NOISES OFF AUDITIONS  May 18 & 19, 2019

Noises Off, by Michael Frayn, is a spectacular comedy. The story begins with an acting troupe’s dress rehearsal before starting their tour, and that final rehearsal does not go well. We catch up with the actors a couple of weeks later and… the scene is even worse. Eventually we get to peek backstage and learn why everything is rapidly – and hilariously – going downhill. The question is: Can this play-within-a-play be saved?

Roles: Five men, four women. The gender or race of the characters may not be changed according to the play’s licensing rights.

Rehearsals begin at the end of June and the show goes up in September.

Auditions are May 18 @ 2:00 p.m. and May 19 @ 10:00 a.m. at the Bingen Theater.   The auditions will be 2 hours in length. We will start promptly and end promptly.

Need directions?  Here they are

Open to everyone regardless of experience. This show will also require MANY stagehands since the whole 2 story set rotates in-between acts. Twice.

Please email director Joe Garoutte for needed sides (snippets of the script) that you will read from.  Please also familiarize yourself with the show.  Watch the movie if you haven’t seen the play or movie before.  And… I highly recommend purchasing the script so you can read it. Here’s a link for that too. C’mon… your theatre library should have this one… 😉

Now, the nitty gritty…  This is a wonderful show that requires extreme dedication to all out physical comedy.  It is a two story set and frankly the whole cast will be running about it, up and down stairs, prat falling, and otherwise having a wonderful time.  It’s a show about doing a show.  That’s comedy right there.

Please show up to auditions in clothes (including shoes) that you can move in.  Auditions for this show will include physical movement challenges, including games, reading from the assigned sides, including trying a British accent, and other antics.  There will be no call backs so please try to attend both audition days if possible.

If you cannot attend but wish to audition, or if you would like to be a part of this soon to be amazing team creating gut busting theatre, please email Joe Garoutte.

Come have a good time!


“The most dexterously realized comedy ever about putting on a comedy. A spectacularly funny, peerless backstage farce. This dizzy, well-known romp is festival of delirium.” – The New York Times 

Here is a look at what a hilarious romp this show is: Promotional video from


Some actors play two characters. One onstage character and one off stage character.


Dotty Otley / Mrs. Clacket:

(Off stage Dotty) A late-middle-aged actress. Forgetful. Dating Garry, though she attempts to make him jealous by meeting with Freddy.

(On Stage Character: Mrs. Clackett): A Cockney Housekeeper for the Brent’s home in England. Hospitable, though slow.

Brooke Ashton / Vicki:

(Off Stage: Brooke) Mid Twenties to Thirties. A young inexperienced actress. Pays no attention to other performers, either in performance or backstage. She seems as though she is not really present – like she is somewhere else inside her head. Is always losing her contact lenses. One-third of a Lloyd–Poppy–Brooke love triangle.

(On Stage Character: Vicki): An English woman who works for Inland Revenue and is trying to woo Roger. This character does end up in her unders and running around quite a bit at different points in the show. The costume will be tastefully chosen, but must be a stark contrast to the English businesswoman attire she wears over it initially.

Belinda Blair / Flavia Brent:

(Off stage Belinda): Mid twenties to forties. Cheerful and sensible, a reliable actress. She may have feelings for Freddy.

(On Stage Character: Flavia Brent): Phillip Brent’s English wife. She is dependable, though not one for household duties.

Poppy Norton-Taylor:

American Stage Manager. Emotional and over-sensitive, and envious of Brooke, whom she understudies. Carrying Lloyd’s child. One-third of a Lloyd-Poppy-Brooke love triangle.



Lloyd Dallas:
Aged thirty up. The director of the play “Nothing On”. Temperamental. One third of a Lloyd–Poppy–Brooke love triangle.

Garry Lejeune / Roger:

(Off stage: Garry) Aged mid twenties to forties. An actor who never finishes a sentence. Always is completing sentences with, “you know…” Easily fired up, repeatedly tries to attack Freddy after believing that Dotty was cheating on him with Freddy. Speech affectations disappear onstage but are ever- present offstage. Dating Dotty.

(On Stage Character: Roger): An English Real estate agent who is attempting to rent Flavia’s and Phillip’s home, but uses it for his own personal benefit.

Frederick Fellows /Phillip Brent / Sheikh :
(Off stage: Freddy) Aged mid twenties to forties. An actor with a serious fear of violence and blood. Gets nosebleeds easily. Often questions the meaning of his lines and moves. Blames himself often for things going wrong.

(On Stage Character: Phillip Brent): An Englishman who lives out of the country with his wife Flavia to avoid paying taxes. He enters the country knowing that if he is caught by Inland Revenue, he will lose most of the year’s income.

(On Stage Character: Sheikh): A Middle-Eastern, Interested in renting Flavia’s and Phillip’s home and is the spitting image of Phillip.

Selsdon Mowbray / Burglar:

(Off Stage: Selsdon Mowbray): An elderly (someone who can convincingly play older can be cast) alcoholic Englishman who hides his bottles onstage. If he is not in sight while rehearsing, the stage crew must find him before he passes out. Is hard of hearing when he wants to be.

(On Stage Character: Burglar): Old Cockney man in his seventies, breaking into the Brent’s home.

Timothy Allgood:

Aged mid twenties to thirties. An over-worked Assistant Stage Manager. Understudies Selsdon and Freddy.


Auditions for February 2020 Play (To be announced)

The auditions for February’s play will be in late September 2019. Rehearsals will begin in November.


A show is what happens when many people come together to create something magical. We welcome skilled, experienced volunteers, but we also appreciate folks who want to try something new. Use the Contact link in the header to tell us what you’re interested in doing. Here are some ways you might be able to help:

  • Set Construction
  • Painting
  • Set Design
  • Set Décor
  • Props
  • Tech (such as lighting or sound)
  • Stage Management
  • Costuming or Alterations
  • Ushering
  • Ticketing
  • Bartending (must have valid Washington alcohol server’s permit)

You’d be surprised at the kinds of skills we might need, such as hanging wall paper, wiring a low-voltage doorbell, or making a turkey out of paper-mache that looks delicious. Actors, stage crew, and production crew (depending on time contributed) are eligible for small stipends.

Tip: We nearly always need ushers, and that’s a great way to dip your toe into the theater community and see if you’d like to do more.


The Gorge is blessed with a tremendous number of skilled actors, but we’re always on the lookout for new faces. We’re actors too, and we know how nerve-wracking auditions can be. We try to put you at ease and make the audition fun. If you don’t get a part, please come back and try again. We know EXACTLY what it’s like to audition over and over before landing a role. Actors, stage crew, and production crew (depending on time contributed) are eligible for small stipends.

Tip #1: Ask for a copy of the sides (script excerpts used for the audition), and also try to read the whole script before you audition. You’ll have a better idea of the available roles, and you’ll feel more prepared, which will help you relax and have fun. You do not need to memorize the sides (it’s probably better if you don’t).

Tip #2: Check the preliminary rehearsal schedule in advance and note any conflicts on your audition form. Conflicts don’t mean you won’t get cast, but they do help the director finalize who rehearses when. Double check that you can be at every performance.

Tip #3: Bring a list of shows you’ve been in and roles you played so you’re ready to fill out the audition form. It’s amazing how one’s mind can go blank when audition nerves kick in.