by Phyllis Nagy

Directed by Guy Steddon

Production dates April 4th – 7th 2018

But please take note – this play will be performed during the Easter School Holidays. The weekend before is Easter itself, it is not my intention that we will be doing anything on Easter Sunday so it should ensure cast and crew are free to celebrate.


Audition date Thursday – November 16th – Southwick Community Centre, Southwick Street. BN42 4TE.
At 19.45

Audition date Tuesday – November 21st – Southwick Community Centre, Southwick Street. BN42 4TE.
At 19.45

If you are interested – in auditioning, or have any questions about the play, require audition pieces, please email director Guy Steddon via this link: email

To ensure a smooth and efficient running of the audition process – please contact Guy to advise which evening you will be attending and which role(s) you are interested, please email Guy via this link: email

The ages and physicality of most parts can be pretty flexible – there are parts suitable to pretty much all age groups. I have summarised each role below – please note that many characters ages can be flexible. If in doubt, feel free to ask if a role is suitable.

The play is set in New York and the cast will be required to use an American accent – this is not essential for the auditions though is preferred.

Guy writes – ” Sarah Casey is missing. Has she fallen prey to a vicious serial killer; fled an unhappy and troubled personal life; or has she simply disappeared?

From the pen of Oscar Nominated and Emmy Award winning writer, Phyllis Nagy comes Wick Theatre Company’s Spring 2018 Production Disappeared.

First produced in 1995 at the Haymarket Studio, Leicester, Disappeared is a tense flickering mystery thriller revolving around the unexplained exit of a woman from a bar in Hell’s Kitchen, Manhattan. Sarah Casey is a travel agent who has never been anywhere. In between bickering with her mother and her almost-fiancé, she frequents a dive bar on Forty-Eighth and the Highway. There, one evening, she meets the peculiar Elston Rupp. Elston works in a second-hand-clothing shop, and wears other people’s clothes and names.

Their conversation on the night Sarah was last seen is interwoven with the scenes which follow her disappearance: press conferences appealing for information; police interrogations of Elston, his impassive reaction and Sarah’s mother’s grief. All of which lends Nagy’s play a rich tension and jet black humour.

I’m guilty of hyperbole sometimes I know, but let me stress that it is with no exaggeration that I say this is one of the very best plays I have ever encountered. I am genuinely excited to be directing this for the Wick next year.

This is a stunning play filled to the brim with incredibly well realised characters, it is entirely right to say that every single role in the play offers genuinely exciting challenges for actors. The structure means the play is also a true ensemble piece and one that will mean a less all encompassing rehearsal schedule for most cast members.

I need hungry, excited and dedicated people to populate the cast and crew for this wonderful slab of mystery.

Please note that this play is set in modern New York and therefore contains realistic language for its setting – this means there is swearing throughout.

Rehearsals will start early in the New Year.”


Elston Rupp – The largest role in the play. An odd, mysterious person that no-one recalls the same way. Enigmatic, peculiar and able to swap personalities as easily as he can change a shirt. The script describes him as being a little short but this is not essential. Impeccably groomed but in a very odd way. Playing age is very flexible; 30s to 50s.

Sarah Casey – A woman full of dreams and hopes but also someone who is becoming increasingly afraid that her world and possibilities are rapidly shrinking. Sharp, intelligent and
non-committal, she is a fantastic role to take on. She does need to be a bit younger; 20s – early 30s.

Ted Mitchell – The detective investigating Sarah’s disappearance. World weary and embittered, he seems a bit of a cliché initially but gradually reveals fantastic depth and layers. Some very intense scenes. Age is, again, pretty flexible; 30s – 60s

Jack Fallon – A very funny role, the owner of the bar Sarah is last seen in and her ex-boyfriend. Dumb, jovial and gullible. He gets a lot of the play’s best comedy lines but has touching and wonderful moments too. Age is roughly the same as Sarah’s; 20s to mid 30s

Ellen Casey – Sarah’s Mother, a whirlwind. A disappointed woman who believes herself to be far classier than she is. Tempestuous and volatile; she gets some really emotional and vibrant scenes. Playing age; 40s up.

Natalie – Elston’s employer and unwilling object of his attentions. A bag of neuroses and discomfort oddly matched with her bullish, flirtatious and sarcastic persona. A fantastic character role. Playing age; late 30s onward to 60s.

Anthony – Sarah’s boyfriend, a less than sharp hairdresser. In other plays he would be a forgettable character but here he gets some cracking lines and one of the very best speeches in the whole play. Funny, well-meaning and entirely lacking self-awareness. Playing age; 20s – 30s.

Timothy Creighton – A lawyer who finds himself pulled into the mystery entirely by accident. In his real life he is likely powerful, confident and charming but here he is confused, alarmed and troubled. Nagy takes a character who could so easily be one of note and gives him a few wonderful scenes and moments. Playing age; 40 onwards.

If you are interested – in auditioning, or have any questions about the play, require audition pieces, please contact director Guy Steddon via: email