Auditions

Canberra REP produces six shows each calendar year for which we hold open auditions.

If you have any questions please email auditions[@]canberrarep.org.au or call (02) 6257 1950 or (02) 6247 4222.

dates subject to change*

 


 

Upcoming auditions for REP productions:

Home, I'm Darling! — 4 + 5 February — CLICK FOR DETAILS

Amadeus — 29 + 30 April — CLICK FOR DETAILS

 


 

 

Home, I’m Darling by Laura Wade

Directed by Alexandra Pelvin

Performance Dates

Preview: 15 June 2023
Season: 16 June – 1 July 2023

Auditions

Auditions: Saturday 4 & Sunday 5 February from 10am.

Call-backs: Sunday 5 February in the afternoon, if necessary.

Location: Canberra REP Theatre, 3 Repertory Lane, Acton.

Requirements: Please prepare the relevant scene for the character you’re interested in (listed below). You don’t need to memorise the scene, but you should be familiar with it and your character. It’s important that you have read and considered the play before auditioning. You may also be asked to cold read selected scenes on the day.

Scripts: Available from the venue during business hours — Wednesday to Friday, 10am to 4pm (closed public holidays). Physical scripts are available for deposit of $5 cash which is refundable on return of the script, either at audition or within two weeks after the audition dates. Please let us know if you are unable to get in during those hours and we will look at alternate collection options.

Bookings: Send an email with your name, contact details and the role/s you are interested in to auditions[@]canberrarep.org.au or call 6257 1950 or 6247 4222.

Summary

Judy and Johnny live an idyllic life of 1950s bliss in a garden city outside London. Judy, in search of something simpler, opts to leave a high-achieving career in finance to embrace the picture-perfect life of a 1950s housewife. She and her husband Johnny go all-in, renovating their house (complete with authentic, and not particularly reliable, 50s-era appliances), dressing the part and embracing the gender roles of the time. Their friends, Fran and Marcus, witness to their new-found domestic bliss, are tempted to do the same. Johnny’s new boss, Alex, is bemused by the arrangement following an evening of entertaining (replete with gimlets, devilled eggs and crudités) designed to secure Johnny a much-needed promotion. Meanwhile, Judy’s mother Sylvia, a staunch feminist, is horrified. The cracks soon begin to show, however, as the modern era encroaches and Judy and Johnny begin to suspect their life of harmony is built on shaky ground.

Characters

Judy: once the bread-winner, Judy is fulfilling a long-held dream to live an ‘authentically’ 1950s life as a housewife. The actor playing Judy must be able to dance (or learn) jive. (Playing age: 38)

Johnny: Judy’s husband. He works as a real estate agent and is up for a promotion. (Playing age: 35-45).

Sylvia: Judy’s mother. A staunch feminist and activist. She and Judy’s father divorced when Judy was young. (Playing age: 60-70).

Alex: Johnny’s new boss. She’s clever, no-nonsense, and ambitious. She and Johnny get on well. (Playing age: early 30s)

Fran: Judy’s friend. Works as a stylist and is impressed by how happy Judy and Johnny are in their lifestyle, but isn’t sure it’s for her. (Playing age: 35-40)

Marcus: Fran’s husband. A partner in an agency. He’s keen for Fran to leave work and adopt the same lifestyle as Judy. The actor playing Marcus must be able to dance (or learn) jive. (Playing age: 40-50).

Audition scenes

Judy: Act 1 Scene 1, pp.4–5, “You’re cheerful” to end of scene.

Johnny: Act 1 Scene 3, pp.24–26, “So then the conversation gets on to baking…” to “This is really delicious.”

Sylvia: Act 2 Scene 2, pp.20–22, “I’ve made no secret of the fact…” to end of scene.

Alex: Act 2 Scene 4, pp.87–89 “Mike had, before he left…” to “I’ll bear it in mind, OK?”

Fran: Act 1 Scene 2, pp.7–9, “It looked exactly like him.” to “No. I just don’t think I’ve got a domestic goddess in me.”

Marcus: Act 2 Scene 5, pp.93–95 “Tell me something…” to “Just working out the boundaries.”

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Amadeus by Peter Shaffer

Directed by Cate Clelland

Performance Dates

Preview: 27 July 2023
Season: 28 July – 12 August 2023

Auditions

Auditions: Saturday 29 & Sunday 30 April from 10am each day. To be held in one hour blocks, beginning with individual 5min timeslots then 30mins group work.

Call-backs: TBC

Location: Canberra REP Theatre, 3 Repertory Lane, Acton.

Requirements: TBC

Scripts: Available from the venue during business hours — Wednesday to Friday, 10am to 4pm (closed public holidays). Physical scripts are available for deposit of $5 cash which is refundable on return of the script, either at audition or within two weeks after the audition dates. Please let us know if you are unable to get in during those hours and we will look at alternate collection options.

Bookings: Send an email with your name, contact details and the role/s you are interested in to auditions[@]canberrarep.org.au or call 6257 1950 or 6247 4222.

Summary

Antonio Salieri is the much-admired established composer in the court of the Austrian Emperor Joseph II. Salieri has made a bargain with God: total devotion in return for realising his sole ambition to be a great composer. Enter the greatest musical genius of all time: Wolfgang Amadeus Mozart. In Mozart, a foul-mouthed, graceless fool, Salieri recognises the quality which is beyond his own envious grasp: genius. Reimagining the connection between these two composers; brought to life with the music of Mozart, is a tale of jealousy and betrayal... and perhaps even murder.

Characters

Antonio Salieri: Based on the real Antonio Salieri (1750-1825), an Italian composer whose operas are now rarely performed, but who was important in music history. Shaffer’s fictional Salieri is the play’s main character and narrator who speaks directly to the audience confessing that he was responsible for Mozart’s death. Salieri is in his 60s at the beginning of the play, but re-enacts the story of his relationship with Mozart 30 years earlier. Salieri is dignified and charming, at home in the emperor’s court. At the same time, he is cunning, vengeful and jealous and shows no remorse for his treatment of Mozart.

Wolfgang Amadeus Mozart: One of the most famous composers of all time. The historical Wolfgang Amadeus Mozart (1756-1791) was an extremely productive composer whose music has remained popular to this day. In the play, as he was in real life, Mozart is a genius composer and musician who doesn’t cope well with life. He is a crude, vulgar, and tactless young egotist. Very aware of his talent and absolutely without modesty. Innocent and naïve, he is foolish and infantile and irritates everyone with his arrogance. Rude and disrespectful to the wrong people, even those who are actually on his side.

<Constanze Weber/Mozart: Constanze is the daughter of Mozart’s landlady in Vienna and, later, Mozart’s wife. Attractive, fun-loving and rather silly. She is well-intentioned, innocent, and tolerant of her husband’s behaviour, but she shares his vulgarity and his dubious sense of fun. She loves her husband and tries to defend and help him, but her actions sometimes make things worse. Loving and loyal, but foolish and “common”.

Joseph II: Emperor of Austria. Mozart’s patron, who loves music but isn’t discerning enough to fully appreciate Mozart’s talents. Essentially a man of mediocre intelligence and taste, he is a bit of a lightweight and is easily influenced by those around him. Susceptible to flattery and a bit of a fool.

Count Johann Kilian von Strack: Royal Chamberlain. Recognises Mozart’s musical talents but is frustrated by his foolishness.

Count Franz Orsini-Rosenberg: He is the director of the Imperial Opera, one of the musical advisors to the emperor and part of the Italian faction. Supercilious, self-important and very sure of himself.

Baron Gottfried van Swieten: He is the Prefect of the Imperial Library of the emperor's court. Unlike Orsini-Rosenberg and Kapellmeister Bonno, he is sympathetic to Mozart. He is an ardent Freemason who helps support Mozart and his family when Mozart becomes a Mason, until Mozart writes The Magic Flute and reveals Masonic rituals and secrets. He is one of the few people who attends Mozart's funeral.

Two "Venticelli": “Little Winds,” purveyors of information, gossip and rumour. They act as a chorus to the action. The two Venticelli also play the two GALLANTS at the party in Act One. Need to be energetic and lively; vocally and physically flexible

A Majordomo: Also part of the Citizens of Vienna.

Salieri's Valet: Silent part. Also part of the Citizens of Vienna.

Salieri's Cook: Silent part. Also part of the Citizens of Vienna.

Kappellmeister Giuseppe Bonno: Silent part. Director of the Emperor’s chapel music. Dignified and important. Also part of the Citizens of Vienna.

Teresa Salieri: Silent part. Salieri’s solid, respectable wife. The text refers to her as “a padded, placid lady.” She is very self-sufficient, unexcitable and impassive. Also part of the Citizens of Vienna.

Katherina Cavalieri: Silent part. Salieri’s Pupil. A charming, vivacious young woman. Also part of the Citizens of Vienna.

Citizens of Vienna: The citizens of Vienna also play the Audience at several Operas and the Servants who move furniture and bring on props as required. This group includes the previous 6 characters. Need flexibility and a range of acting styles.

Audition scenes

TBC

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