A show with a Twist...
There can be few, if any, Barn News readers who are unfamiliar with this musical version of one of Charles Dickens’ most beloved stories but it never hurts to have a reminder of wonderful, heart-warming entertainment, so in April the Barn stage will be delivering exactly that.
London is a dark, dingy place – awash with poverty and a seedy criminal underbelly. The streets are a mixture of the downtrodden and desperate – and the minority who enjoy the finer side of life with their unequal share of the riches. But enough about our capital in 2024, let’s get back to Oliver! at the Barn…
Director Hannah Humbles (in her Barn Directorial debut), and Co-Director Amanda Sayers, have set about bringing Dickens’ characters to life once more with Musical Director Rachel Davies and Choreographer Tammy Wall in tow to bring the song and dance elements of theatre that are relatively uncommon at the Barn.
Innocent (and not so innocent) children, loveable rogues, pompous officials and downright villains each take their turns to captivate the audience, and reactions will range through the emotions from smiles at the cuteness to gasps at the viciousness.
All the favourites are included – from Food, Glorious Food to As Long as He Needs Me via Consider Yourself, Got to Pick a Pocket or Two and Oom-Pah-Pah. There will be more that you recognise than you can remember for sure but, as this is a preview, I’ll leave any more comments to someone else who, once the show has started, will be Reviewing the Situation (see what I did there?).
With fantastic young talent getting a chance to shine, together with a superb adult cast, some new to the Barn, this is a real must-see so please head to the website and get your tickets now.
Oliver! runs from Thursday 18th to Saturday 27th April at the slightly earlier time for the Barn of 7.30pm, with matinees on Saturdays the 20th and 27th at 2.30pm.
Neil Harrison
Bill Sikes!
From the Chair
Welcome to April’s Barn News
At the AGM, I mentioned that being the Chairman or Finance Director of a successful theatre can be quite straightforward sometimes. The right mix of plays attracts audiences to the main auditorium and the Studio, and their ticket money pays for everything we need, plus we can put funds aside for the future. We have been in that fortunate position for a number of years now, and next season looks to be another successful one.
Clive Weatherley, our Artistic Director, has put together another great mix of plays for the 2024-25 season that’s included in this edition of Barn News, and hopefully they’ll excite and interest actors, stage crew, helpers and audiences alike. Please take a look at the shows and think about buying a season ticket for even more savings.
Cliff Francis is standing down from organising the Studio programme, and I want to thank him for all his hard work over the past few years. The baton has been passed to Danny Swanson, who sets out his thoughts in an article below, including how we can incorporate new writing into our programme of events. I’m looking forward to Clive and Danny working closely together.
It’s important that Barn Youth members have opportunities to perform. On that note, I was fortunate to see all the plays at the 80th Welwyn Youth Drama Festival, and I loved the energy and commitment that the young actors brought to their performances. Barn Hermes Youth Group, directed by Sean Scotchford, came third in the Senior section, and individual medals went to Astrid Palfreeman (to be seen next in Oliver!), and Melanie Owen. Congratulations to everyone involved!
Finally, I’m delighted that Kelsey Cooke has written an article for us about how her experiences at the Barn have helped her burgeoning professional acting career. I hope that her thoughts can help and inspire others.
I’ll see you in the foyer or bar.
Ian Major
Chair
The plays are the thing!
Apologies to the Bard but a roll on the drums, please, as I reveal all (oo-er, missus!). Yes, it’s that time of year when the waiting and the speculation is over, and I can spill the beans on the new Barn main-stage season for 2024-25. I quite possibly say this every year but I’m very excited by this line-up, of both plays and directors, and the hard work that’s gone into finalising it has been so worthwhile. There’s something for everyone so take a look – and see you all at the Directors Evening on 12th May!
Clive Weatherley
Artistic Director
Home, I’m Darling (Laura Wade)
4th to 12th October
Directed by Jon Brown
Obsessed by the 1950s, Judy and Johnny live in an idyllic retro home with her keeping house while he plays the traditional breadwinner. But how long can it go on? As cracks begin to appear in the bakelite, the couple are forced to question their lifestyle choices and consider compromise. Quirky, funny – and set in Welwyn Garden City!
Shakespeare In Love (Lee Hall)
8th to 16th November
Directed by Laura Eddy
Based on the 1998 Oscar-winning film, this glorious stage version from 2014 captures all the colour, characters and romance of the original. It reimagines the Bard’s creative process as he struggles to write a new play and stumbles on a muse, a passionate young noblewoman, who inspires him to create Romeo and Juliet.
It’s a Wonderful Life (Mary Elliott Nelson)
13th to 21st December
Directed by Rob Graham
The beloved and perennial Christmas movie classic is sure to charm and delight modern audiences in this new, heartfelt adaptation. Idealist George Bailey is at an all-time low on Christmas Eve when he meets the mysterious Clarence. A timeless tale of love, hope and community.
The Revlon Girl (Neil Docking)
17th to 25th January
Directed by Belinda Gee
Following the death of 116 children in the Aberfan disaster in 1966, a group of bereaved mothers meet every week to share, cry and even laugh. Although conflicted about turning their attention to themselves for once, they secretly invite a rep from Revlon to give them beauty tips. A tender study of humanity, grief and survival.
A Monster Calls (Adam Peck, Patrick Ness, Siobhan Dowd)
7th to 15th February
Directed by Mark O’Sullivan
Connor, a bullied schoolboy, has nightmares which culminate in a visit from a monster outside his bedroom window, who challenges him to a storytelling contest. As the game progresses we learn more about Connor’s life, his isolation and the reasons for the monster’s visit. Breath-taking fantasy, physical theatre and raw emotion.
Piaf (Pam Gems)
21st to 29th March
Directed by Mel Powell
A biographical drama charting the highs and frequent lows of French singer Edith Piaf, known as ‘the little sparrow’. Interspersed with music and bursts of Piaf’s heartfelt performances, we see the self-destruction, promiscuity and addictions of the world-famous but ultimately tragic chanteuse.
Waiting For God (Michael Aitkens)
11th to 19th April
Directed by Maureen Davies
Based on the 90s TV sitcom but only adapted for the stage in 2017, this is a hilarious look at pensioners behaving badly. Rebel Diana Trent rules the roost at Bayview Retirement Village until the arrival of Tom, an unlikely co-conspirator. Heart-warming, occasionally filthy, and hilarious throughout.
I Love You, You’re Perfect, Now Change (Joe DiPietro)
9th to 17th May
Directed by Lorraine Bottomley
A smart and sassy look at relationships, and one of the most popular musical revues in recent Broadway history. Through sketches and songs, a cast of four take you through dating and waiting, to love and marriage, and move on to the agonies of inlaws, family car trips and geriatric pick-up techniques.
A Midsummer Night’s Dream (William Shakespeare)
13th to 21st June
Directed by Steve Thompson & Lou Wallace
To mark 100 years since the legendary production in The Dell in Sherrardspark Wood, the Bard’s most popular comedy of fairies and lovers returns to Welwyn Garden City! This is set to be an extraordinary celebration in the Barn’s 2024-25 season – more details nearer the time!
Clive
Barn Studio: adventures in a small place
I’m delighted to have been given the opportunity to select the programme of events for the Barn Studio. Many thanks to Cliff Francis for all the hard work that he’s put in over the last couple of years. There have been many outstanding evenings (and afternoons) in that space during the last few seasons.
I’ve had the good fortune to act in a fair few shows: Good Grief, The Dysfunckshonalz!, Mammals and The Best Man – Live Stream, as well as directing Parlour Song last year, so it’s a space I’ve got to know well.
The Studio comes with its own set of challenges. Sightlines need to be carefully thought through; the temperature in the height of the summer can liquefy audience members; and the current chairs (soon to be replaced!) are concrete covered with a soft layer of fabric. As an actor you’re so close to the audience that, in Sting’s immortal words, they can hear every breath you take and see every move you make. But this is what makes it so rewarding and attracts technicians, actors and directors who enjoy testing their skills out in a different environment to the main stage. Studio productions are also superbly well supported by audience members and it’s often been necessary to add extra shows to cater for the demand.
The Studio isn’t supposed to replicate productions that would be better suited to the main stage but instead has an identity all of its own. You want a director to believe that their production would only really work in the Studio. You can take a few more risks, not just with the plays you’ve selected but also in the way that you’ve decided to stage it. You have the freedom to change the relationship between the audience and the actors by altering the layout of the seating. I enjoy going to see a high-quality play above a pub or in a vault just as much as a night at the National or the Old Vic. These productions can afford to be a bit more nimble, edgy and stripped back. They don’t usually require a vast budget or have the same pressure to sell bucketloads of tickets.
So, if there’s a fantastic play that you’re itching to direct and think it would work well in a smaller space then please get in contact with me. There are still some spaces available for next season. I’d be interested to find out why you think that particular show would be suited for the Studio.
Last year the Barn produced two new plays in the Studio written by Barn members: Good Grief by Matt Adie and Vanilla by Laura Mead. They were well attended, well directed and thought-provoking. This is something I would like to repeat but only if we can find two or three interesting new pieces of work. There’s so much skill and talent present at the Barn that if we were able to give an opportunity to a new playwright to have their show premiered in the Studio, then we’d be delighted to support that. If you’d like to submit a play for consideration please let me know and in the first instance we’ll organise a play reading using Barn members.
Kelsey Cooke: why the Barn was right for me
A few weeks ago, an email popped into my inbox from our chairman, Ian Major, asking if I’d like to write a little something about my experiences at the Barn, and if those experiences had helped with my career in the acting industry so far. My answer to that is, unhesitatingly, yes. So I thought I’d use this not-so-little note as a thank-you.I’d never auditioned for the Barn before the winter of 2017. I was quite an internal kid and teen, so I only told my parents I was even interested in acting in my last year of sixth-form. I then scrambled my way into a BA in English and Drama down at Exeter, and when I graduated it was time to take the bull by the horns and audition for drama schools.
I’d been working in a garden centre to save up for those, frankly, nausea-inducing auditions, when my mum showed me a notice for a Barn production of Let The Right One In. The timing truly could not have been better.
Being a complete newbie to the Barn, I didn’t know what to expect. What I certainly didn’t anticipate was how much the Barn and its members would transform so much of how I viewed myself and my potential in this industry. I really have Coral Walton to thank for that. When searching for her blood-sucking, weird, socially awkward teen vampire, I doubt Coral knew that she would be simultaneously opening up a whole world of healing, confidence and self-assurance for said little vampire.
I felt so immediately welcomed and encouraged by the cast and crew of LTROI that the rehearsals almost instantly became the highlight of my week. This dark and twisted little tale, and the people I was exploring it with, became the most genuine source of joy and creativity amongst a very stressful process that could easily have become a spiralling pit of self-doubt and doom. Anyone else who has gone through the drama school audition process or is currently experiencing it can likely attest to this.
But truly, of all of my experiences at the Barn, this is the thing that has stuck out. I’ve never felt so supported, encouraged, nurtured and believed in by a group of people as I have during my time here. As I ventured down the first steps of my path into this industry, the Barn was consistently and unwaveringly right there with me. When I got accepted into drama schools during the rehearsal process of LTROI I couldn’t wait for the next rehearsal so I could share the news. During the summer leading up to starting at GSA, the legend that is Simon Parr asked if I’d like to help him direct the youth production of The Game’s Afoot. That was one of the most convivial and fulfilling summers I’d experienced in a long time. Then when I got my first little short film after graduating, filming started only a few days after completing a run of Violence and Son, directed by the wonderful John Davies. That particular opportunity came about towards the end of my training when Carol Bush (another Barn legend) dropped me a message asking if I’d be interested in the play.
I was fortunate enough to find fairly consistent professional work through the majority of the pandemic and, as the industry has been licking its wounds and getting back up on its feet, I feel extremely grateful to say that, while the industry deals its fair share of knocks, I’m tentatively but optimistically finding my feet within it. But knowing that, through thick and thin, the Barn will always be there to scoop me up is nothing short of special.
Constellations, another one directed by the untameable Coral Walton, came along at the perfect time in the winter of 2022. By February last year we were taking it to Hertford, and once again I was in the arms of the Barn when I got another milestone on this crazy path: a supporting lead role in my first feature film. The individuals that I’ve spent time with at the Barn have refused to show me anything but an unwavering belief in my potential in this career. If I named every single moment or experience that has exemplified that statement, this ‘note’ would probably take up the entirety of Barn News for the next three months. Seriously.
All of this is to say… the Barn is an incredibly special place. It holds a very singular space in my heart, and I know I’m not the only one who’s been so positively changed by it. So, thank you to the Barn. You’ll never be rid of me.
You can find the film Stone starring Kelsey on Channel 4 catch-up.
Kelsey x
View from the Back Row:
Iron
First, a welcome to David Smith and Nick Jackson as directors at the Barn, and thanks to Artistic Director Clive Weatherley for including them in the programme. They acknowledge a relative lack of experience, David having worked a couple of times previously with Settlement Players and Knebworth.
Iron is about Fay (Francine Ross), serving a life sentence for murdering her husband, being visited by her daughter Josie (Rachael Crabtree) for the first time in 15 years. The Studio setting was spare and stark, but totally appropriate. A single bed at one end of the acting area and gobo bars above it, and a small table and two chairs in the middle, were accompanied by a clever slide with rules for prison visitors (and the audience). Harsh lighting for the most part was occasionally dimmed or reduced to selected areas. During the visiting scenes two warders repeatedly patrolled, looking for breaches of the rules and adding a realistic atmosphere.
The play opens with a soundscape of shouted conversation, banging doors and a guard shouting ‘Lockdown!’, and then Josie is taken through the rules for visitors by the guard, in a very effective introduction. Fay is informed that her daughter is applying to visit and is uncertain whether to accept.
When they meet, Fay is nervous and Josie is cautious and curious, especially about her childhood years of which she has no memory. Gradually, in a long scene, they begin to unravel each other’s lack of facts. During this the guards are continuously patrolling and preventing any physical contact between them.
Unpleasant and sometimes horrific memories are brought to the surface as the relationship develops and, as a result, Fay is put on a punishment regime and goes on hunger strike. They both realise that Fay is probably better left alone.
The parts of the two warders are well defined. George, played by Mark Skrebels, is mostly relaxed except when duty calls, and Sheila, played by Gem Mitchell, is a single mother who appears sympathetic but is not always, seeming to be nursing a grudge at times. Both these actors added realism and excellent characterisation in a small cast.
Both the two leads excelled in the long duologues with certainty and reaction, proof of good rehearsals. Fay’s body language was agitated and sometimes violent, accentuating her distress. She did not hold back when high emotion and anger were required. Josie, in contrast, was often transfixed by Fay’s outbursts of emotion, and showed a convincing range of facial expressions which served to emphasise each conversation.
The play was a detailed presentation of a difficult piece. The actors held the attention of the audience despite the length of the script. The profile of increasing tension worked well in the later scenes but the build-up in the earlier scenes was too soon and rather hurried. As written, the first long scene between Fay and Josie has multiple pauses in the script. These pauses were not given full value. As played it was too fast, which had two effects. First, the caution which should have been obvious between the two meeting after so long was underplayed. And because this pace was too fast at the opening of the play Fay was allowed by the directors to build up to her loud and aggressive delivery too soon, which meant that her later hysterical moments were less effective in comparison to the earlier scenes than they could have been. The whole play thus lacked some variation of pace while developing to the climax.
This was a well played and presented piece. Encouragingly strong performances by the two principals and detailed characterisations by the two warders offered a completeness to the storyline and the well-defined atmosphere of the prison.
Keith Thompson
Cabin Pressure:
Cast and Crew
Carolyn Knapp-Shappey – Trish Galloway
Douglas Richardson – Des Turner
Martin Crieff – Andy Hill
Arthur – Elliot Cohen
Karl/Habib/Philip – Dan Badger
Mr Birling/Captain/Lachlan – Keith Thompson
Yves Jutteau – Andrew Sibley
Director – Sharon Francis
Assistant Director – Cliff Francis
Production Manager – Jacqueline Clayton
Stage Manager – Devi Smart
Lighting – Tristan Cameron
Foley Artists – Lee Hanley, Kacper Pawlak
Harvey:
Cast and Crew
Cast
Elwood P Dowd – Jon Brown
Veta Louise Simmons – Hazel Halliday
Myrtle Mae Simmons – Sarah Gennoe
Dr Lyman Sanderson – Graham Miller
Nurse Ruth Kelly – Kathryn Taylor
Dr William Chumley – Godfrey Marriott
Betty Chumley – Frances Farrugia
Judge Omar Gaffney – Keith MacDougall
Duane Wilson – Dan Badger
Ethel Chauvenet – Frances Farrugia
E J Lofgren – Adam Dryer
Creatives
Production Manager – Annette Leishman
Stage Manager – Michael Merry
Assistant Stage Manager – Andy Barker
Lighting – Nick Mogg
Sound – James Rowles
Set Design – Rosemary Bianchi
Props – Bev Triber, Gerry Gritzman
Wardrobe – Joe Hogan
Marketing Lead – Barbara Holgate-Stuckey
Prompt – Fran Taylor
Obituary:
Michael Annand
Last year we recorded the death of Carolyn Annand, the past Secretary of the Youth Drama Festival for many years. We have just been informed of the death of her husband Michael in a local retirement home. During the many years that Carolyn was Secretary, Michael was the Treasurer and they were both regular supporters of the Barn.
We offer our condolences to his family and friends.
Keith Thompson
Social Director
Our Social Director Hannah Humbles is currently co-directing Oliver! and is involved in other activities so she’s passed the Social Director duties over to Neil Harrison on a temporary basis. His details are in the updated Who’s Who.
Good luck and thanks, Neil!
Who's Who at the Barn
Directors
Chair Ian Major [email protected]
Finance Sofia Oliva (07493 854400) [email protected]
Marketing Barbara Holgate-Stuckey (07740 812950) [email protected]
Membership Nigel Rive (07768 867534) [email protected]
Facilities Michael Merry (07973 238346) [email protected]
Stage Director Robert Gill (01707 324572) [email protected]
Props Director Sheila Grimmant (07970 929290) [email protected]
Show costumes Anne Mawer (07968 829084) [email protected]
Non-Executive Sarah Gennoe (07990 595245) [email protected]
Non-Executive Danny Swanson (07583 613696) [email protected]
Administration John Davies (01707 882209) [email protected]
Youth Group Jacqueline Clayton (07981 866568) [email protected]
Ex-Officio Council Members
President Vacant
Company Secretary Linda Miles (01707 335718) [email protected]
Non-voting Council Members
Artistic Director Clive Weatherley (07773 044801) [email protected]
Social (Temporary) Neil Harrison 07514 089927 [email protected]
Other responsibilities
Archives Rob Wallace and Alice Croot [email protected]
Barn News Mike Smith (07774 849606) [email protected]
Bar Manager Martin Moore (07768 650660) [email protected]
Child Protection Linda Miles (01707 335718) [email protected]
Club Nights Hannah Humbles (07940 226917) [email protected]
Coffee Bar Sue George (01707 330274) [email protected]
Costume Hire Sheelagh Mogg (07909 196252) [email protected]
Direct Debit Admin Ian Major (07789 728997)
FoH Admin Wendy Bage (07834 586144) [email protected]
Library Clive Weatherley (07773 044801) [email protected]
LTG Rep John Cook (07973 221617)
Photography Simon Wallace (07875 423550) [email protected]
Photo-studio Hire John Davies (01707 882209) [email protected]
Private Hire Victoria Rive (01707 336446) [email protected]
PR (temporary) Carol Bush and Georgie Palmer [email protected]
Rehearsal Rooms Victoria Rive (01707 336446) [email protected]
Singers at the Barn Michelle Williams (07946 376993) [email protected]
Site Manager Sharon Francis (07885 421051) [email protected]
Stage Lighting Nick Mogg (07802 866843) [email protected]
Stage Sound James Rowles (07958 427927) [email protected]
Studio Director Danny Swanson (07583 613696) [email protected]
Website John Cook (07973 221617) [email protected]
Workshop Roger Eames (07734 051029) [email protected]
Youth Groups
Barn Erroll Louise Parr (07875 436317)
Barn Pigwidgeon Georgina Bennett (07923 620163)
Barn Hedwig Georgina Bennett (07923 620163)
Barn Hermes Sean Scotchford (07814 236260)
Green Room / Bar 01707 330672
Theatre Box Office 01707 324300
Dates for your diary
Performances
Oliver!
By Lionel Bart
Directed by Hannah Humbles and Amanda Sayers
18th to 27th April 7.30pm
Matinees 20th and 27th April 2.30pm
The Massive Tragedy of Madame Bovary
By Gustave Flaubert, John Nicholson and Javier Marzan
10th to 18th May 8pm
Matinee 18th May 2.30pm
Welwyn Drama Festival
20th to 25th May 8pm
Social events
Jazz Night
Friday 5th April 8pm
Comedy Night
Saturday 6th April 7.30pm for 8pm
Singers at the Barn
Sunday 7th April 7.30pm for 8pm
Directors Evening
Sunday 12th May 8pm
Next Council Meeting
Tuesday 9th April 8pm
Bar reminder
Barn bar opening hours
Fridays: 8pm to 11pm
Members’ password
APPLE