Auditions Now Open | Soldier Boy
- Apr 3, 2025
- 2 min read
Soldier Boy, dramatised by Anthony Hill, is being produced by Theatre Works in 2025.
Successful applicants will be notified across the application period if they have been successful in securing an in person audition. Auditions begin April 12th 2025.
Key details below!
Auditions
Applications close Friday 11th April 2025 @ 5pm.
Auditions and callbacks will be held the week of the 12th of April 2025.
Rehearsals
April 21 - May 4 Part Time
May 25 - June 8 Part Time
June 9 - June 15 Full Time
Production week
June 16 - 21
Previews
June 19, 20
Opening Night
June 21
Season
June 19 - July 5
ABOUT THE PLAY
Soldier Boy, dramatised by Anthony Hill from his book of the same name, tells the poignant story of Private James Martin, a 14-year-old boy who enlisted in the Australian Army during World War I. Set between June 1914 and October 1915, the play follows Jim’s journey from Melbourne to the battlefields of Gallipoli. As the youngest-known ANZAC soldier, Jim lies on a hospital ship, suffering from typhoid fever, recalling his decision to enlist, the challenges of war, and his relationships with family and friends. His brief time at the front is woven into memories of home, revealing the pressures of duty, patriotism, and sacrifice that led him to the trenches. The play delves into the emotional toll of war, especially on the young, and highlights the bravery and naivety of a boy who wanted to serve his country, despite the costs.
WHO IS NEEDED
We are seeking dynamic actors who can confidently take on multiple roles and transition quickly between characters. Australian accents are required, with an English accent needed for the role of Matron Frances Reddock. Some roles involve physically demanding sequences, particularly for those portraying soldiers. Strong ensemble work is essential, as this production relies on close collaboration to bring the story to life. We’re looking for performers who are passionate about compelling storytelling and deeply committed to the themes of the play.
Actors from diverse backgrounds are strongly encouraged to audition.
APPLICATIONS
Will close on April 11 @ 5pm.
Performers will be paid a nominal fee.
This is one of those stories that can sneak up on you—starting with “patriotism” and ending with something way more complicated and sad. I’m curious if the staging will differentiate Melbourne/home vs the ship vs Gallipoli with lighting or sound, because that could really help the audience track the time jumps. Total tangent, but reading the rehearsal blocks made me think about energy management and I ended up on check this out, which is weirdly relevant when you’re trying to keep a consistent look through a long run.
Given how heavy the subject matter is, I’m hoping the production design keeps it stripped back—let the text and performance do the work rather than over-stylising WWI imagery. Also really appreciate seeing previews/opening/season dates in one place; it’s helpful for planning who can actually make it. Funny aside: I’ve seen people mock up audition headshot looks using imgg, but for this piece I feel like something understated fits the tone better.
Love seeing a full schedule posted up front—callbacks, rehearsals, production week, previews, opening night, the whole run. For actors it’s so much easier to be realistic about commitments when it’s this transparent. Not related, but I saw a similar “submit” flow on https://hrefgo.com recently and it made me think theatres could probably simplify application UX even more.
The premise hits hard—14 is just… unimaginably young to be in that situation, and the hospital-ship memory structure sounds like it could be really intimate on stage. I wonder if they’ll lean more into the family-at-home scenes or keep it mostly internal with Jim narrating his own past. I went down a timing rabbit hole reading the dates and ended up on this site, which is funny because it made me think about pacing choices in a one-actor storytelling setup.
This timeline makes me do the mental math on availability straight away—April auditions, then part-time through May/early June before the production week crunch. I like that it’s all laid out clearly because juggling day jobs is real. Randomly, the “fit the blocks together” vibe of scheduling rehearsals reminds me of https://blockblast.co when you’re trying not to paint yourself into a corner.