Theatre Casting Call for "Murder on the Orient Express"
Seeking Non-Equity performers for "Murder On The Orient Express" show. ONLY LOCAL TALENT WILL BE CONSIDERED. See the breakdown below. About the project: "The exotic Orient Express is about to go off the rails. With a train full of remarkable suspects and an alibi for each one, it’s the perfect mystery for detective Hercule Poirot. 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." Rate: No pay. Additional info: Preparation: Monologues are not required. Please prepare 1 or 2 sides for the character(s) you most identify with. Bring all conflicts during the rehearsal period. Actors are expected to be present for all technical rehearsal and shows. Not available for auditions? Video submission will be accepted. Callbacks may be scheduled on December 11th, if needed. Rehearsals: start on February 10th (subject to change). Show runs: weekends, March 21, 2025 - April 13, 2025. If you are interested, please apply.
12 roles
Belgian. World famous detective, meticulous, witty, oddly charismatic in his own way, slightly pompous, passionately driven to find the answers, strong moral compass, very aware of his ability and his well-deserved reputation.
Belgian. Director of Wagon-Lit, the train company that owns the Orient Express, a good humored man, playful, generous, proud, an excellent host with a love of luxury and grandeur.
British. A governess, capable yet romantic, anxious about her journey on the Orient Express, there is a sadness around her eyes, clearly has a secret and an unknown relationship to Colonel Arbuthnot.
American. Secretary and assistant to Samuel Ratchett, tightly wound, edgy and nervous, always seems to be on the verge of falling apart.
French. Polite, hard-working, happy to have a good position on the Orient Express, eager to please.
Russian. Royalty, a sweeping, impressive presence, intimidating, impatient, everyone knows when she enters the room.
Swedish. Missionary, inherently odd, very strict and religiously devout, plain with a sheepish, almost frightened quality. Princess Dragomiroff is paying her way in exchange for helping her on her journey.
Hungarian. Beautifully and exquisitely dressed, like something out of a fairy tale, with a warmth that wins over everyone she meets. Intelligent, her delicacy belies a steely edge; she is no wilting flower.
American. Eccentric, bold and outspoken with a touch of flamboyance, from the American Midwest, jovial, deliciously nosy and brash, often flirtatious. She can talk to anyone, even if they don’t want to listen.
Scottish. Handsome, very matter of fact, clearly has a secret and an unknown connection to Mary Debenham. He enjoys the sense of adventure that the Orient Express provides; takes charge when he needs to.
American. American businessman with a gangster’s edge, evil at heart and frightening, unforgiving, stern demeanor, pushy, domineering.
Turkish. Snooty and smooth, a (phony) name dropper.
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