Posts Tagged ‘casting


Casting brief: ensemble in The Addams Family

The Addams Family

Lynne Ruthven Casting has two ensemble roles remaining in The Addams Family.

Your agent will need to submit your headshot and resume. 

The Addams Family is produced in Australia by Rodney Rigby, Stuart Oken, Roy Furman, Michael Leavitt, Five Cent Productions and Elephant Eye Theatrical.

Audition Dates:

Sydney: 12th September

Melbourne: 13th September


Male Ensemble “Caveman” to cover the role of “Fester”

Age: 30 – 50

Range: Legit tenor to High B

Must be a good comedic actor and a good mover.

Female Ensemble “Bride” to cover the role of “Wednesday”

Age: 20 – 28

Range: Pop Belt to at least a D. True Legit Soprano to high C.

Must be a good dancer/mover


All principal roles now cast.

Run of play includes Australia only.

Successful artists will be residents of Sydney or Melbourne.

Successful artists required to maintain audition weight.

US team gets final say.

No publicity around casting.

Addams Family



Casting Brief: Frankie Valli in Jersey Boys

Lynne Ruthven Casting is looking for a new Frankie Valli! Again!

Is it you? If so, you’ll need your agent to submit your headshot and resume.

Only new submissions, please. Y’all know how it works.

Jersey Boys

Jersey Boys is produced in Australia by Rodney Rigby and Dainty Group.

Artists who are not available for audition dates should still apply as you may be eligible for consideration via DVD submission or Skype.

Audition Dates:

Sydney: Wednesday 12th September

Melbourne: Thursday 13th September

Brisbane: Friday 14th September

Role: Frankie Valli (6 shows/week)

Age: 20’s/early 30’s

Height: Must be 5’9″ or shorter

Range: Must have strong tenor with sweet and strong falsetto able to sing in the style of Frankie Valli.

Strong tenor to high A or Bb plus strong falsetto up to treble G. 

Must be very comfortable with traditional four-part harmonies.

Must be a very strong actor, comfortable with narrative text, and have gritty side as well as polished veneer.



Run of play for Australia only.

Broadway creative team gets final say.

No publicity around casting process.


Jersey Boys


Romeo & Juliet: Rocket Boy Ensemble

Reviewer: FAIL. This is a review that has been lost in my macbook since February but now, finally, here it is! Apologies to Rocket Boy Ensemble. Looking forward to seeing more of your work, guys. Thanks again for the coffee, cupcake and kindness. Your FOH family are the sweetest around. x

Romeo and Juliet 

Rocket Boy Ensemble

Buderim Uniting Church Hall 

10.02.12 – 12.02.12 



The idea was a crazy one, a group of misfits getting together and putting on a show. We all had experience but had never been let loose without a responsible adult present. Anything could happen! It was a little bit scary but in a good way. There were a few bumps and tears along the way but all in all I have to say this was a life changing experience, in which I (and I know the rest of the team) learnt so much, not just from the experience, but from each other.

Danielle Carney, Director.



Rocket Boy Ensemble presents ROMEO AND JULIET from Benjamin Kerwin on Vimeo.



Rocket Boy Ensemble has landed on the Sunshine Coast! A brand new, self-made company of young and ambitious performers, they are all about to take off to uni in various cities. With any luck, their fearless leader, Producer and Director, Danielle Carney, has something else up her sleeve and will entice them home again so that we may enjoy a second brave production soon. Their debut is impressive. It’s Romeo and Juliet on a (self-confessed) check out chick’s budget, which honours the text and brings a fresh set of youthful eyes to the story of sparring families and star-crossed lovers.

In a small church hall, in which the last show I attended, some years ago, was a nativity play, on a Sunday night after a big weekend, I sit for 15 minutes before the show starts, in front of three actors: Ryan Forbes (Romeo), Robert Steel (Balthazar) and Lizzie Mahoney (Juliet). It was certainly a longer wait for the actors than for me (and it was almost too long, lessoning the impact, though giving me time to take in the simple set, dressed in detail by Designer, Vanessa Fernandez; one corner for the Montagues and the other, for Juliet, a Capulet). In typical secondary school ritualistic style, the company attend and share the Prologue (and later, the Epilogue), holding artificial tea light candles and brokering that special deal with their audience: we are actors playing parts and we are going to tell you a story. And it works. This device also worked well to end the piece, leaving the audience in their affected state, wrapping up the tragic story without breaking the spell.

As Juliet, Mahoney is suitably wide-eyed and innocent, in good voice and in love with her Romeo, however; each famous monologue is carelessly rushed and I feel this is more an indication of Mahoney’s inexperience and lack of confidence during those times on stage when there is nobody else to work off, rather than any lack of skill. She has sufficient skill, a great deal of natural ability and a strong stage presence. Mahoney is sure to work with some strong directors, tutors and/or coaches on interpretation, breathing and delivery in the future. She seems, just in those moments by herself in the space, to lack the confidence she exudes in other scenes.

Her Romeo, Ryan Forbes, is gentle and unassuming; he’s a scholar and an indie gentleman. He seems a quietly confident actor and is well matched with Mahoney. Forbes is well supported by Steel as Balthazar, Tom Jermyn as Benvolio and Caitlyn Elliot as Mercutio. It’s interesting transgender casting and it works, but only because Elliot is up to the task, giving us a Mercutio with more bad-ass-goth-rock-chick attitude than a black leather-clad Pink. The unspoken attraction she has for Romeo does not go unnoticed and adds an additional, intriguing, layer to the banter between them. Elliot also gives us her best Lady Capulet but struggles to assume “older” and “mother” (to be fair, just as some young mothers do). Although she is as risqué as I expect any Lady Capulet to be, with her slightly oriental sexy vibe, she doesn’t quite have the maturity – or perhaps, in this case too, the confidence – to pull it off. The mother-daughter relationship is a tough one to nail with both actors being so young and we lose a little bit of lovely depth there. In contrast, in all his strident youth, Joseph Lai is an imposing and abrupt Lord Capulet. Again, it’s such young casting for a man whose “dancing days” have long since past (as a director, you use what you’ve got or you choose a different show) but with his tall stature and a depth of voice that grants immediate seniority, Lai is convincing enough. The audience visibly shudders when he throws Juliet to the floor and turns his back on her. I hope Lai will attend open auditions for our professional companies this year. The voice alone is going to be of pretty immediate value to one of them.

Interesting casting also, is Ellen Parker as Nurse; not the elder, wiser, nurturing mother figure we have come to know typically as Nurse but a young, flippant, BFF hippie chick! Parker’s energy and vibrancy gives this relationship a new, fresh boost of sisterly sorta love but of course, if we are paying attention to the text, the lines don’t always add up. It’s forgivable because somehow, all the pieces have already fit together and the picture is very clear.

Alex Wickett is the hate-driven Tybalt and holds his own in a number of challenging scenes. We see a glimpse of Wickett’s versatility when he returns as the Friar. Props must go to Fight Choreographer, Joseph del Vecchio, who should certainly pursue the craft if it is his preferred line of work as we are always in desperate need of edgy fight choreography in this country! Perhaps it is, indeed his line of work (I’ve not heard the name before), in which case I will beg his pardon for writing of him as if he is another student. In such an intimate space, the fight scenes (and the final scene) leave indelible impressions upon us.

For a high school graduate/uni student produced piece, Carney’s Romeo and Juliet shows us that the youth on the Sunshine Coast are just as talented as we thought…and also, that some of them are willing to lay everything on the line and work even harder than we ever realised they might. Rocket Boy Ensemble’s work is indicative of the type of theatre we would like to see regularly on the coast and locals will need to continue to support it so it can happen more often (and over a longer season). Keep an eye out for Rocket Boy’s return. Being suitably impressed, we’ll certainly keep you up to date with any future endeavours here.




To Pay or Not to Pay?

A student of mine (and her mum) had an interesting experience on the weekend, which I thought was worth sharing. You may have had a similar experience. Or managed to side step one just like it…

She registered for a casting on the Gold Coast and wasn’t sure about the specifics of the job but I knew of the company and the venue had a deposit on the rooms etc, (well, you can never be too sure) so she and her mum decided to head down for the girl to be seen.

She experienced a pretty normal casting process, felt great about it, was successful in securing a callback and felt even more excited about the whole thing. She was to return the next day to read for them. She was given some wonderful, typical feedback – the kind you need to hear on the day to make up your mind about going back the next day for a callback – still, pretty normal proceedings. However, the next morning, I received a phone call from the student and her mum, who was hesitant to head back to the Gold Coast (remember, we are based on the Sunshine Coast so sometimes that is going to impact a decision more so here than for somebody already there, in the region. I’m sure if they lived on the Gold Coast, it may have an easier decision to make).

Mum had called the agency to confirm the callback details and during the conversation she was asked to make sure she brought her credit card with her so that her daughter would not miss out on the opportunities presented by this particular casting call. Wait. What? You are paying to attend the next round of casting? Apparently so. Not only that but the next round would be in DISNEYLAND! In front of THE INDUSTRY’S TOP CASTING DIRECTORS! Oh. Groovy. And my student and your daughter will miss out on this opportunity if you don’t pay for the trip? I see.



How unusual.

Apparently, this is a legitimate way into the industry.

Sure, it’s all about who you know (we all know that) but why are we not told the names of these TOP CASTING DIRECTORS? And why is the trip not an all-expenses paid trip for those with such obvious talent? This smacks of an easy money-maker for the company and the same approach taken by the agencies who charge you to take you on! That’s right. If you’re paying somebody to keep you on their books you’re in the same boat. Investigate that, won’t you?

I’m a sceptic at the best of times so you can guess what my advice was. Sure, do it if you want to pay for an experience that may or may not get you what it is you’re hoping for. What is it you’re hoping for? You need to know what it is you’re hoping to achieve. If it’s instant fame via a lead role in a feature film that somebody you read for at Disneyland will offer to you or a presenting role on Disney Channel for the length of a nice, neat contract, I’d say change your tactics and go do another hundred auditions…do them in LA by all means but keep working because very few get lucky without working hard. Then, to stay lucky, those lucky few had better start working hard.

At such a young age (and a lot of my students are young and because they are on the Sunshine Coast they feel they must go do anything that is offered somewhere else) there are other ways to secure a foot in the door. If this amazing performer is happy to keep auditioning, to keep turning up and being seen, she will work. She will get the work without having to pay for the guided scenic tour along the way. She needs great representation (without having to pay for it) and she needs to develop her savvy critical reading (and by reading I mean reading of the situation) and thinking (thinking, “what will this do for me?”) skills as well as a whole lot of resilience because these “opportunities” are going to keep presenting themselves and she is going to keep wanting to get that foot in the door.

Do any of you really think paying your way in is the way to go???