by Ian McWethy

Directed by Carina Field

Performances 13 to 16 Dec 2018
Evenings at 7pm, Matinees at 2.15pm, Twilight at 4pm


A casting director has one day to find the leads for a community theatre production of Romeo and Juliet. But what seems like a simple task proves impossible when the pool of actors includes extreme method actors, performers who just don’t know what to do with their hands, and one particular person who may or may not think they’re a cat. This hilarious comedy will bring you to the last place you’d ever want to be… behind the doors of a casting session.

CHARACTERS (~9 roles total. One actor will play Carol and one will play Roger, other cast members will play a few characters each)

This is an ensemble play. All roles are significant and receive about equal stage and speech time.
All actors should be approx 16-25 years old. No prior experience required.

CAROL DANES (F 20-25): Director looking to cast a production of Romeo and Juliet. Young, upcoming and passionate director. A playful character, eager to please.

AVERY STERN (20-25): Artistic Director at the theatre company where Carol wants to stage Romeo and Juliet. Is slightly older than Carol and a little patronising. Has an air of power about them, actor would need strong stage presence.

ROGER (M 16-20): Avery’s nephew and Carol’s assistant. A hard-done-by and somewhat sulky teenager at start who actually is good at his job. Bit of a dry sense of humour.

MELISSA MCNALL (F 16-25): Would be a good actor if it weren’t for her coach constantly interrupting her audition.

COACH (20-25): Too-eager acting coach who attends Melissa’s audition. Wants to be helpful but comes across as the too-eager parent.

JOE ROMANO (M 16-25): Nervous actor who over-compensates by yelling throughout audition.

JOSIE (F 16-25): Full of self-doubt. Could either be dreamy or very anxious (actor’s choice).

MARIA MCCONVILLE (F 16-25): Doesn’t seem to have good awareness of her hands/ arms.

MARTIN (M 16-25): Takes Shakespeare too seriously. Is confident with Shakespearean English. Slightly melodramatic.

CATHERINE (16-25): Believes she is a cat.

MEG MCCROSSEN (16-25):  Acting enthusiast who takes ‘warming up’ way too seriously.

CHARLIZE FINEGOLD (16-25):  Is a bit childish and makes several unreasonable demands.

AGENT (16-25):  Tries to keep their client happy, clear business person.

JOSH (M 16-25):  A little too enthusiastic; mimes the stage directions and props.

EDMOND (16-25):  Turns up to audition wanting to do a modern dance audition…

SUE TOFF (F 16-25):  Believes herself ‘cool and hip’ but comes across as not the brightest lightbulb in the chandelier…

UNA HENSON (F 16-20):  Seems like a nice girl, even if she’s missing a few IQ points. Takes iambic pentameter too far.

YASMINE (16-25):  Seems sweet, overly feminine (actor can be M or F) and refuses to work in anything other than commercials/high paying work.

TAGGART (M 16-25):  Seems to audition OK, but interrupts themselves with own commentary. Overly self-critical.

VANCE HENDRINKSON (16-25):  Similar to Taggart, breaks out of character during audition, but instead of being self-critical he comments on what blocking he should do. Eager to please.

AMY (F 16-25):  Roger’s crush, sweet and makes a positive albeit short appearance.

ZEPH (16-25):  Brings puppets to audition. Auditions with puppets.

QUINT (16-25):  Implied committed a crime just before the audition, runs into room to hide from police. Actually reads lines well.

WENDY OFFERMAN (F 16-25):  Good actress, performs naturally and very well until she learns Romeo and Juliet die.

Auditions by appointment only
Tuesday 16 October at BTC theatre from 6:30-8:30pm
Wednesday 17 October at BTC theatre from 6:30-8:30pm

-Auditions will be held in group format; one hour allocated to each group
-No accents required
-Most characters are not gender specific, where gender hasn’t been specified above actors can audition for any role which interests them
-Due to time constraints please only audition for top 3 preferences

For enquiries and to book an audition time please contact the Director, Carina Field by email on

Information for prospective auditionees:

Brighton Theatre Company welcomes anyone of any gender and any ethnicity to audition.

Rehearsals will take place at the theatre outside of regular business hours.

Actors need to be able to commit unconditionally not only for an entire performance season but also for all scheduled rehearsals at which their attendance is required.



by Patrick Marber

Directed by Loretta Bishop

15 Feb to 2 Mar 2019
Evenings at 8pm, Matinees at 2:15pm


Patrick Marber has taken Strindberg’s classic play “Miss Julie” and moved it from late 19th century Sweden to mid 20th century London, July 1945 : the year that saw an historical electoral victory by Labour in England. The awareness of the class divide that lies at the heart of Marber’s version, and the aggravating effects this can have upon the even deeper psychological divide that exists between the sexes.

The magical midsummer night’s party that Strindberg creates for his play’s setting has been transformed into a Labour Party Electoral victory celebration, with the servants merrymaking in the barn of the country house in which they are employed as servants. Does this victory mark an upturn in their fortunes, one where the working class will be their former master’s new equals? However, such a turnaround in class fortunes are never so simple, and even those who see themselves as the vanguard of a new and freer society are often blind to their own preconceptions.


English accents are required.

MISS JULIE, 25+ – Patronizing but seductive. An unbalanced individual.

JOHN, 30+ – Has the air of a defeated man – unable to break free from those whom he sees as his social superiors.

CHRISTINE – This role has been cast.

Auditions by appointment only
Sunday 25 November at BTC theatre from 2pm

For enquiries and to book an audition time please contact the Director, Loretta Bishop by email on

Information for prospective auditionees:
It is highly desirable that anyone wishing to audition should know the play well enough to be able to describe the “story”.

There will be three rehearsals prior to the Christmas Break – 17, 19 and 21 December 2018 and rehearsals will recommence on 3 January 2019.

Actors need to be able to commit unconditionally not only for an entire performance season but also for all scheduled rehearsals at which their attendance is required.