Audition for the Role of Othello

Come you Spirits Theatre Inc are welcoming an actor to the troupe to play OTHELLO in our forthcoming independent theatre production of Othello adapted slightly from the play by William Shakespeare, set in early 1800s rural Australia, directed by Josephine Mayer. The other roles are already cast; Charlotte Edwards as Desdemona, Charles Mayer as Iago, David Halgren as Cassio, Ella Havelka as Bianca and Josephine Mayer as Emilia.

Production Company

Come you Spirits Theatre Incorporated is a charity registered with ACNC and NSW Fair Trading, operating as resident professional theatre company at Century Venues’ Concourse Chatswood Performing Arts Centre.

Fees

The company has always paid actors and crew award rate, and currently pays $268 per performance, $360 for a double day, $200 per rehearsal day, $100 per travel day. 

On tour the company hires a big house near the venue with a room each and fresh food is provided by the company, rather than per diems. Transport is either by refund of public transport expenses or travelling in the troupe's Land Cruiser.

Location: 

Rehearsing at Concourse Chatswood Performing Arts Centre, and performing in Sydney, with some one to three day touring to regional NSW venues.

Performance Dates & Venues so far:

3rd October 2026 - St Albans, NSW - at the Settlers Arms historic barn - a site-specific venue. Travel Friday 2nd Oct, Perform evening of Saturday 3rd Oct, return home Sunday 4th Oct 2026.

11th to 14th November 2026 - Concourse Chatswood 

18th to 21st November 2026 - Darling Quarter Theatre

17th to 20th February 2027 - Goulbourn Performing Arts Centre

17th Travel Day, 18th Bump In and Dress Rehearsal Day, 19th Double Show Day, 20th Travel Day

In addition there will potentially be school performance dates that will be arranged per performer availability, and possibility of regular annual seasons, sustained by schools matinee performances and site-specific pop-up performances.

Rehearsals

By availability, July to September 2026.

Age 30-50

Cultural Identity

This role is open to actors of global majority backgrounds, including people of South Asian, Middle Eastern, Black and African Diaspora including British African, Afro-Caribbean and African American, Indigenous North American, and Pacific Islander heritage.

Context within the Production: In our staging, specific First Nations identities are already represented through Wiradjuri and Dharug performers. To maintain the distinct narrative dynamics of the production, we are seeking a performer who identifies as an ethnic minority outside of these specific Indigenous Australian communities, contrasting with a predominantly white ensemble.

Role Gender: This specific role is for a cisgender male performer.

Artistic Vision: While our company deeply values and regularly practices gender-diverse and gender-flipped casting across our seasons, this specific production requires a cisgender male Othello to maintain a precise socio-political focus. The staging explores the complex, intersectional dynamics between a Global Majority Othello, the white antagonist Iago (played by Charles Mayer), and First Nations Australia—represented in this production by the character of Bianca (played by First Nations performer Ella Havelka).

Historical Setting: Set against the backdrop of Australia’s early colonial period, the production examines a localized, cooperative phase of relations between Indigenous communities and settlers. The primary tension and conflict exist strictly within the ranks of the British military party.

Physicality & Movement Requirements

Commanding Presence: Able to embody an ease of grandeur, dignity, and physical authority indicative of a highly seasoned military commander.

Movement Training: Formal period military movement, posture, and etiquette will be fully integrated and taught by a movement director during the rehearsal process.

Accessibility Note: We welcome and encourage submissions from performers with diverse physicalities. Variations in a performer’s movement ability, including those consistent with a historical war injury, are fully compatible with our creative vision and will not be an impediment to casting.

Required Skills & Experience

Classical Training & Verse: Formally trained actor with a masterful command of Shakespearean text. Candidates must have experience performing at least one Shakespearean role in a full production (including high-level drama school or showcase productions).

Artistic Resilience & Stamina: Possesses the profound emotional maturity, grace, and physical stamina required to carry the gravity of this leading role.

Engagement with Sensitive Themes: The actor must be comfortable and prepared to safely navigate, discuss, and portray complex, sensitive themes—including racism, systemic prejudice, rage, and domestic/physical violence. These themes will be actively explored throughout rehearsals, performances, and scheduled post-show community Q&A panels.

Working With Children: Either holding or able to successfully apply for an NSW WWC Certificate so that the production can be performed on school premises if and when required.

Well Being

Note that while the play deals with the most brutal aspects of human nature, the story arc concludes with redemption for all characters except Iago, and that Come you Spirits Theatre Incorporated has a well-developed and proven well-being procedure for emotional, psychological, physical as well as spiritual safety throughout rehearsals and performances, where sustainability of performance through support of performer and audience well-being is the reason we set up the company, and it is its very highest priority. It is through safe exploration of the dark through art that we can rise into the light, and experience of that has been the take-away for troupe performers and audiences since our inception in 2022.

Auditions

We will be holding auditions Wednesday 1st July, Thursday 2nd July and Friday 3rd July in Sydney’s North Shore, and we would love to meet you if you would be interested in this role with us. Please fill out the form below and we will be in touch. We look forward to hearing from you.

Sides

Please prepare to speak this piece and be prepared to read the scenes below it with the actors on the day:

I iii

OTHELLO

Her father loved me; oft invited me;

Still question'd me the story of my life,

From year to year, the battles, sieges, fortunes,

That I have passed.

I ran it through, even from my boyish days,

To the very moment that he bade me tell it;

Wherein I spake of most disastrous chances,

Of moving accidents by flood and field

Of hair-breadth scapes i' the imminent deadly breach,

Of being taken by the insolent foe

And sold to slavery, of my redemption thence

And portance in my travels' history:

Wherein of antres vast and deserts idle,

Rough quarries, rocks and hills whose heads touch heaven

It was my hint to speak.

____________________________________________________

III iii

IAGO

My noble lord--

OTHELLO

What dost thou say, Iago?

IAGO

Did Michael Cassio, when you woo'd my lady,

Know of your love?

OTHELLO

He did, from first to last: why dost thou ask?

IAGO

But for a satisfaction of my thought;

No further harm.

OTHELLO

Why of thy thought, Iago?

IAGO

I did not think he had been acquainted with her.

OTHELLO

O, yes; and went between us very oft.

IAGO

Indeed!

OTHELLO

Indeed! ay, indeed: discern'st thou aught in that?

Is he not honest?

IAGO

Honest, my lord!

OTHELLO

Honest! ay, honest.

IAGO

My lord, for aught I know.

OTHELLO

What dost thou think?

IAGO

Think, my lord!

OTHELLO

Think, my lord!

By heaven, he echoes me,

Show me thy thought.

IAGO

My lord, you know I love you.

OTHELLO

I think thou dost;

And, for I know thou'rt full of love and honesty,

And weigh'st thy words before thou givest them breath,

Therefore these stops of thine fright me the more.

IAGO

For Michael Cassio,

I dare be sworn I think that he is honest.

OTHELLO

I think so too.

IAGO

Men should be what they seem;

Or those that be not, would they might seem none!

OTHELLO

Certain, men should be what they seem.

IAGO

Why, then, I think Cassio's an honest man.

OTHELLO

Nay, yet there's more in this:

I prithee, speak to me as to thy thinkings.

______________________________________________________

IV ii

DESDEMONA

I hope my noble lord esteems me honest.

OTHELLO

O, ay; as summer flies are in the shambles,

That quicken even with blowing. O thou weed,

Who art so lovely fair and smell'st so sweet

That the sense aches at thee, would thou hadst

ne'er been born!

DESDEMONA

Alas, what ignorant sin have I committed?

OTHELLO

Was this fair paper, this most goodly book,

Made to write 'whore' upon? What committed!

Committed! O thou public commoner!

I should make very forges of my cheeks,

That would to cinders burn up modesty,

Did I but speak thy deeds. What committed!

Heaven stops the nose at it and the moon winks,

The bawdy wind that kisses all it meets

Is hush'd within the hollow mine of earth,

And will not hear it. What committed!

Impudent strumpet!

DESDEMONA

By heaven, you do me wrong.

OTHELLO

Are you not a strumpet?

DESDEMONA

No, as I am a Christian:

If to preserve this vessel for my lord

From any other foul unlawful touch

Be not to be a strumpet, I am none.

OTHELLO

What, not a whore?

DESDEMONA

No, as I shall be saved.

OTHELLO

Is't possible?

DESDEMONA

O, heaven forgive us!

OTHELLO

I cry you mercy, then:

I took you for that cunning whore of Venice

That married with Othello.

Raising his voice

You, mistress,

That have the office opposite to Saint Peter,

And keep the gate of hell!

Re-enter EMILIA

You, you, ay, you!

We have done our course; there's money for your pains:

I pray you, turn the key and keep our counsel.