Available Roles

Performers of any race/ethnicity, disability, age, or gender/gender identity will be considered for all roles.

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Elizabeth: (f, late 30s-60s range.) Elizabeth is an outsider. She is pragmatic, dry, funny, armored. She deflects with sharp humor. Her loneliness is a wound, but it is deeply buried. When we see glimpses of this wound, it is still raw. She discovers a steel core inside herself by the end of the play – a certainty that is stronger than anything she has ever felt.

Scratch: (m, 20s-40). Scratch is the quintessential young salesman – charismatic, charming, funny. He could talk anyone into anything, and he usually does. Over the course of the play he falls in love for the first time, and by the end he is questioning everything he’s known about himself, and living in a place of raw despair. We’re looking for someone who can nail both ends of this arc.

Cuddy Banks: (m,25-35) Sir Arthur’s son, painfully shy, a morris-dancer. He is secretly in love with Frank (and also in hate.) Tends to perform his masculinity in front of his father and Frank. Easily swayed by Scratch.

Sir Arthur: (m, 50s-60s). Authoritative, entitled, kind, used to being obeyed. He misses his dead wife, and the loneliness he feels is an engine propelling him through the play. He is a man who is rooted in tradition, conventionality. He loves his son deeply, but doesn’t understand him.

Frank: (m, same age-range as Cuddy). Frank was a working-class guy who has lucked his way into a different class bracket, a different kind of access. He is attractive and ambitious, charming but capable of flashes of real ruthlessness. He knows what people want to hear from him, and he doesn’t mind serving it. He knows what it’s like to not have enough, and he has set his sights on a different future. His entire core is built on something that is a mix of ruthlessness and desperation.

Winnifred: (f, 20s). When we meet her she is hopeful, naïve, but with a dry sense of humor. She loves Frank and she’s still waiting for him to be his best self again. By the end of the play, she has become someone who is coldly pragmatic, stripped of hope, and comfortable with this state of affairs. There should be something eerie or frightening in this steely resolve.