Table of Contents

April 2023

Editor extraordinaire Mike Smith

Here come the Girls!

It’s a busy time in the Barn right now, and one might be forgiven for thinking we’re back to the dizzying heights of activity, the like of which we’ve not seen since that pesky pandemic! As I stop for a momentary pause, between the Green Room and the foyer, I’m conscious that there are three shows currently in production, and all following on from one another in quick succession. The building, bless it, has barely time to rest. I myself hover through to the dressing room and take up residency in a dark and quiet corner. Sometimes, it’s good to steal a moment to simply ponder: a little reflection, dear reader, is good for the soul.

Have you ever wondered what it might be like to live a life very different from the one that you’re in? I have. I’ve often thought about living by the sea, or in a foreign land where it snows all year and I never have to leave my log cabin. And then there are the daydreams of being a princess, a playwright, or a philanthropist. I guess that’s one of the attractions about acting, that we get to inhabit the shoes of someone else for a while, to think and feel, and behave as someone very different from ourselves. I think, if I could be anyone on stage, I’d be the Duchess of Malfi – virtuous, powerful and deliciously desirable!

But what if, by some chance, an opportunity to live out such dreams became a possibility? Suppose you stumbled, by accident, into a lifestyle you craved: would you let it consume you, or would you stay true to yourself? 

Mel Powell is busy directing Alys, Always – a psychological thriller that explores the idea of the outsider suddenly being given access to a forbidden world. The play tells the story of Frances, a lowly sub-editor and general dogsbody on the books desk of a Sunday newspaper. She’s quiet and capable, but nobody takes much notice: her face is pressed to the window, on the outside looking in. One evening, driving home in the rain after visiting her parents, she comes across an overturned car crumpled on the side of the road. It’s a twist of fate which presents her with an opening into the heart of the family of a famous novelist, and into the world on the other side of the window.

How far is she prepared to go? And how many lies will she tell to stay there?

Mel is effervescent when asked about his production. “I love a play with an intriguing set-up, that entices you in, which rattles along at pace with a sparkling dialogue sprinkled with humour, which completely engrosses you, and which then wrong-foots you. Alys, Always is exactly that sort of play!”

Just like the dark tense twister Breathing Corpses and the revenge thriller The Wasp (which Mel directed in the Barn Studio) there’s something slightly uneasy, something slightly off-kilter, about Alys, Always. While it has its roots in the old-fashioned noir genre, it also offers a very contemporary twist: a bit like a classic Hitchcock thriller but with a Fleabag makeover.

The play premiered at the Bridge Theatre in 2019 and is based on the novel by Harriet Lane. “It’s written almost like a screenplay and our staging reflects that,” continues Mel. “We’ll be using a minimalist, multi-purpose set, and great lighting and sound design together with some atmospheric projection to help our terrific ensemble cast of twelve conjure up the many multiple locations and to instantaneously switch between them without the need for blackouts.”

And if that doesn’t sound challenging enough, the actress playing Frances is on the stage for the whole time. The role of the unreliable narrator is in the capable hands of Jessica Drucker, last seen playing Julia Price in last September’s production, The Ghost Train, and it’s a part she’s absolutely relishing.

“It’s been a thrill,” Jess tells me, “getting into the mindset of such an intriguing, ambiguous character, who keeps the audience guessing right until the end!”

Mel concludes, “It’s great to be presenting a story which most of our audience will be seeing for the first time. There have been only two non-professional productions before us. It’s a fantastic psychological thriller, but also often very funny in its digs at class, privilege and the arts world.”

Elsewhere, in the building, there are a different group of women who have suddenly found themselves at the centre of national media frenzy, with a whole new lifestyle opening up to them. They’ve taken their clothes off and are posing for the camera, with just a few buns, some knitting and a sunflower to hide their modesty. These are the Calendar Girls, and they’re under the influence of Hannah Sayer, whose good humour, confidence and overall Ribena-berry bouncing joyousness, is absolutely right for directing this production. Rehearsals are well under way and it’s shaping up to be a fantastic show.

The story of Calendar Girls is written into national folklore. Based on the true story of eleven WI members who posed nude for a calendar to raise money for the Leukaemia Research Fund, they swept the whole world up in 1999-2000, when their ‘nude’ photos appeared in what was then known as the ‘2000 Alternative WI Calendar’. The original calendar was released on 12th April 1999 and became a runaway success, selling out in the first week. It was inspired by the death of Angela Baker’s husband, John, who died from non-Hodgkin’s lymphoma at the age of 54 in 1998. During his illness, John’s friends began to raise money, initially with the aim of purchasing a sofa for the visitors’ lounge in the hospital where John was treated. Nothing could have prepared them for the way their original calendar took off.

To date, they’ve raised over £5 million for blood cancer research!

The story is heart-warming, joyful and raw. Friendships are tested and bonds are strengthened. The whole play is about embracing all women regardless of age, ethnicity or size. A true celebration of women, by women, for everyone. Get your tickets now!

Alys, Always opens on 14th April, and runs through until the 22nd. It’s closely followed by Calendar Girls, which opens on 3rd May, with two charity performances, and closes on the 13th.

April 2023

From the Chair

Welcome to April’s Barn News

Siobhan Hill Elam

Greetings all. I’m writing this at the end of a lovely sunny spring day in March, hoping for more of the same as we glide towards April and the early optimism that is Easter. Of course we all know that, this being England, it’s just as likely to be snowing or hailing tomorrow, unpredictability being the nature of our spring weather. But not so our 2022-23 season.

We’re about half-way through now and have enjoyed some cracking shows, with more to come. Laura Eddy’s rollicking production of Treasure Island has just opened and audiences are thoroughly enjoying it. The original story was, of course, written by Robert Louis Stevenson but this is Bryony Lavery’s take on it, from the National Theatre’s production first presented to us in 2014. It’s a bit different, with lots of opportunities for women to have fun with roles that were previously the preserve of men only, but not here. Time was when some audiences found this took a bit of getting used to but it works really well in this production, and there’s nothing here that doesn’t make sense. I would include myself in that category, by the way, but where I get off thinking there’s anything strange in unconventional casting, I really don’t know. After all, I went to a convent school where the only weirdness for us was seeing boys playing roles that we were all used to covering ourselves without batting an eyelid! But there we are, it’s all a matter of perspective.

By the time you read this, we’ll know the result of Hertford Theatre Week, held at Haileybury School again this year, where Constellations is the Barn’s competitive entry for 2023. Here’s hoping that they come away with some silverware. Best of luck, team!

Siobhán Hill Elam
Chair

Membership & Council

Minutes for the Council Meeting February 2023

Please find the minutes of the meeting of the Barn Theatre Council held on
14th February 2023.

Our membership news depends on information we get from YOU

Keep us up-to-date by emailing us here:
Get in Touch

New and returning members

Nicola Harrison
Membership level
: Ordinary
Interests: Acting, Props, Set Design, Set Painting, Wardrobe

Hope Powell-Eddy
Membership level:
Ordinary
Interests: Acting

Welcome to the Barn!

Don't forget!

You should have spotted on the email which brought you this issue an opportunity to win two free tickets for a play in the remainder of the season. Don’t forget to take part!

Nigel Rive

Membership Director

Hertford Theatre Week

The Barn’s reputation precedes it. Our entries into Hertford Theatre week, Peep and Constellations, sold out! We hope they were well received.

Constellations by Nick Payne 1000x1000 RC

Playing away

The Vicar of Dibley - Harlow Theatre CompanyClive Weatherley is appearing in Harlow Theatre Company’s production of The Vicar of Dibley from 26th – 29th April at the Victoria Hall Theatre in Old Harlow.

Social Scene

Thank you to everyone who came to the Comedy Night: it was clear everyone enjoyed it. I’m excited to announce we have another Comedy Night on Saturday 10th June. Tickets will be available on the website soon and are £7. 

Due to everyone in the social team having such busy lives, we’ve unfortunately run out of time to put on our murder mystery in April. Don’t worry: we’ll still put on an evening of detective work, but it won’t be until next season. 

I’m pleased to announce that the 19th May Jazz Night has SOLD OUT! Due to the huge amount of interest for these evenings, we’ve decided to have a season finale in the auditorium on Friday 14th July. A few tickets have already sold, so hurry up and get yours. Tickets for this are available on the website and are £10. 

Finally, to close the 2022-23 season, we’re holding an awards evening. More details to come soon, however for now, please save the date: Saturday 1st July. You never know, you could be nominated!

Thank you

Hannah Humbles

Social Director

Closer - Cast and Crew

Cast

Alice – Lauren Ryan
Anna – Jess King
Dan – Harry Harding
Larry – Steve Deaville

Crew

Stage Manager – Sarah Gennoe
Production Manager – Lucy Winston
Sound – Tristan Cameron, Michael Merry
Lighting – John Cude
Visual Effects – Tristan Cameron, Michael Merry
Set Construction – Keith Collingwood, Ian Bage, Bob Cameron, Dave House, Stephen Khan, Keith Lambert, Norman Merry, Nigel Rive, John Sear
Wardrobe – Yvonne Bartlett
Props – Bev Triber, Gerry Gritzman 

Closer by Patrick Marber production graphic.

About time for the Calendar Girls

FINALLY, after years of trying to get the rights and being thwarted time and again, I’m so happy to be directing Calendar Girls at last!

Back in 2018 I first thought I’d obtained the rights and had written my speech for the Directors Evening. But at the last minute I was told I couldn’t do it because a musical version by Gary Barlow was about to go on a UK tour. You could hear my anguished heart crack from a mile away.
Instead, I managed to get Noël Coward’s Waiting in the Wings, another play with a large, mainly female cast and then, when almost ready to go up, along came Covid and sadly it’s forever waiting in the wings! Cue full-on heartbreak.

Since the end of the pandemic, we’ve been keeping a very close eye on Calendar Girls’ availability, and, using Concord Theatrical’s licence notification function, we finally got an email saying that the rights had become available. To say I jumped at the chance would be a minor understatement.

We planned to open the season with it last September when along came another delay. Welwyn Thalians were putting on their fabulous musical version in October (I was really trying not to hold Gary Barlow directly responsible for this constant thwarping but it was getting harder (joking – Take That forever!)) and so we had to reschedule for this May.

Calendar Girls is an inspiring story on so many levels and not just because it raised over five million pounds for cancer charities, which in itself is amazing; but because of the bravery of the women, most of whom are ‘of a certain age’, against all the expectations of 90s and early 00s media and the ‘Barbie’ image it promoted (remember those horrific low-rise jeans that only just covered your hoo-ha!). These Yorkshire women showed enormous courage in baring their bodies, every beautiful roll, wrinkle and stretch mark, showing that women are beautiful no matter what age / size / shape you are – with the calendar going on to sell 88,000 copies in 1999 in the UK alone, you can’t deny that people agreed.

And nearly 24 years later their legacy lives on with many people, both men and women, still copying the idea and fundraising this way (if you’ve not seen the 2023 Young Farmers calendar raising money for testicular cancer, I’d recommend it…).

The play, by Tim Firth, who wrote the original film script with Juliette Towhidi, is really funny and heart-breaking at the same time. Dramatic highs and lows but we’ll hopefully leave you feeling uplifted by the end.

It would be easy to fall into the trap of attempting to imitate the spectacular performances of the brilliant British actresses in the film, such as Julie Walters, Celia Imrie, Penelope Wilton and Helen Mirren, but my fabulous cast have truly made it their own, and every rehearsal I see a something different that they’ve brought to the table.

I was surprised and so very flattered that so many wonderful women auditioned, and I could easily have cast it twice over. It was so tough making final decisions – these things are never easy – but I think I have a wonderfully strong cast. There are a few new faces as well as familiar ones, and some who haven’t been seen treading the Barn boards in a while.

We also have an all-female crew, including for lighting and sound operating, which may be a first for the Barn. My terrific ladies have put a lot of faith in me to protect their modesty as much as possible: what I’m asking them to do is terrifying and makes you feel so vulnerable, so I’ve tried to do what I can to make them feel as comfortable as possible – it’s a logistical headache though to keep the audience’s eyes where you want them, with strategically placed props and light reflectors. There may or may not be real vodka on stage – I couldn’t possibly comment on that (just don’t tell Sharon).

During productions of Calendar Girls, it’s become somewhat of a tradition to have a charity night, but we’re going one further and having two on 3rd and 4th May. As well as raising money for Blood Cancer UK it just seems right to support the Jessica Brady CEDAR trust. Jess, who along with her mum Andrea, was a member of our Barn family, sadly died from cancer in 2021 aged 27, and her family have set up a charity in her honour for Cancer Early Diagnosis, Awareness & Research (CEDAR). I feel that this is something the original calendar girls would have approved of. 

Calendar Girls runs from 3rd to 13th May with a matinee on the 13th. I’d get your tickets early… we already have a couple of local WI groups booked in to see the show, so there is pressure to really do Jerusalem justice. On the first Saturday we’ll be competing with King Charles’ Coronation but hopefully our assets will be more regally appealing!

Some info from Blood Cancer UK:

Blood Cancer UK are a community that are dedicated to beating blood cancer. We do this by funding research and supporting those affected. Since 1960, we’ve invested over £500 million in research that has transformed treatments and saved lives. As well as looking for a cure in the future, we’re here for everyone affected by blood cancer when they need us. Whether on the phone or online we offer health information people can trust, in a language they can understand. 

Each year 40,000 people are diagnosed with blood cancer in the UK, and it’s still the UK’s third biggest cancer killer, however the day we will beat blood cancer is now in sight and our researchers are determined to beat it.

One of our most celebrated fundraising campaigns has been the Calendar Girls. Angela Knowles’s husband, John, died of non-Hodgkin’s lymphoma in 1998 and Angela and fellow members of the Women’s Institute created a naked calendar to raise money for research.

They initially hoped to raise enough for a new sofa for the hospital where John was treated, but the calendar captured people’s imagination right across the world. The Calendar Girls have raised almost £6 million, and their story has inspired a hit Hollywood film and a West End musical written by Gary Barlow and Tim Firth. Angela is now one of our Honorary Presidents and received an MBE in 2019.

Some info from Andrea Brady about the Jessica Brady CEDAR Trust:

“We’re so grateful to Hannah and the whole team involved with Calendar Girls for supporting our fundraising in memory of our lovely Jess. Our charity, Jessica Brady CEDAR Trust (jessicabradycedartrust.org.uk) has been set up to raise much needed funds to support earlier cancer diagnosis within primary care. Currently only 54% of cancers are diagnosed at stage 1 and 2. It’s imperative this improves. According to CRUK, if bowel cancer is diagnosed at Stage 1, there’s 90% chance of survival, for five years or more following diagnosis: if diagnosed at Stage 4, this is reduced to 10%. The weight of responsibility in achieving earlier diagnosis lies in the hands of general practice doctors. This is why Jessica’s Trust will focus their fundraising upon developing awareness and improving earlier diagnosis within GP surgeries. Our aim is to support GPs by providing cancer awareness training to help improve survival rates for all, regardless of age, race, or gender. 

“This charity is also closely affiliated to our ongoing work with Jessica’s petition ‘Improve the awareness and diagnosis of cancer in young adults’ (chng.it/xZb6yGWzSj). The petition has nearly 300,000 supporters. We’re working closely with the Department of Health and Social Care to help bring about positive change for the future. 

Thank you so much your support.

Hannah Sayer

Director

All photos used in Barn News are courtesy of Simon Wallace (MeltingPot Pictures) and John Davies.

Box office reminder
Member tickets are £11 on the opening Friday of most main-stage productions. To access the member price, customers will need the password ‘APPLE’.
Box office telephone: 01707 324300 (Mon to Sat, 9am to 5pm) – a £2 booking fee will apply for all telephone bookings.
The theatre box office will also be open every Sunday from 1pm to 3pm.

We aim to publish Barn News on the first of the month. This depends on whether we receive copy to be published by 25th of the preceding month.

Dates for your diary

Performances

Alys, Always
By Lucinda Coxon
Directed by Mel Powell
Friday 14th to Saturday 22nd April at 8pm
Matinee Saturday 22nd April at 2.30pm

Calendar Girls
By Tim Firth
Directed by Hannah Sayer
Friday 5th to Saturday 13th May at 8pm
Matinee Saturday 13th May at 2.30pm

Closer
By Patrick Marber
Directed by Ian Colpitts
Wednesday 31st May to Saturday 3rd June at 8pm in the Studio
Matinee Saturday 3rd June at 2.30pm

Being Jane Eyre
Written and directed by Lou Wallace
Friday 9th to Saturday 17th June at 8pm
Matinee Saturday 17th June at 2.30pm

Welwyn Drama Festival
22nd to 27th May at 7.30pm

Social events

Singers at the Barn
Sunday 2nd April 7.30pm for 8pm

Jazz at the Barn
Friday 19th May at 8pm

Club event

Directors Evening
Sunday 14th May 7.30pm for 8pm

Bar reminder

Barn bar opening hours
Fridays: 8pm to 11pm
Sundays: 1pm to 3pm

Get in touch

We look forward to hearing from you