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Jane Austen’s PERSUASION
Jane Austen’s PERSUASIONAn adaptation of Jane Austen’s last novel, Persuasion features her most mature heroine, Anne Elliot. Anne gets a second chance at love with Navy Captain Frederick Wentworth when her family rent out their home to Captain Wentworth’s sister and her husband. Eight years after Anne was persuaded to end their engagement, they must navigate the complexities of their feelings and changing social positions.
Metro Theatre is seeking a cast of 10 versatile actors , 6 women and 4 men, to play out their Jane Austen fantasies! Dashing sea captains, vain cads, poor relations, social climbers, hypochondriacs and heartbroken lovers. Persuasion has it all! Roles for every age between 18 and 60.
Directed by: Joan Bryans
Show Run Dates:
Thursday to Saturday, March 30 – April 20, 2019
Sunday matinees are April 7 and April 14
Auditions Continue
When: Tuesday, January 29 from 7 pm
Can’t make that date. It may be possible to see you another time – send us a note with availability
Where: Metro Theatre, 1370 SW Marine Drive, Vancouver
Characters Needed: 6-female; 4-male
Anne Elliott: 27. Quiet, kind, unassuming, but strong in character
Elizabeth Elliott: 29. Beautiful, proud, vain,
Mary Musgrove: 23. (Also play Mrs. Smith 30). Hypercondriac, temperamental
Louisa Musgrove: 19. bubbly, happy, outgoing (also plays Lady Dalrymple -charming dowager)
Lady Russell: 45-60 rich widow, keen to tell others what they should do
Mrs Penelope Clay: 35-40. Widow with 2 kids, while pleasant on surface is actually a gold digger. (May also play Mrs. Sophie Croft- kind, agreeable)
Mrs. Harville: makes up for her lack of refinement with her good will.
Sir Walter Elliott: 54, widower, a fop, vain in his person and his station in life,
Frederick Wentworth: 30-40, good looking, rich, at the peak of his career, smart, proud.
Admiral Croft: warm, unaffected, accomplished (may also play Captain Harville open, unaffected, lame from battle injury)
Charles Musgrove: 25-35 agreeable, sportsman, good husband and father
Mr. Benwick: sailor, melancholic due to death of fiancée
Mr. Elliot: well mannered, polite and affable on the surface but discovered to be cold blooded, manipulating, without conscience.
Auditions Continue + Callbacks : Tuesday, January 29 at 7:00pm
Rehearsal period: February through opening night
Requirements: Please review the SIDES on the right side of this webpage opposite the Audition Notice when in Desktop View Mode or at the end of the Audition page if viewing on a mobile device OR download the SIDE PDFS from this list:
Admiral Croft, Louisa,-Frederick
No appointment required. Actors should come prepared to read the character of their choice from the sides.
Notes: This is a NON-EQUITY production. All roles at Metro Theatre, are Volunteer positions. People will be seen on a first come/first served basis, but be prepared that you may have to sit around and wait as you may be needed to read opposite someone else who is auditioning.
Ethno-cultural mandate or ethnocultural casting statement:
We encourage submissions from artists with a broad range of backgrounds including, but not limited to: race, ethnicity, indigeneity, gender, and sexuality. We encourage anyone to audition for any role as we will be casting on who is best for the role.
Resume and Headshots:
○Please note any conflicts with auditions/callbacks or the run at this time.
○Please let us know if there is a specific part you are interested in.
You can indicate your interest by filling in the Persuasion_Fillable Audition Formand SUBMITTING it with the application below
OR
PRINT out the Persuasion_Fillable Audition Form and bring it and your headshot with you to the audition.
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Communicating Doors
A Comedy – Written by Alan Ayckbourn
The play is an intricate time- travel comic thriller, set in approx… 2022, 2002, and 1982. Many of the characters play themselves at 2 different stages of their lives.
Reece and Julian are international businessmen who have been involved in many shady/ illegal deals over the years; gambling with currencies, creating bankruptcies, arms deals, money-laundering etc. Julian has murdered Recce’s first wife and is planning to murder the second. The only way to prevent this is by travelling backwards in time and re-write what has happened.
Directed by: Catherine Morrison
Show Run Dates:
Thursday to Saturday, May 4 to May 25, 2019
Sunday matinees are May 12 and May 19
When: Wednesday, January 23 at 7:30PM
Where: Metro Theatre, 1370 SW Marine Drive, Vancouver
Characters Needed: 3-female; 3-male
Reece – a businessman – aged 30 and 70
Jessica – his first wife (already dead when the play opens) aged 25 and 45
Ruella – his second wife (about to be murdered) , aged 45
Julian- his business partner (and the murderer) aged 45 and 65
Phoebe ( “ Poopay” is her “working name “ ) – a prostitute /Dominatrix aged early 30’s
Harold – The hotel detective aged 35 and 55
Callbacks: TBA
Rehearsal period: TBA through opening night
Requirements: English accents. No appointment required. Auditions will be cold readings from the script; the director will choose which scenes the group will read.
Notes: This is a NON-EQUITY production. All roles at Metro Theatre, are Volunteer positions. People will be seen on a first come/first served basis, but be prepared that you may have to sit around and wait as you may be needed to read opposite someone else who is auditioning.
Ethno-cultural mandate or ethnocultural casting statement:
We encourage submissions from artists with a broad range of backgrounds including, but not limited to: race, ethnicity, indigeneity, gender, and sexuality. We encourage anyone to audition for any role as we will be casting on who is best for the role.
Resume and Headshots:
○Please note any conflicts with auditions/callbacks or the run at this time.
○Please let us know if there is a specific part you are interested in.
You can indicate your interest by filling in the CommunicatingDoors_Fillable Audition Form and SUBMITTING it with the application below
OR
PRINT out the CommunicatingDoors Audition Form and bring it and your headshot with you to the audition.
UP and COMING
A Comedy, Contemporary – Written by Eric Chappell
In this zany farce, potential Prime Ministerial candidate, Philip Conway, is not having a good night. While at a political conference at a Brighton hotel, he is on the verge of a full blown sex scandal! As if a scantily clad actress in his room isn’t problem enough, he is plagued by inquisitive political rivals at every turn. Meanwhile the lobby is full of press, the streets are full of protesting students and there are rumours of an assassination plot.
Directed by: Alison Schamberger
Show Run Dates:
Thursday to Saturday, February 16 to March 09 2019
Sunday matinees are February 24 and March 03
When: Monday, November 12 & Tuesday, November 13 at 7:00PM
Where: Metro Theatre, 1370 SW Marine Drive, Vancouver
Characters Needed: 2-female; 5-male
HIGGS: security officer, mid 30s
RT HON PHILIP CONWAY MP: Deputy Prime Minister, later 40s
VICKY: actress, mid 20s
LORNA FISKE: Deputy PM’s assistant, mid 30s
RT HON GEORGE REYNOLDS: Home Secretary, mid 40s-early 50s
LIONEL BERRYMAN MP: 50s
RT HON JOHN HENDERSON MP: Prime Minister, 60s
Callbacks: November 20 at 7:00PM
Rehearsal period: November through opening night
Requirements: No appointment required. Auditions will be cold readings from the script; the director will choose which scenes the group will read.
Notes: This is a NON-EQUITY production. All roles at Metro Theatre, are Volunteer positions. People will be seen on a first come/first served basis, but be prepared that you may have to sit around and wait as you may be needed to read opposite someone else who is auditioning.
Ethno-cultural mandate or ethnocultural casting statement:
We encourage submissions from artists with a broad range of backgrounds including, but not limited to: race, ethnicity, indigeneity, gender, and sexuality. We encourage anyone to audition for any role as we will be casting on who is best for the role.
Resume and Headshots:
○Please note any conflicts with auditions/callbacks or the run at this time.
○Please let us know if there is a specific part you are interested in.
You can indicate your interest by filling in the UpAndComing_Fillable audition form and SUBMITTING it with the application below
OR
PRINT out the UpAndComing Fillable Audition Form and bring it and your headshot with you to the audition.
MURDER ON RESERVE
A Mystery – Written by Thomas Hischak
In the small midwestern town of Sanford, the impossible has happened: someone has strangled crotchety old Faulkner Seaton in the reference section of the local library while the dusty old landmark was open. Most puzzling of all is the fact that nobody in the place saw or heard a thing. Vivid characters and a plot that keeps the audience guessing
Directed by: Don Briard
Show Run Dates:
Thursday to Saturday, January 19 to February 09, 2019
Sunday matinees are January 27 and February 03, 2019
Auditions
When: Tuesday, October 09 & Wednesday, October 10 at 7:00 PM
Where: Metro Theatre, 1370 SW Marine Drive, Vancouver
Characters Needed: 5-female; 4-male
Wiley Myers: 60 – 70, a retired high school teacher
Kelly Perkins: a high school senior who works at library P/T; a bright, popular girl
Fern Mansfield:40, middle-aged woman who works at the library; sly, knowing, good sense of humour
Judith Karr: 40’s, the asst librarian; a faded woman in her forties; continual distressed look about her
Ethan Binnie: 50s, head librarian; an exacting, humourless dictator, older than his years
Inspector Trigg: 40 – 60, a detective, nobody’s fool
Lt. Elizabeth Roberts: 30 to 40, Trigg’s assistant; a knowing woman, quiet but alert
Roy Templeton: late 30’s, a businessman and speculator; a shrewd but likeable man
Mrs. Chesley: 70’s, an elderly widow; a demanding hypochondriac
Callbacks: date to be determined
Rehearsal period: There will be three rehearsals per week until opening night
Requirements: No appointment required. Auditions will be cold readings from the script; the director will choose which scenes the group will read.
Notes: This is a NON-EQUITY production. All roles at Metro Theatre, are Volunteer positions. People will be seen on a first come/first served basis, but be prepared that you may have to sit around and wait as you may be needed to read opposite someone else who is auditioning.
Ethno-cultural mandate or ethnocultural casting statement:
We encourage submissions from artists with a broad range of backgrounds including, but not limited to: race, ethnicity, indigeneity, gender, and sexuality. We encourage anyone to audition for any role as we will be casting on who is best for the role.
Resume and Headshots:
○Please note any conflicts with auditions/callbacks or the run at this time.
○Please let us know if there is a specific part you are interested in.
You can indicate your interest by filling in the MURDERonRESERVE Audition Form and SUBMITTING it with the application below
OR
PRINT out the MURDERonRESERVE_Fillable Audition Form and bring it and your headshot with you to the audition.
KING ARTHUR’S COURT
– A Traditional British Pantomime
Written by Catherine Morrison
Director: Chris Adams
Choreographer: Lyndsey Britten
Music Director: Katie-Rose Connors
Producers: Catherine Morrison and Alison Schamberger
Join Arthur in a whimsical tale as he grows from a boy to a king. His interactions with Merlin and Guinevere, as well as his Knights of the Round Table, keep this energetic musical moving faster than you can say “Lancelot”
Show Run Dates:
December 14th, 2018 to January 6th, 2019.
There are no two show days, this year.
When:
October 2018 – send us your application
Thursday, August 23rd and Friday, August 24th at 7:00PM
Kids Only August 26th at 1 pm
Where:
Metro Theatre, 1370 SW Marine Drive, Vancouver
Character Breakdowns:
King Arthur: to play 18-25. Arthur is our leading man. Charismatic, loyal, brave, and in love. He moves from youth to King and the journey is large. Lots of acting and singing, minimal dance.
Young Arthur: to play 12-15. The Younger version of Arthur shows us what he was like a boy, figuring out his strengths and weaknesses. Acting and singing, minimal dance.
Guinevere: to play 18-25. Guinevere is our leading lady. She is strong, independent and full of life. She is incredibly smart and has a huge heart. Acting, singing, and dancing needed.
Merlin/Merlinda: to play… old. Merlin/Merlinda has been around the block a few times. He/She is all knowing and all powerful, but yet, a little bit silly. Lots of acting and singing, minimal dance.
Mopsy: Any Age/Any Gender. Mopsy is the silly and endearing servant of the castle. He/she talks directly to the audience and has a lot to say. Large acting role with minimal singing and dancing.
Mrs. Baker: Usually cast Male, Usually over 30. Mrs. Baker is the “Dame” role. Big hair, big eyeshadow, and big… personality. Mrs. Baker is loved by some and hated by most but is the envy of none. Many monologues delivered to the audience, Improv skills a must. Large acting role with minimal singing and dancing.
The Demon: to play 25-35. The Demon keeps the plot moving with an endless desire to beat the Good Fairy. Needs to be smart, cunning, and a little scary, but don’t worry, the Demon never wins. Large acting role with minimal singing and dancing.
The Good Fairy: Any Age. The ultimate fairy godmother. Innocent, full of joy, think Glinda the Good Witch. Talks directly to the audience and always Boo’s the Demon. Large acting role with minimal singing and dancing.
The Knights of the Round Table: Any Age/Any Gender/Any Look. There are 7 Knights needing to be all shapes and sizes. They are good parts with lots of singing, dancing, and acting. (Dance experience is not necessary, but a willingness to learn and have fun is).
The Kids Ensemble: to play 5-12. We are looking for young energetic singers and dancers for the kids’ ensemble. They will be woven into the plot and their strengths will be used throughout the show. Lots of singing and dancing!
The Adult Ensemble: Any Age/Any Gender. We need a large (20+) ensemble of Singers, Dancers, or Actors. You must be strong in at least one of the three, with a willingness to learn and have fun in the ensemble. Many many smaller roles will be cast from the ensemble, most ensemble members will be given characters with lines to speak or sing. Lots to sing, dance, and act!
Callbacks:
August 26, 2018 afternoon/evening
Rehearsal period:
September 30, 2018 – Opening Night
● Rehearsals will begin Sunday, September 30th and run Sundays (Mornings and Afternoons), plus Tuesday and Thursday Evenings.
○ More evening rehearsals will be needed during Tech Week. A full rehearsal schedule, including these added dates, will be provided before rehearsals begin.
Audition Notes:
Panto’s are fun! We want you to come into the audition with energy and excitement! So, show us how fun you are!
Requirements:
Auditions will be cold readings from the script; the director will choose which scenes the group will read.
● There will be an accompanist provided. Please bring 2 contrasting songs. They do not have to be long, but need to show us your personality!
○ Please expect to stay up to 1.5 hours.
○ There will be a movement call after you sing. Please bring comfortable clothing to move in.
Ethno-cultural mandate or ethnocultural casting statement:
We encourage submissions from artists with a broad range of backgrounds including, but not limited to: race, ethnicity, indigeneity, gender, and sexuality. We encourage anyone to audition for any role as we will not be casting based on gender, but on who is best for the role.
This is a NON-EQUITY production. All roles at Metro Theatre, are Volunteer positions. People will be seen on a first come/first served basis, but be prepared that you may have to sit around and wait as you may be needed to read opposite someone else who is auditioning.
Resume and Headshots:
Submit by August 16, 2018
○Please note any conflicts with auditions/callbacks or the run at this time.
○Please let us know if there is a specific part you are interested in.
You can indicate your interest by filling in the Panto2018_Fillable Audition Form and SUBMITTING it with the application below
OR
PRINT out the Panto2018_Fillable audition form and bring it and your headshot with you to the audition.
BUSYBODY – A Comedy
Written by Jack Popplewell
This Busybody is a chatterbox and thinks herself a sleuth to boot. When office cleaner, Lily Piper’s work is interrupted by her discovery of a body, she is determined to solve the mystery, even when the body disappears. The wise-cracking Mrs. Piper drives her Ex-beau, the police superintendent absolutely crazy in the process.
Directed by: Rebecca Walters
Show Run Dates:
Thursday to Saturday, October 27 to November 17, 2018
Sunday Matinees are November 04 and November 11
When:
Monday, July 30 and Wednesday, August 01 at 7:00PM
Where:
Metro Theatre, 1370 SW Marine Drive, Vancouver
Characters Needed:
4-female; 4-male
Mrs. Piper – 50’s + – Office cleaner at Marshall Developments, London. A busybody.
Richard Marshall – 40’s + – Boss of Marshall Developments Ltd.
Detective Constable Goddard – 20’s – 30’s.
Detective Superintendent Baxter – 50’s + Gruff.
Claire Marshall – 30’s – Wife of Richard Marshall. Glamorous.
Marian Selby – 34 yrs – Private Secretary. Pining for her boss.
Robert Westerby – 31 yrs – Accountant. Handsome, charming.
Vickie Reynolds – 19 yrs – Typist. Fashionable and a bit boy-crazy.
Callbacks:
Saturday, August 04 at 1:00PM
Rehearsal period:
Late August through until opening night.
You can indicate your interest by filling in the BUSYBODY_Fillable Audition Form and SUBMITTING it with the application below OR PRINT out the BUSYBODY_Fillable Audition Form and bring it and your headshot with you to the audition.
CLIFFHANGER – A Thriller
Written by James Yaffe
Mingling suspense and humour, this ingeniously plotted thriller follows all the unexpected twists and turns that result when a seemingly mild-mannered professor of philosophy is driven to apparent murder to protect his reputation and career
Directed by: KAYT ROTH
Show Run Dates:
Thursday to Saturday, September 15 to October 06, 2018
Sunday matinees are September 23 and September 30
Characters Needed: 2-female; 3-male
Henry Lowenthal – a philosophy professor, 40-70
Polly Lowenthal – his wife, 40-70
Edith Wilshire – a philosophy professor, in her 40-50
Melvin McMullen – a student, nineteen
Officer DeVito – a police lieutenant, in his/her thirties
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AUDITION NOTICE:
AUDITION NOTICE:She Stoops to Conquer
on October 20, 2017 in 2017 – 2018 SEASON, Auditions
Auditions for this show adapted and directed by Joan Bryans will be held at the theatre on Monday, November 13 at 7:00 pm – 9:00 pm. Callbacks on Saturday, November 18th 1 pm -4pm. SHOW RUNS: February 24 – March
![Casting Call for Metro Theatre]()
SCRIPT SIDES: She Stoops to Conquer
on October 19, 2017 in 2017 – 2018 SEASON, Auditions
Hello ACTORS Welcome to our Script Sides page for She Stoops To Conquer. The audition is Monday, November 13, 2017, 7 -9 pm from script sides as presented in this post. Here are the printable PDF’s of the Script Sides: HARDCASTLE, DIGGORY, ROGER, THOMAS, HANAH KATE & CONSTANCE MRS. HARDCASTLE (with Hardcastle) . Sides for …
![Show already cast at Metro Theatre]()
AUDITION NOTICE:
Shakespeare in Hollywood
on October 17, 2017 in 2017 – 2018, SEASON, Auditions
Auditions for this show with Playwright: Ken Ludwig, Director: Catherine Morrison, Producer: Alison Schamberger are now open. AUDITIONS will be held at the theatre on Tuesday, November 21, 2017 at 7:00 pm. Callbacks on Saturday, November 25 at 1pm.
Characters Still Needed for Cinderella Panto
on September 21, 2017 in 2017 – 2018 SEASON, Auditions
Join the CAST of our 34th ANNUAL CHRISTMAS PANTO Characters Still Needed Demon (m) – any age. Brash, sometimes rude, and can grab the attention of the audience Stepsisters ( 2 Dames ) – to be played by men, ages 25-50. Loud, brassy and funny.
Great comedic timing is key!
![Show already cast at Metro Theatre]()
AUDITION NOTICE:
Murder by the Book
on September 13, 2017 in 2017 – 2018 SEASON, Auditions
METRO THEATRE is holding auditions for this play Directed by: Stephen Torrence. They will be held at the theatre on Sunday, October 29, 2017 from 7:00 – 9:30 pm and Monday, October 30, 2017 from 7:00 – 9:30 pm. Please arrive no later than 9 pm. Late comers will NOT be seen. Callbacks: TBA
AUDITION NOTICE:
Cinderella ~ Pantomime
on August 26, 2017 in 2017 – 2018 SEASON, Auditions
Auditions for CINDERELLA ~ Our Annual Christmas Pantomime, written by: Catherine Morrison, Directed by: Mike Mackenzie, Music Direction: Theo Budd, Choreography: Sam Bregoliss, will be held at the theatre on Sunday, September 17th – Kids only:1 – 3 pm Adults: 3:30 – 6 pm
AUDITION NOTICE :
CALENDAR GIRLS
on July 5, 2017 in 2017 – 2018 SEASON, Auditions
This show has been cast. Thank You. METRO THEATRE is holding auditions for CALENDAR GIRLS Written by: Tim Firth, Directed by: Alison Schamberger, on Monday, July 24th and Tuesday, July 25th, 2017, from 7 – 9 pm Callbacks: Sunday, July 30th and Monday, July 31st, at 7:00 pm
AUDITION NOTICE:
HILDA’S YARD
on May 29, 2017 in 2017 – 2018 SEASON, Auditions
This show has been CAST. Thank you. METRO THEATRE is holding auditions for HILDA’S YARD, Written by: Norm Foster, Directed by: Kayt Roth, on Monday, June 26 and Tuesday, June 27, 2017 at 7:30 PM. Callbacks: Thursday, June 29 at 7:30 pm
Second AUDITION:
STRAIGHT & NARROW
on December 13, 2016 in 2016 – 2017 SEASON, Auditions
Auditions for STRAIGHT and NARROW, Playwright: Jimmie Chinn, Directed by Catherine Morrison, are on Wednesday, January 25, 2017 at 7:30 PM at the Metro Theatre. Show runs: April 22 to May 13, 2017 Synopsis – Bob and Jeff have been living together…
AUDITION NOTICE:
STRAIGHT and NARROW
on November 27, 2016 in 2016 – 2017 SEASON, Auditions
Auditions for STRAIGHT and NARROW, Playwright: Jimmie Chinn, Directed by Catherine Morrison, are on Monday, January 9 and Tuesday, January 10, 2017 at 7:30 PM. Show runs: April 22 to May 13, 2017 Synopsis A gay couple who run a kitchen renovation…
Jane Austen’s PERSUASION
Audition Sides
SIDE: Anne, Lady Russell
ANNE: A few months more, and he, perhaps, may be walking here. (Lady Russell catches Anne up) Of all people, Lady Russell, to suggest the Crofts!
LADY RUSSELL: Calm yourself, my dear. Frederick’s connection to the Admiral is not so great as to make a meeting likely.
ANNE: Frederick is Mrs Croft’s brother! And if I must meet him again… How can I be in company with him, and everyone know what passed between us – ?
LADY RUSSELL: But consider, Mary was at school, wasn’t she? Only Sir Walter and Elizabeth knew. It appears your father has no recollection of Mr Wentworth, and, in fairness, Elizabeth’s indifference to you seems perfect. Anyway, you wouldn’t be here, would you?
ANNE: But I’ll visit you at Kellynch Lodge.
LADY RUSSELL: This is wildly running ahead of events… (Anne’s eyes fill, and she and Lady Russell embrace.) Has time not healed the worser wounds, Anne?
ANNE: Eight years is little more than nothing.
LADY RUSSELL: Nearly a third part of your own life.
ANNE: While Frederick’s been around the world, distracted by war and glory! I’ve only had an uneventful residence in the country to ameliorate my agitation and my sorrow; the sameness and the nothingness to distract me.
LADY RUSSELL: You were too young, and he had nothing. To be snatched off by a stranger – a man who had only his recklessness and his intemperance to recommend him… Wasn’t it my duty to urge prudence and self-denial?
ANNE: Yes, prudence in my youth – perhaps romance when I’m old.
LADY RUSSELL: You regret being persuaded by me.
ANNE: I cannot help but reflect on what I read in the newspapers and the Navy lists – that all his confidence, his expectations of wealth have been justified.
LADY RUSSELL: Well, when a young person turns to you for advice, I hope you’ll persuade her to act with all the benefit of hindsight –
ANNE: Lady Russell, I don’t blame you.
LADY RUSSELL: Now dry those tears. Within the next week I’m to visit relations in the North. The others are to Bath.
ANNE: (Scornful) Oh Bath!
LADY RUSSELL: Stay with Mary at Uppercross, and when I return for Christmas, come to me at Kellynch Lodge. You know you can always command a home with me.
SIDE: Sir Walter, Elizabeth, Mrs. Clay
2. September 1814.
Kellynch Hall, Somersetshire. A room with several mirrors.
Sir Walter Elliot and his daughter Miss Elizabeth Elliot are entertaining Mrs Clay.
SIR WALTER: I was remarkably handsome in my youth, though am still accounted very fine.
MRS CLAY: Indeed, Sir Walter, few women could think more of their appearance than you do.
SIR WALTER: Naturally, the constant use of Gowland is imperative to maintain the beauty.
MRS CLAY: Sir, you hardly need Gowland to aid your face.
SIR WALTER: And, happily, Elizabeth’s inherited my fine looks, though her sisters are of very inferior value. Anne was a pretty young girl, but her bloom has withered, and now she’s horribly faded and thin. And Mary was never more than fine and now is pinched.
ELIZABETH: (Reading a letter) Papa! Horror! SIR WALTER: What on earth is it, Elizabeth? ELIZABETH: From the Cornwallises. SIR WALTER: What’s happened?
ELIZABETH: I can hardly say it… Mr Cornwallis overheard Mr William Elliot speaking most disrespectfully of…us! Most slightingly and contemptuously of the very blood he belongs to.
SIR WALTER: Let me see. ELIZABETH: That’s about Mrs Cornwallis’ bunion. There.
SIR WALTER: (Reading) Unpardonable, abominable rudeness! Mr Elliot speaks ill of the very honours which are hereafter to be his own.
MRS CLAY: This Mr Elliot is a close relation, Sir Walter?
SIR WALTER: Distant – but in the event of my girls having no brother, the heir presumptive, to the title and the house. Elizabeth does him the honour to wear black ribbons for his wife –
ELIZABETH: He’s conducted himself miserably, Papa. I shall never think of him again.
MRS CLAY: He appears to be a most improper young man.
SIR WALTER: When we met him in London, there wasn’t a baronet from A to Z whom Elizabeth’s feelings could have so willingly acknowledged as her equal. But he ignored our solicitations of intimacy, and purchased independence by uniting himself to a rich woman of inferior birth. Now she’s dead and he has the fortune.
SIDE: Anne, Mrs. Smith
ANNE: Twelve years.
MRS SMITH: And those twelve years have transformed you into an elegant, beautiful woman. While I’m a helpless widow, who must receive her former protégé as a favour.
ANNE: To me, Henrietta, you seem as resolute as ever. Sickness and sorrow have neither closed your heart nor ruined your spirit.
MRS SMITH: Everybody’s heart’s open, you know, when they’ve recently escaped pain.
ANNE: Oh, I know people in perfect health who’ve much less inclination for action and happiness than you.
MRS SMITH: I expect it’s submission. I just give in!
ANNE: No, there’s something more. To bury your husband, to have known wealth but have it squandered by him, and with no health to make all the rest bearable –
MRS SMITH: Occupation is all, my dear. Our sorrows are much diminished with occupation, though we women are educated to be useless, are we not? Even making these silly things helps me.
ANNE: They’re so pretty.
MRS SMITH: And when my spirits were at their lowest, God took care of me by sending someone along to take care of me. My landlady’s sister. Nurse Rooke. She’s taught me to knit, and she has a large acquaintance among the silly, rich creatures in Bath, of whom I mean to make my profit.
ANNE: You’ve a great elasticity of mind, Henrietta. I wish I had it. I could usefully employ it.
MRS SMITH: Oh, you must speak to Nurse Rooke about my bad days before you sanctify me, Anne! Sometimes human nature may be great in times of trial, but generally I wallow in self-pity and impatience!
ANNE: I don’t believe you, my dear friend! And I’m determined to learn fortitude from your shining example.
MRS SMITH: Goodness, I hope you’ve no need of fortitude, for you’re fully entitled to whatever your heart desires.
Anne embraces Mrs Smith.
There’s so little real friendship in the world.
ANNE: I’ll come and see you again tomorrow.
MRS SMITH: Tomorrow.
SIDE: Mrs. Harville, Anne
Seamlessly, we travel to the Harville’s ramshackle but welcoming home, where the atmosphere continues to be casual and convivial.
Mrs Harville and Anne talk downstage around a large wooden table. Mrs Harville prepares dinner – peeling and cutting vegetables.
MRS HARVILLE: It’s just lodging-house furniture, very ordinarily fitted up.
ANNE: But you’ve turned the space to the very best account. It’s so pleasantly arranged.
MRS HARVILLE: That’s Harry’s doing.
ANNE: Such ingenious contrivances everywhere about.
MRS HARVILLE: Things from all the countries he’s visited. Bits of old wood he’s worked up and whatnot. He can turn his hand to anything, can Harry. He draws, varnishes, glues and carpenters.
ANNE: Did he make these pretty shelves?
MRS HARVILLE: He did. He whittles toys for the children. If you stay long enough, he’ll probably make something for you. And when there’s nothing else to be done, he sits in the corner and mends his fishing nets.
ANNE: Are these books your husband’s too?
MRS HARVILLE: No dear, they’re James’.
ANNE: A tolerable collection indeed.
MRS HARVILLE: James loves his poetry. I can’t get along with it myself.
SIDE: MARY (with Anne)
MARY: My dear sister! I’m very ill used. I don’t suppose I’ll have a day’s health all the autumn, and I began to think I’d never see you.
ANNE: I came as soon as I could, Mary.
MARY: I can hardly speak, and I’ve not seen a creature the whole morning.
ANNE: The Admiral and Mrs Croft were expected as I left –
MARY: Dear me, is this the day the Crofts are come to Kellynch? I’m glad I didn’t think of it before. How low it makes me.
ANNE: Perhaps they’ll inspect the neighbourhood and pay their respects. MARY: They ought to call upon us immediately – ought to feel what’s due to
us as our father’s daughters. But I’m not well enough to receive anyone today.
ANNE: I’m so sorry, Mary, and you sent me such a good account of yourself on Thursday.
MARY: I made the best of it – I always do but I was very far from well at the time.
ANNE: You wrote in the cheerfullest manner, and said you were perfectly well and in no hurry for me.
MARY: I was nearly dead!
ANNE: Well, you can imagine how much was left for me to do before the new people arrived.
MARY: And now you’re stuck down here with me.
ANNE: Oh, no, I’m glad to be where I’m wanted at least.
MARY: Indeed, I couldn’t possibly do without you. If I get off this sofa before Christmas it’ll be a miracle.
She gets up and crosses to a plate of cakes.
Suppose I were to be seized of a sudden in some dreadful way, and not able to ring the bell? Charles is out shooting of course. If he saw me dying, he wouldn’t think there was anything the matter with me. You might persuade him that I really am a great deal worse than I ever own.
SIDE: Charles, Frederick
CHARLES: We’ll likely find the best game over towards
Winthrop, at the foot of the next hill. Well, I don’t suppose
you’ll want to delay marrying now the war’s done.
FREDERICK: Recommend it, do you – marriage? (Charles
pulls a face. Frederick laughs.) I thought myself engaged
once.
CHARLES: Yes?
FREDERICK: I was disappointed. (Charles is ready with his
gun, but Frederick holds back to say: ) We were warmly
attached, and I own I haven’t seen a woman since who was
her equal.
CHARLES: Really?
FREDERICK: Gave me up to oblige others. The effect of
over-persuasion. Weakness and timidity. Such feebleness of
character’s unforgivable, don’t you think?
CHARLES: Yes, I imagine so, for a man of your decided temper.
FREDERICK: (Picking up his gun with new resolve) But her
power with me is gone forever. And so, here I am, quite
ready to make a foolish match. I could have a heart for any
pleasing young woman who came in my way!
SIDE: Mr. Benwick, Anne
ANNE: I see you’re fond of poetry, sir. Here are many handsome volumes of Scott and Byron.
MR BENWICK: Yes.
ANNE: Do you prefer one of them to the other?
MR BENWICK: I prefer Scott.
ANNE: Scott?
MR BENWICK: Yes. Don’t you?
ANNE: But do you know Lord Byron’s Corsair?
MR BENWICK: Of course.
ANNE: I very much admire Byron. In the Corsair, he makes a hero out of Conrad, and yet Conrad is often defeated by people and events.
MR BENWICK: You admire that?
ANNE: He fights a war against oppression, which he knows he can never win. It seems right, and true to life.
MR BENWICK: ‘I had a dream, which was not all a dream. The bright sun was extinguished, and the stars Did wander darkling in the eternal space, Rayless, and pathless, and the icy earth Swung blind and blackening in the moonless air…
Ships sailorless lay rotting on the sea, And their masts fell down piecemeal; The waves were dead; the tides were in their grave.’
ANNE: Bravo. I’m very sorry for your sad loss, Mr Benwick. Mrs Harville told me of it. It was very recent?
MR BENWICK: June this year.
ANNE: I’m truly sorry. But may I ask, do you read only poetry?
MR BENWICK: I do, Miss Elliot. Why? Would you have me read prose instead?
ANNE: Indeed. I’d venture to suggest Dr Johnson. He’s particularly useful on the dangers of solitude, and the necessity of resignation and acceptance in the face of hardships.
MR BENWICK: I’m not sure books will help me mend, Miss Elliot.
SIDE: Louisa, Frederick, Admiral Croft, Charles, Mrs. Croft
LOUISA: (Having found the Navy Lists, to Frederick) Now, your first ship was the Asp, I remember. We’ll look for the Asp.
FREDERICK: You won’t find her in the lists. The Admiralty entertain themselves now and then, Miss Musgrove, with sending a few hundred men to sea in a ship not fit to be employed.
LOUISA: (Aghast) Really?
FREDERICK: Even then she was hardly fit for service and now she’s broken up.
ADMIRAL CROFT: Phoo! What stuff these young fellows talk! There never was a braver sloop in her day, and twenty better men than you applying for her.
FREDERICK: I felt my luck, Admiral, I assure you. It was a very great object with me at the time to be away at sea. I wanted to be doing something.
ADMIRAL CROFT: To be sure. If a man hasn’t a wife, he soon wants to be afloat again.
LOUISA: But, Captain Wentworth, how vexed you must’ve been to see what an old thing they’d given you.
FREDERICK: Perhaps. I knew that she’d be the making of me, or that we’d go to the bottom together.
LOUISA: Oh, no! How dreadful – but how exciting! Tell us more. What was your next ship?
FREDERICK: Here, I’ll show you. (Taking the Navy Lists) The Laconia. One of the best friends man ever had. How fast I made money in her! We took privateers enough in the Indian Isles, and had the good luck to fall in with the very French frigate I most wanted. That’s when I was with Harville, sister, off the Indies. You know how much he wanted money, for he had a wife.
ADMIRAL CROFT: If you’d been a week later at Lisbon you’d have been asked to give a passage to Lady Grierson and her daughters.
FREDERICK: I’m glad I wasn’t a week later then. No ship under my command shall ever convey ladies anywhere if I can help it.
ADMIRAL CROFT: Phoo. Hear that, Sophie? There’s want of gallantry for you.
FREDERICK: My gallantry comes rather from feeling how impossible it is to make the accommodations on board a fighting ship such as women ought to have.
CHARLES: But you brought Mrs Harville and her sister from Portsmouth to Plymouth.
MRS CROFT: Indeed? Where was this superfine, extraordinary sort of gallantry of yours then?
FREDERICK: All merged in my friendship, Sophia. I’d bring anything of Harville’s from the world’s end if he wanted it.
MRS CROFT: Well, I’ve crossed the Atlantic four times and been once to the East Indies, and I can tell you, women may be as comfortable on board a man-of-war as in the best house in England, as long as it’s not engaged in any action. I hate to hear you talking so like a fine gentleman, as if women were all fine ladies instead of rational creatures. We none of us expect to be in smooth water all our days.
CHARLES: But when he’s got a wife, he’ll sing a different tune.
ADMIRAL CROFT: Aye, when he’s married, we’ll have ’im very thankful to anybody that’ll bring ’im his wife then.
MRS CROFT: Aye, that we shall.
FREDERICK: When once people begin to attack me with, ‘You’ll think very differently when you’re married’, I can only say, ‘No, I shan’t’, and then they say, ‘Yes, you will’, and there’s an end of it.
LOUISA: Who wants to dance? Do let’s dance.
Commitment to the performing crafts that make up the live theatre experience is a constant source of energy our actors and volunteers supply and that our audiences cheerish. Metro depends on and appreciates those who step up to provide those moments of joy live theatre delivers.
AUDITION GUIDELINES
• You can SUBMIT your interest using the shows contact form OR PRINT out the Fillable Audition Form and bring it and your headshot with you to the audition.
• Auditions will be cold readings from the script; the director will choose which scenes the group will read. Drop in, no appointment necessary. Open to all ethnicities.
• Auditions are for NON-EQUITY productions. All roles at Metro Theatre, are Volunteer positions. People will be seen on a first come/first served basis, but be prepared that you may have to sit around and wait as you may be needed to read opposite someone else who is auditioning.
• If you are cast, you will be required to become a Member of Metro Theatre and your 12-month Membership Fee of $20 will be collected at the first read-through.
• It is expected that actors must be capable of playing the age specified, be capable of speaking with expected accents, be able to utilize musical and dancing skills, when the part requires those skills.
• While experience is preferable it is not essential. Attendence at rehersals and during performance nights however is as the rest of the team will be depending on each other.
PRIVACY POLICY
Metro Theatre is collecting personal information about you. If you are cast in this show, your contact information will be provided to other members of the company. Unless you ask us not to, you will be added to our mailing list; the information on this form will be made available to directors or other Metro shows for audition and casting purposes. You may request to be removed from our mailing list at any time.
CASTS and CREWS
Each play presents the opportunity to build skills and respect among that plays crew and cast. The years have been kind to Metro and Metro is pleased to have been able to provide the environment within which these groups of cast and crew came together as a team that told its story.