The Elephant Man
Written by Bernard Pomerance
Director Dave Reid
Producer Mark Jones
Sunday 29th July - 3pm at Chorley Little Theatre
Mon 22-Sat 27th October 2012 (inclusive) – at Chorley Little Theatre
Sundays (12-4pm); Wednesdays (7.30-10pm) and in later stages Fridays (7.30-10pm) – a full rehearsal schedule will be issued once the play has been cast.
The Elephant Man is a 1977 play by Bernard Pomerance, which premiered in London in 1979 with David Bowie in the lead role. In 1980 David Lynch directed the film version, which starred John Hurt and Anthony Hopkins (although it was not based on this play). The play chronicles the true story of John Merrick, treated first as a fairground freak because of his hideously deformed body and later exploited by Victorian society. As a carnival attraction, Merrick is known only as ‘The Elephant Man’.
This CADOS production : Will be an ensemble performance requiring 12 to 13 performers who are ready and able to play a variety of roles ranging from hospital staff and patients, into passers-by on a London street, into members of the aristocracy – all changing in a matter of seconds. There are only two consistent roles: that of John Merrick (The Elephant Man) and Frederick Treves, the doctor who, on the surface, helps “The Elephant Man” but at the same time benefits by his association with him. There will be no make-up or special effects to depict the Elephant Man. The key concept behind this production is that it is not Merrick that is deformed, but the people who use, abuse or benefit by their association with him. This will require the eponymous character to be played totally neutral, with the ensemble cast having various degrees of ‘deformity’. Anyone willing to audition must be prepared to take part in a range of workshop rehearsals and to be prepared to experiment with vocal and physical actions.
This highly stylised and emotional play will require strong and flexible acting skills, which you will either turn up with or they will be developed during the rehearsal process. It will be an original production and, hopefully, a new venture for CADOS.
Dave is no stranger to the Chorley Little Theatre stage, having played Pip in ‘Great Expectations’; Salieri in ‘Amadeus’ and Oberon in ‘A Mid-summer Nights Dream’. A Senior Lecturer in Drama, Dave is no stranger to directing, he has directed many productions. However this will be his directorial debut for CADOS. He has promised that this production will be exciting and innovative.
The Auditions - Interested?
There is no preparation required pre-audition. For anyone aiming to play either Merrick or Treves (these roles have a massive amounts of lines) audition pieces will be given out at the audition. Anyone interested in the ensemble roles will take part in a workshop audition. Please note you must be 16+ to audition for this production.
Dr Frederick Treves
Surprisingly, the central character in the play. A man with ambition but also with an overwhelming sense of guilt at how he makes his achievements. This role has a huge amount of lines and will require some physical flexibility.
John Merrick (The Elephant Man)
The eponymous character who is supposed to be hideously disfigured. This production requires an actor who is able to be totally honest, open and physically un-deformed (if that makes sense!) No make up or physical effects will be used in the portrayal of this role.
A famous actress – the most challenging female role, must be able to play the ‘actress’ and also the human underneath.
In charge of the London Hospital. Employer of Frederick Treves and the man who allows the Elephant Man to stay at the hospital. Why? Because he knows it will be good publicity. A manipulator and corrupt – but with humanity.
Written as one character, this production will use two actors to play the role, interchanging lines and working almost as if they were Siamese twins. These roles will require the ability to be physically and vocally flexible.
Other Ensemble Roles:
Conductor of ferry
*denotes ensemble character
If anyone has any questions or queries do not hesitate to contact either Mark on 0787 7111248 or via the "Submissions" form on this site.)
An Evening With Gary Lineker
Monday 18th - Saturday 23rd June (7.30pm)
By Arthur Smith & Chris England
Directed By Sean Duxbury
This comedy tells the tale of a group of holiday makers in Spain trying to enjoy their holiday, romances and affairs against the backdrop of the 1990 World Cup. It focuses on one match in particular – the semi-final between England and Germany and the group who have assembled in the hotel room to watch it. As the drama develops on the pitch, more develops off the pitch as the various couples slowly reveal the truth about their relationships all the way through to the penalty shoot out.
Monica – Age - late 20’s – late 30’s
The long suffering wife of Bill.
Bill - Age - late 20’s – early 40’s
Football obsessed – he lives his life for the next match and nothing is more important than at this moment in time but England vs Germany
Ian - Age - late 20’s – early 40’s
Bill’s ex-work colleague. He does not understand how anyone can be so passionate about a game as he struggles to come to terms with the loss of his job.
Birgitta - Age – early late 20’s
The local German holiday rep. This is her last summer as a single girl. No German accent required – her accent should be quite neutral.
Dan – Age - late 20’s – early 40’s
Best selling travel author and basically a ‘lad’.
The audition will be held at the theatre on Sunday 22 April at 2:30.
Unfortunately audition pieces will not be available until the audition, but actors will be given an opportunity to study the pieces before being asked to read.
Guy & Dolls Audition Notice
Directed by Sean Duxbury ~ Musical Director Judith Holt
Audition Date – Sunday 18 March 2012 ~ 2:00 pm at the Theatre
Pre-Audition runthroughs: Tuesday 6th March. Thursday 8th March, Tuesday 13th March (7.30pm at the Theatre)
Production Dates: Friday 15 June – Saturday 23 June (not Sunday 17th), 7.30pm
All the hot gamblers are in town, and they're all depending on Nathan Detroit to set up this week's incarnation of "The Oldest Established Permanent Floating Crap Game in New York"; the only problem is, he needs $1000 to get the place. Throw in Sarah Brown, who's short on sinners at the mission she runs; Sky Masterson, who accepts Nathan's $1000 bet that he can't get Sarah Brown to go with him to Havana; Miss Adelaide, who wants Nathan to marry her; Police Lieutenant Brannigan, who always seems to appear at the wrong time; and the music/lyrics of Frank Loesser, and you've got quite a musical.
Includes the songs: "Luck Be a Lady", "Sit Down, You're Rocking the Boat”, “Guy & Dolls”.
We will be running a series of pre-audition rehearsals at the theatre starting on Tuesday 21 Feb starting at 7:30pm at the theatre so that people can familiarise themselves with the numbers and meet the production team to get some idea of what the musical (and our interpretation) is all about.
Please note you must be 16 years or older to take part in this production.
Sarah Brown A beautiful, but innocent, missionary. Age:18-30, Vocal: Soprano, Dancing: Medium
Sky Masterson A handsome, wealthy gambler. Age: 25-40, Vocal: Baritone, Dancing: Medium
Adelaide A dancer at the ‘Hot Box’ club with a perpetual psychosomatic cold. She’s been engaged to Nathan Detroit for 14 years and desperately wants to get married. Age: 30-45, Vocal: Mezzo, Dancing: Medium
Nathan Detroit Charming, but financially strapped manager of the floating crap game. Age: 30-50, Vocal: Baritone, Arvide Abernathy Sarah’s wise grandfather. Age: 50-90, Vocal: Baritone, Dancing: Light
Benny Southstreet A gambler. Age: 25-55, Vocal: Baritone, Dancing: Light
Nicely, Nicely Johnson A gambler. Age: 25-55, Vocal: Tenor, Dancing: Light
Angie the Ox A gambler. Age: 25-55, Vocal: Choral, Dancing: Light
Big Jule A big tough gangster from Chicago. Age: 35-60, Vocal: Choral, Dancing: Light
Gen. Cartwright The Salvation Army Matron. Age: 35-65, Vocal: Mezzo, Dancing: Light
Harry the Horse A gambler. Age: 25-55, Vocal: Choral, Dancing: Light
Lt. Brannigan New York Policeman trying to stop floating crap games. Age: 30-65, Vocal: Choral
Crapshooters Gamblers. Vocal: Choral, Dancing: Light
Hot Box Girls Adelaide’s dance troop. Vocal: Choral, Dancing: Heavy
City Folk Adding colour to New York City. Vocal: Choral, Dancing: Light
Written by Tim Firth
Directed by Barbara Wilcox
Performances: Saturday September 1st – Saturday 8th (No perf Sunday)
Audition: Sunday April 1st (No, not April fool.)
Chorley Little Theatre @ 11am
I take no credit for the excellent description of characters and synopsis of the story in the notice; they are the work of playwright Tim Firth.
For anyone thinking about auditioning I need to give you as much information as I can about my expectations before you make a commitment.
If you haven’t seen it, ‘Calendar Girls’ is a wonderful play, hilariously funny, poignant and uplifting. The audience will love it and so will the cast and crew.
It is not a difficult play to learn because it is so well written, technically however it is challenging at times and requires great collaboration between those onstage and off.
The reason why I am auditioning so early is because we will be rehearsing throughout the summer holidays, which is always a logistic nightmare so essentially
Cast must be off script by July – scripts will not be allowed on stage – this is non negotiable.
There will be a prompt to assist in rehearsal and production, lines will be learnt and all scenes completed before cast start to vanish for weeks at a time. You can then all enjoy your hols.
The rights of the play are open to Amateur Production for one year only from September 1st 2012 to August 31st 2013 which is why we are opening the CADOS season so early this year.
This means that all cast will be required on Sunday August 19th and no missed rehearsal for holidays etc from then on; again there can be no exceptions – sorry.
For those concerned about nudity let me reassure you all that there isn’t any; as the author describes;
“As in the best tradition of Vaudevillian fan dances, the art of the play’s nudity lies in what is withheld. The choreography of this sequence is best described as ‘fabulous concealment’. Should be see anything we oughtn’t, the whole scene will deflate like a soufflé on which the oven door has been opened too quickly. “ Tim Firth
I am also looking for Ladies for backstage crew.
This year girls ‘sisters will be doing it for themselves’ and I am very excited about it all.
Look forward to seeing you (oops and the gentlemen of the cast) on April 1st.
Scripts will be available on the day; the libraries do not have copies of this script. If you wish to buy your own however you can get them from Samuel French Ltd or Amazon.
If you want to get in touch with me please drop me an email.
Chris, playing age 50’s
You want Chris at your party. She will talk to people she doesn’t know, find things to say to fill silences and generate laughter. Part of this is because Chris is at home in crowds, holding court, being the centre of attention. Without Chris in her life, Annie would be better behaved, her life less fun. The two of them are like naughty schoolgirls. Ideal car – who cares, as long as it’s a cabriolet. Ideal holiday – Algarve.
Annie, playing age 50’s
Annie will join in mischief but is at heart more conformist and less confrontational than Chris. After Chris has put a waiter’s back up in the restaurant, Annie will go and pour calm. The mischievousness Chris elicits save Annie from being a saint. She has enough edge to be interesting, and enough salt not to be too sweet. Ideal car – who cares, as long as it’s reliable. Ideal holiday – walking in English countryside.
Cora, playing age around 40
Cora’s past is the most eclectic, her horizons broadened by having gone to college. This caused a tectonic shift with her parochial parents. She came back to them pregnant and tail-between-her-legs, but Cora has too much native resilience to be downtrodden. She is the joker in the pack, but never plays the fool. Her wit is deadpan. It raises laughter in others, but rarely in herself. Her relationship with her daughter is more akin to that between Chris and Annie. Cora doesn’t need to sing like a diva but must be able to sing well enough to start the show with Jerusalem and sing the snatches of other songs as required. The piano keyboard can be marked up to enable her to play basic chords should she not be a player. Ideal car – who cares, as long as the sound system is loud. Ideal holiday – New York.
Jessie, playing age late 60’s / 70’s
Get on the right side of Jessie as a teacher and she’ll be the teacher you remember for life. Get on the wrong side and you will regret every waking hour. A lover of life, Jessie doesn’t bother with cosmetics – her elixir of life is bravery. Jessie goes on rollercoasters. Her husband has been with her a long time and is rarely surprised by her actions. Jessie bothers about grammar and will correct stallholders regarding their abuse of the apostrophe “s”. Ideal car – strange-looking European thing which is no longer manufactured. Ideal holiday – walking in Switzerland or Angkor Wat.
Celia, playing age anything 35 – 50
The fact that Celia is in the WI is the greatest justification of its existence. A woman more at home in a department store than a church hall, she may be slightly younger than Chris or the same age, butt she always feels like she’s drifted in from another world. Which she has. She is particularly enamoured of Jessie, and despite the fact Jessie has very little time for most Celias of this world, there is a rebelliousness in Celia to which Jessie responds. It’s what sets Celia apart from the vapid materialism of her peer group and made her defect. Ideal car – Porsche, which she has. Ideal holiday – Maldives, where she often goes.
Ruth, playing age 40’s
Ruth’s journey is from the false self-confidence of the emotionally abused to the genuine self-confidence of the woman happy in her own skin. Ruth is eager to please but not a rag doll, and despite being Marie’s right-hand woman she is desperate to be the cartilage in the spine of the WI and keep everyone happy. She has spine herself – if she was too wet, no one would want her around. But they do, and they feel protective of her because they sense that there is something better in Ruth than her life is letting out. They are proved right. Ideal car – at the start, whatever Eddie wants; at the end, whatever she wants. Ideal holiday – at the start wherever Eddie is, at the end wherever he isn’t. The Rabbit Costume: Ruth made this last night. It should be a cocktail of good intention and not enough time.
Marie, playing age 50’s
Marie has gradually built the current ‘Marie’ around herself over the years as a defence mechanism. She went to her Oz, Cheshire, and found Oz didn’t want her. She came back scorched. The WI I a trophy to her, which justifies her entire existence. There is a lingering part of Marie that would love to be on that calendar. Ideal car – something German and well-valeted. Ideal holiday – a quasi-academic tour of somewhere in Persia advertised in a Sunday Supplement which she could then interminably bang on about.
John, Annie’s husband, playing age 50’s
John is a human sunflower. Not a saint. Not a hero. Just the kind of man you’d want in your car when crossing America. When he dies it feels like someone somewhere turned a light off.
Rod, Chris’ husband, playing age 50’s
You have to be a certain kind of guy to stick with Chris and Rod loves it. He can give back what he gets, and has a deadpan humour which has always made Chris laugh. He drinks a lot but never so much as to have a problem. He would work every hour to make his shop a success. And John was his mate, even though the relationship was originally channelled through their wives.
Lawrence, playing age late 20’s
Hesitant without being nerdy. Lawrence is a shy young male with enough wit to make a joke and enough spirit to turn up at the WI hall in the first place. When he arranges the shots he is close to female nudity but sees only the photo.
Lady Cravenshire, playing age 60’s
Lady Cravenshire really doesn’t mean to be so patronising. But the WI girls seem from another world. The world of her estate workers. Dress: When she makes an entrance, she must make an entrance. Largely white or cream to outplay the others, with a bigger hat than Marie. She is not a tweed-wearer. She must glide in like a galleon.
Elaine, playing age 20’s
Elaine really doesn’t mean to be so patronising. But Jessie seems from another world. The world of her gran. Dress: her clinical whites slice through like a knife. You feel you could cut yourself on that dress.
Liam, playing age late 20’s
Liam would like to be directing other things than photo shoots for washing powders. He’s not so unprofessional as to let it show, but we can sense a slight weariness at having to deal with these women. There’s a resigned patience to his actions and each smile he makes we feel is professional. For Liam, this photo shoot is a job. And not the job he wanted. Dress: Avoid wearing shades in a building. If you’ve gone down that route, you’ve made the weary boy a wideboy.
The women of the real calendar in truth came from many parts of the country. Actors should resist the pressure to perform any kind of Yorkshire pyrotechnics. Nothing compromises the truth of comedy like a slavish attention to vowel-sounds and dipthings. It will become a pebble in the shoe. If you can flatten the “a” so that giraffe no longer rhymes with scarf then that will be more than sufficient; but even then that should not be championed over the intrinsic rhythm of the line. People travel. Communities are now gloriously multi-instrumental. We’ve had accents from Glasgow to Texas make the same part their own.
Blithe Spirit Audition Notice
Audition Date: Sunday 6th November, 11am - Chorley Little Theatre
Performance Dates: Monday 27th February - Saturday 3rd March 2012, 7.30pm
Written by Noel Coward
Directed by Wyn Tootell and Andrew Kidd
Successful novelist Charles Condomine wishes to learn more about the occult for a novel he’s writing, so hires eccentric medium Madame Arcati to hold a seance at his English manor house. But she inadvertently summons Charles’ first wife, Elvira, who only he can see. Elvira is upset that Charles has remarried (to Ruth) and makes repeated attempts to break them up by any means necessary.
This is a classic comedy set in the 1940s, and featuring ghostly goings-on with onstage effects. Requires good comic timing all round.
Charles Condomine 35-40 years (male)
A successful writer, comfortably in his second marriage. Bright and sophisticated, with physical humour required
Ruth Condomine 30-35 years (female)
Charles’ reserved second wife. Smart but can get high-strung and jealous
Elvira 20 - 25 years (female)
Charles’ first wife, she’s a sexy, beautiful spoilt brat with a wicked sense of humour.
Edith Young(ish) (female)
Energetic Cockney maid who’s not the brightest person in the world.
Dr Bradman 50+ (ish) (male)
Good-natured, skeptical friend of Charles. Thinks he’s funny.
Mrs Bradman 50+ (ish) (female)
Staid, pedestrian wife of Dr Bradman, and a bit gullible
Madam Arcati 40 - 60 years (female)
Colourful, eccentric medium who dresses like a Gypsy. Can be any race/nationality as long as she believes in the supernatural
Further details please contact Andrew Kidd 07702 703690
Audition Pieces available on the day. Open to all, but successful applicants have to join CADOS for the show
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