Call For Actors
Theater Auditions This Season

THE PLAY THAT GOES WRONG
Written by Henry Lewis, Jonathan Sayer and Henry Shields

Directed by Sonia Schonning

Open auditions will be held on January 7 and 8 from 6pm-9pm and January 10 from 2pm-5pm.

Casting available for 2 Women and 6 Men.

Actors will be asked to read from the script.

This show is physically demanding. Most roles require varying amounts of crawling, balancing, climbing, lifting, running, and/or falling. There is also a sword fight and some hand-to-hand combat. We will work with a movement/fight coach to ensure that this is done safely and properly. Actors should come to auditions dressed comfortably and ready to move.

Production dates are May 6, 7, 8, 9, 14, 15, 16, 21, 22 and 23, 2027.

CHRIS BEAN: Is the head of the drama society and plays “Inspector Carter” in The Murder at Haversham Manor. Rigid, uptight, everything really matters to him. He is the director of the show, and this is the biggest day of his life; everything is riding on this nerve-wracking and exciting night. His pain is evident and every time someone laughs, his pain deepens. He has equal amounts of contempt for his fellow actors and the audience watching the play. British accent.

ROBERT GROVE: Plays “Thomas Colleymore” in The Murder at Haversham Manor. He wants to be like Richard Burton as evidenced by his declamatory style. He is, however, not a parody of a bad actor. He is unaware of others around him. He does not feel badly when things go wrong and never learns from his mistakes. There is a power struggle between Robert and Chris to be president of the Cornley Polytechnic Drama Society (a position that matters a great deal to Robert). Seeking an actor with real vocal power. British accent.

MAX BENNETT:  Plays “Cecil Haversham” in The Murder at Haversham Manor. He has never been on stage before. He learned his lines and does exactly what he is told to do. He has zero connection with any of the other actors, but when he gets a laugh, he breaks the fourth wall and engages with the audience. He is childlike and naïve. His mistakes are fundamental. He doesn’t think anything through, just looks for approval. British accent.

DENNIS TYDE: Plays the butler, “Perkins,” in The Murder at Haversham Manor. He has no real desire to be involved in theater; he just wants to make friends (of which he has none). He believes if he does well in the show, he will be more successful socially. Laughter from the audience is agony for him. He may be slightly oblivious but understands when he gets things wrong. The laughter is a personal tragedy/failure. British accent.

TREVOR  WATSON: The play’s lighting and sound operator. He simply wants to get on with the show. He is curmudgeonly and doesn’t care for actors; he is easily distracted and does many things he shouldn’t, including engaging with the audience. When things go sideways, he is forced to act in the play (even though he hates performing). American accent.

JONATHAN HARRIS: Plays “Charles Haversham” in The Murder at Haversham Manor. A bit bland but sees himself as a James Bond type: exciting and having fun, but not naïve. He technically must drive the show. He cares about the play but not to the same extent as others. Very physical role. British accent.

SANDRA WILKINSON: Plays “Florence Colleymoore” in The Murder at Haversham Manor. She is vain and possesses a huge ego. Wants to be loved. Has ambitions to go to Hollywood and will hurt anyone standing in the way of what she wants, but she is also smart enough to stay on the good side of someone who can help her. The stakes are high for her. A very physical role. British accent. Female presenting/identifying.

ANNIE TWILLOIL: The stage manager. She has the biggest journey of any of the characters. When Sandra is indisposed, Annie (who cannot bear to be on stage) must step in. Initially terrified by acting, she is willing to kill for it by the end of the play; her initial terror turns to joy, and then to fury. She starts small but grows and grows. American accent

"This 1920’s whodunnit has everything you never want to see in a show—an unconscious leading lady, a corpse that can’t play dead, and actors who trip over everything (including their lines).  Nevertheless, the accident-prone thespians battle against all odds to make it through their final curtain call with hilarious consequences!  Part Monty Python, part Sherlock Holmes, this Olivier Award-winning comedy is guaranteed to leave you aching with laughter."