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Upcoming Auditions


The Play That Goes Wrong
Monday & Tuesday, December 11 & 12, 2023

Callbacks (if needed) will be on Thursday, December 14, 2023
from 6:00 PM-9:00 PM. 

Please read the information below before signing up! 

Performance Dates:

Thursday, February 8, 2024, 7:00 PM

Friday, February 9, 2024, 7:00 PM

Saturday, February 10, 2024, 2:00 PM & 7:00 PM 

Sunday, February 11, 2024, 2:00 PM

Performance Dates are Non-Negotiable!

Additional blackout dates:
Tech & Dress Rehearsals- February 3-7, 2024.

Cast Production Fee: $10

($50 each for additional family members)

If cast, this fee is due at the first rehearsal. 


Rehearsals will begin on Monday, January 8, 2024. 


Who can audition?

Auditions for The Play That Goes Wrong are open to anyone ages 13 & up. 

What should I prepare for auditions?

Please prepare to perform a memorized 1-minute comedic monologue. In addition to your monologue audition, the director and casting panel may ask you to read selections from the script. 

What should I bring to audition?

  • Bring a current headshot photo.

  • Bring a printed resume that lists your performance experience and any performance education or training. Need help writing a resume? Refer to this article for helpful tips. 

What roles are available in this show?

The following list includes all potential roles in the show. Some roles are optional and may not be filled depending on the director's wishes. Ensemble actors are likely to play multiple roles.

Chris/Inspector Carter is the director of the play-within-a-play Murder at Haversham Manor and plays the esteemed Inspector Carter. This is the biggest day of his life. He is rigid and uptight. The experience of performing the show is both nerve-wracking and exciting. His pain is evident and every time someone laughs, the pain deepens.

Robert/Thomas Colleymore wants to be Richard Burton, as evidenced by his presentational style. But he’s not a parody of a bad actor, just unaware of others around him. He does not feel bad when things go wrong and never learns from his mistakes. There’s a power struggle between Robert and Chris to be president of the Cornley Poly Drama Society (a position that matters a great deal to Robert). 

Dennis/Perkins has no real desire to be involved in the theatre; he just wants friends. He believes if he does well in the show, he’ll be more successful socially. Laughter from the audience is agony and a personal tragedy for him. He’s slightly oblivious, but understands when he gets things wrong. 

Sandra/Florence Colleymore is vain and has a huge ego. She wants to be loved. She has ambitions to go to Hollywood and will hurt anyone standing in the way of what she wants, but is smart enough to stay on the good side of someone who can help her (like the director). The stakes are high for her. Very physical role. 

Jonathan/Charles Haversham is a bit bland personality-wise but sees himself as a James Bond-type. Excited and having fun. He technically has to drive the show. He cares about the play, but it’s mostly just for fun for him. The role of Charles Haversham is a very physically demanding role. 

Max/Cecil Haversham/Arthur has never been onstage before. He learned his lines and does exactly what he’s told to do. He has zero connection with any of the actors, but when he gets a laugh he breaks the fourth wall and engages with the audience. Childlike and naïve. His mistakes are fundamental. He doesn’t think anything through. 

Annie is the company’s stage manager with a Lancashire accent. She has the biggest journey of any character. She’s initially terrified by acting, but is willing to kill for it by the end of the play. Her terror turns to joy, and then to fury. She starts small, but grows and grows. 

Trevor is the play’s curmudgeonly lighting and sound operator. He simply wants to get on with the show. He doesn’t like actors. He is easily distracted and does many things he shouldn’t, including talking to the audience. When things go really sideways, he is forced to act in the play.

Stage Crew, the Cornley Polytechnic stage crew

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