Get Involved

Attention Directors and Creatives

If you would like to direct a show for the Peterborough Theatre Guild's 2027/28 season, click the link below and complete the required form. Once submitted, you will receive a follow-up email from the submission coordinator.

PROPOSAL FORM

Please send inquiries to our Chair and Submission Coordinator Margaret Barnes at ptgplayselection@gmail.com

Volunteer Backstage

THE GUILD PRODUCES eight or nine plays a year in our own facility. Volunteers make this all possible. It can take a team of up to 100 people to make a show happen. Some work for one evening, some design and build before a show opens and some volunteer each night of performance. Others serve year-round on our Board and other committees.

For those new to theatre, we have skilled and talented people who can work with you while you learn. We always welcome people to fill the following roles:


Front of House:

• Box Office

• Ushers

• Bartenders

• House Managers


Production Crew:

• Set Building

• Set Painting

• Props

• Technical Operator

• Stagehand

• Stage Hair and Make-up

• Production Assistant

• Costumes and Wardrobe

• Social Media

• Photographers

• Community Development and Sponsorship Outreach

Those with more experience can assist with:


• Directing

• Producing

• Stage Managing

• Musical Direction

• Choreography

• Set Design

• Set Construction

• Costume Design

• Lighting Design

• Sound Design


To become a Peterborough Theatre Guild Volunteer please fill out our Volunteer Application Form using the button below.

VOLUNTEER APPLICATION FORM

Upcoming Auditions

Noises Off

by Michael Frayn


Director: Kathryn Condon

Producer: Marion Griffin

Stage Manager: Alyssa Codling 

Assistant Stage Manager: Tina Barnes 

A theatrical farce, Noises Off is a behind-the-scenes look at a chaotic stage production populated with frenetic and unstable actors, a volatile director, and an overworked and overly emotional stage crew. Interspersed throughout the typical narrative structure of the piece are scenes from the play-within-a-play the group is performing: a tacky sex comedy called Nothing On.

AUDITION DATES

Thursday, September 10: 7 pm – 9 pm 

Friday, September 11: 7 pm – 9 pm

ADDITIONAL SLOTS: Friday, September 11: 4:45 pm - 6:45 pm


Auditions take place in the Gwen Brown Studio at the Peterborough Theatre Guild. 


CALLBACKS
Saturday, September 12, 10 am – 12 pm


SHOW DATES

January 22 – February 6

THE CHARACTERS

The Peterborough Theatre Guild is dedicated to inclusive and thoughtful casting practices. We actively encourage performers of all backgrounds, including those who identify as Indigenous, Black, and People of Colour (IBPOC), members of LGBTQ2S+ communities, and individuals of all gender identities and expressions, to audition. We are committed to creating a respectful and supportive environment for all artists.


English accents are preferred for all characters.

  • Lloyd Dallas Male presenting, age 35-50. Any race/ethnicity.
    The director of Nothing On. Lloyd’s voice drips with sarcasm and the exhaustion of a director who has been pushed to the brink of sanity. He possesses a “certain fading charm” and handsomeness, as well as enough charisma to make him likable despite his sharp tongue. He is currently dating Brooke, but also Poppy on the side.

    This character has a minimal amount of physical comedy. 


  • Dotty Otley Female presenting, age 45-60s. Any race/ethnicity.
    A renowned character actress returning to the stage after many years of playing a recurring TV character role. Dotty occasionally lives up to her name and can be easily confused or forgetful. She also has a taste for much younger men and, behind the scenes of the show, is dating Garry.

    Dotty’s fictional character in Nothing On: Mrs. Clacket
    Mrs. Clacket is even more absent-minded than Dotty is. She is the Brent family’s housekeeper who only wants to spend her day off watching TV with her feet up and a nice plate of sardines. Cockney accent preferred, if possible.

    The actress playing Dotty needs to have an excellent memory for lines and impeccable comedic timing. This role has a minimal amount of physical comedy. 


  • Garry LeJeune Male presenting, age 25-35. Any race/ethnicity
    Garry has spent most of his acting career on TV. He’s handsome, somewhat charming, but not particularly good at articulating his thoughts. He is dating Dotty but is a bit insecure in his relationship with her and his jealousy fuels a lot of the backstage drama of the show.

    Garry’s fictional character in Nothing On: Roger Tramplemain
    Roger Tramplemain is a high-class real estate agent trying to sneak in a quickie with a co-worker while pretending the Brent family home is actually his.

    This is the role with the most amount of physical comedy: he falls downstairs, has to hop/climb up and down stairs with his shoes tied, and spends most of the show running back and forth and up and down several flights of stairs, often at a break-neck pace. 


  • Brooke Ashton Female presenting, age early 20s-early 30s. Any race/ethnicity.
    Brooke is perhaps best known for playing roles named “Girl in...” and for not wearing much in the way of clothing. She’s beautiful, a little pouty, and although she can come off as air-headed, she’s also the most focused actress on stage and never messes up a line.


    Brooke’s fictional character in Nothing On: Vicki

    Vicki works with Roger and has snuck off with him to “his” country home for a little afternoon quickie. It should be stated that Brooke is actually a decent actress in this role and takes it quite seriously.

    This role requires a medium amount of physical comedy, including running up and down stairs in heels, and falling over a sofa. The actress playing Brooke should be comfortable wearing underwear on stage (although we will tailor how revealing it is to the actress’s comfort). 


  • Frederick Fellows Male presenting, age 30s-45. Any race/ethnicity.
    If Brooke appears to be the airhead of the troupe, Freddy is perhaps the actual one. He’s not very bright and often needs things explained to him. He is, however, quite sweet and kind to his castmates, and in Act One has just been left by his wife.

    Freddy’s fictional character in Nothing On: Phillip Brent
    Phillip Brent is an upper-class married man who has snuck back into the country because he’s hiding from the (British version of the) IRS for tax evasion. He is not particularly bright and easily spooked.

    This role has a large amount of physical comedy, including: hopping up and down stairs with his pants around his ankles, while also having various objects “glued” to his hands. 


  • Belinda Blair Female presenting, age 30s-45. Any race/ethnicity.
    Belinda has been acting since early childhood, and is the most professional of the troupe. As a happily married woman off-stage, she serves as the play’s mother-hen and takes care of everyone. She is also the most gossipy character in the show.


    Belinda’s fictional character in Nothing On: Flavia Brent

    Flavia Brent is an upper-class woman who is definitely the brains of her marriage. She is also easily jealous and suspicious.

    This role has a medium amount of physical comedy and spends much of the show running up and down stairs and getting physically involved in many of the off-stage shenanigans. 


  • Selsdon Mowbray Male presenting, age 60s+. Any race/ethnicity.
    An aging actor who has been in the theatre most of his life. He likes to have a little nap now and then, his hearing isn’t particularly good anymore (nor is his eyesight), and he has a bit of a drinking problem. He often wanders off, much to the alarm of the rest of the cast.


    Selsdon’s fictional character in Nothing On: Burglar

    The burglar is elderly, far past his prime, with a tendency to talk to himself while he works.

    This role has a medium amount of physical comedy, with some stair climbing as well as climbing in and out of a (low) window. Occasionally his pants end up around his ankles. 


  • Poppy Norton-Taylor Female presenting, age 20s-40s. Any race/ ethnicity.
    Poppy is the beleaguered assistant stage-manager for Nothing On who spends most of her time being bullied a bit by Lloyd and trying to keep track of everyone and everything. She is both attracted to and angry at Lloyd, who she recently was dating before he turned to Brooke.

    This role has a minimum amount of physical comedy. 


  • Tim Allgood Male presenting, age 20s-50s. Any race/ethnicity.
    Tim is the exhausted stage manager and lead technician for Nothing On. He doesn’t sleep much and spends most of his time running errands and trying to fix the set. He also is the “understudy” for all the male roles in Nothing On and occasionally has to go on for them when they are incapacitated.

    This role requires a medium amount of physical comedy. 


Please note these are group auditions. In the first hour each participant will be presenting a monologue, which is available below. In the second hour the director will workshop the monologues with the participants and will ask each participant to present the monologue again.


SIGN UP FOR AUDITION DOWNLOAD AUDITION MONOLOGUES

Instantaneous Blue

by Aaron Craven (Canadian)



Director: David Geene

Producer: Marilyn Robinson

Stage Manager: Jack van Roosmalen 

Fight and Intimacy Director: Mercedes Davy

Instantaneous Blue, a new Canadian play, is the story of a family impacted by Alzheimer’s disease and dementia. Edward and Sara, a couple who are both trying to pursue creative careers, are expecting and then raising a child. Edward’s parents, Judith and Bob, are struggling with managing their own home and themselves as the signs of dementia become apparent. With the involvement and assistance of police, medical professionals, paramedics, and support workers, Edward and Sara are faced with difficult decisions about their elders. Emotional and physical demands are placed on all four lead characters as they navigate the difficult terrain of partnership, parenthood, personal ambition, caregiving, and acceptance of the ephemerality of life. Humour, frustration, tenderness, and emotional upheaval characterize this important story. It reminds us that the love and support of those around us is essential to our life’s journey.

AUDITION DATES

Monday, September 28: 6:30 pm – 9:30 pm 

Wednesday, September 30: 6:30 pm – 9:30 pm

Monday, October 5: 6:30 pm - 9:30 pm


Auditions take place in the Gwen Brown Studio at the Peterborough Theatre Guild. 


CALLBACKS
Wednesday, October 7, 6:30 pm – 9:30 pm 

*candidates for call backs will be contacted by the evening of Tuesday, October 6th.


AUDITION FORMAT
Individual auditions will include cold readings from the play and some improvisation.

It is recommended to be familiar with the script for the audition. Please complete this form to arrange to borrow a copy from the producer. Scripts will be made available to those considering auditioning as well as those who have reserved audition spots. 


REHEARSAL SCHEDULE

Subject to cast availability, the rehearsals will begin the week of October 25th, 2026, with rehearsals scheduled on Sundays (10 am – 1 pm) and Mondays (6:30 pm – 9:30 pm). No rehearsals last 2 weeks of December 2026. Rehearsals resume on Monday, January 4, 2027.


SHOW DATES

Feb 26, 27, 28 (M), March 4, 5, 6 (M), 7 (M), 11, 12, 13

Evening performance: 7:30 pm
Matinee (M) performance: 1:30 pm


2 acts | Run time: 120 minutes

Advisory: Adult Content. Suitable for teens with parental discretion and / or accompaniment.

CASTING

The Peterborough Theatre Guild is dedicated to inclusive and thoughtful casting practices. We actively encourage performers of all backgrounds, including those who identify as Indigenous, Black, and People of Colour (BIPOC), members of LGBTQ2S+ communities, and individuals of all gender identities and expressions, to audition. We are committed to creating a respectful and supportive environment for all artists. 


Age and gender specifications below apply to the character, but do not necessarily dictate the age and gender of the actors. 


Intimacy and conflict notes: This play contains strong language, sexual elements, depictions of conflict, and themes related to Alzheimer’s disease/dementia. We endeavour to maintain a safe working environment; therefore, the director will be working with a certified Fight and Intimacy Director on those scenes which require it, with the full consent of the actors and monitoring by the Stage Manager. This work will include (but is not limited to): choreographing of physical conflict and intimacy in specific scenes and supporting appropriate consent-forward practices and language for the entire cast and crew throughout the production. See below for more specifics for some characters.



LEAD ROLES
Judith Female*, age 60’s – 80’s*
Judith is a former nurse who has begun to show signs of cognitive decline and is eventually diagnosed with Alzheimer’s disease. Her language and behaviour can be shocking to those around her, but she also demonstrates a strong sense of warmth, caring, flirtatiousness, and love. Her husband Bob and her only child Edward are important parts of her life. She fiercely cares for them, but sometimes she also forgets who they are, and that fierceness can become aggressive and belligerent. 


Role considerations: Judith’s use of language becomes quite profane in the script (an authentic characteristic of some people with Alzheimer’s disease) and she also will be required to simulate physical aggression and resistance to medical care (*see intimacy notes above)


Bob Male*, age 70+*
Bob cares deeply for his wife Judith in his own quiet and gentle way, and he tries to maintain a semblance of what was their life together. His decline is more physical than Judith’s, and he is forgetful and easily distracted. He is doggedly determined to remain independent but is overwhelmed by his wife’s decline and the complexities of modern life.


Edward Male*, age 30-40*. 

As Judith and Bob’s only son, the caregiving for his declining parents falls completely on Edward. At the same time, Edward’s long-term partnership with Sara and their imminent parenthood adds pressure from another angle. Add to the mix his pursuit of an acting career in a large urban centre, and all the conditions for emotional and psychological collapse are set. Edward’s initial resistance to and eventual acceptance of the rapid changes in his parents’ lives and in his relationship with Sara and their newborn son make for a profound character arc in this play. 


Role considerations: Edward’s character will be required to simulate an aggressive sexual encounter with his partner Sara (*see intimacy notes above)


Sara Female*, age 25-35. *
Sara and Edward have been together for some time, and she is pregnant with their first child at the beginning of the play. She also has a loving and caring relationship with Edward’s parents which is in stark contrast to her own upbringing. She is the strong, calm, and rational foil to her partner’s emotional and psychological overwhelm. Her role as a new mother is often lonely as Edward is pulled away by his parents’ needs and his acting career. She also has her own music career to pursue, and struggles with the multiple demands made on her and her sense of who she is. 


Role considerations: Sara will be required to simulate being the target of an aggressive sexual encounter with her partner Edward. (*see intimacy notes above)


SUPPORTING ROLES
Grace / Reyna Female*, any working adult age*, non-Caucasian as specified by playwright 

Two distinct characters played by the same actor. Five (5) extended scenes in total.
Grace is a PSW hired to work in Bob and Judith’s home, while Reyna is a PSW at a care facility where the elderly couple live in the second act. Two different people played by the same person also replicates the confusion many seniors have with their caregivers of varied cultural backgrounds. 


Gerontologist / Paramedic #1 not gender specific, age 30 to 50*.
Two distinct characters played by the same actor, for a total of three (3) scenes. 


Role considerations: the paramedics will simulate being involved in physically subduing Judith, according to the paramedic scope of practice (*see intimacy notes above)


Police Officer (Male*) / Paramedic #2 (Male*) / Care Aide (Male*), ages 20 – 35*
Three distinct characters played by one actor, each having one scene (3 in total). 


Role considerations: the paramedics will simulate being involved in physically subduing Judith, according to the paramedic scope of practice (*see intimacy notes above)


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