Please choose a production
|Humdingers Comedy||Humdingers Comedy|
|Ruddigore||St Albans Chamber Opera|
|The Play’s The Thing||Theatrix|
|Bingo||Company of Ten|
|Bugsy Malone||St Albans Youth Music Theatre|
|STAJE in Concert||St Albans Jazz Ensemble|
|The Rats & A Small Step for England!||Irrational Theatre Limited|
|Things I Know To Be True||Company of Ten|
|An Evening with Mr WS Gilbert & Mr Arthur Sullivan||St Albans Chamber Opera|
|Modern Dance for Beginners||Duality Theatre Company|
|Bent||Company of Ten|
|Hard Copy||Company of Ten|
|Ben Hur||Company of Ten|
All Company of Ten auditions are open, which means everyone is free to turn up and be considered, irrespective of previous experience.
Bear in mind that if you are cast in a production and are not a member, you’ll have to join.
By Andrew Bovell in co-production with Frantic Assembly
Workshops auditions: Tuesday 22 and Thursday 24 January, 7.45pm on the Main Stage
Recalls: Sunday 27 January, 10am in the Club Room
First Rehearsal: Monday 25 February
Performances: 1-11 May, Main Stage
Director Sarah Ferdinands writes:
As beautifully touching as it is funny and bold, Things I Know To Be True tells the story of a family and marriage through the eyes of four grown siblings struggling to define themselves beyond their parents’ love and expectations. Parents Bob and Fran have worked their fingers to the bone and with their four children grown and ready to fly the nest, it might be time to relax and enjoy the roses. But the changing seasons bring home some shattering truths.
Incorporating Frantic Assembly’s celebrated style of physicality, Things I Know To Be True is a complex and intense study of the mechanics of a family that is both poetic and brutally frank.
THE PRICE FAMILY
BOB (M), 63, a retrenched auto factory worker
FRAN (F), 57, a senior nurse
PIP (F), 34, an education department bureaucrat
MARK (M), 32, an IT specialist
BEN (M), 28, a financial services worker
ROSIE (F), 19, who doesn’t know who she is or what she wants to be yet
The play will be expressed using physicality, therefore actors should be reasonably fit and willing to work with their bodies as well as with the text.