

Production week Monday 6th May

Performances Saturday 11th – Saturday 18th May.

A plot synopsis will only scratch the surface of this play but here goes: Marianne, a physicist, and Roland, a beekeeper and producer of honey, meet at a BBQ, tentatively go on a first date, fall in love, split up, get back together and deal with impending heart break. However, this story is told through the lens of the multiverse theory: we live in one universe that sits side by side with an infinite number of universes in which live the versions of ourselves that have made a different choice in any options that life throws up for us. As such we see many of these moments play out differently in differing universes.

There are no specific guidelines with regards the characters age except Marianne lectures at a University and she states at one point she’s ‘under 40’.

So in terms of what I’m looking for with regard actors:

  • Able to work with text that seems almost identical but pull out different meanings and convey to an audience
  • To be prepared to experiment with styles of performance in communicating the peculiarities of this play such as ‘changes of universes’
  • To be available for the whole rehearsal period: it is a two hander and so missing a rehearsal would probably lead to a cancelled rehearsal

AUDITION EXTRACT 1

AUDITION EXTRACT 2

I would recommend having a look at the audition pieces to get a flavour of the play and then come along to the audition where I’ll be able to convey more clearly my ideas for this play. It really does offer an exciting opportunity for actors who want to really push themselves.

If you have questions or queries then you can email me at ged42@hotmail.com

Otherwise I’ll see you there

Mark Thompson – director