Audition: Fulgens and Lucres, Poculi Ludique Societas (PLS)

Contact: Kimberley Radmacher, Producer (

 Extended Audition: Fulgens and Lucres, PLS

Contact: Kimberley Radmacher, Producer (


This November, PLS ( will kick off its 50-year anniversary with a full-scale semi-pro production of Henry Medwall’s Fulgens and Lucres. It’s like Shakespeare, but rawer, rougher, zanier… and written 100 years earlier.

Rehearsals begin September 15
Non-Union (Actors will receive a $200 honorarium)
Show Runs: November 7-15 (two weekends only)
Where: West Hall (U of T campus)

Director: Matthew Milo Sergi
Producer: Kimberley Radmacher

  • Send headshot and resume to
- Auditions AND callbacks will be held at the Gill Theatre on September 2 and 4.
  • Prepare a 1-2 minute comedic monologue from Shakespeare (or anything earlier).  We are looking for physical actors.
  • OPTIONAL: If you have circus, acro, clown, mime, stage combat, please come ready to show us (not required, but a plus).
  • Callbacks will involve some movement; please dress appropriately.


  • CORNELIUS: Pompous, privileged, but gorgeous suitor.  Male, 20s-30s.
  • GAIUS: Simple, direct, strong but kind and warm suitor.  Male, 20s-30s.
  • KNAVE A: Zany, playful, selfish prankster (like Puck but a bit more stupid).  Any gender, any age.
  • KNAVE B: Same as Knave A, but a bit mean-spirited.  Any gender, any age.
  • LUCRES: Intelligent and composed, but with a sense of humour.  Female, 20s-30s.

PLS (Poculi Ludique Societas) is a non-profit, non-Equity theatre company affiliated with the University of Toronto, dedicated to the production of early plays for research and entertainment.  All actors will receive a $200 honorarium for their work.  All roles are available to all genders, ages, and types.

Just like the original producers did in the 1490s, we will mount our production of FULGENS AND LUCRES for feast-goers in a grand dining hall (using West Hall on the University of Toronto campus).  The opening performance will be a gala banquet.

In some beautiful opening poetry, we meet a Roman senator (Fulgens) who has a beautiful unmarried daughter (Lucres).  Two suitors compete for Lucres’s hand—one, a privileged braggart from a noble family (Cornelius); the other, a low-born soldier (Gaius).  But almost immediately after that story begins, things get ridiculous.  Each of those three lovers has a servant.  These three servants (Joan, “A,” and “B”), playfully pursuing a love triangle of their own while trying half-heartedly to help their masters find love, create mayhem that invades and eventually crowds out the romantic story.  In a series of competitive spectacles, they dance, sing, flirt, play tricks, fight a fart-prick-ass joust (you’ll see), do a good deal of audience participation (the good kind), and make a statement about class and privilege that is still powerfully relevant today.