Upcoming Auditions - Click the poster or scroll for details

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AUDITION DATES & TIMES

Saturday, Nov. 22nd at 2:00PM- TBD (2025)

Sunday, Nov. 23rd  at 2:00PM-TBD 

*End time for auditions is TBD due to high volume of participants for our musical auditions. We look forward to seeing all of you at auditions! 

AUDITION LOCATION

Steve Forrester Lounge at The Belleville Theatre Guild- 256 Pinnacle St, Belleville, ON.

AUDITION PREPARATION

Please prepare a short musical selection. Come with music. We will provide an accompanist for you, or you can bring your own accompanist. 

CALLBACKS

Tuesday, Nov. 25th (Time and Location TBD)

Thursday, Nov. 27th (Time and Location TBD)

PRODUCTION DATES

Preview: Tuesday, June 9, 2026

Opening Night: Thursday, June 11, 2026

Closing Matinee: June 21, 2026

Productions run between opening and closing dates on Thursday, Friday, and Saturday evenings

at 7:30 p.m. and Sunday afternoons at 2:00 p.m.

SYNOPSIS

When disco diva, Deloris Van Cartier, witnesses a murder, she is put in  protective custody in the one place the cops are sure she won't be a  found: a convent! Disguised as a nun, she finds herself at odds with  both the rigid lifestyle and uptight Mother Superior. Using her unique  disco moves and singing talent to inspire the choir, Deloris breathes  new life into the church and community but, in doing so, blows her  cover. Soon, the gang is giving chase, only to find them up against  Deloris and the power of her newly found sisterhood. 

CHARACTER BREAKDOWN

*Please note that there are plenty of good roles for men and women alike. There are no roles for children in this musical.

Deloris Van Cartier: (Female, 20s-35) an aspiring performer, trying to find both fame and a place in the world. When forced to hide in the convent, she initially refuses to embrace her new lifestyle but learns to embrace it when she works with the choir. She is loud-mouthed and sassy but caring. 

Mother Superior: (Female, 50-70) the head of the convent, she is sarcastic and a bit stiff. She is extremely protective about keeping her sisters away from the outside world, which puts her in direct opposition to Deloris and her musical teachings. 

Sister Mary Robert: (Female, 16-25) she is a postulation, abandoned as a baby and raised at the convent. She is shy and soft-spoken, but singing with Deloris lets her find her voice. Her wallflower lifestyle has made her live a shell of a life.

Sister Mark Patrick: (Female, 35-50) she is a nun of the convent and consistently perky, enthusiastic, and easily excitable. 

Sister Mary Lazarus: (Female, 50-70) she is a nun of the convent and the head of the choir. Rather deadpan and the least welcoming of any of the nuns, but she gets caught up in Deloris' soul music.

Monsignor O'Hara: (Male, 45-60) he is one of the heads of the convent. He is constantly concerned with financial matters, though soul music surprisingly puts him in a different mood. 

Curtis: (Male, 30-40) he is a club owner and notorious gangster and Deloris' boyfriend. Cocky and controlling, he is always on the verge of violence.

Eddie Souther: (Male, 25-35) the desk chief at the Philadelphia police station and a high school classmate of Deloris who helps get her into hiding. He faces a lot of nerves when under pressure, which causes him to sweat profusely. He still yearns for Deloris after all these years, and he dreams of being her hero. 

TJ: (Male, 16-30) he is Curtis' nephew and one of his thugs. He is deft and cognizant of that fact. He is constantly in a state of ignorant bliss. 

Joey: (Male, 30-40) he is one of Curtis' thugs. He believes himself to be quite the ladies' man.

Pablo: (Male, 25-40) he is one of Curtis' thugs. He is a natural follower, and constantly speaks in Spanish.

Sister Mary Martin-of-tours: (Female, 40-60) she is a nun of the convent. She is clearly in her own world, but she has her moments of surprising clarity. 

Sister Mary Theresa: (Female, 60-70) she is a nun of the convent, the oldest of the group. She is decrepit at a glance, but she secretly packs a punch.

Michelle: (Female, 20-30) she is one of Deloris' back-up singers. She is lippy and always quick with a retort.

Tina: (Female, 20-30)  she is one of Deloris' back-up singers, and she is a little thick and naive.

Ernie: (Male, 25-35) he is one of Curtis' thugs. Initially, he is thought to be a mindless yes-man, but he turns out to be an undercover informant. 

Ensemble: Nuns, Bar Denizens (Bar Patron, Waitress, Pool Player, Drag Queen), Homeless People, Fantasy Dancers.

***Please click the button below to review the current draft of the rehearsal schedule for this show prior to auditioning. 

AUDITION DATES & TIMES

Sunday, Jan. 4th at 2:00PM-5:00PM (2026)

Monday, Jan. 5th at 7:00PM-9:00PM

*Callbacks: To be determined following auditions.

LOCATION

Steve Forrester Lounge at The Belleville Theatre Guild- 256 Pinnacle St, Belleville, ON.

PRODUCTION DATES

Preview: Tuesday, March 31, 2026

Opening Night: Thursday, April 2, 2026

Closing Matinee: Sunday, April 19, 2026

Productions run Thursday, Friday, and Saturday evenings

at 7:30 p.m. and Sunday afternoons at 2:00 p.m.

SYNOPSIS:

Based on A Servant of Two Masters, Carlo Goldoni's 18th century tale of mistaken

identity and daft confusions, this adaptation by Richard Bean has been re-

imagined in 1960s Beatles-era England.

An outrageously broad comedy, this is a high-energy show employing physical

humour, farcical and commedia del’arte elements, improv, slamming doors,

breaking the fourth wall, fast-paced dialogue, and more.

Francis Henshall is looking to make his mark. Fired from a skiffle band and in

search of work, he finds himself employed by small-time gangster Roscoe Crabbe,

in town to collect a fee from his fiancee’s gangster father. But Roscoe is really

Rachel posing as her own dead brother, herself in love with Stanley Stubbers (her

brother’s killer) who, in turn, becomes our hero’s other “guvnor”. Fighting a

mounting sense of confusion, Francis goes out of his way to serve both bosses.

But with the distractions of a pneumatic bookkeeper, a self-important actor, and

select members of the criminal fraternity (not to mention his own mammoth

appetite) to contend with, how long can he keep them apart?

CHARACTERS: 

7 men, 3 women, additional characters needed in walk-on, non-speaking, set-changing roles.

Francis Henshall: 30s-50s (flexible). The “one man” central character. Roguish,

confident, charming, desperate for money and perpetually hungry. Argues with

himself. Must have the ability to improvise some lines with audience members,

and also to make scripted dialogue sound like it’s improvised.

Stanley Stubbers: 20s-40s (flexible). One of the two “guvnors”. Privately

educated, toffish but also a killer.

Rachel Crabbe: 20s-40s (flexible). The second “guvnor”. Disguised as her dead

twin brother for most of the play. In love with Stanley.

Charlie “The Duck” Clench: 50s+. Father to Pauline. Cockney. Runs a shady

scrap metal business. Spent time in prison.

Harry Dangle: 50s+. Charlie’s crooked solicitor. Father to Alan. Tries to be posh

at times by using Latin phrases.

Pauline Clench: 20s. Charlie’s daughter. Hopelessly naïve and innocent. Ditzy.

Nearly everything goes over her head. Formerly engaged to Roscoe, but now

engaged to Alan.

Alan Dangle: 20s-30s. Harry’s son. Engaged to Pauline. An aspiring actor, but

probably not a very good one.

Lloyd Boateng: 50s (flexible). Charlie Clench’s friend. Spent time in prison.

Dolly: 30s-50s (flexible). Charlie Clench’s vampish, outspoken bookkeeper.

Immediately attracted to Francis. Frequently shares her thoughts with the

audience.

Alfie: An aging waiter who should have retired years ago. Bad heart. Bad

balance. Falls downstairs, but keeps going. The subject of much physical humour

and pratfalls. Not many lines, but a scene-stealer.

Additional Characters Needed:

There are other opportunities for a flexible number of non-speaking walk-on parts

of various ages (waiters, busboys, porters, street scenes, policemen, etc.). These

characters will also assist with set changes and props.

Depending on the cast, there is also an opportunity for a skiffle band to entertain

the audience during scene changes. If we decide to go that route, some singing

and instrumental ability will be required.

The Belleville Theatre Guild is open to all interested members of the community.

Experience is not necessary. In addition to actors, we are always looking for

volunteers in other capacities: house, back stage, technical booth, etc. Cast and

crew are expected to become season members of the BTG for a nominal fee.

Auditions for One Man Two Guvnors will consist of cold readings from various

scenes from the script. If call backs are needed, we may introduce some improv

activities for actors interested in specific characters.

REHEARSALS:

The rehearsal schedule will be decided after auditions. The schedule will be as

flexible as possible depending on the needs and availability of cast and crew, but

generally speaking, there will be 4 rehearsals per week including Sunday

afternoon. Not everyone will be needed for every rehearsal for approximately

the first month.

FOR MORE INFORMATION:

Call, text, or email:

Producer: Phil Bowerman, 613-970-1488, philbowerman21@gmail.com

Director: Dave Henderson, 613-920-2648, david.henderson60@gmail.com

For ideas on the characters, check youtube for clips from past productions

including the Broadway version starring James Corden as Henshall.

Side Pieces is a series of one-night staged play readings featuring a selection of critically acclaimed plays. These plays are all 14+ for both language and content. See more information on our Upcoming Production page.

General Audition Information for 'Side Pieces':

Auditions are open to anyone who would like to come and play. We’ll do some basic collaborative exercises

and then some reading from the scripts together – sides will be provided. This will be a group based audition. Please come at the beginning of the time listed. 

Once cast, actors are encouraged to go off and do work on their own with the script. There will be one or possibly two rehearsals as a group before the live staged reading – offering some direction and simple staging and to answer any plot, character questions the actors may have. 

***You will not be expected to memorize lines as these are staged readings. However, familiarity with the script is encouraged and expectations will be set by the director of each piece. 

DEAR ELIZABETH by Sarah Ruhl

AUDITION DATE & TIME

Tuesday, February 10th | 7:00PM-9:00PM (Location TBD)

Casting: 1 Woman / 1 Man 

PERFORMANCE DATE

Friday, February 27th at 7:30PM

SYNOPSIS

From 1947 to 1977, poets Robert Lowell and Elizabeth Bishop exchanged more than four hundred letters. Even as they were worlds apart, their connection was palpable, and their correspondence would become one of the greatest in American literary history. Using these letters, Sarah Ruhl brings theatrical life to the story of a 30-year friendship that lived almost entirely in writing. Dear Elizabeth gives voice to this deeply moving and intimate friendship between two of the greatest minds in American history.

CHARACTERS

ELIZABETH BISHOP - A woman, between the ages of forty and sixty.  A meticulous, private, and deeply observant poet. Bishop is reserved yet fiercely intelligent, with a wry sense of humor and an eye for the beauty and tragedy of the everyday. She struggles with self-doubt and solitude but possesses an unwavering artistic integrity. 

ROBERT LOWELL - A man, between the ages of forty and sixty.  Brilliant, volatile, and passionate. Lowell is a celebrated poet whose intensity and vulnerability shape both his art and relationships. He is charismatic yet self-destructive, capable of great tenderness and great turmoil. His correspondence with Bishop reveals his longing for connection and artistic kinship. 

...

JOHN GABRIEL BORKMAN by Henrik Ibsen, adapted by Lucinda Coxon 

AUDITION DATE & TIME

Tue., April 20th | 7:00PM– 9:00PM (Location TBD)

Casting: 4 Women / 3 Men

PERFORMANCE DATE

Friday, May 1 at 7:30PM

SYNOPSIS

John Gabriel Borkman, once an illustrious entrepreneur, has been brought low by a prison sentence for fraud. As he paces alone in an upstairs room, bankrupt and disgraced, he is obsessed by dreams of his comeback. Downstairs, his estranged wife plots the restoration of the family name. When her sister arrives unannounced, she triggers a desperate showdown with the past. Henrik Ibsen's most contemporary play and his penultimate, John Gabriel Borkman is gripping, penetrating and savagely funny.

CHARACTERS

John Gabriel Borkman (Male, 40s-60s)

Once a celebrated banker, now a disgraced recluse. Proud, magnetic, and tormented by the loss of his legacy. Borkman still believes he was destined for greatness, refusing to accept moral or emotional defeat.

Gunhild Borkman (Female, 40s-60s)

Borkman’s embittered wife, living in isolation downstairs. Proud, wounded, and obsessed with restoring the family’s name through her son. Her sharpness masks deep hurt and disappointment.

Ella Rentheim (Female, 40s-60s)

Gunhild’s twin sister, once in love with Borkman. She has lived abroad and returns with grace, compassion, and sadness, seeking reconciliation before it’s too late.

Erhart Borkman (Male, 20s)

Son of John Gabriel and Gunhild. Sensitive, idealistic, and restless—longing to escape the suffocating expectations of his parents. Torn between duty and his own life.

Fanny Wilton (Female, 30s–40s)

A charming and independent woman with whom Erhart is infatuated. Witty, worldly, and emotionally aware. Represents modern freedom and a contrast to the Borkman household’s decay.

Foldal (Male, 40s-60s)

Borkman’s old friend and former clerk. Loyal, kind, and a dreamer in his own quiet way. His idealism mirrors Borkman’s but without the grandeur or self-deception.

Frida Foldal (Female, late teens–20s)

Foldal’s daughter; talented pianist and spirited youth. Represents the next generation’s vitality and hope.

Auditions are held at the Pinnacle Playhouse at 256 Pinnacle St, unless otherwise specified. Note that most of our auditions do not require any preparation in advance. 

However, some productions, particularly musicals, may require additional preparation. Please keep an eye on our socials and up to date on our newsletters for auditions notices. 

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