KINDERTRANSPORT by Diane Samuels
Directed by Tony Fullwood
Auditions will be held on Monday 23rd January 6.00-9.00pm (in the Coachmakers Arms, 9 St Stephens Rd, NR1 3SP) and Wednesday 25th January 6.00-9.00pm (in the Emmerson Studio). Auditions will consist of an individual 20-minute session with the director during which you should perform the audition speech you have learnt.
Please select a date and preferred times and email me on : email@example.com and I will confirm the timing with you.
You should also give your mobile/home phone number and indicate the part you wish to audition for and I will send you the speech(es) that need to be learned for the audition.
You can also sign-up and collect extracts in the normal way from the theatre office if you prefer.
IF YOU WISH TO AUDITION BUT CANNOT MAKE EITHER OF THESE DATES, PLEASE CONTACT TONY FULLWOOD ON: firstname.lastname@example.org
Call-back auditions will be by arrangement at the start of February.
Rehearsals begin week of 3rd April from 7-10pm on weekday evenings. You can expect to be required for up to FOUR evenings per week. Some weekend rehearsals may be required if we fall behind through absence or illness.
Performances: 19th-27th May with Saturday matinees on 20th & 27th
THE PLAY : Kindertransport tells the story of Eva, one of the 10,000 German-Jewish children sent to Britain in 1938-9 to escape Nazi persecution. Alongside scenes of her departure from Germany, journey to Britain and her time there during the war, we are shown 40 years later when Evelyn, a very middle-class English woman, is preparing to send Faith, her adult daughter and a college student, out into the world. The connection between the two stories is revealed during the play. It is a powerful, poignant study of separation and displacement that has clear topical relevance.
IF YOU ARE INTERESTED IN AUDITIONING FOR THIS PRODUCTION PLEASE READ THE PLAY BEFOREHAND. A READING COPY IS AVAILABLE IN THE MADDERMARKET OFFICE.
BRIEF CHARACTER NOTES WITH PLAYING AGES OF THE ACTORS :
Eva: the child refugee starts the play at 9 years old and ends it at 17 years old. The actor will probably be 18-25. Early in the play she sometimes speaks with a German accent and also speaks a number of lines in German - we’ll get help with these. Later increasingly English in her speech and accent. Appears in all 8 scenes and has 450 lines.
Helga: Eva’s German-Jewish mother is in her 30s at the start then re-appears eight years later but looking a good deal older. Speaks English with a German accent at times and has a small number of lines in German. Appears in 5 of the 8 scenes and has 200 lines.
Evelyn: An English middle-class womanin her 50s. Probably RP accent. Appears in 6 of the 8 scenes and has 370 lines.
Faith : Evelyn’s adult daughter, a college student, is in her early 20s. Probably RP accent. Appears in 6 of the 8 scenes and has 360 lines.
Lil: Evelyn’s working-class ‘mother’ is in her 80s but plays her scenes with Eva as though she is 40. The actor will probably be 60+. She has a Manchester accent. Appears in 6 of the 8 scenes and has 460 lines.
The Ratcatcher, The Nazi border official, The English Refugee Organiser, the Postman and the Train Guard are all played by the one male actor. Does not need specific accents but vocal and physical variety will be essential. Age immaterial. Appears in 4 of the 8 scenes (plus other non-speaking appearances) and has 120 lines.
PRODUCTION STYLE : Kindertransport has been performed by many companies in many countries. In 2007 it was produced by Shared Experience Theatre Company and it is their approach, which I believe to be particularly well-suited to this play, I would like us to emulate. Their website defines their creative methods and style as follows :
Shared Experience has been instrumental in pioneering a distinctive performance style that celebrates the union of physical and text-based theatre. We are committed to creating theatre that goes beyond our everyday existence, giving form to the hidden world of the psyche/emotion and imagination. We seek to explore the relationship between the world we inhabit and our inner lives. We see the rehearsal process as a genuinely open forum for asking questions and taking risks that redefine the possibilities of performance. At the heart of the company's work is the power and excitement of the actor’s physical presence and the collaboration between actor and audience - a shared experience.
Auditionees should be prepared to work collaboratively, to take risks in rehearsal and to explore the physical as well as the emotional and intellectual aspects of performance.