Actors auditioning must be available for the whole rehearsal period and all performances.

Auditions: Saturday 25th July, 10am- 4pm and Sunday 26th July, 5pm- 9pm

Rehearsals: Tuesday and Friday evenings 7.30-10.30pm and Sundays- 5.00-8.00pm

Season Dates:‍ ‍6 - 21 November, 2026

We are seeking performers from a wide range of ages, cultural, ethnic and linguistically diverse backgrounds, gender identities, body types and experiences to be part of Georgy Girl.

The Creative Team is open to different interpretations of the character descriptions. All auditionees will be considered for all roles.

JUDITH DURHAM: Actor/Singer/Dancer. 20-30’s. Diminutive female vocalist famous for her distinctive vocal sound. 

RON EDGEWORTH: Actor/Singer/Piano player an asset. 30’s to 40’s. English. Spent his early years in Bristol and moved to London in his teens. He picked up a London accent, but not Cockney. He is lanky and likeable.

ATHOL GUY: Actor/Singer. Mid to late 20’s. Tall. Bass vocals/plays double bass. 

KEITH POTGER: Actor/Singer. Mid to late 20’s. Tenor vocal/plays six & twelve-string guitar/banjo. 

BRUCE WOODLEY: Actor/Singer. Mid to late 20’s. Baritone/plays six-string guitar/banjo. 

JOHN ASHBY: Actor/Singer/Dancer. Mid to late 20’s. The Seekers’ tour manager. English. Similar background to Ron. He came from the provinces (Southampton) and migrated to London. His voice is rich and commanding.

EDDIE JARRETT: Actor/Singer. 40’s. The Seekers’ manager. English. Another Mixture. London with hints of his Welsh background. Smooth and assured.

BEVERLEY DURHAM: Actor/Singer. Mid to late 20’s. Judith’s sister. 

ENSEMBLE

MALE 1: 40’s. Plays Judith’s father BILL DURHAM

MALE 2: 20 to 30’s. Roles include photographer ROBERT WHITAKER

MALE 3: 20 to 30’s. Roles include GRAHAM KENNEDY

MALE 4: 30’s to 40’s. Roles include GRADE EXECUTIVE

MALE 5: 20 to 30’s. Plays SIMON DEE

MALE 6: 20 to 30’s. ENSEMBLE and plays AMERICAN TEENAGE G.I

FEMALE 1: 40’s. Plays Judith’s mother HAZEL DURHAM

FEMALE 2: 20 to 30’s. Roles include MITZI GAYNOR

FEMALE 3: 20 to 30’s. Roles include WAITRESS.

FEMALE 4: 20 to 30’s. ENSEMBLE

FEMALE 5: 20 to 30’s. Plays DUSTY SPRINGFIELD.

FEMALE 6: 30’s. ENSEMBLE

Each audition will run for approximately 15 minutes.

Each auditionee will be require to prepare and perform a song, either by The Seekers or in the style and era of The Seekers. Please bring sheet music or a backing track.

Auditionees will all be asked to do some basic movement at the audition.

Performers who play a musical instrument and who are auditioning for Athol Guy, Keith Potger or Bruce Woodley are asked to please bring your instrument to the audition to play for us.

All auditionees are asked to deliver the following monologue, as the character you are auditioning for. You don’t need to learn it, but please familiarise yourself with it:

The first half of the Sixties marked an era of sweeping political and social change around the globe, a time of radical change of the worlds of music, fashion and art.

In America, President Lyndon Johnson signed the most controversial civil rights legislation in the history of the nation, while in Australia young people had begun to challenge the traditional values of their parents’ generation by actively opposing the decisions of the government.

But it was England that best reflected this changing world, metamorphosing from a gloomy, post War capital into the universal epicentre of ‘cool’.

“Swinging London” had arrived: fashionable shopping areas such as Carnaby Street and the Kings Road sprang up, where fashion boutiques were selling their latest gear to the Mods. Skirts were getting shorter, hair was getting longer, and there was a significant shift in attitudes towards sex and sexuality; the contraceptive pill made casual sex easier and safer.

But it was the music industry that gave a new definition to rebellion; British rock and pop was changing the face of music.

That a folk group from Melbourne, Australia comprising three clean-cut young men and a shy girl (or, as Lillian Roxon so famously wrote, “One cuddly girl-next-door type and three sober cats who looked like bank tellers”) could go from an inner-city coffee lounge to the concert stages of the world, rivalling the might of bands like The Beatles and The Rolling Stones in the process, seems preposterous.

But that’s exactly what happened between 1964 and 1968. In those five short years, The Seekers carved an indelible niche in the pop music industry, which looked on in astonishment as these (we) four young Australians innocently sowed the seeds of a lasting musical legacy.