Macbeth – Audition Pack

Macbeth receives a prophecy from the Weird Sisters that one day he will become King. Consumed by ambition and spurred to action by his wife, Macbeth murders King Duncan and takes the throne for himself. Wracked with guilt and paranoia and forced to commit more and more murders to protect himself from enmity and suspicion, he soon becomes a tyrannical ruler. The bloodbath and consequent civil war swiftly take Macbeth and Lady Macbeth into the realms of madness and death.

Auditions will be held at Chapter Arts Centre, Market Road, Canton, Cardiff on:

  • Saturday 11th February (2pm – 6pm)
  • Sunday 12th February (10am – 7pm)
  • Monday 13th February (6pm – 9pm)
  • Any recalls will be held the following weekend on Sunday 19th February

Macbeth Audition Pack

Vicar of Dibley – Audition Pack

When the ancient vicar of Dibley dies suddenly the parishioners are astonished to find that the Bishop has appointed a woman in his place. The hit BBC sitcom bursts onto the stage to follow Geraldine as she battles to win over the sceptical parish council, struggles to fend off the attentions of a lustful local farmer and contrives to secure the wedding of Alice Tinker and Hugo Horton.

Auditions will be held at Chapter Arts Centre, Market Road, Canton, Cardiff, CF5 1QE on:

  • Friday 17 th February (5pm – 10pm)
  • Saturday 18 th February (10am – 5pm)
  • Monday 20th February (5pm – 10pm)
  • Tuesday 21st February (5pm – 10pm)

Vicar of Dibley Audition Pack

Spamalot – Audition Pack

The uproariously witty spoof of King Arthur and his knights’ quest for the Holy Grail boasts a highkicking knights’ chorus line, killer rabbits, and a knight who continues duelling even after losing his arms and legs. All the hilarities of Monty Python and the Holy Grail are even funnier set to the rollicking music of the Round Table Knights and the mysterious, definitively diva Lady of the Lake. The original Broadway show won three Tony’s including Best Musical, and the original album won the 2006 Grammy for Best Musical Show Album.

Auditions will be held at Chapter Arts Centre, Market Road, Canton, Cardiff on:

  • Tuesday 7th February Media Point 5pm-10pm
  • Thursday 9th February The Pottery 5pm-10pm
  • Monday 13th February Everyman Clubroom 5pm-10pm
  • Thursday 16th February The Pottery 5pm-10pm (re-calls)

Spamalot Audition Pack

A Double-Bill For All Theatre Lovers

* Friday 02 December -“AN EVENING WITH MICHAEL BOGDANOV” – An interview with the world-renowned Director, followed by a Q and A session. Michael’s work on new plays, modern re-interpretations of Shakespeare, musicals, opera, with young people and as an author, has contributed to his huge breadth of experience and to the scale of his reputation. Venue – Llanover Hall. 7. 30 pm; wine and nibbles. ** See below

* Saturday 03 December – “DIRECTING WORKSHOP” – Led by MICHAEL BOGDANOV. A practical follow-up to the Friday night session and a rare opportunity to work with a Director of international repute. Places are limited. 10 am to 12 pm; Club Room. ** See below

** – There will be a charge made for this unique Everyman double-bill event: Pre-booked and on guest list – Members of Everyman – £7.50 (includes both events; a glass of wine; nibbles); non-Members – £10 (as above). Suitable for people aged 16+. On the door – Members – £10; non-members – £12.50.

To pre-book: phone 01446 711710; mobile 07454313286; or contact raythomas@hotmail.com

Tickets on sale for Joe Egg

Everyman Theatre are proud to present “A Day in the Death of Joe Egg” on at Chapter Arts Centre from 15-19 November. Tickets are on sale now from the Chapter website: http://chapter.org/day-death-joe-egg

The play:

Originally set in 1967 Bristol, Nichols’ play is based upon his own experience of parenting a child with a severe form of disability.

BRIAN – a disillusioned Art teacher – and his wife, SHEILA, have a 10-year-old daughter, JOSEPHINE – the “Joe Egg” of the title – apparently described by a Germanic doctor as “a wegetable”. This is revealed by the couple in one of the knockabout vaudeville “routines” they play out as a coping strategy. Bri and Sheila also refer to their daughter as “a living parsnip” and joke that she needs an early night because her 11-plus is coming up!

“This remarkable play….. has to be described as a comedy, one of the funniest and most touching I’ve seen.” (Ronald Bryden – “The Observer”- 1967).

Joe Egg is unlike any play I’ve seen; concerns about whether it’s dated fade next to the claims that can now be made for it. It’s in the collisions between pious and rogue thoughts that the play’s energy lies. We don’t know what to feel. Which is why, once seen, Joe Egg won’t go away.”
(Robert Butler – “Independent on Sunday” – 1993).

One of the challenges the play presents to a Director and cast, is how to maintain a balance between the comic and tragic elements which are often side by side in the piece. Another challenge is to create an authentic set and costumes relating to 1967, whilst a third is the need to research the developments that have taken place during the intervening 40 years, in respect of attitudes, impact, support, care and technology in the context of Cerebral Palsy.

The play raises questions about sensitive issues – like all great modern drama – but then leaves it to us and the audience to arrive at the answers, if there are any.

Romans in Britain audition pack

Romans in Britain will be performed 28 February 2017 – 4 March 2017.

Auditions will take place on 22, 24, 28 and 29 October. The audition pack is at the end of this post.

Director Simon Futty has prepared the following information:

Rehearsals

Rehearsals will be Tue and Thurs evenings from 7 and all day (10-5.30pm) on Sunday. However you would not be called for every rehearsal and I shall try to take great pains, at the beginning, as far as possible, to stagger rehearsals so you are not kept waiting around all day. I know how frustrating that can be!

It is not envisaged to rehearse over Christmas/New Year itself but I would be hoping to rehearse quite close to Christmas if possible (I’m thinking December 22nd) and starting again on Tuesday 3rd January.

Performance Dates

The play will be performed in Chapter Arts Centre from Tues 28th Feb-Sat 4th March 2017. Get in and Tech dress day is Sun 26th Feb and the Dress Rehearsal is Mon 27th Feb

Play

The play is wonderful in its language, themes, characterisation and dramatic telling. It has breath taking breadth and depth. Its theme is invasion and its consequence and it looks at three occupations: Julius Caesar’s brief invasion of Britain in 54 BC, The Anglo-Saxon settlement in AD 515, and the British in Northern Ireland in 1980 during the period which is now referred to as ‘The Troubles.’

It caused notoriety at the time of its first performance due to its portrayal of a scene of attempted rape and resulted in a failed prosecution by Mary Whitehouse ‘for procuring an act of gross indecency.’ a law used more usually at the time to oppress and entrap homosexuals than ban theatre. The case was thrown out of court when the prosecution case collapsed, but the play was still considered controversial and the GLC cut the National Theatre’s grant as punishment. However, the same scene when performed in Sam West’s revival in 2006 at the Crucible Theatre was, according to the preface to the recent edition of the play, just accepted as ‘another atrocity of war.’ Time has moved on and we are now post-Abu Ghraib and post-Game of Thrones.

The result of the controversy, however, is that it has not been performed much in the intervening years and we are especially privileged to have been granted the performing rights.

Plot

The Romans in Britain is a play written in two acts or ‘parts’. Part One is subtitled Caesar’s Tooth and is an account of the disastrous impact that Julius Caesar’s second expedition to Britain in 54 BC had on the local inhabitants. The theme of the story is as much ‘culture shock’ as it is brutality and some of the most moving scenes are where the ancient Britons struggle to find the language to communicate what it is that is happening to them. It is during this section of the play that there is the attempted rape of a young trainee priest which caused so much offence. However, the theme of ‘The rape of Britain’ becomes, dramatically, the central theme of the play as we move into part Two and discover the we, the British people, have become the Romans ourselves in our oppression around the globe and on our doorstep.

Part Two tells two stories concurrently: In 1980 AD a captain in the SAS attempts an ill-fated infiltration of the IRA in the border counties of Northern Ireland. He very much struggles with this notion, however and finds himself attracted more and more to the ideals of peace. As he has his melt down he suffers visions of an earlier invasion, that of the Anglo-Saxons in AD 515. That invasion forms the basis for the second story which details the last of the Romans struggling for a meaningful existence after Rome has fallen to the barbarians, as well as the retreat of the population into nostalgia for that which never was with the creation of the myth of King Arthur. The overall subtitle for Part Two is Arthur’s Grave.

One of the great aspects of the piece is that Brenton never strays into the territory of propaganda or easy political analysis. Like Shakespeare he never tells us directly his own opinion but sets up these dramatic images and scenes which make us question ourselves .

 

Cast

The cast doubling parts One + Two total 36 actors. With extra doubling within the parts it could be reduced to around 25. Therefore there is plenty of opportunity to be cast. The cast is ensemble – there are no ‘starring’ parts as the main characters last for one or two scenes only. The exception to this is Chichester in Part Two who remains onstage throughout – however for half of it he is a mute witness to the scenes in Saxon times.

Another thing we’ll look at is the possibility that when the character is killed they remain on stage throughout the rest of the Part. This would cut the need for messy blackouts and shuffling off stage in the dark. However, it would also need the ability to stay still!

rib-audition-pack

Early notice of the Everyman AGM

AGM – Wednesday, 21st September, Chapter

Everyman Theatre Nomination Form

What an amazing year 2016 has been. Another fabulous and successful Festival is complete and it’s time to start thinking about another Everyman year.

Our Annual General Meeting is probably the most important Everyman event of the year; so put it in your diary now.

It’s your chance as a member to catch up with what has happened over the last twelve months and there is much to celebrate.

Our AGM will be held on 21st September 2016 at 7.30pm in the Everyman Clubroom at Chapter Arts Centre.We invite nominations for the posts of Chairman, Festival Chairman, Treasurer, Secretary and Board members (up to 11).

We will shortly be posting further information on what these positions involve, and any member of the Board will be happy to talk to you about their work over the past year.  Nominations should be sent online to secretary@everymantheatre.co.uk or on paper to:
The Secretary-Everyman Theatre Cardiff Ltd,
Chapter Arts Centre
Market Road,
Cardiff  CF5 1QE
Nominations should be received by midnight, Tuesday, 30th August and will be posted on the Everyman website 7 days before the AGM.

Feel strongly about something? Why not propose a resolution?

You have a chance to raise issues that you feel strongly about; this may be improving how we do something or raising a new idea or approach. You can do this by putting your proposal into a resolution (you will need to get a seconder) and sending it to our Company Secretary (see details below).

Just for the purists there are two different type of resolutions. Special Resolutions that relate to possible changes to our Memorandum and Articles (needs 75% support to be passed) and Ordinary Resolutions that more or less cover anything else you want to raise ( 50% majority required for approval). Please note the deadlines listed below.

We need you! Stand for the Everyman Board

The AGM is the time and place at which we elect our Board for the coming year. These are the fellow members we trust with “steering the ship” in the right direction.

We are really keen to encourage a wider range of members to put their names forward for consideration. The more representative the Board the better we will understand the needs of all our members and will generate a greater feeling of ownership.

If you are interested in putting your name forward there is an information pack and nomination form and nomination form that will be sent out to you in the next few days as part of your formal notification of the AGM.

This easy to read pack should answer all your questions about applying for, and being, a Board Member. There is no need to panic; you will have until the end of August to submit your name.

Important Deadlines to keep in mind
Special resolutions – Midday Monday, 15th August
Ordinary resolutions – Midnight, Tuesday, 30th August
Nominations for the Board – Midnight, Tuesday, 30th August

Any of the above need to be sent to our Company Secretary Sue Osmolska.

Back to the RSC

In May the fabulous cast which took to the stage at the New Theatre alongside the RSC, Everyman members Steven Smith, Cari Barley, Paul Fanning, Phil Jones, Ricky Valentine and Henry Nott will be in Stratford Upon Avon to reprise their roles.

The team portray ‘The Mechanicals’ who are tasked with performing the Pyramus and Thisbe play for the wedding of Duke Theseus and Hippolyta.

After the run touring the country with other local companies filling the roles, the show has been to Belfast and will now be resident at the prestigious Royal Shakespeare Theatre in Stratford-upon-Avon where Everyman get to perform on the 13th and 14th of July.

Tickets are available here:

https://www.rsc.org.uk/a-midsummer-nights-dream/tickets/#_stratford

Come and experience with the end of this extraordinary journey!

Audition Notice for “A DAY IN THE DEATH OF JOE EGG”

Performances: Tuesday 15 – Saturday, 19 November 2016 (inclusive) at Chapter Arts Centre.

The play

Originally set in 1967 Bristol, Nichols’ play is based upon his own experience of parenting a child with a severe form of disability.

BRIAN – a disillusioned Art teacher – and his wife, SHEILA, have a 10-year-old daughter, JOSEPHINE – the “Joe Egg” of the title – apparently described by a Germanic doctor as “a wegetable”. This is revealed by the couple in one of the knockabout vaudeville “routines” they play out as a coping strategy. Bri and Sheila also refer to their daughter as “a living parsnip” and joke that she needs an early night because her 11-plus is coming up!

“This remarkable play….. has to be described as a comedy, one of the funniest and most touching I’ve seen.” (Ronald Bryden – “The Observer”- 1967).

Joe Egg is unlike any play I’ve seen; concerns about whether it’s dated fade next to the claims that can now be made for it. It’s in the collisions between pious and rogue thoughts that the play’s energy lies. We don’t know what to feel. Which is why, once seen, Joe Egg won’t go away.”
(Robert Butler – “Independent on Sunday” – 1993).

One of the challenges the play presents to a Director and cast, is how to maintain a balance between the comic and tragic elements which are often side by side in the piece. Another challenge is to create an authentic set and costumes relating to 1967, whilst a third is the need to research the developments that have taken place during the intervening 40 years, in respect of attitudes, impact, support, care and technology in the context of Cerebral Palsy.

The play raises questions about sensitive issues – like all great modern drama – but then leaves it to us and the audience to arrive at the answers, if there are any.

The Audition Process

Auditions will be held in the Everyman Club Room at Chapter, on:

Friday 22 July (7.30pm start)

Friday 19 August (7.30 to 9 pm);

Saturday 20 August (10 am to 1pm; 2 to 5pm);

Sunday 21 August (10 am 1 pm; 2 to 5pm).

Recalls, or further auditions – if required – will be held from Friday 02 to Sunday 04 September. It may well be that we begin rehearsals on that weekend, if the play has already been cast and all timings will be confirmed later.

Auditions will take the form of workshops, so there is no need to learn anything! It will help, however, if you have time to:

  • Read or acquaint yourself with the play (we will be using the ‘Faber’ version);
  • Research “Cerebral Palsy”;
  • Research the Bristol dialect, which we may – or may not – use!

The Characters

BRI – 33, a teacher of Art in a local Secondary Modern School; hardly ever at rest; seemingly inept, clumsy; clowning may give way to ineffectual hectoring, then self-piteous gloom; married to

SHEILA – 35, serious; industrious; when dressed for socializing, can be “captivating”; housewife;

JOE (JOSEPHINE) – 10, their daughter; diagnosed as “spastic” (as a baby) with an extreme and complex form of Cerebral Palsy; suffers from epileptic fits; wheelchair-bound or is carried around; attends a Day Nursery; a challenging rôle for a young female actor (needs to “look” 10, but could be any age – AND in a fantasy sequence, the actor moves, sings, skips with a rope and talks to the audience directly).

FREDDIE – attended same school as BRI; a “friend”/ acquaintance; same age as Bri, but seems and behaves much older and “old school”, with ‘a hearty barking humourless laugh’; married to

PAM – ‘dresses well, mispronounces her words in an upper-class gabble… her postures and manners have been taken from fashionable magazines’ (of the mid-1960s). “We’re none of us perfect…. I can’t stand anything N.P.A. Non-Physically Attractive.”

GRACE – Bri’s mother; 65; ‘suburban, fastidious…. short-sighted but refuses to wear spectacles… Her manner is generally bright but …. spells of gloom when she tends to sigh a lot. Maternal!

Rehearsals

I anticipate rehearsing on Tuesday and Thursday evenings, from 7.30 to 9.30 pm; possibly some Friday evenings, if cast available and Saturdays OR Sundays, from 10am to 1pm and 2 to 5pm. There may well be occasions when I will need to change or cancel a session, but I will ensure that the cast are notified well in advance of this.

Production Dates

Sunday, 13 November 2016 – Get-in and Technical/ Dress Rehearsal – main stage, Chapter;

Monday, 14 November 2016 – Final Dress Rehearsal;

Tuesday 15 to Saturday, 19 November 2016 – evening public performances; Matinée on Saturday, 19 November; Get-out on last night and on Sunday, 20 November 2016

Please check your own availability, with reference to the above. It would be appreciated if you could please inform me of any potential issues as soon as possible.

To book an audition please e-mail

joeegg@everymantheatre.co.uk

Choose from the following:

Friday 22 July 7.30pm start;

Friday 19 August – 7.30 pm;

Saturday 20 August – 10 am; 11.30 am; 1 pm; or 2.30 pm;

Sunday 21 August – 10 am; 11.30 am; 1 pm; or 2.30 pm.

I will also need your name and contact details.

People can contact me on this e-mail address or by phone:

01446 – 711710 or 07454313286

NOTE: Please bring a recent passport-size photograph of yourself when you attend for your audition. Thank you for your interest.

I look forward to hearing back from you, and also to working with you on the production.      We have an excellent support team.                  

RAY THOMAS (Director)

JOE EGG Audition Form