Audition Notice

Calendar Girls

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.


Barb x

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


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.



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



ACTING AUDITION NOTICE (Dancers - see below)

Sunday 25th September - 11am (10.30am registration)

Venue: Chorley Little Theatre

Performance Dates: 9th - 17th December (not Mon 12th), matinees on Sat 10th, Sun 11th and Sat 17th Dec


Written by Stephen Duckham

Directed by Ian Robinson

Producer: Lindsey Dickinson

Choreographer: Rebecca Dickinson

Musical Director: Paul Carr

This is a traditional pantomime with lots of corny jokes, audience interaction, songs and a bit of dancing. Actors should be good at telling jokes and also able to adlib if required. There’ll be room for hamming it up, but the adventure should be played as real.


Robin Hood (female) - the star of the show - fast, funny and quick-witted, a strong, determined character. Singing required.

Maid Marion (female) - Ward of the Sheriff, the female lead, smart and feisty. Singing required.

Sir Silas Skinflint (male) - Sheriff of Nottingham - the villain! Prepared to be dastardly and for small children  to hate them. Singing required (but not at audition).

Floggem & Whippem - the Sheriff’s guards - a comedy double act with a bit of slapstick. Singing required.

Nurse Jemima Jollop (male) - Typical Dame character. Singing required (but not at audition).

John & Edward (teen males)- “The Boys” - based on Jedward, so passable Irish accent but, like Jedward themselves, no singing required.

Greenwillow (female) - Magical character, the good fairy, she is required to help tell the story.

Village Woman (female) Rabble-rousing villager. Singing required.

A Ghost, A Skeleton - slapstick performers

Headless Nick (male) - ghost creature.

King Richard (older male) – A typical pantomime King

The Merry Men (male or female) - Tuck

- Will Scarlet

- Alan-A-Dale

- Little John (male) - tall and imposing

Chorus: Villagers, Merry Men, Guards


Audition pieces will be given out on the day of audition. Scripts can be emailed in advance if you wish, please contact Ian for details.

For those characters required to sing in the show, you may be asked to sing at audition, so please bring along a CD/memory stick with a backing track.


Rehearsals from 26th September, Monday, Wednesday, Friday and some Sundays (you may not be required to be at every rehearsal).

Some people may also be required at Chorley Christmas Lights Switch-on Thursday 24th November and for various publicity duties


For further information, please ring Ian Robinson, 07984 794163


Contact us for more info



Dancing audition

Dancers aged 8* and over wanted to form two groups, Juniors and Seniors to dance, act and sing in this year’s Pantomime - Robin Hood!

Date: Sunday 18th September

Registration 11am to start at 11.30am (aim to finish by 2pm)

Venue: Chorley Little Theatre

If you are under 16 a parent or guardian will need to be present throughout the audition day.

Dancers will be required to learn a short dance taught on the day of audition before performing in small groups. Formal training in either Ballet or Modern-Jazz is required for all those who wish to audition. Successful dancers will be informed after the acting auditions (see above).

All dancers must be available to perform at all 10 shows and remain throughout the performance each night or matinee.

For any further details please contact Rebecca Dickinson, Choreographer on 07885 973918 or 01257 230296.

Hope to see you there!

Rebecca! xx

* some candidates may be considered if under the age of 8 if ability is of a high standard





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


Auditions for the September CADOS play, Funny Money, take place on Sunday 29th May at 10.30am. Details below:

Tickets for the show are on sale now and already going fast!


Audition Notice

Sunday May 29th 2011 - 10.30am (Theatre)

“Funny Money”

Written by Ray Cooney

Directed by Barbara Wilcox

A CADOS Production: September 12th – 17th 2011


It is Harry Perkins’ birthday and he has a lot to smile about having picked up the wrong briefcase on the train containing £2 million cash; this sets off a chain of events sending us off into the wonderful world of Ray Cooney, Master of Farce.

Harry’s inebriated wife has to pretend to be his sister-in-law, his friends become his relatives and Harry himself turns into his own brother! As the lies get bigger, the twists get more complicated and the cuckoo clock explodes in a hail of bullets.

This is fast paced, needs excellent comedy timing for entrances and exits, carries great one liners and clever, funny visual gags – not for the faint hearted.

Rehearsals will begin end of June but you will need to be well acquainted with the script by first rehearsal.

Anyone auditioning must be available for every rehearsal from September 1st to opening night

Cast of Characters

Harry Perkins 40+ – Our hero?? Leading male role, on stage almost throughout the play, strong actor with excellent comedy skills needed.

Jean Perkins 40+ - Harry’s wife, tries to show Harry the error of his ways, normally teetotal, Jean gradually consumes all the alcohol around the house, It is really important that I am not looking for a very drunk drunk, I want someone who will be trying not to appear drunk, this is a far funnier.

Underwear warning – Jean will be wearing a flannelette nightie at one point.

Vic Johnson 40+ - Harry’s best mate coming to the birthday dinner, reluctantly gets caught up in the web of deceit, another good comedy role – experienced actor required.

Betty Johnson 40+ - Harry’s wife and Jean’s best friend, a buxom and cheerful woman.

Davenport – A bent copper, paid off by Harry but keeps upping his price.

Slater – Second Policeman,  quiet authority and clearly incorruptible

Bill – The taxi driver, keeps bobbing in and out of the action, increasingly irritated as he is kept waiting throughout the play.

Passerby – Male, 30+ Large Dutchman turns out to be the assassin

Scripts will be available soon, watch website.


Any further details needed drop me a line on This email address is being protected from spambots. You need JavaScript enabled to view it.

Hope to see you there



Barb x