• Runtime: 165 minutes
• Director: Trev Clarke

• Audition

Performances 27 April-2 May 2026 in the Studio

Directed by Trev Clarke

Hansard is an intimate two-person play that we will be performing in the studio. It is set in 1988, covering a continuous period as Robin returns home to his wife Diana for the weekend. Robin is a junior minister in Margaret Thatcher’s government, which has just passed the notorious Section 28 legislation, outlawing the “promotion” of homosexuality. The previous night, Robin has also been on live radio supporting the bill. Diana has spent the week watching this unfold with a growing sense of alarm and rebellion, and has also become convinced that Robin is ‘having an affair’.

Their marriage of thirty years is not in a good place, and sarcastic banter, from light to cutting, is their norm. What follows is a verbal fencing match as Diana tries to steer the conversation towards the things on her mind, while Robin parries and counter-thrusts. There is a lot of humour through much of the script, setting things up for a devastating conclusion that, if we pull it off, will leave few dry eyes in the audience.

As a two-hander, there is a lot to learn for two naturalistic character actors, who each need to convey a wide range of feelings.

Some notes on the characters, mostly taken from the script, with playing ages:

Diana (50-65)

If she had had her ambitions nurtured and her intelligence taken seriously, she would have been a successful publisher. Or maybe a broadcaster in the Joan Bakewell mode. She’s dazzling; she ought to have been something wonderful rather than just an MPs wife. But somehow, unbearably, here she is. The result is a complex combination or capability and regret. Part sumptuous intelligence, part brittle self-loathing.

Robin (55-70)

In contrast, Robin’s ambitions have always been taken seriously. Every door he has ever encountered has been held open for him: Eton, Oxford, the bar, Parliament. He has the absolute, unquestioning self-confidence of the successful public-school-educated Englishman. He is patrician without being pompous; powerful without having to demonstrate his power; privileged without being aware of it. He is also charming and can be kind and sincere. Diana is his second wife, which is why he should believably be a little older than her.

A little about me

Those who have performed alongside me can probably surmise this. I expect a strong commitment to the show, and for you to work on the script and other aspects outside of rehearsals. I’m finicky about accuracy of the words and have little tolerance for paraphrasing – I can provide a file for Script Rehearser (free app) that should help with this. I welcome you taking an active role in the development of the show, set, etc and proffering suggestions. I also hope we will have some fun.

Rehearsals

Rehearsals will be Tuesdays, Thursdays and Sundays. Prompt and regular attendance is a must – it’s very hard to do much if one of you doesn’t show – so be very clear about listing prior commitments at the audition (and any possibilities of new unavoidable ones).

Audition

The audition will take place on Tue 27 Jan at 7:15 upstairs at LMT. There may be a second chance on the 29th depending on how the first goes (contact me beforehand if this is something you need). The audition will follow the standard LMT format of reading and whatever movements you feel appropriate. If you want to be paired with someone in particular, let me know beforehand or write it clearly on the audition form on the day and it will be considered. If you have any special requirements, difficulties, etc, please let me know before the 27th.

The audition pieces are available as printouts in the box-office drawer or I can email you .pdf files of them if you contact me. Don’t take the last printout of each piece without making a few more copies in the office first. There is also a full copy of the script in the box-office drawer; it MUST NOT BE REMOVED FROM THE THEATRE (other people might want it too).

You do not have to learn the pieces, but you should have studied/practised them. Please do also read the full script to get a feel for the play and to be clear on the context of the pieces – it will make a difference.

The three pieces are:

1: p13 Robin: Diana? >>> p16 Diana: No? Then they should come and spend the weekend with us.

2: p31 Robin: Oh I meet them in the green rooms... >>> p34 Diana: ...It’s very sweet.

3: p59 Diana: But you can imagine what it’s like for the child... >>> p61 Diana: ...Well you’d just got your seat [...] Can really hamper a career –