Performers Needed for "The Drawer Boy" Play
ONLY LOCAL TALENT WILL BE CONSIDERED. Seeking performers for "The Drawer Boy" play. Please, see the details below. About the play: An actor arrives at a remote Ontario farm to research a play and meets Angus and Morgan, lifelong friends and World War II veterans living quietly together. As memories surface, their shared past reveals how storytelling, loyalty, and friendship can both protect and transform. The Drawer Boy, by celebrated Canadian playwright Michael Healey, is the winner of the 1999 Governor General’s Literary Award for English-Language Drama; a Dora Mavor Moore Award for Outstanding New Play; and the Floyd S. Chalmers Canadian Play Award for outstanding contribution to Canadian playwriting. Rate: This is a NON-EQUITY, NON-PAYING production. Additional information: Show Dates: Feb. 19 to Mar. 7, 2027, on Friday/Saturday evenings at 7:30 pm and Sundays at 2pm in Cookstown, Ontario. Audition Details This is a cold reading audition; you will be asked to read from sides that will be provided to you upon arrival at the audition. Be prepared to work with a group of 6 actors during the audition. This is an in-person audition only, with no video submissions at this time. The first meeting/read through will be held on Tuesday., Nov. 17, 2026 (7-10 pm). Rehearsals will begin on Thursday, Nov. 19 (1–5 pm) and continue Tuesday/Thursday evenings (7-10 pm) and Sundays (1-5 pm), Directors will have a Christmas Break between Dec 20, 2026, to Jan 02, 2027. Rehearsals will resume on Sun. Jan. 03, 2027, 1-5 pm. During tech week, the Q2Q will be held on Sunday, Feb. 6, the dress rehearsals will be held on Monday and Tuesday, Feb. 15 and 16, (7-10 pm), and our Preview for an invited audience will be on Wednesday, Feb. 17 (7-10 pm) Cast members must declare any potential rehearsal date conflicts on the audition form. This will be taken into consideration when casting. If interested, please apply.
3 roles
Miles is a twenty-something member of a Toronto acting collective that is currently workshopping a production on the subject of farmers. He decides to stay at the farm owned and worked by two older men in exchange for helping—as best he can—with some of the duties. Moving back and forth between the farm and Toronto, he works up some ideas based on what he’s learned, but none prove impressively substantial or theatrically dramatic enough to actually make into the production.
Morgan has owned the farm for the past thirty years, ever since returning home from fighting in World War II. He is the one of the two farmer who engages with Miles on a more “normal” basis, helping him out with the truth about the farming industry and benevolently looking upon the younger man eager efforts to help with tasks for which he is clearly unsuited.
The interaction that Miles has with Angus is quite distinctive, more idiosyncratic than that he has with Morgan, but it is not made immediately apparent what is wrong with Angus. Even when Miles learns that Angus suffered a brain injury during the war which seems to be the stimulation for the necessity of Morgan’s ritualistic repetition of the same story, the truth is not made completely manifest.
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