(Auditions for the rest of the cast will take place in a month or so)


'The Rise And Fall of Little Voice' by Jim Cartwright 

Directed by Robert Walsh

Produced by Rachel Offord


Production Dates – Monday 11th to Saturday 16th September


Date and time of audition – Sunday 9th April from 10am onwards at Chorley Little Theatre


The play


Little Voice is a modern day classic. It is a working class fairy-tale about a girl with extraordinary talent. It is funny, tragic and a cabaret performance all rolled into one. What’s not to like!


The Part

LV – Female, playing age of late teens to early twenties (you must be 16 or over to audition)

Despite being so shy and hardly ever leaving her bedroom, she can sing exactly like the big divas in her record collection. So the person playing Little Voice needs to be able to do that!


The audition process



Everyone auditioning will be asked to sing three songs from the following options:

  • Song one: ‘Goldfinger’ or ‘Big Spender’ in the style of Shirley Bassey
  • Song Two: ‘The Man That Got Away’ or ‘Get Happy’ in the style of Judy Garland
  • Song three: ‘My Heart Belongs to Daddy’ or ‘I Wanna Be Loved By You’ in the style of Marilyn Monroe


If there are a lot of people at the audition then you won’t sing the entirety of each song. If you are asked to stop before the end don’t worry! It is not a reflection of your performance. You can choose to sing with or without a backing track. If you want a backing track, please come prepared with a backing track WITHOUT VOCALS! We want to hear your voice and your voice only. If there are a lot of people at the audition then not everyone will go through to the second stage.




Stage two will include:

  • Reading of a short scene from the play.
  • Singing ‘Somewhere Over The Rainbow’ in the style of Judy Garland without backing track.

No matter how good the rest of the play is, if LV does not sound like Shirley Bassey/Judy Garland/Marilyn Monroe/a selection of other divas, the play does not work!


However if you:

  • Don’t sound exactly like those people YET but think that you could.
  • Haven’t tried impersonations before but have a great singing voice.
  • Fancy auditioning for a bit of fun!


Then please come down and have a go! 

For more information, contact Robert Walsh on: 

E-mail – This email address is being protected from spambots. You need JavaScript enabled to view it.

CADOS presents


‘Our House’


Script by Tim Firth, Music by Madness



Directed by Paul Carr and Mark Jones


Musical Director - Paul Carr


Choreographer / Producer - Rebecca Dickinson






Auditions on Sunday 29th January 2017 – at 1pm, at Chorley Little Theatre




This Production

Our House is a musical with music and lyrics by Madness and a book by playwright Tim Firth. The show features songs from the ska/pop band Madness, and was named after one of their popular hit singles, "Our House". Premiering at The Cambridge Theatre in 2002, Our House was the winner of the 2003 Olivier award for Best New Musical and has since gone on to tour both nationally and internationally to great acclaim.

Through the music of Madness, writer Tim Firth explores the themes of love, family values, growing up, responsibility and dealing with losing the people that shape us, through a script that is packed with humour and poignancy in equal measure.

The show follows the lead character, Joe Casey, through two different pathways that his life could take following a single split second decision in a moment of madness (see what we did there?!) and the ultimate consequences of that decision as the two worlds follow their parallel paths.

This will be a high energy and exciting production so if you are not into fun then don’t attend the audition!


The Performances

Mon 12th - Sat 17th June 2017 (inclusive) – 7:30om nightly at Chorley Little Theatre (please check availability before auditioning!)


The Rehearsals

 Initially - Sundays 1pm - 4pm (from mid-February) for singing and dancing rehearsals

 Then Mon, Weds, Fri (7.30pm – 10pm) and Sundays (1pm - 4pm) to pull the whole thing together (weekdays starting mid to late April).

 A full rehearsal schedule will be issued once the production has been cast.


The Production Team
This is the strongest production team that you could assemble for a CADOS production.

Mark Jones is Artistic Director of CADOS and this will be his 12th main season production as director, with past production including ‘Pals’, ‘Hound of the Baskervilles’ and Blood Brothers’.

Paul Carr is the theatre’s Technical Manager but this will also be his 8th CADOS production as a director (including “Little Shop of Horrors” and “I Love You Because”) as well as having produced, musically directed or designed countless plays, pantomimes and musicals for CADOS and Chorley Youth Theatre.

Rebecca Dickinson has been dancing since the age of 8 and has choreographed numerous CADOS productions over the last 14 years.

The production will feature the usual high production standards that CADOS shows enjoy, along with a live 7-piece band.


The Auditions - Interested?

One joy of Our House is that it is hard to conceive of a cast shape in which everyone doesn’t at some point have their moment. Whilst there is a need for some characters to have strong vocal or dance abilities, anyone with the ability to hold a tune and move to a beat (and the willingness to do so!) is welcome to audition as there are parts available to suit all types. The auditions will be in three sections:

SINGING: Firstly (as the show is a musical!) there will be a singing audition for all auditionees. The singing demands of the show are different for individual characters, so first and foremost we are looking to see if you can hold a tune. Most of the Madness songs are not too tricky to sing and it doesn’t matter if some of the vocals sound ‘rough’ – in fact the notes for the show say that the ensemble numbers should sit somewhere between musical theatre and the gusto of a rugby crowd! Having said that some of the major characters (see below) will also need to be able to sing accurately to a high standard, with harmonies and good levels of dynamic control, so there are parts available for all levels of singing ability.

The singing audition piece will be a short excerpt from “It Must be Love”, with the lyrics / music for the section we are using, and MP3 files of the track and vocal guides available on the theatre website (in the audition notice event). Please note that male and female auditionees will sing ALL the audition piece – the guide tracks are just split because for the higher demand singing parts we will be looking to have people split into the short harmony parts at the end to see how well you can sing against a different tune. We will also go through these parts briefly at the audition so don’t worry if you are reading this on the Sunday morning and haven’t listened to the parts – come along anyhow!

Music for the audition pieces can be heard here:
Lyrics are downloadable on this page.


DANCING: Similarly to the singing, the parts have a variety of dance / movement demands, and if you are going for a high ability dancing part (see below) you will need to do a dance taught to you on the day, please wear appropriate dancewear and shoes. As with the singing, all auditionees will participate in a group dance piece to assess that you have ‘some’ movement (so please come appropriately dressed!)


ACTING: The final audition section will be performing short extracts from the show, provided on the day, to judge your performance ability, ability to create and maintain a character, and your ability to take direction. Make sure that you give a performance in this stage of the audition, thinking about your movement, emotion and use of voice for example, not just stood reading the lines! The play is set in the Camden area of London so an appropriate accent would be ideal but not essential.


PLEASE NOTE – This is not a youth show, and will not be matroned so therefore you must be at least 16 years old (and have left high school) to audition - and as the younger characters start at age 16 and age to early 20s during the show we are anticipating the cast to predominantly be aged 18+.


The Roles


THE ‘YOUTHS’ – start aged 16 and end the show in their early 20s High singing ability required (very high in the case of Joe and Sarah)




Dance Ability

Vocal Range






Sixteen, rough diamond but a diamond nonetheless. Large, very physically demanding part.





Girl next door, slightly more middle-class background.





Joe’s best mates, loosely related to him and taken in by Joe’s Mum. The former is a big kid who would chase sticks if you threw them, the latter a more sensitive lad with a more exposed moral nerve. Good comic timing and outgoing characters required.





Sarah’s best mates, sharp-tongued and sassy with their eyes on a way out of their lowly social beginnings. Intolerant of males, except well-bred ones.





A smiling, charming, superficially likeable force of darkness. Lead vocal for some songs (such as Baggy Trousers) but can be ‘rougher’ than the other youths.


THE ADULTS – Joe’s parents are aged 35+ with some singing required (Mid ability) – in the case of Joe’s Dad this could be mostly a ‘spoken in tune’ affair if needed. Mr Pressman is aged 30+ and only has a short sung section (similar to an ensemble member in terms of vocal demand)




Dance Ability

Vocal Range


KATH (Joe’s Mum)




Beaten down by life but never beaten, a heart the size of a house with a huge, feisty love for her family.





A man of fun and spirit who married the right woman but took the wrong path in life, died as a result, and is now desperate for his son not to repeat the pattern.





Like Reecey, except middle-aged and in control of a large company. Needs a good stage presence.


THE ENSEMBLE – Minimum of 6, but could easily be more. A range of ages and characters is acceptable for this group, which includes dancers but these should blend seamlessly with the rest. All ensemble need to be able to hold a tune but we anticipate there could be a range of vocal ability!




Dance Ability





Play a host of other characters (which could be doubled), some with solo singing lines, some without, some comedic etc. Including but not limited to Priests, Teachers, Neighbours, Security Guards, Salespeople, Policemen, Prisioners, Vegas Showfolk, Lawyers, Students, etc



Very High

Ensemble roles (as above) who also take on the more technical dance sections, and realistically need to have had formal dance training


 If anyone has any questions or queries prior to the audition then please do not hesitate to contact Rebecca on 07521 977707, or email Paul at This email address is being protected from spambots. You need JavaScript enabled to view it.




Habeas Corpus

By Alan Bennett

Production: April 25th – 30th 2016

Audition: Sunday 29th November - 3pm


Habeas Corpus is one of Alan Bennett’s earliest plays.


Here is a production that employs all manner of comedy; fast paced and funny incorporating quirky characters, clever dialogue, visual gags, double entendres, innuendo, a narrator, breaking of the fourth wall, song, poetry, and, essentially, trouser-dropping.

A (sort of) Greek tragedy with Shakespeare’s exits and entrances -only quicker - woven into Cooneyesque mix-ups and mayhem. A seriously good farce.

Set in the late 60’s it’s an observational piece of social commentary on the class system, dalliances, deceit and the developing ‘permissive society’. Word of warning there is also a little bit of bosom holding, thick cardigans will be provided during rehearsals and production.

It is an ensemble piece requiring experienced character actors preferably with excellent comedy timing.

With regard to cast, age is very flexible I am more interested in character but as a guideline under 25 is probably going to be too young. I am presently choosing audition pieces. If you would like any or all please email me This email address is being protected from spambots. You need JavaScript enabled to view it.

Barb xx

Cast of Characters

Dr Wicksteed - Bored & frustrated GP. Ready for retirement, tired of his patients. Rather unprofessional when it comes to young nubile ladies – ie. Miss Rumpers.

Mrs Wicksteed - The GP (Very) slightly younger wife, desperate for love and keeps trying to find it. Absolutely does not need a false bust.

Connie Wicksteed - The younger sister of Dr Wicksteed, spinster of the Parish, sadly lacking in confidence and flat as a pancake. Takes drastic measures to correct her plight.

Canon Throbbing – wishes to marry Connie, wishes to marry anyone who will take his virginity. Resorts to looking up Ladies’ skirts on trains.

Dennis Wicksteed – Son of Dr Wicksteed, hypochondriac, thinks he is dying in about three months.

Felicity Rumpers - A beauty, Canon Throbbing has already looked up her skirt and Dr Wicksteed would like to. However she is in a state of early pregnancy and needs a husband, preferably one who is dying in about three months.

Sir Percy Shorter – For some reason I hear his lines in a Scottish accent – President of the British Medical Association and don’t we all know it. Intensely dislikes Dr Wicksteed and sees a chance to report him to the BMA, mainly hated the fact that Wicksteed is taller than him, so no tall men to audition for Sir Percy.

Lady Rumpers – Felicity’s mum – did well in life marrying Lord Rumpers – Old Colonial, lived in KL (Kuala Lumpur not Kirby Lonsdale)

Mrs Swabb – Housekeeper to the Wicksteeds. Narrator – she knows everything.

Denzil Shanks – Appliance fitter for Connie.

Mr Purdue a suicidal patient of Dr Wicksteed’s who insists on trying to kill himself.

Set in the South (near Brighton) accents must reflect that, particularly The Wicksteeds’ and Rumpers’ families, not quite received pronunciation but getting there.

Shanks perhaps more Cockney. Purdue is open at the moment. Much as it pains me – no Northern accents this time.

I Love You Because.

Book and Lyrics by Ryan Cunningham

Music by Joshua Salzman

Directed by Paul Carr



Sunday 24th January - 1pm at Chorley Little Theatre


The Performances

Wed 11 - Sat 14 May 2016 (inclusive) – 7:30pm @ at Chorley Little Theatre


The Rehearsals:

Rehearsals will probably be on Tuesdays and Thursdays (7.30-10pm) but a full rehearsal schedule will be arranged to suit everyone once the play has been cast. Many scenes are in pairs / threes / fours so rehearsals can be flexible around the cast.


The Show

I Love You Because is a musical set in modern-day New York, based loosely on Jane Austen's novel Pride and Prejudice. Through 18 songs we follow the lives of brothers Austin and Jeff Bennet, and best friends Marcy Fitzwilliams and Diana Bingley as their paths crash into each other in hectic NYC. Austin and Marcy are both recently split from long term relationships and Jeff and Diana separately arrange dates for them through an online dating site. Jeff has convinced Austin that he needs to move on in order to get Catherine back (because the ex always wants to get back together when you are happy with someone else) and Diana has a formula for love which involves Marcy meeting a perfectly wrong man during her ‘rebound time’ in order to find her perfect man after that – and when the two meet it is hate at first sight – perfect!

Aided by Brigitte and Danny (who play a range of New Yorkers from Bartenders and Baristas to taxi drivers, restaurant waiters and random passers by) the show follows the ups and downs of Austin & Marcy and Jeff & Diana as they find that love can often be found where you are least expecting it!

There is a full video of an amateur production on YouTube if you want a fuller idea of the story (though we are aiming at a higher quality output than this), and there are various excerpts from the off-broadway production available as well. There is also the original cast recording available to listen to on YouTube if you want a better idea of the songs:

Act 1:

Act 2:

Cast Recording:

Off-broadway videos (individual songs):



Austin Bennet (playing age 25, tenor to A) – a greeting card writer

Jeff Bennet (playing age 28, baritone to A) – a pedi-cab driver

Marcy Fitzwilliams (playing age 24, soprano to F, belt to D) – a photographer

Diana Bingley (playing age 27, alto to D) – actuary

Brigitte (soprano) – cocktail waitress, taxi driver, baristress, neighbour, chinese restaurant manager, NYC woman

Danny (bari-tenor) – bartender, taxi driver, barista, waiter, delivery boy, NYC man

New York accents are preferred but not essential – whether we use accents depends on the ability of those cast, not the other way round

Playing ages are as a guide only but the characters need to be convincingly in ‘dating age’ as singles on the NYC dating scene.

All six need to be extremely good vocal artists as the songs feature lots of close harmonies and quite a wide vocal range. This is not a sing for the faint hearted and an ability to follow (if not read) music would be anticipated.

We are definitely looking for singers who can act, rather than actors who can sing, and this will be the main focus of the auditions as without the vocal strength the show will not hold together.

Austin, Jeff, Marcy and Diana have the biggest bulk of the show’s focus, but Brigitte and Danny are definitely not ‘bit parts’ – they appear regularly throughout the show and have major singing roles in a number of the songs so need to be on a par with the others in terms of singing ability.



At the auditions we will be asking everyone to sing a number from the show (“Even though” for the female roles and “Goodbye” for the male roles) – we suggest that these are prepared before you audition by contacting Paul on This email address is being protected from spambots. You need JavaScript enabled to view it. and you will be sent a copy of the sheet music, backing track and guide track so you can learn the songs before you audition.

The songs are also available on YouTube from the original off-broadway production as a guide:

Even Though:


We will also be teaching you a short group extract from the show (from “But I Do”) during the course of the audition and this will be performed in small groups to get a feel for how the balance of voices will sound and how well people deal with close harmonising.

Finally there will be short acting extracts given to auditionees on the day to look at the ability to portray the range of characters which appear throughout the show.


DO read the character descriptions and be realistic about if you are right for the part to avoid disappointment!

DON’T do a half-hearted audition or ‘just’ read/sing the part – we want to see characters who are interesting and engaging, and the sort of characters we would want to spend 3 hours watching!

DO make sure you have learnt the audition song (though you can have lyrics with you in the auditions)

DON’T be nervous – you’re only acting to two or three people and if you make a mistake it doesn’t matter – we’re looking to see if you could play these roles after a few months rehearsals and not that night!

DO use your reading time before the audition to plan how you are going to deliver the lines and read it out loud with other people going for roles

DON’T assume that you have it ‘in the bag’ and so don’t bother putting much into your audition – we want to see your performance

DO show off your voice and really sell the song – we are looking for dynamics and performance as well as the ability to hit the notes!

DON’T just stand there – move around the stage and use your body language and gestures to sell your performance

DO have a go! If you fancy trying out then don’t assume that everyone will be better than you – it might be that you are just the person we are looking for!

DON’T get disheartened if you don’t get the part – we are looking at a range of factors (including how people look together as well as the quality of performer) and we are casting a company not individuals. Sometimes you can do a great audition but still not be right for a part compared to someone else so do try again in the future if you don’t get cast.

If you have any questions about auditions then please contact me on This email address is being protected from spambots. You need JavaScript enabled to view it., send me a message through Facebook, or come and ask me directly if you are down for any shows at the theatre before then.

We hope that we see you there!


Billy Liar Audition Notice

Audition Date – 25th October – 11 am at the theatre

Production Dates - Monday 22 February 2016 - Saturday 27 February 2016

Set in the fictional Yorkshire town of Stradhoughton, Billy Liar tells of a young undertaker's clerk named William "Billy" Fisher. Billy, still living at home with his parents and grandmother, is bored with his small-town existence, and in an effort to bring a little colour to his life tells lies – from the trifling and relatively inconsequential (the goings-on in the mythical world of Ambrosia, for instance), to the overblown, compulsive whoppers (this rather loose grasp of the truth leads him to be simultaneously engaged to two women).

CHARACTERS (Please Note – although I have been specific about the ages of the younger characters, as long as the actors look the right age I will be happy with both younger and older actors auditioning)

William "Billy" Fisher – age 19

Billy lies compulsively to everyone he comes across, whether it's the claim that his father is a retired naval captain/cobbler, or telling his parents that Arthur's (his best friend) mother has broken her leg. Billy works as a clerk for undertakers Shadrack & Duxbury, is engaged to two girlfriends, in love with a third and constantly refers to a vague job offer writing scripts in London for "Danny Boon", a comedian.

Alice Fisher – age 50+

Billy's mother. She rarely sits down in the play, constantly working hard to keep the house tidy and look after her husband, her mother, and Billy.

Geoffrey Fisher – age 50+

Billy's father. Geoffrey uses the word "bloody" in his sentences so often it has lost all meaning. Geoffrey has been a successful garage owner and a man who works in the removal business so his family live middle class lives despite his working class background. Geoffrey has a short temper, but otherwise rarely shows emotion. Relations between Geoffrey and Billy have broken down, providing the main source of conflict in the story.

Florence Boothroyd – age 70+

Billy's grandmother, Alice's mother. She is ignored by her family and never seen as a loved character until the end. Florence talks to the sideboard more than her own family, and is always drinking tea out of a pint pot.

Arthur Crabtree – age 19

Billy's best friend. Arthur works at Shadrack & Duxbury with Billy. When we first see Arthur and Billy together in Act 1, they adopt thick northern accents and engage in buffoonery, imitating their elders.

Barbara – age 17

One of Billy's fiancees. Barbara is prudish, always eating oranges, and harbours dreams of living with Billy in a cottage in Devon, with "little Billy and little Barbara".

Rita – age 17

Rita is 17, is short, but comes across as a "hard lass". She is engaged to Billy, and has a habit of mimicking Billy every time he offers an excuse for her missing engagement ring.

Liz – age 18

Liz is described as a scruffy girl in need of a new skirt, she is nevertheless the one who truly understands Billy, and the only one he really has a genuine interest in. Before her appearance, Billy pretends he doesn't have much interest in her, but it is clear when she appears that he is still smitten with her.