We hope you get it.

AUDITION DATES: March 20 at 6:30 pm and 21 at 2:00 pm

AUDITION LOCATION: Biloxi Little Theatre

CALLBACKS: 2:00 PM March 22 at Donna’s Visual & Performing Arts, 2428 W. Commerce St., Ocean Springs, 39564

PRODUCTION DATES: June 5-7 & 12-14, 2026

DIRECTOR: Teresa Johnson

AUDITION REQUIREMENTS: Cold readings from the script. Participate in improv exercises. Take part in movement auditions involving moderate to high physical activity to test agility and stamina. Please wear clothing that does not restrict movement, and wear supportive, close-toed shoes.

THE SHOW

Noises Off is a laugh-out-loud backstage comedy that follows a hapless theatre company attempting to stage a ridiculous British farce, Nothing On. From the disastrous final dress rehearsal to a chaotic mid-run performance and a completely unhinged closing night, the show reveals the onstage mishaps and offstage drama that spiral into utter pandemonium. Doors slam, sardines fly, lines are missed, tempers flare, and romantic entanglements complicate everything. All in the name of theatre.

ROLES TO BE FILLED

Dotty Otley / Mrs. Clackett (female/female-presenting, age 50s-70s) – A seasoned but scatterbrained actress whose offstage life is as chaotic as her onstage timing. Plays the housekeeper in the farce-within-a-farce, forever juggling plates of sardines and missed cues. Requires quick, repeated entrances/exits, precise prop handling, and heavy physical comedy.

Lloyd Dallas (male/male-presenting, age 40s-60s) – The exasperated, sharp-tongued director trying to hold the production together as the cast unravels. Quick-witted, sarcastic, and increasingly frayed at the edges. Often moves rapidly across the stage, gesturing big and directing with physical authority, sometimes climbing into the set mid-scene.

Garry Lejeune / Roger (male/male–presenting, age 30s-50s) – Well-meaning but easily flustered actor, prone to never finishing sentences when nervous. Plays the estate agent in the play-within-a-play, and harbors a clumsy romantic interest in Dotty. Demands high-energy pacing, near-constant running up and down stairs, multiple pratfalls, including a tumble down a flight of stairs.

Brooke Ashton / Vicki (female/female-presenting, age 20s-30s) – Young, attractive, and blissfully oblivious actress. Prone to losing her contact lenses, and continuing the show regardless of what’s going on around her. Frequent physical comedy in lingerie with slightly zany comedy beats, repeated entrances/exits, and moments of staged “blindness.”

Frederick Fellowes / Philip Brent (male/male–presenting, age 30s-50s) – A gentle, overly polite actor with a sensitive stomach and a tendency to overanalyze his lines. Accident-prone and terrified of conflict. Multiple pratfalls, awkward freezes, running up/down stairs, and performing physical comedy in boxer shorts with his pants around his ankles.

Belinda Blair / Flavia Brent (female/female-presenting, age 30s-50s) – Warm, good-humored, and endlessly optimistic actress who tries to keep peace among the cast. The gossip hub of the group, always in the know. Requires graceful but quick blocking, catching props or actors mid-chaos, and light physical comedy.

Poppy Norton-Taylor (female/female-presenting, age 20s-40s) – The shy, well-meaning stage manager, quietly overwhelmed by the chaos backstage. Often tasked with picking up the pieces when things go wrong. Needs agile, quiet movement around the set, quick prop handoffs, and sudden bursts of frantic action.

Tim Allgood (male/male–presenting, age 20s-40s) – Overworked, sleep-deprived jack-of-all-trades in the crew, running on caffeine and desperation. Balances understudying, fixing set mishaps, and keeping the show running. Requires rapid movement, great facial acting, and quick, comedic physical changes.

Selsdon Mowbray / Burglar (male/male–presenting, age 60s-80s) – Elderly, hard-of-hearing actor with a fondness for the bottle. His entrances are a constant gamble, but his heart is in the right place. Physical humor centers on slow, wandering movement, missed marks, and the occasional surprise burst of agility.

ACCENTS
All characters require British accents. Region or dialect does not particularly matter. What matters more than authenticity of accent is the clarity of the accent. Every word must be clearly understood. Each of the actors in the play-within-a-play will have two accents. For example, when Dotty is herself, her accent is a bit posh. When she is playing Mrs. Clackett, she switches to a cockney accent. There should be definite differentiation between the actor and their character. Lloyd, Tim, and Poppy use the same accent throughout.

RACE/AGE/GENDER
All roles are open to actors of any race or gender. There are wide age ranges for each character, so there are roles for all adult ages. Roles are portrayed according to the gender identities as written.

AUDITIONING FOR A FARCE
Farce is like a high-speed dance with doors, props, and chaos. The fun comes when we all play full out. Here’s how to bring your best to the audition room:
• Know the style – Farce is precision, energy, and truth in the middle of chaos. Every move and line depends on exact timing and high stakes.
• Understand the world – Read the play (or a full synopsis) so you know the backstage world and the “play within a play.”
• Play the stakes – Treat every problem like it’s urgent and life-or-death, even when it’s absurd.
• Focus on diction – Clarity is essential, even at high speed. Make sure every word lands.
• Make bold physical choices – Use your body to tell the story: doors, stairs, props, entrances, and exits.
• React in the moment – Farce thrives on real-time discovery, not pre-set jokes.
• Listen like a hawk – Tight cue pickup is as important as delivering your own lines.
• Show your movement skills – Wear clothes and shoes you can run, turn, bend, and climb in.
• Work with your scene partners – Be respectful and never touch them without permission.
• Commit fully – Whether it’s physical comedy or frantic problem-solving, go all-in.
• Have fun – Confidence and playfulness are contagious and belong in the room.

WHAT TO EXPECT IF CAST
Noises Off is a high-energy, physically demanding show that requires precise timing, strong ensemble work, and full commitment to the chaos. You’ll be running lines while navigating stairs, doors, and props, often at top speed, and repeating the same intricate sequences exactly the same way each night. Physical comedy, pratfalls, and fast entrances/exits are part of the fun, but also require discipline, stamina, and a focus on safety. Cast members will be expected to follow all instructions from the director, choreographer and intimacy coordinator during rehearsals, pre-rehearsal warm-ups, and performances. You should also be prepared to commit to a regular cardio program for the duration of the rehearsal and performance period to maintain the stamina this production demands.

If you have any questions, please contact director Teresa Johnson, at BGood2Mama@gmail.com or via Facebook Messenger.