Here you will find audition information for our upcoming season, including the plays, audition pieces for different roles, directors’ contact details and what to do on the day. Are you keen to audition? Download your editable PDF audition form here >
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“We have all, at one time or another, been performers.”
Sir Laurence Olivier
Production synopsis This classic comedy was inspired by the Greek myth of Pygmalion, a sculptor, who makes a statue of his ideal of womanhood and then falls in love with his creation.
Shaw’s witty and comedic masterpiece is his most popular play and became the basis of the popular musical ‘My Fair Lady’.
Henry Higgins is a teacher of phonetics, who accepts a
bet that simply by changing the speech of a Cockney flower seller he will be able, in six months, to pass her off as a duchess. The one thing he overlooks is that his ‘creation’
has a mind of her own.
Pygmalion may be set a century ago but the questions Shaw raises about identity, class and gender are just as relevant today.
Below you can watch an interview with director Sheila Arden on this production. You can also watch Sheila’s original pitch for Pygmalion from our 2020 “Lockdown Launch”. (Please note that this video displays the original 2020 production dates).
Henry Higgins – A forty-year-old bachelor and linguistic scientist. Energetic, enthusiastic but socially inept; an inconsiderate and infantile character at times, he still comes across as likeable. He may not change, but eventually gains respect for Eliza. p29(in 6 months)-p31 (throw her out), p55, bottom of 99 to top of 101.
Colonel Pickering – A distinguished retired officer, a little older than Higgins and an expert in Indian dialects. He shares in the experiment to transform Eliza, towards whom he is courteous and polite. p73-75.
Alfred Doolittle – Eliza’s father. A dustman with an expressive voice, he has an original mind and an absence of conscience. His unwanted transformation into middle-class respectability is one of the play’s highlights. p45/46.
Freddy Eynesford Hill – The unintelligent son of an impoverished noble family, in love with Eliza. p10.
Eliza Doolittle – A twenty-year-old uncouth but feisty flower girl who transforms into a thoughtful and sensitive young woman. Her triumph is in being able to challenge Higgins with dignity and integrity. P26-top of 28, p60, p103/104.
Mrs Higgins – Henry’s mother. A woman of taste whose poise and perception brings some order to the people around her. p91-92.
Mrs Pearce – Higgins’ house keeper. Keeps Higgins in order! P38-39.
Mrs Eynesford Hill – Freddy’s mother. Quiet and well-bred, but plagued by anxieties about money. p9/10.
Clara Eynesford Hill – Freddy’s sister. A somewhat ignorant and pretentious snob. p9/10.
Cameo Roles to also be cast:
Mrs Higgin’s parlour maid
Production synopsis Birdsong is the critically acclaimed play, based on the world famous novel by Sebastian Faulks; it has been rarely seen outside the professional circuit so we are very privileged to be able to perform it.
Northern France, 1910, a young Englishman begins a passionate and dangerous love affair with the beautiful wife of his employer, with consequences neither of them can foresee.
When war comes, and he leads his men through the carnage of the Somme and deep underground, through the tunnels dug by his soldiers, he is tortured by his memories.
This is a mesmerising story of love and passion, courage and loss, for the lovers and for those around them, in the trenches and in the town of Amiens.
Below you can watch an interview with director Mike Higginson on this production. You can also watch Mike’s original pitch for Birdsong from our 2020 “Lockdown Launch”. (Please note that this video displays the original 2020 production dates).
Casting: The play is written to be played by 7 men and 4 women but with some doubling outside the principal parts. My starting point will be the suggested doubling in the script but I intend to be flexible so please be prepared to be flexible too!
Rehearsals: We will start no later than Monday 20 September (with the usual pattern of Monday, Wednesday, Friday and some Sundays) but it will be vital that you avoid conflicting commitments/holidays, or please declare them upfront!
Stephen Wraysford (Lieutenant) – age 25-35
Isabelle Azaire – age 25-40, elegant and kind-hearted
Jeanne Fourmentier – age 20-35, Isabelle’s younger sister, “family likeness” will be helpful.
Lisette – age 14-20, Isabelle’s daughter (will double as the prostitute)
Gregoire – age 14-18, Isabelle’s son (will double as Tipper)
Monsieur Azaire – age 40 -60 (will double)
Berard – age 40-60- M. Azaire’s neighbour, decent part (with possible add-ons)
Jack Firebrace (Soldier) – age 25-35, a key tragic figure throughout. It will be helpful if he can lead trench songs.
Turner (Soldier) – age 30-50- a small part in the trenches, but will probably double as either Azaire or Captain Gray which are larger parts
Shaw (Soldier) – age 25-40- the old hand in the trenches.
Evans (Soldier) – age 25-40- Welsh accent required
Tipper (Soldier) – age 18-20. The new recruit. Will double as the teenage Gregoire
All of the soldiers in the trenches must be able to crawl on hands and knees and be prepared to be blown up! The Soldiers, all except Jack, will have other roles.
Isabelle and the prostitute will show some bare flesh to the audience, but we will agree what is within your comfort zone and likely to be back view only.
Production synopsis Mark the 150th Anniversary of the death of the great Charles Dickens with his most famous tale and the original Christmas ghost story.
A handful of actors create over twenty different characters on stage using music, puppetry, live sound effects, quick-fire costume changes and just a hint of pantomime.
This adaptation brings the timeless tale to life with all the wit, flair and theatrical invention expected of the playwright, Patrick Barlow (The 39 Steps, GWT 2019).
Recommended for all, big or small – whether you’re already full of the Christmas spirit, or in need of a little redemption!
Below you can watch an interview with director Matt Frieacre on this production. You can also watch Matt’s original pitch for A Christmas Carol from our 2020 “Lockdown Launch”. (Please note that this video displays the original 2020 production dates).
The playwright, Patrick Barlow, also known as Desmond Oliver Dingle – the founder, Artistic Director and Chief Executive of the National Theatre of Brent – after writing episodes of Marple and Adrian Mole, made a name for himself by writing the Olivier Award winning and put-on-by-the-Whit-last-season play The 39 Steps.
The author, Charles Dickens, is also apparently quite well known and has written some other stories. He is often written about, usually played by, and looked a bit like Simon Callow.
Five actors and two euphemistically named ‘puppeteers’ bring every character of Dickens’ classic Christmas ghost story to life in an adaptation described by its agents as ‘highly theatrical’. One actor portrays the miserly Ebenezer Scrooge, who performs the iconic role surrounded by a whirlwind of energetic performers using costumes, wigs, puppets and props to create the world of a Dickensian London as Scrooge learns the true meaning of Christmas via the only consistently effective method – the threat of eternal damnation and a bunch of ghosts.
Come and be part of one of the most beloved and well-known stories in English literature, at the perfect time of year to do it, and in the silliest way possible!
This play is a wonderful opportunity for a company of performers – not just actors – to workshop and create a unique piece of theatre. We have a script, and the italicised stage-suggestions of how it has been performed before, but (words aside) this piece is our oyster. It features (/requires) opportunities for accents, physical theatre, voiceover, puppetry, carol singing, dance, live music and sound effects across the genres of comedy, tragedy, horror, coarse acting, and just the teensiest frisson of pantomime. The fact the story is so well known means we owe it to the audience to create something truly special – and create it we will.
There are opportunities for actors, musicians, technicians, puppeteers, magicians, circus and stagehands all in creative roles on and off stage. If you’ve ever wanted to use your art on stage – this is the play to do it!
Unfortunately, we won’t have time to hear every actor play every character… As such each audition piece features Scrooge and a few others we’ll rotate auditionees through (of course, with different characterisations and accents each time!) If you would like to audition for Scrooge only, be prepared to read Scrooge in every piece during the audition. If you want to audition for the company, choose your favourite couple of characters and prepare them. In particular – the parts of the Spirits of Past and Present are slightly larger, so have their own dedicated pieces: have a look if you would like to be considered specifically for either of those. Also be prepared that you may be asked to read with the other pieces in others’ auditions, depending on numbers.
ACTOR TWO (M) – Accents used: Cockney, Received Pronunciation. Bob Cratchitt (40), Marley’s Ghost (your classic ‘wooo’ ghost), Young Scrooge (18), Very Young Scrooge (8), Peter Cratchitt (14), Katie Cratchitt (9) + Various Narrators, Carol Singers, Debtors, Spirits, Skaters, Street Urchins etc.
ACTOR THREE (F) – Accents used: Cockney, Received Pronunciation, Yorkshire, West Coast of Ireland, others. Mrs Lack (40), Lavinia Bentham (35), Mrs Grimes (60), Fran (18), Isabella (20), Ghost of Christmas Present (a Panto Dame, for lack of better description), Martha Cratchitt (16) + Various Narrators, Carol Singers, Debtors, Spirits, Skaters, Street Urchins etc.
ACTOR FOUR (F) – Accents used: Cockney, Received Pronunciation. Hermione Bentham (35), Ghost of Christmas Past (otherworldly inhuman spirit), Constance (30), Mrs Cratchitt (40), Mrs Scrooge (40) + Various Narrators, Carol Singers, Debtors, Spirits, Skaters, Street Urchins etc.
ACTOR FIVE (M) – Accents used: Cockney, Received Pronunciation, Yorkshire, Northern Irish
Frederick (35), Mr Grimes (60), Fezziwig (50), George (30), Kate Cratchitt (10), Abigail Cratchitt (10), Ghost of Christmas Yet to Come (Classic Grim Reapery figure) + Various Narrators, Carol Singers, Debtors, Spirits, Skaters, Street Urchins etc.
PUPPETEER ONE (F) – Tiny Tim, Various Children, Spirits, Phantoms etc. plus live ‘Foley’ style sound effects and scene and costume changes.
PUPPETEER TWO (M) – Various Children, Spirits, Phantoms etc. plus live ‘Foley’ style sound effects and scene and costume changes.
ACTOR ONE (M) EBENEZER SCROOGE (50-60) – he only actor not to multi-role. BIG part.
I’ve saved him until last as he does need a bit more discussion… I don’t yet know what kind of Scrooge I’m looking for. His dialogue is deliberately anachronistic, and Broadbent leant into this in full Panto villain mode from the get-go, clowning every line. I’m not sure. I am genuinely open to absolutely any and every interpretation – a pantomime villain, a tragic clown, a Michael Caine style straight-man treating everything with the utmost sincerity despite the muppets surrounding him, an abstract artist, a wry sarcastic modern Bill Murray-ish take, something completely new. Something which blends with the chaos or starkly contrasts it. A cheeky chappy, or the most serious emotive take on the character that’s ever been. I want to be impressed, and intrigued. If you’re a curmudgeonly old miser of a man who feels like your life has been practising for this part, get on that stage and method the crap out of it. If you’re a teenage girl just out of the Youth Group but you think you can see something in Scrooge you can build on and create a character I and the audience will truly believe, that’s equally welcome. And everything in between
The cast information is just an example based on how the play was originally performed. No part is beholden to gender or age, just the quality and energy of the performance and skills you bring to the piece. For your information, however, I have included whether the original performers were male or female and the original character distribution. Once cast, the number of actors (and accents thereof) is wont to change from these examples based on workshopping and capitalising on each performer’s strengths as well as the practicalities of costume and character changes when multi-roling.
Production synopsis “I’ve no talent for life.”
Just married. Buried alive. Hedda longs to be free…
The newly-married Hedda and George Tesman have just returned from their honeymoon and the relationship is already in trouble. A self-absorbed and very bored Hedda feels trapped but is determined to control those around her.
Hedda‘s scheming and manipulative behaviour causes catastrophic consequences for herself and for others. Ultimately, as her own world unravels, Hedda realises that there is only one way to be free.
Patrick Marber’s modern translation, premiered at the National Theatre in 2017 to great critical acclaim.
I am hoping that this is an opportunity for actors to work with me to really get inside the complex characters, therefore, I WILL be asking everyone to BE BOOK DOWN BEFORE REHEARSALS BEGIN. This should REDUCE REHEARSALS DURING CHRISTMAS /NEW YEAR WEEK so we can all enjoy the festive season.
Below you can watch an interview with director Melinda Hunt on this production. You can also watch Melinda’s original pitch for Hedda Gabler from our 2020 “Lockdown Launch”. (Please note that this video displays the original 2021 production dates).
Hedda Gabler – Principal part (mid to late 30s). Requires an actress who is able to move seamlessly between intelligent, unpredictable, manipulative and sometimes dishonest. A simmering performance.
George Tesman – Main part (30-40). Hedda’s husband; fresh faced, nicely spoken but not RP. Good looking but boring.
Juliana Tessman – Small part (50-60). Tesman’s Aunt: warm and affectionate, wears clothes with panache.
Judge Brack – Main part (40-50). Friend who is obsessed with Hedda; charismatic, confident, manipulative, worldly and cynical. Opportunity for an actor to play a nasty piece of work!
Ejlert Lövborg – Main part (Early 40s). Brilliant academic, Tesman’s rival: recovering alcoholic and drug addict; strong, emotional character.
Mrs Elvsted (Thea) – main part (30-40). In love with Lovborg; Nervous, shy and softly spoken. Preferably actress with long hair, preferably blonde, if not, the right actress would have to wear a wig. Wears high heels throughout.
Berte – Small part (50- 60). Housekeeper. Beautiful in an understated way. This is a small part but will be on stage throughout, watching!
All characters can be any ethnicity
Production synopsis For the 2021 February production, we have Noël Coward’s provocative comedy Present Laughter. As he prepares to embark on an overseas tour to Africa, star of the London stage Garry Essendine’s colourful life is in danger of spiralling out of control. Engulfed by an escalating identity crisis as his many and various relationships compete for his attention, Garry’s few remaining days at home are a chaotic whirlwind of love, sex, panic and soul-searching. Present Laughter is a giddy and surprisingly modern reflection on fame, desire and loneliness.
Below you can watch an interview with director Katie Webster on this production. You can also watch Katie’s original pitch for Present Laughter from our 2020 “Lockdown Launch”. (Please note that this video displays the original 2021 production dates).
Garry Essendine – 40 to late 40s – A matinee idol obsessed with his receding hairline and having something of a nervous breakdown. Garry is narcissistic, sarcastic, adulterous, mischievous, vain and bitingly funny. He is a whirlwind, jumping from one emotion to the next, and hardly ever stops talking – seriously! We do also need to see a softer, sadder side come through in the right moments, though; this whole play is about the human behind the celebrity going under the microscope. One of the best male comedic parts – ever! Extremely high energy role and requires nothing short of a tour-de-force.
Monica Reed – 40s to 60s – Garry’s, sometimes maternal, always long-suffering receptionist, come personal assistant. She takes his mood swings and tantrums in her stride – really nothing phases Monica. Without her, Garry would not know whether he was coming or going and, though he would hate to admit it, he knows this is true. Despite their steady mutual stream of scathing insults, they really do love each other deep down. A great comedic part with some lovely heartfelt moments.
Liz Essendine – 30s to 40s – Gary’s no nonsense, pragmatic ex-wife. Elegant, cool and collected, Liz walked out on Garry when she realised just how neurotic he really was. She now spends most of her days trying to sort out the mess that Garry - and the rest of their friends – always seem to make. A witty and poised role and the stabilising force amongst the madness.
Joanna Lyppiatt – 30s to 40s – Through marrying Henry, Joanna has wormed her way into Garry’s circle of friends and steadily broken the hearts of all the men. Now she has set her sights on Garry. She is suave, sensual and sexy – but not very likeable. You fall in love with her, you don’t like her. A very fun part with a bit of a “boo hiss” vibe!
Morris Dixon – late 20s to 40s – Garry and Liz’s nervous, neurotic friend. Hopelessly in love with Joanna – something that is majorly stressing him out! Very funny, high energy part.
Henry Lyppiatt – 30s to 40s – Married to Joanna and oblivious to her affairs – for now! Dapper and proper, with a solidly stiff upper lip. Nice sized part with funny moments.
Roland Maule – Early 20s – Poor old Roland. Roland’s heart really is in the right place, but he is just plain odd. A wannabe playwright who is somewhat obsessed with Garry – so much so that Garry’s unpleasantness simply bounces off him. He just loves Garry – he loves him so much that he wants to go to Africa with him…. A brilliant showcase for some young comedic talent.
Daphne Stillington – Early 20s – Garry’s pretty one-night stand and Lady Saltburn’s niece. A wannabe actress, she is sweet, silly and star-stuck. She has been in love with Garry’s persona for years. She just loves Garry – she loves him so much that she wants to go to Africa with him too…. Another a great comedic showcase.
Fred – 20s – Garry’s valet. A cheeky chappy from the East End. Laid back, easy going and unphased by Garry’s behaviour. He is actually quite fond of his neurotic boss. A part with some great lines who appears throughout.
Lady Saltburn – 60s – Daphne’s terribly proper, terribly posh aunt. Only one scene, but it really is when the mayhem kicks off. This part could be doubled with Miss Erikson. Great cameo.
Miss Erikson – 50s to 60s – Garry’s eccentric Swedish housekeeper. Not a glamour role…spends her free time smoking fags and trying to contact the dead with her friend who is both a medium and suspected German spy. Intermittently appears throughout. This part could be doubled with Lady Saltburn. Another great cameo.
Production synopsis Based on David Almond’s award-winning classic, which beat Harry Potter to win the coveted Whitbread Children’s Book Award, this story has been described as “Humorous, heart-stopping and haunting”.
10 year old Michael discovers a mysterious, fly-eating, old man hidden amongst the junk in the garage; this is Skellig. Michael resolves to help the decrepit creature by providing Chinese food and medicine that restores Skellig to a prominence never thought possible.
But what is this creature? And what are those strange bumps beneath his shoulder blades?
This is a creepy fantasy, full of mystery that promises to entrance and move you as much as it will amuse!
We have the exciting opportunity to present Nick Dear’s Frankenstein. This remarkable story from 18 year old Mary Shelley was written some 200 years ago and yet still to this day fascinates people both young and old.
I am a new director to the GWT, and I am from the local theatre group Masquerade. I am joining you to produce a stunning piece of ensemble and cinematic theatre. This period Gothic Horror play, set in the late 1700’s, will be dripping in all that is Steam Punk and will be a spectacular visual feast. The play is deeply dark and looks at the very human story of both Mary Shelley’s Creature and The Creature’s creator – Victor Frankenstein.
There are some fantastic opportunities here to showcase your design and technical talents; costume, wig and make-up, lighting and sound, set and prop construction are all the skills needed to deliver this epic and fantastical piece of period Gothic theatre.
For our actors there are two iconic leading roles. Frankenstein’s creature will be strong in stature and will need to be extremely physical in his animalistic and twisted movement. His speech will be equally challenging as we watch him develop and learn how to articulate throughout the play.
The character of Victor Frankenstein is complex, tormented and twisted and this actor needs to deliver and sustain a strong and enigmatic vocal and physical performance throughout.
Supporting and wrapping around these two central characters are some beautifully crafted supporting and cameo roles that make the play the powerhouse that it is. These integral roles form a superb ensemble team, and like a newly invented steam locomotive, will powerfully drive the play forward.
So climb on board this noisy, brutal, sensory, disturbing and very human play and discover just why Shelley’s infamous story has resonated with so many for so long.
Below you can watch an interview with director Danny Waters on this production. You can also watch Danny’s original pitch for Frankenstein from our 2020 “Lockdown Launch”. (Please note that this video displays the original 2021 production dates).
A few rehearsals will only focus on the principal characters as they share some big scenes together but mostly rehearsals will be fun for all. I often incorporate ensemble cast members into scenes that you had no idea you were in and I like to build the stage picture where I can with additional characters (not just those scripted) to give depth and realism to the locality of a setting. Whilst this is a serious play, there will be a lot of fun in the rehearsal room creating the movement and clever transitions the production requires.
Please state on your audition slip whether you can play and handheld instruments competently. If you are auditioning for the part of The Creature or The Female please state if you are prepared to play this naked or part naked.
The Creature (Lead) – Male. No age preference. Strong and physical. Vocally challenging. Requires some nudity (context: scientific, human form study, created naked)
Victor Frankenstein (Lead) – Male. 30s. Dynamic. Charismatic. Physical. Vocally strong.
De Lacey – Male. 50+. A blind man. Educates the creature. Knowledgeable.
Felix – Male. 30s. His son. Physically strong.
Agatha – Female. 20/30s. His daughter-in-law.
Elizabeth Lavenza – Female. 20/30s. Victor’s fiancée. Educated. Lead female role.
Monsieur Frankenstein – Male. 50+. Victor’s father.
Gretel (Cameo) – Female. Teens/20s. A prostitute AND doubles as Clarice, Elizabeth’s maid.
Gustav (Cameo) – Male. Non age specific. A beggar AND doubles as Ewan*. 50s +. An Orkney Islander. Comedic role.
Klaus (Cameo) – Male. Non age specific. A beggar AND doubles as Rab*. 20s +. Ewan’s nephew. Comedic role. William Frankenstein. Male. A boy age 10 approx. Victor’s young brother. Well educated for his age. The Female Creature. Female. 20/30s. Non speaking. Requires a woman who is prepared to be naked (context: scientific, human form study). Opportunities for fully clothed ensemble roles also.
*Ewan and Rab require Scottish accents
Townspeople of Ingolstadt and Servants of the Frankenstein household
All cameo roles will also double as ensemble and make up the townspeople throughout.
These delightful pieces offer fun opportunities for at least two men and two women, ideally more. The characters are rich in variety, humour and idiosyncrasies. Depending on the outcome of auditions, I will be looking at flexible casting with actors probably playing at least two roles. I am looking to the actors to bring colour, energy and vivacity to the stage.
There will be no interval so an early night for all, leaving plenty of time to visit the bar!
Below you can watch an interview with director Lesley Robins on this production.
Pavel Vasilyevich – A well known writer, suave, witty, a little world weary. Any age.
Murashkina – A lady with literary ambitions, loud, over the top, gushing – a pretty useless playwright. Any age.
Svetlovidov – An ageing actor, very fond of his own voice, very ‘stagey’.
Nikita – Svetlovidov's prompt – this part will be played by a woman. She knows Svetlovidov well, (Think ‘The Dresser’), so a wee bit cynical – has she seen all this before?
Chubukov – A landowner, father of Natalya. A ‘Hail fellow well met’ kind of guy, but also a tough customer – suspicious. Keen to get his daughter married off.
Natalya – Also a landowner, fairly young, very feisty, eager to marry the right man.
Lomov – Chubukov’s neighbour. A dreadful hypochondriac. Wants to marry Natalya. We soon see what kind of marriage it’s going to be!