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Opening Soon!

Frosted

A Traditional British Panto
Nov. 30 – Dec. 16, 2018

by Warren McWilliams
directed by Charles Hoag
produced by Nicola Hoag

& Caitlin O'Leary

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The British Players perform
at Kensington Town Hall
3710 Mitchell St
Kensington, MD 20895

Click HERE for directions

PURCHASE TICKETS HERE

Download a Ticket
Order Form Here

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Future Productions

Noises Off
by Michael Frayn
directed by
Robert Leembruggen
produced by John O'Leary
Mar. 8 – 30, 2019

Old Time Music Hall
Jun. 7 – 22, 2019

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AACT Logo

  Noises Off poster.

The British Players present
Noises Off
Comedy in Three Acts

directed by Robert Leembruggen
produced by John O'Leary

AUDITION DATES

Saturday, Dec. 1, 2018 | 12 noon–3:00pm
Monday, Dec. 3, 2018 | 6:30–9:30pm

CALLBACKS

Wednesday, Dec. 5, 2018 | 6:30–9:00pm

AUDITION/REHEARSAL LOCATION

Bannockburn Clubhouse, 6314 Bannockburn Drive, Bethesda, MD 20817

Begin January 5th, typically 3 times per week – Monday and Wednesday evenings, and Saturday afternoons.

PERFORMANCE DATES

Mar. 8 – 30, 2019
(14 shows - evening and matinee performances)

PERFORMANCE VENUE

Kensington Town Hall, 3710 Mitchell Street, Kensington, MD 20895

WHAT IS Noises Off?

The British Players are seeking a cast of 5 men and 4 women for this hilarious, award-winning farce about an English provincial theatre company’s production of …well, a hilarious farce. In this play within a play, the pace never slows as the beleaguered and jaded director tries to fashion a coherent production out of calamity upon calamity, with diminishing success. This Tony Award nominee challenges cast and crew alike with a complex set, split-second timing and verbal pyrotechnics. Not for the faint-hearted it is a theatrical experience like few others.

AUDITION REQUIREMENTS

  • Provide resumé, headshot, and schedule conflicts.
  • Please bring a one minute comedic monologue of your own choosing OR if you prefer you may select from the show sides provided.
  • The characters are British but casting is open to anyone who can demonstrate a convincing British accent.
  • There is considerable physical movement in the play and you will be asked to demonstrate your aptitude.
  • Auditions are open to adults of all ages.
  • No appointment is necessary. The auditions are OPEN.

All roles non-paying

CONTACT

John O'Leary (Producer): jofoleary@gmail.com

Robert Leembrugen (Director): rleembruggen@comcast.net

Download an audition form (PDF)

and check your "Downloads" folder.

CAST OF CHARACTERS

Dotty Otley/Mrs. Clackett: Female, 45+

British; theater actress, who has been playing old women for the majority of her career. Forgetful, often struggling to remember blocking, props, and lines. Cares deeply for her castmates, but can be spiteful when spurned. Currently engaged in an affair with her much younger castmate, Garry. In Nothing On, she plays Mrs. Clackett, the Brent’s Cockney housekeeper. Mrs. Clackett is earnest and hospitable, although a little slow in fulfilling her duties.

Brooke Ashton/Vicki: Female, 18+

British; young, idealistic; inexperienced. Very attractive, but not a great actress. Spacey. A bit ditzy. Forgetful, often losing things. Blind without her contacts. Currently sleeping with Lloyd Dallas, the director. In Nothing On, Brooke playsVicki, an Englishwoman, who secretly works for the tax authority, and is trying to woo Roger.

DIRECTOR’S NOTE: Brookes spends the majority of the show in her undergarments. You must be comfortable performing in a little more than a bra and underwear.

Belinda Blair/Flavia Brent: Female, 25+

British; a talented, veteran actress; charming, reliable, positive. Consistently trying to keep the production going. Knows all the gossip. Busybody. In Nothing On, Belinda plays Flavia, an Englishwoman, who secretly tries to use the play’s house with her husband. The character is dependable, though not crazy about household duties.

Poppy Norton-Taylor: Female, 20+

British; the assistant stage manager; earnest. Hard-working. Invested in the production. Overworked to the point of exhaustion. Can be emotional. Secretly having an affair with Lloyd Dallas, the director. Understudying Brooke and filling in wherever she needs to.

Lloyd Dallas: Male, 40+

British; the director of the play, Nothing On. Passionate. Sarcastic. Can be snooty, and doesn’t seem to care much for Nothing On. Has a temper that he works to keep in check during rehearsals. Suave, Smooth, Charming. He’s secretly sleeping with both Brooke and Poppy.

Garry Lejeune/Roger Tramplemain: Male, 25+

British. Professional and easily fired up. Tries to keep the show going. Acts as if he is the show’s lead. Prone to jealousy. Vague. Rarely finishes his sentences. Currently engaged in an affair with his much older castmate, Dotty. In Nothing On, he plays Roger Tramplemain, an English real estate agent who is attempting to rent the house to a Sheikh as well as use it as a place to secretly cavort with Vicki.

Frederick Fellowes/Philip Brent/Sheikh: Male, 35+

British, sweet, neurotic, bumbling. Sometimes oblivious. Always has a question about blocking, lines, props, and his character’s motivation. Disdains violence and faints at the sight of blood. Often gets nosebleeds. Often doubts himself. His wife left him during the rehearsal process. In Nothing On, he plays both Philip Brent and the Shiekh. Philip Brent is English and owns the house that the play takes place in, but is living in Spain to avoid taxes. The Sheikh is a wealthy man of Middle Eastern descent, who is interested in renting the house.

Selsdon Mowbray/Burglar: Male, 60+

British, an aging, veteran actor; forgetful. Often falls asleep. Alcoholic. Has a reputation for drinking on the job. Selectively hard-ofhearing. In Nothing On, he plays the Burglar, who is Cockney, and breaks into the Brent household.

Tim Allgood: Male, 25+

British; the production’s stage and company manager. Exhausted. Over-worked. Sleep-deprived. Understudies Selsdon and Frederick. Earnest. Frantic. Nervous.

Director’s Notes.

All roles are for actors of all ethnicities with strong physical comedy and language skills.

The actor playing the role of Brooke spends the majority of the show in her undergarments. You must be comfortable performing in a little more than a bra and underwear

Much of the comedy in this play comes from the physicality. Actors must feel comfortable performing stage combat aspects of ‘fisticuffs” as well as movement specific to running, jumping, climbing, fainting and falling.