CAN-CAN
The Metropolitan Musical Theatre Company of SA Inc (aka “The Met”)

Written By: Music and Lyrics by Cole Porter
Book by Abe Burrows
Directed By: Director - Leonie Osborn
Musical Director - Stephanie Neale
Choreographer - Carmel Vistoli

CAN-CAN is set in the Montmartre district of Paris in 1893. At the Bal Du Paradis Cafe, owned by La Momme Pistache, the naughty Can-Can dance is performed. After a police raid, the dancers are arrested and the ensuing court case results in Judge Aristide Forrestier personally investigating the charges of 'lewd and lascivious dancing'. Although forewarned of complications by his friend, Judge Paul Barriere, Aristide falls in love with Pistache and is introduced to some diverse charachters and situations.

Boris Adzinidzinadze, a Bulgarian sculptor, is courting Claudine the lead dancer at the Bal Du Paradis. Their friends Theophile, Etienne, Hercule and Monique and the vivacious Can-Can dancers are all trying to impress the suave, influential Art Critic, Hilaire Jussac. The resulting situations are fun-filled and colourful, climaxing in an exhilarating performance of the Can-Can.

Please note - In the 1960's movie version of Can-Can, some of the characters and names were changed or deleted.

Roles Available:
Please note – all auditionees should be 18 years or older.

La Mome Pistache - Stage age 35-45 - A fascinating woman of many moods. French accent. Vocally strong, good mover - does not dance the Can-Can. Vocal range G below C to D.

Aristide Forestier - Stage age 35-45 - Strong minded Parisian judge. French accent. Vocally strong and good mover. Vocal range Middle C to G

Boriz Adzinizinade - Stage age 30-40 - Volatile Bulgarian sculptor. Broad comedy role. Good mover - strong character actor with Bulgarian accent. Vocal range D to E

Claudine - Stage age 20-30 - Preferrably a trained dancer - must be able to kick, split and turn. French accent . Vivacious personality. Audition in dance-wear that shows legs (for Can-Can). Vocal range E to G

Can-Can Dancers - Same requirements as Claudine some with small dialogue lines. French accent. Same vocal range E to G.

Hilaire Jussac - Stage age 35-50 - Suave, sophisticated Frenchman. Able to move well. French accent. Comedy role. Vocal range D to E

Theophile - Stage age 25-40 - French artist. Character actor. French accent. Able to move well. Vocal range D to E.

Etienne - Stage age 25-40 - French poet. Character actor with French accent. Able to move well. Vocal range D to E

Hercule - Stage age 25-40 - Ballet dancer. Small role for a character actor. French accent. Able to move well and be prepared to wear tights. Vocal range D to E.

Model & Waitress - Stage age 30-40 - Small comedy character role. French accent. Able to move well. Could be a Can-Can dancer if able. Vocal range D to E.

Paul Barriere - Stage age 40-50 - French Court Judge - dialogue only. Will also work in chorus. French accent. Vocal range D to F.

Chorus - Must move well. There are several small roles which will be chosen from Chorus members. French accents. Vocal range D to F.

Rehearsals:
Monday evenings from 7.30pm to 10.30pm
Wednesday evenings from 7.30pm to 10.30pm
Some Sundays from 2pm to 6pm

Performances:
11 - 20 October 2018

Venue:
The Arts Theatre - 53 Angas Street Adelaide SA 5000

Information Night:
Monday 4th June 2018 at 7.45pm

Auditions:
Auditions by APPOINTMENT only at and from INFO Night then from Tuesday June 5th

Phone Carolyn 0407 457 821 or email themetsa@gmail.com

Sunday 17th June 2018 from 2pm
Monday 18th June 2018 from 7pm

Venue:
Maylands Church of Christ Hall, corner Nora Street and Portrush Road, Maylands.

More Information:
Contact Carolyn Mesecke on 0407 457 821 or email themetsa@gmail.com

SIX DANCE LESSONS IN SIX WEEKS
Therry Dramatic Society

Written By: Richard Alfieri
Directed By: Pam O'Grady

This delightful story tells of an unlikely friendship between two people brought together by dance. While trying to suppress their pasts, they yearn for a more meaningful future. This poignant comedy has danced from Broadway to worldwide success and will sashay into your heart.

Roles Available:
Lily: stage age 60s-70s - active, feisty.
Michael - stage age late 30s to mid 40s - dance instruction, former Broadway 'chorus boy'
Both must be able to dance (waltz, foxtrot, cha cha etc)
This play is written for only two characters.

Rehearsals:
Flexible - depending on cast availability and preferences, but generally Sunday afternoons and Monday and Thursday evenings.

Performances:
Wednesdays to Saturdays 31 October to 10 November at 8 pm
Matinees both Saturdays at 2 pm

Venue:
Arts Theatre

Auditions:
Saturday, 23 June by appointments

Venue:
Therry, 2/1 Regina Court, Beverley.

More Information:
Jill Bartlett on 0413 935 128 or via therry@chariot.net.au

MATT & BEN
Oily Rag Theatre

Written By: Mindy Kaling and Brenda Withers
Directed By: Kristin Telfer

Oily Rag Theatre will be presenting Mindy Kaling's ('The Office', 'The Mindy Project') and Brenda Withers' award-winning absurdist comedy "Matt & Ben" as part of the Star Theatres Back 2 Back Short Show Festival this October.

"Matt & Ben" is the story of struggling young actors and BFFs Matt Damon and Ben Affleck, who are working on their cinematic adaptation of JD Salinger's "The Catcher in the Rye" one afternoon when there is a clap of thunder and a bolt of lightning and a screenplay falls from the heavens into Ben's living room. The title... "Good Will Hunting". The authors... them! Is this the break they have been waiting for, or are they being tested by a higher power?

Roles Available:
IMPORTANT: Matt and Ben are played by women, we will not be considering male actors for either of these roles. HOWEVER please note that looking even remotely like Matt Damon or Ben Affleck is NOT a criteria for casting. A sense of fun, good comic timing, and great chemistry with your co-star, is.

MATT DAMON: Stage age 25. Earnest, ambitious and driven. Must be able, or able to teach self, to sing and play "Bridge Over Troubled Water" on the acoustic guitar with great sincerity and moderate competence. Actress also briefly doubles in one scene as JD Salinger.

BEN AFFLECK: Stage age 23. Swaggering, dim and insecure. Must be able, or able to teach self, to skoll a small bottle of fruit juice in one go, and throw small snacks into the air and catch in own mouth.

Rehearsals:
Monday and Wednesday evenings, commencing either 27 or 29 August.

Rehearsals will be run at the Goodwood Community Centre (32-34 Rosa Street, Goodwood).

Rehearsals will start at either 7.00 or 7.30, to be negotiated with the cast.

Performances:
We will be performing the show twice during the festival:
Saturday, 20 October at 9 p.m.
Friday, 26 October at 7.30 p.m.

Venue:
Theatre Two at Star Theatres (145 Sir Donald Bradman Drive, Hilton).

Auditions:
Sunday, 24 June, appointments available from 1 p.m. to 4 p.m.
Tuesday, 26 June, appointments available from 6 p.m. to 9 p.m.

Please let us know what times are good for you, and we will do our best to organise things so you are able to audition with a potential co-star rather than by yourself.

Please prepare a short comic monologue written for a male character. We will also ask you to read from some scenes in the play, PDFs of these can be provided to you ahead of time if you wish.

Venue:
Fullarton Park Community Centre (411 Fullarton Road, Fullarton).

More Information:
Kristin Telfer on 0417166293 or via oilyragtheatre@gmail.com

TOM, DICK AND HARRY
Tea Tree Players

Written By: Ray and Michael Cooney
Directed By: Barry Hill

Tom Kerwood and his wife Linda are hoping to adopt a baby and buy their own home. This would be the happiest time of their lives… if not for Tom’s ne’er-do-well (but well-meaning) brothers: lovable rogue Dick and thick-headed genius Harry. The bumbling brothers arrive to help make a good impression on Mrs. Potter, the adoption agency supervisor who is coming to inspect the prospective parents’ home. Unfortunately, Dick shows up with a van full of smuggled goods from France, while Harry has a bag of cadaver body parts he stole from the morgue… and it’s all part of a “genius plan” to make Tom and Linda’s dreams come true. Something else got smuggled in from France: Andreas and his granddaughter Katerina, a pair of Albanian illegal immigrants who stowed away in the van and don’t speak a word of English. Things get even more complicated for the Kerwoods when Constable Downs arrives to investigate the sudden commotion. Adding to the chaos, Boris a menacing East European mobster, shows up to threaten the Albanians. Is there still hope for a happy family? This frenzied farce is an absurd delight!

Roles Available:
Roles are available for six men and three women:
• Tom Kerwood: A likeable Londoner. (635 cues)
• Linda Kerwood: His wife. Bright and attractive. (208 cues)
• Dick Kerwood: Tom’s brother. A lovable rogue. (303 cues)
• Harry Kerwood: Tom and Dick’s brother. A thickheaded genius. (197 cues)
• Katerina: An Albanian peasant. Poorly dressed, buxom, attractive. Confident and dangerous. (52 cues)
• Andreas: Her grandfather. Also an Albanian peasant. Small, stooped, and weather-beaten. (58 cues)
• Constable Downs: A police officer. (93 cues)
• Mrs. Potter: The formidable adoption agency supervisor. (105 cues)
• Boris: A stocky, smartly dressed East European. (16 cues)

Rehearsals:
Mondays/Wednesday Evenings and Some Sundays (time to be negotiated)

Performances:
Wednesday 10th to Saturday 13th October at 8.00pm
Tuesday 16th to Saturday 20th October at 8.00pm
Matinee each Saturday at 2.30pm

Venue:
Tea Tree Players
Gate 1, Tilley Recreational Park
(Corner of Yatala Vale and Hanock Roads)
Surrey Downs

Auditions:
7:30pm Monday 25th and Wednesday 27th of June, 2018

Venue:
Tea Tree Players
Gate 1, Tilley Recreational Park
(Corner of Yatala Vale and Hanock Roads)
Surrey Downs

More Information:
Barry Hill on 0400827634 or via barry1953@hotmail.com

MAN OF LA MANCHA
St Jude's Players

Notice Updated - 8/06/2018

Play -Dale Wasserman
Music - Mitch Leigh
Lyrics - Joe Darion
Directed By: Max Rayner.
Musical director - Pat H Wilson


Roles Available:
Don Quixote (Cervantes) - tall, thin, gaunt, BARITONE Low B-F age 30 - 60
Sancho Panza - Quixote’s servant, ??short & squat. TENOR C-high G age 25 - 50
Alfonzo/Dulcinea - wild, lusty, SOPRANO low Ab - high Ab
Innkeeper/Governor - strong, powerful. BASS - Low G - C# Age 30-65
Dr Carracci - Loves money & power. BARITONE - low C - DB. Age 39 - 60
Padre - kindly cleric. TENOR F - high C Age 25 - 60
Barber - comic character TENOR B - high G age 20 - 60
Antonia - - SOPRANO C - high F age 18 - 35
Housekeeper - strong, religious MEZZO. Low f - High F age 30 -70
Pedro - head mulateer BARITONE Low D - D age 25 - 55
Anselmo - rough mulateer TENOR A - high F# age 20 - 50
Ensemble - a variety of singers & dancers to portray horses age 20 - 70

Rehearsals:
Beginning Aug 12
Tuesday & Thursday nights 7.30 - 10.30pm.
Sunday afternoons 2 - 5pm.

Performances:
November 15, 16, 17 @ 8pm
21, 22, 23, 24 @ 8pm
Matinees 17, 24 @ 2 pm

Venue:
St Jude’s player’s Hall
444 Brighton Road
Brighton

Information Night:
TUESDAY JUNE 19 7:30pm
St Jude’s Hall

Auditions:
SUNDAY JULY 1
11.00am - all women
12.45pm - all men
2.30pm - call backs for women
4.00pm - call backs for men

Venue:
St Jude’s Players Hall
444 Brighton Road
Brighton

More Information:
Max Rayner 0438655088 or via
perfectmax@adam.com.au

ERIC
Unseen Theatre Company

Written By: Original book by Sir Terry Pratchett. Adapted for the stage by Pamela Munt
Directed By: Pamela Munt

Eric has been described as “the Discworld’s only demonology hacker”, but all he really wants is three wishes. That sounds simple enough, right?

No, this is not your favourite fairytale from your childhood. Far from it. Well, maybe not that far........just as far as the Discworld where demons, wizards, hell-hounds, hostile travel accessories, and more demons, thinly disguised as public servants with a penchant for excessive amounts of stationary and memos, are real. Well...real-ish.

But to get back to Eric, the clever young man with a Faust-like spirit of insatiable scientific inquiry. It turns out that he is not quite as clever a hacker as he thinks he is. Instead of calling up a malleable, complaisant, but experienced demon to grant his wishes, his magic circle has managed to retrieve the most incompetent wizard in the universe ...Rincewind.

What follows is an hilarious race through space and time. Not to mention, the torture chambers of hell. (which I think I just did – oops!)

Roles Available:
• ERIC – A middle class, spoilt brat, child prodigy who thinks he can summon demons and get anything he wants.
• RINCEWIND – Hapless “loser” wizard – anti-hero. Spends his life running away.
• ERIC’S MOTHER – voiceover
• STUFFED PARROT WITH ATTITUDE - probably represented by a stuffed parrot on Rincewind’s shoulder with a real actor behind it.
• ASTFGL – The Devil – Lord of Hell with a love of “order” and stationery – think extreme public servant
• FOOTNOTE – Narrator
• MESSENGER
• VOICE (at end of speaking tube – minor clerk)
• QUEZOVERCOATL – Small God – underling of Astfgl
• TEZUMEN GUARDS & PEOPLE
• PONCE DE QUIRM – prisoner, and scientist looking for the fountain of youth
• TSORTIAN SERGEANT (for Tsortians read “Trojans”)
• TSORTIAN SOLDIER
• TSORTIAN GUARD
• TSORTIAN CAPTAIN
• WAITER
• EPHEBIAN CENTURION (for Ephebians read “Greeks”)
• EPHEBIAN CAPTAIN – LAVAEOLUS – read Odysseus
• CHILD’S VOICE – offstage
• ELENOR – read “Queen Helen of Troy” supposedly a fair maiden - “the face that launched a thousand ships” in legend, but really a very practical Greek mother
• CREATOR - a small rat-faced man, self effacing, common person
• DEATH
• ERGLEFLOGGAH – Spawn of the pit and guardian of the dread portal to hell (a demon writ politically correct)
• DEMON GUIDE - public servant underling
• LORD VASSENGO - Sub Lord of Hell – plotting public servant
• MAGIC MIRROR – classic
• DUKE DRAZOMETH – plotter with Vassengo
• EARL BEEZLEMOTH – plotter with Vassengo

Rehearsals:
A ten week rehearsal period starting on Sunday 15th July. We rehearse Tuesday and Thursday evenings and Sundays either afternoon or evenings (negotiable with cast)

Performances:
October 5, 6, 10, 11, 12, 13, 17, 18, 19, 20 at 8pm.

Venue:
Bakehouse Theatre, 255 Angas Street, Adelaide

Auditions:
Sunday July 1st at 3pm

Venue:
Bakehouse Theatre, 255 Angas Street, Adelaide

More Information:
Pamela Munt via pamela@unseen.com.au

GO BACK FOR MURDER
Therry Dramatic Society

Written By: Agatha Christie
Directed By: Norm Caddick

After receiving a letter from beyond the grave, Carla Crale believes her mother, who died in prison, was wrongly convicted of her father’s murder. In a passionate attempt to clear her mother’s name, Carla persuades those present on the day of her father’s death to return to the scene of the crime and ‘go back’ 16 years to recount their version of events.

An unusual take on the traditional murder mystery, the action of the play slips seamlessly from past to present, examining the danger of relying on personal testimony warped by time, prejudice and perception. By studying each suspect’s testimony, and the various inconsistencies between them, the drama arrives at a disturbing and terrible truth.

The play was adapted by Christie from her novel Five Little Pigs, which saw her change the title to Go Back For Murder and remove the character of Hercule Poirot entirely. In the play, Poirot's function is replaced by a young lawyer, Justin Fogg; son of the lawyer who led Caroline Crale's murder case.

Roles Available:
Justin Fogg – mid 30s, a young solicitor, solid, sober but likeable – helps to solve the crime and becomes the love interest

Turnball – 50s-60s – solicitor’s clerk, small role, one scene only

Jeff Rogers – 35, Canadian, slick, self-satisfied, insensitive to others.

Amyas Crale – mid 30s – artist, womaniser.

Act 2 relies heavily on flashbacks to 16 years previously, so the following characters all need to play themselves as they are currently and as they were 16 years earlier. Apart from:

Carla – 21, Canadian, attractive and determined who also plays her mother

Caroline Crale - English 30, charming but a little downtrodden.

Philip Blake – 50s and 30s – good-looking, self-important businessman

Meredith Blake – late 40s and mid-30s – pleasant, rather vague and ineffectual.

Lady Elsa Melksham – late 30s and 21 – very smart and sophisticated but as the younger Elsa, she is a calculating romantic.

Miss Williams – 60s and late 40s –intelligent, now retired but was previously governess to Angela.

Angela Warren – 31 and 15 – now a distinguished budding archaeologist.

Rehearsals:
Sunday afternoons; Monday and Thursday evenings commencing md-November, break for Christmas/New Year, re-commencing early January.

Performances:
Season: 6-16 February 2019
Wednesday to Saturday at 8 pm
Matinees both Saturdays at 2 pm

Venue:
The Arts Theatre, 53 Angas Street, Adelaide

Auditions:
Saturday, 7 July 2018

Venue:
Therry Clubrooms, 1 Regina Court, Beverley.

More Information:
Julia on 0419 842 975 or Jill therry@chariot.net.au

CASH ON DELIVERY
Noarlunga Theatre Company

Written By: Michael Cooney – son of the legendary Ray Cooney
Directed By: Director Linda Lawson
Assisted by Jeff Penter

A fast-paced hysterical farce, with mistaken identity, cross talking, slamming doors and at least one dead body.
Eric having lost his job, stumbles upon a scheme to scam the Dept. of Social Security(DSS) for the entitlement of a former lodger. Eric turns the DSS scam into a highly lucrative cash flow, by using his unwitting current lodger Norman Bassett at the heart of a series of elaborate deceptions to keep the cash flowing. It all happens so easily he doesn’t know how to end the deception, which is when he receives a visit from DSS inspector. Eric entwines Norman in his deceptions, with his good wife concerned only for their marriage unawares of the deceptions or even that he has lost his job!
The pace, comedy and drama build as more characters are introduced, all at cross purposes.


Roles Available:
6 Males
4 Females:

M: Eric Swan 30+, unemployed scammer
F: Linda Swan 30+, Eric’s wife
M: Norman Bassett 30+, Eric’s lodger
M: Uncle George 50+ Eric’s uncle
M: Mr Jenkins 30+, Centrelink Inspector
F: Sally Chessington 20+, Centrelink Counsellor
M: Forbright 30+, Undertaker
M: Dr Chapman 30-40, Marriage Guidance Counsellor
F: Ms Cowper 40+, Centrelink District Manager
F: Brenda Dixon 20+, Norman’s Fiancé

Rehearsals:
7.30pm -10pm, Tuesdays
1.30pm -5pm Sundays

Rehearsals at: Base 10 – Onkaparinga Youth Centre - 10 Main South Rd, Reynella

1st Rehearsal: 7.30pm Tuesday 24th July 2018

Performances:
8pm: Fri 26th October & 2nd November

2pm & 8pm: Sat 27th October & 3rd November

Venue:
The Port Noarlunga Arts Centre - 22 Gawler St Port Noarlunga

Auditions:
Sunday 8th July 2pm
This will be a group audition and no prior preparation is required.

Venue:
Base 10 – Onkaparinga Youth Centre - 10 Main South Rd, Reynella

More Information:
Linda Lawson on 0417826968 or via ntc@outlook.com.au

NELL GWYNN
The Stirling Players

Written By: Jessica Swale
Directed By: Megan Dansie

Nell Gwynn is a fabulous romp that premiered at Shakespeare’s Globe in September 2015 before transferring to the West End and winning the of 2016 Olivier Award for Best New Comedy. It is still touring the UK.

Using language that is modern and accessible, it is a fun, bawdy, inside look at theatre and acting of the period. Hearing Nell Gwynn heckled at the playhouse, Charles Hart decides to train her as an actress, just before women are first allowed on the London stage - the pair also become lovers. When Charles II grants permission for women to act, Nell joins Hart in the King's Company. Her admission to the Company is backed by its writer John Dryden, director Thomas Killigrew, and most of the actors except Edward Kynaston, who had previously played the company's female parts. Charles II continues his affair with Lady Castlemaine although his queen, Catherine, objects. Soon afterwards Charles sees Nell onstage and is greatly attracted to her. He visits her backstage and the pair begin an affair.

The play represents a wonderful twist on the story of The Stirling Players’ 2012 sellout hit, Compleat Female Stage Beauty.

Roles Available:
The play has a cast of at least 5 women and 7 men. Some doubling, or spreading of minor parts is possible. Having some actors who can play instruments would be desirable.

Any ethnicity welcome.

All ages stage age only.

Nell Gwynn - our heroine young, bright, cheeky. Stage age 18 to 25. Sings solo.
Rose Gwynn - Nell’s sister about Nell’s age or slightly older
Nancy - Nell’s dresser and confidante any age
Lady Castlemaine - Charles’ most ambitious mistress 20- 30’s
Louise de Keroualle - Charles’ French mistress 20 to 30’s
Queen Katherine - Charles’ Portuguese wife 25-35
Old Ma Gwynn - Nell’s mother, a brothel madam 30s to 50
Charles II - the King, obviously, 25 to 45
Charles Hart - leading actor of the King’s Company 20s-to 40
Thomas Killigrew - actor-manager of the King’s Company late 20’s to 50’s
Lord Arlington - Charles II’s advisor 40 to 65
John Dryden playwruight 25 to 45
Ned Spigget - actor in training in the King’s Company 18 to 25
Edward Kynaston - actor in the King’s Company, plays the women’s parts 20’s to 35

Rehearsals:
Tuesday and Thursday evenings, 7.30 to 10pm.
Sundays 2 to 5pm.
Rehearsals commence early December, with a break for Christmas.

Performances:
Fridays and Saturdays 22, 23 February; 1, 2, 8, and 9 March 2019 at 8pm
Sundays 24 Feb and 3 March 2019 at 4 pm

Venue:
Stirling Community Theatre, Avenue Road, Stirling

Auditions:
Saturday 14 July from 1pm. Audition pieces will be available in advance of the audition date.

For an audition time (hourly slots) phone Viki 0418 237 011

If auditioning for Nell, be prepared to sing a verse and chorus of a song, e.g. nursery rhyme or traditional folk song.

All auditionees should wear appropriate comfortable shoes and clothing to allow for a short movement exercise

Venue:
Stirling Community Theatre, Avenue Road, Stirling

More Information:
Megan Dansie (Director) via aislinn@internode.on.net or via (OUTSIDE BUSINESS HOURS ONLY) 0413 800 221

MIDWAY TO NOWHERE

Written By: George Djukic
Directed By: Martin Coghlan and George Djukic

My play "Midway to Nowhere" deals with an as yet unknown story in Australian history, the telling of which is well overdue. It deals with a group of refugees from post-war Europe who have come to Australia to secure safety, a home and work, but must wrestle in the process with the present and the past, themselves and others, as they seek to re-shore their identity. It is set in the winter of 1952 in a migrant reception centre in northern Victoria and based on events that took place at the most famous of migrant reception centres, the Bonegilla camp near Albury-Wodonga, through which my own father passed as a displaced person (DP), having been a forced labourer in Nazi Germany, and which operated from 1947 till 1971.

In "Midway to Nowhere", a group of migrants from southern Europe anxiously and frustratedly await placement in employment. Some of the migrants are DPs, the last of an intake of political refugees from war-torn Europe that began in December 1947 under the auspices of Immigration Minister Arthur Callwell’s populate-or-perish immigration policy. Homeless, they try to find their bearings in a new country that is at best ambivalent about their presence there.

Other migrants are economic refugees, availing themselves of employment contracts made available under new treaties with their countries. A recession has set in unexpectedly, forcing the migrants to wait in limbo while employment is deferred. Discontent has reached crisis level, with some Italian migrants having recently set fire to some of the buildings in the camp, triggering the army to send in tanks armed with machineguns. This is based on an actual episode in Australia's post-war migration history which is well documented at the Bonegilla Migrant Experience museum.

All the migrants, political and economic, are scarred by their experiences of the war. Disempowered and trapped in a no-man's-land, they wage a struggle on many fronts: against the past; the authorities; the new country; each other; and themselves, a struggle in turns sad, funny, painful and angry. By the end of the play, each character has a clearer idea of the road ahead. For some, it will be a dark journey. Some of the storylines are based on actual events.

"Midway to Nowhere" follows the trajectory of several main characters. We have for example:

1) Sava, who was transported from Yugoslavia to Germany as a forced labourer. He chooses not to return after the war, as the communists have taken over. In Australia he befriends young Boško, 20 years old, who idolises him. Their friendship is strained however when Boško falls for a woman who prefers Sava. Sava decides not to marry his fiancée when he gets assigned work in the cane fields, and Boško is left behind, at the mercy of the ruthless and self-seeking Puniša, who finds him work with an exploitative Australian farmer. Boško escapes only to be shot in an accident, becoming an invalid.

2) Rade, a Serbian DP, damaged by his experiences in concentration camps, and tormented by his insecurity over a much younger German wife, whom the other Serbian women in the camp have ostracised. When Gennaro, a young italian immigrant, seeks revenge on the incompetent camp doctor for the death of his infant daughter, Rade incites him to kill him. At the crucial moment, Gennaro loses his nerve, only to have Rade take the knife and stab his wife Ingeborg when he sees her in the arms of another man. In court, Rade is shown clemency and sentenced to two years’ imprisonment. His case and sentencing is based on an actual event.

"Midway to Nowhere" captures an important historical time and place in Australian history. It examines the collision of the old world cultures of European refugees and that of a post-war Australia still in the grip of the white Australia policy, and ambivalent both about its British heritage and its new links to America. Not only will it resonate with those post-war migrants who are still alive and their descendants, thus finally giving them a voice, but it will also afford Australians generally an understanding of the stresses of migration and the evolution of Australian identity since the war.

My play thus affords insights into the experience of being an immigrant, a refugee and an outsider in Australia. More generally, it brings out the eternal relevance of the past for the present. In particular, as the number of refugees and asylum seekers continues to increase in today’s global village, where geopolitical decisions in one country have ramifications for countries on the other side of the world, it highlights the need for compassion for and understanding of these victims of international forces which are beyond their control and understanding. In offering a perspective corrective of the myths and fears encouraged by mainstream media and politicians, it is timely and especially relevant to contemporary Australian society.

Roles Available:
The roles still available:

MALE

Sava: [pronounce SAH vah] Serbian DP (displaced person), late twenties to early thirties, formerly a peasant and forced labourer in Germany, anti-communist. Chooses not to return to Yugoslavia after the war, as the communists have taken over after a civil war that took place alongside the war against the occupying Germans. He is generous, compassionate, a gentleman; fiercely proud of his heritage; patient; loyal even when his commitment becomes burdensome; stubborn; damaged by war yet remains optimistic.

Puniša: [pronounce POOH nee shah] Serbian DP (displaced person), forties, formerly a peasant, Royalist guerrilla, anti-communist; self-seeking opportunist; brutal; womaniser. Has a very idiosyncratic sense of personal morality. Hot-tempered.

Nebojša: [pronounce NE boy shah] Serbian DP (displaced person), twenties, highly educated intellectual; arrogant, burnt out, lethargic, brooding. University studies interrupted because of his outspoken criticism of new communist regime that took over after civil war in Yugoslavia during second World War; political prisoner, tortured by Tito's communists on infamous island concentration camp; mentally ill and destroyed by his experiences of the war, he cannot adapt and decides to leave Australia.

Gennaro: [pronounce jen NAH roh] Italian immigrant, twenties, a Neapolitan peasant, mother and sisters killed in allied bombing raid, non-political; family man; seeks revenge on the Australian camp doctor he holds responsible for his baby's death.

Rade: [pronounce RAH dair] Serbian DP (displaced person), forties, formerly a Royal bodyguard and guerrilla, anti-communist; man of honour; quick to take offence; pride has suffered greatly; damaged by his experiences in concentration camps and tormented by his insecurity over a much younger German wife.

Dimitri: [pronounce dee MEE tree] Greek political refugee, mid-twenties to mid-thirties, formerly a Communist guerrilla; escaped after the communists for whom he fought lost against the nationalist forces in the Greek civil war. He is socially conscious, idealistic, a womaniser.

FEMALE

Ljubica: [pronounce LYOO bee tsah] Serbian DP, twenties to thirties, mother, jealous of the lead female Danica, whom she accuses of bewitching her husband with her gypsy spells, and resentful of Rade's German wife Ingeborg, as she lost all her family because of the Nazi occupiers.

Rehearsals:
Rehearsals begin in September; one two-hour session per week. In 2019 they will increase to 2 sessions per week, then eventually 3.

Performances:
Sunday 12th May 2019 to Saturday 18th May 2019

Venue:
Star Theatre, 145 Sir Donald Bradman Drive, Hilton 5033

Auditions:
Sunday July 15, 10 am - 4 pm

Venue:
Star Theatre, 145 Sir Donald Bradman Drive, Hilton 5033

More Information:
George Djukic on 0407710601 or via gdjukic@bigpond.com

FRENCH FARCE 'BOEING BOEING'
The Historical Theatre Company Inc.

Written By: Marc Camoletti, translated by Beverly Cross and Francis Evans
Directed By: Allen Puttock

Set in the 1960s bachelor Bernard couldn't be happier: a flat in Paris and three attractive stewardesses all engaged to him without knowing about each other. But Bernard’s life gets bumpy when his friend Robert comes to stay, and a new, speedier Boeing jet disrupts his careful planning. Soon all three stewardesses are in the city simultaneously, timid Robert forgets which lies to tell to whom, and catastrophe looms.

Roles Available:
2 roles, Italian Air hostess and German Air Hostess

Rehearsals:
TBA

Tech Rehearsal 18th September 2018
Dress Rehearsal 20th September 2018

Performances:
21st, 22nd, 28th 29th, September 2018
5th, 6th, 12th, 13th October 2018

Venue:
The Lithuanian Club Theatre, Norwood. 6 Eastry Street, Norwood.

Auditions:
Phone Allen for appointment 0414869939

Venue:
Lithuanian Club Theatre, Norwood

More Information:
Allen Puttock on 0414869939 or via allenp@esc.net.au

A MOST PECULIAR BUSINESS
Unmasked Theatre

Written By: Anon.
Directed By: Allen Puttock

This is a Theatre/ Dinner production Comedy/ Murder.
There is a murder before the performance and then two through the performance. It is up to the audience to spot the clues and decide upon the killer or killers.

Roles Available:
Police Inspector (Male) age 35 to 55
Policeman (Male) age 30 t0 45

Rehearsals:
TBA

Performances:
26th August Lunch performance 12pm
19th, 20th, 26th and 27th October 2018 6.30 pm

Venue:
Lunch performance Lithuanian Club, 6 Eastry Street, Norwood, Dining room
Evening Dinner performances, The Public Schools Club, East Terrace, Adelaide

Auditions:
By appointment

Venue:
Lithuanian Club Theatre

More Information:
Allen Puttock on 0414869939 or via allenp@esc.net.au

THE OUTSIDERS
Deadset Theatre Company

Written By: Based on the novel by S.E. Hinton, adapted by Christopher Sergel
Directed By: Zoe Muller

This iconic coming of age story follows the lives of a teen gang in the 1960s known as ‘Greasers’ who are perpetually at odds with the Socs, a rival group. When Greasers Ponyboy and Johnny get into a brawl that ends in the death of a Socs member, the boys are forced to go into hiding. Soon Ponyboy and Johnny, along with Dallas and the other Greasers, must contend with the consequences of their violent lives. While some Greasers try to achieve redemption, others meet tragic ends.

Roles Available:
MALE ROLES

Ponyboy (15) — Novel’s narrator and protagonist. The youngest of the Greasers. Ponyboy is a reliable and observant narrator. He is the most innocent member of the gang, however is still ‘cool’. Spends most time onstage.

Johnny (16) - Greaser. He does not succeed in school. Child of alcoholic, abusive parents, nervous and sensitive, since his parents do not care for him, he sees the Greasers as his true family; in turn, the older boys are protective of him.

Two Bit (18)— Joker of the Greasers. He is a wisecracking Greaser who regularly shoplifts, instigates the hostilities between the Socs and the Greasers by flirting with Marcia, the girlfriend of a Soc.

Bob (18) — The Soc who attacks both Johnny and Ponyboy in the park. He is killed by Johnny. Cherry’s boyfriend. He beats up Johnny before the story begins, starting a rivalry between the gang.

Randy (19) — Marcia’s boyfriend and Bob’s best friend. A Soc who eventually sees the futility of fighting. Humanises the Socs by showing that some of them have redeeming qualities, helps Ponyboy realise that Socs are as susceptible to pain as anyone else.

Paul (20) —A bigger Soc who steps forward to challenge Darry when the rumble begins. Paul and Darry were friends and football teammates in high school, however now enemies.

FEMALE ROLES

Cherry Valance (18)— Bob’s girlfriend. A Soc with red hair. Ponyboy and Cherry have a great deal in common, and Ponyboy feels comfortable talking to her. She is very strong minded and well respected. Confident. In the days preceding the rumble, Cherry helps the Greasers.

Marica (18)— Cherry’s friend and Randy’s girlfriend. A pretty Soc who befriends Two-Bit at the drive-in. Marcia and Two-Bit share a sense of humour and a taste for nonsensical musings.

Sandy (18)— Sodapop’s girlfriend. She is pregnant and moves to Florida to live with her grandmother.

Background Socs and Greasers (15-25) - They are involved in the rumble and other scenes with the Greasers and Socs.

Rehearsals:
Every Tuesday 6pm-9pm from March. Then every Tuesday and Thursday 6pm-10pm from April until July. Rehearsal venue to be confirmed, will be near Adelaide CBD.

Performances:
9-13 July 2019
There may also be additional shows performed at schools, in the week before. TBA.

Venue:
The Bakehouse Theatre, Angas Street, Adelaide.

Auditions:
Friday 28 September 2018
Female group workshop 5pm-6.30pm.
Male group workshop 7pm-10pm.

CALLBACKS
Callbacks will held at the same location on Saturday 29th September from 2.00pm-5.00pm for both males and females. More info in the audition booklet.

Venue:
North Adelaide Community Centre Hall, 176 Tynte St, North Adelaide.
Callbacks will held at the same location

More Information:
Zoe Muller via deadsettheatrecompany@gmail.com