Auditions

Kinky Boots

We are excited to be one of the first amateur groups to bring 'Kinky Boots' to the stage, performing from Wednesday 16th to Saturday 19th February 2022 at the London Oratory School Theatre.

Based on the 2005 British film Kinky Boots and mostly inspired by true events, the musical tells the story of Charlie Price. Having inherited a shoe factory from his father, Charlie forms an unlikely partnership with cabaret performer and drag queen Lola to produce a line of high-heeled boots and save the business. In the process, Charlie and Lola discover that they are not so different after all. The excellent writing of Harvey Fierstein combined with an infectiously upbeat score by Cyndi Lauper herself makes this a show that you do not want to miss out on being part of!
 
Fancy finding out a bit more about our wonderful creative team? Say no more!
 
 
 
Diversity and Inclusion
 
We are committed to making this an inclusive and diverse production which showcases the talents of our society and which gives each and every member of the cast a moment to shine. As such, there will be more opportunities for singers and dances of all genders, ethnicities and ages than would usually be thought of with this show… come along to the first meeting to find out more!
 
Audition Information
 
Want to find out more/get involved? The information pack, with full a breakdown of cast and audition details, and more information about the show and audition process can be found here.
 
Pre-audition workshops and audition dates are as follows:
 
Tuesday 28th September; 8pm – first meeting, held virtually over Zoom – please see the info pack for details!
 
Thursday 30th September & Tuesday 5th October; from 7:30pm – pre-audition workshops – see info pack for details
Thursday 7th October; from 7:30pm – auditions
Sunday 10th October: from 2:00pm until 6:00pm – auditions
Tuesday 12th October; from 7:30pm – recalls
Thursday 14th October; 7:30pm – first rehearsal
 
All meetings and auditions (unless otherwise communicated) will take place at St Barnabas Church Hall, 146 Lavenham Road, Southfields, SW18 5EP.
 
The creative team is:

Paul Nicholas Dyke – Director
Ashley Harvey  MD
Catherine Higgins – Choreographer
Alice Newstead – Producer
 
All audition material (including recall material) can be accessed here.
 
If you have any questions about the pre-audition meetings, or the auditions themselves, please email us at our dedicated Kinky Boots email address – This email address is being protected from spambots. You need JavaScript enabled to view it. .

 

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

"Attention to detail was obvious which is only achieved through commitment and dedication.  The entire show ran smoothly with no delays or interruptions to spoil the performance."

"Overall, the pace was fast, the dance routines varied and those performing genuinely looked like they were having fun!"

"Joe McWilliam took on the role of Shrek. This was a huge challenge and Joe certainly delivered in style and gave the audience what was expected.  Joe also has a terrific singing voice which he demonstrated throughout his performance."

"Gemma Louise Zirfas gave a lovely performance as the idealistic and feisty Princess Fiona."

"Adam Walker-Galbraith brought the loveable Donkey to life whilst mixing plenty of nervous energy with moments of tenderness and feeling. Another excellent example of character acting with strong vocals to match."   

Des Wilby
NODA Review  

"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

Cygnets on Twitter

cygnetplayers Theatre is back! Auditions for our February 2022 show ‘Kinky Boots’ are coming up soon - get all the info you need… https://t.co/uDmsFt6nNJ
cygnetplayers RT @WorcesterPkMums: ⭐⭐⭐⭐”We loved every minute of this amazing show! It’s the perfect feel-good, #halfterm treat for the whole family…” Bo…
cygnetplayers RT @WimbledonMums: ⭐⭐⭐⭐”We loved every minute of this amazing show! It’s the perfect feel-good, #halfterm treat for the whole family…” Book…