SUP auditions are currently being held via Zoom
OPEN AUDITIONS: MARCH 2021
a one act comedy play by Robin Johnson
We hope to perform this in June at Hanger Farm Arts Centre, following rehearsals in May and June (rules permitting) – the festival does have backup plans for a filmed performance under festival conditions.
OPEN AUDITIONS: online on Tuesday 23rd and Thursday 25th March 2021 – Zoom details to follow. Check the information here, or email acting SUP secratery Paul via firstname.lastname@example.org with any questions.
It is very important we know the characters you want to audition for in advance, so we can group actors together, and schedule the sessions – the director is keen for performers to be able to interact. The more flexible you can be in terms of availability on both evenings, the better.
Please can you be available for the duration of each audition session. When you join the Zoom call, you will initially enter the virtual waiting room.
PLEASE COMPLETE THE AUDITION FORM BELOW – CONFIRMING WHICH PARTS YOU WANT AND PREFERRED AUDITION DAY – THEN RETURN TO email@example.com BY 9PM ON SUNDAY 21st MARCH SO WE CAN SCHEDULE AUDITIONS. WE WILL CONFIRM DATES/TIMES WITH YOU.
Word doc – SUP Stitched Up Audition Form
Victor(ia) Frankenstein – m / f
The Creature – m
The Bride – f
De Lacey – French peasant, speaks ‘avec un French accent’ – m / f
The Professor – Frankenstein’s University tutor, speaks ‘viz ein Cherman ecksent’ – m / f
RUNNING TIME: 45 mins
“It’s alive!” Frankenstein created a monster. The monster escaped and… then what? Something about a bride? And an angry mob. There was definitely a mob, with pitchforks.There have been so many different versions of the Frankenstein story, even the original characters don’t know what’s real any more.
Stitched Up is a darkly comic meta dissection of Mary Shelley’s masterpiece. It starts with Dr Frankenstein recounting his experiences as a mad scientist – interrupted by the bickering Creature, a French peasant, a mad professor… and the Bride of Frankenstein. Each character retells their part of the story from their own perspective and tries to justify their place in the canon. The play ends farcically, descending into the series of movie sequels and spin-offs that degraded the story from tragedy to cheap horror… and even Abbot & Costello
“My name is Frankenstein, and I am a mad scientist.”
Stitched Up was first performed on the Edinburgh Fringe 2010
FROM THE DIRECTOR, DAVID GUY:
Click on the links below to download the relevant script excerpts (PDF), depending on the characters you want to audition for:
N.B. SUP holds open auditions. If cast and not already a member, society rules and our insurance mean that you must become a paid member immediately
PREVIOUS AUDITION: NIGHT OF THE LIVING DEAD LIVE
A TIMELY PRODUCTION
Night of the Living Dead™ Live is a fast-moving hilarious re-imagining of George A. Romero’s classic horror thriller. Back in 1968, Night of the Living Dead™ was made at a time of incredible social and political upheaval, and its themes remain as relevant as ever.
In particular, it brings race politics and gender identity to the fore as a cross-section of ‘typical’ Americans are trapped together in lockdown in a remote farmhouse, facing hordes of infected zombies. As the nation collapses, who will survive the night? More than a re-creation of the story, the play celebrates the history and continuing influence of the movie.
AUDITION FORMAT: please prepare a monologue lasting no more than two minutes, spoken by a character from any play with whom you identify strongly OR a monologue from a character to whom you feel strong antipathy.
TECH CREW – MARKETING – PRODUCTION… HELP NEEDED Please get in touch if you are interested and available to help out in any way with tech, marketing or production! Email firstname.lastname@example.org
MAIN CHARACTER DETAILS
Barbra – traditional and keeping it together at forst but as the events unfold, digresses into a child-like state – F
Ben – BAME, ‘leading man’ type, heroic and outspoken. Protective of Barbra – M
Tom – young-ish man, handsome, bright-eyed. Judy’s boyfriend – M
Judy – young-ish woman, Tom’s girldriend. ‘Girl next door’ type.
Helen – a little older, perhaps middle-aged. Dry, world-weary homemaker. Umanused wife of Harry, mother of Karen – F
Harry – around the same age as Helen; working class, curmudgeonly. Weaselly and antagonistic. Helen’s husband and Karen’s father – M
Chief McClelland – older/middle-aged small-town sheriff. Folksy and pragmatic – M / F
Vince – Chief McClelland’s young deputy, local volunteer. A little idealistic. Obedient to the Chief.
Karen – nine-year-old daughter of Harry and Helen.
IMPORTANT: we usually rehearse on Tuesday and Thursday evenings. Audition forms includes a box to indicate dates when you are NOT available. By signing the form, you are agreeing to attend all rehearsal dates when called, barring unforeseen circumstances – with the schedule agreed with the director – and in particular to be available for the tech and dress rehearsals.
ABOUT THE DIRECTOR
SUP member Tim Prentki is Emeritus Professor of Theatre for Development at the University of Winchester where, for many years, he directed the MA in Theatre and Media as Development.
He is the author of The Fool in European Theatre and Applied Theatre: Development. He is currently co-editing The Companion to Applied Performance and the second edition of The Applied Theatre Reader, both for Routledge. He is also a playwright and has recently written three plays for the One Hour Theatre Company at Edge Hill University, using Shakespearean motifs to spark debate around contemporary issues:Half Measures; Lear in Brexitland; Empires’ Edge. He has also recently completed Henry VII.
He has directed many student productions ranging from Shakespeare to modern work and draws particular inspiration from the practice and theory of Brecht.
He is looking forward to the opportunity to direct Night of the Living Dead Live for SUP. He intends to create a fast-moving, immersive performance style, based on a combination of ensemble-playing and multimedia effects in order to highlight the affectionately satirical approach of the original film. Given the contemporary situation, there is also the possibility to add an allegorical layer of meaning around responses to the pandemic.