Auditions

The Vicar of Dibley
(Supported by Wandsworth Arts Fringe through Wandsworth Grant Fund)

Our next show will be the Vicar of Dibley! Please watch this space for details on audition dates.

All audition pieces can be accessed here.

Please click here for the information sheet, including a breakdown of cast and audition details - and here to download the audition form.

If you have any questions about the show, the meetings or the auditions themselves, please email us at  This email address is being protected from spambots. You need JavaScript enabled to view it.

We look forward to seeing you when we are able to meet again in person!

 

Audition approach:

Our approach to auditions and casting
 
Anyone is welcome to audition. If you're not a paid up member at the time of auditioning, you'll need to pay a £10 audition fee, which will be offset against your show fee if you're cast. In order to join the cast and perform in the show, you'll need to pay an annual membership fee (£30 standing order, or £35 cash). 

We will try to audition everyone that wants to take part; but this may not be possible if your audition form is submitted after the given deadline, or the number of available audition slots has been exceeded. 

Auditions are closed, and take place in front of a panel of at least three people, including at least one committee member, plus the show's production team. 

The cast itself

The creative team will specify the size of cast required for the show, based on the theatre capacity, along with the singing/dancing/acting skills required for each role. 

Cygnets will always strive to have a cast containing a good mix of members and non-members (where, in this context, a 'member' is either a paid up member, or has been in two or more Cygnet shows in the past), to ensure that the membership is well represented. 

The cast will be chosen by the audition panel, taking into account: 

  • The ability to perform the requirements of the role
  • Suitability for the role 
  • Ability to attend the rehearsals and performance period 

Other guidelines 

  • If you're recalled for a principal part, you will be offered a part in the ensemble (as long as the show contains an ensemble, and you've indicated that you'd accept an ensemble place). 
  • If a member and non-member are on completely equal paring for a role, the balance of members and non-members will be considered before selecting who is cast. 
  • All roles should be cast from those who audition, unless the whole panel unanimously agrees that there is no-one suitable for a particular role. 

Show Reviews

"Jamie Miller-Hughes brought both her acting experience, and first-hand knowledge of All Shook Up, to the roles of Director/Producer. Attention to detail was obviously stressed as the end product was both precise and polished. The entire show ran smoothly and the full house witnessed a superb show."

"Kim Schenkelaars (Choreographer) and Aoife Considine (Assistant Choreographer) combined to ensure a huge amount of pace and energy in all dance routines."

"Barry Lattimore-Quinn took on the hugely demanding role of Chad. Barry’s dancing skills and athletic movement were perfect for this high-energy role and character. Overall, Barry delivered an excellent performance."

"Jessica Laing gave a superb performance as Natalie/Ed. Jessica has a fabulous singing voice, which was repeatedly demonstrated throughout the show, together with maturity, apparent ease and great humour. A fabulous all-round performance."

"Alex Blackie demonstrated his fine character acting as ‘nerdish’ Dennis. Alex’s general awkwardness, diction and facial expressions were great and his singing skills came to the fore in the wonderful solo 'It Hurts Me'."

Des Wilby
NODA Review

"Threatening to steal the show with her vocals was Harriet Ruby as Sylvia. Ruby had a brilliantly strong belt who knew how to use it and also knew when the song needed a more tender treatment."

"In all of the big ensemble numbers the harmonies were spot on and sounded really full. I can tell that M.D Michael Searle would have worked really hard with the cast to get that sound."

Sarah McPartlan
Musical Theatre Musings Review

 

"Aimee Parnell is to be congratulated as Director for this wonderful piece of theatre. Attention to detail was precise, the movement of props during the musical numbers was effortless and the overall pace was terrific."

"Kim Schenkelaars deserves huge credit as Choreographer and for including so much energy and variety into the dance routines.... the choreography was fabulous and really added to the show’s appeal."

"Glen Jordan portrayed Moritz ... with just the right amount of teenage angst Glen’s emotional acting of his songs showed a total understanding of what he was portraying."

"Josh Yard and Laura Harrison both did exceptionally well in playing every adult part and for delivering some chilling moments together with humour and even sensitivity. Their scenes as grieving parents were extremely well handled and all their various characters carefully reflected general attitudes of the time period."

Des Wilby
NODA Review

"I was impressed at the strength of the cast across the board. Matthew Wright played Melchior opposite Veronique Piercy’s Wendla. Wright’s self assurance contrasted nicely against Piercy’s youthful innocence. Piercy opened the show with ‘Mama Who Bore Me,’ and her assured clear tone set the bar high for the rest of the night."

"The music was also beautifully delivered with Harriet Oughton at the helm. They mastered the score from the rocky aggressive numbers which really packed a punch to the beautifully balanced and harmony rich numbers"

"It is shows like that that help blur the line between amateur and professional theatre."

Sarah McPartlan
Musical Theatre Musings Review

"Phoebe Fleetham must first and foremost be congratulated for her role as Director and ensuring this production was slick, highly polished and a resounding success."

"Keith Walters, Rosie Orchard, Joanne Frazer and Paul Nicholas Dyke provided the principal ‘line up’ for this show and it was impossible to fault their performances in anyway. Virtually on stage throughout the entire production, I was hugely impressed with the characterisation of each principal, their consistent accents and vocal ranges. They were nothing short of superb."

"Will Prescott (1st Man) and Russell Hughes (2nd Man) provided additional light relief and certainly worked well together. Carefully maintaining their accents and characters throughout, their standout moment came in their duet ‘Brush Up You Shakespeare’."

Des Wilby
NODA Review

"The highlight of the show for me had to be the opening of Act 2 with ‘Too Darn Hot.’ Vicki Rice, the choreographer had devised a number that all of the cast could execute with real flair and a huge amount of energy and had clearly drilled them repeatedly. This resulted in a real feast for the eyes and ears."

"I must congratulate Cygnet Players on a high standard of production; with a sizzling production number, leads that oozed their characters and a wonderful orchestra this is a great show to see if you love the golden age musicals."

Sarah McPartlan
Musical Theatre Musings