Auditions for the Community Players of Concord’s production of CALENDAR GIRLS directed by Steve Lajoie will be held on November 30 and December 1 from 6:30 pm to 9:30 pm at the Players’ Studio,

Call backs will be held on Wednesday, December 2 from 6:30 pm to 9:30 pm.  Rehearsals start on December 7 and will be scheduled for weeknights only until production week.

An Information Session will be held on November 29 at 6:30 pm.

Performances are on February 12-14, 2016.


Calendar-Girls-300CALENDAR GIRLS by Tim Firth

Chris, Annie, Cora, Jessie Celia and Ruth are the “calendar girls” and will pose for the “nude” calendar photos.  In the words of the playwright, “The nudity in the show is in the best traditions of vaudevillian fan dances, the art of the play’s nudity lies in what is withheld.  The choreography of this sequence is best described as ‘fabulous concealment.’  Should we see anything we oughtn’t, the whole scene will deflate like a soufflé on which the oven door has been opened too quickly.”

Chris, 50’s – You want Chris at your party. She will talk to people she doesn’t know, find things to say to fill silences and generate laughter. Part of this is because Chris is at home in crowds, holding court, being the center of attention. Without Chris in her life, Annie would be better behaved, her life less fun. The two of them are like naughty schoolgirls.

Annie, 50’s – Annie will join in mischief but is at heart more conformist and less confrontational than Chris. After Chris has put a waiter’s back up in the restaurant, Annie will go in and pour calm. The mischievousness Chris elicits saves Annie from being a saint. She has enough edge to be interesting and enough salt not to be too sweet.

Cora, around 40 – Cora’s past is the most eclectic, her horizons broadened by having gone to college. This caused a tectonic shift with her more parochial parents. She came back to them pregnant and tail-between-legs, but Cora has too much native resilience to be downtrodden. She is the joker in the pack, but never plays the fool. Her wit is deadpan. It raises laughter in others, but rarely in herself. Her relationship with her daughter is more akin to that between Chris and Annie. Cora doesn’t need to sing like a diva but must be able to sing well enough to start the show with Jerusalem and sing the snatches of other songs required.

Jessie, late 60’s/70’s – Get on the right side of Jessie as a teacher and she’ll be the teacher you remember for life. Get on the wrong side and you will regret every waking hour. A lover of life, Jessie doesn’t bother with cosmetics – her elixir of life is bravery. Jessie goes on rollercoasters. Her husband has been with her a long time and is rarely surprised by her actions. Jessie bothers about grammar and will correct stallholders regarding their abuse of the apostrophe “s”.

Celia, age anything 35-50 – The fact that Celia is in the Women’s Institute is the greatest justification of its existence. A woman more at home in a department store than a church hall, she may be slightly younger than Chris or the same age, but she always feels like she’s drifted in from another world; which she has. She is particularly enamored of Jessie, and despite the fact Jessie has very little time for most Celia’s of this world, there is rebelliousness in Celia to which Jessie responds. It’s what sets Celia apart from the vapid materialism of her peer group and made her defect.

Ruth, 40’s – Ruth’s journey is from the false self-confidence of the emotionally abused to the genuine self-confidence of the woman happy in her own skin. Ruth is eager to please but not a rag doll, and despite being Marie’s right-hand woman she is desperate to be the cartilage in the spine of the Women’s Institute and keep everyone happy. She has spine herself – if she was too wet, no-one would want her around. But they do, and they feel protective of her because they sense there is something better in Ruth than her life is letting out. They are proved right.

Marie, 50’s – Marie has gradually built the current ‘Marie’ around herself over the years as a defense mechanism. She went to her Oz, Cheshire, and found Oz didn’t want her. She came back scorched. The Women’s Institute is a trophy to her, which justifies her entire existence. There is a lingering part of Marie that would love to be on that calendar.

John – Annie’s husband, 50’s – John is a human sunflower. Not a saint. Not a hero. Just the kind of man you’d want in your car when crossing America. When he dies it feels like someone somewhere turned a light off.

Rod – Chris’s husband, 50s – You have to be a certain kind of guy to stick with Chris and Rod loves it. He can give back what he gets, and has a deadpan humor which has always made Chris laugh. He drinks a lot but never so much as to have a problem. He would work every hour to make his shop a success. And John was his mate, even though the relationship was originally channeled through their wives.

Lawrence, late 20s – Hesitant without being nerdy, Lawrence is a shy young man with enough wit to make a joke and enough spirit to turn up at the Women’s Institute hall in the first place. When he arranges the shots he is close to female nudity but sees only the photo.

Lady Cravenshire, 60s – Lady Cravenshire really doesn’t mean to be so patronizing. But the Women’s Institute girls seem from another world – the world of her estate workers. When she makes an entrance, she must make an entrance. She is not a tweed-wearer. She must glide in like a galleon.

Elaine, 20s – A hair dresser, Elaine really doesn’t mean to be so patronizing. She has been having an affair with Ruth’s husband.

Liam, late 20s – Liam would like to be directing things other than photo shoots for laundry detergent. He’s not so unprofessional as to let it show, but we can sense a slight weariness at having to deal with these women. There’s a resigned patience to his actions and each smile he makes we feel is professional. For Liam, this photo shoot is a job. And not the job he wanted.

Brenda Hulse, any age 50 to 70 – Brenda gives talks to women’s organizations like the Women’s Institute on subjects such as “The History of the Tea Towel” and “The Fascinating World of Broccoli”. She has no idea how boring these talks are to her audience.

All Roles Open.  Non-Traditional Casting Is Considered.

Steve Lajoie (Director) (603) 731-3216 cell

Allwynne Fine (Co-Producer) (603) 496-2091 cell

Pam Bowen (Co-Producer) (603) 582-1831 cell