Calendar Girls by Tim Firth, directed by Katie Mangett
When Annie's husband John dies of Leukemia, she and best friend Chris resolve to raise money for a new settee in the local hospital waiting room. They manage to persuade four fellow WI members to pose nude with them for an "alternative" calendar, with a little help from hospital porter and amateur photographer Lawrence. The news of the women's charitable venture spreads like wildfire, and hordes of press soon descend on the small village of Knapeley in the Yorkshire Dales. The calendar is a success, but Chris and Annie's friendship is put to the test under the strain of their new-found fame.
Firehouse Theater Company
at the John Hand Theater
Colorado Free University in Lowry
7653 East 1st Place, Denver, CO 80230
Sunday August 18, 3-7 PM in 5 minute slots
Please prepare a 1-2 minute monologue.
Call Back Auditions:
Tuesday, August 20 6:30-9:30 pm
Call backs will be cold readings from the script. Actors should be familiar with the script. Email [email protected] for a pdf version.
Rehearsals and Show Dates:
Rehearsals: Rehearsals begin: October 10th: Read-Thru; Full rehearsals begin: Week of October 19th
Expect weekday evening rehearsals, and one or both weekend days
Preview: Preview Friday November 22.
Performances: Fridays and Saturdays @ 7:30 and Sundays @ 2:00, November 30-December 22
Casting 13 characters: 4 male, ages late 20’s to 60, and 9 female, ages 20 to 80
You want Chris at your party. Gregarious and outgoing, she loves being the center of attention. Without Chris in her life, Annie would be better behaved, her life less fun. The two are like naughty schoolgirls.
Annie will join in mischief but is at heart more conformist and less confrontational than Chris. She has enough edge to be interesting and enough salt not to be too sweet.
Cora, around 40
Cora’s past is most eclectic, her horizons broadened by having gone to college. She came home pregnant and tail-between-legs, but has too much native resilience to be downtrodden. She is the joker in the group (deadpan wit), but never plays the fool. Cora doesn’t need to sing like a diva, but must be able to sing well enough.
Jessie, late 60s/70s
Get on the right side of Jessie as a teacher and she’ll be the teacher you remember for life. Get on the wrong side and you’ll regret it. A lover of life and willing to take risks. Jessie bothers about grammar and will correct others.
Celia, age anything 35-50
A woman more at home in a department store than a church hall, she always feels like she’s drifted in from another world. She is particularly enamored by Jessie, and despite the fact that Jessie has little time for most Celias of this world, there is a rebelliousness in Celia to which Jessie responds.
Ruth’s journey is from the false self-confidence of the emotionally abused to the genuine self-confidence of the woman happy in her own skin. She is eager to please, but not a rag doll. While she is Marie’s right-hand woman, she has spine herself—if she was too sweet, no one would want her around. But they do, and they feel protective of her because they sense something in her that is better than her life is letting out.
Marie has gradually built the current ‘Marie’ around herself over the years a defense mechanism. She went to her Oz, Cheshire, and found Oz didn’t want her. She came back scorched. The WI is a trophy to her, which justifies her entire existence. There is a lingering part of Marie that would love to be on that calendar.
John, Annie’s husband, 50s
John is a human sunflower. Not a saint. Not a hero. Just the kind of man you’d want in your car when crossing America. When he dies it feels like someone somewhere turned off a light.
Rod, Chris’s husband, 50s
You have to be a certain kind of guy to stick with Chris and Rod loves it. He can give back what he gets, and has a deadpan humor which has always made Chris laugh. He drinks a lot but never so much as to have a problem. He’s dedicated to his shop. John was his mate, even though the relationship was originally channeled through their wives.
Lawrence, late 20s
Hesitant without being nerdy, Lawrence is a shy young man with enough wit to make a joke and enough spirit to turn up at the WI hall in the first place. When he arranges the shots he is close to female nudity but sees only the photo.
Lady Cravenshire, 60s
Lady Cravenshire really doesn’t mean to be so patronizing. But the WI girls seem from another world--the world of her estate workers. When she makes an entrance, she makes an entrance. She must glide in like a galleon.
Elaine really doesn’t mean to be so patronizing. But Jessie seems from another world-the world of her gran. Dress: her clinical whites slice through life a knife.
Liam, late 20s
Liam would like to be directing other thangs than photoshoots for washing powders. He’s not so unprofessional as to let it show, but we can sense a slight weariness at having to deal with these women. There’s a resigned patience to his actions and each smile he makes we feel is professional.
The women of the real calendar in truth came from many parts of the country. Actors should resist the pressure to perform any kind of Yorkshire pyrotechnics. People travel. Communities are now glorious multi-instrumental. We’ve had accents from Glasgow to Texas make the same part their own.
The action takes place in Knapeley Village, Yorkshire, in the church hall and on top of a nearby hiss (John’s Hill), and at the annual WI conference in London.
Please review the available slots below and click on the button to sign up. Thank you!
John Hand Theater