After an amazingly high turnout of amazingly top talent, the directing teams and ourselves are extremely pleased to present to you the actors for our Spring 2012 season!
It was an incredibly hard job thanks to some great auditions and some really tough calls, but if you DIDN’T get cast this time round, worry not! We have plenty on the way with regards to reading and workshops and social events! We are about to open up the pitch process for the rest of the year, so if you are not only an actor but also an aspiring director, get thinking! More details coming soon!
There are lots more things that KDC is doing between now and the shows, please keep an eye on the website and the weekly Showdown newsletter, and follow us on Twitter and Facebook too!
And as a final note, we are looking for two more male actors for the Tamer Tamed production, to play Jacques and Pedro, the comedy support. If you would be interested in auditioning for these roles, please email email@example.com
Now begineth the new season, Shakespearean in it’s flavours!
With the auditions out of the way and the shows about to start rehearsals, it’s time for KDC to get back into it’s sociable ways.
Our Social Team, Tracie and Carrie, are up first, to invite ALL of you to our regular haunt, the Hoop and Grapes, 80 Farringdon Street on THURSDAY 2nd FEB, for our Thirsty Thursday spectacular!
Whether you auditioned for this season, didn’t audition, if you’re cast, or not cast, whether you’re an old member or new—we’d love to have as many KDC members there for a tipple on a wintry Feb evening. The more the merrier so come out and say hello!
Auditions for the above plays will be held from 23 to 25 January. You will have the opportunity to audition for all three plays on any of these nights. Recalls are by invitation only and will be held on Saturday 28 January. Please visit the Current Season section or see below to read the audition notices for each show.
This season runs from 27 March to 14 April. Please note that The Tamer Tamed has a performance on Good Friday and Easter Saturday and that the cast for War of the Waleses are will be required over Easter weekend.
It’s free to audition and you don’t have to prepare anything in advance. Come to Newcomers on Thursday 19 January to hear from the directors about their shows and the audition process in more detail.
Auditions for all shows:
7pm, Monday 23 January, Ocean House, 10 Little Trinity Lane, EC4V 2AR
7pm, Tuesday 24 January, St Brides, Fleet Street EC4Y 8EQ
7pm, Wednesday 25 January, St Brides, Fleet Street EC4Y 8EQ
Recalls (by invitation only):
10am-4pm, Saturday 28 January, St Brides, Fleet Street EC4Y 8EQ
Sex and corruption. Power and vulnerability. Faith and purity. Shakespeare’s play relocates to 1960, year of the infamous ‘Lady Chatterley’ obscenity trial.
A crackdown on immorality leads to a death sentence for unmarried father-to-be Claudio. His sister Isabella – a soon-to-be ordained novice – begs for his life, and a strong-in-public, weak-in-private leader makes a literally soul-destroying offer.
Locating the play to 1960 takes it to a year when sexuality, obscenity and legality were under scrutiny – what is acceptable? What is natural? What is right? What is moral? (And what can we get away with if no-one ever finds out…). The tone would show off a cold, slow, nightclub singer in a smoky spotlight jazz mood, men in sharp suits, women with curves shown off to their best (the ones that aren’t hiding them under nuns’ habits, of course), and a minimal and adaptable set.
Duke Vincentio: (M, any age) Ruler of Vienna, he absents himself, places Angelo in charge in his place (overlooking the rightful deputy Escalus), and disguises himself as a Friar to watch what happens. A Machiavellian character with ostensibly good intentions, but what are his true motives? Lord Angelo: (M, any age) Becomes ruler in Vincentio’s stead despite his protestations. Angelo literally has power thrust upon him, and we all know what power does… Isabella: (F, late teens/early 20s) We meet Isabella as she is about to join a convent, but she is dragged away to plead for her brother’s life after he is threatened with execution for sex outside marriage. Pure, innocent, strong, principled, vulnerable, desirable. Claudio: (M, Early to mid 20s) In prison for having sex with his (in all but name) wife. Desperate, wants to do the right thing but torn between his love for his sister and his fear for his life. Escalus: (F, 30s – flexible) An elder of the city, rightfully should have been offered Angelo’s role in Vincentio’s absence. Loyal to the Duke but cannot disobey Angelo – torn. Provost: (M/F, any age) Prison Governor and Justice. Liberal, but – like Escalus – responsible for carrying out Angelo’s orders. Lucio: (M, Early to mid 20s) A ‘fantastic’, cheeky, ducker and diver, friends in low places and enemies in high ones, but on the side of the angels. Mistress Overdone: (F, 30s and up) A 1960 Cynthia Payne, the aptly-named Mistress Overdone, much-married brothel-keeper worried about her ‘business’ going under. Elbow: (M, any age) A constable, malapropism-tastic and endearingly stupid, Elbow is the joint in the weak arm of the law. Mariana: (F, late 20s/30s) Broken and betrayed when we meet her, by the end of the play Mariana holds the key to Angelo’s downfall, and his happiness.
Plus Gentlemen, Nuns, Friars, Bawds for doubling or ensemble playing.
3rd to 7th April 2012 (performances on Good Friday and Easter Saturday)
Director: Matthew Partridge
The Tamer Tamed is the sequel to Shakespeare’s Taming of the Shrew – where the women get their revenge on the newly remarried Petruchio.
Written by John Fletcher, the Bard’s collaborator on Henry VIII, Two Noble Kinsman and (the lost) Cardenio, the play combines moments of high and low comedy with some powerful speeches in this timeless tale about the battle of the sexes and who really comes out on top.
The production will be set in London in the early 1920s, at the start of a revolution in gender relations. Although it was an era of servants and “imperious husbands”, it was also a time of the flappers and making a statement.
The fourteen strong cast is split evenly between men and women, with three out of the five largest roles (including the lead) going to women.
Maria – (Playing age 25-35). Petruchio’s new wife. Unafraid to use all the weapons at her disposal in order to tame him. Livia – (20-25). Maria’s sister. Conservative and down-to-earth, although independent enough to reject her father’s preferred suitor Gremio. Katherine – (25-35). Petruchio’s late wife. Appears at the start, middle and the end. Doubles as a servant. Bianca – (25-35). Katherine’s sister. Plays a key role in supporting Maria’s rebellion and in helping Livia outwit Gremio and Petronius. Country Wife + City Wives 1 & 2 – Any age. Participants in the women’s rebellion. Will also be required to double as Druggist, First Watch and Second Watch respectively.
Petruchio – (Playing age 30-40). Maria’s husband. His reputation as a “wife-tamer” belies the fact that he really wants a quiet life. Roland – 15-20. Livia’s young lover and Gremio’s rival. Impetuous, immature and emotional. Petronius – 40-60. Maria and Livia’s father. Curmudgeonly, authoritarian, and disgusted at his daughters’ behaviour and the men’s inability to control them. Tranio – 25-40. A former servant who is now a minor gentleman. Kind-hearted fellow who works with Bianca to unite Livia and Roland. Gremio – 30-45. A wealthy merchant friend of Petruchio who wishes to marry Livia, even though she finds him creepy. Jaques and Pedro – Any age. Petruchio’s servants. Fierecly loyal to their master. Jaques is the more senior.
10th to 14th April 2012 (cast required over Easter weekend)
Director: Sarah Heenan
Presented as part of the Royal Shakespeare Company’s Open Stages project.
By Sarah Heenan, Alan Maddrell and Andy Marchant
It is 1992, The Queen is about to deliver her now infamous Annus Horribilis speech, although it is not mentioned publicly at this point, the Queen must know that in two weeks’ time her Prime Minister, John Major, will announce the separation of the Prince and Princess of Wales.
This tale of political intrigue, a crisis of succession and the manipulation of the press ends in May 1997, with the election of a new Prime Minister and the old establishment toppled. The script has been created from interviews, news reports and Hansard, interspersed with some imagined scenes.
Please Note: No real-life character will be cast based on how they actually look or sound (e.g. you don’t have to be tall and blond to play Diana) the closest we will get in terms of characterisation is in adopting one or two physical gestures/vocal qualities.
Drawing upon Shakespearian performance values, we will break the fourth wall and talk to our audience directly, set and props will be limited and costume will be your own best clothes (with a few exceptions). We will use sound and projected images to reflect the media war, but the spoken word and connection with the audience with remain paramount.
Main Characters (Approx. 6F 6M depending on split of roles)
Queen (F) The archetype of calm, quiet and thoroughly British authority. A consummate professional and the head of The Firm. Diana (F) A compelling, yet curiously shy character, cheeky and flirtatious. Speaks slowly, haltingly and from the heart. (20s-30s) Charles (M) A thoughtful, beleaguered man, perpetually confused by the modern world. Sarah (F) To double with other roles Camilla (F) To double with other roles Royal aides/Bodyguard (M/F)
Major (M) This play’s ‘Old King’ character. Referred to throughout the script as ‘Honest John’. Blair (M) We see Blair on his 1995-1997 ascendant, Smith (M) Major’s adversary (to double with other roles) Brown (M)Scottish accent required (to double with other roles) Various Labour and Tory politicians (M/F)
Press– the press scenes reflect on the impact of royalty and government on the people Magnate (M/F) A Falstaffian character, understands the machinations of the press intimately. Pap (M)- to double with other roles. Conniving paparazzo. (Stage fighting experience preferred) Broadsheet (M/F)- to double with other roles Trueprint (M/F)- to double with other roles Editor/Voice of the BBC (F) A warm, calm, measured voice, think Charlotte Green or Moira Stuart, will read out news reports of the day/set the scene. May also perform the play’s prologue.
Due to the scope of the play, some doubling will be required, but all cast will have at least one core role and plenty to get their teeth stuck into in terms of characterisation and lines.
Acting for KDC is open to anyone, irrespective of age and experience. Some of our members have had a formal dramatic training while others may never have been on stage before. Most often our members have acted at school or university before coming to London, starting work and finding that they aren’t performing any more and want to do something about it. That’s where we can help.
There are 6 performances for each play from Tuesday to Saturday night plus a matinee on Saturday afternoon.
Auditions take place on the Monday, Tuesday and Wednesday evenings after the Newcomers meeting. Keep an eye on the Acting page for more details. Directors will normally outline the content of their auditions at the Newcomers meeting, but typically we do not require audition pieces. Auditions are free to attend.
Callbacks are held on the Saturday at the end of the audition week. The director will notify you if you are required for a callback, but if they loved you first time round that may not be necessary.
We have 3 rehearsal slots per week but obviously you may not be called for every night. These are held at various central locations in London.
On Mondays and Wednesdays we rehearse from 7:00pm to 9:30pm and on Sundays we rehearse either from 1:00pm to 5:00pm or from 5:00pm to 9:00pm.