User login
Who's online
There are currently 1 user and 235 guests online.Online users:
- vjensen
Navigation
Syndicate
This topic gets my blood boiling!! A veery controversial topic. I find nothing worse than going to an auditon, trying your hardest, doing a great audition, only to find out (or not which is most often the case!) that someone already has that part! I think it is fair to say that Director's need to have enough people in mind in order to cast a play (or else there would be no point in performing it), however, these should be suggestions only, and not then develop a closed mind to other possibilities, or new people that happen to audition for the part/s. At a theatre where I have been a member for a couple of years, there is a standard unspoken rule, that there are certain directors who you don't bother to audition for, because they have a completely closed mind! What upsets me is, how does a new person entering into a theatre group to get cast in a play, if they won't be looked at as a possiblity? In my case, I have had 20 years experience in amateur theatre, and have not been able to prove myself, because some groups don't even do one-act plays, so there is no forum to display your talent. I think it is a shame, that to get into a play, I have to travel all over the metro area to audition, because the theatres that are close to me really want proven talent in their shows!
What do others think?
Just thought I would prompt a little debate/discussion on a topic which is close to my heart.
Chris.
previous forum topic | next forum topic | email this forum topic | 613 reads
Theatre students in English and Cultural Studies at UWA present contemporary English playwright Howard Barker’s rewriting of Thomas Middleton’s early-1620s Jacobean revenge tragedy Women Beware Women. Middleton’s play was last performed at UWA in the Octagon Theatre in 1982, directed by the then director-in-residence Timothy West with a cast comprising English Department staff and members of the UWA Grads and student theatre communities. This radical reworking utilises most of the first four acts and language of Middleton’s play in its first half, with a second half comprised of Barker’s mixture of vividly poetic and robust vernacular language that takes the trajectories of the protagonists towards a denouement which leaves most of the characters surviving, but which shatters the ducal state of greed, misogyny, and moral corruption – a denouement which Middleton saw fit to end with a conventional revenge tragedy massacre of his troublesome protagonists. Suitable for audiences 15+.
Tickets at Dolphin door.