Current 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 eight “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.
The Crescent Theatre is committed to the promotion of equal opportunities within the theatre, and affiliated projects, through the way we manage the venue and provide services to the community. No person should experience discrimination or lack of opportunities on the grounds of gender, race, religion, age, sexual orientation or disability. In the provision of services and in regards to the membership and visiting companies, the Crescent Theatre is committed to promoting equal opportunities for everyone. Click here for our Statement of Commitment on Equality, Diversity and Inclusion. If you need any reasonable adjustments to enable you to access an audition, you can let us know in advance by filling in an online audition form.
Please note the opportunities below are Unpaid
Please note
While auditions are intended for members, non-members are welcome to attend on the understanding that, if successful in reading for a part, you would be expected to become a member of the theatre. This entitles you to take part in all theatre activities and to concessionary ticket prices. In return you will be expected to attend all rehearsals and performances and to undertake your required allocation of front of house duties. Your membership subscription must be paid by the end of the second rehearsal. Membership fees for a year are £60 (£25 if unwaged). More details on Crescent Membership can be found in the membership pages.
Unless stated otherwise, the venue for all readings and auditions is the Crescent Theatre.
The Nightwatch
by Sarah Waters
Adapted for the stage by Hattie Naylor
The play is adapted for the stage by Hattie Naylor from the novel by Sarah Waters. It begins in 1947, Kay Langrish is a woman broken by her experience of driving an ambulance in the London Blitz and by the loss of her lover Helen. Alone in her room she listens to her landlady’s Christian Science healing sessions. Kay wanders the shattered streets, her only contact being Mickey.
Helen works with Viv in a match-making agency. Julia is deeply afraid that her lover Julia may be having an affair. Viv receives an unexpected visit from Robert Fraser – her brother Duncan’s former cell mate in Wormwood Scrubbs. Duncan now lodges with Mr Moody a former prison guard.
The action moves back to the height of the war and we witness the circumstances that led to the situations for the characters we have met. From an award-winning novel, this clever adaptation captures the aftermath of the war where people were trying to come to terms with the peace they had longed for, but which seemed rather grey, and which continued to have many of the deprivations of the war but without the sense of purpose that, despite its horrors, the war gave.
Each character is beautifully drawn and every scene economic and compelling.
Eight actors play twelve roles in a play which is steeped in period atmosphere and which will live in the memory long after the final scene.
Production Dates
Saturday July 12th – Saturday July 19th
Matinees Sunday July 13th , Saturday July 19th
Technical and dress rehearsal week
Sunday July 6th – Friday July 11th inclusive
Cast breakdown
Rather sparse on detail because the detail will be developed as part of
the rehearsal process.
Ages somewhat flexible but must fit the circumstances
KAY LANGRISH
Ex Roedean school girl, purposeful efficient ambulance driver during WW2. Her love for Helen is deep and real and the loss defeats her.
JULIA STANDING
Ex Roedean school, wanted to become an architect like her father, but ends up writing crime fiction. Former lover of Kay, now with Helen.
This actor also plays MRS LEONARD a Christian Science faith healer.
HORACE MUNDY
Retired prison warden, he has severe arthritis and consults Mrs Leonard. He gives Duncan a home after his release from prison for not entirely altruistic reasons.
This actor also plays MR WILSON, a boorish, misogynistic client at the match-making
agency.
DUNCAN PEARCE
A thoughtful, somewhat introverted boy, who reads avidly but who has no scope to use his undoubted intelligence. He is deeply scarred by an horrific experience and subsequent imprisonment. Ultimately he shows quiet strength and determination.
HELEN GINIVER
Works with Viv at the dating agency, having met and fallen for Kay in unexpectedly romantic circumstances, she is swept off her feet by Julia, but, her insecurities may well damage that relationship.
VIV PEARCE
Works at the agency, Duncan’s sister, she has a long-term with a married man, has an abortion (illegal at the time) with horrible complications. She can only go to hospital with a ‘miscarriage’ when Kay supplies her with a ring.
ROBERT FRASER
In prison as a conscientious objector where he shares a cell with Duncan. He is the opposite of Duncan in confidence until one particularly severe air raid when he seeks the comfort of Duncan’s bunk. He becomes a newspaper reporter.
This actor also plays COLE an ambulance response supervisor.
MICKEY
An ambulance driver in the war and later a vehicle mechanic, she lives on a barge and is worried about Kay and tries to help her.
This actor also doubles as MRS ALEXANDER, a supervisor at the candle factory.
Please note:
Some of the language used reflects the period of the play.
Intimacy
Kay, Helen and Julia embrace, kiss and touch – they are never unclothed but Kay and Helen may appear in underwear of the period.
Fraser simulates masturbation under a blanket and lies with Duncan in an embrace.
Fiona Cotton, an experienced director, and who has had wide responsibility for safeguarding, will act as intimacy director and will work strictly within the Crescent Theatre intimacy guidelines.
Auditions
Auditions:
Sunday April 27th 2.00pm
Tuesday April 29th 7.00pm
Call backs:
Wednesday April 30th 7.00pm
Please prepare – but not necessarily learn – the extract associated with the character/s you wish to audition for.
Please sign up for one of the auditions here: https://forms.gle/2nGRHkpt5FqnNKuh9
Auditions Pieces
Kay Langrish Extracts F and K
Julia Standing Extracts G and L also A, as Mrs Leonard
Horace Mundy Extracts A and J also D, as Mr Wilson
Duncan Pearce Extracts C and I also look at A
Helen Giniver Extracts E and G also look at K
Viv Pearce Extracts E and I
Robert Fraser Extracts C and M also H, as Cole
Mickey Extract F also B as Mrs Alexander
audition for Mrs Leonard and Mr Mundy
SCRIPT EXTRACT G JULIA AND HELEN
Rehearsals
Tuesdays & Wednesdays @ 7.00pm
Saturdays @ 11.00am
Please note carefully the technical week and performance dates which are non-negotiable.
If you have any questions or are unable to make the audition dates, please contact nightwatch@crescent-theatre.co.uk
Michael Barry
Director