Rules for Living by Sam Holcroft – 26th February to 3rd March

Read Through 

Wednesday 4 October 7.30pm for a 7.45pm start

Audition Dates

Wednesday 11 October 8pm – 10pm and Sunday 15 October 5.30pm – 7.30pm

We are hoping that it will be a shorter more intensive rehearsal period over the following period:

w/c 28 November
w/c 5 December
w/c 12 December
w/c 15 January
w/c 22 January BOOKS DOWN
w/c 29 January
w/c 5 February
w/c 12 February
w/c 19 February
w/c 26 February PERFORMANCES

3 rehearsals a week for 9 weeks = 27 rehearsals total

About the play:

Rules for Living is a hilarious Ayckbourn-style black comedy by the award winning Sam Holcroft. It was first performed at the National Theatre in 2015.
Edith gathers her family for a traditional Christmas lunch. She has planned everything with military precision. However the festivities reveal the tensions among her offspring. One son, Matthew, arrives with his girlfriend Carrie, a larger than life and slightly crude actress, but he is secretly in love with his sister-in-law, Sheena. Sheena, unable to contain her anger at her cynical underachieving husband, Adam, decides to hit the bottle. Their daughter, Emma, is suffering from severe anxiety and is even struggling to get out of bed and join them for Christmas dinner. Edith has neglected from telling the family that her husband Francis has suffered from a stroke so when he enters in a wheelchair unable to communicate the entire family is in shock. The tension builds, accusations (and food) fly, relationships fall apart and the rules take over. Each of the characters generate coping strategies (or rules) to help them get through the chaos. These rules are displayed for the audience to see; “Matthew must sit to tell a lie”, “Edith must clean to keep calm”. With true feelings exposed there really is no place to hide.


Edith – 60’s/70’s – married to Francis and mother to Adam and Matthew. She is a perfectionist and a stickler for the rules. Christmas day is run like a military operation.

Adam – 30’s/40’s – married to Sheena. Failed cricket star. Mediocre lawyer. Must be good (or at least be confident to attempt) lots of different accents!

Sheena – 30’s/40’s – married to Adam. A bit neurotic with an unhealthy attitude to alcohol. Wants Adam to go to couples therapy to get their relationship back on track.

Matthew – 20’s/30’s – boyfriend of Carrie. A successful lawyer. In love with his sister-in-law Sheena.

Carrie – 20’s/30’s – girlfriend of Matthew. A resting actress. Very needy. Desperately trying to tone down her larger than life, comic, personality to fit in with Matthews family.

Francis – 60’s/70’s – married to Edith and father to Adam and Matthew.  He is a respectable, retired Judge. This is a smaller part. He has just suffered from a post-operative stroke. As a result he is suffering from right-sided partial paralysis. He is only able to say simple words and phrases, not complete sentences, and struggles to make even those words understood. He still has lots of comic moments though!!

Emma – 14 – 17 yrs old – daughter of Adam and Sheena. This is a small part. She suffers from Chronic Fatigue Syndrome and severe anxiety and has spent most of Christmas day up in her bedroom. She has a great speech at the climax of the play.

The characters rules which build up as the play goes on:
Rule 1: Matthew must sit and eat to tell a lie…until he gets a compliment.
Rule 2: Carrie must stand and dance around to tell a joke…until she gets a laugh.
Rule 3: Sheena must drink and interrupt to contradict…until she has the last word.
Rule 4: Adam must affect and accent and name-call to mock…until he has deflected blame.
Rule 5: Edith must clean and self-medicate to keep clam…until she gets reassurance.

Please find the audition sections attached as follows:

Rules for Living – Audition Section 1 – Matthew and Carrie – pg 10 – 14. This is the very opening of the play. Matthew and Carrie have just arrived at Edith’s house.

Rules for Living – Audition Section 2 –  Sheena and Adam – pg 50 – 53. Adam and Sheena have been having some troubles with their relationship. Their daughter is suffering from severe anxiety and Sheena is frustrated with Adam due to his lack of ambition, which is causing her to drink more.

Rules for Living – Audition Section 3 – Edith, Francis, Carrie, Matthew, Sheena and Adam pg 64 – 69. This is the big reveal moment. Edith has been in denial about her husbands stroke and when she brings him in to see the family. Matthew, Carrie, Adam and Sheena are all shocked to see him in such a bad way. For the purpose of the audition please ignore the fact that the interval falls half way through this scene!

Rules for Living – Audition Section 4 – Emma pg 118. Emma is suffering from severe anxiety. She has been in bed all day. She comes downstairs to let her family know that she would like to climb the hill, which is a big deal since she has been struggling to find the energy to face getting out of bed. She enters the scene at the climax of the play when everything has descended into complete chaos; food is flying everywhere, hair is being pulled and generally the adults are seriously misbehaving! They all stop fighting when Emma enters.

With these audition sections please adhere to the rules when they are in play – these will be clearly indicated in the stage directions. The stage directions will tell you when to sit, stand, dance, drink, clean, self-medicate, affect an accent etc…the trick will be trying to make all these things look as natural as possible!


The Scary Secrets of Septimus Sloane – 3rd to 7th Jan & 10th to 13th Jan

By Peter van Manen

Directed by Siobhan James & Peter van Manen

Choreography by Kirsty Hudson & Monty Camisa-Bundy

Music by Philippa Lucas

Read through: Wed 30th August 2017 at 8pm

Audition dates:

Sunday 10th Sept at 2pm & Tues 12th Sept at 8pm


Tues & Thurs 8pm, Sun 2pm, starting October

About the melodrama:

Septimus Sloane is the founder of Sloane Pharmaceuticals and inventor of the youth serum “Dorian”.  He wants to marry his young assistant, Sally Forth, but his seven daughters are not happy about it.  Neither are Beryl, Olive and Old Rene, the ladies who look after the house and kitchen.  Meanwhile, Septimus’s archrival, Darius Du Bad, is intent on stealing the formula for “Dorian” and the heart of Septimus’s pretty daughter, Daisy.  Beryl’s handsome son, Melvin, is none too happy about this as he is in love with Daisy himself.

Dastardly deeds are aplenty in this ‘whodunnit’ musical melodrama full of secrets, live music, laughter and dancing. There are 26 juicy parts for adults and members of the youth theatre.


Septimus’s daughters (suitable for young ladies up to 30 years old)
Sabrina (*) – nasty
Samantha (*) – haughty
Sasha – naughty
Stephanie – spoiled
Susan – geeky
Sharon (*) – flirty
Daisy (*) – sweet (and secretly in love with Melvin)
Murgatroyd – Septimus’s butler / Cadbury – Darius’s butler (adult)
Dr Septimus Sloane (adult)
Melvin Close – lawyer (suitable for a young man up to 30 years old)
Dr Sally Forth – Septimus’s assistant & fiancé (adult)
Dr Darius Du Bad (*) – Septimus’s rival (adult)
Craven Coward – Darius’s sidekick (adult)
Bozo – a clown (youth or adult)
Coco – a clown (youth or adult)
Crusty – a clown (youth or adult)
Hughie – a hoodlum (youth or adult)
Llewy – a hoodlum (youth or adult)
Chewy – a hoodlum (youth or adult)
Willie Growmore – gardener (adult)
Beryl Close – cook & Melvin’s mother (adult)
Olive Hurlone – housekeeper (adult)
Old Rene – nanny (adult)
Joyce Bricks – Septimus’s Private Secretary (adult)
Inspector Little – a police inspector (adult)
PC Plenty – a police constable (adult)

Audition information:

We encourage anybody who can attend to join us at the read-through on the Wednesday evening after the August Bank holiday weekend. It should be a fun evening and will give you an insight into the plot and characters of this dastardly tale – plus perhaps a sing-song or two!

The auditions will be held on the stage and include reading through parts and some movement and singing. Anybody auditioning for parts marked (*) will be expected to sing a song at the auditions. Everybody is involved in chorus numbers at least some point during the production. Characters marked in bold are the principal heroes and villains.

In the interests of avoiding spoilers, full scripts will not be circulated before the read-through. However, a PDF of Act One and Act Two, Scene 2 (policemen’s entrance), will be made available upon request from

Splendour by Abi Morgan- 23rd October to 28th October

Directed by Kate Thurlow

Read through: Thursday 27th July 7:30pm


Thursday 10th August 7.30 pm

Sunday 13th August 2.00 pm


Against a background of a bloody revolution, four women are waiting at a presidential residence for a dictator to arrive for a photo shoot by a renowned international photo journalist. Everyone is affecting friendship and calm but as the story unravels we realise that they all have been victims and perpetrators of same sin. Will the dictator ever arrive? Will any one of them walk away alive?
This is a very unusual and challenging piece of theatre. On the page it is almost unfathomable but it is a wonderful opportunity for 4 strong female actors to breathe life into each character and thus tell a story truly worth retelling. Splendour is the most relevant piece of theatre for our time and I’m sure any actor working on it would remember it as one of their best works.


Beginning Week commencing 28th August.
Can rehearse any night of the week except Mondays


Micheleine​ – The wife of a dictator on the verge of being overthrown (late 40s -mid 50s)
Genevieve​ – Her oldest friend the wife of the dictators deceased best friend (late 40s – mid 50s)
Kathryn​ – A renowned war photo journalist (in her 40s)
Gilma​​ – Local interpreter working for an agency assigned to Kathryn (20 something)

Audition pieces:

We will start by reading through the play and then all are welcome to perform any of the excerpts below individually.

Micheleine​: Page 67- “I have never noticed…”
Genevive​: Page 72- “I arrive at this house to the end then “my youngest wants to speak … “
Kathryn​: Page 78- “I’m sitting in the lobby of my hotel…”
Gilma​: Page 43- “The woman in green…” followed by page 44 “I visit my family…”

Please try and learn these pieces by heart so that you can give your performance all that it needs.
Scripts available from Louise Delaney / 07807471962 but these must be made available for the read-thru.

Youth theatre double bill – 5th to 9th September 2017

Directors: Jane and Nick Foster (

Production Manager: Liz Bignell (

Read-through:  Sunday 7th May at 2.30 pm – in the Rehearsal Room

Audition dates:

Thursday 18th May 7.30 pm – at Coulsdon Methodist Church, Brighton Road, Coulsdon
Sunday 21st May 2.30 pm – in the Rehearsal Room

About the plays:

‘Mugged’ by Andrew Payne

Every morning, a group of teenagers meet up on their way to school and hang out on the benches in the park. And every morning they are faced with the same dilemma: take the short cut across the park and risk running into the muggers, or go the long way round and risk being late…

‘Taking Breath’ by Sarah Daniels

Elliot, a would-be eco-warrior, has fallen from a tree and now lies in a coma in hospital.  But when he fell, he somehow slipped into the past, meeting Lucy, a troubled servant girl and suffragette from 1913.  Meanwhile, Alana, excluded from school for selling ‘E’, passionately follows Elliot’s news coverage on TV.  As the play unfolds, it becomes clear that Lucy was Alana’s great-grandmother, with an interesting story of her own to tell.  Can Alana use this connection to help Elliot’s recovery, and in doing so, find peace for herself?


We are looking for a large-ish cast of the older Youth Theatre members, to play characters ranging in age from 14 to adult.  There will also be plenty of opportunity to get involved backstage.

‘Mugged’: The main characters are 4 boys and 2 girls from the same school, aged 15-16, although some should appear older.  In addition, we need an ensemble of at least 7 other actors to play a number of other roles, including newsreaders, a TV reporter, passers-by, a police officer and a vicar.

‘Taking Breath’: There are 6 female characters and 4 male characters, aged between 14 and 20, plus a man’s voice offstage.

We would expect to double some of the smaller parts, and some actors could be involved in both plays.

Audition notes

If you are interested in a particular character, then please say.  However, rather than audition for just one part, we would prefer you to come with an open mind and consider all possibilities.

We will not be using specific audition pieces for each character, but instead will work through a number of scenes from each play, to see how different actors work together.  At the read-through, we will let you know which scenes will be used, and copies of both plays will be available.  If you can’t make the read-through but would like to audition, please contact Jane and Nick for a script.  Also, if you want to audition but can’t make either of the audition dates, please let us know and we can arrange another time to see you.

We will be rehearsing during the following periods: 4th to 22nd June; 5th to 20th July; and 30th July to 4th September.  We understand that most people will be away at some point over the summer, and will do our best to fit rehearsals around holidays etc.  However, it is essential that you let us know your availability in advance


A Streetcar Named Desire – 17th – 22nd JULY

Director: Julie Cumbo

Read through: Tuesday 7th March 7:30


Sunday 19th March at 2pm

Tuesday 21st March at 7.30


Begin May 3rd and will be mostly Mondays, Wednesdays and Thursdays and with some Sundays towards the end of the schedule


Winner of the Pulitzer Prize, Tennessee Williams’s 1947 play “A Streetcar Named Desire” is the tale of a catastrophic confrontation between fantasy and reality, between romance and physical passion, and between the old plantation world of the deep south and the industrialised modern age.  These opposites are embodied in the characters of Blanche DuBois and Stanley Kowalski.
The play takes place in New Orleans immediately after the Second World War in the Kowalskis’ apartment in a poor but vibrant, multicultural neighbourhood: the sound of jazz is never far away and the heat is oppressive. Fading southern belle, Blanche DuBois, arrives to stay with her sister Stella in a crowded, boisterous corner of the city, where her delusions of grandeur bring her into conflict with Stella’s crude, blue collar, brutish husband Stanley Kowalski. Blanche takes long baths, criticises the squalor of the apartment, and irritates Stanley. His friends come to the apartment to play poker and Blanche meets Mitch, prompting an immediate mutual attraction.  Eventually Blanche and Stanley’s violent collision course causes Blanche’s fragile sense of identity to crumble, threatening to destroy her sanity and her one chance of happiness.
Tennessee Williams’s steamy and shocking landmark drama, recreated in 1951 as the classic film starring Marlon Brando, is one of the most influential plays of the twentieth century, acknowledged as one of the greatest ever American plays.

Accents – American accents are needed but they need not be strong southern drawls: the New Orleans accent is not very different from a New York one.  Blanche’s southern belle accent is genteel, but Stella’s is less noticeable because of her years living in New Orleans.  Pablo and the Mexican woman should have Spanish accents.

The Characters

Blanche Dubois – A sensitive, complicated, contradictory and delicate woman, aged over thirty, something of a drinker and a fading beauty.  She is intelligent and educated, with an inclination to speak in rather fanciful, lofty, figurative language.  Her background was at one time wealthy but as the south declined (before oil was discovered!), so did her family’s wealth, and that of families like hers. She puts on airs, as if she has never known indignity but this is far from the truth.   As the play progresses, her instability grows and her grasp on reality slackens.
Audition pieces: 1) Page 16, Blanche’s monologue.  2) Top Page 63 to mid-65, with Mitch.
Stella Kowalski – Blanche’s younger sister, in her late twenties, married to Stanley and living in the lively, run-down French Quarter of New Orleans.  She has turned her back on her genteel upbringing and has clearly found physical fulfilment in her marriage to Stanley.   She is of a mild disposition and is different from her working class husband and neighbours.
Audition pieces: 1) Page 20-22, with Stanley.  2) Mid-page 44 – top 46, with Blanche.
Stanley Kowalski – A working class, macho man whose hobbies and values are those of a blue collar American man of the time: he drinks, plays poker, goes ten-pin bowling and expects to be the provider at home, in a patriarchal age.  He is in his thirties, has Polish ancestry and is married to Stella, their relationship being obviously based on an active sex life.  He is a physical and brutal man: he hits Stella during the play and rapes Blanche, showing no remorse.
Audition pieces:- 1) Page 20-22, with Stella.  2) Bottom page 70 to bottom 71, with Stella.
Harold Mitchell (Mitch) – Stanley’s friend, probably in his thirties, unmarried.   Though he is clumsy, sweaty, and with unrefined interests like muscle building, he is more sensitive and gentlemanly than Stanley and his other friends, perhaps because he lives with his mother, who is slowly dying: he looks after her with great devotion.  He is overawed by Blanche and grateful that she has taken an interest in him.
Audition pieces: 1) Top Page 63 to mid-65, with Blanche.  2) Page 84, with Blanche.
Eunice Hubell – 30s/40s.  With her husband, Steve, she lives in the apartment above Stanley and Stella and is their landlady. Eunice accepts her husband’s affections despite his physical abuse of her, something that Stella is learning, and so she represents the working class, carnal life that Stella has chosen.
Audition piece: Page 8 to mid- page 9, with Blanche.
Steve Hubell – 30s/40s.  With his wife, Eunice, he lives in the apartment above Stanley and Stella.  He is one of Stanley’s poker buddies, a brutish, hot-blooded man who is abusive to his wife.
Pablo – 30s/40s.  Another of Stanley’s poker buddies, Pablo is Hispanic, as is his accent, and so emphasises the cultural diversity of the neighbourhood.
Audition piece: Mitch, Stanley, Pablo and Steve – Page 31 – 32
A Young Collector  –  A teenager who comes to the Kowalskis’ door to collect for the newspaper when Blanche is home alone. He embodies Blanche’s obsession with youth and presumably reminds her of her teenage love, the young poet Allan Grey, who committed suicide.
Audition piece: Page 59-60, with Blanche.
A Doctor – any age. He arrives at the end of the play to take Blanche off to an asylum. He and the nurse initially seem to be heartless institutional caretakers, but, in the end, the doctor appears more kindly.
A Nurse –  any age.  She accompanies the doctor to collect Blanche and take her to an institution. She has a severe manner.
Audition piece: The doctor and the nurse – “strange man” and “strange woman”  – page 101 – 102
There are also several small female parts to be filled and these might well combine with other small parts eg the Nurse.  There are a prostitute, a black woman and a Mexican woman.

A Doll’s House – 29th MAY – 3rd JUNE

Director: Chris Hearn

Read through: Tuesday 21st February 8pm


Sunday 5th March 3pm

Wednesday 8th March 8pm


To be announced


Nora Helmer once borrowed a large sum of money so that her husband, Torvald, could go to Italy and recuperate from a serious illness. She never told him of this loan and has been secretly paying it back from her household allowance. Torvald has recently been appointed manager of the local bank and his first act is to fire a man who was once disgraced for forging a signature on a document. This man, Nils Krogstad, is the person from whom Nora borrowed the money. It is then revealed that Nora forged her father’s signature in order to get the money. Krogstad threatens to expose Nora’s crime and disgrace her and Torvald unless she persuades her husband not to fire him. Christine Linde, a former friend of Nora’s appears and confesses that she married for financial gain, without love and that Nora’s only hope for happiness is to be truthful and tell her husband of her deception. Torvald thinks Nora is a foolish child who cannot understand the value of money or business. So when Torvald eventually discovers that Nora forged her father’s signature, he is ready to disclaim his wife even though she did it for him. At the conclusion of the play Nora sees that Torvald is not worthy of her love and leaves him.


Nora Helmer, 30s. At first quite timid and fanciful but later shows her inner strength. Pages 106-109

Torvald Helmer, 30s. Treats his wife as a little doll. Would do anything to preserve his good reputation. Pages 98 ‘Oh don’t be so pathetic’ to 101.

Kristine, 40s. Friend of Nora. She tries to guide her into being true to herself. Pages 16 ‘Kristine, is it really true…’ to 17.

Krogstad, 40s. Nora’s creditor and blackmailer who later lets her off the hook. Pages 36 ‘Mrs Helmer. Have you any idea…’ to 38 halfway down.

Dr Rank, 60s. Friend of Torvald and Nora. The voice of authority. Pages 60 ‘I’m glad’ to 61.

Helene, 20s. The maid. Page 22, the short speech.

Anna, 60s. The nanny. Pages 47 – 49.


Copies of the play will be handed out at the read through

Satchwell Road Can Take It! – Youth Theatre – Audition

THE London Blitz comes to Chipstead!

Peter Nixon’s sequel to his 2016 show ‘Say Goodbye to Satchwell Road’ opens in Spring 1941.   Our wartime EastEnders emerge once again to see what is left after another night of assault from Hitler’s Luftwaffe.  The challenges of living under the constant threat of annihilation take their toll – but they are determined to carry on.  As the adults embrace new roles, the children also take part – foraging for what they can find that will help the war effort and as curious as children always are.
This is an ensemble production with roles for young people from Year 5 to Year 13 to play children and adults.  Although not a musical, there is a lot of singing as they go about their daily lives with some opportunities for solos, some dancing and explosions.


Saturday 5th November from 2.00pm in the Rehearsal Room. You will get to meet some of the team and see what the story is all about.


Wednesday 16th November from 7.30 pm

Saturday 19th November from 2.00 pm

Performance dates:

Tuesday 18th – Saturday 22nd April 2017


N.B. Approximate age given. Lines in brackets. The ages are to indicate whether they’re children or adults and their approximate seniority.

Edward R Murrow (69)
CBS radio journalist, 28 years
American accent required
Doubles with Injured Gent and Patient

Janet Murrow (20)
Charity organiser, 28 years
American accent
Doubles with Winnie  & Jennifer

Violet Lee (34)
30 years.  A mother with three children
Solo singing

Daisy Lee (26)
Aged 11
Solo singing

Ray and Roy Lee (5) one doubles as Bobby
Twin boys aged 6

Dolly Cooper (29)
Aged 22
Pregnant with an optimistic point of view
Solo singing

Doris Robinson (26)
Aged 62
Pensioner – has lived through the last war
Solo singing

Billy Robinson (42)
Aged 65
Doris’s husband

Albert Tuffin (42)
Auxiliary fireman, aged 35

Queenie Tuffin (27)
WVS volunteer, aged 33
Solo singing x 4

Kay Tuffin (25)
Aged 11
Solo singing

Archie Tuffin (32)
Aged 9
Solo singing

Terry Salt (3)
Aged 30
Doubles as Harry

Winnie Salt (12)
Aged 25
(see Janet and Jennifer)

Vera Haynes (72)
Chief Warden, aged 35

Jack Haynes (45)
Auxiliary fireman, aged 37
Solo singing

Rita Spedding (92)
Shelter Marshal, aged 32
Solo singing

Brian (104) &  Barry Spedding (97)
Aged 13
Solo singing

Doreen Gridley (90)
Aged 13

Donald Fowler (54)

Monica Fowler (50)
Aged 11 & 12

Harry Jones (16)
Heavy Rescue Squad, aged 35

Ted Parkinson (13)
Heavy Rescue Squad, aged 35

Major Bell (61)
Home Guard commander, aged 50
Doubles as a patient

Jennifer Barton (67)
Red Cross Nurse, aged 25
(see Janet and Winnie)

Two Home Guards (10 & 2)
(doubled as Ted & Harry)

Bobby (6)
Aged 5
Doubles as Ray / Roy

‘Gentleman’ ejected from shelter (also as Terry and Harry)
Two customers (also as Janet and Ted)
Patients in first Aid Post (also as Major Bell, Edward Murrow and Roy / Ray)
Injured man in Firestorm (also as Edward Murrow)

Apply to Director, Debra Elsdon for audition pieces:

Twelfth Night – Audition


Twelfth Night, also known as What You Will, is a comedy, which is based upon mistaken identity.


In Illyria, Orsino is sick with love with Olivia, who is in mourning for her recently deceased father and brother. To honour their memory, she has sworn to live like a nun for seven years and refuses to receive any messages from Orsino!

On the coast of Illyria, Viola and a ship’s captain are washed ashore following a shipwreck – in which Viola believes her twin brother, Sebastian, has died. For protection, she disguises herself as a young man (called Cesario) and gains employment in Orsino’s household, where (s)he quickly becomes the chosen one!
In Olivia’s household, her peace is constantly disturbed by her drunken uncle, Sir Toby Belch and his friend, Sir Andrew Aguecheek, whom Toby has invited to stay in the hope that he can win Olivia’s hand in marriage – and her fortune.


Despite falling in love with Orsino herself, the disguised Viola agrees to Orsino’s request that she visits Olivia to plead on his behalf. On arrival, Cesario meets Olivia’s clown, Feste. Once Cesario is admitted to Olivia’s presence, ‘his’ persuasions on behalf of Orsino lead Olivia to fall in love with ‘him’ at first sight. Olivia sends Malvolio after Cesario to give her a ring, pretending Cesario left it behind. On receiving the ring, Cesario realises that Olivia loves her (in her disguise as a man) but decides the situation is too complex for her to untie.
Unknown to Viola, her brother, Sebastian, also survived the shipwreck in the company of Antonio, a sailor, and has also headed for Orsino’s court, believing his sister to be dead. Antonio, for love, agrees to accompany him, even though he is a wanted man in Illyria.

At Olivia’s court, Toby, Andrew and Feste are partying late into the night, along with Olivia’s maid, Maria, and resent being told by Malvolio to be quiet.  In retaliation, they plot to make a fool of him, convincing Olivia that he is mad as a box of frogs, and leading to his being locked away like a madman.
When Viola again visits Olivia on Orsino’s behalf, Olivia declares her love for Cesario, making Aguecheek jealous. To win Olivia, he challenges Cesario to a duel, but both men are cowards and try to avoid the fight.


As they begin to duel Antonio arrives and, believing Cesario to be Sebastian, stops the fight but is recognised and arrested. Viola denies knowing Antonio, who is dragged away crying out the Sebastian has betrayed him. On hearing her brother’s name, Viola has new hope that he may be alive. Both Feste and Aguecheek mistake Sebastian for Cesario and Feste announces that Olivia desires to see him. A jealous Aguecheek strikes Sebastian, who retaliates. Sir Toby then duels with him until Olivia interrupts it.
Spoiler – stop here if you don’t want to know how it ends
Olivia immediately begs Sebastian to marry her and, much to her surprise, he agrees and they head off to church. As Olivia returns home, Orsino arrives with Cesario, begging to be admitted to her presence. Antonio arrives with the officers, describing how he saved Sebastian from drowning.
Olivia appears, calling Cesario her husband, shocking Viola and enraging Orsino. The priest confirms that he has married Cesario and Olivia, while Aguecheek and Sir Toby both accuse Cesario of injuring them, which Viola denies.
Sebastian then appears and he and Viola are delighted to discover that their twin is alive. Sebastian and Olivia are happy to be married, and Orsino immediately proposes marriage to Viola, who accepts.
The trick played on Malvolio is revealed and he is released from his prison, swearing revenge on them all. In gratitude to Maria for her help in fooling Malvolio, Sir Toby has married her and Aguecheek leaves for home poorer but no wiser.

Parts available- with a Downton Abbey suggestion!

• Viola – Sebastian’s twin sister, a shipwrecked young lady, the heroine of the play, later disguised as a young man named Cesario- Lady Sybil with a hint of Anna. Female 16 years – 21 years old
• Sebastian – Viola’s twin brother, supposedly drowned in the shipwreck, but actually alive and visiting Illyria-  Matthew Crawley- Male- same age as Viola
• Duke Orsino – Duke of Illyria- Charles Blake / Henry Talbot- Male 17 years- 28 years
• Olivia – a wealthy countess- Lady Mary Crawford – Female: 17 years – 28 years
• Malvolio – the butler in the household of Olivia- Carson- Male 40+
• Maria – Olivia’s maid – Mrs Patmore or Daisy- Female: 17years-40+
• Sir Toby Belch – Olivia’s uncle- a drunk, and a joker- Earl of Grantham – Male: 40+
• Sir Andrew Aguecheek – a rich man who Sir Toby brings to be Olivia’s husband-  think Hugh Laurie in Blackadder …posh and naïve….terribly Etonian Male: 17 years – plus
• Feste – the chauffeur or gardener or travelling actor…… of Olivia’s household- Daisy or Branson: Male or Female any age
• Fabian – a servant – William Mason meets Alfred meets Daisy- Male or Female any age
• Antonio – a sailor and friend to Sebastian- Mr Bates- Male: 40+
• Valentine and Curio – servants attending on the Duke Male or Female any age
Captain of the Wrecked Ship – friend to Viola- American accent- any age- Male: 40+
A Priest- any accent- any age- Male: any age

Dancers in the Household- rather like the maids in Annie
Singers in the Household- rather like a Barber Shop
Servants and Ensemble in 1912- about 10 ensemble company members to add to the Household.

When and where are auditions?

Auditions are next week on either:
Sunday 17 July at 7.30pm-9.45pm
Monday 18 July at 7.30pm – 9.45pm
There will be copies of the play there.

Who can audition for Twelfth Night?

Anyone from the Juniors Aged 14 years and upwards- who will be in Year 9 or above in school from September 2016 may audition.
Anyone may audition- as there are both large, demanding roles for men and women, singers, dancers and musicians. There are also plenty of non-speaking roles for those members who like to take part, but in a vital but small ensemble role.
There is plenty of room for all shapes, sizes genders and skills.

When are rehearsals and the production?

Rehearsals will start on Monday September 19th with text work and a meet and greet evening- with a singing rehearsal of all he songs.
Principals will rehearse twice a week- on a day to work around other Chipstead shows. This will be Monday and Wednesday evenings at 7.45pm.
There will be some Sunday rehearsals starting in October from 10-1pm for Principals and some ensemble roles. Eventually the schedule will crank up for everyone at the start of November – to include the whole cast.

Your availability will be paramount when casting decisions are being made.

Is Shakespeare right for me?

YES! It will be like Panto but with those words……we will set the play in 1912 at Christmas.
Twelfth Night is the most joyous and silly of comedies. There are great roles for men and women- plus I really want dancing maids and servants, and singing gardeners and chauffeurs. So just like Panto – there is something to suit all abilities and experiences. Please come and have a go regardless of your experience with Shakespeare………I promise to make the whole thing fun, joyful, educational and slick.
I need a group of confident performers who like a challenge and are willing to create a very funny comedy with songs, dances and music.

When is the show set and what will rehearsals be like?

The production will open on January 6th- which is weirdly Twelfth Night. The show will run until Saturday 14 January.
Rehearsals will involve a lot of work on text, plus a lot of improvisation and playful fun. I will want to block the play very quickly, then allow actors to create, invent and develop the world of the play. We must create Downton Abbey on stage- so huge scope for comedy capers and naughtiness.

What do I need to do before and during the audition?

Decide if you can commit the time. I work hard and speedily.
Decide if you would like to perform, sing, dance- do all three!
Decide of you would like to audition for a principal role or be part of the ensemble
Read the synopsis of the play.
If you are auditioning for a Principal Role- please familiarize yourself with the play. Perhaps watch a film version of it online? Perhaps listen to a version on YouTube?

During the audition you will need to have an open mind and just have a go at what is flung at you. Please wear loose, comfortable clothing and shoes you can easily move in.

Audition Pieces- what to prepare

We are looking for:
– your ability to respond to Shakespeare’s language on stage
– your ability to interpret a larger than life character
– your ability to interact with others when reading
– your ability to take direction- in comedy
– your versatility and your casting
– your willingness to sing alone and with others- basic or advanced?
– your movement ability- basic or advanced?

All auditionees should:

prepare a short Shakespeare speech- no more than 14 lines long. Please try to learn this by heart. You may have the script with you for a prompt. Please know what the character’s name is, the context of the speech and what the speech means.
(No Fear Shakespeare does this for you-
The speech can be from any play at all- a Sonnet, a Comedy, a History or a Tragedy.
Prepare ONE verse and ONE chorus only from a song of your choice. It can be any genre- pop, ballad, musical, sea shanty- with no sheet music or accompaniment. This is simply to see whether you are  confident soloist or tine deaf!

If you wish to audition for a Principal Role- you should be familiar with the following scenes and be prepared to read with other actors.


Viola and Olivia – Twelfth Night Act 1 Scene 5 – from Viola’s line: ’The honorable lady of the house- which is she?’ to  Viola’s Exit
Viola and Orsino- Twelfth Night Act 1 Scene 4 from Orsino’s Line: ’Who saw Cesario, ho?’ to Viola’s Exit
Fabian:  Act 1 Scene 5
Maria: Act 1 Scene 5- the duologue with Feste
Feste: can audition with the Fabian extracts Act 1 Scene 5, plus Act 4 Scene 2 with Malvolio
Feste- must be a confident solo singer


Sebastian: Act 4 Scene 3 speech: ‘This is the air…’
Sir Toby Belch & Sir Andrew & Fabian: Twelfth Night Act 1 Scene 3- the whole scene
Feste: can audition with the Fabian extracts plus Act 4 Scene 2 with Malvolio: must be a confident solo singer
Malvolio: Act 1 Scene 5 – look at the MOAI speech and Act 4 Scene 2 with Feste
Antonio: Act 5 Scene 1-‘Orsino, noble Sir.’

You may be asked to do a small movement audition: again just to check if you have seven left feet or you are West End tap dancer.

Who do I contact with any questions about the production?
Director- Sarah Branston is available on
Do email her with any queries.

We look forward to meeting you


Director: Maggie May


Thursday 25th August 2016 at 8pm

Tuesday 30th August 2016 at 8pm


To be announced


It is Moscow in 1938. A dangerous place to have a sense of humour, even more so a sense of freedom. Mikhail Bulgakov, living among dissidents, stalked by secret police, has both. And then he’s offered a poisoned chalice: a commission to write a play about Stalin to celebrate his 60th birthday. It would be a means to get his recently finished play performed rather than censored and put on the scrapheap. The premise is based on fact but Hodge drifts off into fantasy as he imagines Stalin secretly meeting with the playwright to help out. He even has the pair switch roles – Stalin writes his own play while Bulgakov signs off the leader’s political diktats, including instigating his infamous purges.
Presented at the National theatre in 2011 with Alex Jennings and Simon Russell Beale, the play received 4 star reviews from the Telegraph “This is a truly tremendous double act which thrills chills and makes you laugh out loud – even though you know you shouldn’t.


This might appear to be a rather serious and heavy play – an author, who has his brilliant work suppressed by the Stalinist regime. Creativity itself, throttled if it so much hinted of dissidence. John Hodge has, however, produced a brilliant black comedy and every line should be delivered with a whiff of tongue-in-cheek or surreality. We need a slightly wicked sense of humour on delivery. A serious subject…yes…but the audience should leave light-hearted, almost finding Stalin rather endearing!


Stalin /Bulgakov Page 36 – 38, Page 50 – 53, Page 60 – 62 and Page 94 – 97

Yelena / Bulgakov Page 4-5

Yelena/Doctor/Bulgakov/Vasilly / Grigory/Anna Page 8 – 13, Page 23 – 25

Doctor/Bulgakov Page 26 – 28

Vladimir / Bulgakov Pae 17 – 21, Page 31 – 33

Grigory Page 24 25, page 54-57, Page 69 – 70

Vasilly / Praskovya Page 5 – 7

Vasilly Page 48-49

Several small parts also to be filled!

Fill in the following form for information on scripts:

Hospital Food by Eugene O’Hare and A Handbag by Anthony Horowitz – 6-10th September

Director: Sandie Kirk


Sunday 5th June 2016 at 2:30


Sunday 12th June 2016 at 2:30

Wednesday 15th June 2106 at 7:30


To be announced


This year’s September production for the older members of the Youth Theatre will be 2 one act plays, directed by Sandie Kirk.  HOSPITAL FOOD is set in a teenage cancer ward and is a moving and witty study of young people facing the unimaginable.  A HANDBAG sees a group of teenagers in a Young Offenders’ Institution, attempting to stage a production of The Importance of Being Earnest.  Both plays feature mixed casts and will challenge our young actors to produce some serious drama.

Audition pieces will be available to take away at the read through.  If you are unable to attend either the read through or one of the auditions, but would like to be considered, please contact Sandie on 07774 801 766 or email her using the contact form below for further info and the relevant script sides.  Girls may want to consider practising a Glaswegian accent and boys practising a stammer.  This is not a necessity, but is relevant to a couple of key roles.

The September production is aimed at the 14-18 year olds in the Youth Theatre.  Availability for rehearsals over the summer will be crucial, so you will be expected to come to the audition with a list of any holiday dates plus any other dates you are not available between 20th June and 11th September.  No casting decisions will be made without this information.