Shakespeare in the Park Auditions are on Saturday, February 15th! “Romeo and Juliet” will be directed by Mr. David Cecsarini, Producing Artistic Director of Next Act Theatre. (WOOT!!!!)
Ever dream of being a part of Milwaukee’s summer Shakespeare? Now’s your chance. Performances are 2 long weekends of June, the first long weekend of July plus 2 matinees. 13 performances total. All cast members are paid a very nice stipend.
Email Tom Reed at to schedule a time and for more info. Or contact Susan Fry as for more info.

Kohl’s Wild Theater (KWT) seeks experienced professional actors to join the KWT acting company. Auditions will be held on Tuesday, February 25th from 12:00-4:00 PM and Wednesday, February 26th from 8:30-11:30 AM in the Karen Peck Katz Conservation Education Center at the Milwaukee County Zoo.


Actors in the KWT Company perform multiple roles in a variety of plays and musicals for young audiences. Experience with musical theater, puppetry, and comedy improv is a plus. Audition material supplied upon inquiry. An accompanist will be provided. Actors will be considered for the summer season with rehearsals beginning on Tuesday, April 10th (although additional start dates may be considered based on availability and casting needs.)


Auditions are by appointment only. To schedule an appointment, actors should send their headshot and resume to KWT Manager of Artistic Direction, Zach Woods, at and write “audition” in the subject line.


Program Information:


Kohl’s Wild Theater is a professional theater for young audiences that is a part of Zoological Society of Milwaukee’s Conservation Education Department. Using drama, puppetry, and music, KWT teaches lessons on environmental conservation and the importance of caring for animals. KWT performs seven days per week during the summer months at the Milwaukee County Zoo and other venues in the community. During the school year, KWT tours to schools and other community organizations within a one-hour radius of the Zoo. Potential company members must have daytime availability 3-4 days per week for rehearsals and performances.


Once hired, company members join our part-time staff of professional actors, learning multiple shows and roles in a repertory format. On average, company members work 15-25 hours per week. Rehearsal and performance schedules are typically released four weeks in advance. Starting pay is $12 per hour. Additional benefits include flexible scheduling and professional development workshops.


Please visit for more information.

In case you have a chance to glance at this before you come in to audition today, here’s what the room looks like. As you walk in, the accompanist will be right inside the door to your left. If you are going to sing it’s best to start right there and go over your piece before you start your intro. Hope it helps.


The 2020 Milwaukee Diversity Auditions will take place February 17, from 9:30am – 4:30pm.


Who Should Sign Up?


Auditions are open to individuals who identify as at least one of the following:


Asian, Pacific Islander, or Asian American

Black, African, Caribbean, or African American

Indigenous, First Nation, or Native American

Latinx/o/a or Hispanic

Middle Eastern, North African, or Arab American

South Asians or South Asian American

Native Hawai’ian or Other Pacific Islander



Gender Non-Binary, Genderqueer

Agender, Neutrois

Bigender, Androgene

Aporagender, Third Gender

Polygender, Multigender

Genderfluid, Genderflux


Other Underrepresented Forms of Gender Identity



Auditioners must be 18+ and a resident of Wisconsin.


At this time, we are also accepting:

  • Headshots and resumes from actors of diverse sexual and affectional orientations and actors with disabilities. Please email your resume and headshot to

  • Director and Designer resumes and portfolios from individuals who identify as female and/or any of the aforementioned underrepresented groups. Please email your resume and portfolio to


How to Sign Up to Audition?


To sign up for a time slot, please email by January 31, 2020. Once you’ve emailed your interest, you will receive a form to complete. Upon the submission of your completed form, you will receive confirmation of your slot.


Auditions slots will be awarded on a first come, first serve basis. If the audition becomes filled, you may be placed on an alternative list in the event of cancellations.


What Should I Prepare and Bring?

Each actor will have four minutes to perform two contrasting monologues or one monologue and one song. An accompanist will be provided.


Please come 15 minutes before you slot and bring 22 copies of your headshot and resume. If you are singing, please also bring sheet music for the accompanist.


If you have a financial barrier that would prevent you from otherwise participating in this audition, please email and we will try to assist you in overcoming this barrier.


Participating Theaters:

All In Productions
Boulevard Theatre

Black Arts MKE
Bronzeville Arts Ensemble

Cabaret Milwaukee

First Stage Children’s Theater

Forte Theatre Company

Forward Theater Company

Kohl’s Wild Theater

Milwaukee Chamber Theatre

Milwaukee Opera Theatre

Milwaukee Repertory Theatre

Next Act Theatre

Optimist Theatre/Shakespeare in the Park

Outskirts Theatre Co.

Renaissance Theaterworks

Schmitz and Giggles

Skylight Music Theatre

Summit Players Theatre

The Box Theatre Co.

Voices Found Repertory

Windfall Theatre



Next Act Theater

255 S Water St, Milwaukee, WI 53204


Joy Pouros (she/her) | Marketing Director

414.510.8302 | | Facebook

I’ve been remiss in posting this. The Milwaukee Generals are almost upon us, so I thought now would be a good time to revisit some thoughts on auditioning. Here are my thoughts from several years ago. I’ve done a bit of judicial editing, but my thoughts on this process haven’t changed that much. Hope it helps.




Having sat through the Milwaukee Generals for over a decade now, I’ve come across all sorts of things that auditionees do which sabotage the work at hand. I’m continually amazed by some of these gaffs, but to be fair, how could they know? If you haven’t been in that room, and you haven’t been auditioning for years, or had some really good teachers and/or mentors, some of these gaffs might be understandable. And I understand just how hard and awful the process of auditioning is having been an actor for the last 35 years. To that end I’ve decided to share some of the dos and don’ts of auditioning. I throw in the caveat that these are strictly from my own viewpoint and that while they deal with auditioning in general, they are specific to the peculiarities of myself and the Milwaukee Generals.


I’m dividing this tutorial into three parts: the Introduction, the Headshot and Resume, and the Audition.


The Introduction 


If you have the chance (and that’s a big if) take a peek at the room you are going to walk into ahead of time. Auditioning is an intimidating thing and walking into a room blind is hateful. Find out where the auditors are going to be sitting and figure out where you are going to sit or stand. Find out if there is a chair available and what kind it is. Nothing worse than preparing a piece that requires you to spin a chair around and sit on it backwards only to find out that the chair has arms. For those of you new to the Milwaukee Generals, you are walking into a room to face a group of auditors in a horseshoe configuration. 


If you walk into the room and you find that there are auditors behind you, you’ve come in too far. Back up so that we can see your face.


Take your time introducing yourself and your pieces. Know that we are furiously passing your headshots around as quickly as we can, flipping them over and pouring over your resume, and then trying to catch what pieces you are going to do and in many cases trying to jot that info down. We see a lot of auditions over this long day and it’s extremely difficult to keep them straight. Give us a chance to remember you. I’ll never fault an auditionee for taking his or her time introducing their pieces. When in doubt, wait until the majority of us have finished and are looking back up at you before you begin your first piece.


Don’t undress in the room. This is a rather new phenomenon that has started happening lately. When you walk into the room, be prepared to go. I don’t want to see you come in, and then slowly take off a coat, scarf, shirt or any other item of clothing as you are introducing yourself. That’s odd and distracting. Leave that stuff outside.


This is for both your intro and exit; don’t apologize for your audition. Look, you only get one shot at this, so no matter how poorly you’ve prepared or think you’ve done during the audition, do it boldly and with a smile on your face. I can’t tell you how many people come into the room with the body language of, “Uh, hi. I don’t really know why I’m here and I’m sorry to waste your time.” Conversely, I’ve seen a lot of people who have finished a perfectly fine audition and then ruin it by sheepishly excusing themselves on the way out. Don’t do it! It sucks all of the energy out of your audition.


Generally speaking, goofy introductions and/or exits will fall flat and have a good chance of being irritating. I know it’s a defensive thing, but just don’t do it. Come in, smile and introduce yourself. When you are finished, say thank you. Resist the urge to ask us if we have any questions or if there’s anything else we’d like to see. Trust me; if we have any questions we won’t let you leave the room until we know the answers.


Give us the info we need. We need to know the character you are playing and the play it is from. That’s it. But give us both of those things. Don’t name the play but not the character, or worse yet, not tell us anything at all. This seems particularly true of Shakespeare. Don’t make it a guessing game. Conversely, don’t give us too much information. I don’t need to know the author and I certainly don’t need to be told that Hamlet was written by Shakespeare. And occasionally an auditionee will give us a summary of the piece they are about to give. Nope, don’t do it.


While we are on the subject of introducing your pieces, proceed to do your pieces in the order in which they were introduced. Different auditors are there for different reasons. Shakespeare companies have less interest in your modern/comic piece and are waiting for the Macbeth you are going to give them. If you say you are going to do your classical piece second, do so. They may use that brief period of time while you are performing your first piece to scan your resume and see what other classical pieces you have done and where.


Oftentimes the audition goes wrong during the intro. I spend a whole day with my students having them do nothing but walking into a room and introducing themselves. This is surprisingly difficult, and few people spend any time working on that part of their audition. Auditionees actually stumble over their names, forget what pieces they are doing, mispronounce the playwright’s name (which is just one more reason that info is unnecessary), mumble their info in such a way that we can’t understand it, or turn their back and drag a chair across the room while making their intro. Enter the room. If you are going to use a chair make a decision; either get the chair, pick it up and set it where you want and then introduce yourself, or introduce yourself and then get set. Trust me; we will welcome the extra time to look at your resume.


Unless we stand up and stick our hands out, no need to come over and shake our hands. As I’ve stated, we’re going to a whole lot of people over the course of this very long day. There are also upwards of twenty people in that room, and you won’t want to shake all of our hands.


The Headshot and Resume 


Look like your headshot. It’s bothersome when you don’t. You’re a little heavier than you’d like to be? So what? Maybe we’re looking for just that heavy person. It’s going to be very difficult to remember you later if you don’t look like your headshot.


Staple or glue your resume to your headshot. I can’t tell you how irritating it is to get a loose resume. Or worse yet, one in which the resume is attached in such a way that it covers your headshot. It does nothing but make you look unprofessional and your audition might fail right there before you even get in the room. And take the time to trim it to fit. I file these away and those odd sized ones just might not make it into my filing cabinet.


While we’re on the subject of attaching your resume, don’t attach anything else. I’m really happy you’re currently employed with your one-man show, but I don’t want a flyer or postcard attached advertising said show.


Leave white space on your resume. We’re doing everything we can to remember the interesting things about you in case we should want to cast you. If you jamb-pack your resume from margin to margin we have no room for such notes. It also makes them hard to read and smacks of desperation. “Look how much I’ve done!” We don’t need to know everything you’ve done and if you have stuff on there from twenty years ago you might think about some judicial editing.


Use a decent sized font. We’re at this all day and my eyes get tired. If you give me an 8 point font I might just give up on it after reading your name. Also, weird or funny fonts are irritating. I want to work with professionals and that might make me question that prospect. It just adds an extra hurdle where I don’t need one. And if you use comic sans I will throw your resume away.


There is a somewhat uniform way of setting up your resume. Feel free to diverge, but just know that doing so will increase the likelihood that I won’t be able to find the info I’m looking for quickly. At the top should be your name and under that your vitals.  Height, weight, eye color, hair color, telephone and email address. If you are a singer, you may want to put your vocal range. Do not give us your address. In this day and age, that simply isn’t safe and every now and then you send your resume to an unscrupulous person who turns around and sells that information to other places. Don’t include your age or tell us what your age range is. That’s our job and why would you want to limit yourself that way? Likewise, don’t include the dates of your productions.


Below your name and vitals should come the body of your resume which is your stage experience. There are four things I want to know here: the theatre you worked at, the show you did, the part you played and who directed you. Set them up in neat columns so that I can easily scan through them. Don’t be afraid to list multiple shows with one theatre, that’s a good thing; that says that you worked at that theatre and they liked you enough to ask you back. I am very leery of the auditionee that has 30 theatres listed and has only one show at each of them.


Below the stage experience section should be your education and special skills. Still in high school? It’s okay, we won’t hold it against you, so don’t be ashamed of it. Tell us where you went to school and who some of your teachers were, but leave your GPA off. Those names may open up a conversation. I’m not really interested if you took a weekend class here or there. Special skills should be special. I don’t know how special having a driver’s license is. Fire eating is more impressive (although one year, quite a few people had that listed) and I certainly want to know if you can speak a foreign language fluently. I assume a good actor can learn dialects, so for me that’s not something I need listed. You may have a lot of film and/or TV credits or you may have a lot of directing credits, but that’s not what we’re here for. I’m here to audition stage actors. In this day and age you should be able to have several different resumes at your disposal. If you are coming to the Milwaukee Generals, cater your resume to your clients, which are almost exclusively theatres.


Have enough resumes. If we don’t walk out of the room with your headshot and resume it’s unlikely we’ll ever contact you.


Don’t lie on your resume. It’s likely this will come to light and then you’ve lost all credibility. If you took a weekend class don’t make it sound like you received a degree. If you took a beginning improv class don’t say you are part of the troupe. If you were Gregory in Romeo and Juliet once upon a time, don’t claim that you are a trained fighter. You’re not. We know, we always know.


The Audition 


So now we come to the heart of the matter. First, know that within the first ten or fifteen seconds we have a sense if you fit into what we are looking for. Sometimes we’ve already made up our minds during the intro. That’s just the way it goes. Knowing that, limit the length of your pieces. They really should be no longer than a minute a piece. I spent one whole afternoon timing auditions. I would look down at my watch when I started to lose interest and it was always between 55 and 65 seconds. Even if you’re great, going beyond that is too much. In the past, many people were going over three minutes and that was just for one of their pieces. Leave us wanting more.


In picking your pieces be very selective. If you choose something offensive it is likely to offend and turn off at least a few people in the room. Have a really good reason for picking such a piece. Of course, if you are still looking for a piece right now you are probably in trouble.


Don’t do stand up. I’ve never seen it work and theatre is not stand up. I’ve also never seen a piece that an actor has written for themselves work.


Contrast your pieces. That doesn’t mean that one has to be modern comic and the other classical dramatic. You can contrast two modern funny pieces and I will be quite delighted. But standing during one and sitting during the other is not contrast. Show us two different sides of yourself and hopefully those two pieces are different than your introduction. Remember that your intro is a chance to show us a different side of yourself that will be contrasted by your two pieces. Prove that you can act.


Don’t do serial killer monologues. They are overdone and not usually all that interesting.


Don’t find a monologue in a monologue book. They generally aren’t very good and they are overused. Nothing like seeing the same bad monologue four times in the same day. Read plays, lots of them, and find something that speaks to you.


People bend over backwards trying to find the obscure Shakespeare piece that no one has ever seen. In doing so they generally go to some of Shakespeare’s lesser known plays. You know why they are lesser known? Because they’re not as good. You know what I’ve never seen? Someone audition with Hamlet’s “To be or not to be.”


Women’s monologues from Shakespeare are hard in that there are vastly fewer of them. We’re going to hear a lot of Hermia from Midsummer, Viola from Twelfth Night, and Rosalind from As You Like It. If it speaks to you and you can bring something fresh to the part, go for it! Just know that you might want to beef up your monologue book with a few other choices.


Don’t wear anything that is more disturbing or more interesting than you. I’ll spend the whole audition wondering, “Why did he wear that?” instead of watching your audition. Look nice, but make sure you are comfortable and can move around. And unless you live in a suit and tie 24/7, don’t wear a suit and tie. It always comes off as amateurish.


There is the funny monologue trap. I don’t find them very engaging for a couple of reasons. The first is that I’ve likely seen it too many times. I love Christopher Durang, but I don’t need to see a monologue from Laughing Wild ever again. The second is that I want to see you in an actual scene interacting with another or others. I want to see your struggle or your triumph, not a funny anecdote.


Feel free to use me as your point of focus. I will always sit in one of the corner seats for just that reason. But know that not everyone is okay with that. If you focus on one person the whole monologue, one of two things may happen: they may turn away defensively and not see your audition, or they may freeze, afraid to turn their eyes away. Me, I don’t care, I’m happy to be your focal point, however, if you stand two feet in front of me and confront me, you’re going to lose me. I’ll still stare straight at you and be the best audience member I can be, but I’m no longer really watching you. I’m beginning to wonder if you’re crazy enough to jump the table, and others in the room are starting to wonder the same thing.


After you are done with a piece do not say scene. Worse yet, do not wave your hand in front of your face and say scene.


Do make your transitions clear and clean. Do something, usually a physical move, to let us know one piece has ended and the next has begun. Of course, if they are highly contrastable pieces, that shouldn’t be a problem.


If you have an emotional piece and are able to go to that place, good for you. If you end that piece and take a long time coming out of it and composing yourself, showing us just how hard that was, you’re going to lose me.


If you get off to a bad start, ask if you can start over. We will always say yes.


No props. We’ll see the letter in your hand if you are invested in your scene. And never, ever, ever…NEVER! bring a gun into the room. Especially not one loaded with a half-charge blank which you then hold to your head and pull the trigger. Sigh. It now needs to be said.


And that’s my spiel. I’m sure other things will come to mind and I’ll update this from time to time. I also welcome observations from other auditors whether they agree with me or not. Know that during the course of my stumbling career I have made many of these mistakes myself, and it was only because some kind person took me in hand that I got past some of them.


Be bold and good luck.




P.S. The people in the room really want you to be good. We’ve got a lot on our collective minds during the course of that very long day. Please don’t read anything into our dour faces. And know that if you come in with a bright smile and a chipper attitude we will immediately light up.


P.P.S. Be kind to those folks out in the lobby taking your resumes.


P.P.S. If something happens and you can’t make your audition, call. It’s a black mark against you if you are a no show, no call. Some people who couldn’t get an audition slot may be able to slip in.

$15 TICKETS for Lost In Boston at the Oconomowoc Arts Center this weekend January 3 & 4!

Lost In Boston is an entertaining look at writing Broadway musicals and some songs that didn’t make the cut (often getting trimmed out of town in places like Boston). Joel Kopischke, Rána Roman, & Ryan Cappleman will bring rediscovered gems to light from Hamilton, Guys and Dolls, Waitress, Company, Something Rotten!, South Pacific, Kiss Me Kate, Once On This Island, and what was originally called East Side Story, including the story of how East became West Side Story, tales of the 3 discarded movie musical versions of lyrics to one of the greatest pop songs ever recorded, musical theatre legends being told they wrote the worst song ever, composers stealing from others and themselves, how Wicked snuck a little Wizard of Oz into his score, and more surprises from shows (and movie musicals) old and new.

Use promo code “Boston” (case sensitive)

They’re back! A couple of wise guys…and Doug. We open Wednesday, December 18th and run through Sunday, December 22nd. Showtimes are at 7:30 pm with a 2:00 matinee on Thursday and Sunday. Artist tickets are $18.00 and available the night of performance at the Vogel Hall box office. For more information visit


Support local theatre!

Auditions will take place Wednesday, December 11th from 6:00pm – 8:30pm and Saturday, December 14th from 11:00am – 3:30pm. Callbacks, if necessary, will take place on Monday, December 16th at 6:00pm. Sides will be provided.

Please prepare a monologue you are comfortable with (1 to 2 minutes). A piece in the style of the show or with a dialect is not required, but always welcome. Bring a head shot and resume.

Evening rehearsals will begin January 20th.
The show runs March 5th-8th and 13th-15th.
Actors will be paid a stipend.

Eight actors will portray nineteen characters. All characters will have either a Standard English or a Cockney dialect. Previous dialect experience is a plus, but there will be dialect coaching for everyone within the first several rehearsals.

PLEASE NOTE: The role of Joseph Merrick has already been cast.

Frederick Treves (age 25-35): a surgeon and a lecturer
F. C. Carr Gomm (age 40-65): an administrator of the London Hospital
Mrs. Madge Kendal (age 20-35): an actress
Ross/ Bishop Howe (age 25-65): a sideshow manager/ a bishop
Nurse Sandwich/ Princess Alexandria/ Pinhead (age 35-65)
Policeman/ Porter/ Lord John (age 20-45)
Count[ess]/ Snork/ Pinhead Manager (age 20-65)

*IMPORTANT: The role of Mrs. Kendal requires a scene with brief nudity. Though it has not yet been decided to what degree (full or partial), the actor portraying her must be prepared for this possibility and willing to perform it as such. Options and alternatives (such as period-appropriate undergarments, blocking, etc.), will be discussed with the actor after casting.


The Bunny Gumbo Theatre Company in association with the Waukesha Civic Theatre presents Combat Boot Camp, January 4th, 2000. This is the high school version of Combat Theatre, with a group of young adults creating an evening of shows in just 48 hours. All three aspects of the show, writing, directing and actiing, are made up of high school students. This program is free to participants.


Participants must be between 14 and 18 years old. Those interested or requiring more information should contact James Fletcher at




NOISES OFF will be directed by Dustin J. Martin. Auditions will consist of reading from the script.

Auditioners will be asked to fill out an Audition Information Sheet prior to auditions; one may fill this out the night of the auditions or ahead of time by downloading the Audition Sheet – NOISES OFF. You must be available for EVERY technical rehearsal (Friday before Opening through Preview Night) and EVERY performance to be cast in this show. In addition, due to the challenging nature of this show, we will not have a great deal of flexibility with conflicts.

Auditions: Monday, December 9 and Tuesday, December 10, 2019

Callbacks: Wednesday, December 11, 2019

Rehearsals: Limited rehearsals (table work) begining December 22, 2019 – January 11, 2020

Full Rehearsals begin Monday January 12 – Thursday, February 26, 2020

Performances: Friday, February 27 – Sunday, March 15, 2020

Read further for a synopsis and character descriptions.

Scripts are available for check-out at the box office for a $10 cash deposit.

Box office hours are Tuesday 1 pm – 7pm

Wednesday – Friday 1 pm – 5 pm & Saturdays 1 pm – 4 pm

Contact Ann Mather at or 262-782-4431, ext 221 if you have any further questions or if you plan to arrive later than 8:30 pm for auditions.


As a company of actors attempts to deliver a comedy onstage, we go behind the scenes where the real farce explodes. Everything that can go wrong does, as the actors try desperately to hang onto their lines, their sanity, and their clothes. This stage classic takes a fond look at the follies of theater folk whose out-of-control egos, memory loss, and passionate affairs turn every performance into a high-risk adventure.


Character Descriptions

Female Characters


Dotty Otley (age 45-65): Dotty (offstage) is a veteran actress who has put up her life savings to mount Nothing On. She’s forgetful, dating Garry, though she attempts to make him jealous by meeting with Freddy. Mrs. Clackett (onstage) is a cockney housekeeper for the Brent’s home in England, hospitable, though slow.


Brooke Ashton (age 20-29): Brooke (offstage) is a young, inexperienced actress who is always losing her contact lenses, one-third of a Lloyd-Poppy-Brooke love triangle. Vicki (onstage) is an English woman who works for Inland Revenue and is trying to woo Roger. This character will spend considerable time in just bra and panties.


Belinda Blair (age 30-45): Belinda (offstage) is cheerful and sensible, a reliable actress, may have feelings for Freddy; Flavia Brent (onstage) is Phillip Brent’s English wife, dependable though not one for household duties.


Poppy Norton-Taylor (age 25-35): The assistant stage manager, emotional and over-sensitive, envious of Brooke whom she understudies, carrying Lloyd’s child (not physically evident), one-third of a Lloyd-Poppy-Brooke love triangle.


Male Characters


Lloyd Dallas (age 45-65): British, director of the play Nothing On, a ladies man, temperamental, one third of a Lloyd-Poppy-Brooke love triangle.


Garry Lejeune (age 30–45): Garry (offstage) is an actor who never finishes a sentence, dating Dotty, easily fired up, unjustifiably jealous of Frederick, believing that Dotty was cheating on him with Freddy. Speech affectations disappear onstage but are ever-present offstage. Roger (onstage) is an English Real estate agent who is attempting to rent Flavia’s and Phillip’s home but uses it for his own personal benefit.


Frederick (Freddy) Fellowes (age 40-50): Freddy (offstage) is an actor with a serious fear of violence and blood, prone to nose bleeds, often questions the meaning of his lines and moves, must be able to jump up a flight of stairs with his pants around his ankles; Phillip Brent (onstage) is an Englishman who lives out of the country with his wife Flavia to avoid paying taxes, enters the country knowing that if he is caught by Inland Revenue he will lose most of the year’s income. Sheikh (onstage) is Middle-Eastern, interested in renting Flavia’s and Phillip’s home, he is the spitting image of Phillip.


Selsdon Mowbray (age 65+): Selsdon (offstage) is an elderly, alcoholic Englishman who hides his bottles all over the theater. If he is not in sight while rehearsing, the stage crew must find him before he passes out, is hard of hearing when he wants to be. Burglar (onstage) is an old Cockney man in his seventies breaking into the Brent’s home.


Timothy Allgood (age 20+): An over-worked stage manager, carpenter, company manager, understudy, gofer; understudies Selsdon and Freddy