Chester Theatre Group

Save the date!

Auditions for Adam Bock’s play “The Receptionist”, directed by Jeff Knapp, will be held on Sunday, October 11 and Tuesday, October 13 and 7:30 PM at the Black River Playhouse.

The Receptionist is a dark comedy about office life… and it might be about torture.  Or not…

To let Samuel French summarize:  “At the start of a typical day in the Northeast Office, Beverly deals effortlessly with ringing phones and her colleague’s romantic troubles. But the appearance of a charming rep from the Central Office disrupts the friendly routine. And as the true nature of the company’s business becomes apparent, The Receptionist raises disquieting, provocative questions about the consequences of complicity with evil.”

Character Breakdown:

Beverly Wilkins (late 40s-50s), the receptionist:

Lorraine Taylor (late 20s, mid-40s), A co-worker. Single.

Edward Raymond. (Early 50s) Their boss. A young grandfather.

Martin Dart (Mid-30s), Married, with a child

The audition will consist mostly of script readings.

Actresses auditioning for the role of the receptionist, should have a one-sided telephone call prepared.  Portray the OTHER person’s story using only your side of the conversation.  There’s a lot of that sort of thing in the play that may be difficult to convey in a cold reading, so being able to sell your ability to listen and react will be key.  You’ll also be asked to read from the script.

Due to popular demand, here are pages from the script that show Beverly’s one-sided conversation.  Feel free to familiarlize yourself with this instead of preparing your own: The Receptionist – Beverly Side

The show opens November 21 2009 and runs into December.

“A deceptively complex work that intends to reinvent the concept of the office comedy, The Receptionist plays with the idea of who knows how much and how good a thing that ultimately is.” – Tom Avila, Metro Weekly

“The genially mundane goings-on in this blandly average workplace are throw into macabre relief when … a single, jarring line of dialogue sets the calm surface of the play rippling with creepy currents.” – Charles Isherwood, New York Times