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Auditions: Peter James’ Dead Simple

Ticket Information

  • Free Admission

Dates

  • Sat 27 Jun 2020, 12:00pm–4:00pm

Restrictions

R13

A thriller by Peter James. Adapted by Shaun McKenna.

Michael Harrison thinks he has it all: a great career, good friends and a beautiful fiancée. But when his stag-night prank goes horribly wrong, he finds himself staring death in the face. As Michael’s fears grow, Detective Roy Grace tries to solve his mysterious disappearance, but he starts to doubt Michael will be found in time. An Amateur Production.

Originally produced by Joshua Andrews for JASS Productions & Peter James. A Roy Grace story.

Perusal scripts: info@hlt.org.nz or 534-1401
Rehearsals: Tues & Thurs 7pm and Sun 6pm. Rehearsals: July to early September.
Season: Sept 12 to October 3: 15 shows.

Characters
(All ages are guidelines only. You will have to have an English accent (help will be available during rehearsals with accents).

Mark Warren (late 20-40s) A prosperous property developer. Best friends with Michael and engaged to Ashley. He is in love with his beautiful fiancee and is on edge as his stag night approaches. The role has lots of challenges and you must not be claustrophobic. It is a physical role not for the faint hearted. but it will be a role that you will remember for life! There is intimacy with Ashley (kissing)*. This role is a critical one as the intensity of the buried scenes will be vital to the growing sense of terror for Mark.

Michael Harrison (late 20-40s) A prosperous property developer in business with Mark. He is having an affair with Ashley and planning to steal their accumulated funds. The role involves physical intimacy* with Ashley (refer to pg. 66). This role is a critical one and you get a spectacular death scene. This role has lots of intense scenes and dramatic moments.

Ashley Harper (Late 20-40s) The leading lady, Ashley is a black widow. Toying with Mark and Michael, she is deep in the betrayal game. This role is a critical one that involves a lot of physical, emotional and dramatic moments. The role requires intimacy* (please read the script in its entirety). Great role that will be challenging and amazingly rewarding.

Bradley Cunningham (40s-late 50s) The ‘uncle’ of the young Ashley, but also the ruthless Vic. Fantastic role, great death scene, great scenes throughout the play. Involves intimacy with Ashley*. A chance to bring these two characters to life. Vic needs an Australian accent and Bradley American.

Robbo (late 20-40s) A smaller role, but fantastic for someone wanting to get on stage or wanting to be involved with multiple roles. You will also be used as police in the raid in Act 2 and potentially other roles. Fun and physical role (will involve lifting a coffin with others).

Davey Wheeler (14-20) A mentally challenged teen who loves TV shows and shootouts. English, but has to put on a bad American accent. Great challenging role with (spoilers) an awesome death scene. Most of your scenes are with the buried Mark via radio.

Det. Superintendant Roy Grace (30-50s) The clever and intuitive detective is back for a second time at HLT. Out to solve this mystery before time is up for Mark, Roy uses the services of another clairvoyant, Zoe. Great role with lots of “will he get there in time” moments.

Det. Sergeant Glenn Branson (30-60s) Colleague of Roy Grace. Smaller but crucial role that will also be used as a stag man.

Zoe Frame (late 20s-40s) a Delightful Role That Injects a Lot of Energy and Intrigue to The Play. the clairvoyant that helps Roy with the search for Sandy, then in the case to track down Mark before time runs out. There is a lot of fun to be had with this role and she can be a fun, quirky character. Also will be used as a stag and potentially other roles where needed.

*HLT follows Equity NZ’s best practice guidelines for developing intimacy scenes, and uses a trained co-ordinator.

Director: Nathan Hey

Any questions, email Nathan at nathanhey@gmail.com.

I have directed both theatre and short film. This is my fifth play at HLT, having directed 4000 Miles, Cruise Control, Disorderly Conduct and The Perfect Murder, which won play of the year. I like to create a fun working environment where actors are able to be creative and work as a team

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