Don't Dress for Dinner      It's a Wonderful Life - a Radio Play      Madagascar      Silent Sky     A Man for All Seasons

The following Play has been cast.

Auditions for: Don't Dress for Dinner
Written by: Marc Camoletti
Directed by: Peter Williams


All actors must be available for all performances

Rehearsals begin in August. There will only be 7 weeks of rehearsal, so take your vacations in July. We cannot accom modate vacation time during these seven weeks.

Audition Dates:   

June 12, 7:00 p.m.
June 13, 7:00 p.m.
June 14, Callbacks (if needed)
June 15, Callbacks (if needed)


This is the first play of the 2018/2019 season !! It is a typical British bedroom farce so expect fun and hi-jinks on this show.

Farces are fast-paced, so actors are expected to start learning their lines early to aid in getting the quick repartee flowing.

The Cast

Bernard: Mid thirties, confident businessman starting a mid life crisis and planning a rendezvous with his mistress.
Jacqueline: Mid thirties, Bernard’s wife and having an affair of her own.
Robert: Mid thirties, single best friend of Bernard/Jacqueline and can’t say “No” to Bernard.
Suzette: Twenties-Thirties, a cook hired to cater the rendezvous who gets caught in the middle of this mess.
Suzanne: Twenties-thirties, the (gold-digging?) fashion model mistress of Bernard.
George: Twenties-thirties, Suzette’s highly protective husband.

For further information you can send an email to the director at


The following Play has been cast.

Auditions for: It's a Wonderful Life - the Radio Play
by Philip Grecian
Directed by Tom Kobolak

Performance dates:   Nov 6-10 and Nov 13-17, 2018


June 18, 7:00 p.m.
June 19, 7:00 p.m.
Callbacks: June 21, 7:00 p.m.


Ron Maslin Playhouse rehearsal room

Audition Details:

It’s a Wonderful Life - the Radio Play is a celebration of the famous movie directed by Frank Capra and starring James Stewart and Donna Reid. But, going a level deeper, it also reflects Capra’s original intentions. Saddened and rendered deeply introspective after making his WWII documentary “Why We Fight”, as he explained in his autobiography, he wanted: “to tell the weary, the disheartened and the disillusioned; the wino, the junkie, the prostitute; those behind prison
walls and those behind Iron Curtains, that no man is a failure.”

Briefly, for those few who don’t know the story, George Bailey once yearned to become an architect and travel the world. But trapped by overwhelming family loyalty, George finds himself well into his 30’s, managing the ragtag Bailey Savings and Loan Co. and endlessly fighting to keep his head above water. When disaster looms and his reputation lies all but ruined, he reasons that suicide is his only option. He is saved by Clarence, the sadsack Angel Second Class, who shows him that his life has had profound value for all about him and that having so many friends, he is richer than he ever thought possible.

The play calls upon 7 men, 3 women and 4 students to play some 60 parts, varying from large to small.

The 4 students will portray:
the two brothers, George and Harry, as children,
the two young girls, Mary and Violet;
the 4 Bailey children - Peter, Janie, Tommy and Zuzu

Now, it’s a RADIO PLAY... a fable, actually. In effect, WRMP Radio (1948) is presenting “It’s a Wonderful Life”, in exactly the same fashion as the Lux Radio Theatre, or Academy Award Theatre might have presented for a radio audience the popular movies of the day. You could, for example, see and hear John Barrymore, or Cary Grant or Humphrey Bogart doing 30 minute radio versions of their movies.

As a “radio play”, it is presented, in effect, to 3 audiences; the radio audience for 1948, the studio audience for WRMP Radio, and most importantly, the Kanata Theatre audience of 2018.

So, the actors will be positioned, scripts in hand, at as many as 5 microphones. Behind the microphones are seats for the actors, and behind the seats, on platforms, will be the sound effect technicians. Yes, we’ll be doing the sound effects live!

For actors (and auditioners) all this means:
• you’ll be dressed in period suits and dresses and wearing the hair styles of 1948;
• costume changes will not occur - you might grab a hat or a pair of spectacles from your seat, but that’s it.
• you’ll have your script in your hand, but it’s a prop and an aide;
• blocking (I hate the word) will consist primarily of moving from seat to microphone, or microphone to microphone;
• you may have to sing and dance in the 5 radio commercials that happen throughout the play;
• you could be playing different parts within seconds of each other;
• you may be called upon to mount a platform to do a sound cue or two;
• “George”, “Mary”, and at least 2 other couples will be dancing the Charleston at Harry’s graduation party. Honest.
• You will all be singing “Auld Lang Syne” at the end. Really.

Points to Consider

A monologue, as usual, will be assigned at the auditions and delivered (don’t memorize it) at the callback. I don’t think I’ll be cruel and ask people to sing at the
auditions, but I almost certainly will at the callback - we’ll need 3 decent singers.

While this is a “radio” play, the KT audience will expect that the major characters have the right “look”.

9-week rehearsal period. Introductory Read - June 26. Read through with all designers present tentative for August 19. Rehearsals per se begin tentatively on Sunday, August 26


The following Play has been cast.

Auditions for: Madagascar

Auditions for the Christmas play Madagascar – A Musical Adventure TYA showing December 27 – 30th, will be held:

Saturday, September 8th @ 1:00 – 4:00 p.m.
Sunday, September 9th @ 1:00 – 4:00 p.m.
Call backs, Monday, September 10th @ 7:00 p.m.

Please call to reserve an audition time slot at by September 5th.

• Please prepare one song (in the style of musical theatre). * A bluetooth speaker will be provided for your recorded music. Should you require an accompaniment, please let us know at the time of booking and ensure that you have sheet music.
• Wear dance shoes as there will be a group dance
• Please arrive 15 minutes before your scheduled audi-
tion time to fill in your audition form.


Marty – the Zebra – spunky and fun character who we find out is going through mid-life crisis.
Alex – the Lion – king of the Zoo, he is confident and enjoys his lifestyle.
Gloria – the Hippo – full of sass and class.
Melman – the Giraffe – a hypochondriac, awkward and nervous giraffe.

* PLEASE NOTE – 1 actor may be given multiple roles
from the list below:

King Julian – King/Queen of the Lemurs who is spicy, overconfident and full of personality; may also play a Foosa.
Maurice – Lemur – King Julian’s right-hand man, not always impressed with the King’s decisions; may also play a Foosa.
Mort – Lemur - a little cutie.
Skipper – Penguin. These characters are cute and cuddly
in public but behind the scenes very militaristic and sneaky.
Kowalski – Penguin
Private – Penguin
Rico – Penguin
Servers (4)
Foosa (multiple) – Scary Jungle creatures
Lemur (multiple)
Zelda – Zoo Keeper
Zeke – Zoo Keeper
Old Lady, Police Officer, Ship’s Captain, Animal Con-
trol, Mason
(monkey), Foosa Leader

We are still in need of some fun and amazing people to join our crew on our journey to Madagascar. Please join us and send an email with your interest to either Diane (, Katrina ( or Trina( ). We’d all love to hear from you!

Auditions for: Silent Sky

Silent Sky by Lauren Gunderson

Date: Sunday October 14 and Monday October 15, 2018
Time: 7-10 pm both nights
Where: Ron Maslin Playhouse rehearsal room. Please enter the building by the double doors at the rear.
Contact: Joan Patrick (producer) or Wendy Wagner (director)

Performance dates: February 5-16, 2019

Synopsis: The true story of the 19th century astronomer Henrietta Swan Leavitt explores a woman’s place in society during a time of immense scientific discoveries, when women’s ideas were dismissed until men claimed credit for them. Social progress, like scientific progress, can be hard to see when one is trapped among earthly complications; Henrietta and her female peers believe in both, and their dedication changed the way we understand both the heavens and Earth.

Characters: below are the descriptions from the script. I am willing to look at any actor between the ages of 25 – 60 who can realistically portray these characters over the course of the 20-year span of the play.

Henrietta Leavitt: 30’s, brilliant, meticulous, excited, hard of hearing (wears a period hearing aid).

Margaret Leavitt: 30’s homebody, creative, sweet, sister. Please note that the actor playing Margaret must be able to sing (preferably soprano). It would also be ideal if the actor was a proficient pianist.

Annie Cannon: 40’s, the leader, terse and sure, grows into a firebrand.

Williamina Fleming: 50’s, smart as a whip and fun, Scottish. Accent required.

Peter Shaw: 30’s, the head astronomer’s apprentice… and the man.

Details of the audition process:

Please arrive about 15 minutes early to fill out the audition form.

Actors auditioning for the role of Margaret must be prepared to sing the hymn “For the Beauty of the Earth”. Sheet music and lyrics can be found here:
sheet music
lyrics (right click and select 'save link as...' to download the music)
A wide variety of versions can be found on YouTube. One is:

Everyone will choose a short monologue at the audition. Memorization is not necessary. You will be asked to read it twice: once as you prefer and the second time with direction.

The rest of the audition will be group scene readings.

Auditions for: A Man for All Seasons
Written by: Robert Bolt
Directed by: Susan Monaghan

Performance dates:   March 26 to April 6, 2019


All actors must be available for all performances


Sunday December 2nd @ 7 p.m. in the Ron Maslin Playhouse front lobby
Monday December 3rd @ 7 p.m. in the RMP Rehearsal Hall
Call backs Wednesday December 5 @ 7 p.m. in the RMP Rehearsal Hall

Rehearsal Dates:

Read-through will be held on December 10, 2018. Rehearsals will be held on Sundays, Tuesdays and Thursdays at 7:00 p.m. starting January 13, 2019.


As in most plays the question is can you play that age range, rather than do you fit the range.

The Common Man – Late Middle Age. His face is crafty; loosely benevolent, its best expression is that of base humour.
Sir Thomas More – Late forties. Pale, middle-sized, not robust. But the life of the mind in him is so abundant and debonair that it illuminates the body.
Richard Rich – Early thirties. A studious unhappy face lit by the fire of banked down appetite.
Duke of Norfolk – Late forties. Heavy, active, a sportsman and soldier.
Alice More – Late forties. Born into the merchant class, now a great lady.
• Margaret More – Middle twenties. A beautiful girl of ardent moral fineness.
Cardinal Wolsey – Old. A big decayed body in scarlet.
Thomas Cromwell – Late thirties. Subtle and serious. An intellectual bully.
Chapuys – Sixties - A professional diplomat and lay ecclesiastic. Much on his dignity as a man of the world.
Chapuys’ Attendant* – An apprentice diplomat of good family.
William Roper – Early thirties. A stiff body and an immobile face. In love with Margaret.
The King – An early thirties Henry VIII. Clean-shaven, bright-eyed, graceful and athletic.
A Woman* – Middle fifties. Self-opinionated, self-righteous, selfish, indignant.
Cranmer – Late forties. Sharp—minded, sharp-faced.
Four servants (two female, two male) to carry in furniture and help arrange the scenes in the More and Cromwell households, and other scene change duties. Note that one of the servants will double as the “Woman” and one as “Chapuys’ Attendant”. Both are bit parts with some dialogue.

Please arrive about 15 minutes early to fill out the audition form.

Please contact the director Susan Monaghan ( ) or the production manager Susan Sinchak ( if you have any questions.