Current Auditions:

Want to be involved but don’t want to act? There’s always plenty to do backstage – see our membership page for details.

Non-members are welcome but please read the notes on this page.

Membership Commitment – as part of your membership we expect all members to support the theatre by assisting with our Front of House Operations when the theatre is open for performances by either Stewarding, working on the Bar or Coffee Bar. We term this as a “Duty” and members are expected to do eight “Duties” per membership year.

New Members will be asked to do three duties before the run of any production they are cast in. Existing members should ensure that they have fulfilled their quota of duties before auditioning or they may not be considered for a production. All members should do a minimum of three duties within a four month period.

The Crescent Theatre is committed to the promotion of equal opportunities within the theatre, and affiliated projects, through the way we manage the venue and provide services to the community. No person should experience discrimination or lack of opportunities on the grounds of gender, race, religion, age, sexual orientation or disability. In the provision of services and in regards to the membership and visiting companies, the Crescent Theatre is committed to promoting equal opportunities for everyone.  Click here for our Statement of Commitment on Equality, Diversity and Inclusion. If you need any reasonable adjustments to enable you to access an audition, you can let us know in advance by filling in an online audition form.

Please note the opportunities below are unpaid

Please note

While auditions are intended for members, non-members are welcome to attend on the understanding that, if successful in reading for a part, you would be expected to become a member of the theatre. This entitles you to take part in all theatre activities and to concessionary ticket prices. In return you will be expected to attend all rehearsals and performances and to undertake your required allocation of front of house duties. Your membership subscription must be paid by the end of the second rehearsal. Membership fees for a year are £60 (£25 if unwaged). More details on Crescent Membership can be found in the membership pages.

Unless stated otherwise, the venue for all readings and auditions is the Crescent Theatre.

Nigel Slater’s Toast

By Henry Filloux-Bennett

Production Dates: 12 – 19 Sep 2026
Tech Week: 6 – 11 Sep 2026

Based on Nigel Slater’s best-selling memoir, Toast is a poignant coming-of-age story that tracks a young boy’s journey through love, loss, and the foods that shaped him. We will be creating a truly immersive sensory environment, as real food will be cooked on stage!

Rather than relying on strict realism, we will breathe life into Nigel’s childhood memories using stylized physical theatre elements. The ensemble will create everything from suburban kitchen chores to grocery shopping trips in rhythmic, expressive movement that captures the imagination of youth. We will play with the nostalgia for 1960s Britain, through period music, retro sweet shops, and the comfort of home cooking.

Characters

Nigel: The protagonist and narrator. He guides the audience through his own memories, transitioning from a naive, food-obsessed 9-year-old baking jam tarts to a self-discovering, independent teenager. He uses wry, sardonic asides to the audience to cope with family tragedy and his emerging sexuality. Nigel must be played by an adult.

Other than the actor playing Nigel, all other performers will play a number of the characters below. This is a true ensemble piece in which we could have a cast of 5-15

Mum (Alan Slater’s first wife): A gentle, loving, but fragile woman who is fundamentally “stuck in the 1950s” kitchen mentality. Though she is a famously terrible cook (often relying on canned goods or burning the toast), her relationship with Nigel is deeply warm, sensory, and affectionate—making her early death the emotional fracture point of the play.

Dad (Alan Slater): Nigel’s distant, hot-tempered, and deeply traditional father. He works at a car factory and desperately wants Nigel to be a “traditional” masculine boy, openly mocking his son’s preference for home economics over sports. He is highly repressed, struggles with grief after his wife passes, and displays simmering homophobic prejudices.

Joan: Initially introduced as the family’s fiercely competitive, chain-smoking cleaner who arrives after Mum passes away. She eventually marries Dad to become Nigel’s stepmother. She is an exceptional baker—triggering a passive-aggressive “war over lemon meringue pies” with teenage Nigel—and acts as a secondary antagonist who gleefully critiques his mother’s memory.

Josh: The handsome family gardener. He represents one of Nigel’s earliest childhood crushes and a source of quiet escape.

Warrel: Nigel’s childhood best friend. They navigate the “playground politics of sweets” together, featuring heavily in a comedic, fast-paced scene exploring the strict differences between “boys’ sweets” and “girls’ sweets.”

Doreen: The compassionate and open-minded local restaurant owner who gives a teenage Nigel his first professional cooking job. She shows him genuine kindness.

Miss A: Nigel’s strict, somewhat eccentric school domestic science (cookery) teacher who chastises the schoolboys for their dirty minds.

Sam/ Stuart: Figures representing Nigel’s emerging sexuality and teenage romance, including the chef’s son/coworker at the restaurant with whom Nigel shares a pivotal first kiss.

Waitress: An intimidating, starch-aproned presence at a traditional British hotel.

Flinch 1 & Flinch 2: Two highly stylized, physical ensemble roles. They literally “flinch” or react with synchronized, exaggerated horror whenever Nigel or his father breaks a social taboo or drops a piece of cutlery in the restaurant.

Peggy: A colorful local neighbor who interacts with Nigel during his early years.

Janice: A vibrant, trend-focused girl or young woman from Nigel’s school orbit.

Aunt Elvie: Nigel’s well-meaning but overbearing, traditional aunt.

Uncle Len: The classic, loud, post-war British uncle.

Mrs E: An exacting, judgmental figure or neighbor embedded in Nigel’s memories of rigid British high society.

Ad 1 & Ad 2: Two ensemble characters representing the commercial world of 1960s food advertising.

Savoy Chef: A grand, idealized figure representing high-class culinary perfection.

Please note that due to the nature of the production there will be some physicality involved in both the auditions and performances. This can be adapted and catered to the performer’s physical capabilities. No Dance/ physical theatre experience required.

Auditions

The auditions will take place on:

Tuesday 23rd June, 7:30-10pm in the Cumberland Room

Wednesday 24th June, 7:30-10pm in the Roma Rehearsal Room

Our recall date (if required) will be: Saturday 27th June, 2-6pm

Please sign up to audition here. We will endeavor to send an email to confirm your attendance to the auditions, but we cannot guarantee this.

If you are not a current member of the Crescent Theatre membership, please let Box Office know you have arrived and then wait in the foyer for a member of the panel to come and collect you.

Each audition will start with an introduction from the production team followed by a general briefing of the show and audition process. 

We will then have a short physical warmup before we try group scene readings. Stylized physicality is important to the play – please incorporate this into your readings.

We encourage you to familiarise yourself with each piece, as you may be asked to read for additional roles.

Those only wishing to read for ensemble roles will then be able to leave to allow the people reading for Nigel, Mum, Dad and Joan to read.

If you are unable to attend either rehearsal date, please drop us an email (toast@crescent-theatre.co.uk) and we shall try to find an alternative for you.

The audition pieces are as follows:

Ensemble Section – You will be asked to read these in small groups. Depending on amount of auditionees you may be asked to read for more than one script 

Role Specific – You will only be required to read these pieces if you specify one of these roles on the form. However, we may also ask people to remain to boost numbers if required.

Intimacy

There are intimate moments between Nigel and his Mum that involve physical contact and dance. 

Doreen and Stuart will share a hug and kiss in greeting (mother and son).

Nigel and Stuart share a kiss in act 2. 

Nigel and Joan share a hug.

There is choreographed violence between Nigel and his father through a whipping scene. 

As this play has elements of physical theatre, there is likely going to be physical contact between all performers over the course of the play. 

There are a number of controversial topics within the show including: abuse, neglect, homophobia, death and sexual themes.

Rehearsals

Rehearsals will begin on Tuesday 30th June and will follow the pattern of:
Tuesday: 7:30-10pm
Wednesday: 7:30-10pm
Saturday: 2-6pm

There are two periods where we will not be rehearsing due to the Director’s prior commitments.
These are:
Saturday 18th – Wednesday 22nd July
Tuesday 18th & Wednesday 19th August

If cast, please try to plan any additional holidays during these times.

If you have any questions about the audition or rehearsal process, please do not hesitate to get in touch,
We look forward to meeting you,

 

Mark Shaun Walsh
Director
toast@crescent-theatre.co.uk

Lou Styles
Production Assistant

A Woman of No Importance

26th September 2026- 3rd October 2026

Oscar Wilde’s A Woman of No Importance is a sharp, witty and emotional exploration of reputation, secrecy and the quiet damage caused by social expectation. In this production I want to highlight the strong feminist undertones of the play, focusing on women navigating judgement, double standards and the limited power afforded to them within society. As well as explore how the women themselves play a part in creating a world where reputation is often valued above compassion and where conformity is rewarded over independence. Beneath Wilde’s trademark wit lies a surprisingly modern examination of gender, power and personal agency.

The play as well as being poignant social commentary is also of course very funny and balances Wilde’s trademark humour with moments of real emotional weight, offering rich opportunities for bold characterisation, fast-paced dialogue, ensemble work and of course comedy. We’re looking for performers who enjoy character-driven storytelling and are excited to bring energy, nuance, ensemble spirit and of course some Wildean flair to the production.

CHARACTERS

  • Mrs Arbuthnot (aged 38 but can be played late 30s-early 40s)- A fiercely independent woman who has spent years protecting both her son and her own dignity in a society. Beneath her composed exterior is someone carrying deep hurt, resilience and strength. She is the moral heart of the play, navigating some of the most powerful and emotionally charged scenes.
  • Lord Illingworth (aged 42 but can be played late 30ss-early 50s)- Charming, charismatic, effortlessly witty and completely accustomed to getting what he wants. He dominates every room he enters and it is his actions that drive the central conflict of the play. He possesses a natural ease and confidence that draws people to him but is also ruthless and selfish in nature.
  • Gerald Arbuthnot (aged 20 but can be played early 20s-mid 20s)- An ambitious young man on the cusp of adulthood, eager to make his mark on the world and escape the limitations of his upbringing. Idealistic and sincere, Gerald is forced to question everything he believes about success, respectability and the people he admires.
  • Miss Hester Worsley (aged 18 but can be played up to early 20s)- A principled and intelligent young American whose outspoken views set her apart from the society she finds herself in. Throughout the play Hester develops a deeper understanding of compassion, forgiveness and the complexities of human behaviour.
  • Mrs Allonby (aged late 20s-early 30s)- Quick-witted, perceptive and delightfully provocative, Mrs Allonby is often the sharpest person in the room and knows it. She relishes in exposing social absurdities and questioning conventional attitudes. This role is full of humour and confidence requiring an actor with strong comic timing and the charisma to command attention whenever she enters a scene.
  • Lady Hunstanton (aged late 50s-70s)- Sociable and well-connected, Lady Hunstanton is an established and influential presence. Keen to maintain harmony and good manners, she often finds herself navigating competing personalities and viewpoints. The role requires warmth, confidence and strong comic instincts.
  • Lady Caroline Pontefract (aged 40s-50s)- Confident, outspoken and utterly convinced of her own correctness, Lady Caroline is one of society’s selfappointed guardians of morality and propriety. She is quick to judge, fiercely protective of social conventions and rarely afraid to voice an opinion.
  • Lady Stutfield (early-mid 20s) Young, fashionable and eager to please, Lady Stutfield moves through society with a mixture of charm and innocence. Her naivety and eagerness to please provides some light hearted comedy.
  • Mr Kelvil M.P. (aged late 30s-late 50s) A rising politician who takes both his position and opinions very seriously. Kelvil provides moments of comedy through his self-importance and lack of self-awareness.
  • Sir John Pontefract (aged 40s-50s) Good-natured, practical and often overshadowed by his formidable wife, Sir John provides much of the play’s understated humour. While a smaller role, he can be a memorable presence with the right comic timing.
  • Francis & Evelyn These are the domestic staff and can be played as any gender and any age. They do have a few lines each but are more ‘acting ASM’ type roles
    and will help with changing set during transitions.

All characters speak with RP accents apart from Hester who is American and Francis & Evelyn who can have any accent.

INTIMACY 

In the show Mrs Arbuthnot and Gerald share a hug and at times are physically close in some of the emotional scenes and are mother and son. Hester and Gerald hold hands and may also hug and are romantically linked. There is a physical altercation between Gerald and Lord Illingworth which will be choreographed during rehearsals and may require Mrs Arbuthnot to physically restrain Gerald/push him away.

AUDITIONS

  • Tuesday 30th June 7pm-10pm Cumberland Room, Crescent Theatre
  • Saturday 4th July 6pm-10pm Ron Barber Studio, Crescent Theatre
  • Sunday 5th July 10am-2pm Roma’s Rehearsal Room, Crescent Theatre: Recalls (if necessary)

In the audition you will be asked to read for a range of characters potentially including those that do not fit your casting type. We are looking for strong ensemble work and characterisation and you may be asked to read on your own, in a pair or a group. Please find some extracts from the text below which you may be asked to read  from. You do not need to prepare these but you may want to familiarise yourself with them if you would find this beneficial. If you would like to sign up to audition please follow the link here.

REHEARSALS

Rehearsals generally take the format of Wednesday & Thursday evenings and Sunday afternoons with the first rehearsal on 8th July. We will have a break in rehearsals  then from 12th July-28th July recommencing rehearsals on 29th July.

If you have any questions or are unable to make the audition dates please contact us via the email below.

Frankie Haydon-White

Director

awoni@crescent-theatre.co.uk

 

Audition Pieces

Click here to download audition pieces