We use cookies to personalise content and ads, to provide social media features and to analyse our traffic. Read more…

Open Auditions

Bedlam Theatre
Event organized by Bedlam Theatre

Get Directions

#var:page_name# cover


From award - winning playwright Alice Birch, Revolt. She Said. Revolt Again. responds to the idea that ‘well behaved women seldom make history.’ It examines the language, behavior and forces that shape women in the 21st century and asks what’s stopping us from doing something radical to change them. An experimental work focusing on a loud feminist voices seeking change through revolution but also through destruction. Told through 4 different parts, each playing with new forms and new ideas reacting against reality, Revolt fractures the line between performer and character in new and exciting ways.

We’re looking for 1 male and 4 female actors to take hold of the stories told and actors who aren’t afraid of making big choices and leaving themselves on the stage.

Cyprus Avenue is a piece of award-winning contemporary writing by the playwright David Ireland. It debuted in 2016 to great critical acclaim, winning the Irish Times Theatre Award for Best New Play and the James Tait Black prize for Drama, as well as receiving five star reviews from The Guardian and The Observer.

The play is set in Northern Ireland in the present day. It follows Eric Miller, a Belfast-born Ulster Protestant who is vehemently anti-Catholic and against the unification of Ireland. Eric has become convinced that his five-week old granddaughter is Gerry Adams, the sixty nine year-old leader of Sinn Féin, in disguise, setting out over the course of the play to prove his theory to his friends and family. What starts out as an absurd dark comedy becomes an unsettling and challenging discussion on national identity and bigotry.

We will only be auditioning the character of Eric this term, the character description of which can be found below. Anyone interested in auditioning for other parts in the play can contact wjbyamshaw@gmail.com to stay posted on future auditions.

Elderly/Northern Irish/man.
Ulster Protestant/prejudiced against women, ethnic minorities, and Catholics.
Disturbed/in the midst of an identity crisis/coolly logical in his thinking.

EUTC FRINGE SLOT: EIGHT by Ella Hickson (20th-27th August, with rehearsals whole of August)

Ten years after its award-winning premier on Bedlam’s very own stage, Ella Hickson’s ‘Eight’ is a collection of eight monologues that examine the effects of living in a society that values image, consumerism and sex above all else. Themes surrounding inequality, Tesco, lust, war trauma, Adidas, secrets, Tracey Emin, infidelity, the Archers, cocaine and grief are all explored through eight funny, sad and deeply moving monologues. A lonely ex-serviceman, an eighteen-year-old’s first love in France, an apathetic New York art gallery owner and a jolly-hockey-sticks, Betjeman-reciting escort are a mere handful of the immersive, exciting characters on offer.

We want to realise Hickson’s emphasis on these characters being ‘societal refugees’ who have turned to a kind of ‘faith’ - whether that be apathy or fundamentalism - to cope with strong emotions and a society that expects something they cannot be. We hope to create a production that is as much a celebration of life as it is asking us questions that we cannot necessarily answer. This is a fantastically exciting opportunity for actors who can handle serious themes whilst conveying nuance and sensitivity on stage.


4m, 4f. (We will be casting gender blind if applicable.)

DANNY - (Male, early twenties.)
Well-built ex-serviceman Danny has spent his life attempting to hide his underlying vulnerability and sweet nature. In this monologue, Danny reveals his macabre coping mechanism to deal with his macho days coming to an end whilst talking to us about his past life and childhood. This monologue discusses themes surrounding army combat, post-traumatic stress and death and is set in a hospital mortuary.
‘So I signed up, 4th Battalion… direct service to Basra, unsure whether you had a single or return, that’s what all the lads said…’

JUDE - (Male, eighteen years old.)
Having been sent to the South of France to learn French, middle-class, naive, wonderstruck Jude falls in love with older woman Madame Clara. What ensues is three months of lust, food, coming-of age, books and heat in the French Riviera. This monologue is best suited to a comedy actor who can portray openness and a naive youthfulness that packs an emotional punch. The actor must also be comfortable with partial nudity on stage.
‘I could be a Riviera gent; look sharp, become fluent… in the language of looove…’

ANDRÉ - (Male, twenty-eight)
New-York gallery owner André’s monologue opens with him walking into his apartment to see his partner has committed suicide. Through bitingly dark, self-deprecating humour, André tries to understand how this could have happened whilst mourning the current state of the superficiality of the art world. Despite how it sounds, this monologue is actually very funny, and is therefore suited to an actor with an exceptional ability to bring out the tragedy and comedy of the scene. This monologue discusses themes surrounding suicide.
‘That bloody scarf; I’ve always maintained that a high price means high quality but who knew Hermès could take a man’s weight?’

BOBBY - (Female, twenty-two.)
When she begins working for affluent lady Mrs. Beeton, single mother of two Bobby’s life is turned upside-down. As she prepares for a Christmas she is unable to afford, through warmth, wit and thought-provoking sadness Bobby asks us why she and Mrs. Beeton’s lives have turned out so differently. A very funny monologue, this piece is suited to a larger-than life actor who can demonstrate emotional depth and range. N.B. Scottish accent desirable at audition but not essential, but you must have mastered the accent by the time of the performance.
‘I was daen the ironin’ in the kitchen, listening to The Archers - her choice, no’ mine. I got no patience wi’ a bunch a twats that were getting fuckin’ radgey over a duck.’

MONA - (Female, late teens.)
The most serious monologue of the piece, Mona is a pregnant waif whose innocence of youth is marred by a dark intensity. This piece examines Mona’s relationship with her mother as we are forced to question whether her childhood led to her dependency on a mysterious, unnamed man. Themes of religion and sex are discussed in this monologue which is best suited to an actor who can act with intensity and subtlety.
‘...they tipped out all my secrets… All the dark I’d ever had, all that dark was mine, they pushed up into the light.’

MILES - (Male, mid-twenties.)
High-flying, arrogant broker Miles chased a life of profit and commercial success, until he was forced to reassess his priorities after a close shave with a terrorist attack. As a result, he goes on a three-year sex, drugs and money binge, and ultimately questions the point in everything that has defined his life thus far. There are, however, moments where his facade cracks, and we are left wondering whether he really believes everything he says.
‘I had lent Hasib Mir Hussain ten pence to buy a Mars Bar ten minutes before he boarded a bus to Hackney Wick and pressed detonate.’

MILLIE - (Female, early-thirties.)
Betjeman-reciting Millie offers a very particular service: in the space of an hour, she will press your shirt, feed you a Sunday roast and give you a good old-fashioned British bonk. Dressed in tennis whites, Millie’s monologue examines the state of Britishness, the class-system and a female perspective on male mid-life-crises. This monologue is best suited to an actor who can portray the outrageously posh without falling into caricature, as not everything she says as funny as it seems.
‘No, my loafer-wearing warriors weren’t made for yoga and tofu; they are men, soldiers, child soldiers, trained to make money and climb ruthlessly through what was once the glittering hierarchy of the British class system.’

ASTRID - (Female, early twenties)
Astrid’s monologue opens with her telling us she feels no remorse for having just committed adultery. Seemingly confident, Astrid conducts a David Attenborough style examination of her sleeping boyfriend before opening up to the audience about her thoughts on love and feeling invisible. This monologue is best suited to a confident actor who can demonstrate a vulnerability masked by confidence and apathy.
‘Look at him. The sleep of the innocent, or ignorant… ten minutes’ time, he wakes up, and I make the call - I tell him or I don’t tell him.’