Agatha Christie’s Murder on the Orient Express
Adapted for the stage by Ken Ludwig
Director: Matt Spencer
Stage Manager: Laura Dugan

Just after midnight, a snowdrift stops the Orient Express in its tracks. The luxurious train is surprisingly full for the time of the year, but by the morning it is one passenger fewer. An American tycoon lies dead in his compartment, stabbed eight times, his door locked from the inside. Isolated and with a killer in their midst, the passengers rely on detective Hercule Poirot to identify the murderer – in case he or she decides to strike again.

CHARACTER BREAKDOWNS

Seeking a multi-generational, diverse cast for this timeless show. All actors 18 and up are welcome and encouraged to audition.

Please review the breakdown of roles and prepare to audition for the one that speaks to you the most.

HERCULE POIROT

(Male, 40-60) Famous Belgian detective; a “Big” personality; authoritative, witty, charismatic and slightly pompous; driven to find the answers, good or bad, with a strong moral sense; very aware of his ability and his well- deserved reputation.

MONSIEUR BOUC

(Male, 30-60) A Belgian gentleman of good humor; playful, proud, generous; a predilection for grandeur; a whirlwind of energy; must be an excellent comedian.

MARY DEBENHAM

(Female, 20-35) An English beauty; a governess, capable yet romantic; a sadness around her eyes and a hardness about her person.

HECTOR MACQUEEN

(Male, 20-55) Tightly wound, edgy and nervous; he seems to always be on the verge of falling apart or coming unwound. Assistant to Samuel Ratchett.

MICHEL THE CONDUCTOR/ HEAD WAITER

(Male, 20-55) a good-looking Frenchman, with a quiet, almost grave sense of humor; unfailingly polite. Marcel: a Turkish waiter, snooty, smooth

PRINCESS DRAGOMIROFF

(Female, 40-75) a Russian dowager; very formal, a sweeping, impressive presence; imperial, impatient. Everyone knows when she enters the room. More battle ax than princess.

GRETA OHLSSON

(Female 20-65) Inherently odd, and very devout Swedish woman; a frightened, sheeplike quality; must be an excellent comedienne with an impeccable Swedish accent.

COUNTESS ANDRENYI

(Female 30-55) Brilliantly beautiful, like something out of a fairytale; impeccably put together, with a warmth that wins over everyone she meets; her delicacy belies a steely edge; she is no wilting flower.

HELEN HUBBARD

(Female, 40-75) An outspoken and flamboyant American from the Midwest; jovial, obnoxious, domineering, deliciously nosy and brash; unapologetic; must be an excellent comedienne. Also sings. Please familiarize yourself with the song “Alexander’s Ragtime Band”.

COLONEL ARBUTHNOT

(Male, 30-45)Colonel Arbuthnot: Scotsman, also middle aged, handsome, very matter of fact, occasionally tender; must have great comic timing.

SAMUEL RATCHETT

(Male, 30-45) middle-aged American businessman, evil at heart and frightening, brusque, unforgiving, stern demeanor; pushy, and domineering.

Audition Requirements:

WHAT TO PREPARE Cold Readings will be available at auditions. Please be familiar with the characters in the show.

WHAT TO EXPECT AT AUDITIONS: You’ll do a cold reading from the show for a select character.

Callbacks:

If you are invited to call backs, cold readings/sides from the show will be provided.

Reach out to [email protected] with questions.

PLEASE NOTE:

There is one form you will need to fill out for this audition: Form. Please complete this ahead of the audition to save time. Have your conflict calendar handy when completing these. Conflicts are anything that might be scheduled during the rehearsal period November through February. PLEASE NOTE: NO CONFLICTS ARE ALLOWED APRIL 13- MAY 11.

AUDITION FORM

AUDITION FREQUENTLY ASKED QUESTIONS (FAQS):

Who may audition?

Anyone may audition! Theatre Harrisburg is committed to identity-conscious casting. This means the casting committee will consider an auditionee's identity in relation to that of a character. Thus, you may audition for any character you wish to, but please be aware that the casting committee must consider licensing restrictions and other such factors when casting. In some cases, casting notices will be very specific with regard to character (gender-presenting, race, ethnicity, etc.) in others, open to anyone. Regardless of casting notices, everyone is welcome to audition for any show, unless age specific requirements are noted (some shows may not be suitable for minors).

How do I audition?

Each show director will set their requirements for audition day. Standard requests will be that you bring your upcoming scheduling conflicts to share with the casting committee, fill out an audition form (parents/guardians will need to sign this form as well for minors), and have fun! Musicals typically ask you to prepare 16-32 bars of a song to sing for the committee. Some plays ask for a prepared monologue, others give you something to read at the open call. Many musical auditions will have a movement or dance call. Please see individual shows below for more information!

What is an open call?

An open call audition means anyone is welcome to attend that day. There may be sign-ups in advance for time slots, but beyond that, open means just that! Please be aware that our sign-ups fill up quickly, so consider signing up ahead of time.

What is a callback?

Callbacks are closed, invitation only auditions. During a callback, individuals are selected from open calls and other means to attend a second audition. This second audition gives the show director and casting committee an opportunity to have you read from the show script, sing from the show, and work with other auditionees so that we can put together the best cast possible for a show. Please note that for musicals any readings will happen at callbacks. In some cases this is where the dance call will happen as well. If you are not available for callbacks for a musical we may not be able to consider you for any roles soley on you vocal audition. Please make sure you clear your schedule for callback ahead of time. Please email [email protected] if you will not be available.

How will I know if I get the part?

Everyone who auditions is notified either by e-mail or a call if they are being offered a role in a show. Typically, an email is sent to those who did not fit the director’s vision for that particular show to let them know they should try again for a different production. Calls are made within a few days of callbacks for role offers. Everyone will be contacted within 2 weeks of auditioning.

Do you pay actors?

Theatre Harrisburg is a non-profit Community Theatre. Our actors, crew, ushers, and box office personnel are all volunteers...and we love them for giving their time and talents to us!

Are any of your shows pre-cast?

Theatre Harrisburg does not pre-cast shows. Some directors and other production members may invite community members to audition, but no one is ever offered a role before the auditions are completed. Each show has a committee attached to it for casting that includes the Artistic and Production Director to insure our inclusive and conscious policies are being adhered to in a manner befitting our stance of being the home where “community takes center stage.”

When are rehearsals?

Rehearsal schedules will vary per director, but generally rehearsals are in the evenings during the week and may include a weekend rehearsal, as well.

What is a conflict?

A conflict is anything that is scheduled during the rehearsal period that might affect your attendance at rehearsals or performances. All of our audition forms will ask you for any conflicts that you might have from auditions through the last performance of the show. We request that you are as upfront with us as possible and that no conflicts are added after the first rehearsal. Theatre Harrisburg has a No Conflict Policy from the Sunday the week before tech through the last performance of the show. We ask that you be considerate of the other people involved with the production as not being available for multiple rehearsals can affect the entire process for everyone. Please note that if you are involved with another show at the time of auditions you must talk to both production teams before auditioning or we will not consider you for our show due to too many conflicts.

Murder on the Orient Express

CHARACTER BREAKDOWNS

Audition Requirements:

Callbacks:

PLEASE NOTE:

AUDITION FREQUENTLY ASKED QUESTIONS (FAQS):

SAVE WITH SEASON SUBSCRIPTIONS