Audition Dates
6 June 2004 – 8 June 2004
- Sun 6 June 2004
- Mon 7 June 2004
- Tue 8 June 2004
Details
- Playwright
- William Shakespeare
- Director
- Shannon Woollard
AddressTBA
Season September 16 - October 2, 2004
Please contact Shannon:
by email on: shannon.woollard@centrelink.gov.au
by phone (Mon-Wed) on: 9638 7328
It is essential that you read the play thoroughly. DonÂ’t be intimidated by the language - try & get the gist of the character & show me what YOU think itÂ’s all about. Feel & enjoy the natural rhythm of the Bard. Prepare one of the three speeches at the end of the character notes below, unless it indicates a specific scene for your character of choice. You may be required to read in addition. Neutral English accents please!
PLEASE NOTE
Actors auditioning for the roles of Macbeth, Macduff & The Three must be prepared to achieve & maintain a high level of fitness for the duration of the production. All men in martial roles (Thanes etc) will be required to be reasonably fit.
The Three (Witches)
The Celtic Fates. Or, more accurately (in this production), MacbethÂ’s personal projection of this archetype. The Role requires three versatile female performers with good movement & vocal skills (yes, even the Crone) & strong acting skills. Preferably people with a music theatre background. There will be a considerable amount of group-devised work. These are major roles, & require each actress to be as physically fit as possible:
MAIDEN. The girly component of the mystic trio. Young, energetic, silly & a bit tarty.
MOTHER. The life-supporting all-mother. Mature, warm, protective & profoundly serious.
CRONE. The wise & venerable seer. Ancient, perceptive, obscene & a bit batty.
Dispense with any preconceived notions about age. The above is a guide - if you like the sound of the Crone, for example, have a go, even if you’re not a “crone”. All candidates should prepare the Third Witch’s speech from Act IV Scene (i): ‘Scale of dragon... Fire burn and cauldron bubble.’
King Duncan
King of Scotland (c. 1034), Macbeth’s patron. Just & fair, one of the most likeable characters, but certainly a man of his time (he summarily sentences a traitor to death). It is incredibly important that the audience identifies with this man, as he is the first, crucial victim of Macbeth’s “Vaulting Ambition”.
Requires an actor with considerable strength of presence - Duncan is really the personification of justice & fair play. Age 50-60.
Act I Scene (iv): ‘Is execution... more than all can pay.’
Malcolm
The heir to the throne of Scotland. After Duncan is murdered, Malcolm becomes the initial suspect. Young, profoundly cautious - proves his mettle as a ruler in the fabulous Act IV scene (iii) with Macduff.
Needs a younger actor with good internalisation skills. Preferably about the same age as Macduff.
Lennox
Nobleman of Scotland. Very much the ‘insider’ character of the Scottish court, Lennox watches the disintegration of his new king (& former comrade) from close-by. Ever the politician, it is likely he knows (or is at least suspicious of) what has happened from the outset & changes sides only when it is patently clear that Macbeth has lost the plot. 30+.
Serjeant
The bleeding Serjeant gives us our first impression of the character of Macbeth through his astonishing description of the Norwegian conflict. Small but very important role, as it picks up on the energy of the first scene & drives the play forwards. Will double as Servant & First Murderer. 25+.
Ross
Very much the ‘messenger’ character, The Thane of Ross acts as a kind of herald in this play, & has quite a bit of dialogue. Not as showy as some of the other parts, but nonetheless a good one, as the actor gives us a lot of information.
Requires an actor with fine declamatory skills - this character revels in the language of exposition. Pref 30+.
Macbeth
The Thane of Glamis. King Duncan’s bravest & mightiest lord. Wins the title of Cawdor shortly after defeating the Norwegians at a crucial engagement. Noble, but proud. His already inflated ego, bolstered by his wife, leads him to murder the one man who trusts him the most - his king. Deeply psychological character, there are moments when we virtually witness the inner workings of his mind. Almost “fated”, Macbeth follows his chosen path of destruction without heeding the advice of his own inner Self.
This is one of the Great male roles, period. Enormous potential for the right actor. Needs great physical & dramatic presence. 25-45. Must be willing to learn some sword combat technique.
Act I Scene (vii): ‘If it were done when ‘tis done... And falls on th’other-’
Banquo
Like Macbeth, a general in the Scottish army. Comparable to Macbeth in bravery & stature, although Banquo has something Macbeth does not - a limited ability to interpret prophecy & dreams, whether consciously or otherwise. To some of us, the murder of this man is even more shocking than that of the Monarch, as Banquo is, at the outset, probably MacbethÂ’s closest comrade.
Similar age to Macbeth.
Angus
Nobleman of Scotland. The no-nonsense, SoldierÂ’s soldier. We get a strong sense of duty & integrity from Angus, which tells us something about the quality of DuncanÂ’s leadership. A faithful servant, whose sense of betrayal is vividly described in Act V Scene (ii). Will double as Second Murderer. 25+.
Menteith
Nobleman of Scotland. Joins the estranged Scottish thanes against Macbeth. I see this character as a grizzled clansman from the highlands. Will double as Third Murderer.
35-55.
Lady Macbeth
The real Black Witch in this drama, dripping with darkly sexual, arcane power. The primary influence behind Macbeth’s descent into ‘deep damnation’. Or is she? Should really be the most disturbing character in the play. Uses every weapon available in her armoury of subterfuge, including physical, emotional & psychological persuasion.
Requires a very experienced & controlled younger actress. Could be anywhere between 20-40. One of the very best roles in the repertoire, & a terrific challenge, as easy to overplay.
Act I scene (v): ‘The raven himself is hoarse... To cry “Hold, hold!”’
Fleance
Son to Banquo. Small yet highly symbolic presence - Fleance is the genesis of the line of Scottish kings that the witches reveal to Macbeth. The scope of the character will be somewhat expanded for this production.
Requires a young actor, late teens/early 20s.
The Porter
The fevered & drunken bit-part of the Porter is one of the finest & best written pieces of comic relief in the repertoire, made even sharper & funnier because of the darkness around & within it - his clowning has a dual effect in that it is both commentary & farce.
Requires an actor with almost music-hall-style presence & timing. The actor will double as Seyton. Pref 30+.
THAT speech - Act II Scene (iii): ‘Here’s a knocking indeed!... I pray you, remember the porter.’
Macduff
The Thane of Fife. Essentially the hero to MacbethÂ’s antihero - what Macbeth might be if he could compromise his ego. Evades MacbethÂ’s tyranny until he is finally brought into confrontation. Should be a younger man as he represents the new state of things doing away with the old regime. Great physical prowess & agility.
Exciting role for a younger male actor (25-35). Like Macbeth, will be instructed in swordplay.
Old Man
Another archetypal figure, the Old Man is the benevolent Guide, who appears to Ross & Macduff as a sort of soothsayer. Will double as Lady MacbethÂ’s doctor. 60+.
Hecate
Essentially, Death. The Reaper. Originally, the Greek goddess who guarded the gate to the otherworld/hell. Closely associated with witchcraft & patron/overseer of The Three in this play. A totally benign figure, set apart from the action, yet inextricably linked to it.
I would like to see a male in this role - someone tall, lean & as androgynous as possible. But girls, donÂ’t be shy. Will double as the Gentlewoman. Could be any age...
Act III Scene (v): ‘Have I not reason... Upon the corner of the moon’
Audition Pieces
Choose one of:
Act I Scene (ii) Sergeant: ‘Doubtful it stood;... And fix’d his head upon our battlements.’
Act III Scene (i) Banquo: ‘Thou hast it now:...But, hush! no more.’
Act III Scene (vi) Lennox: ‘Things have been strangely borne... Macduff lives in disgrace.’
Please contact Shannon:
by email on: shannon.woollard@centrelink.gov.au
by phone (Mon-Wed) on: 9638 7328
It is essential that you read the play thoroughly. DonÂ’t be intimidated by the language - try & get the gist of the character & show me what YOU think itÂ’s all about. Feel & enjoy the natural rhythm of the Bard. Prepare one of the three speeches at the end of the character notes below, unless it indicates a specific scene for your character of choice. You may be required to read in addition. Neutral English accents please!
PLEASE NOTE
Actors auditioning for the roles of Macbeth, Macduff & The Three must be prepared to achieve & maintain a high level of fitness for the duration of the production. All men in martial roles (Thanes etc) will be required to be reasonably fit.
The Three (Witches)
The Celtic Fates. Or, more accurately (in this production), MacbethÂ’s personal projection of this archetype. The Role requires three versatile female performers with good movement & vocal skills (yes, even the Crone) & strong acting skills. Preferably people with a music theatre background. There will be a considerable amount of group-devised work. These are major roles, & require each actress to be as physically fit as possible:
MAIDEN. The girly component of the mystic trio. Young, energetic, silly & a bit tarty.
MOTHER. The life-supporting all-mother. Mature, warm, protective & profoundly serious.
CRONE. The wise & venerable seer. Ancient, perceptive, obscene & a bit batty.
Dispense with any preconceived notions about age. The above is a guide - if you like the sound of the Crone, for example, have a go, even if you’re not a “crone”. All candidates should prepare the Third Witch’s speech from Act IV Scene (i): ‘Scale of dragon... Fire burn and cauldron bubble.’
King Duncan
King of Scotland (c. 1034), Macbeth’s patron. Just & fair, one of the most likeable characters, but certainly a man of his time (he summarily sentences a traitor to death). It is incredibly important that the audience identifies with this man, as he is the first, crucial victim of Macbeth’s “Vaulting Ambition”.
Requires an actor with considerable strength of presence - Duncan is really the personification of justice & fair play. Age 50-60.
Act I Scene (iv): ‘Is execution... more than all can pay.’
Malcolm
The heir to the throne of Scotland. After Duncan is murdered, Malcolm becomes the initial suspect. Young, profoundly cautious - proves his mettle as a ruler in the fabulous Act IV scene (iii) with Macduff.
Needs a younger actor with good internalisation skills. Preferably about the same age as Macduff.
Lennox
Nobleman of Scotland. Very much the ‘insider’ character of the Scottish court, Lennox watches the disintegration of his new king (& former comrade) from close-by. Ever the politician, it is likely he knows (or is at least suspicious of) what has happened from the outset & changes sides only when it is patently clear that Macbeth has lost the plot. 30+.
Serjeant
The bleeding Serjeant gives us our first impression of the character of Macbeth through his astonishing description of the Norwegian conflict. Small but very important role, as it picks up on the energy of the first scene & drives the play forwards. Will double as Servant & First Murderer. 25+.
Ross
Very much the ‘messenger’ character, The Thane of Ross acts as a kind of herald in this play, & has quite a bit of dialogue. Not as showy as some of the other parts, but nonetheless a good one, as the actor gives us a lot of information.
Requires an actor with fine declamatory skills - this character revels in the language of exposition. Pref 30+.
Macbeth
The Thane of Glamis. King Duncan’s bravest & mightiest lord. Wins the title of Cawdor shortly after defeating the Norwegians at a crucial engagement. Noble, but proud. His already inflated ego, bolstered by his wife, leads him to murder the one man who trusts him the most - his king. Deeply psychological character, there are moments when we virtually witness the inner workings of his mind. Almost “fated”, Macbeth follows his chosen path of destruction without heeding the advice of his own inner Self.
This is one of the Great male roles, period. Enormous potential for the right actor. Needs great physical & dramatic presence. 25-45. Must be willing to learn some sword combat technique.
Act I Scene (vii): ‘If it were done when ‘tis done... And falls on th’other-’
Banquo
Like Macbeth, a general in the Scottish army. Comparable to Macbeth in bravery & stature, although Banquo has something Macbeth does not - a limited ability to interpret prophecy & dreams, whether consciously or otherwise. To some of us, the murder of this man is even more shocking than that of the Monarch, as Banquo is, at the outset, probably MacbethÂ’s closest comrade.
Similar age to Macbeth.
Angus
Nobleman of Scotland. The no-nonsense, SoldierÂ’s soldier. We get a strong sense of duty & integrity from Angus, which tells us something about the quality of DuncanÂ’s leadership. A faithful servant, whose sense of betrayal is vividly described in Act V Scene (ii). Will double as Second Murderer. 25+.
Menteith
Nobleman of Scotland. Joins the estranged Scottish thanes against Macbeth. I see this character as a grizzled clansman from the highlands. Will double as Third Murderer.
35-55.
Lady Macbeth
The real Black Witch in this drama, dripping with darkly sexual, arcane power. The primary influence behind Macbeth’s descent into ‘deep damnation’. Or is she? Should really be the most disturbing character in the play. Uses every weapon available in her armoury of subterfuge, including physical, emotional & psychological persuasion.
Requires a very experienced & controlled younger actress. Could be anywhere between 20-40. One of the very best roles in the repertoire, & a terrific challenge, as easy to overplay.
Act I scene (v): ‘The raven himself is hoarse... To cry “Hold, hold!”’
Fleance
Son to Banquo. Small yet highly symbolic presence - Fleance is the genesis of the line of Scottish kings that the witches reveal to Macbeth. The scope of the character will be somewhat expanded for this production.
Requires a young actor, late teens/early 20s.
The Porter
The fevered & drunken bit-part of the Porter is one of the finest & best written pieces of comic relief in the repertoire, made even sharper & funnier because of the darkness around & within it - his clowning has a dual effect in that it is both commentary & farce.
Requires an actor with almost music-hall-style presence & timing. The actor will double as Seyton. Pref 30+.
THAT speech - Act II Scene (iii): ‘Here’s a knocking indeed!... I pray you, remember the porter.’
Macduff
The Thane of Fife. Essentially the hero to MacbethÂ’s antihero - what Macbeth might be if he could compromise his ego. Evades MacbethÂ’s tyranny until he is finally brought into confrontation. Should be a younger man as he represents the new state of things doing away with the old regime. Great physical prowess & agility.
Exciting role for a younger male actor (25-35). Like Macbeth, will be instructed in swordplay.
Old Man
Another archetypal figure, the Old Man is the benevolent Guide, who appears to Ross & Macduff as a sort of soothsayer. Will double as Lady MacbethÂ’s doctor. 60+.
Hecate
Essentially, Death. The Reaper. Originally, the Greek goddess who guarded the gate to the otherworld/hell. Closely associated with witchcraft & patron/overseer of The Three in this play. A totally benign figure, set apart from the action, yet inextricably linked to it.
I would like to see a male in this role - someone tall, lean & as androgynous as possible. But girls, donÂ’t be shy. Will double as the Gentlewoman. Could be any age...
Act III Scene (v): ‘Have I not reason... Upon the corner of the moon’
Audition Pieces
Choose one of:
Act I Scene (ii) Sergeant: ‘Doubtful it stood;... And fix’d his head upon our battlements.’
Act III Scene (i) Banquo: ‘Thou hast it now:...But, hush! no more.’
Act III Scene (vi) Lennox: ‘Things have been strangely borne... Macduff lives in disgrace.’
Contact
This audition has concluded. Contact details are not available for past events.