Upcoming events.
Jane Eyre
Directed by Nettie Sheridan
Audition Date: Sunday 22nd February 2026, 6.30pm - 10pm
Recalls: Tuesday 24th February 2026, 7pm
Production Dates
Brighton Little Theatre dates
9th May, 10th May, 16th May Matinee Performances - 2:30pm
9th May and 12th-16th May 7:30pm
Brighton Open Air Theatre
10th – 13th June 7:30pm + Matinee 13th June at 2pm
Rehearsals
Rehearsals: Movement / Physical rehearsals w/c 16th March
Blocking and all other commence w/c 22nd March – (Likely : Sun/Mon/Weds/Thurs)
Outside Rehearsals for BOAT Preparation: 24th, 25th, 31st, May and 1st & 2nd June.
If you are unable to make the audition date and for more information and audition pieces, please contact Nettie on nettesheridan@googlemail.com
This powerful adaptation of Jane Eyre explores the inner life of Charlotte Bronte’s heroine, transforming the classic novel into a visually and emotionally charged piece of physical theatre. It is Brighton Little Theatre’s 800th production and our 2026 Brighton Fringe production.
Jane’s journey from her harsh childhood at Gateshead and the brutal discipline of Lowood School, through her growing independence as a governess at Thornfield Hall, is shaped by resilience, imagination, and an intense need for love and self-respect. At Thornfield, Jane forms a troubled relationship with the enigmatic Rochester, and their bond is tested when Jane uncovers a terrible secret hidden in the house - a revelation that forces Jane to choose between emotional fulfilment and moral integrity.
Polly Teale’s adaption places Jane’s psychology at the centre of the drama. The cast physically embody Janes fears, desires, and memories, giving form to her inner conflict and emotional landscape. This heightened theatrical language brings Bronte’s themes into sharp focus: female autonomy, social constraint, passion versus principle, and the cost of personal freedom. Jane is a story of survival and self-definition, a womans right to remain true to herself in a world determined to limit her voice.
This production will be underscored with original composition by Liz Ryder-Weldon supported by physical and vocal soundscape by the cast.
I am looking for a versatile company of actors to take on multiple roles in this fast-paced physical production where you will be required to be on stage for most of or for the duration of the whole play. Because of the nature of this production, actors will be required to attend most or all of the rehearsals.
Singing: Actors auditioning for Rochester, Blanche Ingram and Bertha are required to provide a self- tape comprising of a verse and chorus of a song of their choice, This should be recorded as an a capella demo and can be sent via email or whatsapp. Tapes should be sent to nettesheridan@gmail.com or 07866 550841 by noon 18th February 2026.
Movement: This is a physical piece and auditionees are required to wear appropriate clothing to the auditions as there will be a movement exercise.
Note on Intimacy: Please note this production includes intimate scenes. This includes scenes of physical violence, restraint, simulated intercourse, kissing and partial nudity.
Best practice will be followed in accordance with the Brighton Little Theatre Intimacy Guidelines.
It is an absolute honour to be directing this play, Brighton Little Theatres 800th production for Brighton Fringe for 2026.
BLT actively encourages auditionees from ethnic minority communities and any of the below parts could be played by any race.
You do not have to be a member of the company to audition, but if you are cast you must join.
Characters
Jane Eyre - Jane is the titular character. We first meet Jane as a young rebellious orphan child, raised by her wealthy but cruel aunt, Mrs. Reed at Gateshead. The story follows her journey from childhood, through her student years at Lowood school, and finally into her role as a governess at Thornfield Hall, and later, school teacher. Jane is plain and unadorned in appearance but possesses deep inner strength. She is strong-willed, resilient, intelligent, and fiercely loyal. Auditionees must be physically and emotionally versatile, able to portray Jane’s development from childhood to adulthood with authenticity and nuance. Must appear considerably younger than Mr Rochester. Yorkshire accent required. Playing age 17-25. Female Presenting
Bertha Mason - Often referred to as "the madwoman in the attic," Bertha is Edward Rochester’s secret wife, hidden away in Thornfield Hall. She is a haunting, tragic presence in the story, more than just a symbol of madness, she represents themes of repression, colonialism, and the consequences of secrecy and betrayal. Bertha’s physicality and presence are powerful and deeply affecting. The part requires a performer with strong physical storytelling skills and emotional depth. This is a highly expressive, movement-based role that requires intensity, vulnerability, and a sense of otherworldly unpredictability. In this production Bertha is all of Jane’s emotions laid bare upon the stage. Likely to have a changing accent throughout the play. Dance or physical theatre experience is a plus as is ability to hold a tune. Playing age: 25-35. Female Presenting
Edward Rochester (doubles as John Reed) - Rochester is the brooding and enigmatic master of Thornfield Hall where Jane is placed as governess. Rochester is a complex and deeply tormented man, carrying the weight of past mistakes and hidden secrets. He is wealthy, intelligent, and fiercely proud, with a sharp wit and a commanding presence. Often aloof and abrupt, he is nonetheless capable of great tenderness and vulnerability, particularly in his evolving relationship with Jane. I am looking for a performer with strong emotional range and presence, someone who can embody Rochester's intensity, passion, and inner conflict, while revealing the humanity beneath his hardened exterior.
This role also doubles as John Reed - the cruel, selfish, arrogant cousin of Jane. A bully, who taunts and verbally abuses her.
Actors auditioning for these roles must be physically able and fit and will be able to hold a tune. Will be well spoken. Playing age 35-45. Male Presenting
Mrs Reed & Mrs Fairfax – Company - Mrs Reed - Jane’s wealthy aunt and guardian, Mrs. Reed is a cold, proud, and deeply resentful woman who never accepts Jane as part of her family. She is emotionally distant, often cruel, and determined to suppress Jane’s spirit. While outwardly composed and proper, her treatment of Jane reveals a harshness rooted in bitterness and social prejudice. This role requires an actor with strong presence and the ability to convey authority, coldness, and suppressed emotion beneath a polished exterior. Well spoken.
Mrs Fairfax - housekeeper of Thornfield Hall, is kind-hearted, dutiful, and maternal, offering Jane a rare sense of warmth and stability upon her arrival. She is proper and well-meaning, though limited by her traditional views and lack of full awareness about the secrets within Thornfield. This role contrasts strongly with Mrs. Reed and calls for a performer who can embody gentleness, wisdom, and quiet dignity. Subtlety and warmth are key, as is the ability to portray sincere concern and restrained emotion. Mild Yorkshire Accent. (Other company roles may be required). Playing age 45-55. Female Presenting
Bessie/Blanche Ingram/Grace Poole/Diana Rivers – Company - Bessie – the nursemaid at Gateshead and one of the few figures in Jane’s early life who shows her genuine, if inconsistent, kindness. Though often brisk and bound by her duties, Bessie has a warm heart beneath her stern exterior. She sometimes scolds Jane, but also comforts her and shares stories that spark Jane’s imagination. Bessie represents a rare source of affection in an otherwise cold and harsh household. Yorskhire Accent.
Blanche Ingram – a beautiful, elegant, and socially ambitious young woman from a wealthy aristocratic family. She is proud, poised, and used to being the centre of attention, especially in the circles of Thornfield’s high society. Blanche is openly interested in Mr. Rochester, seeing him as a desirable match that would elevate her social standing. Beneath her polished exterior, however, she can be cold, vain, and dismissive of those she considers beneath her. This role requires a performer with strong stage presence, the ability to portray charm and social grace, as well as subtle sharpness and vanity. You must be able to hold a tune. Well Spoken.
Grace Poole – the loyal but secretive servant employed at Thornfield Hall, entrusted with caring for Bertha Mason, Mr. Rochester’s hidden wife. She is often mysterious and somewhat elusive, frequently appearing dishevelled or distracted, which adds to the eerie atmosphere surrounding Thornfield. Grace walks a fine line between duty and complicity, burdened by the dark secret she guards. This role requires an actor who can convey quiet tension, ambiguity, and a hint of world-weariness. Grace’s presence should feel watchful and slightly unsettling, embodying the undercurrent of mystery within the household. Yorkshire accent.
Diana Rivers – one of St. John Rivers’ sisters and a distant cousin of Jane Eyre. She is warm, compassionate, and intelligent, providing Jane with much-needed friendship and support after her hardships. Alongside her sister Mary, Diana offers Jane a sense of family and belonging, as well as a glimpse of a more hopeful, nurturing world. She balances kindness with quiet strength, embodying loyalty and genuine affection. Well spoken.
Playing age 25-40. Female Presenting
Helen Burns/Adele/Mary Rivers/ (the)Abigail – Company - Helen - Jane’s first and dearest friend at Lowood School. Gentle, intelligent, and spiritually mature beyond her years, Helen endures cruelty and hardship with quiet grace and deep Christian faith. She serves as a moral and emotional anchor for young Jane, offering kindness, wisdom, and a sense of peace in an otherwise harsh environment. Her death is a pivotal moment in Jane’s early life. This role requires emotional sensitivity and a calm, luminous presence. The actor must convey both physical fragility and inner strength with sincerity and depth. Yorkshire accent.
Adele - Mr. Rochester’s young French ward, left in his care after the death of her mother, a French opera dancer. She is lively, charming, and eager to please—full of energy, imagination, and a flair for the dramatic. Though sometimes spoiled and a little vain, Adèle is ultimately sweet-natured and affectionate, forming a close bond with Jane. This role suits a young actor with strong stage presence, a playful spirit, and the ability to balance light comedic moments with emotional sincerity. Ability to speak English with a French Accent is essential.
Mary – one of St. John Rivers’ two sisters and a distant cousin of Jane Eyre. Intelligent, kind, and quietly strong, Mary offers Jane warmth, companionship, and a sense of family she has long lacked. Alongside her sister Diana, Mary is well-educated and cultured, but grounded and sincere in nature. This is a gentle, supportive role that requires warmth, poise, and the ability to convey quiet intelligence and emotional generosity. The performer should bring a sense of calm stability and familial affection to the stage. Well Spoken.
Abigail - A servant girl at Gateshead – she is named in the novel but is named so here as maids were generally called ‘The Abigail’. Yorkshire Accent.
(the actor will take on other company roles )
Playing age 17-25. Female Presenting
Brocklehurst, St John Rivers, Lord Ingram, Pilot – Company - Brocklehurst - The stern and self-righteous headmaster of Lowood School, Mr. Brocklehurst is a man of rigid religious conviction and harsh discipline. He preaches humility and self-denial while living in personal luxury, embodying hypocrisy and moral arrogance. He plays a key role in Jane’s early life, shaping her resilience through adversity. This role requires a strong stage presence and the ability to portray cold authority, moral rigidity, and controlled intensity. Well Spoken.
St John Rivers – A reserved, principled clergyman, St. John Rivers is Jane’s cousin and a foil to Edward Rochester. Deeply committed to his faith and missionary work, he is intellectual, disciplined, and emotionally restrained. Though he offers Jane stability and purpose, his love is rooted in duty rather than passion. This role requires an actor capable of portraying quiet intensity, moral conviction, and the internal conflict between spiritual ambition and human emotion. Well Spoken.
Lord Ingram – The brother of Blanche Ingram, Lord Ingram is a minor aristocratic character who appears during Jane’s time at Thornfield. He is fashionable, privileged, and somewhat arrogant—representative of the upper-class society that looks down on Jane. Though not a major role, he adds to the atmosphere of social elitism and plays into the world of superficial charm and status. This role suits a performer with strong presence, able to convey entitlement, wit, and a touch of vanity. Well Spoken.
Pilot – Mr Rochester’s large, loyal dog. More than just a pet, Pilot serves as a symbolic extension of Rochester himself: powerful, watchful, and protective, yet with a gentler, affectionate side. The role requires expressive physicality and strong nonverbal communication to convey loyalty, alertness, and emotional sensitivity without words.
(This actor will also take on other Company roles including Clergyman and Footman)
Playing age 35-50. Male Presenting
Richard Mason, Teacher, Rochester’s Horse, Dragon Fly puppeteer, Woman - Richard Mason – The (step)brother of Bertha Mason, Richard arrives unexpectedly at Thornfield and becomes the catalyst for revealing Rochester’s hidden past. He is outwardly reserved and gentlemanly, but there is an underlying nervousness and unease about him. He carries the weight of family duty and secrets, and his presence disrupts the illusion of order at Thornfield. This supporting role requires subtlety and restraint, with the ability to convey tension, discomfort, and quiet determination. Well Spoken.
Teacher – At Lowood – stern, abrupt, gives the news of Helens ill health to Jane. Small character part. Well Spoken.
Rochester’s Horse – Rochester’s horse is a symbol of his rugged, independent spirit and the wild, untamed aspects of his character. Often seen accompanying him on journeys or moments of solitude, the horse reflects Rochester’s connection to nature and his restless energy. The horse’s presence adds movement and atmosphere, emphasizing Rochester’s strength and sometimes his isolation. Must be physically able.
Woman – A threatening, dark presence who represents the decay and depravity of what has passed after the fire at Thornfield. The actor delivers the conclusion through dialogue. Yorkshire Accent.
Playing age 25+. Male Presenting.
Connections
Directed by Jo Gatford, Suse Crosby, Faith McNeill, Leigh Ward, Sam Nixon, Steven Adams and Will Rosander
Audition Date: Sunday 8th February 2026, 2pm - 6pm (see below for more info)
Production Dates
16th - 18th April 2026 at 7.30pm
18th April 2026 at 2:30pm
Rehearsals
Independently organised between actors and directors. Due to demand for theatre space, rehearsals will take place outside of the theatre until the week of the show. Full availability is required week commencing 13th April for final technical and dress rehearsals.
If you are unable to make the audition date and for more information and audition pieces, please contact Suse on suse@susannecrosby.com.
We all strive for connection, for validation, and to be seen. Connecting with each other is vital for everyone. Yet how often do we connect, even when we try our hardest? A wonderful and inspiring collection of shorts about the things that connect us or disconnect us from each other and ourselves.
Connections is a compilation of nine beautiful, funny and moving monologues, duologues and three-handers for actors of varying ages and genders. Each piece runs between fifteen and thirty minutes. If you are looking for an opportunity to work closely with a director to produce an engaging and thoughtful piece within a wider show then this could be for you.
You are welcome to audition for as many parts as you wish, and can perform in more than one piece, provided you are able to meet that commitment.
Please see below for audition notes for each piece.
To audition, please contact Susanne Crosby for audition pieces for any of the roles you are interested in.
Directors’ contact details are also included below if you would like to contact them for more information about the individual roles and pieces.
BLT actively encourages auditionees from ethnic minority communities and any of the below parts could be played by any race.
You do not have to be a member of the company to audition, but if you are cast you must join.
Audition times and pieces:
Auditions for each piece have been grouped together into different timeslots. You are welcome to stay and audition for as many of the pieces as you wish, or to just come for the given time for the piece/s that you’re interested in.
2.00 - 3.30pm (Sunday 8th February)
The Picture - written and directed by Susanne Crosby
(MONOLOGUE - female presenting - 18-35 playing age)
A sheltered young woman talks about starting her new life with her fiancee in 1948.
A real character driven piece: a chance for you to show a huge range of emotions in this monologue, plus play with different perspectives in story telling.
White Thing - written by Simon Jenner and directed by Susanne Crosby
(MONOLOGUE - female presenting - 30-45 playing age)
A woman is interviewed about a personal tragedy and the effect on her and her public serving husband.
A real character driven piece: and a story that does not go where you expect it to go. Emotional range is a must.
Tidying Up - written by Tess Gill and directed by Steven Adams
(MONOLOGUE - female presenting - 55+ playing age)
A woman tidies a grave and talks about her life.
A character driven piece needing the ability to portray layers of emotions.
3.30 - 4.30pm (Sunday 8th February)
Womb With a View - written by Nettie Sheridan and directed by Steven Adams, Assistant Director Will Rosander
(MONOLOGUE - any gender and any age)
While waiting to be born, they muse on their surroundings, despair of whale music, and wonder what’s next. This needs an actor who will be comfortable with movement as well as emotions.
Half a Glass written and directed by Jo Gatford
(MONOLOGUE - any gender, 40+)
A professional drinker at a wake with life insights.
A character driven piece needing the ability to portray layers of emotions.
4.30 - 6.00pm (Sunday 8th February)
Mastication - written by Tess Gill and directed by Steven Adams
(3 hander - 2 female presenting, 1 any gender - ages 20s - 60s)
Two colleagues attend their therapy session after a strange incident at work.
This is a dark comedy and needs subtlety in portrayal for all three roles.
Snakes // Ladders - written by Ethan Taylor and directed by Leigh Ward
(3 hander - 2 female presenting (sisters) aged 20-34, 1 male presenting 45+)
Two sisters clean in a block of flats in a restrictive future, until one sister spots a sudden opportunity.
The dynamic between the sisters is key, and the ability to portray depth of character. The male role is very small and needs presence, as his appearance changes the power dynamic.
Leaks - written and directed by Faith McNeill
(DUOLOGUE - 1 female presenting, 1 male presenting - any age)
A caretaker has a chance conversation with a boarder in the building in this Kafkaesque encounter.
This needs actors who can portray subtle shifts in power between characters. It’s an intriguing piece and should be fun to play.
The Tempest
Directed by Suzanne Heritage
Audition Date: Sunday 30th November 2025, 4pm
Production Dates
3rd - 7th March 2026 at 7.30pm
7th March 2026 at 2:30pm
Rehearsals
Bar Rehearsals: 4 - 17 Jan 2026
Stage Rehearsals: 1 Feb - 2 March 2026 (Days to be confirmed)
If you are unable to make the audition date and for more information and audition pieces, please contact Suzanne on suzanneheritage@hotmail.com
The Tempest is a play about revenge, magic, love, and forgiveness, centred on the sorcerer Prospero. After being usurped and exiled to a remote island with his daughter Miranda, Prospero uses his magic to create a tempest and lure his enemies, including his brother Antonio and the King of Naples, to the island. On the island, he manipulates events, separates the survivors, and orchestrates for his daughter Miranda to fall in love with the King's son, Ferdinand.
The play features spirits named Ariel, whom Prospero commands, and Caliban, a native of the island whom Prospero enslaves. While Alonso's party is tormented and distracted by magical events, Caliban conspires with two shipwrecked drunken servants, Stephano and Trinculo, to kill Prospero and take over the island. Prospero, learning of the plot through Ariel, forgives the conspirators, which leads him to also forgive his enemies, Antonio and Alonso. In the end, Prospero renounces his magic, breaks the enchantment, and sails for home with the group to reclaim his dukedom and see his daughter marry Ferdinand.
All characters will be cast gender blind. There will be some movement work, especially for Ariel, but please don’t let that put you off! It will be very easy movement and not at all scary!
BLT actively encourages auditionees from ethnic minority communities and any of the below parts could be played by any race.
You do not have to be a member of the company to audition, but if you are cast you must join.
Characters
Prospero - The play’s protagonist, and mother/ father of Miranda. Twelve years before the events of the play, Prospero was the duke of Milan. Their sibling, Antonio, in concert with Alonso, king of Naples, usurped them, forcing them to flee in a boat with their daughter. Prospero has spent twelve years on the island refining the magic that gives them the power needed to punish their enemies. Playing age: 40s upwards depending on Miranda’s age.
Miranda - The daughter/ son of Prospero, Miranda was brought to the island at an early age. Because they have been sealed off from the world for so long, Miranda’s perceptions of other people tend to be naïve and non-judgmental. They are compassionate, generous, and loyal to their father. Playing age: Early 20s but could be older if Prospero is older.
Ariel - Prospero’s spirit helper. Rescued by Prospero from a long imprisonment at the hands of the witch Sycorax, Ariel is Prospero’s servant until Prospero decides to release them. They are mischievous and magical. Ariel will ideally be played by more than one actor – becoming a multiple entity rather than a single creature. Playing age: Any
Caliban - Another of Prospero’s servants. Caliban, the child of the now-deceased witch Sycorax, acquainted Prospero with the island when Prospero arrived. Caliban believes that the island rightfully belongs to them and has been stolen by Prospero. Caliban is a complex character and has both comic and pathetic moments. Playing age: Any
Ferdinand - Child of Alonso. Ferdinand seems in some ways to be as pure and naïve as Miranda. They fall in love with Miranda upon first sight and happily submits to servitude in order to win Prospero’s approval. Playing age: Similar to Miranda
Alonso - King of Naples and parent of Ferdinand. Alonso aided Antonio in unseating Prospero as Duke of Milan twelve years before. Playing age: Similar to Prospero
Antonio - Prospero’s sibling who usurped Prospero’s rightful place as Duke of Milan. They are power-hungry and foolish. Playing age: Roughly equivalent to Prospero
Sebastian - Alonso’s brother. Like Antonio, he is both aggressive and cowardly. Playing age: Any
Gonzalo - Gonzalo helped Prospero and Miranda to escape after Antonio usurped Prospero’s title. Gonzalo’s speeches provide an important commentary on the events of the play. Playing age: Any
Trinculo - Trinculo is Alonso’s jester, and part of the shipwrecked party. They, with Stephano, provide the more comic moments of the play. Playing age: Any
Stephano - Stephano is a drunken butler and part the shipwrecked party. They, with Trinculo, provide the more comic moments of the play. Playing age: Any
The Lion in Winter
Directed by Ella Turk-Thompson
Audition Date: Sunday 12th October 2025, 6.30pm
Production Dates
27th - 31st January 2026 at 7.30pm
31st January 2026 at 2:30pm
Rehearsals
16 November – 5th December in the bar on Tuesdays, Fridays and Sundays. 21st December onwards on stage with additional Wednesday rehearsals. Fewer Rehearsals over the Christmas period!
If you are unable to make the audition date and for more information and audition pieces, please contact Ella on ellatommo@hotmail.com
Comedic in tone, dramatic in action, The Lion In Winter tells the heightened, witty and bristling story of the Plantagenet family, who are locked in a free-for-all of competing ambitions to inherit a kingdom. The Queen – and wealthiest woman in the world – Eleanor of Aquitaine has been granted temporary release from imprisonment to join her family for a Christmas holiday. They are a scheming, adulterous and potentially murderous bunch who are fighting over crowns, provinces and paramours. But, as Eleanor says, ‘Every family has its ups and downs’…
Whilst there are no ‘sex scenes’ as such, the play is pretty steamy in places and we hope to have the assistance of an intimacy co-ordinator when shaping these scenes. The characters particularly involved in such moments are Henry, Eleanor, Richard, Philip and Alais.
The playing ages are a VERY rough guide. I am perfectly happy to cast older/younger as long as everyone looks the right sort of age relative to everyone else. If you would like to audition for a role but feel you may be too young/old please don’t let that stop you!
BLT actively encourages auditionees from ethnic minority communities and any of the below parts could be played by any race.
You do not have to be a member of the company to audition, but if you are cast you must join.
Characters
Henry II - In his time, men his age were either old or dead. Not Henry. He is still physically vigorous, handsome, mentally sharp and very nearly all he ever was – minor arthritis excepted. He is arrogant but not vain, sexy, clever, a great fighter and tactician, and addicted to the adrenalin kick he gets from sparring, particularly with his wife. Playing age 50s
Eleanor of Aquitaine - A force of nature, Eleanor is usually imprisoned in a castle in England, but has been let out for Christmas to join her family at Henry’s castle in Chinon, France. She is beautiful, dangerous, equally in love with and enraged by her husband and at constant war with him. Her relationship with her sons is complex, particularly with Richard who is her undisguised favourite. Playing age 60s
Richard Lionheart - The oldest living son. Not happy unless he is fighting a war. A famous soldier, he is handsome and impressive. He is also navigating some mummy issues and a sporadic but ongoing sexual relationship with Philip of France. Playing age 20s
Geoffrey - Count of Brittany, a man of energy and verve. Often called a ‘machine’ by the family, he is the brainiest of the brood but suffers from all things associated with being the middle child. Would never go down without a fight. Playing age 20s
John - By turns whiny, despicable, charming and cowardly, John is the youngest and favourite of his father. Seemingly not much gifted with either brains or brawn and inclined to teenage tantrums, John has some of the funniest lines in a very witty script. Playing age Late teens
Alais Capet - Henry’s ward and also his lover. Also Richard’s (or John’s depending on who you speak to) fiancée. Sister of Philip of France. Definitely the most honest and integral character, she is treated as a pawn although Henry’s affection/desire for her is genuine. Alais is trapped in a terrible situation but is by no means a doormat. Playing age 20s
Philip Capet - Has been King of France for only three years but has learned an awful lot in that time. He is charismatic, gorgeous and charming and although not as liable to throw his weight around as Henry, should not be underestimated by anyone. Calculating and relatively calm. Until he isn’t. Playing age 20s
Staff/Courtiers - These roles are integral but have no written lines and could double as stage crew. They will be required to perform as impeccable aids to the royal family, potentially dealing with props, scenery and badly behaved characters, being part of both the aesthetic and the castle muscle. Playing age Any
Alice in Wonderland
Directed by Tina Sitko
Audition Date: Sunday 21st September 2025, 6pm
Production Dates
13th December and 15th - 20th December 2025 at 7.30pm
Matinees 13th, 14th and 20th December at 2:30pm
Rehearsals
Starting mid-October (days to be confirmed)
If you are unable to make the audition date and for more information and audition pieces, please contact Tina on tinasitko@hotmail.com
The play is an adaptation of Lewis Carroll’s Alice in Wonderland. The play consists of 14 short scenes as we follow Alice’s adventures in Wonderland. Along the way Alice meets a variety of creatures, from her first encounter with the time deprived White Rabbit to the changeable mood of the Royalty of Wonderland. Alice must complete the game of chess to become a queen in order to escape the Queen of Hearts executioner.
There are 28 characters. 6 of these characters cannot be doubled up. However the remaining characters can be played by multiple cast members as many are only in 1 scene. All characters except Alice and the Queen of hearts are gender blind. All characters except Alice are age blind.
BLT actively encourages auditionees from ethnic minority communities and any of the below parts could be played by any race.
You do not have to be a member of the company to audition, but if you are cast you must join.
Characters
Characters
Description
Playing Age
Alice - (Not doubled) Alice is around aged 6 in the book however we are going older in order to use adult casting. Playing age 12 - 16)(Actor must be over 18)
Queen of Hearts - (Not doubled) The Queen of Hearts is a very changeable character. One minute she is nice as pie and the next shouting ‘Off with their head’ to her ever present and seemingly rather busy executioner. Bold brash and a bit bonkers. She holds court with an icey glare and a pack of cards. Playing age Any
White Rabbit - (Not doubled) Nervous creature who has too many Royal duties and never enough time. The white Rabbit stands for the anxiety of hurried life. Dictated by time and the time piece that they check constantly. Always jittery and on edge. Terrified of displeasing the Queen of Hearts. Playing age Any
Mad Hatter - (Not doubled) The eccentric Hatter that has gone slightly mad from the years of Mercury poisoning from Hat making. The Hatter has an array of ornate Hats that and just loves to show them off to anyone that will show interest. Rather suave and charismatic by nature with glimmers of madness. Playing age Any
March Hare - (Not doubled) Good friend of the Hatter who may benefit with time away from them. A tad sarcastic towards both Alice and the dormouse. Playing age Any
Dormouse - (Not doubled) The ever tired and sleepy dormouse. Every word spoken seems to be such an effort. Playing age Any
The following characters appear in each act and can be doubled/tripled
ACT I
Mouse - Swims to save Alice and sings a small song
Caterpillar - Very relaxed hookah smoker
Frog Footman - Footman to the Queen of Hearts
Fish Footman - Footman to the Queen of Hearts
Duchess - Larger than life character who wants to ‘throw the baby in the fire’
Cheshire Cat - Probably projected
Act II
2 of Spades - Guard of the Queen of Hearts
5 of Spades - Guard of the Queen of Hearts
7 of Spades - Guard of the Queen of Hearts
Gryphon - Possible will be a puppet
Mock Turtle - Depressed reptile who will be lying on a moving truck. Sings a small song
Knave of Hearts - Suave nephew of the Queen of Hearts, that lies about stealing the tarts
Kings of Hearts - Compliant husband to the Queen of hearts
Act III
Red Queen - Authoritative indignant but warms to Alice to help become a Queen.
White Queen - Her memory works backwards and is rather out of time with the world. Whirls to move.
Tweedledee - Sings a story to Alice with his brother
Tweedledum - Sings a story to Alice with his brother
Humpty Dumpty - Egg shaped and darn proud of it
Women Only
Directed by Carolyn Chinn
Audition Date: Sunday 31st August 2025, 4pm
Production Dates
28th October - 1st November 2025 at 7.30pm
Matinee 1st November at 2:30pm
Rehearsals
21st September - 27th October 2025 (days to be confirmed).
If you are unable to make the audition date and for more information and audition pieces, please contact Carolyn on cp.chinn@gmail.com
In Women Only, newly divorced Laura drags her recently widowed mum, Ruth, to a dreary holiday “chalet” for what’s meant to be a relaxing and restorative mother-daughter holiday. But as the rain pours and the gin flows, Ruth lets loose a litany of truth bombs that blow Laura’s world to smithereens. Family secrets and shocking revelations derail this hilariously disastrous getaway - because it’s not just the weather that’s about to break. This sharp, one-act comedy offers juicy roles for two female-identifying actors.
Written by David Tristram, acclaimed author of The Extraordinary Revelations of Orca the Goldfish and the Little Grimley series.
BLT actively encourages auditionees from ethnic minority communities and any of the below parts could be played by any race.
You do not have to be a member of the company to audition, but if you are cast you must join.
Characters
Laura - Laura is a woman whose life has taken a nosedive. After a whirlwind marriage that crashed and burned in just six months, Laura is left humiliated, and emotionally raw. To make matters worse, her father has just passed away, leaving her to navigate grief, bitterness, and her complex, often combative relationship with her mother, Ruth. Hoping to find solace, Laura books a “restorative” mother-daughter getaway to a dreary chalet in the English countryside. But any hopes of healing evaporate, when Ruth begins casually dropping truth bombs like emotional landmines. With each shocking revelation, Laura spirals deeper into disbelief and emotional chaos. She flails between comical despair and full-blown hysteria, clinging to a thread of sanity as her world unravels before her. Actor’s Notes: Play Laura with high energy and a sense of mounting, tightly coiled panic. She’s not cool under pressure. Her reactions should teeter between wide-eyed disbelief, comic rage, and stunned silence. Think physical comedy meets emotional exasperation. She is, above all, very funny - but always grounded in genuine emotional stakes. Female identifying 30-50s
Ruth - At first glance, Ruth appears docile, pushed along in a wheelchair by her frazzled daughter, Laura. But it doesn’t take long to realise that this cardigan-clad matriarch is anything but helpless. Ruth is a badass in orthopaedic shoes: a woman who’s lived a far more colourful life than her daughter could possibly imagine. Newly widowed, Ruth uses this dismal “mother-daughter” holiday as a chance to offload decades of well-kept secrets. With blunt force and zero sugar-coating, she begins casually dismantling Laura’s reality, one truth at a time - each more outrageous than the last. She appears to take pleasure in watching her daughter spiral, but beneath the scathing jabs lies something deeper: tough love. She knows that, sometimes, the truth has to break you before it can set you free. Actor’s Notes: Ruth is brutal and hilariously unrepentant. Let her dry delivery land with deadly precision. Her power comes from understatement and impeccable timing. Build her revelations in waves - creating a crescendo of comedic chaos. Though she might seem unsympathetic early on, allow flickers of warmth and vulnerability to seep through by the end. Female identifying 50-70s
Albert’s Bridge
Directed by Craig Hearn
Audition Date: Sunday 17th August 2025, 6pm
Production Dates
28th October - 1st November 2025 at 7.30pm
Matinee 1st November at 2:30pm
Rehearsals
21st September - 27th October 2025 (days to be confirmed).
If you are unable to make the audition date and for more information and audition pieces, please contact Craig on craig.g.hearn@gmail.com
The year is 1968, and Clufton Bay is spanned by a huge cantilevered railway bridge which requires painting endlessly.
Albert has a degree in philosophy and with a job as bridge painter has a new perspective on life up high. Through CPSs and programmed efficiency, he replaces four painters and the bridge is all his. He has a wife, a child, and all seems well in the world.
But his distant perspective soon begins to alter his view of life on the ground…
Trigger Warning: this play includes conversations about suicide.
BLT actively encourages auditionees from ethnic minority communities and any of the below parts could be played by any race.
You do not have to be a member of the company to audition, but if you are cast you must join.
Characters
Albert - Well meaning and thoughtful, Albert’s head is both figuratively and literally in the clouds. Through his Sisyphean task he learns to find joy in the act itself, rather than its outcome. Male presenting. 20 - 25
Kate - Albert’s wife Kate is caring, but long-suffering. Formerly a family servant she must deal with the ever present reality Albert is so keen to avoid. Female presenting. 20 - 25
Chairwoman/Mother - The Chairwoman is a smart, practical, no nonsense authority figure. The kind of person who could host the television show QI. Mother is Alberts mother, she loves him but is frustrated by his seemingly casual attitude to life and employment. Female presenting. 40 - 60
Fraser/Dad - Dad is proudly working class and has worked on the bridge for most of his career. Largely uninterested in the world beyond Clufton Bay. Fraser is a reluctant potential bridge jumper. His arguments and differing viewpoints are an increasing frustration to Albert’s self-imposed isolation. Male presenting. 30 - 60
Fitch/Father - Fitch is a classically cut number cruncher. Intelligent but perhaps overly rational, he may not always see the wood for the trees. Responsible for many of the “efficiencies” that disrupt the bridge. Officious but not uncaring. Father is Albert’s father and a successful businessman. He is disappointed in his son’s lack of ambition and life choices. Male presenting. 40 - 60
Bob/Dave - Bob is a bridge worker, happy with their lot in life. Dave is a sycophantic Council worker. Ambitious but not the brightest, they are happy to implement any and all changes regardless of rationality. Gender blind casting. 20 - 40
Charlie/George - Charlie is a bridge worker with a chip on their shoulder. Dislikes Albert’s education and attitude. George is a competent Council worker. They could be a voice of reason but are thwarted by their lack of authority. Gender blind casting. 20 - 40
The Crucible
Audition Notice
The Crucible
by Arthur Miller
Directed by Nettie Sheridan
Sunday 29th June 2025, 6pm
recalls on Monday 30th June, 7pm
Production Dates
13 & 16-20 September 2025 at 7:45pm
Matinees 14 & 20 September at 2:30pm
Rehearsals
To commence week beginning 28th July – 4 x a week. Readthrough of the play will be scheduled for a week prior to rehearsals – week beginning 21st July – Dates to be confirmed.
If you are unable to make the audition date and for more information and audition pieces, please contact Nettie on nettesheridan@googlemail.com
The Crucible is a powerful and enduring play written by Arthur Miller in 1953. It’s a dramatised and partially fictionalised story of the Salem witch trials that took place in colonial Massachusetts between 1692 and 1693.
The play begins in a Puritan town in Massachusetts where a group of girls, led by Abigail Williams, are caught dancing in the woods and are suspected of witchcraft. To avoid punishment, they start accusing others in the community of consorting with the devil. Fear, paranoia, and hysteria quickly spread, and a witch hunt ensues.
At the centre of the play is John Proctor, a local farmer who tries to expose the falsehoods and save his wife, Elizabeth, who has been accused. His past affair with Abigail complicates matters. Ultimately, Proctor faces a moral crisis, choosing between integrity and survival.
Though based on real events from the 1690s, Miller wrote the play in the early 1950s during the Red Scare in the United States. It served as an allegory for McCarthyism, when the U.S. government blacklisted and persecuted people accused of being communists. Miller himself was questioned by the House Un-American Activities Committee.
The Crucible is a critique of ideological extremism, mob mentality, and injustice. It explores how personal grievances, and hidden agendas can warp legal proceedings.
The play remains relevant today as a warning against the dangers of groupthink and moral panic.
BLT actively encourages auditionees from ethnic minority communities
You do not have to be a member of the company to audition, but if you are cast you must join.
M and F represent the gender of the character and that will not change but we are happy for people of any gender to audition to play the roles.
Characters
For dramatization purposes the ages of the players may differ from the real life Salem inhabitants and they are only ‘guidelines’ please do not be put off by ages.
Rev. Samuel Parris - 35-45 (M). Puritan minister of the Church in Salem. Uncle of Abigail Williams father of Betty Parris. Self serving, power hungry, insecure. Dislikeable, controlling, obsessed with reputation. Rev. Parris stumbles across the girls led by Tituba dancing in the woods ….dancing is forbidden ….and so the witchery begins …. Powerful preaching voice
Abigail Williams - 17-25 (F). Antagonist and Villain. The real Abigail Williams was only 11 or 12 years old during the Salem trials, however, we are playing her older to enable the proposed relationship between she and John Proctor. One of the first girls to falsely accuse neighbours of witchcraft she is profoundly dishonest, ego-centric, opportunistic – willing to do whatever it takes to get what she wants. She turns the entire town against itself. Niece to Rev Parris. Physical / Movement required.
John Proctor - 40-60 (M). A landowner – and the plays tragic hero. Honest upright and blunt spoken, a good man but one with a secret fatal flaw – an affair with Abigail Williams – which contributes to jealousy and ultimately sets the entire witch hysteria in motion. A proud man who places great emphasis on his reputation. John Proctor was one of the first men to be executed for witchcraft along with his wife and all of his children. (Note: John was actually about 60 but we are playing and therefore can be flexible in age here).
Elizabeth Proctor - 35-50 (F). Quiet, loving, religious, a stereotypical puritan woman, strong in faith and dedicated to her family. Whilst she represents the ideal wife and mother – she lacks self esteem and struggles to recognise her own worth. She appears plain and a little sickly. She is aware of John’s affair with Abigail and struggles to forgive him. Elizabeth pleads the belly to escape execution. Note: I will be looking to cast a believable couple in John and Elizabeth Proctor.
Tituba - 30+ (F). Enslaved native American woman residing and working in the Parris household. She loves little Betty Parris. Probably taken into the home as young as 12 years old and grew up as part of the Parris family. Tituba leads the dancing in the woods with the girls of Salem and is one of the first women to be accused of witchcraft. There is little known information about Tituba in the records of Salem though she was the first to confess to witchcraft. Kind, caring, honest but also vulnerable and easily manipulated. Physical.
Mary Warren - 17-25 (F). A young servant girl in the Proctor household. She is an accuser in the witch trials and confesses to witchcraft herself. She is fickle, submissive, fearful and weak. She is easily influenced by others (in particular Abigail Williams) and symbolises just how easily a society can be moulded and shaped by panic. It is clear that she does not really believe that she is witched but allows herself to be swept up into the frenzy. Physical.
Rev John Hale - 40-45 (M). John Hale is the puritan pastor of Beverly, Massachusetts. One of the most prominent and influential ministers associated with the witch trials, presented as a knowledgeable and confident expert in identifying witchcraft but his belief in the trials is ultimately challenged by evidence and his growing awareness of injustice. Begins as a leader in the witch hunt, encouraging confessions and supporting the courts proceedings, but later denounces the trials and attempts to save lives. He ends a broken man realising his part in the execution of innocents.
Betty Parris - Very young. 10-18 (F). Betty is a child, probably only about 10 – daughter of Rev Parris who falls into a strange comatose state after being caught dancing in the woods with other girls and Tituba. Her illness and that of another young girl, Ruth Putnam, initially fuel the rumours of witchcraft in Salem. Her fear of punishment for dancing leads her to follow Abigail’s lead and accuse others of witchcraft. Young, fearful, vulnerable easily influenced by others. I’d like a very young looking adult or possibly a confident and mature child actor. Movement /flexibility required.
Mrs Ann Putnam & Sarah Good - 40-50 (F). Ann Putnam wife of a landowner, is well known in the town as a hysterical, dramatic gossip and very jealous woman. She is ‘haunted by dreams’ and obsessed with the loss of her seven babies and unable to focus on anything else. Ruth Putnam is the only surviving child of Thomas and Ann Putnam – she is asked by her mother to try to conjure the spirits of her seven dead siblings. She is also an official in the court. (Doubles with Sarah Good).
Thomas Putnam - 40-60 (M). Landowner who regards himself as intellectually superior to the majority of Salem’s population. As such, he is a vindictive, resentful person, holding grudges and running campaigns against other people in the town – in particular with regard to land disputes. Unsurprisingly, many accusations against people in Salem are in the handwriting of Thomas Putnam.
Rebecca Nurse - 70+ (F). Rebecca is a prominent and respected older woman in the Puritan community known for her wisdom, piety, and upright character. She is a calm voice amidst the chaos. Despite her good reputation she is falsely accused of witchcraft. Angelic, compassionate and humble.
Francis Nurse - 70+ (M). A landowner in Salem who is responsible for settling legal disputes amongst the people. A fair minded man, Francis is well respected and generally considered a good man but many people resent his rise to wealth. Arguments over land have resulted in physical fights with Thomas Putnam.
Giles Corey - 70-80 (M). An English-born farmer accused of witchcraft along with his wife Martha. After being arrested he refused to enter a plea of guilty or not guilty – He was then tortured by the form of applying weight upon his person – he was dead after 3 days of weight being piled upon him.
Deputy Governor Danforth - 60+ (M). Thomas Danforth is a successful, intelligent and highly respected Puritan judge. His job is to oversee the persecution of those accused of witchcraft. He is dilusional, authoritative and arrogant. He believes that his word is final. Responsible for the deaths of many innocent people and for the destruction of John Proctor’s family.
Judge Hathorne - 40+ (M). A puritan judge arrives in Salem with Gov Danforth. He is ‘chief interrogator’ and prosecutor in the trials. Bitter, remorseless, sides with Abigail in the courtroom. Known as the ‘Hanging’ judge.
Mercy Lewis - 17-25 (F). A young unmarried servant girl to the Putnams. Sly, merciless, cares for Ruth Putnam and friendly with Abigail Williams. Vulnerable to manipulation and pressure. Participates in the ritual in the woods.
Susanna Walcott - 17-25 (F). A nervous and hasty girl, younger than Abigail. She works at the Doctor’s office – participates in the ritual in the woods. Falsely accuses others of witchcraft at the trials.
Cheever/Herrick/Hopkins/Willard - 20+ (M or F). Will combine/double these characters to make one larger role for a confident actor – Likely to just be called ‘Marshall’ or similar.
Please note that some of these roles are minor yet very important. Girls who have minor roles will be heavily involved in the court case movement and the preamble piece involving the dancing in the woods.
Nettie is seeking a sound and lighting tech to operate during the run and a stage manager.
The Wild Washerwomen
Audition Notice
The Wild Washerwomen
By Ella Turk-Thompson
From ‘The Wild Washerwomen’ by John Yeoman and Quentin Blake
Directed by Ella Turk-Thompson
Sunday 8th June 2025, 2pm
Production Dates
20th -22nd August at 2pm, 23rd August at 11am and 3pm at Brighton Open Air Theatre
Rehearsals
29th June – 19th August - Tuesdays, Fridays, Sunday
If you are unable to make the audition date and for more information and audition pieces, please contact Ella on ellatommo@hotmail.com
‘Look out, the wild washerwomen are coming!’
Once upon a time, there were seven unhappy washerwomen. They had far too much washing to do and the owner of the laundry, Mr Balthazar Tight, was simply dreadful!
So, one day, they decide to go on strike.
Delighted by their newfound freedom, they undertake a wild rampage through the land. Seemingly uncontrollable and unstoppable, the Wild Washerwomen careen through village after village with their goat cart, stealing hats, climbing trees, swinging on bell ropes and having a marvellous time! Nobody can stand in their way. That is until seven woodcutters come along with a cunning plan up their sleeves, eager to teach the washerwomen a lesson. But perhaps the washerwomen will teach the woodcutters a thing or two instead, and everyone might just live happily ever after…
A brand new adaptation of this wonderful, anarchic, classic children’s picture book.
A family musical with lots of singing and running about, heaps of silliness, and people getting very dirty and also very clean.
BLT actively encourages auditionees from ethnic minority communities and any of the below parts could be played by any race.
You do not have to be a member of the company to audition, but if you are cast you must join.
In this particular production the roles are all age and gender blind. It is very much an ensemble piece so rocking up with only a vague idea of who you wish to play is totally fine. It is also fine to be completely specific. Everyone will be involved in some singing but the solos are sung by ‘Winnie’, ‘Mr Balthazar Tight’ and ‘Lysander’. If you want to go for these roles please prepare a song for the audition. Do get in touch for advice on song choice: Winnie has quite a virtuosic song but Tight and Lysander have more character-type songs and there is no need to have a brilliant voice, just boundless enthusiasm. All songs are original and can be transposed into any key.
Characters
Minnie - Minnie grew up the eldest of 11 children and excelled at laundry from the age of six. To this day she has never been beaten by a stain. Or in an arm wrestle. Something of a matriarch. Any age
Winnie - Before becoming a washerwoman Winnie would come to the river for a quick dip in the cold water and then eat her lunch on her favourite rock under the tree. After she became a washerwoman there was no time for such things. Has a solo song. Any age.
Molly - Molly and Dolly are sisters, twins in fact, although not identical. They agree on almost everything but disagree strongly about spiders and marmite. Any age.
Dolly - Molly and Dolly are sisters, twins in fact, although not identical. They agree on almost everything but disagree strongly about spiders and marmite. Any age.
Dottie - Dottie’s favourite food is mackerel pate. She likes it best on crisp brown toast. She ate it a few times as a child but has never been able to afford it since. Any age.
Lottie - Lottie has a fear of the river where the women do all their washing because she cannot swim. She often has nightmares about falling in and being swept away all tangled up in a set of dirty pyjamas. Her friends assure her repeatedly that they will never let this happen, that they would dive in without hesitation to rescue her. And the pyjamas. Any age.
Ernestine - Ernestine and her sister Clementine travelled from their home in a distant village to seek their fortunes here. Clementine found work in a tea shop where she is given lunch and tips. And Ernestine became a washerwoman at the Laundry of the notorious Mr Balthazar Tight. Any age.
Mr Balthazar Tight - Tight by name and nature. The owner of the laundry and a very mean little man who keeps the washerwomen working from morning till night. Has a solo song and possibly a top hat… Any age.
Perkin - The unfortunate bringer of bad news and Mr Tight’s employee. Perkin also narrates the story and is a pretty good egg. Any age.
Lysander - A goat, once Perkin’s but stolen by the washerwomen. Very few lines but a pivotal solo song. Very physical role. Any age.
Chip - A Woodcutter. Any age
Ash - A Woodcutter. Probably the brains. Any age.
Blaze - A Woodcutter. Any age.
Bast - A Woodcutter. Any age.
Rowan - A Woodcutter. Any age.
Flitch - A Woodcutter. Any age.
Riven - A Woodcutter. Afraid of goats.
Boy and Townspeople - A chorus of general raucousness, can double with the woodcutters. Lots of singing and larking about.