TCR announces open auditions for Michael Frayn’s Noises Off, directed by Matt Hagmeier Curtis, opening June 5th, 2026 on the TCR Mainstage.
ABOUT NOISES OFF
Written by Michael Frayn. Olivier Award winner for Best Comedy Performance of 1982.
Called “the funniest farce ever written,” Noises Off presents a manic menagerie of itinerant actors rehearsing a flop called Nothing On. Slamming doors, on and offstage intrigue, and an errant herring all figure in the plot of this hilarious, high-energy comedy. Mixing mockery and homage, Frayn heaps a hilarious melée of stock characters and situations into his side-splitting play-within-a-play.
“A spectacularly funny, peerless backstage farce… a festival of delirium.” – The New York Times
“Michael Frayn’s ridiculous farce-within-a-farce still has the power to make an auditorium lose itself in laughter.” – WhatsOnStage
ABOUT REHEARSALS AND PERFORMANCES
Rehearsals officially begin in April 2026. Rehearsals will typically be held five days per week, scheduled on weeknights and potentially one weekend day, to be determined based on cast availability and conflicts. Tech rehearsals will take place on the Saturday and Sunday before opening (May 30-31, 2026). Attendance at all tech and dress rehearsals is mandatory.
Performances take place June 5-14, 2026. See all ticketed performance dates here.
Actors can receive a volunteer honoraria of $25 per performance for all ticketed shows. Out-of-town actors, please note: TCR casts and crews primarily reside in our community and are non-union. TCR will supply meals for longer rehearsal days and any two-show days (if applicable). Each cast member will receive two comp tickets, a show t-shirt, and a catered meal with drink tickets at the opening night celebration in the Linge Lounge. Actors and other volunteers are not required to strike.
ABOUT AUDITIONS AND VIDEO SUBMISSIONS
- Auditions: Monday-Tuesday, February 16-17, 2026, 6:30 PM – 9:00 PM. Please choose one audition day to attend; you do not need to attend both days. See “What to Prepare” below for more information.
- Callbacks: Wednesday, February 18, 2026, 6:30 PM – 9:00 PM. We will let you know via email by 11 PM Tuesday, February 17 if you will be called back. Callbacks will involve reading additional sides and performing scenes of physical action—some alone, some in groups of two or more people. Not receiving a callback does not necessarily mean you are not being considered for a role.
- FILL OUT AUDITION FORM
- On audition and callback days, arrive at the TCR lobby promptly by 6:30 PM and you will be directed to the audition space.
- If you cannot attend auditions, we will accept a video submission along with a list of conflicts and any additional materials you wish to submit through the online audition form. Because of the tight ensemble cast in this show, please note that it is strongly encouraged to attend one of the in-person audition sessions, as chemistry and rapport with other actors is crucial to the successful casting of the show.
- Callbacks will be held in person. We strongly prefer that all actors attend callbacks in person, even if you submitted a video audition (see above). If you cannot attend in person, we may request additional videos.
- Contact Madi Knaack (madi.knaack@theatrecr.org) with questions.
WHAT TO PREPARE
ATTIRE: Think of the audition as a working rehearsal. Wear comfortable clothing and footwear in which you can move. Don’t “dress up” – it will likely get in your way.
SIDES: Please be familiar with and prepare to read from the sides from the script below. You do not need to be off-book for the audition. Groups will be assigned upon arrival and time will be given to work on the sides with your groups before presenting. We will provide printed copies at the audition, and you may be asked to read more than one character’s lines.
A perusal copy of the script is available HERE.
- Audition Scene #1: Pgs. 4-7 – Lloyd, Dotty, Garry, Brooke
Begin: ROGER: … I have a housekeeper, yes, but this is her day off.
End: LLOYD: You’re out. OK. I’ll call again. And on we go. - Audition Scene #2: Pgs. 72-75 – Poppy, Tim, Belinda, Frederick
Begin: POPPY: We’re going to be so late up.
End: You’ve done quite enough already, my pet. - Audition Scene #3: Pgs. 44-46: Lloyd, Selsdon, Frederick, Belinda
Begin: LLOYD: Selsdon…? You’re on, Selsdon…
End: BURGLAR (SELSDON): …They ought to be prosecuted for incitement. (bottom of pg. 46)
DIALECTS: The characters in Noises Off are British actors who are portraying British characters (this is a key distinction from the film version). If you have any semblance of a British accent, please bring it to the audition room. Perfection is not expected, but a willingness to swing big and be silly is encouraged!
ADJUSTMENTS/COACHING: The director may offer adjustments or ask you to do something again — this is not a judgment on your first attempt, but rather an effort to see how you take direction. We’re looking for actors with a strong sense of “play,” who can think on their feet and bring lots of creativity to the table.
IMPROVISATION: You may also be asked to play theatre/improv games or participate in other activities that encourage physicality and creativity in performance. Nothing need be prepared in advance for this; but do come with a willingness to explore and be silly!
Our goal is that you come to the audition, have a riotous good time laughing and exploring with other actors, feel comfortable enough to take risks (and even to make mistakes), and laugh with the whole group at the ridiculousness of the situation and the material.
ROLES AVAILABLE
We are open to a range of ages and we encourage actors of all ethnicities, races, and gender identities to audition. The ages listed are approximate; actors cast should be able to convincingly play these ages. The characters in this show are binary and written with he/him and she/her pronouns. We seek to be as inclusive as possible and encourage actors of any gender to audition for any role they identify with. Please indicate on your audition form if there are certain roles you would not accept.
- Dotty Otley – A late-middle-aged actress (50s-60s). Plays Mrs. Clackett, the housekeeper for the Brent’s home in England in the play Nothing On.
- Lloyd Dallas – The director of Nothing On, the play-within-the-play. Age: 30s-50s.
- Garry LeJeune – An easily fired-up, sometimes rambling actor. Plays Roger, the real estate agent responsible for renting the Brent’s house to tenants in Nothing On. Age: 20s-40s.
- Brooke Ashton – A young, inexperienced actress from London. Plays Vicki, who works for the tax authorities and is trying to woo Roger in Nothing On. Age: 20s-30s.
- Poppy Norton-Taylor – Assistant Stage Manager for Nothing On, who calls the show from backstage. (20s-40s)
- Frederick Fellowes – A cerebral actor who has a serious fear of violence and blood. Plays Phillip Brent, who lives out of the country with his wife, Flavia, to avoid paying taxes and is on a secret visit home in Nothing On. Age: 30s-50s.
- Belinda Blair – Cheerful and sensible, a reliable actress. Plays Flavia, Philip Brent’s wife, who is dependable (although not particularly domestic) in Nothing On. Age: 30s-50s.
- Tim Allgood – An overworked, but loyal stage manager. Age: 20s-30s.
- Selsdon Mowbray – Elderly with a sense of ritual and wisdom from his time on the boards; also has a reputation for drinking. Plays Selsdon, a burglar and an old man in his 70s, who breaks into the Brent’s house in Nothing On. Age: 60s-80s.