Tynemouth Priory Theatre


Tynemouth Theatre Masks

Open Readings & Auditions

Open Reading and Auditions are generally held in the Green Room at Tynemouth Priory Theatre - usually at 7.30pm on a weekday for plays, and 2.30pm on a Sunday afternoon for the Pantomime. 

The Green Room is through the door marked "Stage Door" in the lane at the back of the theatre.






The Dame of Sark

Written by William Douglas-Home

Directed by Christine Coaster

Production dates: 26th February - 3rd March 2018

Open reading: 28th September 2017, 7.30pm

Auditions: 3rd October 2017, 7.30pm

Adapted for the stage by William Douglas-Home From the autobiography of Sibyl Hathaway, the Dame of Sark


Island of Sark, 1940-1945.


This play, based on the autobiography of Sibyl Hathaway, the hereditary feudal chief of the Island of Sark, chronicles the German occupation of the island during WWII covering each year from 1940 to 1945. It shows how she and her husband with dignity and ingenuity dealt with the occupying forces, and the hardships the islanders endured which included near starvation and the eviction of some from their homes. The main theme throughout the play is the relationship between the Dame of Sark and the German Commandant, Colonel von Schmettau, their growing respect for one another whilst each trying to maintain their own authority, pride and dignity. There is humour and pathos in equal measure in this moving adaptation of Sibyl Hathaway’s autobiography.

Cast: 9 male, 3 female

BOB HATHAWAY, 50s, Accent - British

Sibyl Hathaway’s second husband, an American. He is, through his marriage to Sibyl, the Seigneur. He served in WW1. A strong character with a good sense of humour well able to stand up to, and in some instances, outwit the German officers. Unfortunately as he was not a natural bom islander, he was deported to Germany half way through the war.

SIBYL HATHAWAY, 50s, Accent - British

A strong, determined, no nonsense woman. Her allegiance to the Crown and to her island people is steadfast, unwavering. To quote from her autobiography intro when her husband was deported she “single handed and undiscouraged continued to treat the enemy with an off-hand condescension which they clearly found bewildering. Indeed, at times, one wonders who was taking orders from whom” She is not without a sense of humour. This is a big part - Sibyl rarefy leaves the stage.

CECILE, 40s, Accent - British.

The Hathaway’s devoted maid/housekeeper. A nice undemanding but pleasant role to play.

MAJOR LANZ, 50s, Accent - German.

The Commandant of Sark. Major Lanz does not speak English at the beginning of the occupation and therefore early lines are all German, thereafter he will speak with a pronounced accent. Proud, unbending. Not a big part but will need to master a little bit of German dialogue.

DR BRAUM, Accent - German

The Major’s Interpreter. Could be a similar age, or a little younger. Proud, arrogant - as you would imagine a German Officer to be these in circumstances.

COLONEL von SCHMETTAU, Late 50s, Accent - German

He is the Commandant in Chief of the Channel Islands and is based in Guernsey. A German aristocrat, soldier of the old school. Stem and dour in his demeanour he is, nevertheless, kind hearted and he made great efforts to refrain from repressive measures during the occupation. He and the Dame built a relationship of mutual respect and understanding. This is a big role.

MULLER, Late teens, Accent - German

A shy young German soldier, trying so hard to be the strong face of the occupying forces, yet he is still a child at heart. He develops a warm relationship with Sibyl but which he hides immediately another person is present. His is a sad story a little tear jerking moment in the play. Not a big part.

COLONEL GRAHAM, 40s-60s, Accent - British

A tiny part, he enters during the last couple of pages of the play.

JIM ROBINSON, 30s-40s, Accent - British

A Corporal, again a tiny part at the end of the play.

MR & MRS BISHOP, Accents - British

Two islanders, could be anything from 40 upwards. Barely half a page at the beginning of the play.


As above. No lines, just the briefest of brief appearances.


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One For The Pot

Written by Ray Cooney & Tony Hilton

Directed by Ali Broughton & Ann Leake

Production dates:- 23rd - 28th April 2018

Open Reading: 19th October 2017, 7.30pm

Auditions: 24th October 2017, 7.30pm

A Whitehall Farce


The lounge of Jonathan Hardcastle's country house near London on a mad Midsummer's Night.


Jonathan Hardcastle, a wealthy northern mill owner, wants to pay tribute to a late employee and close friend by giving a handsome amount of cash to the person he believes to be the only surviving relative of the deceased, namely his son, Billy. On the evening of a party to celebrate the birthday of Hardcastle's daughter, Cynthia, Billy arrives to collect his inheritance. In this classic Whitehall farce, what could possibly go wrong? It's all relatively straightforward!

Cast: 6 male, 3 female

The following four parts are played by the same actor. Male, 30-40 (It's all relatively straightforward!).


     A shy, lovable North Country lad.


     A well-spoken young man who, when agitated, gets tongue tied.


     An unscrupulous but likeable Irish rogue.


     A volatile Frenchman.


A middle aged cockney full of humour and guile.

JUGG, 40-60

The Butler. Bom in Stepney but now considers himself an h'upper class servant.


A North Country mill owner. Irascible in temper and hard drinking in habit. He does his best to hide his native generosity.


Hardcastle's attractive daughter. Full of life and fun.


Hardcastle's unmarried sister. She is a maidenly lady left over from the Edwardian era.


A humourous solicitor who holds an unspoken admiration for Amy.

WINNIE, 30-40

Billy's North Country wife.


A suave, charming art critic.


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Star Quality

Written by Noel Coward

Adapted by Christopher Luscombe

Directed by Chris Carr and Lesley Crawford

Production dates: 11th - 16th June 2018

Open Reading/first audition: Tuesday 21st November 2017

Second Audition: Thursday 23rd November 2017


London, Kent and Manchester, during the touring run of a West End play, 1951.


In his wickedly funny final play, Noel Coward takes us behind the scenes of a new West End production. Conjuring up an authentic backstage world of talent and treachery, Coward creates a gallery of unforgettable characters including a temperamental leading lady, ruthless director, jaded old troupers and, caught somewhere between them all, an innocent young playwright. From tentative first rehearsal to triumphant opening night, the clash of egos becomes increasingly and hilariously bloody. But what emerges from the mayhem is a startling evocation of that most elusive gift of all - star quality.

Cast: 5 male, 4 female



   Author of Dark Heritage (Large Role) Mid-20s to mid-30s.

   Gauche, eager, young, handsome, star struck playwright.  He conveys needed naiveté and is desperate for success.


   Director of Dark Heritage (Large Role) Mid-30s to mid-50s.

   Uncompromising director. Dominating.  A Machiavellian character with an ability to go for the jugular.  The opinionated director is based on Noel Coward (though not an impersonation please).


   Lorraine Barrie`s maid-cum-dresser (Medium Role) 45 upwards.

   Thelma Ritter with an Edinburgh accent.  The working-class dogsbody, contemptuous, know-all, ceaselessly sardonic, completely unfazed by the stardom around her.


   Eleanor in Dark Heritage (Large Role) 50 upwards, but looks younger than her years, what is important is her stage presence.

   A volatile leading lady, charming and cunning in equal measure, with sexual charm and sly ruthlessness, she displays a pseudo-agreeable side until crossed, an insecure megalomaniac with a gift for catty remarks. A diva who proceeds to manipulate everything to her advantage. Think Margo Channing, acting Grande Dame. She gets work due to the fact that she is really a very good actor who will deliver the goods. The role of Lorraine is said to have been modelled after Coward's great friend Gertie Lawrence, described by Coward as “the least intelligent, most conceited and most tiresome bitch, I have ever encountered”.  Actresses who have played the role include, Amanda Donohoe, Penelope Keith, Liza Goddard, Susannah York and Glynis Johns.


   Aubrey in Dark Heritage (Medium Role) Late-20s to late-30s.

   The smug good looking leading man, a ham actor who feels he should really be a big star.   


   Stella in Dark Heritage (Medium Role) Mid-40s upwards, or looks it.

   A non-threatening, second-rate co-star, a bad actress who reeks of sycophantic sweetness, wears “catastrophic” clothes and tries too hard to please. Hopelessly miscast as the supposed young heart stealer in “Dark Heritage”, at least a generation too old for the part. A "repertory hack" actress who “knows how to do it wrong”


   Mortimer in Dark Heritage (Medium Role) 50s upwards.

   The most dimly self-absorbed of Lorraine’s colleagues, an old pro, fatuous and pompous, jaded old trouper with a tenacious ego. Amusingly pompous.


   Ray Malcolm`s Personal Assistant (in every sense of the word) (Large Role) Late-20s up to late-30s, needs to be topless on stage.

   The director's adorably camp, swishy boyfriend who sashays about in his sarong. Plays the gay role without ever exceeding the stereotypical gay character, this is no Kenneth Williams role. 


   These roles can be played by the real stage management, or offer a wonderful opportunity to newer members or props teams etc.


   Stage Manager (Small Role) 35 upwards.


   Assistant Stage Manager (Small Role) 25 upwards.


   Assistant Stage Manager (Small Role) 25 upwards.


   Elsie in Dark Heritage (Medium Role) Late-30s upwards.


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To read play scripts beforehand, please contact Christine Coaster at rccoaster@virginmedia.com

For the Pantomime script, please email theatre@tynemouth-priory-theatre.com , or contact the Secretary on 01912960689.

For non-members there may be a returnable deposit of £10 payable for each script borrowed for reading.