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The Darlington Theatre Players are pleased to announce the auditions for the end of year show –Lerner and Loewe’s My Fair Lady.
The production is directed by Douglas Sutherland-Bruce (Peter Pan, Romeo and Juliet and many others) and musically directed by Andrew Dobosz (Babes in the Wood, Tutankhamun, Bare, The Wizard of Oz, Malice in Wunderland and many others).
Set design is by Richard Coleman and Wardrobe by Marjorie DeCaux.
Auditions will be held on Saturday the 24th July 9.30am to 4pm, and Sunday 25th July 2pm to 6pm at Marloo Theatre, Marloo Road, Greenmount. Booking an audition time is advisable. Bookings may be made by ringing: Douglas on 0418 934 850 or Linda Redman (Assistant Director) on 9224 2479.
You should, if auditioning for a singing role, bring a backing CD,sheet music or be prepared to sing a capella.
The following roles are available:
(Ages are stage ages only, not necessarily performers’ ages)
| Eliza Doolittle | 18-25. Must be able to hold a convincing cockney accent as well as standard English. Singing part. | |
| Professor Henry Higgins | 40 – 50. Must be able to speak standard English. Singing part. | |
| Alfred P Doolittle, dustman | 50 upwards. Must be able to hold convincing Cockney accent. Singing part. | |
| Colonel Pickering | 45-70. Singing part. | |
| Mrs Higgins | 65 upwards. Non-singing part. | |
| Freddie Eynsford-Hill | 25-35. Singing part | |
| Zoltan Karpathy | 30 – 40. Hungarian accent or reasonable facsimile thereof. Non-singing part. | |
| Mrs Pearce (housekeeper) | 30 upwards. Singing not required, but preferable. | |
| Mrs Eynsford-Hill | 45 upwards. Non-singing part. | |
| A large chorus of costers, servants, ball-goers, race-goers and others is required. Singing will be a distinct advantage and dancing an additional one. |
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After getting a divorce from C.K. Dexter Haven, Tracy Lord prepares to marry again… however, in the days before her wedding, Haven and a reporter, posing as her brother’s friend, show up at her doorstep. From there, Tracy is forced to choose among her past love, her present love and her new love. Amidst the situation comedy, and fast-paced dialogue, Barry explores several contemporary social issues, such as society’s perception of class differences in America and attitudes towards adultery and divorce in the 1930’s.