Hunchback of Notre Dame Audition Pack
Queanbeyan Players is delighted to invite performers to audition for our 2027 season of The Hunchback of Notre Dame.
Queanbeyan Players is incredibly excited to present the Canberra region premiere of The Hunchback of Notre Dame, from 21 May to 5 June 2027 at The Q - Queanbeyan Performing Arts Centre.
Queanbeyan Players is a community theatre group based in Queanbeyan, NSW. With members across all ages, backgrounds and levels of experience, Queanbeyan Players has been bringing high-quality plays and musical theatre to the Canberra region since 1965. If you have any questions about performing with Queanbeyan Players, or auditions for The Hunchback of Notre Dame, please contact qpincauditions@gmail.com.
We are seeking adult performers across all ages (18+), backgrounds and levels of experience to audition to be a part of our production of The Hunchback of Notre Dame. We encourage everyone to audition, including performers who identify as a person with disability, BIPOC, First Nations, gender diverse, LGBTQIA+, neurodiverse and from any and all cultural backgrounds.
Synopsis
The Hunchback of Notre Dame tells the story of Quasimodo, the hunchbacked bell-ringer of Notre Dame, and his desire to one day be a part of the outside world. When he summons the courage to attend the Feast of Fools, he meets Esmeralda, a compassionate Roma woman who protects him from an angry mob. But at the same time, Quasimodo’s master, the archdeacon Dom Claude Frollo, and the new captain of the guard, Phoebus de Martin, are enthralled. As the three vie for her attention, Frollo embarks on a mission to destroy the Roma – and it’s up to Quasimodo to save them all.
Showcasing themes such as faith, power, discrimination, isolation, and sacrifice, and with the complex portrayals of disability, religion, and the Roma people, The Hunchback of Notre Dame offers a powerful message of acceptance that will resonate with Canberra performers and audiences alike.
The Hunchback of Notre Dame has music by Alan Menken (The Little Mermaid, Aladdin, Beauty and the Beast), lyrics by Stephen Schwartz (Wicked, Pippin, Godspell), and a book by Peter Parnell (On A Clear Day You Can See Forever, QED). It is adapted from the 1996 Disney Animation film of the same name, which in turn was based on the 1831 novel by Victor Hugo.
Creative team
Director: Jonathan Rush
Musical Director: Jessica Coote
Choreographer: Rachel Thornton
Production Manager: Adrian Bury
Principal Roles
Quasimodo
Male presenting - Performing age 20 to 30 - Tenor (Bb2 - Bb4)
The bell-ringer of Notre Dame. Lonely and staunchly obedient to Frollo, he possesses a vivid imagination that brings to life the bells and gargoyles of the cathedral. Despite his shyness and uncertainty, he quickly befriends Esmeralda. Big-hearted, and brave when need be.
Esmeralda
Female presenting - Performing age 20 to 35 - Mezzo Soprano (F3 - Db5)
A beautiful and free-spirited Romani woman who possesses a strong sense of justice and morality. Compassionate, she frees Quasimodo from the frenzied mob at the Feast of Fools and, against her better judgment, falls for the cocky Phoebus.
We are looking to cast Esmeralda with a BIPOC performer, or a performer with cultural connections to the Roma people.
Frollo
Male presenting - Performing age 40 to 50 - Baritone (E2 - F4)
Archdeacon of Notre Dame Cathedral and the most powerful cleric in Paris. He is the reluctant caretaker of Quasimodo but over time has developed genuine care for his ward. He will do whatever it takes to rid the city of the Roma “vermin”, even as he lusts after Esmeralda. He is calculating, manipulative, and obsessive.
Phoebus
Male presenting - Performing age 25 to 40 - Tenor/High Baritone (C3 - Ab4)
Returning to Paris after serving in the war, Phoebus takes up his new position as Captain of the Cathedral Guard. Overconfident yet charming, this handsome, strong soldier makes the ladies swoon, yet his moral compass is also strong, and he openly defies the corrupted Frollo.
Clopin
Any gender - Performing age 30 to 50 - Vocal range flexible (D3 - G4 (optional Bb4), with alterations available in the score for a higher voice)
The clever and charismatic leader of the Roma, with an air of mystery. As the master of ceremonies for the Feast of Fools, they are witty and playful, but boast a darker, serious nature when not performing for the crowd.
We are looking to cast Clopin with a BIPOC performer, or a performer with cultural connections to the Roma people.
The Congregation (Ensemble)
15 - 20 performers - Adults - Mixed genders - Mixed vocal ranges
The Hunchback of Notre Dame is told in story theatre style: each performer in the show begins as a ‘Congregant’ before taking on the characteristics of their assigned character(s), which can include principal characters, gargoyles, statues, revelers, soldiers, etc. Congregation lines and lyrics will be assigned across the ensemble, with everyone getting a moment to shine. Key minor roles will be cast from the Congregation, including:
Jehan, Frollo’s brother
Florika, Quasimodo’s mother
Father Dupin, Cleric of Notre Dame
Frederic, a member of Phoebus’ Cathedral Guard
King Louis XI, king of France
St. Aphrodisius, a statue that provides guidance to Quasimodo
The Choir
32 - 40 performers - equal numbers of Soprano, Alto, Tenor and Baritone vocal parts
The Hunchback of Notre Dame has a Choir, which is a separate ensemble from the Congregation. The Choir supports the action on stage singing in 8-part harmony, and a range of musical styles, from Gregorian chant to Wagnerian opera to contemporary pop. The Choir is a core feature of the show, singing in 13 numbers. They present as a “choir” that remains outside the dramatic action, standing onstage in choir robes and singing out from choir books.
The Choir is the perfect opportunity for those who love singing, but are not able to commit to a full rehearsal schedule. For most of the rehearsal period the Choir will only be required for one rehearsal a week on Sunday afternoons, however self-practice is expected. Members of the Choir will be required for all performances.
Content Warnings
The story of The Hunchback of Notre Dame includes racism, discrimination, and assault. Some roles also require physical intimacy with other performers. You should be aware of these themes and requirements before auditioning. In particular:
Quasimodo is the victim of physical abuse and discrimination.
Esmeralda is the victim of sexual assault (unconsentual touching of a sexual nature) and racism.
Esmeralda and Captain Phoebus kiss.
Frollo is the perpetrator of physical abuse, discrimination and assault.
Members of the Congregation may be required to portray physical abuse, discrimination and racism, and may require physical intimacy with other performers (including close dancing and kissing).
We will discuss these scenes with the cast in advance, and rehearse and perform these scenes in a sensitive and safe way. If you have concerns about these themes prior to your audition, please contact qpincauditions@gmail.com.
Diversity and accessibility
The Hunchback of Notre Dame centers on a character with a non-normative body and partial deafness, and explores themes of diversity and acceptance. When casting the production, we want to consider actors and singers whose abilities will allow them to excel at the roles they are assigned, regardless of their physical appearance or likeness to a preconceived notion of the character (or the depiction of the character in the film). We encourage everyone to audition, including performers who identify as a person with disability, BIPOC, First Nations, gender diverse, LGBTQIA+, neurodiverse and from any and all cultural backgrounds.
We want our auditions to be as accessible as possible. If you have accessibility requirements that you would like the audition panel to know about, please note these in your audition form or contact qpincauditions@gmail.com.
While The Q does have access limitations, we will work with The Q to ensure the performance space is as accessible as possible for our cast.
The Hunchback of Notre Dame is also a story about racism, highlighting the discrimination faced by the Roma people in Middle Ages France. We want to tell this story right, and portray Esmeralda, Clopin, and other Roma people in this story with respect and complexity.
To best portray the story of The Hunchback of Notre Dame we will endeavour to cast the roles of Esmeralda and Clopin with BIPOC performers, or performers with cultural connections to the Roma people. Ensuring the cast includes diverse performers will help capture the cultural and ethnic differences in the time of 15th Century France. It will also allow the themes of the show to resonate more effectively with audiences.
Beyond casting, we will work with the cast and crew to expand understanding of the historical and cultural context of the Roma people in 15th Century France. This will include dedicating rehearsal time to sharing research of the Roma people, and discussing how to portray this culture respectfully and avoid stereotypes - in staging, costuming and performance.
Audition information
Book your auditions soon! Sign up to our mailing list to be notified when auditions go live
Auditions and callbacks (if required) will be held between 21 November and 26 November 2026. All auditions must be booked through our website. Audition bookings will be open from 1 October.
All auditions will be held at Queanbeyan Uniting Church (13 Rutledge St, Queanbeyan). The audition and rehearsal space is mostly wheelchair accessible although there are some access limitations. If you have accessibility requirements, please reach out to us at qpincauditions@gmail.com and we will work to accommodate them.
All audition materials and excerpts are available on our Google Drive.
All roles available in The Hunchback of Notre Dame are limited to age 18 and above (i.e. you must be at least 18 at the time of bumping into the theatre - 15 May 2027).
Auditions will be run in accordance with Queanbeyan Players’ Auditions Policy.
Video auditions will only be considered in exceptional circumstances, or if we have a significant waiting list for auditions.
The requirements for your audition will vary depending on whether you are auditioning for a principal role, to be a member of the Congregation, and/or to be a member of the Choir. Please book all sessions required (as outlined below). If you want to be considered for a principal role/the Congregation and the Choir, you will need to book a solo audition, a dance call, and a choral audition.
Principal role and/or Congregation: Solo audition, dance call.
Choir: Choral audition.
Auditions may be recorded to support the production team in the casting process. All recordings will be deleted after the cast is announced.
Solo audition
Your solo audition will consist of both singing and acting. The solo audition will take approximately 10 minutes. If you are only auditioning for the choir, you do not need to book a solo audition.
Singing
Please prepare one song NOT from The Hunchback of Notre Dame that best showcases your vocal range and acting ability. The Hunchback of Notre Dame is a vocally demanding production that requires powerful storytelling through song; your own choice of song must clearly demonstrate your ability to act through song. Consider a song that is similar in style to the score of The Hunchback of Notre Dame. Please make sure your song selection/excerpt is less than 90 seconds long.
Additionally, you must also prepare the listed excerpt from the score of The Hunchback of Notre Dame for the role you are auditioning for. If you’re auditioning for more than one role, please prepare the excerpt for the role you want most and list the other roles you’re interested in on your form.
Song excerpts
Quasimodo - ‘Out There’, bars 45 to 59
Esmeralda - ‘God Help The Outcasts’, bars 63 to 79
Frollo - ‘Hellfire’, bars 36 to 52
Phoebus - ‘Rest and Recreation’, bars 51 to 68
Clopin - ‘Topsy Turvy’, bars 68 to 97
Congregation - ‘The Bells of Notre Dame (Reprise II)’, bars 20 to 48 (can be sung in any octave).
Sheet music and backing tracks for these excerpts are available on our Google Drive.
Please bring a backing track for your own choice of song on a Bluetooth enabled device (we will have a Bluetooth speaker available). You can find backing tracks on YouTube, or purchase them from sites like pianotrax.com or musicaltheatrebackingtracks.net. Ensure your backing track is instrumental only, and does not have any vocals. A piano is available if you want to bring your own accompanist. Do not only bring sheet music; there will be no accompanist provided. Singing acapella is not acceptable.
Please note the audition panel may interrupt you at any point during your song. Our audition time slots are tight, and we may have already heard what we need. If you are singing a song of your own choice, please consider which part of the song you really want the panel to hear.
Acting
Please prepare the listed excerpt from the script of The Hunchback of Notre Dame. A member of the audition panel will read the lines not for your character. You may be asked to perform the excerpt multiple times in different ways to see how you take direction. If you’re auditioning for more than one role, please prepare the excerpt for the role you want most and list the other roles you’re interested in on your form.
Scene excerpts
Quasimodo - Page 11 (‘Marie!’ to ‘Too dangerous.’)
Esmeralda and Phoebus - Page 38 (‘You fight almost as well as a man.’) to Page 39 (‘I know that.’)
Frollo - Page 2 (from ‘Congregants.’ to ‘...all born sinners…’)
Clopin - Page 78 (‘Stop!’ to ‘And we don’t trust soldiers.’)
Congregation - Page 75 (‘Creeping past…’ to ‘...the gathering fog.’)
These excerpts are available on our Google Drive.
You can perform the script excerpt with the script in hand, but we recommend memorising the lines if possible to allow you to give the best performance possible.
Dance call
A dance call is required for those auditioning for a principal role or to be a member of the Congregation. If you are only auditioning for the choir, you do not need to attend a dance call.
Auditionees will learn and perform a short dance sequence in groups. The dance call will take approximately 30 minutes and is the opportunity for you to demonstrate your dance and movement skills. A dance call is not only for technical dance ability, we also want to see how you embody a character and how you use your body to assist with story telling.
This call is about confidence, character, and willingness to give it a go. We are not looking for a perfectly polished routine, we are interested in how you learn and bring your own energy to the movement.
Please wear comfortable clothes that you can move in and appropriate footwear (please avoid jeans or heeled shoes). Remember to bring your water bottles.
If you have any circumstances that may affect your ability to perform the routine and/or require accommodation at the dance call, please indicate this in your audition form or email qpincauditions@gmail.com.
Choir audition
The choir audition will require auditionees to learn a short choral excerpt from the show, and then sing it alongside other auditionees in harmony. You will be taught the excerpt at the audition. The choir audition will take around 45 minutes. On the day, feel free to learn and sing the part that best suits your range and voice type (regardless of gender).
The goal of the choir audition is to show off your choral singing talent (how well you sing your part, how well you blend with other singers), and show how quickly you are able to learn a choir part. You’ll also have fun learning a choral arrangement and singing it in full harmony with everyone else!
Callbacks
Callbacks for principal roles, if required, will be held after the initial round of auditions.
If you are called back for a role, we would like you to prepare the following excerpts.
Song excerpts
Quasimodo - ‘Made of Stone’, Bars 116 to 145
Esmeralda - ‘Someday’, bars 41 to 79
Frollo - ‘Hellfire’, Bars 53 to 77, ‘Sanctuary’, bars 3 to 18
Phoebus - ‘Someday’, bars 41 to 79
Clopin - ‘The Court of Miracles’, bars 17 to 75
Scene excerpts
Quasimodo and Frollo - Page 14 (‘Look at them down there…’) to Page 16 (‘And worse.’)
Esmeralda and Phoebus - Page 38 (‘You fight almost as well as a man.’) to Page 39 (‘I know that.’)
Clopin - Dialogue before and during ‘The Court of Miracles’.
These excerpts and backing tracks are available on our Google Drive.
We may hold callbacks for the Congregation or the Choir; this will be decided following the initial auditions.
You will be informed whether you are successful in the auditions by email or phone call as soon as possible after we finish auditions and callbacks. If you do not hear from us before the first rehearsal (6 December 2026), please contact qpincauditions@gmail.com.
Character requirements
| Character | Description | Songs and Script Pages |
|---|---|---|
| Quasimodo |
Male presenting - Performing age 20 to 30 - Tenor (Bb2 - Bb4) The bell-ringer of Notre Dame. Lonely and staunchly obedient to Frollo, he possesses a vivid imagination that brings to life the bells and gargoyles of the cathedral. Despite his shyness and uncertainty, he quickly befriends Esmeralda. Big-hearted, and brave when need be. For Quasimodo, we are looking for an expressive actor who can embody his journey with compassion and strength. The actor will need to have a passionate singing voice and be able to move well. They will need to be open to experimenting with how they position and move their body, and do so with precision and confidence. Note: The actor portraying Quasimodo will need to embody Quasimodo’s non-normative features when performing the role, including his hunched back and his partial deafness. We will work with the actor during the rehearsal process to create a physical and vocal performance that recognises these features in a sustainable and respectful manner, without compromising their performance. If auditioning for Quasimodo, do not attempt to perform Quasimodo’s hunched back or voice affected by partial deafness during your audition. Focus on embodying the intent and emotion of the song/scenes without altering your voice or physicality. |
Solo audition song: ‘Out There’, bars 45 to 59. Solo audition scene: Page 11 (‘Marie!’ to ‘Too dangerous.’) Callback song: ‘Made of Stone’, bars 116 to 145 Callback scene: Page 14 (‘Look at them down there…’) to Page 16 (‘And worse.’) |
| Esmeralda |
Female presenting - Performing age 20 to 35 - Mezzo Soprano (F3 - Db5) A beautiful and free-spirited Romani woman who possesses a strong sense of justice and morality. Compassionate, she frees Quasimodo from the frenzied mob at the Feast of Fools and, against her better judgment, falls for the cocky Phoebus. For Esmeralda, we are looking for an actor who can exude moral clarity and compassion. She is street-smart and worldly, but optimistic and striving for change. She must have a hard exterior, but strong emotional core. Vocally, the actor should have an honest and powerful singing voice. They must be an excellent dancer who can hold their own as the focal point on stage. We are looking to cast Esmeralda with a BIPOC performer, or a performer with cultural connections to the Roma people. |
Solo audition song: ‘God Help The Outcasts’, bars 63 to 79. Solo audition scene: Page 38 (‘You fight almost as well as a man.’) to Page 39 (‘I know that.’) Callback song: ‘Someday’, bars 41 to 79. Callback scene: Same as audition scene (Pages 38 to 39). |
| Frollo |
Male presenting - Performing age 40 to 50 - Baritone (E2 - F4) Archdeacon of Notre Dame Cathedral and the most powerful cleric in Paris. He is the reluctant caretaker of Quasimodo but over time has developed genuine care for his ward. He will do whatever it takes to rid the city of the Roma “vermin”, even as he lusts after Esmeralda. He is calculating, manipulative, and obsessive. For Frollo, we are looking for an actor with a commanding presence. Frollo is outwardly a beacon of moral certitude, but is hiding a moral crisis beneath the surface. Frollo should be imposing and a little bit scary, but with a charismatic edge that hides his manipulative side. The actor should have a strong security in their body, and understand how it can be used to portray effortless authority and power. They should have a powerful, resonant baritone voice. The role does not require significant movement. |
Solo audition song: ‘Hellfire’, bars 36 to 52. Solo audition scene: Page 2 (from ‘Congregants.’ to ‘...all born sinners…’) Callback song: ‘Hellfire’, bars 53 to 77, and ‘Sanctuary’, bars 3 to 18. Callback scene: Page 14 (‘Look at them down there…’) to Page 16 (‘And worse.’) |
| Phoebus |
Male presenting - Performing age 25 to 40 - Tenor/High Baritone (C3 - Ab4) Returning to Paris after serving in the war, Phoebus takes up his new position as Captain of the Cathedral Guard. Overconfident yet charming, this handsome, strong soldier makes the ladies swoon, yet his moral compass is also strong, and he openly defies the corrupted Frollo. For Phoebus, we are looking for an actor with effortless charisma. Phoebus is a man who has an acute ability to command or charm his way out of situations without violence - where possible. The actor should be able to quickly disarm everyone else on stage. Phoebus’s charisma should carry over to the actor’s singing voice, which requires a clear, confident sound, particularly at higher registers. The role does not require significant dancing, but the actor should be secure in their presence and the way they move. The actor will need to perform certain fight stunts. |
Solo audition song: ‘Rest and Recreation’, bars 51 to 68. Solo audition scene: Page 38 (‘You fight almost as well as a man.’) to Page 39 (‘I know that.’) Callback song: ‘Someday’, bars 41 to 79. Callback scene: Same as audition scene (Pages 38 - 39). |
| Clopin |
Any gender - Performing age 30 to 50 - Vocal range flexible (D3 - G4 (optional Bb4), with alterations available in the score for a higher voice) The clever and charismatic leader of the Roma, with an air of mystery. As the master of ceremonies for the Feast of Fools, they are witty and playful, but boast a darker, serious nature when not performing for the crowd. For Clopin, we are looking for a character actor who can be both playful and threatening, often in the same sentence. Clopin is both a comedic and tragic figure, and should bring humour to otherwise serious scenes . Clopin is also the show’s main narrator, and needs to quickly disarm and earn the trust of the audience. Vocally, the role suits a character voice, and the actor will still need to maintain accuracy and clarity in their singing while embodying their character. The actor should be able to move well, lightfooted and springy. We are looking to cast Clopin with a BIPOC performer, or a performer with cultural connections to the Roma people. |
Solo audition song: ‘Topsy Turvy’, bars 68 to 97. Solo audition scene: Page 78 (‘Stop!’ to ‘And we don’t trust soldiers.’) Callback song: ‘The Court of Miracles’, bars 17 to end. Callback scene: Dialogue before and during ‘The Court of Miracles’. |
| The Congregation (Ensemble) |
15 - 20 performers - All ages - Mixed genders - Mixed vocal ranges The Hunchback of Notre Dame is told in story theatre style: each performer in the show begins as a ‘Congregant’ before taking on the characteristics of their assigned character(s), which can include principal characters, gargoyles, statues, revelers, soldiers, etc. Congregation lines and lyrics will be assigned across the ensemble, with everyone getting a moment to shine. Key minor roles will be cast from the Congregation, including: • Jehan, Frollo’s brother • Florika, Quasimodo’s mother • Father Dupin, cleric of Notre Dame • Frederic, a member of Phoebus’ Cathedral Guard • King Louis XI, king of France • St. Aphrodisius, a statue that provides guidance to Quasimodo For members of the Congregation, we’re looking for confident, multi-talented performers. The Congregation are responsible for narrating the story to the audience; they need to be sure in their skin to authentically lead the audience through the show, while also being able to quickly embody different characters through changes in voice and physicality. They will perform solo lines and capture the audience’s attention while also being capable of blending with the ensemble. Members of the Congregation will also need to be strong movers, supporting the story through dance and choreographed movement. |
Solo audition song: The Bells of Notre Dame (Reprise II), bars 20 to 48 (can be sung in any octave). Solo audition scene: Page 75 (‘Creeping past…’ to ‘...the gathering fog.’) |
| The Choir |
32 - 40 performers - equal numbers of Soprano, Alto, Tenor and Baritone vocal parts The Hunchback of Notre Dame has a Choir, which is a separate ensemble from the Congregation. The Choir supports the action on stage singing in 8-part harmony, and a range of musical styles, from Gregorian chant to Wagnerian opera to contemporary pop. The Choir is a core feature of the show, singing in 13 numbers. They present as a “choir” that remains outside the dramatic action, standing onstage in choir robes and singing out from choir books. The Choir is the perfect opportunity for those who love singing, but are not able to commit to a full rehearsal schedule. For most of the rehearsal period the Choir will only be required for one rehearsal a week on Sunday afternoons, however self-practice is expected. Members of the Choir will be required for all performances. For the Choir, we are looking for highly skilled singers who can quickly learn complex musical parts, and then perform them confidently when put against other harmonies. We’re looking for strong, accurate performers who also have the ability to blend effectively with the broader Choir and Congregation. Proficiency in reading and correctly interpreting sheet music are desirable, but not required. Those in the Choir are not required to move or act for the production (apart from standing/sitting), but need to be conscious of adding to the overall mood of each performance. |
Choir audition song: To be taught on the day. |
Audition song and script selections
Important dates, times and venues
Auditions
Auditions will be held at Queanbeyan Uniting Church, 13 Rutledge St, Queanbeyan
Saturday 21 November between 10:00am and 9:30pm
Sunday 22 November between 10:00am and 9:30pm.
Callbacks (if required)
Evening of Monday 23 November or Tuesday 24 November
Rehearsals
Rehearsals will be held at Queanbeyan Uniting Church, 13 Rutledge St, Queanbeyan and will begin on Sunday 6 December with a whole cast read through.
Mondays 7pm – 10pm (Principals and Congregation only)
Thursdays 7pm – 10pm (Principals and Congregation only)
Sundays 1pm - 5pm (from 4 April 10am – 5pm, subject to change) (Principals, Congregation and Choir)
In Theatre
Production week:
Saturday 15 May 9am - 5pm Bump in
Sunday 6 May, 9am - 5pm Top & tail and stunt rehearsal (Choir not required)
Sunday 16 May, 6pm - 11pm Sound Check (Choir)
Monday 17 May 6pm – 11pm Technical rehearsal
Tuesday 18 May 6pm – 11pm Dress rehearsal
Wednesday 19 May 6pm – 11pm Dress rehearsal
Thursday 20 May 6pm – 11pm Final dress rehearsal
Performances
Friday 21 May, 6pm - 11pm Performance #1 (Opening Night)
Saturday 22 May, 12pm - 11pm Performances #2 (Matinee) and #3 (Evening)
Sunday 23 May, 12pm - 4:30pm Performance #4 (Matinee)
Wednesday 26 May, 6pm - 11pm [Tentative performance #4a (Evening)]
Thursday 27 May 6pm - 11pm Performance #5 (Evening)
Friday 28 May, 6pm - 11pm Performance #6 (Evening)
Saturday 29 May, 12pm - 11pm Performances #7 (Matinee) and #8 (Evening)
Sunday 30 May, 12pm - 4:30pm Performance #9 (Matinee)
Wednesday 2 June, 6pm - 11pm Performance #10 (Evening)
Thursday 3 June, 6pm - 11pm Performance #11 (Evening)
Friday 4 June, 6pm - 11pm Performance #12 (Evening)
Saturday 5 June, 12pm - 11pm Performances #13 (Matinee) and #14 (Evening)
Sunday 6 June, 11am - 5pm Bump out
_______
Cast obligations
Cast members will be required to read our relevant policies and sign a code of conduct. Our aim at Queanbeyan Players is for everyone to have fun when doing a production and provide a welcoming and safe environment. We suggest familiarising yourself with Queanbeyan Players’ policies before accepting a position in the cast. If you are unable to comply with QP’s policies and code of conduct, you may be asked to leave the cast.
Bump in will be on Saturday 15th May 2027. Performances will be 21st May -6 June 2027. Attendance at rehearsals during production week and at performances is mandatory.
A full-length stage production is demanding, both in time and effort. It can be both physically and mentally stressful. If you have a medical condition, please communicate this to the production team or a committee member so we can support you during the rehearsal and performance periods and have an action plan in place.
If you are accepted into the cast, you are required to become a financial member of Queanbeyan Players, which ensures you’re covered under our insurance. Membership is $30 for adults, and $20 for concession card holders. Members receive complimentary tickets when they are involved in a show, and are able to vote at the Queanbeyan Players AGM. Membership can be purchased online or at the first rehearsal. If you fail to become a financial member before the end of 2026 you may not be able to continue in the cast.
Cast members are expected to support the physical construction of the show by attending at least one scheduled day of set building or painting outside of rehearsal times. Many hands make light work, and it’s great fun! If there are any reasons preventing you from helping with set building, such as existing injuries, please communicate this to the production team.
Queanbeyan Players will provide the cast with all costumes and accessories. Shoes and make-up need to be supplied by the cast but the creative team work to make this as easy and cost effective as possible. We are always happy to see people who are interested in assisting with costume/set creations.
Queanbeyan Players has an alcohol- and drug-free policy during both rehearsals and performances. Failure to comply with this will result in you being asked to leave the cast.
You will be informed whether you are successful in the auditions by email or phone call as soon as possible after we finish auditions and call-backs.
Please fill out and submit the audition form and upload a headshot online.
Other rehearsal information
Being part of a Queanbeyan Players production is fun, collaborative, and deeply rewarding. To create the best experience for our audiences and our cast, we ask everyone involved to commit to the rehearsal and production process. Each show represents a significant investment of time, energy, and resources, and we’re proud to present work that reflects the passion of our community. Please read the details below carefully and decide whether you can provide this level of commitment before you audition.
If you think you will not be able to meet the commitment outlined in this audition pack, please reach out to us at qpincauditions@gmail.com before signing up to audition.
All Auditions and rehearsals will be held at Queanbeyan Uniting Church Hall, Rutledge St Queanbeyan – some rehearsals may be held at alternative venues when required however that will be confirmed and communicated prior to rehearsal dates.
Rehearsals are every Monday and Thursday 7:00pm - 10:00pm and Sunday 1:00pm - 5:00pm commencing Sunday 6 December. From 4 April Sunday rehearsals will be 10:00am - 5:00pm.
We will have a break in the rehearsal period over Christmas. The last rehearsal before the break will be Thursday 17 December 2026. The first rehearsal returning from the break will be Sunday 17 January 2027. We will not rehearse on the following public holidays:
Easter Sunday (Sunday 28 March)
Easter Monday (Monday 29 March)
ANZAC Day (Sunday 25 April)
From the first rehearsal to closing bows the production team are here to support and lead the company. We ask that you provide them with the respect and attention that they will give you. You will not be called for every rehearsal and the team will do their very best to use everyone’s time wisely; we ask that you be flexible in return.
If you accept an offer to be a part of the Hunchback of Notre Dame cast, you will be expected to be available for rehearsals. Please list any conflicts with these dates on your audition form. If you have conflicts, we will not consider you ineligible for the cast, but we do need to know absences so that rehearsals can be structured accordingly. A rehearsal schedule is produced at the beginning of the rehearsal period, but other dates may be included in the schedule from time to time in consultation with the cast.
Questions
Please email us at qpincauditions@gmail.com