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2 0 2 5  -  A U D I T I O N

Details of the choice of play for our 2025 season will be posted here in December.

A U D I T I O N   I N F O R M A T I O N

Auditions take place in February and are open to anyone who is interested in performing Shakespeare in this most magical of settings.

Production week will be 19th - 26th July 2025. You must be available for the whole of that time.

Some things you may like to know about our audition process:

We do not expect people to learn pieces, but it does help for you to be familiar with the play and any part for which you might want to specifically read.

All those who come along will get a chance to read and we may ask you to read a part you had not considered.

In recent years, before the performance and during the interval, we have had live music to entertain the audience. This has proved to be very popular so, if you are, or anyone you know is a musician, we would very much like to hear from you too.


We rehearse on Saturday mornings 10:00-13:00 at Walthamstow School for Girls, Church Hill, Walthamstow, E17 9RZ, every week from February to production week.

Rehearsals will be held outside as soon as weather permits, so you will have plenty of time to get to know the theatre.

You will be expected to attend all rehearsals you are called for (illness and emergencies excepted).

We also welcome people who are interested in working backstage.  This involves stage management, costume, lighting, front-of-house, hair, make-up, and a myriad of other tasks which crop up when least expected.

If you have any questions or would like more information about us, please contact

Pamela at:

uditions for our 2024 production will take place on 3rd February 2024.

They will be held at Walthamstow School for Girls, E17 9RZ, from 10:00 to 13:00.

(There may be recall/further auditions on the 10th February 2024.)

Production week is Sat 20th July - Sat 27th July 2023 with evening performances taking place at 19:30 and the matinee on Sat 27th at 14:30.

Please note: For the Sat 20th (dress rehearsal) and Sun 21st July (Copped Hall performance) you will be needed from 10:00 to 18:30.

Rehearsals will be held every Saturday (except Easter Saturday).

Key Dates

Auditions:            03/02/2024 (and possibly 10/02/2024)

Rehearsals:          will be held every Saturday except Easter Saturday

All day dress:       20/07/2024

Copped Hall:        21/07/2024

Tech rehearsal:    22/07/2024

Dress rehearsal:  23/07/2024

Performances:     24 - 27/07/2024

  • The Tempest is a very accessible play, short and popular

  • The Greek is a wonderful space and it is a privilege to work there 

  • In general, Sarah will be in charge of logistics and music, Lindsey will be in charge of text and Liz will be in charge of vision. However, the ‘triumvirate’ has already been working together on this project for several months and have a shared view on vision, blocking, planning, text, casting… No one person is overall ‘in charge’ and we will support each other’s decisions in line with the vision of the production.

  • All three directors have worked collaboratively before, either as co-directors or as actors in plays directed by a team and are convinced it provides many bonuses for the directorial team and the acting team, not least, the opportunity to have up tthree rehearsals running concurrently on Saturday mornings

  • All three have extensive experience of working at the Greek in a variety of roles


  • We will be exploring the main themes of power and magic, along with hope and redemption

  • We are keen to create a sense of the claustrophobia of the island and to use the arena (and the Copped Hall space) to delineate the island, which almost becomes a character in itself

  • To emphasise this, once the shipwreck has taken place at the start, all the cast will be on stage or in the wider theatre area for the whole play, thus visible to the audience at all times, being drawn into the action by Prospera as and when needed. (You will be able to go to the loo if necessary and certainly during the interval!)

  • The ensemble players will be used to create the setting and atmosphere of the island, by making the ‘sounds of the island’ using percussion, and with plenty of opportunities for small but important roles such as sailors, sprites, spirits of the isle, goddesses…

  • There will be a mixture of live and recorded music - this is one of Shakespeare’s most musical plays - along with a variety of ‘noise-making’ instruments to create the atmosphere on the island


  • We want to make it as inclusive as possible so we are prepared to consider a certain amount of gender blind (i.e. a male character played by a female as a male) and gender fluid casting (i.e., a male character that becomes a female character and played by a female)

  • Continuing that theme, Prospero will be played by a woman as a woman and becomes Prospera. The text has been modified and cut.

  • Please note - The part of Prospera has been pre-cast. 

  • Please feel free to audition for any character that takes your fancy. If we don’t cast you in that role, or use your ideas, that doesn't mean you won't be considered for other parts, or indeed that part, but played differently. We are looking for actors who can be flexible, work well collaboratively as part of a team and who are not afraid of new ideas.

  • One other important thing: Caliban is often played as deformed or mis-shapen, a somewhat grotesque figure. We don’t intend to play the role that way. Indeed, only Prospera ever refers to Caliban as deformed, which may reflect more on Prospera than Caliban. Caliban is psychologically contorted with rage and grief that his island has been taken from him, which may manifest in his physiology. If you are interested in auditioning for this role, we are keen to hear your ideas. Be brave!

  • A rehearsal schedule will be drawn up, working backwards from whole play run-throughs to initial blocking, to check that everything is well-rehearsed and everyone feels properly confident in their role. However, since there are potentially three directors working concurrently, our expectation is that all cast will attend every week and we plan to make sure there is plenty for everyone to do.


  • We’re not expecting you to learn your pieces (though do feel free) but please be familiar with the part(s) you have chosen

  • We have chosen the pieces because they reveal something significant about character or relationships but not every character has a specific audition piece. If you are interested auditioning for a part which does not have a specific audition piece, please choose another for the auditions and let us know which part/s you are interested in.

  • If you are auditioning, please let us know in advance which part(s) you are interested in so we can make the audition process as smooth as possible. Please email

  • Please do consider being involved in the ensemble work. They are not spear-carriers! They have a really important job to do in creating and maintaining the atmosphere of the island. Lots of versatility and practice will be needed!


Everyone is encouraged to spread the word as much as possible.

Anyone who is interested can be involved.

Principle Characters in The Tempest



In this production Prospero will be played as a woman by a woman and known as Prospera. She is the play’s protagonist, and mother of Miranda. Twelve years before the events of the play, Prospera was the ruler of Milan. Her brother, Antonio, in concert with Alonso, king of Naples, usurped her, forcing her to flee in a boat with her daughter. The honest lord Gonzalo aided Prospera in her escape. Prospera has spent her twelve years on the island refining the magic that gives her the power she needs to punish and forgive her enemies.



The daughter of Prospera, Miranda was brought to the island at an early age and has never seen any people other than her mother and Caliban, though she dimly remembers being cared for by female servants as an infant. Because she has been sealed off from the world for so long, Miranda’s perceptions of other people tend to be naïve and non-judgmental. She is compassionate, generous, and loyal to her mother.



Prospera’s spirit helper. Ariel’s gender and physical form are ambiguous. Rescued by Prospera from a long imprisonment in a tree at the hands of the witch Sycorax, Ariel is Prospera’s servant until Prospera decides to release him/her. They are mischievous and ubiquitous, able to traverse the length of the island in an instant and to change shapes at will. They carry out virtually every task that Prospera needs to be accomplished in the play with music and movement. The relationship between Prospera and Ariel is multi-layered and complex.



Caliban, the son of the dead witch Sycorax, was the only inhabitant of the island (apart from Ariel, imprisoned in the tree) when Proposer and Miranda washed up there. Caliban believes that the island rightfully belongs to him and has been stolen by Prospera. His speech and behaviour is sometimes coarse and brutal and he is often portrayed as disfigured or grotesque in some way. However he is sometimes eloquent and sensitive, and it is only Prospera who refers to him as ‘ugly’ which speaks to their relationship more than his appearance.



Son and heir of Alonso. Ferdinand seems in some ways to be as pure and naïve as Miranda. He falls in love with her upon first sight and happily submits to servitude in order to win her father’s approval.



King of Naples and father of Ferdinand. Alonso aided Antonio in unseating Prospera twelve years before. As he appears in the play, however, he is acutely aware of the consequences of all his actions. He blames the apparent death of his son on his decision to marry his daughter to the Prince of Tunis. In addition, after the magical banquet, he regrets his role in the usurping of Prospera.



Prospera’s brother. Antonio quickly demonstrates that he is power-hungry and foolish. In Act II, scene i, he persuades Sebastian to kill the sleeping Alonso. He then goes along with Sebastian’s absurd story about fending off lions when Gonzalo wakes up and catches Antonio and Sebastian with their swords drawn.



Alonso’s brother. Like Antonio, he is both aggressive and cowardly. He is easily persuaded to kill his brother in Act II, scene i, and he initiates the ridiculous story about lions when Gonzalo catches him with his sword drawn.



An old, honest lord, Gonzalo helped Prospera and Miranda to escape after Antonio usurped Prospera’s title. Gonzalo’s speeches provide an important commentary on the events of the play, as he remarks on the beauty of the island when the stranded party first lands, then on the desperation of Alonso after the magic banquet, and on the miracle of the reconciliation in Act V, scene i.


Stephano & Trinculo

Stephano, a drunken butler, and Trinculo, a jester, are two minor members of the shipwrecked party. They provide a comic foil to the other, more powerful pairs of Prospera and Alonso and Antonio and Sebastian. Their drunken boasting and petty greed reflect and deflate the quarrels and power struggles of Prospera and the other noblemen.



Appearing in the first and last scenes, the Boatswain is vigorously good-natured. He seems competent and almost cheerful in the shipwreck scene, demanding practical help rather than weeping and praying. And he seems surprised but not stunned when he awakens from a long sleep at the end of the play.


Ensemble work

Sailors; Lords; creatures/spirits of the island



We always welcome new members and hold open auditions. If you would like to be involved and are free to rehearse from 10:00 to 13:00 on Saturdays (indoors, until the weather warms up) do please come along. 

You should attend all rehearsals for which you are called.

We also welcome people who are interested in working back-stage. This involves stage management, costume, lighting, front-of-house, hair, make-up, and a myriad of other tasks which crop up when least expected.


If you would like more information before attending the audition or are interested in working backstage, please do get in touch.

Any questions?

Please contact Pamela at: and Lindsey at:


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