Introducing PROTEAM

Duckegg’s New PROTEAM will replace the Young Professional Company from September 2018.

PROTEAM is a year long training programme, working alongside Haley Muralee and Anna Pedder, towards a professional level show performed for a week long run.  Training will work from Level 4 to 6 (HNC to Degree level).  Our 2018/19 production will be DNA, by Dennis Kelly.

Entry to PROTEAM is by audition, once per year, focusing on a different production every year.

Auditionees MUST:

* Be a current Duckegg member.

* Be aged 14-24 by the Summer term of the project.

* Be a member of a Duckegg class alongside PROTEAM, OR be attending regular one-to-one sessions and a minimum of one LAMDA examination per year alongside PROTEAM.

* Have the availability, commitment, skill and initiative to create professional level work.

PROTEAM sessions will take place at Duckegg Scunthorpe (Queensway) every Thursday from 7-9pm, and will be chargeable at the usual members rate.


15th July 2018 – deadline to submit self tape auditions.  Please film a monologue of your choice, a maximum of 4 minutes long, in landscape format.  Send via dropbox or retransfer to  Try to reflect the character you wish to play in your monologue choice.
24th July 2018 – audition workshop.  We will invite a number of applicants to a workshop day to assess chemistry, initiative and skill level.

27th July 2018 – Final PROTEAM selected, ready to start in September.


The Edinburgh Festival Project 2017 – Auditions for “The Story of Snow and other true tales according to Reet Petite” by Grant Corr

Audition by video – deadline midnight, 2nd April 2017.


An incredible opportunity to perform in a professional production at the world’s largest arts festival!


Aged 12-24?  Interested in a career in Theatre or Music?


Duckegg Theatre Company are providing a unique opportunity to perform at the Edinburgh Fringe Festival in a week long run of their new production “The Story of Snow and other true tales according to Reet Petite.  This year there are 15 roles up for grabs including performance and production roles.  The Festival provides a career starting point for many famous Actors, Playwrights, Directors and Comedians.


Snow is the newest prisoner at HMP Young Offenders Institution, Hull.  Through the medium of fairytales, cellmates Reet and Snow explore their respective families, the reasons for their imprisonment and, ultimately, how they can change their own ending.  ”If you ever find yourself in the wrong story, leave.”

A play about media manipulation, owning your identity and standing up for yourself.



What Will I Have to Do?


The project consists of a period of intense rehearsals at Duckegg Theatre Company’s base – The Ropewalk, Barton Upon Humber and one or two potential rehearsals in Leeds (we can help arrange transport).  These will begin at the end of May with read throughs and character development workshops.  Cast members must make themselves available on these dates, we will endeavour to make the dates fit the cast in the first production meeting.  There is likely to be an intense rehearsal period in the Summer holidays before we open the show.


Then on 11th August we head up to Edinburgh for performances at Paradise @ Augustines Theatre and street theatre from 14th-18th August!  Our friendly chaperones will always be on hand to help with any problems you may have.


You will be staying at Edinburgh University’s ‘Hermit’s Croft’ campus in student flats, allowing you a real experience of touring theatre.


Will We Get to See Any Shows?


Yes!  The best thing about the festival is the thousands of different shows to see and draw inspiration from.  We have ensured that we have a few days to fully immerse you in the festival before commencing performances this year.


Are there any production roles available?


The following production roles are potentially available for excellent applicants submitting a video portfolio of work/ideas.


Assistant Director
Stage Manager

Lighting Technician/Designer

Hair and Make Up Artist




How much does it cost?


Project places cost £600 per person – this includes rehearsal costs, accommodation in Edinburgh, all travel, tickets to some festival shows, your show t-shirt and the time of your life.  The fee can be paid up front or in three instalments (May, June, July).  For your information, it costs Duckegg just under £15,000 to take a show to the fringe – Duckegg contribute £6000 to the project from youth theatre show profits, external funders and profits from our touring productions.


I don’t know if I can afford the fee – should I still audition?


Definitely!  We hold a fundraising meeting early on in the project to help you cover the cost of your place.  Students in previous years have been surprised at how quickly they were able to raise the fee through business sponsorship and fundraising ideas.


Are there any bursaries available?


Yes!  There are x4 leadership bursaries available, worth £150 each, for members aged 17+ who would like to take a leadership role with younger cast members whilst at the Edfringe.  If you wish to apply for this please state it on your booking form.


Why should I do it?


“Edinburgh Fringe is the place that reminds you why you love theatre.  Having that experience makes you want to be involved in the arts forever.  It makes all of the challenges and trials worth it.”  Shannon Mae Toyne


“Often when you express an interest in the arts as a career in school or college, you are faced with the same look of exasperation, laughter and an expression that says “good look waiting tables”.  This can discourage you, however if you are lucky enough to get involved in the fringe festival you will see that the arts are alive and thriving; you will see everything from mimes with their mouth taped shut to tight rope walkers. It was honestly on of the craziest best experiences in my life and I would suggest that everybody should audition.”  Joseph Shepherd


‘Be warned: you’ll never be able to imagine any August for the rest of your life without the Fringe. But it will be the most manic, yet exciting, crazy yet fulfilling, and busy, yet best week of your life every single year.’  Daniel Swift


“The fringe is so, so rewarding and such a fun way to build confidence – for performing and adult-ing… all while making brilliant friends and having a crazy time!”  Rhiannon Hill


‘Edinburgh Fringe will be one of the best experiences of your life – the feeling of walking down the Royal Mile for the first time is one that stays with you forever. It has made me the person I am today and has given me the confidence to pursue what I love as a career.’  Hannah Leek


“Edinburgh Fringe is the perfect platform for anyone wanting to get a taste of what it’s like to work in professional theatre- with the biggest range of shows to see at any theatre festival, it’s an unforgettable experience that’ll have you going back year after year.”  Sophie Roberts


“I have never known children change so rapidly in such short space. My children both have been and they went as children and came back young ladies.”  Lisa Kmita – Parent


“Because it is a great way of getting away from your olds for a week and have a darn good time!……no wait, they will probably want to go up there too to see you perform your socks off!” Colette Cullen – Parent

Those ruddy hills and steps kill your legs!!! Book accommodation early if you plan to follow the ducks up there.”  Clare Mainon – Parent







Video auditions will be assessed.




Places are announced and show packs distributed.  Draft script will be received and first production meeting called.




Rehearsals begin, casting.




Rehearsals, performances and probably the most fun you’ll ever have!




Please email to send your audition.  The audition will consist of:


A 2-3 minute monologue of your choosing.

A song of your choosing (please act out your song)

A performance on your instrument (only if you are a musician!)

Submission of this questionnaire

Submission of this booking form


Feel free to get creative in your videos!  We are auditioning this way this year as a result of the explosion of ‘self tape’ auditions currently requested on major casting networks.  It’s a good way to get some experience of this.


Please ensure you send all items for the audition.  PLEASE DO NOT SEND VIDEOS OVER EMAIL. Use a large file sharing service such as Dropbox, Google Docs or wetransfer.



Right click here for an audition booking form and return to




Call 07723 371833 or email for further information.


We’re looking for a number of our young people to take part in scripted performance at the book launch of ‘Day’s Dying Glory’ but Virginia Crow on the 11th April 2017.

We need Eight actors to play different characters as well as some chorus work.              We’re looking for reliable Ducks, who are quick at learning dialog and ready to have a go!

Any student interested should submit a VIDEO AUDITION using one of the sections of script provided to

The Deadline for Auditions is Next Monday (20th) because we need to get cracking as soon as possible.

Please find more information and a copy of the scripted sections below:

Day’s Dying Glory Script

Any problems, contact Jonah on the above adress.



We are now looking for Duckeggs aged 13+ to get involved in the TestLab New Writing Festival rehearsed readings on 26th Feb! This can be listed as a professional credit on any CVs/Spotlight/CCP profiles. You’ll get to work alongside five professional theatre makers, perform in front of industry professionals and you may also get a sneaky peak at the Edfringe Show!

You MUST be available Thursday-Sat 10:30am-5:30pm w/c 20th Feb and for the performances from 2pm onwards on the Sunday at The Ropewalk, Barton, DN18 5JT. Please do not apply if you can’t attend all the days or if you don’t think you can focus for that length of time. This is a professional project.

Please email with a paragraph about why you’d like to be involved if you’d like to apply. There will be no auditions for this project; casting will be based on roles available and feedback from your class teachers.

**BARTON MT SENIORS** I’ll make it work around your rehearsal if you want to take part x


It’s that time of year again where some of our lovely older Duckeggs start the arduous, thankless and expensive task of applying for Degree programs at Drama Schools across the country.

For those I take for one-to-one LAMDA, I ensure I drum younger applicants with the beat of ‘do not expect to get in first, or even second time’. Though some Drama Schools deny it, they really don’t offer many places to 18 year olds, very often due to nerves impacting on performance or coming across ‘green’. Though you’ve heard this time and time again it is still hard to take when those rejection letters from RADA, LAMDA, Central and the like drop through the letterbox. You’ve worked hard, travelled far, spent a fortune, and barely get a whiff of feedback.

This, however, is the reality of it. Out of eight Duckegg students who I have completed Drama School references for this year so far, one has secured a recall. One. Fingers crossed she’ll get a place. It’s often a lottery. When you look at the ratio of auditionees to places I deem this a great success. One year we had three people gain places and I was genuinely aghast! These training providers are more competitive than Oxford or Cambridge University combined and becoming more so year on year. The ‘bigger name’ London Drama Schools generally accept somewhere around 1 in every 100 applicants.

There are all sorts of things at play in the audition room; raw talent, funding, age, diversity on the course, experience, who you know, how much of yourself is coming through and nerves to name a few. Though I’m not trying to put you off, you really need to consider whether this is the only route for you at this point.

Our main ethos at Duckegg is developing performers with initiative. We make no apologies for not holding your hand. It’s a tough industry and, though we will support you, we’ll also let you feel the consequences of not being on the ball. I’m not going to lie, and all our teachers will testify, It makes things difficult at junior level and some parents don’t seem to understand, but you really see the results in the children who progress from juniors to seniors. It’s our house style and it works.

The reason we work so hard to develop initiative in you is so that, theoretically, you can finish college then start auditioning for professional work, sometimes with some Equity paid work from us sat proudly on your CV, should you choose to move into industry. You can work professionally alongside trying to gain a place at Drama School. There is no one qualification that gets you into a career in performance and experience and good contacts eclipse your training eventually. If you are a confident, committed and organised actor who is willing to travel and who can contribute well in a rehearsal room then you won’t struggle to find work. I’ve auditioned enough flakey actors, for both Duckegg and larger organisations, to say this categorically.

Yes, a degree from a well known and respected Drama school helps a lot – there is no denying this. However, push yourself in front of enough people, impress them and you won’t need to hide behind any institution. You have to self promote and you have to believe in your ability. Coincidentally it’s this kind of actor, understated, experienced and hard working, that drama schools tend to be looking for.

So if you’ve had your rejection letters, and you’ve had a word with yourself regarding if this level of rejection is something that you can cope with for the rest of your acting career (actors attend an awful lot of auditions at their own personal expense and only win a handful of parts, if they are good) you can then consider the following options:

* Go to University. A drama degree at a University is not the easy route. Some courses offer a very rigorous training. Or you could study a different subject to broaden your range and take advantage of the MANY fantastic University Drama Societies. It doesn’t hurt to think about what you’d do in your downtime when you are not in acting work. The more flexible the better. I would have had to quit my directing and writing work if I couldn’t have worked as a supply teacher in the early days.  If you still want to train in a drama school environment after your degree then consider a Masters course at a a Drama School, which are often more in depth and better vale for money.

* Dedicate the year to developing your professional portfolio, applying for professional work (set yourself up on Casting Call Pro and Spotlight), getting yourself known in theatre companies you like, networking in general, making your own professional level work, inviting industry people you admire to watch you perform, research high quality agencies and invite to any performances, build yourself as a ‘product’ and take Continuing Professional Development courses with reputable companies – basically all the stuff YOU STILL HAVE TO DO AFTER YOU FINISH DRAMA SCHOOL. I know a lot of professional actors who have done this then got steady work and never looked back.

* Foundation degree. If you have the money and are desperate to go somewhere then it could be an option for you. Just to reiterate -  YOU DON’T NEED QUALIFICATIONS TO WORK PROFESSIONALLY. So if you think the content of the course is really going to be helpful to you then go for it, but don’t just do it because you think it’s more likely that they’ll let you progress into the degree. The progression figures don’t lie.

So I think it’s important to remember that there are many ways into a career in performance and the wider arts industry – Drama School is part of a plethora of things you can do to improve your chances of gaining work. Even with a first class degree from a top Drama School, It is not a guarantee of work. Though I work for a major Drama School and believe in rigorous, high quality training, some of the more influential and successful people I have met have had no professional training, just bags of drive, talent and a willingness to muck in. These are aspects I also recognise in many Duckegg members.

If you are meant to do this, you’ll find a way in. Have faith and stay proactive and positive.

Haley Muralee – Artistic Director


‘What do you actually do?’ I get a lot. “It’s not a proper subject’ ‘What’s the point?’. Which is a valid point when you’re talking about the arts.

Beyond your basic argument of the value of escapism, imagination and ‘human expression as food for the soul!’ (blah) what purpose can you derive from what is essentially individual expression?

This type of question occupies my mind a lot and so when, this summer my family took a trip to Palestine to visit the ‘Bet Lahem Live’ festival and refugee camps local to the Bethlehem area, I found myself thinking about this even more.

Just to side track here with an interesting point of reference about the situation in Palestine at the moment; whether you’re religious or not we can all agree that Bethlehem should be one of the most active and prosperous tourist sites in the world, right?

It’s possibly the greatest physical cultural landmark of our own western culture, whether you’re the Pope in Rome or just in a school nativity, Bethlehem is an important place and you’d think it’d be busy. But there’s no one there!

Lines of shops and restaurants and hotels are closed and run down because they have no one visiting them. No tourists. Even the pilgrims, brave enough to be shepherded in to visit the Church of the Nativity in Manger Square, are told to stick together because it’s a ‘dangerous area’, so they’re in and out without giving anything to the locals to help support the town that’s so important to them.

And why do people have this idea that the town’s not safe? Because that’s what we’re being told to think by the people who are trying, and succeeding, to starve the locals of funds and repress their heritage.

The truth is, apart from some of the boy racers who like to whizz around the roads in the center of town at brake-neck speeds, I felt more comfortable wandering around the beautiful cobbled city at night than I do going into town on a lunchtime.

It can’t be overstated that it is a really beautiful place, and what the annual festival there is trying to accomplish is bring a little bit of music, culture and trade back to this town that should be one of our cultural capitals.

Anyway. Back on track…

We visited two refugee camps whilst we where there. We stayed several nights in Arroub camp (on the main Bethlehem – Hebron Road) but the other camp we visited was called Aida camp. The most poignant thing you notice about Aida is the giant blocks of concrete wall that run right through the middle of the camp. Not far from the wall is the home of Alrowaad theatre company. Alrowaad was formed under the mantel of ‘Beautiful Resistance’. The idea behind this is to show resistance to the occupation in a non-violent and inspiring way. Allowing young people a way to channel their energies into a positive art form. Encouraging the young people to live for their country rather than die for it.

I was lucky that shortly after we returned to England Alrowaad was taking part in a national tour of the UK. Although it wasn’t certain till the day before that they would be allowed to leave the country, Alrowaad was able to take a group of young people to UK to show excerpts of their show ‘Children of the camp’.

I offered to help out at the groups Edinburgh show, running errands and flyers in the city for the group for the week that they were there.

I got to see the show several times and I really got to thinking about the role that art has in the world. Abdel Fattah, the director of Alrowaad, describes Theater as the most powerful and expressive tool we have.

There is a lot of talk about theatre and art as an extremely liberal and left wing movement and this is often talked about in a negative way. I think a lot of this comes from the fact that art is constantly trying to mirror life and to create pathos and catharsis in its audience, but when there isn’t a strong reason or voice behind it then it comes across as distant and pretentious. One thing I saw a lot of, in the crowds that came to see Alrowaad perform, was people who wanted to aggressively support them.

People with T-shirts proclaiming ‘Free Palestine!’ in angry red font attempting to bring down the Israeli army with a weaponized jumble sale.

And I don’t think they got the message the company was trying to give out, that anger and aggression doesn’t lead to change.

A lot of people want to be angry, and righteously angry and so they jump on issues like the Arab-Israeli–conflict, Racism, Feminism and politics in order to give them something to vent. I think this is where a lot of this distant and unrelatable art comes from, that can often have a damaging effect.

I realize that I may have led you rather merry dance here but I’ll try and make a point.

So to summarize, what do I want to be taken away from this?

Well for one thing that there is a lot of injustice that we aren’t being told about and our governments are too busy fighting their own little battles to bother about.

Secondly, theatre, and art in general, has a hugely important part in representing the plight of this injustice.

Thanks to my time with Alrowaad I have come to think more about how I view the creative arts and how my writing, reading, performing and viewing could be used.

Another place we visited whist on our trip was a place called ‘The tent of Nations’. A Palestinian farm located in a valley surrounded by illegal Israeli settlements, we had to climb over a boulder to reach (placed in the road to stop the produce of the farm being driven to market). The farm owners can’t be evicted, because they have the deeds to the land going back decades, and as a result the farm is under constant threat of sabotage or illegal demolition by the Israeli settlers. The farm has become internationally famous as an example of resourceful and eco-friendly farming in the face of constant aggression and on a sign outside the gates is written, in several languages, ‘We refuse to be enemies.’

So when I’m asked ‘What do you actually do?’ ‘What’s the point?’. I turn to this mantra which I think sums up the idea is proof that human beings have the capacity to move beyond shows of strength and power, and to enable understanding through the use of  imagination.

But again that’s just my opinion.