OPEN AUDITIONS - Puppets in the Hands of a Malevolent God
ACTORS NEEDED FOR A PAID GIG WITH POST PRODUCTIONS!
Only life matched the horror of the Grand Guignol.
Post Productions is poised to resurrect the disturbingly satisfying horror genre of Grand Guignol, which ruled France’s theatre scene for decades. Our October 2025 production, Puppets in the Hands of a Malevolent God, will be a double-bill of spine-tingling one-act plays in the Grand Guignol tradition. The first play, The Cuckoo Birds, tells the tale of Lucy, who seeks refuge in a women’s shelter that quickly becomes a terrifying trap from which she cannot escape. The second play, Mothers of Nothing, takes place at a funeral reception during a violent thunderstorm – where six mothers, two alter boys, and a priest find themselves facing a living nightmare after one member of their party is attacked by another. We’re looking for dedicated and talented actors to help us make audiences squirm in their seats! YOU COULD BE ONE OF THEM!
AUDITIONS WILL BE HELD Saturday, 26 July 2025 @ 2:00 PM in THE SHADOWBOX THEATRE (1501 Howard ave. – corner of Howard & Shepherd – Windsor, ON). If necessary, call-back auditions will be held Sunday, 27 July 2025 @ 2:00 PM, also at The Shadowbox Theatre.
PRODUCTION CREW: Puppets in the Hands of a Malevolent God will be directed and produced by Michael K. Potter and Fay Lynn. The Cuckoo Birds and Mothers of Nothing are written by Michael K. Potter. Posters and programs will be created by Kris Simic.
ROLES AVAILABLE
Please note that all actors cast (with the exception of the two children) will appear in both plays. The age ranges listed for each character are to some extent flexible – as long as you can pass as someone within that age range, you’ll be considered. Race and ethnicity of each character is open to all. Finally, Post Productions is committed to providing opportunities for cis gendered, transgendered, non-binary, and gender fluid actors; hence, each role specifies the gender being portrayed, but not the sex of the actor portraying that character.
THE CUCKOO BIRDS
LUCY (woman, 21-35) - the newest resident of the women’s shelter, a recently traumatized woman who struggles to adapt to the shelter’s culture and routines. Lucy is locked in an internal struggle between who she is, who she fears she might be, and who she wants to be. As a result, she may come across as carefully controlled – even unsettlingly controlled.
THE CRIPPLE (woman, 25-55) - a privileged woman from an influential family who has been living in the shelter for most of her adult life. The Cripple is broken and debased in multiple ways – physical, psychological, spiritual – and resents those who are not. In the shelter she’s found friendship and a moral code to which she adheres with unsettling rigidity. The Cripple is left-handed, though the actor playing her need not be.
THE FOREIGNER (woman, 25-55) - like the Cripple – with whom she lives in a symbiotic relationship of near psychological unity – the Foreigner has lived in the shelter for most of her adult life. Since English is not her first language she speaks mostly in fragments, though she understands far more than she indicates. Like the Cripple, the Foreigner has found in the shelter friendship and a moral code to which she adheres with unsettling rigidity. The Foreigner is left-handed, though the actor playing her need not be.
MS. CALHOUN (woman, 35-65) - the brusk, particular, yet compassionate administrator of the women’s shelter. Ms. Calhoun knows far more than she’s willing to admit, and what she doesn’t know… she’s decided not to know. She can be curt, even insulting. Ultimately, however, she cares about each of her resident’s physical, psychological, and especially spiritual needs.
ROBIN (woman, 30-55) - a lonely woman who desires companionship, Robin has been a resident of the shelter for several years. Through good behaviour and hard work she’s earned a private room, yet finds herself drawn to other residents in a perhaps futile effort to develop friendships. In Lucy she sees someone who resembles herself as a new resident, so she attempts to offer guidance.
ANNIE-FRID (woman, 35-135, must be flexible and able to move with unnerving eccentricity) - a soul older than everyone else in the women’s shelter, perhaps older than civilisation itself. Annie-Frid is a primal embodiment of ideas, values, and practices that have been forgotten and sometimes actively suppressed. Her mind was shaped by, and still exists within, a culture that’s only remembered in fragments and whispers. She is missing her left eye, and is ambidextrous (though the actor playing her need not be).
DOCTOR FREDERICKSON (man, 35-65) - a cheerful, well-intentioned psychiatrist who is responsible for far too many people – though he may not be fully cognisant of that fact. Dr. Frederickson has learned that good humour and a positive attitude can get him through the day. He tries to set a worthy example for his residents and staff.
MOTHERS OF NOTHING
DOMINIC PASCAL (boy, 9-13) - a fairly new and inexperienced Alter Boy who thinks of himself as a true Acolyte in the Medieval sense, destined for the priesthood. Dominic is friendly and pious, though his outward demeanour hides many secrets and suspicions he dare not reveal.
EMMITT HUXLEY (boy, 10-14) - an experienced Alter Boy who serves primarily out of a sense of duty to his family and community, but who has no ambitions to become a priest. Emmitt is starved for positive attention, makes friends easily, and is genuinely compassionate.
FATHER GAVIN (man 35-65) – an ambitious priest and devoted pastor aiming to one day become an Archbishop. Father Gavin is a gentle, sincere, and devote man who has spent a lifetime hiding from his deepest fears – most often through diligent performance of his duties.
CLAIRE PASCAL (woman, 30-55) – Dominic’s mother. Claire is a schoolteacher, primarily because she believed in her youth that teaching was the only career open to her. She is a sincere and loving mother who is truly devoted to her responsibilities. Claire is also firm yet socially adept – someone who is set in her convictions yet generally able to get along with people quite different from herself.
ELIZABETH HUXLEY (woman, 25-55) – Emmitt’s mother. Elizabeth is a real estate agent. She became a mother accidently, and though she would never admit it to her son or anyone else, would rather not be a mother at all. Still, she faces her responsibilities with a brave face and tries to maintain a positive attitude. Elizabeth is chatty and a little boisterous.
CHANTAL DE LUBAC (woman, 35-55) – Mother of Neil, the young soldier whose funeral has just been held. Chantal is a woman of tremendous faith and pride, who’s found herself dealing with a tragic loss. She is facing her tragedy with the same stiff upper lip and well-practiced etiquette she applies to all things. Although Chantal quit working when Neil was born she is an active and well-respected leader in her parish community.
PENELOPE ERASMUS (woman, 30-50) – A timid mouse of a woman who soaks up and internalizes the emotions and attitudes of those around her – especially when it comes to Chantal, her best friend since childhood. Penelope owns and operates a restaurant with her husband William, with whom she has two young daughters.
MARGARET ANSCOMB (woman, 21-35) – A young single mother who’s only recently moved to the community and joined the parish. Margaret is eager to find her place in her new home, though her efforts are sometimes stymied by a still-evolving self. She hopes that by discovering who she can become amongst the other mothers she will also finally be able to decide who she is. Margaret works part-time at Penelope’s restaurant, putting in as many hours as she can while handling the responsibilities of caring for young twins.
BIRGITTE RAHNER (woman, 25-55) – A fiercely independent – and generally fierce – associate with a major retailer with ambitions to move into management. Birgitte is the mother of two children, a daughter and a son, upon whom she dotes whenever she has time. But her principal concern and driving motivation is her career. Birgitte is someone with a five-year plan, ten-year plan, fifteen-year plan, and twenty-year plan.
THE AUDITION PROCESS
Actors must be registered to audition and all actors audition together, in person. 2-3 days before the audition, a copy of all relevant audition sides will be emailed to registrants to help them perform to the best of their ability. During the audition you may be asked to read the same scene multiple times with different scene partners. Don’t worry – you aren’t expected to have the sides memorized!
HOW TO REGISTER
You must register in advance to audition! Deadline to register is 11:59 PM Friday, 25 July 2025.
To register, email us at cG9zdHByb2R1Y3Rpb25zd2luZHNvciB8IGdtYWlsICEgY29t with:
a) an acting resume in doc or docx format (if you don’t have an acting resume, they’re easy to create – and there are many websites that will help you);
b) a headshot (it need not be professional; a high-quality selfie is fine);
c) the name(s) of the character(s) you’d like to audition for in each of the two plays; and
d) if applicable, any special considerations that may be relevant to our casting decisions.
NOTE: registration emails that do not include all necessary information and attachments, as noted above, will not be accepted.
*** Cast members will equally split between 15-25% of gross ticket revenue; the precise percentage depends on average capacity sold per performance.
SCHEDULE
Please note all read-throughs, rehearsals, and performances will take place in person at The Shadowbox Theatre (1501 Howard ave. Windsor, Ontario). Attendance is mandatory, and preparation is expected.
Read-through: 30 July 2025 at 7:00 PM.
Rehearsals will be three nights per week between 30 July 2025 – 4 October 2025. All rehearsals will begin at 7:00 PM unless otherwise indicated.
Tech week: Sunday, 5 Oct. to Thursday, 9 Oct. from 6:00 PM to 10:00 PM each day.
Performance dates: October 10, 11, 16, 17, 18, 23, 24 & 25 at 8:00 PM. Call time for all performances is 6:00 PM.
Only life matched the horror of the Grand Guignol.
Post Productions is poised to resurrect the disturbingly satisfying horror genre of Grand Guignol, which ruled France’s theatre scene for decades. Our October 2025 production, Puppets in the Hands of a Malevolent God, will be a double-bill of spine-tingling one-act plays in the Grand Guignol tradition. The first play, The Cuckoo Birds, tells the tale of Lucy, who seeks refuge in a women’s shelter that quickly becomes a terrifying trap from which she cannot escape. The second play, Mothers of Nothing, takes place at a funeral reception during a violent thunderstorm – where six mothers, two alter boys, and a priest find themselves facing a living nightmare after one member of their party is attacked by another. We’re looking for dedicated and talented actors to help us make audiences squirm in their seats! YOU COULD BE ONE OF THEM!
AUDITIONS WILL BE HELD Saturday, 26 July 2025 @ 2:00 PM in THE SHADOWBOX THEATRE (1501 Howard ave. – corner of Howard & Shepherd – Windsor, ON). If necessary, call-back auditions will be held Sunday, 27 July 2025 @ 2:00 PM, also at The Shadowbox Theatre.
PRODUCTION CREW: Puppets in the Hands of a Malevolent God will be directed and produced by Michael K. Potter and Fay Lynn. The Cuckoo Birds and Mothers of Nothing are written by Michael K. Potter. Posters and programs will be created by Kris Simic.
ROLES AVAILABLE
Please note that all actors cast (with the exception of the two children) will appear in both plays. The age ranges listed for each character are to some extent flexible – as long as you can pass as someone within that age range, you’ll be considered. Race and ethnicity of each character is open to all. Finally, Post Productions is committed to providing opportunities for cis gendered, transgendered, non-binary, and gender fluid actors; hence, each role specifies the gender being portrayed, but not the sex of the actor portraying that character.
THE CUCKOO BIRDS
LUCY (woman, 21-35) - the newest resident of the women’s shelter, a recently traumatized woman who struggles to adapt to the shelter’s culture and routines. Lucy is locked in an internal struggle between who she is, who she fears she might be, and who she wants to be. As a result, she may come across as carefully controlled – even unsettlingly controlled.
THE CRIPPLE (woman, 25-55) - a privileged woman from an influential family who has been living in the shelter for most of her adult life. The Cripple is broken and debased in multiple ways – physical, psychological, spiritual – and resents those who are not. In the shelter she’s found friendship and a moral code to which she adheres with unsettling rigidity. The Cripple is left-handed, though the actor playing her need not be.
THE FOREIGNER (woman, 25-55) - like the Cripple – with whom she lives in a symbiotic relationship of near psychological unity – the Foreigner has lived in the shelter for most of her adult life. Since English is not her first language she speaks mostly in fragments, though she understands far more than she indicates. Like the Cripple, the Foreigner has found in the shelter friendship and a moral code to which she adheres with unsettling rigidity. The Foreigner is left-handed, though the actor playing her need not be.
MS. CALHOUN (woman, 35-65) - the brusk, particular, yet compassionate administrator of the women’s shelter. Ms. Calhoun knows far more than she’s willing to admit, and what she doesn’t know… she’s decided not to know. She can be curt, even insulting. Ultimately, however, she cares about each of her resident’s physical, psychological, and especially spiritual needs.
ROBIN (woman, 30-55) - a lonely woman who desires companionship, Robin has been a resident of the shelter for several years. Through good behaviour and hard work she’s earned a private room, yet finds herself drawn to other residents in a perhaps futile effort to develop friendships. In Lucy she sees someone who resembles herself as a new resident, so she attempts to offer guidance.
ANNIE-FRID (woman, 35-135, must be flexible and able to move with unnerving eccentricity) - a soul older than everyone else in the women’s shelter, perhaps older than civilisation itself. Annie-Frid is a primal embodiment of ideas, values, and practices that have been forgotten and sometimes actively suppressed. Her mind was shaped by, and still exists within, a culture that’s only remembered in fragments and whispers. She is missing her left eye, and is ambidextrous (though the actor playing her need not be).
DOCTOR FREDERICKSON (man, 35-65) - a cheerful, well-intentioned psychiatrist who is responsible for far too many people – though he may not be fully cognisant of that fact. Dr. Frederickson has learned that good humour and a positive attitude can get him through the day. He tries to set a worthy example for his residents and staff.
MOTHERS OF NOTHING
DOMINIC PASCAL (boy, 9-13) - a fairly new and inexperienced Alter Boy who thinks of himself as a true Acolyte in the Medieval sense, destined for the priesthood. Dominic is friendly and pious, though his outward demeanour hides many secrets and suspicions he dare not reveal.
EMMITT HUXLEY (boy, 10-14) - an experienced Alter Boy who serves primarily out of a sense of duty to his family and community, but who has no ambitions to become a priest. Emmitt is starved for positive attention, makes friends easily, and is genuinely compassionate.
FATHER GAVIN (man 35-65) – an ambitious priest and devoted pastor aiming to one day become an Archbishop. Father Gavin is a gentle, sincere, and devote man who has spent a lifetime hiding from his deepest fears – most often through diligent performance of his duties.
CLAIRE PASCAL (woman, 30-55) – Dominic’s mother. Claire is a schoolteacher, primarily because she believed in her youth that teaching was the only career open to her. She is a sincere and loving mother who is truly devoted to her responsibilities. Claire is also firm yet socially adept – someone who is set in her convictions yet generally able to get along with people quite different from herself.
ELIZABETH HUXLEY (woman, 25-55) – Emmitt’s mother. Elizabeth is a real estate agent. She became a mother accidently, and though she would never admit it to her son or anyone else, would rather not be a mother at all. Still, she faces her responsibilities with a brave face and tries to maintain a positive attitude. Elizabeth is chatty and a little boisterous.
CHANTAL DE LUBAC (woman, 35-55) – Mother of Neil, the young soldier whose funeral has just been held. Chantal is a woman of tremendous faith and pride, who’s found herself dealing with a tragic loss. She is facing her tragedy with the same stiff upper lip and well-practiced etiquette she applies to all things. Although Chantal quit working when Neil was born she is an active and well-respected leader in her parish community.
PENELOPE ERASMUS (woman, 30-50) – A timid mouse of a woman who soaks up and internalizes the emotions and attitudes of those around her – especially when it comes to Chantal, her best friend since childhood. Penelope owns and operates a restaurant with her husband William, with whom she has two young daughters.
MARGARET ANSCOMB (woman, 21-35) – A young single mother who’s only recently moved to the community and joined the parish. Margaret is eager to find her place in her new home, though her efforts are sometimes stymied by a still-evolving self. She hopes that by discovering who she can become amongst the other mothers she will also finally be able to decide who she is. Margaret works part-time at Penelope’s restaurant, putting in as many hours as she can while handling the responsibilities of caring for young twins.
BIRGITTE RAHNER (woman, 25-55) – A fiercely independent – and generally fierce – associate with a major retailer with ambitions to move into management. Birgitte is the mother of two children, a daughter and a son, upon whom she dotes whenever she has time. But her principal concern and driving motivation is her career. Birgitte is someone with a five-year plan, ten-year plan, fifteen-year plan, and twenty-year plan.
THE AUDITION PROCESS
Actors must be registered to audition and all actors audition together, in person. 2-3 days before the audition, a copy of all relevant audition sides will be emailed to registrants to help them perform to the best of their ability. During the audition you may be asked to read the same scene multiple times with different scene partners. Don’t worry – you aren’t expected to have the sides memorized!
HOW TO REGISTER
You must register in advance to audition! Deadline to register is 11:59 PM Friday, 25 July 2025.
To register, email us at cG9zdHByb2R1Y3Rpb25zd2luZHNvciB8IGdtYWlsICEgY29t with:
a) an acting resume in doc or docx format (if you don’t have an acting resume, they’re easy to create – and there are many websites that will help you);
b) a headshot (it need not be professional; a high-quality selfie is fine);
c) the name(s) of the character(s) you’d like to audition for in each of the two plays; and
d) if applicable, any special considerations that may be relevant to our casting decisions.
NOTE: registration emails that do not include all necessary information and attachments, as noted above, will not be accepted.
*** Cast members will equally split between 15-25% of gross ticket revenue; the precise percentage depends on average capacity sold per performance.
SCHEDULE
Please note all read-throughs, rehearsals, and performances will take place in person at The Shadowbox Theatre (1501 Howard ave. Windsor, Ontario). Attendance is mandatory, and preparation is expected.
Read-through: 30 July 2025 at 7:00 PM.
Rehearsals will be three nights per week between 30 July 2025 – 4 October 2025. All rehearsals will begin at 7:00 PM unless otherwise indicated.
Tech week: Sunday, 5 Oct. to Thursday, 9 Oct. from 6:00 PM to 10:00 PM each day.
Performance dates: October 10, 11, 16, 17, 18, 23, 24 & 25 at 8:00 PM. Call time for all performances is 6:00 PM.