Auditions
Auditions
Audition for Talisman mainstage productions
Here you will find the latest auditions and casting for upcoming shows at the Talisman Theatre, Kenilworth, Warwickshire.
Audition notices regularly posted and updated.
Scroll down or select the audition links below to see more details of auditions for our upcoming productions…
Audition
NOTICE
Audition Date: Saturday 10th October
Audition Time: 10am– 1pm
Playing Dates: 12th – 17th April
Director: Steve Smith
THE HERBAL BED
Audition Date: Saturday 10th October 2026
⏰ Time: 10am – 1pm
Venue: Talisman Theatre
Playing Dates: 12th – 17th April 2027
Audition
NOTICE
Audition Date: Saturday 10th October 10:00am
Playing Dates: 17th – 22nd May
Director: Gill Halford
KEEPING OUR END UP
Audition Date: Saturday 10th October 2026
⏰ Registration @ 10:00
Venue: Talisman Theatre
Playing Dates:
17th – 22nd May 2027
Audition
NOTICE
Read Through: Sunday 19th April | 2:00pm – 5:00pm | Talisman Foyer
Audition Date: Saturday 2nd May 2026
Registration: 09:30am
Playing Dates: 28th Sept – 3rd Oct
Director: Sharon Sully
THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME
📖 Read Through: Sunday 19th April | 2:00pm – 5:00pm | Talisman Foyer
Audition Date: Saturday 2nd May 2026
⏰ Time: 09:30
Venue: Talisman Theatre
Playing Dates: 28th Sept – 3rd Oct 2026
Audition Notice: Persuasion
‘Persuasion’ By Jane Austen | Adapted by Andrew Davies
Director: Corrina Jacob
Production Manager: Wendy Elliott
Following the success of Pride and Prejudice in 2023 and Emma in 2025, we are delighted to bring another world premiere of an Andrew Davies adaptation of Jane Austen to the Talisman stage.
We welcome everyone to our open auditions for this romantic comedy of second chances, misunderstandings and enduring love.
About the play
Anne Elliot has spent more than seven years regretting being persuaded to reject the young Captain Wentworth’s proposal. Now, after years at sea, he has returned — handsome, successful and a highly eligible catch.
Despite misunderstandings, a series of mismatches and the stifling etiquette of social arrangements, can Anne and Wentworth convince each other that their love still survives?
Audition details
Date: Saturday 14 November 2026
Arrival: 10am for a 10.30am start
Finish: By 2pm
Venue: Talisman Theatre, Barrow Road, Kenilworth — theatre and foyer
Please complete the form below to register your place at the audition.
If you cannot attend on 14 November, an alternative audition date is available. Please indicate this on the form so that director Corrina Jacob can arrange this with you.
What to expect
Our auditions are open to all, and everyone will have the opportunity to read for any roles they are interested in.
The audition will be organised around sections of the script, which you will read alongside other auditionees. Scripts are available to view in advance — please indicate on the registration form if you would like access.
Performance dates
19–26 June 2027
- Saturday 19 June: Gala performance at 7.30pm
- Sunday 20 June: Matinee at 2.30pm
- Tuesday 22–Friday 25 June: Evening performances at 7.30pm
- Saturday 26 June: Matinee at 2.30pm and evening performance at 7.30pm
Rehearsals
Rehearsals begin on Sunday 18 April 2027 at 6.30pm.
There will be a rehearsal break from Friday 30 April to Monday 3 May inclusive.
Characters
All ages below are playing ages. Some may be negotiable.
Sir Walter Elliot, Baronet — 50s
Being a baronet is very important to Sir Walter. Vain and snobbish, he is in debt because of his extravagance.
Elizabeth Elliot — 29
Sir Walter’s eldest daughter. Very like her father, she is vain and snobbish. A beauty, but somehow she has not secured a husband.
Anne Elliot — 27
Our heroine and Sir Walter’s second daughter. At 19, she fell deeply in love with Lieutenant Frederick Wentworth but was persuaded to refuse him. She has never stopped regretting that decision. Now considered to have “lost her bloom”, she does get it back!
Mary Musgrove — 25
Sir Walter’s youngest daughter, married to Charles Musgrove and mother to two boisterous boys, whom we hear but never see. Moody and self-centred, Mary needs constant attention — yet we still feel for her.
Charles Musgrove — 30s
Mary’s easy-going husband, fond of country pursuits. His slightly lower social status is something his wife never lets him forget. A very likeable character.
Lady Russell — Late 50s
A family friend and adviser to Sir Walter. It was Lady Russell who persuaded Anne to reject Wentworth.
Mr Shepherd — 50s
Sir Walter’s attorney. Shrewd and sensible.
Mrs Penelope Clay — Late 20s
Mr Shepherd’s daughter. A flatterer and schemer with her eyes on Sir Walter.
Mr Musgrove — 60s
Charles’s father. A well-off country gentleman, simple and unpretentious.
Mrs Musgrove — 60s
Charles’s mother. Like her husband, she is well-off, straightforward and unpretentious.
Louisa Musgrove — 19–20
Charles’s sister. Attractive, high-spirited and romantic.
Henrietta Musgrove — 20–21
Another of Charles’s sisters. Attractive, high-spirited and romantic.
Captain Frederick Wentworth — Early 30s
Now a hero of the Napoleonic Wars, wealthy and hugely eligible. He is attracted to Louisa but has never forgotten Anne.
Admiral Croft — 50s
Wentworth’s commanding officer. A no-nonsense sea dog.
Mrs Croft — 40s
The Admiral’s wife and Wentworth’s sister. A good egg: shrewd and sensible.
Captain Harville — 30s
Wentworth’s best friend and a fellow naval officer.
Captain Benwick — 30s
Another naval officer, mourning the loss of his fiancée.
Mr William Walter Elliot — 30s
Sir Walter’s heir and a distant cousin. Good-looking, suave and devious.
Mrs Smith — Late 20s
Anne’s old school friend, who uses a wheelchair. Living in poverty and in very poor health, she nevertheless remains lively and positive.
Doris — 18+
Mary Musgrove’s maid. The actor playing Doris will also play other maids.
Role doubling and scene changes
The following roles will be doubled:
- Mr Shepherd / Mr Musgrove / Servant
- Mrs Musgrove / Servant
- Henrietta Musgrove / Mrs Smith
- Captain Harville / Servant
- Captain Benwick / Servant
Actors playing servants are also likely to be asked to help with scene changes.
Register your interest
Please complete the form below to register your place at the audition and let us know which roles you are interested in.
If you have any questions in advance, please contact director Corrina Jacob on 07913 667504.
If you cannot attend on Saturday 14 November, please indicate this on the form so that an alternative audition can be arranged.
We look forward to welcoming you!
As with all auditions at The Talisman Theatre, there is very much an open audition policy in place and we welcome anyone to come along to the theatre and audition for the available roles. Please see our diversity statement below for more details…
Persuasion Audition Form
‘Keeping Our End Up’ by Mark Carey
‘Keeping Our End Up’ by Mark Carey
– AUDITION NOTICE
Director: Gill Halford
Production Manager: Jane Yates
Production dates: Monday 17th to Saturday 22nd May 2027
AUDITION
Saturday 10th October 2026, 10.00am, Talisman Theatre
Rehearsals will run from Monday 22nd March to Sunday 16th May 2027. There will be no rehearsals from Good Friday to Easter Monday inclusive. Sunday rehearsal timings will be agreed with the company.
ABOUT THE PLAY
Keeping Our End Up is a sharply observed, warm-hearted comedy-drama set in a tired village sports pavilion, where five women in a struggling bowls team confront rivalry, relationships, fading traditions and their own personal battles.
The play blends humour with moments of honesty and poignancy, offering rich character work and strong ensemble interaction.
ROLES
All roles are female-presenting. Ages are flexible depending on casting needs.
Veronica (Ronnie) – Team captain. Priggish, patronising and determined to maintain order despite her own insecurities. A woman clinging to tradition and control. A retired magistrate.
Ursula – A team member dealing with troubles in her marriage. Sensitive, anxious and often overwhelmed. She ran the village shop until it was forced to close.
Fiona (Fi) – Another member of the team, also navigating marital issues. Warm, emotional and searching for connection. A secretary in a law practice.
Joan – Outrageous, mischievous and often the comic spark of the group. Known for stirring trouble and slipping into drunkenness with flair. A dinner lady at the local primary school.
Jan – The quiet, obsessive tea-maker of the group. Gentle, nervous and often the peacemaker. A teacher at the local primary school.
Please note: male voices are also heard during the play – a local farmer and the Bowls Club Chairman. Casting for these roles will not take place during the main audition.
ABOUT THE CHARACTERS & THEMES
Female Friendship & Solidarity
The bowls team becomes a microcosm of women’s lives – shared frustrations, humour, resilience and the emotional weight they carry.
Personal Struggles Behind Everyday Life
Husband troubles, loneliness, insecurity and unspoken sadness simmer beneath the comedy, giving the play emotional depth.
Humour as a Coping Mechanism
Rich comic absurdity balances moments of honesty and revelation, showing how humour helps people navigate disappointment, loss and conflict.
For the audition, we are looking for honest, true-to-life performances that bring out the humour while ensuring the audience really cares about what happens to each character.
To register your interest in auditioning, please complete the audition form below. For further information, you can also contact Gill directly.
Gill Halford (07359 005554) & Jane Yates
As with all auditions at The Talisman Theatre, there is very much an open audition policy in place and we welcome anyone to come along to the theatre and audition for the available roles. Please see our diversity statement below for more details…
‘Keeping Our End Up’ by Mark Carey
CINDERELLA
Cinderella
Audition Date: Sunday 12th April 2026
⏰ Registration @ 10:00
Venue: Talisman Theatre
Playing Dates:
19th December 2026 to 2nd January 2027
Director: Stephen Duckham
Choreographers: Amanda Wright and Natasha Hall
Production Manager: Wendy Elliott
Here is a list of characters and descriptions.
CINDERELLA – A young girl, forced to fetch, carry and skivvy for her step-family following the death of her beloved father. She is a kind, thoughtful girl, with tomboyish ways, but also a bit of a dreamer. And she can stand up for herself when she needs to.
The part calls for a strong personality, combined with a romantic outlook. An all-round actress with a strong singing and dancing ability.
BUTTONS – A character of many parts. Energetic, romantic, and comic, who has a passion for playing video games. He constantly carries and plays on a hand-held console, which is why he is called ‘Buttons’!
He has feelings for Cinderella, which always leave him tongue-tied. The game he is playing mirrors the events taking place as the real story unfolds.
A good rapport with fellow characters as well as the audience is needed, especially in scenes where panic takes over from any sense of normality. A good singing voice and reasonable dance ability are required.
PRINCE CHRISTOPHER – A good looking, fun-loving man, who has his friends and his subjects at heart. Although a Prince, he is a man of the people. Must possess a strong singing voice and the ability to move.
DAN DINI – Prince Christopher’s friend and right-hand man. In carrying out his duties, he can get into a tizz if things don’t go according to plan. On the other hand, he is always up for a little fun, which brings out his camp, throw caution to the wind attitude. Singing and good movement ability are required.
GORGON & ZOLA – The two ‘Panto Dames’. Outrageous, larger-than-life characters with acid tongues and commanding presences. Their putdowns are often to each other, but when they are challenged, they immediately join forces.
They are man-mad and determined to attract the Prince’s attention. A broad sense of comedy is essential, and they must be able to put a song over with comic movement. They must have different characters and looks. Ideally, it would be good to have one tall and the other shorter for comic effect.
BARONESS STONEYBROKE – A sort of villainess of the piece. Forced to downsize following the death of Baron Stoneybroke, she now lives in the Lodge with her two daughters. Always looking to better herself, she hopes to marry one of them off.
Her loathing of Cinderella means that her character is the one that the audience will boo when they get a chance. Minimal singing and movement.
WEIRD WANDA – The owner of a shop across the road from Stoneybroke Lodge, selling materials and haberdashery. She is ridiculed by the Townsfolk for selling shabby goods and is picked on by the children. Cinderella, her only friend, always comes to her defence and admonishes those who taunt her.
Of course, you can guess who she really is, and this means the actress must be able to create both an elderly woman and a charming Godmother. She also needs to have a strong singing voice with a good range.
STEWARD – Middle-aged man who trails after Dandini, doing all the labouring work. He has only a few lines of dialogue, as he also doubles as the Major Domo at the Palace. Although he is a character of few words, his expressions speak loudly, so an actor who has a face of many reactions would be welcome. Non-singing or dancing!
COMPANY – A chorus of villagers, neighbours and ball guests. Also, some children are part of the villagers as well as the Godmother’s assistants. A cross-section of ages for the main company, but we will be looking for strong singers and movers/dancers. We would welcome a Chorus of male and female as there is a large amount of work.
Please complete the form below if you are interested. Perusal copies of the script are available in PDF format.
Stephen Duckham – 07817 100483
As with all auditions at The Talisman Theatre, there is very much an open audition policy in place and we welcome anyone to come along to the theatre and audition for the available roles. Please see our diversity statement below for more details…
Cinderella Audition Form
THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME
The Curious Incident of the Dog in the Night-time
📖 Read Through: Sunday 19th April | 2:00pm – 5:00pm | Talisman Foyer
Audition Date: Saturday 2nd May 2026
⏰ Time: 09:30
Venue: Talisman Theatre
Playing Dates: 28th Sept – 3rd Oct 2026
Director: Sharon Sully
Production Manager: Sam Harris
Movement Director: Alasdair Stewart
Play Synopsis
Based on the bestselling 2003 novel by Mark Haddon, this inventive play follows Christopher Boone, a fifteen-year-old with an extraordinary gift for mathematics and a unique way of seeing the world. When he discovers a neighbour’s dog dead, Christopher sets out to solve the mystery – uncovering secrets about his family along the way.
Haddon’s novel, inspired by his own interest in neurodiversity, blends heart, humour, and suspense, exploring how we all navigate relationships, truth, and trust. The stage adaptation transforms Christopher’s extraordinary perspective into a visually striking, emotionally rich theatrical experience.
We’re looking for actors of all ages and types to bring Christopher’s world to life – from family and neighbours to the quirky, chaotic characters he encounters. Physicality, energy, and the ability to embrace humour and heart are essential.
The Creative Team
Sharon Sully – Director
I am thrilled to be making my directing debut at the Talisman Theatre, though hopefully many of you will already know my face! For anyone new to the theatre or attending auditions for the first time, I can promise a warm and welcoming environment. I’ve been acting locally since 2017, studied Drama at university, and also manage all things publicity at the Talisman. I’ve been eager to step into the director’s chair for some time now, and this play captured my heart from the moment I discovered it. As a passionate advocate for celebrating neurodiversity, I love how this story raises awareness with such warmth, humour, and emotional honesty.
I’m delighted that Sam Harris, a highly experienced director and performer, will be supporting me as Production Manager. Sam will keep us on track throughout rehearsals and bring her wealth of expertise to the rehearsal room, ensuring the production runs smoothly from start to finish.
Equally exciting is that Alasdair Stewart will join us as Movement Director. From the moment I read the script, I knew that visual storytelling through movement would be central to our creative vision. As a former Motionhouse dancer and choreographer, Alisdair will lead all movement throughout the show, ensuring rapid scene changes are seamless and that moments requiring physical storytelling fully bring the ensemble together on Christopher’s journey. This is a play that demands precision, physicality, and collaborative energy, and I’m looking forward to working with a company empowered by Alasdair’s guidance and expertise.
Production Details
Director: Sharon Sully
Production Manager: Sam Harris
Movement Director: Alasdair Stewart
Playing Dates: Monday 28th September – Saturday 3rd October
Including a Relaxed Performance on Wednesday 30th September at 7:30pm as part of the run.
Please note: We may add an additional matinee show on Saturday 3rd October if ticket demand requires it, so you will be expected to keep this date available. Confirmation will be given a few weeks before the show opens.
Rehearsal Commitment
We will be rehearsing from the beginning of August through to the end of September and into showrun week. As this play involves physical movement from the ensemble working with the main characters to seamlessly deliver a technically challenging and fast-moving piece of theatre, full commitment is vitally important.
- First two weeks of August: Can be used for main character exploration; some absences for holidays can be accommodated, as this is peak holiday season.
- From mid-August to show opening: Ensemble and movement sequences form a vital part of the visual storytelling. Significant absences for holidays cannot be accommodated during this period.
It is essential that any holidays are pre-declared at the audition. If you know you will be away for a week or more from mid-August onwards, unfortunately you cannot be considered for this production.
Significant holidays that are not pre-declared and become apparent after casting may result in re-casting, to ensure the smooth running of the production, the creative team’s sanity, and the commitment of fellow company members. Please be honest about this at audition stage.
Read-through
Sunday 19th April | 2pm – 5pm | Talisman Foyer
A relaxed opportunity to read through the play, explore characters, and decide if this is a project you’d like to audition for. All over a cuppa (or coffee!) and, of course, biscuits. A warm, friendly environment — come say hi, meet the team, explore the text, and hear it brought to life out loud.
Audition Date
Saturday 2nd May
- 9:30am: Arrival / Sign-in / Tea & Coffee & Artistic Director Welcome
- 10:00am – 12:00pm: Movement Workshop with Alasdair Stewart
- 12:00pm – 12:30pm: Lunch / Refreshments (please bring something to keep you going!)
- 12:30pm – 2:30pm: Character Auditions for all roles
Short extracts will be provided in advance to allow preparation for spoken dialogue scenes with other actors. People will be swapped in and out so everyone gets a chance to be heard on the day.
For the movement section of the auditions, come ready to move! Movement will be workshopped on the day with Alasdair – so nothing needs to be prepared in advance. Just bring energy, focus, and be ready to explore the movement material as part of the audition.
If there is a very large turnout, an additional audition date will be arranged if needed.
All roles: Please come ready to work physically, in comfortable clothing and footwear.
Character Breakdown
Even though the principal roles — Christopher, Siobhan, Ed, and Judy — do not multi-role, each will form an integral part of the play’s physical storytelling. You will be asked, at times, to move with purpose, respond to the movement of others, or inhabit the stage in a way that supports and enhances the ensemble’s fluid transitions. Physical awareness, spatial intelligence, and the ability to integrate seamlessly into the flow of the production will be essential.
Siobhan, in particular, is less involved in the more active physical sequences, as her role is largely focused on narration and guiding Christopher’s story. She is often a steady presence, observing, responding, and supporting, but she will still interact physically with the world around her at key moments, particularly when her observations dovetail into ensemble movement sequences.
All principal performers should come prepared to work in a collaborative, movement-driven environment, where even moments of stillness are part of the choreography. The more comfortable you are using your body as part of the storytelling, the more fully you will inhabit the world of the play.
Characters:
Christopher Boone – (Male – Playing Age: 15 (over 18+ required for casting purposes, but someone who visually looks close to age 15)
On stage throughout. Christopher Boone is an intelligent, logical, and highly observant teenager who experiences the world through patterns, facts, and absolute truths. He struggles with emotional expression and unpredictability, but his apparent detachment masks deep sensitivity and vulnerability. Driven by a need for order and honesty, Christopher is courageous in his own way, facing fear through logic and determination as he navigates a chaotic world on his journey toward independence. Socially awkward. Avoids eye contact. Significant amount of lines to learn.
Siobhan – (Female 30-55)
Christopher’s teacher. On stage throughout. Christopher’s conduit to the real world and a safe person. Calm, patient, and emotionally steady, offering him structure, clarity, and genuine respect. Communicates directly but softly, without judgment or condescension, and values honesty and consistency above sentimentality. Narrates Christopher’s diary and interacts mainly with Christopher.
Ed – (Male 40-55)
Christopher’s dad. Protective, well-meaning, and loving, but expresses care through control and routine rather than emotional openness. Practical, anxious, and driven by fear of losing Christopher, he sometimes makes poor decisions and struggles with honesty. Ed tries to create safety by limiting Christopher’s world, with intentions rooted in care, but his need for control often clashes with Christopher’s need for truth and independence.
Judy – (Female 35-55)
Christopher’s mum. Loving but overwhelmed, struggling to cope with the emotional demands of raising Christopher. Feels deeply and reacts impulsively, swinging between warmth and frustration. Fiercely devoted yet imperfect, defined by the tension between wanting to be a good mother and needing space to breathe. Script references her being from London originally — neutral Southern / soft London accent could be explored.
Ensemble / Multi-rolling characters
Our ensemble is at the heart of this production. Many roles are multi-rolling, meaning you may shift from active ensemble member into a fully realised character within seconds — perhaps with a scarf, glasses, or hat/jacket — and then seamlessly back again. Clear physical choices, posture, gesture, rhythm, and energy are key. Scenes move fast, often flowing directly into each other as space, time, and chronology shift. Ensemble will drive fluidity, help transform the stage, and become part of the environment in abstract or symbolic ways. Includes powerful sequences such as Christopher’s overload moments, daydreams, and train station journey, led collaboratively by Alisdair Stewart. Strong physical movers needed; not traditional dance, but physical storytelling with emotional clarity.
Mrs Alexander / Posh Woman / Voice Six – (Female 60+)
Mrs Alexander is a kindly old lady, one of Christopher’s neighbours who tries to help him. Most interaction is with Christopher mainly in Act One; strikes up a fondness for him and provides some of the play’s humour.
Mrs Shears / Mrs Gascoyne / Voice One / Woman on Train / Woman on Heath / Shopkeeper – (Female 35-55)
Mrs Shears owns the dead dog that opens the show. Mrs Gascoyne is Head Teacher at Christopher’s school. Also plays other characters throughout Christopher’s encounters. Must be comfortable with adult language.
Roger (Mr Shears) / Duty Sergeant / Voice Two / Mr Wise / Man Behind Counter / Drunk One – (Male 35-55)
Appears in multiple Act Two scenes with Judy and Christopher. Needs to act unnerving/drunken in one scene. Duty Sergeant interacts with Christopher early in Act One. Man Behind Counter is the ticket seller at the train station. Drunk One on train is larger-than-life and part of the loud characters Christopher endures on his journey to London.
Policeman 1 / Mr Thompson / Voice Three / Drunk Two / Man with Socks / London Policeman – (Male 30+)
Policeman 1 appears in the opening scene and confronts Christopher about the dog, and again in Act Two at Judy’s house. Man with Socks at the train station begrudgingly helps Christopher. Drunk Two on train is larger-than-life, part of loud London characters.
No. 40 / Voice Five / Lady in Street / Information / Punk Girl – (Female 20’s-30’s)
No. 40 is a neighbour questioned by Christopher about the dog. Lady in Street interacts with Christopher in Act Two just before his train journey; Punk Girl appears once he arrives in London and is very different from the neighbours he knows. Must have edgy delivery, including Cockney/Essex accent.
Reverend Peters / Uncle Terry / Voice Four / Station Policeman / Station Guard – (Male 40+)
Will need a range of voices/accents and physicality. Reverend Peters works at Christopher’s school and provides humorous dialogue. Uncle Terry appears briefly. Station Policeman is comedic in Act Two during Christopher’s London journey.
Please ensure that you fill out the audition form below so we know who and how many people to expect at the audition, and which role(s) you’re interested in. This allows us to plan ahead. Anyone is welcome to attend the read-through, of course.
Sharon Sully 07584 906717.
There are a limited number of scripts available for perusal, but these must be returned before the read-through so that we have enough scripts for everyone.
An audition pack is shared below which contains the pieces required for the audition. Click on the link to open or download the pack.
As with all auditions at The Talisman Theatre, there is very much an open audition policy in place and we welcome anyone to come along to the theatre and audition for the available roles. Please see our diversity statement below for more details…
Curious Incident Audition Form
Casting Notices...
Posts not found
Heads Up, Superstars!
Our main stage shows are a whirlwind, and rehearsals overlap.
If you’re cast in one show, you’re typically not able to perform in the one immediately before or after.
This keeps everyone focused, helps our directors work their magic, and makes each production sparkle 🌟!
THE TALISMAN THEATRE Diversity Statement for Auditions
- We will actively encourage and welcome participation from people of all races, ethnicities, genders, sexual orientations, ages, religions, abilities and social-economic backgrounds.
- We will not tolerate discrimination or harassment of any kind. We will provide a safe and supportive environment for all members of our community, and any instances of discrimination or harassment will be dealt with swiftly and appropriately.
- We will strive to present a diverse range of voices and perspectives in our productions. We will actively seek out plays and musicals that reflect the diversity of our community, and we will cast performers who reflect that diversity. We will ensure that actors who audition at the Talisman will be cast on ability and suitability for a role regardless of ethnicity. The only exceptions will be where a particular ethnicity is clearly logical or expressly specified by the Author. Pre-casting of roles is already only permitted with the permission of the Artistic Directors (ratified by the Executive). We will also seek opportunities to be creative in casting, for example, changing the gender of a role where an auditionee is the best choice, and where this is coherent within the context of the play, and permitted by the Author and/or Rightsholder.
- We will provide training and education for our members, volunteers and performers on issues related to diversity, inclusion and cultural competency. We believe that education is key to creating a welcoming and inclusive community, and we are committed to providing resources and support to help our community grow and learn.
- We will work to build partnerships with other organisations in our community that share our commitment to diversity and inclusion. By working together, we can create a more vibrant and inclusive community for everyone.
- We believe that by actively promoting diversity and inclusion, we can create a more vibrant and welcoming community theatre that reflects the richness and diversity of our community.
Executive Committee – Feb 2024