Welcome
August 2021
Wardrobe wonders wanted!
The Barn wardrobe is a treasure trove of theatre costume, for Barn productions and for hire to other companies. No shortage of costumes – the problem is we’re running short of people to help: seamstresses, dressers – all the people who help to dress a show.
Wardrobe Mistress Margaret Wallace, who’s been involved in the Barn wardrobe for more years than she cares to remember, is looking forward to the fun, trials and tribulations of getting the new season’s shows on stage, but she needs some younger volunteers to join the team.
‘Dressing a show is fun,’ she says. ‘You’re there from the first read-through till the final curtain comes down. I joined because I like people, I like the theatre, I like making clothes, dressing people up and, as it turns out, helping keep our wonderful wardrobe spick and span and in good repair for others to hire out. Costume hire is a nice little earner for the Barn – one man’s rags is another man’s riches so to speak.’
Margaret explained that at the read-through you meet everyone involved in the play, learn what it’s about, and when it’s set, so you can begin to think about how it should be dressed. Very often the director has specific ideas, some practical, some not, but she says:
‘It’s great fun adapting and getting it ready for opening night. We have an extensive wardrobe, a list of other places where we can hire if we need to, and a team of willing sewing stars (you could become one of those!) to help make or adjust costumes to fit. You can never trust the cast with their sizes: men usually have no idea and women think in terms of 10 and 12, etc.’
‘The new season will be a great opportunity for a fresh start in the Wardrobe Department, so please join us while there are still some old hands, willing and able to pass on what we’ve learned over the years, even if we don’t have the energy to dress a show any more. It’s a case of the spirit is willing but the body says don’t be daft!’
Costumes are such a fabulous part of theatre. They immediately tell the audience something about what’s going on, they help tell the story, they help actors get into character – and they affect their performance, for better or for worse! Without them we wouldn’t have a show. Come and be part of it.
Contact Margaret: [email protected]
Carol Bush
From the Chair
Welcome to August’s Barn News
August already – and two shows under our belts.
Well done again for Class and My Old Lady. A great way to start the re-opening, the Barn at its most varied – one in the Studio, and one on the main stage. A hint of sadness that more of us couldn’t get to see them but we’re moving at the speed of the DCMS, so being very careful.
I’m also conscious that, as we found out last winter, things can change quickly. However, we’re planning for a ‘normal’ season from September with all tickets available at the moment. Happy Jack is in full swing in rehearsals, as is A Bunch of Amateurs, with more to come as we head through the summer.
No rest for a few, however, as the work to refurbish the ‘backstage’ area of the bar has begun! A few of us, ably marshalled by Mike Merry, took to the theatre last Saturday and completely emptied out all the stock and furnishings. We held a small commemorative service for the beer we had to pour away, but soon rallied and got things cleared up so work can begin. A new, easy-to-clean floor will be going in, new units and sink in the back room, and a new chiller cabinet ‘front of house’ to keep mixers cool will also be installed.
Many thanks to all those who helped, and to members who have volunteered to do some of the installation – I’m very grateful.
Back to Covid matters for a moment. We have agreed some ongoing precautions for next season – it seems sensible in any event to keep hand sanitiser, and plenty of ventilation, and we’ll keep an eye on all national guidelines. We haven’t made a decision yet on masks and will also keep an eye on the changing picture – my instinct at the moment is to leave them up to individual discretion, but that’s purely a personal view – we’ll talk about it at the next Council meeting and let you know. Thoughts in to Barn News, please!
Finally, my thanks for sticking with us – paying your membership and keeping up contact. I know this has been tough for all of us, but we’re still here, financially well placed, have a new season ahead of us and we’re restoring the bar!
Fingers crossed I can stop referring to the pandemic and its impact soon, and we can concentrate on the things we were working on all those months ago – our membership, diversity, a Barn Youth Council member, a lead for the Studio, and a wider pool of people involved in some of the key roles.
I often hear the phrase “The Barn ought to…” or “The Barn should…” usually followed by a really good idea that needs taking up and running with, but the reality is that it’s a relatively small number of members of your club that do so much of the work. Please, if you have a bit of spare time – often just a few hours – come forward and get involved. The more of us who are actively engaged, the better the pool of ideas, the less each individual has to do, and the brighter the future of the club will be.
Now – back to learning lines for me – enjoy your summer!
Simon Parr
Chairman
Come and join us - you won't regret it!
For many months most of us have been constrained and frustrated by inactivity during lockdown. Now that’s changing, and for anyone wondering what new things they can try – read on.
You’re probably already a Barn Theatre member and supporter if you’re reading this Barn News. But perhaps you’d like to become more involved, using talents you may have, meeting interesting people and making friends as well as providing invaluable help for productions.
But you don’t have to have special skills necessarily to join a team in one of several capacities.
Margaret Wallace has written separately in this issue about our marvellous costume department. Let me tell you about props, set construction and all-important stewarding, bar help and interval refreshments.
I joined the Barn about five years ago, predominantly doing props and later publicity, given my PR background, but will happily do a bit of everything else – with one exception. I have no desire to actually act: one school play many years ago put me right off that!
But I’m so glad I became involved and love every minute of it. Theatre was what I missed the most these past long months (my other pleasure, playing bridge, I was able to continue online, happily!).
Proper job
Barbara Foster, as many of you will know is the very committed and hard-working head of our props department and would welcome help from anyone who’d like to get involved. She writes:
“Our theatre is lucky to have a tremendous store of props: flags, flagons, old cameras and telephones, candlesticks, body parts, swords… you name it, we probably have it. Part of our task is keeping some kind of order in our storage space, for every corner is crammed with items.
“But the prime purpose of our department, is to supply and manage the props that are needed for our plays each season. It’s very rewarding to be part of a production and does require a certain amount of commitment for the duration of that play but, being a team, we share the duties around.
“If you have creative talent you could help to make items we need. If you’re a Marie Kondo type we need you to create order in our chaos. If you’d like to help with a production we’ll welcome you. Sourcing mock cigars on the internet, sewing sardines out of satin and stuffing, playing with plaster of Paris to make a French sausage, searching the charity shops for a toy cow, making a toothsome apple tart to be eaten on stage – these are the kind of things you might find yourself doing if you join our team. Newcomers will be welcome to work with us on any plays next season.
“One play for which I was doing props, called for a bad-tempered maid to be ‘plucking a chicken’ on stage. And – what are the chances for heaven’s sake? – it turned out that the actress concerned had pteronophobia, (yes, I had to look it up), otherwise known as a fear of feathers.
“Eventually a clever crew member knitted a ‘chicken carcass’ which we then decked out with hand-cut paper ‘feathers’. Every night after they’d been plucked out on stage in a rage, we had to insert new ones in the wool fibres of the chicken ready for the next performance. What a fiddly job that was. Anyone twiddling their thumbs in the Green Room was roped in to help! But it worked… Another problem overcome.”
Can you use a hammer?
Norman Merry is the Workshop Manager for the Barn and he needs help! A veteran of about 150 productions, he also stage managed many of them.
“I got involved with theatre through the ICI Dramatic Club in 1969 and they only performed at the Barn but I didn’t join the Barn Club itself until 1973,” he says. “I have appeared on stage but most of my activity has been with set building and stage management. It also helps that I’ve been to many drama festivals and heard what adjudicators think of the sets and can take on board their comments.
“No special expertise is required for building; male or female, if you can use a hammer that will be enough. We usually meet on a Monday morning and plan the rest of the week, normally just the weekday mornings but everything is flexible. Currently there are about a half-dozen in the team and their names normally appear in the programme.
“My main function is to ensure we have the necessary stocks and a full team when we need one. And to liaise with the production designer, of course, to try and achieve what they want. When working on a set, the team will usually split into two or three groups, each working on a different part of it.”
One of the very first sets Norman ever worked on was a military barrack room, with beds in line under a row of windows to start off with, moving on to become a barn which had to fall apart on stage at the end. No mean feat.
Definitely easier is stewarding during a production run: looking after patrons and their safety, selling programmes and ice cream, etc.
If you fancy working behind the Barn bar, Ian Colpitts would welcome you as part of his team, and we also have a rota for making the tea or coffee during the performance interval.
Please do think about joining us if you have the time and inclination. I look forward to meeting you. We all do!
Georgie Palmer
New members
Will Smith
Membership level: ordinary
Interests: Acting
Francine Ross
Membership level: ordinary
Interests: acting, box office, directing, interval coffee, production management, programme selling, properties, set dressing, stewarding
Welcome to the Barn!
Membership & Council
Barn Council minutes June 2021
Please find the minutes of the meeting of the Barn Theatre Council held on 29th June 2021.
Our membership news depends on information we get from YOU
View from the Back Row
Class
Opening what is potentially our next full season, Class was offered simultaneously to a small audience in the Studio and as a streamed performance. I saw the latter, and the camera work was exceptionally good, with a wide selection of angles and close-ups. In my living room the sound quality varied and I don’t know if this was a problem at the Studio end or on my set. It meant that the loudest dialogue, i.e. the arguments, was not always clear, although this didn’t interfere with my ability to follow the plot.
Authors Iseult Golden and David Horan investigated the failure of education systems, and the effects of this on two parents and the teacher involved. With a simple classroom set there was a brisk opening and the pace was vigorously maintained throughout. The Irish accents sounded authentic and convincing. Brian (Howard Salinger) a taxi driver, doubling as his son Jayden, was revealed as a gentle soul, and his questions on the meaning of some of the words being used (e.g. percentile) carefully placed him in the educational stratum. Alex Ryde began with an easy style as the teacher Mr McCafferty. Tammy Wall, arriving as Jayden’s mother Donna (and Brian’s ex-wife) made a deliberately slightly nervous first entrance until she settled into the discussion of her son’s situation. This opening scene was mostly exposition, with the parents trying to keep up with the information. A very effective moment was when Brian put his hand up to ask a question of McCafferty, rather than simply asking his question as an adult.
In the second scene Howard and Tammy played Jayden and another pupil. This was attempted very successfully with no change of costume, but different timbres of voices and a particularly skilled young, bored pupil body language by Howard. And, of course, a change of conversational tone by McCafferty. In the next scene the parents discuss Jayden’s situation with a loud argument and clever overlapping dialogue. When they decide to write on the blackboard this was mimed on the fourth wall with great skill.
Eventually when Donna is suspicious of McCafferty’s attitude, and frustration boils over when discussing Jayden’s behaviour and how it compares with other pupils in the class, Brian adopts a threatening pose and McCafferty retaliates physically.
As the plot develops the teacher is apologetic, needing to stay in post. He asks for reconciliation and then explodes. All these changing moods and variations in who has the upper hand were clearly played and given the right emphasis. The climax is when Donna turns on her husband to lie that he started the fight, and then ‘blackmails’ McCafferty whose livelihood she’s saved, into doing whatever’s necessary to help Jayden.
The changing balance in the arguments and needs of the three protagonists were always well controlled. As the plot developed Coral Walton’s direction firmly allowed all aspects of the increasing tension to reveal themselves. The switch to child characters was neatly done and well played. The variation for all three actors between childish attitudes, good mannered chat and fierce argument never flagged.
Described by the Barn’s publicist as ‘heart-breaking’, I accept that as publicity material aimed at increasing the potential audience. It never reached that level for me, although it was an excellent production of an interesting play.
Your country needs you!
Audition notice for Winston Churchill
The Audience
by Peter Morgan
Directed by Linda Dyne
Playing dates: 12th – 20th November 2021
In this play, we’re treated to eight Prime Ministers and their private audiences with Queen Elizabeth II. Their relationships with the Queen varied enormously. As the Queen ages from 25 to 80 years old, so did her confidence and knowledge. Some Prime Ministers she felt comfortable with and some she actively disliked! Which were which? Well, Churchill was certainly her favourite PM.
Would you like to join our star-studded cast led by Suzie Major as Queen? We need a Churchill! Please let me know dates and times to suit you. Thank you.
For a script and/or audition slot please email [email protected]
Linda Dyne
Comedy Corner
Just got back from visiting a lovely little place in Wales, Llysthwycyyrigridarbrewthh…
Sorry, hair in my mouth. I went to Swansea.
One day at school the lad who sat next to me swallowed his calculator. I stood up for him when everyone else said he was a weirdo. I told them “He may be a bit weird, but it’s what’s inside him that counts”!
My fireman mate once saved a postman from a burning building, carrying him over his shoulder down a ladder. I asked if he received an award or a medal for his bravery. He said all he got was a Pat on the back…
Things to ponder:
Why doesn’t Tarzan have a beard when he lives in the jungle without a razor?
Why do we press harder on a remote control when we know the batteries are flat?
Why do banks charge a fee on ‘insufficient funds’ when they know there’s not enough?
Why do Kamikaze pilots wear helmets?
Why does someone believe you when you say there are four billion stars, but check when you say the paint is wet?
Whose idea was it to put an ‘S’ in the word ‘lisp’?
What is the speed of darkness?
Why is it that people say they ‘slept like a baby’ when babies wake up every two hours?
If the temperature is zero outside today and it’s going to be twice as cold tomorrow, how cold will it be?
Do married people live longer than single ones or does it only seem longer?
How is it that we put man on the moon before we figured out it would be a good idea to put wheels on luggage?
Why do people pay to go up tall buildings and then put money in binoculars to look at things on the ground?
Did you ever stop and wonder…
Why do toasters always have a setting so high that could burn the toast to a horrible crisp, which no decent human being would eat?
Why is there a light in the fridge and not in the freezer?
Why does Goofy stand erect while Pluto remains on all fours? They’re both dogs!
If corn oil is made from corn, and vegetable oil is made from vegetables, then what is baby oil made from?
If electricity comes from electrons, does morality come from morons?
Why do the Alphabet Song and Twinkle, Twinkle Little Star have the same tune?
Did you ever notice that when you blow in a dog’s face, he gets mad at you, but when you take him on a car ride, he sticks his head out the window?
Does pushing the lift button more than once make it arrive faster?
Goodnight Mr Tom Audition Reminder
Christmas show audition notice
Goodnight Mr Tom
Directed by Siobhán Hill Elam
Assistant Director Christopher Wallace
Playing dates 11th to 30th December
Audition dates:
Sunday 22nd August at 2.30pm (children’s audition. Children who can’t come on this day may attend on subsequent dates)
Monday 23rd August at 6.30pm
Friday 27th August at 6.30pm
All in Room One
Goodnight Mr Tom is a wonderfully feel-good Christmas story with lots of opportunities for the creation of memorable characters. The scene moves from a picturesque village in the west country to London in the height of the Blitz. There is considerable tension in the story as young William leaves London as a frightened, lonely little boy and eventually finds himself, for the first time in his life, among people who care for him. As time goes on, he is faced with huge challenges and for a while his very life hangs in the balance. Told against the backdrop of the early years of World War Two, scenes of great sadness contrast with scenes of absolute joy as William’s survival is ensured by widowed Tom Oakley who, in caring for William, finally mends his own long-standing heartbreak.
Roles
Tom Oakley, 60s, West Country accent
William Beech, 10, shy working-class Londoner (one solo song)
Zach Wrench, 10, extravert middle-class boy (sings and dances)
The following roles will all be doubled (at least) as shown:
Charlie Ruddles, the ARP Warden / David Hartridge, a trainee RAF pilot / Mr Stelton, a psychiatrist / Vicar
Dr Little / London ticket collector
George Fletcher, a village youth / Policeman
Mr Miller, village postmaster / London ARP Warden
Miss Miller, late teens – early 20s, daughter of Mr Miller / understudy
Billeting officer / Miss Thorne, the village librarian and drama producer
Mrs Beech, William’s mother, strict, prim, mentally disturbed / Mrs Annie Hartridge, housewife and mother
Glad, middle-aged Londoner, neighbour of the Beech family / Mrs Fletcher, housewife and mother / Social worker
Ginnie, village girl, early teens / London nurse
Carrie, Ginnie’s twin sister / Nursing sister
Sammy the dog (puppet) / Handler
Ensemble to play evacuees, villagers, Londoners and nursing staff
With the exception of the roles of Tom Oakley, William Beech and Zach, all characters will double (at least) with other roles, as shown above. Two teams of two children will be required to play the roles of William and Zach. The roles of these two boys may be played by female actors, if suitable.
Suitable audition pieces from the script may be obtained from Carol Bush, Production Manager, [email protected] or Siobhán Hill Elam, Director, at [email protected]. Alongside these audition pieces, the usual Audition Form will be supplied, which I would like people to complete and return by email in advance of the auditions.
Brave New Barn World announcement:
In addition to returning the Audition Form, all auditionees are invited, should they so wish, to attach a short, three-minute video of their performance of the audition piece of their choice. This would be enormously helpful to me in making good casting decisions and I would love to see as many of these as possible.
Siobnan xx
View from the Back Row
My Old Lady
How lovely it was to once again sit in the Barn auditorium, even with a socially distanced audience of just under 50 souls. And all credit to the FOH staff sitting out in the car park (on a dry evening. The rain had poured on them two days earlier).
This first LIVE offering after more than a year was a three-hander. Maybe it was considered for the Studio because of this, but the expansive and opulent set for the Parisian apartment was vital to the plot. It was also well-furnished with a mixture of modern items, and a golden jardinière, an Italian coffee table and a marble fireplace. And exquisitely lit by John Cude.
Written and successfully presented on stage in 2002 and filmed in 2014 (to less than critical acclaim) the plot reveals an American, Mathias, who inherits the apartment inhabited by 90-year-old Mathilde but the French lease only allows him to take possession when she dies. In the first half of the play they discuss the problems and difficulties this situation causes, as Mathias is broke and needs the property. Her middle-aged spinster daughter Chloe sides with her to forestall his attempts to take over the flat.
As the play develops, Mathilde and Mathias deepen their relationship as each reveals their past lives. Chloe warms gently to him and their happy future seems assured. The dialogue, (in well-maintained French and American accents) varies between family reminiscences, business complications and light humour.
The three characterisations were excellent. Paul Russell as Mathias never became aggressive but conducted all his negotiations in a good-humoured friendly style. His personal dress sense was always untidy, bespeaking his lack of money and his attitude to life. Resorting to the bottle later in the play, his slightly drunk speech and balance were given just enough emphasis to be real and amusing. Celia Roberts as Chloe began with a frosty demeanour and a perfect image of middle-aged spinsterhood, maintained until she delightfully melted to the charm of Mathias.
Jan Palmer Sayer coped very well with the need to age up several decades. On her feet she was unsteady and used a cane to effect, and moved and spoke at a convincing level. I felt the silk stockings and tight-fitting black skirt didn’t help her ageing, and some of her hand gestures seemed too elegant for an aged lady (but what do I know about the qualities of les vieilles dames?). All the performances were absolutely right for the piece, and offered an enjoyable entertainment.
The music seemed a mixed bag with only Django Reinhardt authentically Parisian to my ears. Hannah Sayer opened the revival season with style and gentle humour, and just a touch of romance.
Get your pens ready!
Council is currently being asked to review the situation re critics in Barn News. Now that we present over a dozen productions each year, main house and Studio, persuading that many members of other societies to do this for us is becoming very difficult. Arranging Back Row reviewers on the other hand, from our own members, is not quite so arduous.
Members are divided in their views on the value of these criticisms, which we have been including in Barn News for many years. Some members are not keen to participate although we allow the in-house crits to be anonymous. Even then, some of you feel that is unacceptable.
The current situation then is that we will, for the time being, continue with Back Row reviews, and contributors will be offered the option to remain anonymous if they wish. Please do not, however, as happened just over a year ago, write a review and send it in to Barn News without consulting me first. It leads to confusion between me and the Editor.
I look forward to a flurry of offers as the new season begins.
01438 840553
Keith Thompson
The red carpet awaits!
As you’re aware, my social committee and I have been working hard over the last few weeks to come up with some events for Barn members. In the previous edition of Barn News, I mentioned a Welcome Back Party in September and I’m pleased to give you some more information.
On Saturday 9th OCTOBER 2021 at 8pm, the Barn will be celebrating with a Welcome Back Party. Members are invited to a Black and Gold Oscars-themed party, including live music, karaoke, drinks and snacks from the bar and, of course, a red carpet.
There are 50 tickets available so it will be on ‘first come, first served’ event. If you’d like to attend, please email [email protected] with the names and emails of all attending guests and we’ll get invitations sent to you. If you have any questions regarding this, please email the above and we’ll be happy to help.
See you there!
Hannah Humbles
It was Wilde!
July's Zoom play reading
There’s nothing like a good classic, with plenty of character parts, to warm the hearts of actors itching to apply their craft. We settled down with pleasure to read Oscar Wilde’s Lady Windermere’s Fan, despite the occasional technical difficulties of using Zoom: forgetting to unmute, screens freezing and batteries running low. None of it deterred the cast from getting into the story or the chance to develop their character. With 16 parts, from below stairs to the aristocracy, there was scope to try accents from every class.
Lady Windermere is a young, principled woman, who won’t have anything to do with those she feels don’t live up to her high moral standards. Happily married for two years, with a six-month-old son, she accepts a beautiful fan as her birthday gift from her husband.
Lady W has been deflecting the attentions of the rascally Lord Darlington who’s far too attentive in his love-making. He utters the great line, still likely to cause a smile: ‘I can resist anything but temptation’. She’s devastated to hear gossip that her husband is spending time and money on Mrs Erlynne, an attractive widow.
The plot unfolds around Lady W fleeing her birthday ball where Mrs Erlynne arrives uninvited and dances with her husband. Waiting in Lord Darlington’s apartment, Lady W is saved from taking a wrong step by Mrs Erlynne who she never learns is her mother, whom she always believed died young. She’s about to make the same mistake Mrs Erlynne did: leave a husband and child for a love affair that will never lead to marriage and thus become a social pariah.
Of course, the fan plays its part in being discovered at the apartment and given an alibi by Mrs Erlynne, which saves Lady W’s reputation. Lady W finally realises, in gratitude, that people are not either good or bad. Judging people can lead to serious misunderstandings.
Researchers of Wilde’s work believe certain speeches in the play reflect Wilde’s own experience of hiding his homosexuality at a time it was illegal and almost universally misunderstood.
‘You don’t know what it is to fall into the pit, to be despised, mocked, abandoned, sneered at – to be an outcast! To find the door shut against one, to have to creep in by hideous byways, afraid every moment lest the mask should be stripped from one’s face, and all the while to hear the laughter, the horrible laughter of the world, a thing more tragic than all the tears the world has ever shed.’
We’ll never know what other theatrical gems Wilde may have written if his health hadn’t been broken by two years’ hard labour in prison, following his show trial for gross indecency.
We can be glad that he left the theatre the legacy he did.
Next play reading
We hope to back at the Barn in Room 1 on Wednesday 11th August, 9.45am for a 10am start. This is likely to be the last one organised by myself with my able team of Derek Palmer, Zoom host, Hazel Halliday and Stuart Handysides, all searching out and helping select plays.
Some will know that Trevor Watkins and I are planning to buy a house together in his home county, West Sussex. Our houses are sold, so now it’s fingers crossed we get the one we want, which we found three months after we accepted offers on ours!
We’re planning to keep the play readings going and this gives me the opportunity to thank my co-organisers and the many play group members from the Barn, Digswell and CoPS who’ve contributed to some special times and weathered the change from Green Room to Zoom and hopefully back again.
Yvana Reeves
Spotlight on: Cliff Francis
Director, actor
What is your favourite show and why?
On the professional stage it’d be The Comedy of Errors at the National with Lenny Henry. It was a memorable show, done on a massive scale with vast moving sets, loved it. Two shows that had me in tears and pain from the laughing were both at the Criterion: The Complete Works of William Shakespeare (Abridged) and The 39 Steps. At the Barn itself it has to be tHe dYsFUnCKshOnalZ!, especially John Cook who gave for me the joint best performance I’ve ever seen on an amateur stage.
What’s the best show you’ve been involved in?
For me there are two stand-out shows, Jerusalem at the Barn and Henry V at the Queen Mother in Hitchin, but Jerusalem would get the nod. An epic show, that was huge fun to rehearse and perform. It was my first show with Rosemary Bianchi and I learned a lot. It was crazy in the green room nightly, and a legendary after-show party.
What story does your family always tell about you?
It would usually be the sheer volume I was blasting out my music in my room: Pink Floyd, Deep Purple, Led Zeppelin and Black Sabbath. I still love them and music has to be loud, very loud.
If you could have lunch with any three people (real or fictitious/dead or alive), which three people would you choose and why?
John Lydon (Johnny Rotten) who had a seismic impact on music and youth culture – I wouldn’t necessarily agree with him, but it’d be a great conversation. Brian Cox, the physicist not the actor, to talk about our place in the world and the vast space above us, the stars, planets and what’s beyond. Whoopi Goldberg, a great actor and performer, a very funny woman who can talk about acting, music and politics and just about anything.
If given complete freedom to start afresh, what profession would you choose and why?
That’s easy, I’d be a professional director, stage and/or screen but I didn’t find that out until I was in my 50s and far too late!
What is the craziest thing you’ve ever done?
Well, I’ve abseiled down the side of an office block, white-water-rafted, driven a racing car, done twice the speed limit on a motorcycle, but probably running naked up and down the street in 6 inches of snow (after a prodigious amount of alcohol had been consumed).
If you were to change one thing about yourself, what would it be?
That’d be quite a list, but at the moment the one thing would be my waistline.
If you were stranded on a lonely beach, what are the five things that you would want to have with you?
Something to sit on, something to read, something to drink, a notebook and pen, so I could write.
What is one of your favourite quotes?
I always watch anything written by Aaron Sorkin, The West Wing being the best thing ever on TV. The two-word quote from President Bartlett is my mantra for working in the theatre, work and life – it’s simply “What’s next?”
What is your most cherished childhood memory?
Probably my first football match, Crystal Palace (south London and proud) versus Manchester United, with George Best, Bobby Charlton and Dennis Law (who got a hat-trick) playing. Palace lost 3-5 after taking a 2-0 lead so nothing much has changed.
If given a chance to skip work for a day, how would you spend the entire day? May not be relevant in these weird days!
On a lonely beach, with sun-screen, swimwear and a good book and Sharon, of course, even though she’d be moaning, bored and irritable.
Dates for your diary
Goodnight Mr Tom auditions
22nd, 23rd and 27th August
Up Pompeii auditions
8th, 10th and 11th September
Happy Jack
By John Godber
24th September to 2nd October
Barn – Welcome Back Party
9th October
Audition notice: Up Pompeii
By Miles Tredinnick
Directed by Maureen Davies
Playing dates 14th to 22nd January 2022
Audition dates
Wednesday 8th September at 7.30pm
Friday 10th September at 7.30pm
Saturday 11th September at 2.30pm
All in the Studio.
Synopsis
Up Pompeii is based on the TV series of the early 70s, which starred the late Frankie Howerd, and is a hilarious romp through ancient Pompeii. As Lurcio attempts to deliver his prologue, he is constantly interrupted by all the other characters and is quickly caught up in the myriad of liaisons in all quarters of his master’s house. And while the chaos ensues, an increasing rumbling is heard in the distance…
Characters: 6m, 5f
Lurcio: M. 40+. A fantastic role for a good comedy actor, with good timing and delivery. It’s a very energetic role as Lurcio, being the lynchpin of the play, is on stage for most of the time, so a lot of lines and business to be learned.
Ludicrus Sextus: M. 50/60. A bumbling senitor (master to Lurcio), who preaches morality but doesn’t actually practise it. A good comedy role. Has a very funny scene at the end of Act I when being hotly pursued by Suspenda.
Corneous: M. 30+. The household’s upstart footman, who’s after Lurcio’s job. Has some good comedy scenes with Lurcio, especially when they both dress as women to fool Captain Treacherus.
Captain Treacherus: M. 40+. The ruthless captain of a slave ship. He’s looking for a runaway slave girl and is not to be messed with (until he meets a pretty face of course). A super role where the actor can show some villainy as well as comedy.
Kretinus: M. 30+. Captain Treacherus’s dim-witted sidekick. Good comedy part with some very funny comedy scenes.
Nausius: M. Playing age 20s. The innocent son of Ludicrus Sextus and Ammonia. He falls in love with the runaway slave girl and is an ardent writer of love odes, but can never think of a word to rhyme with the last line (he’s the only one who can’t). A very good comedy role.
Ammonia: F. 50/60. Wife of Ludicrus Sextus. She oversees the running of the household and is prim and proper until an old flame resurfaces and lights her fire. Has a very funny scene with a pair of goggles.
Erotica: F. Playing age 20s. Ludicrus and Ammonia’s daughter. A smaller role, but a good part for a younger actor.
Voluptua: F. Playing age 30s. The runaway slave girl, who will do anything for anyone who will hide her from the evil Captain Treacherus. A lovely femme fatale role nicely served with comedy.
Suspenda: F. 40+. The original good time girl. She has a secret liaison with Ludicrus Sextus but things don’t turn out as expected. This role has some very funny comedy scenes. A loud cackling laugh is essential for this character.
Senna the Soothsayer: F. 40+. The bringer of doom and gloom. A great comedy role with a couple of nice comedy scenes. So much can be made of this character. Can be a real scene-stealer.
For scripts contact Stephanie Dunn:
Email: [email protected]
Mobile: 07961 321111
Phone: 01707 376260
Or Maureen Davies:
Email: [email protected]
Phone: 01438 817472
Maureen Davies
Audition notice: Ben Hur
By Patrick Barlow
4th – 12th February 2022
Audition dates
Tuesday 14th September at 7:45 pm in Room 1
Tuesday 21st September at 7:45 pm in Room 1
Sunday 19th September at 10:30 am in Room
Synopsis
In this version by Patrick Barlow, author of The 39 Steps, four actors take on the might of the Roman Empire. The greatest novel ever penned is brought to the stage by a towering team turning the theatre into one of the most authentic depictions of Ancient Rome ever seen.
Stunning combat, a 100% bona fide chariot race, an authentic sea battle (with real water) and a decadent and unexpurgated Roman orgy (suitable for all ages).
I saw the professional production of Ben Hur, with four actors (3M,1F), and I adjudicated an amateur effort that used seven actors. As written, the parts are distributed as follows, with suggested ages for the characters:
Actor 1 plays:
Judah Ben Hur 30, Melchior (one of the Three Kings) 70-100, and a Nubian Dancer 18.
Actor 2 (F) plays:
Mary 20-50, Tirzah 16, Esther 24, Slave 100, Nubian Dancer 18, Catalinya (a beautiful girl) 20, Naboth 16, Mrs Pilate 40.
Actor 3 plays:
Messala (the villain) 30, Jesus 30, Caspar over 70, Archangel Gabriel 30, Galley Captain 50, Roman Captain 30, Galley Slave 20, Nubian dancer 18, Valentinyo (heartthrob) 20.
Actor 4 plays:
Balthasar over 70, Sarah (Jewish mother) 60, Centurion / Slave Driver 50, Quintus Arrius (Roman Governor) 60, Pontius Pilate 60.
There are some moments when an actor will be playing more than one part on stage at the same time. There is a fast-moving script (not in Classical Latin or Hebrew). The audience has to be persuaded to play Galley Slaves (from their seats). Some members of the stage crew will make fleeting appearances.
The author notes that the whole show must be performed with the utmost seriousness as if performing Shakespeare or Aeschylus. The company don’t know it’s funny. If anything goes wrong (and by golly, does it?) they keep going, and no one is fazed for a moment. Great opportunities to be creative and have fun.
Books from Keith Thompson: 01438 840553 or [email protected]
Equus
by Peter Shaffer
26th – 31st October 2021 at 8pm
Cast and crew list
Martin Dysart Matthew Flexman
Alan Strang Tom Fletcher / Ruari Spooner
Frank Strang Simon Mitelman
Dora Strang Julia Riley
Hesther Salomon Emily Fairman
Jill Mason Kizzie Hopkinson
Harry Doulton Keith Thompson
All other parts played by members of the company
Director Steve Thompson
Stage Manager/Sound Rob Wallace
Lighting John Cude
Props Sheila Grimmant
Rehearsal Prompt Anne Woolmington
Production Manager Keith Thompson
Steve
Hangmen
by Martin McDonagh
25th March – 2nd April 2022
The auditions for this production will be announced at a later date, but probably won’t be until November. However, if you’d like to be involved with this production team in any other capacity we’d love to hear from you. The set building, set decoration and props team in particular, are going to need all the help they can get – please jump onboard, and together we can do something special with this great play.
John
