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




Stones in His Pockets by Marie Jones 


Stones in his Pockets auditions will be taking place on the following dates:

14th January 19:00-22:00 in the Rehearsal Room

19th January 20:00-22:00 in the Rehearsal Room

Call-backs will take place on 22nd January at 20:00 if necessary.

Stones in His Pockets is a two-hander set in rural Ireland. A film crew comes to a small village and turns the lives of its inhabitants upside down. The crew’s preconceived romantic notion of Ireland differs hugely from reality; and for some in the community, their presence proves devastating.

Playing roles from layabout extras, to glamourous lead actresses, production assistants, priests, and bodyguards, we will be requiring two actors to portray fifteen very different characters between them.

The two central characters in the script are CHARLIE and JAKE, local extras. They are described as being in their mid-thirties, however as the actors will be playing such a range of characters, I would like to audition gender-blind and go with the actors that work best in the roles and have the best chemistry. I will be looking for versatile actors who can use their voices, creativity, and physicality to define characters in an instant.

Audition format:

  • 19:00 – Introduction to play and creative team
  • Individual auditions
  • Scenes in pairs
    • Sides provided at audition

If you have any questions, please do not hesitate to get in touch via email:


Hope to see you there!


URINETOWN: The Musical

Music by Mark Hollmann
Lyrics by Mark Hollmann & Greg Kotis
Book by Greg Kotis

Director: Alan K Marshall

Musical Director: Gary Spruce
Choreographer: Tiffany Cawthorne

‘’The Beggars Opera Updated by the South Park team’’ (Metro)

Inspired by the works of Bertolt Brecht and Kurt Weill, and winner of three Tony Awards, Urinetown is a hilarious musical satire which provides a fresh perspective on one of America’s greatest art forms.

In a Gotham-like city, a terrible water shortage, caused by a 20-year drought, has led to a government-enforced ban on private toilets. The citizens must use public amenities, regulated by a single malevolent company that profits by charging admission for one of humanity’s most basic needs. Breaking the rules can lead to only one place- Urinetown!

Poor, downtrodden and desperate (literally), the people’s only hope lies in one man and a revolution to free them from this tyranny.  Step forward, Bobby Strong, a hero who decides he’s had enough and plans a revolution to lead them all to freedom!

Urinetown is a challenging and unique piece of musical theatre that requires a large, talented cast and has parts for all types of voices and all ages.

Don’t let the title put you off.   This show is both demanding and FUN!   Running for two years on Broadway it is clever, sharp and snappy.   Shot through with dark (and often silly) humour, it runs the gamut of emotions without ever descending into nuance or subtlety and all to a vibrant Kander and Ebb/Kurt Weill style score.  To work, it needs a committed, hardworking, and above all talented, mixed-age ensemble cast determined to inject joy and energy into these post-Christmas doldrums..   Be one of these!

Audition Dates:

Sunday January 21st 6pm

Friday 26th January 7.30pm

Sunday 28th January 2pm (call-backs)


Audition Details:

For all roles: Prepare a song that best shows your vocal range and skills. Bring either sheet music (an accompanist will be provided) or a backing track.

Auditions will include group singing and basic movement as well as readings from the script.

At the beginning of each audition the director and musical director will introduce the show and describe their vision for it

Here are the cast requirements:


  • Officer Lockstock (Tenor/High Baritone)
    The tongue-in-cheek narrator of our story, he is a corrupt policeman who secretly kills off the guilty offenders.
  • Penelope Pennywise (Soprano)
    The tough, jaded warden of the poorest, filthiest town urinal. She is Cladwell’s one-time lover and mother to Hope who eventually softens her temper.
  • Bobby Strong (Tenor)
    The dashing, rebellious everyman who works for Miss Pennywise at the poorest, filthiest town urinal. He becomes an unsuspecting romantic hero when he starts a revolution and falls in love with Hope Cladwell.
  • Little Sally (High Alto/Mezzo Soprano)
    A precocious and irreverent street urchin. She serves as a quasi-narrator who often questions Lockstock and the play’s logic.
  • Billeaux (Bass)
    Head of Research and Development at UGC. Optional Doubling as TINY TOM
  • Mcqueen (Baritone)
    Cladwell’s sycophantic lackey. A servile assistant.
  • Senator Fipp (Baritone/ Tenor)
    A greedy politician in Cladwell’s pocket. A bumbling coward
  • Officer Barrel (Baritone/ Tenor)
    Lockstock’s patrol partner. A thuggish and aggressive policeman
  • Hope Cladwell (Alto-Mezzo soprano)
    Cladwell’s ravishingly beautiful daughter, torn between her father and her new love for Bobby.
  • Joseph “Old Man” Strong
    Bobby’s rebellious father. His refusal to pay the fee sends him to Urinetown, ultimately launching the revolution. Optional Doubling as HOT BLADES HARRY.
  • Tiny Tom (Bass)
    One of the Poor, he is an idiotic man-child. Optional Doubling as DR. BILLEAUX.
  • Soupy Sue (Alto)
    One of the Poor, she is excitable and easily panicked. Optional Doubling as CALDWELL’S SECRETARY.
  • Little Becky Two-shoes (Alto/Mezzo soprano)
    One of the Poor. She is foul-mouthed, impulsive, and accusatory. Optional Doubling as MRS. MILLENIUM.
  • Caldwell B. Cladwell (Baritone/Bass)
    The evil president and owner of the Urine Good Company. He is a miserly money-grubber who gleefully exploits the poor.
  • Josephine “Ma” Strong (Alto)
    Bobby’s mother and Joseph’s wife. A strong-willed woman with a bite, able to withstand the hard hand life has dealt her. Optional Doubling as OLD WOMAN.
  • Hot Blades Harry
    One of the Poor, he is a psychopathic and can become a violent loose cannon. Optional Doubling as JOSEPH “OLD MAN” STRONG.
    Age: 40 to 60
  • Vocal Ensemble including principals.

Rehearsals are scheduled to begin on Sunday, February 4th and will take place mainly on Sunday, Monday and (from March) Thursday evenings.



The Thrill Of Love

Director: Kevin Middleton

Auditions for The Thrill of Love will take place on:

4th February at 2pm

7th February at 7.30pm

Wth call backs on 10th February at 10am.

Please attend one session on either 4th or 7th, in addition to the call backs on 10th if required.


The auditions will use the version of Ruth Ellis’s statement to the police used in the play. There are two slightly different versions provided for the auditions – one for those auditioning for the role of Ruth and one for everyone else.


You are not expected to memorise the statement, although I will be looking for some level of performance rather than a cold read.

At the auditions, you should deliver the statement either as Ruth, or as the character you are auditioning for. If you are auditioning for a character other than Ruth, imagine that you have been handed the statement – how do you react to what Ruth has told the police? If you are auditioning for the role of Ruth, you should deliver the statement as though you are giving it to the police.

You will also be asked to sing 16 bars of any song of your choice a cappella. Although there is no “singing” in the show, multiple characters sing to themselves. This is only to determine that you can hold something approaching a tune – just relax and have some fun. If you really can’t sing; surprise me – do something that could pass for singing to yourself – maybe you talk sing or something. For reference, the music in the show is all by Billie Holiday, but you can sing anything you want.

At the call backs, short scenes will be provided and you will work on these in small groups to further develop the characters.

You can pre-register for the auditions by completing this form, which also includes the rehearsal schedule:

I will take into account the front of house record of members who are auditioning, so if you need to get some duties in – now is the time to sign up!



Confessing to the crime, yet refusing to offer defence or mitigation, Ruth Ellis was convicted of the murder of her lover and became the last woman to be hanged in Britain.

In this heart-wrenching play, Amanda Whittington looks at Ellis’ life through the eyes of four 11th women – friends and colleagues in the seedy world of London night-clubs – as she pursues a fatally destructive relationship.

The Thrill of Love is not a courtroom drama. It is not about the details of the murder that Ruth Ellis was hanged for committing. It is not about the various conspiracy theories that exist about whether Ruth was framed or whether she was coerced into committing the murder. Rather, this play focuses on the person Ruth Ellis was and how she could be driven to murder.

Detective Inspector Gale interviews Sylvia Shaw (both fictional characters) and this device is used to allow us to meet Ruth and her friends and colleagues. The play is about the relationship between four women. The play is about the relationship between Ruth and her lovers (although we never see them). The play is about how love and jealousy can make someone act irrationally.

The play is an ensemble piece, and as such every member of the cast must be strong.


Character Notes

Ruth Ellis, a nightclub hostess

28 at the time of her execution. Ranges from 25 to 28 in the play. The real Ruth Ellis was only 5’2” tall. Requires several scenes in underwear only. Must be convincing as a ”blonde bombshell.”

Born in Rhyl, Wales and brought up in Basingstoke and later Hampstead in London. Ruth had a string of abusive relationships, including with David Blakely, whom she shot dead outside the Magdala pub in Hampstead on Good Friday, 1955. Ruth was arrested at the scene by an off-duty police officer, whereupon she was reported as saying “I am guilty. I’m rather confused.”

Described as “the archetypal blonde bombshell,” Ruth mixed with powerful men in her role as a hostess at The Court Club, a gentlemen’s club in Mayfair. She was, contrary to popular belief, very well spoken. The role of hostess came with expectations that more than drinks and conversation were for sale. Ruth in the play is a fragile, young woman, but one who presents with confidence and a strong sense of humour.

Despite the abuse she endured, Ruth is a funny, likeable and intelligent woman and was popular with the clients of The Court Club.

Jack Gale, a detective inspector

Mid-40s to mid-50s.

Gale’s investigation into the murder creates the window through which we as an audience are allowed to explore Ruth’s life leading up to the murder of David Blakely. Gale is a fictional character. He is described as being military-sharp, with a hint of the streets. He is sympathetic to Ruth and is searching for the truth behind the events leading to the murder, which Ruth refuses to reveal.

Sylvia Shaw, a nightclub manageress

Mid-40s to mid-50s.

Sylvia has worked on the London nightclub scene for long enough to know the game and excel at it. She is unphased by Gale’s questioning of her and plays cat and mouse with him as she reminisces about Ruth. Described as a doyenne of the London club scene, Sylvia is a fictional character, who presents a hard front, but has great affection for her “girls” for whom she is often a mother figure.

Vickie Martin/Valerie Mewes, a model and actress

24 at the time of her death. Ranges from 21 to 24 in the play.

Real-life best friend of Ruth, Vickie was an aspiring actress and model, and was involved in a relationship with an Indian Maharajah at the time of her death in a car crash (not the first she was involved in; it was reported as her 13th crash) – her death making the headlines. Vickie naively falls into the world of nightclub hostessing (and all it entails) after a stint of modelling at The Camera Club, owned by the same man, Morris Conley, who owned The Court Club where Sylvia and Ruth worked.

However naive Vickie was, she embraced the work of the hostess, but always with a view to becoming a film star like her idol, Marilyn Monroe. She always intended to go back one day to where she grew up, but not until she could do so in a silver Rolls Royce. Vickie famously became involved with Steven Ward and the Profumo affair.

Vickie is funny and playful, but not afraid to say things as they are.

Doris Judd, a charwoman

Late teens/early 20s.

Naive and innocent; an optimist. Doris sees the best of every situation and the good in every person. She is diligent and hardworking. She is a loyal friend and colleague. Doris knows her “place” in life. Employed as a charwoman (cleaner) at The Court Club, she also helps at The Little Club when Ruth becomes the manageress there.

Doris is a fictional character, but she is the rational voice to Ruth when Ruth is blinded by love. Dorris is the person who looks out most for Ruth.