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 at the bottom of this page.

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 Mirror Crack’d

A new Adaptation by
Rachel Wagstaff

Crescent Theatre, Main House, February 6th – 13th inc.

This clever version retains all the most important elements so beloved by fans of Christie, the puzzle, the differing recollections, the secret and, perhaps most important, Miss Marple herself.

The play is set in St Mary Mead, Miss Marple’s home and surly the most dangerous village in England in which to live. There have been changes to the sleepy, chocolate box, thatched idyll. There is a new housing development, a famous Hollywood couple have taken over the Manor House and worse, there is one of those new supermarket places where you have to select your own purchases.

It is July 1962 and Jane Marple has had a fall which has damaged her ankle quite badly, she can only move about with crutches or a wheelchair. She has some rather ham-fisted help from well-meaning Cherry and occasional visits from her surrogate nephew Dermot and neighbour Dolly Bantry. Miss Marple may have reduced mobility but her mind is as quick as ever as she pieces together the fragments of the puzzle.

All the roles in the play have the strongly drawn Christie characteristics and require playing with style but no sense of parody. Lovely as that was, this is not Cluedo. Additionally there is the acting challenge of playing a scene in Miss Marple’s house whilst also being part of the scene you are recounting. The scene may also be replayed but, this time, from another person’s point of view. Interesting.

A composite set includes the cottage, the updated manor, a street, a film studio, a dressing room and a film set for ‘Catherine of Aragon.’ Costumes range from chic 1960’s, to comfortable old clothes, through Regal Tudor.

THE ROLES
(I’m not going to include playing ages because I find that sometimes makes actors unnecessarily self-edit.)

  • MISS JANE MARPLE – The knitting detective, is all the things you would expect her to be with the addition of a frustrating lack of mobility. Do others treat her differently or make assumptions because she is not able to bustle around the village? Probably, but she is far from finished, despite moments of doubt perhaps caused by being trapped in the house. We get to see another side to Miss Marple when we learn about her fiancé Lawrence, killed in WW1. (accent, RP) (n.b. Marple does a lot of, unavoidable for plot purposes, of crawling around on the floor.)
    ‘Now, look, it’s all showers and supermarkets.’
  • CHERRY BAKER – New to the area and living on the estate, she is employed as Miss Marple’s not entirely competent, but well meaning, carer. She was also employed as a waitress at Marina’s drinks party on the night of the murder. (Accent, hints of local?)
    ‘If I didn’t say anything and she died. . . ‘
  • CHIEF INSPECTOR DERMOT CRADDOCK – The archetypal police presence in a Christie, but made more three-dimensional in Wagstaff’s version. He must solve this and needs – but doesn’t want – Marple’s help. (accent, his own)
    ‘But, why would she protect him?’
  • HEATHER LEIGH – A village gossip and stalwart of the local St John’s Ambulance brigade. Heather tends to bustle and dominate, sure that she is doing the right thing. (Accent, her version of RP)
    ‘Sugar’s terribly good for shock.’
  • CYRIL LEIGH – Heather’s poor, downtrodden husband – Mr Cellophane – if people would only listen to him it would be a much shorter evening. Not an enormous role but great comedy potential. (Accent, his own)
    ‘I thought, perhaps, you’d want to talk to me?’
  • DOLLY BANTRY – A crashing snob, her Manor house Gossington Hall, had to be sold after the death of her husband and to a film star! Her lack of self-awareness makes her funny until a sad glimpse of her reality. (Accent, slightly heightened RP)
    ‘Isn’t it odd that sex makes babies? They’re such terribly different things to do.’
  • MARINA GREGG – The film star who has relocated to the English countryside. Why? She is glamourous and talented. A mixture of good genes and surgical intervention makes her ageless. (Accent, cultured American and Hollywood Spanish as Catherine of Aragon.)
    ‘You’ve clearly been reading the gossip columns.’
  • JASON RUDD – Marina’s husband/protector/manager and film producer/director largely conforms to the stereotype. (Accent, American, exact location TBD)
    ‘You couldn’t stop a murderer if he was standing right next to you.’
  • ELLA ZIELINSKY – Marina’s secretary/PA of Polish descent and mutters in Polish occasionally but lived in America for most of her life. Devoted to Marina – or is she? (Accent, American)
    ‘The plumbing in this goddamn country!’
  • LOLA BREWSTER – Actress (it’s 1962 we can say that) more used to gritty dramas, than this historical one where she plays Anne Boleyn. She appears distracted and uncooperative on set, why? (Accent, brought up largely in LA)
    ‘God!! but that was nothing to do with me!’
  • GIUSEPPE RENZO – Butler to Marina and Jason, very protective of Marina and somewhat prickly. (Accent, Italian) ‘I spend my life with secrets crushed against me.’

Other roles will be played by members of the Company.

AUDITIONS

Cumberland Room, Crescent Theatre.

  • Monday November 16th 7.00pm
  • Thursday November 19th 7.00pm

Please be familiar with, but don’t learn, the script excerpts for roles you are interested in.

The Rehearsal pattern is Generally Friday 7.00 – 9.30pm, Saturday 2.00 – 5.30pm and Tuesday 7.00 – 9.30pm. There are some odd other days, to offer some main stage availability. A full rehearsal list will be available soon.

Rehearsals begin on Saturday November 28th. There will be a rehearsal break from Saturday December 19th until Tuesday December 29th

Important Dates:

  • Get in January 31st
  • Tech Monday Feb 1st 2027
  • Tech Tuesday Feb 2nd
  • 1st Dress Wednesday Feb 3rd
  • Thursday Feb 4th keep free
  • 2nd Dress Friday Feb 5th
  • Opening Saturday February 6th at 2.30! Please note! matinee opening performance.

Intimacy:

  • Marina and Jason kiss and he often has his arm round her
  • Dermot kisses Marple on the cheek
  • Marina and Giuseppe ‘grapple’
  • Cherry bandages Marple’s ankle
  • Cyril and Heather help Marple after her fall.

These, and all other instances of touching, no matter how small, will be choreographed in line with the Theatre’s Intimacy policy and guidelines.

Michael Barry

Director

Please sign up to audition here.

Audition Pieces

The King’s Speech

by David Seidler

All performances will be at The Old Rep Theatre 

  • Saturday 27th February at 2:30pm & 7:30pm
  • Sunday 28th February at 2:30pm
  • Tuesday 2nd March at 7:30pm
  • Wednesday 3rd March at 7:30pm
  • Friday 5th March at 7:30pm
  • Saturday 6th March at 2:30pm & 7:30pm

Please note if cast you will be required to attend all performance dates.

Tech week: Monday 22nd – Friday 26th February 2027

 

The Play

Based on the 2010 film, winner of the Academy Award for Best Picture and Best Original Screenplay, among others, The King’s Speech by David Seidler tells the true story of the unlikely friendship that develops between Prince Albert, Bertie, and Lionel Logue, an unconventional Australian speech therapist hired to help Bertie overcome his lifelong stammer and improve his in public speaking. A task that becomes ever more urgent as the abdication crisis of 1936 sees his brother David, King Edward VIII, step down as reigning monarch and Bertie reluctantly ascend to the throne as King George VI, just in time for the outbreak of World War Two, and the speeches that come with it.

It is fundamentally a love story with an almost fairytale-like quality of a king and a ‘commoner’ becoming unlikely friends, opening up to each other and slowly letting that royal British stiff upper lip fall away and seeing each other for who they truly are, and in that process, both find healing and purpose. It is quite frankly a beautifully inspiring story of overcoming internal adversity and, literally, finding one’s own voice. A historical epic, a love story and a fairy tale! Who could ask for more?

For this production we are lucky enough to be performing at the beautiful and historic Old Rep Theatre, a perfect venue for this play, and one that will be a joy and a pleasure to perform in.

I’m looking for an enthusiastic cast that is excited to bring this beautiful story to life, and that can strike a balance between being faithful and respectful to who the real people were, and to the characters on the page.

If you want an idea of what to expect the film is an excellent place to start, although some scenes take place in a different order and in the play several roles are expanded, such as Myrtle, Cosmo Lang and Churchill.

 

Characters

Ages are a rough guideline and reflect the approximate ages of the real people at the time.

Unless specified otherwise all characters speak with an upper-class RP (Received Pronunciation) English accent.

Several roles will be doubled with smaller parts.

For those auditioning for the role of Bertie there will be a short stammering workshop during the auditions.

  • BERTIE – (30s – 40s) Prince Albert, The Duke of York, later King George VI, which is the last thing he ever wanted to be. The most reluctant king; shy, nervous, with a short temper and a crippling lack of self-confidence largely due to having suffered from a severe stammer all his life. A particular problem as he is regularly required to make public speeches as Duke of York and even more so as king.  (This actor will be required to perform a stammer to varying degrees throughout the show. This does not need to be perfect for the audition and is something we will work on throughout the rehearsal process.)
  • LIONEL LOGUE – (40s – 50s) An unconventional Australian speech specialist and failed actor who Elizabeth enlists to help cure Bertie’s his stammer. Confident, forward, calm, cheeky, witty but blunt, stubborn, and sometimes oversteps and pushes his luck. Displays a comical blasé disregard for the stuffy British establishment and its customs, that often ruffles other characters’ feathers. Australian accent.
  • ELIZABETH – (20s – 40s) Bertie’s loving and devoted wife. The Dutchess of York, later Queen Elizabeth. She is Bertie’s rock. Proud, persistent, a little snobbish and very much knows her own mind. Not a woman to be trifled with. Initially suspicious of Lionel and turns her nose up at him and Myrtle but eventually comes round to them both.
  • MYRTLE LOGUE – (40s – 50s) Lionel’s long-suffering Australian wife. Patient and supportive of Lionel to the last but does not let herself be pushed around or suffer fools gladly. All she wants is to return to Australia but is prevented when Lionel starts treating Bertie, creating tension in their marriage. Australian accent.
  • COSMO LANG – (60s – 70s) The Archbishop of Canterbury yet believes he is destined for even greater things. Theatrical, arrogant, proud and pompous with an air of moral superiority. Constantly looking down his nose at everyone around him. A thorn in many characters’ sides.
  • WINSTON CHURCHILL – (40s – 50s) A politician and MP. Ever equipped with a dry or cutting response, often the wittiest person in the room. Always with a cheeky glint in his eye, he frequently finds humour in the events and people around him. Initially a staunch defender of David as the rightful king, he later becomes one of Bertie’s greatest allies.
  • DAVID – (30s – 40s) Bertie’s older brother. The Prince of Wales, later briefly King Edward VIII, before being forced to abdicate due to his planned marriage to Wallis Simpson. The epitome of the modern 1920/30s ‘sheik’. Stubborn, rebellious and blasé to the point of being neglectful towards his responsibilities. A bit of a playboy and dandy but harbouring a vicious streek as he mockingly mimics Bertie’s stammer.
  • STANLEY BALDWIN – (40s – 60s) The Prime Minister. Practical and serious. Tries to be the peacekeeper and find an amiable solution to the abdication crisis but sides with the populace, commonwealth countries and parliament in the view that David should abdicate. (This role will likely be doubled with various Ensemble parts)
  • KING GEORGE V – (60s – 70s) Bertie and David’s father. Aggressive, domineering and a staunch traditionalist. The epitome of the ‘old school’ way of thinking; particularly when it comes to Bertie’s speech impediment as he frequently tries to bully the stammer out of him. (This role will be doubled with various Ensemble parts)
  • WALLIS SIMPSON – (30s – 40s) An American socialite and David’s lover. Like David she is the epitome of the modern 1920/30s ‘flapper’. A bit of a femme fatale who pulls the strings behind the scenes in her and David’s relationship. At the centre of the scandal when David plans to marry her, despite the fact she is twice divorced, unacceptable at the time as the reigning monarch is also head of the Church of England; which was deeply opposed to divorce. (This role will be doubled with various Ensemble parts)

SEVERAL ENSEAMBLE PARTS PLAYING VARIOUS VALETS, NEWSREADERS, GENTLEMAN OF THE COURT, DIRECTORS ECT – (Any age. Any gender)

 

Intimacy

Bertie appears briefly in his underwear and is dressed by a number of valets. (Bertie being in his underwear is not essential to the plot and can be cut if the actor is uncomfortable with it)

Kisses on the cheek and hugging between Lionel & Myrtle, Bertie & Elizabeth and Wallis & David.

Elizabeth sits on Bertie’s stomach.

Dancing between David & Wallis and members of the ensemble.

The theatre’s intimacy policy will be followed at all times during rehearsals, and you will not be asked to do anything you are uncomfortable with. 

You will not be asked to engage in any sort of intimacy during the audition.

 

Auditions

Auditions will take place in the Cumberland Room at the Crescent Theatre on:

  • Sunday 29th November at 11am
  • Thursday 3rd December at 7pm

Call Backs, if needed, will be on Sunday 6th December at 10am in the Baskerville Room.

Please familiarise yourself with the piece(s) that you are auditioning for, but you do not need to learn them. Audition extracts will be provided at the audition.

Please sign up to audition via the google form HERE

Rehearsals

Rehearsals will take place at the Crescent & Old Rep Theatres starting on Sunday 13th December at The Crescent Theatre.   

And will then follow the general pattern of:

  • Tuesday evenings 7pm to 10pm at The Crescent Theatre 
  • Wednesday evenings 7pm to 10pm at The Crescent Theatre
  • Sunday afternoons 2pm to 6pm at The Old Rep Theatre    

There will be a break in rehearsals over Christmas.

If have any questions or are unable to make either audition, please email me at tks@crescent-theatre.co.uk

We look forward to seeing you!

Nathan Hawkins

Director

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 above are unpaid