A Bunch of Amateurs: back at the Barn!
What a terrible time it’s been for theatre over the past two years.
The lockdown policies implemented by the Government may have helped the NHS not be overwhelmed, but they’ve had a catastrophic impact on theatre at all levels. West End theatres were closed for several months with many staff being laid off; whole casts for major musicals had their contracts terminated; and, even as we enter our third year of Covid restrictions, the effect of isolation policies continues to impact shows and their audiences.
We can only hope that, as restrictions are slowly lifted, we’ll see a return to ‘normality’ but personally I think it will take several months, or maybe years, before this is the case.
The Barn has managed the situation exceptionally well, doing its very best to present shows (in one way or another) during this period, while obeying the draconian laws imposed. This has included ‘live’ broadcasts and ‘socially distanced’ productions.
The A Bunch of Amateurs team were originally scheduled for an October 2021 date and, thanks to a herculean marketing effort, were looking at a great run, however tragedy was about to strike after a great opening night. One of the lead actors fell ill just before the second show, and we had to cancel the performance… next thing we know, two of our leads tested positive and were not at all well. So, what do you do when you lose your two leads?
In the West End you’d possibly have ‘swings’ – actors who maybe have smaller parts in the show but who know the leads’ parts and can take their place. Unfortunately, in non-professional theatre that’s seldom an option: having one stand-in ‘on book’ could possibly be an option, but two stand-ins? On book? Trying to play a romantic scene?
In this instance the show simply couldn’t go on.
You can imagine the disappointment of the crew and cast. Theatre is about timing, about getting your show to exactly the right point for the opening night. To have a great opening night was wonderful – to have to close from then, tragic. Many shows would simply have had to be cancelled and quietly forgotten about; the scenery repurposed, the scripts placed on bookshelves, never to move again.
With Bunch we had a lucky break. A proposed play for the Barn’s February 2022 slot had to be cancelled, and the Barn needed a replacement… We were asked, could we? Would we? Should we? The cast said yes, the crew said yes, so we now had a four-month sabbatical.
How exactly do you keep a performance on ice for four months?
The backstage management at the Barn were terrific and agreed we could store all the set, most of which has been painted by the extraordinarily talented Rosemary Bianchi, leave costumes on rails carefully stored away, and box up the props. Sorted.
But how do the actors keep on top of the lines? I personally know that as soon as I think a play is over the lines disappear from my head into the ether (assuming they were actually there in the first place). I decided we’d meet up every few weeks and simply do a straightforward line run: sit round and just run the lines. But acting isn’t really about sitting round running lines, and the actors (gawd bless ’em) were soon in full performance mode, belting it out albeit to an audience normally of two or three.
What was quite fascinating as a director was to see how the group, who have now been together far longer than most and in extreme circumstances, were interacting in a very natural manner. The characters in the play know each other very well and, overall, like each other. Now our cast do as well, which has added another dimension to the performance. It felt very natural, very ‘professional’ actors who were comfortable in the roles, rather than struggling to remember lines, actions, inferences, etc. – the benefit of having time which in amateur theatre is always at a premium.
So, in summary, the show may not have gone on in the short term, but it will in the long term, and I do hope you’ll come along and see a truly very talented and committed bunch of amateurs, in a play about a bunch of amateurs, called A Bunch of Amateurs.
Good luck with all your theatrical endeavours in 2022.
Bob Thomson
Director
FEBRUARY 2022
Old girl, new angst: taut psycho-drama hits the Studio
How many Barn directors can say they’ve had a personal note from the play’s author after applying for the licence, I wonder? Well, Belinda Gee has – and was thrilled after choosing Sydney and the Old Girl for what will be its world premiere non-professional production in the Studio.
“I went to see it at the Park Theatre in London in 2019,” said Belinda. “To be honest, I went because it was an opportunity to see the marvellous Miriam Margolyes on stage and I’m so glad I did. I was enthralled and left knowing I wanted to direct the play at the Barn as soon as it was available – our Studio is the perfect setting for it.
“I waited in the bar after the play and had a lovely chat with Miriam, who seemed genuinely surprised that there were people wanting to congratulate her. She very kindly signed the copy of the script which I’ve used throughout our rehearsals.
“Of course, we don’t have Ms Margolyes but we do have the experienced and talented Maureen Davies taking on the role of Nell. She’s joined by Louise Bateman, who really should be seen more on the Barn stage, and newcomer Doug Brooker, who’s a wonderful find. It’s a very strong cast. They’re all working hard to learn an enormous amount of lines and have formed a believable trio in this tense, and often funny, drama. I hope it encourages other groups to pick it up because it deserves to be seen more.”
Belinda continued: “The icing on the cake for me was when I received a hand-written, personal note from Eugene O’Hare wishing me well with the production, and giving me a few character tips. Brilliant!”
The two main characters are wheelchair-bound Nell Stock and her son Sydney, who are at war – and it’s mutually assured destruction. After 50 years cooped up in the same shabby east London flat where ghosts of a hard life still linger, the points scored in never-ending arguments continue to bind the pair together. And then there’s the not-so-simple matter of the inheritance…
As the twisted game between mother and son reaches breaking point, Irish care worker Marion Fee finds herself an unwitting pawn, played from both sides. Nell will stop at nothing for her bitter triumph over Sydney – but he has his own plans on how to end this once and for all.
From her opening salvo Nell revels in her vicious comments about her son’s ineptitude. The two trade insults that are darkly funny. She claims: “They should put my name in that book. That Guinness Book of Records. The longest dose of post-natal depression known to man”.
And Sydney might be referring to his mother’s TV set when he comments “If you don’t treat things right, they get broke,” though the comment is as applicable to his own mental health.
This is Belinda’s fifth play in the Studio: her last production for the Barn was The Flint Street Nativity on the main stage in 2019. She’s acted in several plays over the last few years and also enjoys singing and dancing in musicals with Hitchin Thespians. At CoPs she directed Quartet.
Author Eugene O’Hare is a writer and actor. He’s written for National Theatre Connections and short stories for BBC Radio 4. He’s currently developing original work for theatre, television and film.
When Sydney and the Old Girl premiered at the Park Theatre it sold out (not even standing room) and received nightly standing ovations. Make sure you book for our production and help us enjoy a similar success.
Sydney and the Old Girl is on in the Studio from 16th to 19th February.
Content warning: the play contains adult themes and swearing, and language that may offend.
Georgie Palmer
From the Chair
Welcome to February’s Barn News
As I write for February’s Barn News, we’re preparing for the AGM – a key part of the Barn’s calendar where we report on finances and the general health of the theatre. It’s fair to say after the last three shows in our season that we’re in pretty rude health production-wise, bringing lovely content and not a few laughs to our audiences. Huge thanks to all those involved on all sides of the house for all the hard work.
Financially, as Ian will report, we’re also doing well. Judicious use of funds and applications for grants over the last two years have left us not far away from where we’d probably have been if we’d run our full seasons – that’s an amazing achievement and one of which we should be very proud.
Membership remains reasonably healthy too, considering the pressure and stress everyone has been under, and my thanks to Nigel and Lucy for all their hard work keeping the numbers up to date and welcoming new faces into the club.
Some of the conversation at the AGM will be about succession planning. We discussed at the last Council meeting the fact that a number of Council members come to the end of our terms at the end of 2022 – and for most of those roles, for a number of reasons, there are no obvious candidates to replace us. At the risk of receiving emails from all but one of two of the current crop, might I delicately suggest that none of us is getting any younger and some fresh blood to take the theatre forward would be extremely welcome! It may seem onerous from the outside but, as the saying goes, many hands make light work. It would be good to represent as wide a range of the membership as possible, so please do consider putting yourself forward. If you’re interested in any of the roles, do speak to the present incumbent!
Like many, I was bitterly disappointed when the pandemic struck A Bunch of Amateurs, and we had to postpone, so I’m very much looking forward to seeing it back in a week or two – thanks to Bob T and his team for sticking with it: I know they’re looking forward to finally getting it on stage, so grab a ticket while you can.
As we all know, pandemic rules are changing and restrictions easing, but I’ve taken the decision to retain two socially distanced performances for the next couple of shows. Many of you have expressed a preference for these shows and it’s important to encourage as many people back to the theatre as we can. We’ll keep an eye on the general picture nationally and review again in March.
Finally, an early plug for the Directors Evening – fingers crossed we can hold it in person in May. Clive has been working hard on the new season and has a confident but secretive smile whenever I ask him about it!
So further into 2022 we go, with a little more hope for a return to a more normal life – we’re trying to do our bit, so grab your tickets now for Bunch, Sydney and the Old Girl and Hangmen – so much good stuff to see!
Simon Parr
Chairman
Read all about...the Barn!
Robert Gill has produced a leaflet and booklet celebrating 90 years of theatre at the Barn. The leaflets, which are free, will be available in the foyer and club room. The booklet, which is more extensive, will be on sale at the bar, price £3.50.
Membership & Council
Minutes for the Council Meeting December 2021
Please find the minutes of the meeting of the Barn Theatre Council held on
7th December 2021
Our membership news depends on information we get from YOU
New members
Lorrayne Fraser-Martin
Membership level: Ordinary
Interests: bar tending, box office, house managing, interval coffee, set design, set dressing, set painting, stage make-up and hair, stewarding, wardrobe.
Colin Hickey
Membership level: Senior
Interests: set painting
Oliver Merry
Membership level: Youth
Interests: Bar tending, lighting, set building, set design, sound, stage management
Welcome to the Barn!
Obituary
Joan Wilson
We have heard of the recent death of Joan Wilson at her retirement home in the Isle of Wight, where she had moved to be near her daughter’s family.
Joan and her whole family were very quickly involved in the activities at the Barn from the word go. She did box office for our very first production Fings Ain’t Wot They Used T’be in October 1969, and two months later played Andrée in Gigi. From then until her final role as Production Secretary on The Wind in the Willows in December 2012, her name regularly appears playing roles, and just as often as one or other of box office, Production Secretary, Stage Manager and Prompter in most seasons.
She played animals: Nana in Peter Pan (1988) and the Cat in The Owl and the Pussycat (1974); witches: in The Wizard of Oz (1975) and Dark of the Moon in that same year; as well as more ‘realistic’ roles in other plays such as Dad’s Army (2008) and Stepping Out (1989).
The whole family were Barn regulars. Her late husband Clyde was Chairman and a noted set builder, her son Stephen was Treasurer, and her daughter Julia an actor and director. Apart from drama Joan was enthusiastically involved in the social side of events at the Club. We offer our condolences to Julia and Steve, and Joan’s friends and family.
Keith Thompson
A January farewell to Joan
The skies were low and the wind icy on Saturday 22nd January. But that didn’t matter: the ferry from Portsmouth’s Gunwharf terminal to Fishbourne, Isle of Wight, was on time and warm inside. As the boat pulled out onto a flat, grey sea I tried make out where key sights were on the mainland, to get my bearings along the West Sussex coast, where I came to live nearly four months ago. When you’re trying to establish connections in a new place, familiar feels good.
I know the coast to the west of the port better, around Lymington and Christchurch, as well as the New Forest as that was where my dad lived for a dozen years. I was ridiculously pleased to pick out the familiar shape of the Tudor fort of Hurst Castle, near to Keyhaven marshes, one of the places I loved to go and watch sea birds and waders in the early morning before coming back to have breakfast with my ageing dad.
Memories of the Barn flooded in as I focused on my purpose for the day, going to say farewell to a special friend, someone who had smoothed my way into the Barn community when I first arrived in 2002, wanting to act and direct.
Pictures of the diminutive Joan Wilson, always smartly dressed, always busy, with a ready smile and usually offering a glass of wine and nibbles, or coffee and biscuits, when visiting her home, crowded into my mind. She was one of the ‘great and good’ at the Barn, running the box office, helping with many shows as prompt or on props or admin, and loving to act, with clear diction and looking classy in her costumes – or in her younger days scrumptious in a bikini, I’m told! Her whole family had been involved over the years and her beloved husband, Clyde, had been a constant presence as a set designer and constructor, before becoming Chairman. Her son Steve carried on the set design tradition, his complex set for a play I directed in 2007, Safari Party, which needed to transform from a smart dining room / conservatory to a junk-filled bothy, gaining much praise from the local theatre critic. Her daughter Julia directed and son-in-law Keith Bridgeman both acted and directed before they made their home on the Isle of Wight, where Keith could indulge his other love, sailing.
When you come to a theatre club new to the ‘ropes’, the culture and the people, it can be difficult to find a way to contribute. Joan was one of those people at the Barn determined that you should love it as much as she did. She offered to be my production secretary on the very first one-act play I was given to direct, Dock Brief, testing my skills (and to see if I was up to the Barn’s exacting standards!). With her own brand of no-nonsense intelligence and practical wisdom, she went on to be production manager on five of ‘my’ shows and helped me put together excellent backstage crews. She would have been pleased to know that one of my stage managers, Trevor Watkins, would turn out to be my partner in West Sussex.
Joan’s family did so much to support her as she began to show signs of memory loss. Her vascular dementia meant she could no longer lead an independent life. The family home was sold and Joan was moved over to a care home on the Isle of Wight, close by Julia and Keith and their family. Joan would lose her ability to communicate but her personality stayed calm and cheerful. Julia was diligent at sending out regular updates and photos of Joan so that her friends could keep in touch. The latest news about people and events at the Barn were always welcomed.
The boat touched onto the dock at Fishbourne and I drove off through the busy little town of Newport and eventually on to Freshwater Bay, arriving in comfortable time to Join the family on their short walk to the little Edwardian thatched church of St Agnes.
Inside, peace descended, as the family and friends scattered through the wooden settles, ready for the service of farewell to Joan, who everyone there recognised as ‘an all-round Special Person’. An organist led the music, and hymn solos were sung by a tenor, leaving us less musical folk the pleasure of joining in the chorus of Guide Me O thou Great Redeemer, which any rugby fan would know well. Julia had organised such a touching service. I smiled, thinking ‘Of course – she’s a Barn director. She would know how’. The grandchildren and great-grandchildren brought long-stemmed roses to represent each of their lives and placed them by Joan’s ashes and photographs of her life. Three family members read poems, their young voices bringing home the importance of family and love in everyone’s life. The Rev Leisa, who led the service, seemed to understand the essence of Joan, giving us time for tears and reflection as she read key passages from the Christian scriptures, the faith that Joan followed so sincerely.
I was immensely glad to be there, feeling my connection to Joan just as I had done for all the years I’d known her.
Back to the home of Julia and Keith, all of three minutes’ walk away, where we were all welcome. Then the other part of honouring Joan’s life began: reminiscing and laughing at the good times. I enjoyed sharing my memories and catching up on family history among the clusters of people. Joan always loved her family, was involved with each of their lives, immensely proud of their achievements, right through the generations. When I think of that now and of her, I’m so pleased to have known her, so very respectful of her talents, glad of shared moments, some theatrical but others touched and changed by her wisdom.
Yvana Reeves
Social Scene
I want to start off by saying thank you to Tammy Wall and Tristan Cameron for helping out with the Quiz Night last month. I also want to thank Clive Weatherley for providing us with some rounds of questions, and Tallan Cameron for covering the bar with me.
We’re excited to announce that the February event, a cocktail evening, will be held on the 26th from 8pm to midnight in the Club Room. We’ll provide a few cocktails that you’ll be able to purchase from the bar. This will be a lovely relaxing evening with snacks provided behind the bar.
If you wish to come along, please email [email protected]
On another note, due to personal reasons, we’ve lost a few members of our social team. Therefore, we’d be extremely grateful if anyone’s willing to volunteer to help out. We usually meet at least once a month at the Barn and aim to host a social event at the end of each month. Please let me know if you can help.
Hope to see you soon!
Hannah
Top score for Rachel
Rachel Thomas has just come first (by an impressive margin!) in the latest episode of the BBC Radio 4 music quiz show Counterpoint. That means she’ll be going on to the series semi-final this month. Congratulations Rachel, who’s penned the following:
About 25 years ago, my late father, who some of you may remember as a keen Barn member (Ron Thomas), appeared as a contestant on BBC Radio 4’s music quiz, Counterpoint.
On 17th January 2022 it was my turn. Following a Zoom audition and form-filling session, there I was at Broadcasting House, meeting the great Paul Gambaccini and nervously wondering what sort of voice to do. Jolly? Too frivolous. Serious? Too geeky (is that possible?). Apparently my diction was very clear. I have my lovely dad to thank for that!
The organisers are very welcoming and do their best to put contestants at their ease, making sure they’re questioned on a ‘pet’ topic, hence my Gilbert & Sullivan question!
Many of my fellow competitors are seasoned quizzers, having appeared on such illustrious shows as Mastermind and Only Connect (as my brother, Nick, did in 2019), so I was not massively confident.
It’s true that when you’re on air it’s very different and I was cross with myself for making two particularly huge blunders. Hey ho!
However, I appear to have acquitted myself quite well and enjoyed myself in the process. I’ll be making a return visit to record the semi-final on 2nd February.
For those of you wishing to have a listen, the show is available on BBC Sounds, and was broadcast on Monday 17th January on R4 at 3pm
Rachel Thomas
View from the Back Row
Up Pompeii
It was brave of Maureen Davies to suggest Up Pompeii for inclusion in the Barn’s 2021-2022 season, the BBC sitcom spin-off from the 1970s starring Frankie Howerd, a popular comedian of his day. He was a bit like Marmite to the 70s viewing public: one either loved his risqué, camp humour or hated it. But love him or loathe him, Howerd was the central plank of this sitcom based at the time of the Roman Empire’s demise. His oohs and aahs, his fourth-wall connection with the audience and his double-entendres were the stuff of comedy legend. Staging it without Frankie in the central role was always going to risk mediocrity.
As Frankie Howerd himself might have put it, ‘Fear not, dear reader’. Enter Paul Russell, a Barn stalwart who, as Lurcio, the head slave of a Roman senator, triumphed and filled Lurcio’s sandals with style and panache and provided amphoras full of belly laughs with his seemingly effortless repartee. Set in the Roman villa of his master, Senator Ludicrus Sextus (Chris White) and Ludicrus’s wife Ammonia (Jane Southey), Lurcio has a rival in the form of Corneous (Carl Westmoreland) a slave footman who covets Lurcio’s position of head slave.
Add into the mix a nymphomaniac in the form of Erotica (Hannah Sayer) whose braying laugh was a force of nature, who sets her sights on Senator Ludicrus, and an escaped young female slave Voluptua (Devi Smart) pursued by Captain Treacherus (Mark Skrebels)… well, you can imagine the rest, unless you were fortunate enough to get a ticket for this uproarious farce. My misgivings were soon dispelled, and my stomach muscles ached from laughter. With a large cast of eleven actors, Up Pompeii’s inclusion was a stroke of genius and just the pick-me-up we needed. Other cast members supported well with Alfie Hart, Tallan Cameron, Hannah Humbles and Mary Powell.
Director Maureen Davies’ assured hand was evident on Lurcio’s entrance (ooh-err, Missus!) and the simple set and props were appropriate and set the scene perfectly thanks to Stephanie Dunn and a talented and dedicated team of set builders and backstage crew. A thoroughly entertaining evening was had by all.
Audition Notice
Kiss Me Quickstep
by Amanda Whittington
Directed by Jon Brown
Playing dates: 3rd – 11th June 2022
Justin and Jodie have finally made it to the national ballroom dancing championships in Blackpool – via the hard shoulder. Luka’s come all the way from Russia. Nancy’s been training for this since she was three – and Lee and Samantha arrive on a wave of success.
Set at the Empress Ballroom, Winter Gardens in Blackpool, Kiss Me Quickstep is a play with dance, and focuses on the world of competitive ballroom dancing. We see the couples preparing, rehearsing and performing and we really become involved in their own journeys and relationships. The piece focuses on competition, on ambition, on trust, on vulnerability, and on the relationships between the characters. It’s very character-led, and looks at the real lives behind the fixed smiles and fake tan.
There are seven great, very well drawn out characters, with their own personalities and history.
Characters (4M, 4F)
Luka
A dancer from Moscow. Mid-20s to mid-30s
(a Russian accent will be required for this part, which we can work on!)
Nancy
A dancer from Blackpool. Early-20s to early-30s
Mick Knight
Nancy’s father, also from Blackpool. Early-40s to early-50s
Justin
A dancer from Burslem, Stoke-on-Trent. Early to late-30s
Jodie
A dancer from Burslem. Late-20s to early-30s
Lee Hart
A dancer from Cheshire. Mid-20s to mid-30s
Samantha Shaw
A dancer, originally from Burslem. Mid-20s to mid-30s
(the ‘perfect couple’)
The Compere
Voiceover role, introducing the dances, etc.
Chorus dancers
In and out of the play and in the big finale dance (not a big commitment)
Ages – we can be very flexible really. Don’t be put off by the ages listed above. These are just a guide – I’ll be focusing on the right matches, so do come along!
Dancing – we’re not necessarily looking for seasoned dancers, but people who simply enjoy dance and are looking to improve their current level or learn some new steps! A sense of rhythm and some agility will be required. Dances include the waltz, quickstep, tango, cha-cha-cha, and the samba – and we have our own Choreographer for this production. It’s going to be great fun!
Audition dates:
Tuesday 8th and Thursday 10th February at 7.30pm in Room 1 Sunday 13th February at 7.30pm in Room 1
During the auditions we’ll be reading from the script and there will be a simple movement exercise too.
Performance dates: Friday 3rd to Saturday 11th June 2022.
Scripts: These are available to borrow from Production Manager Fiona Carter. Please telephone Fiona to request a copy: 01707 326636 / 07736 813238.
Questions: Anyone wanting to find out more about the play and my plans is welcome to contact me on 07768 494039.
Note: We have an open casting policy. Anyone can audition for our productions and, if cast, will then be required to join as a member, if not already one.
This production will be dynamic, atmospheric, slick and entertaining – and it will be so much fun! I’m hoping to bring together a really tight, committed and friendly team who will all hopefully achieve lots of 10s!
I look forward to seeing lots of you at the audition.
Jon Brown
Director/Production Manager etc
Audition Notice
The Alchemist
By Ben Jonson
Directed by Simon Wallace
Playing dates: 24th June to 2nd July
Audition Dates
Sunday 20th March at 10am
Friday 25th March at 8pm
Sunday 27th March at 10am
All auditions will be held in Room 1
What’s it all about?
The Alchemist is about a group of conmen who set up, and run, their scams from a plush apartment in the middle of London’s business district. The apartment has been vacated by its owner, who has left his butler (one of the conmen) in charge. From this apartment, the three of them lure their ‘victims’, convincing them that they can conjure up the all-powerful ‘Philosopher’s Stone’, turn base metal into gold, converse with spirits and fairies, and teach people to become successful businessmen, gamblers and ‘players’. The action takes place across one afternoon, where the various ‘gulls’ come and go from the apartment, believing that they will be achieving their hopes and desires that very day. As more and more gulls arrive at the apartment, it becomes harder and harder to keep them apart, until the whole thing literally, and metaphorically, blows up!
Who’s who
The Antiheroes (your not-so-typical good guys):
Face (M, 25-35) – he thinks he’s the mastermind of the outfit: he’s certainly a master of disguise, and it’s his ability to take on different personas that’s at the heart of this role. His job is to find the marks and bring them in, which he does with aplomb! Bright, lively and energetic, and completely untrustworthy, Face is a brilliant character to play.
Subtle (M, 35-50) – also thinks he’s the mastermind of the outfit. He’s a hidden genius with a real gift for language and the power of persuasion. His role in the operation is the ‘good doctor’, the expert who successfully convinces the gulls to invest in each and every scam. Like Face, he has to adopt a range of different characters, depending on who’s in the house.
Doll (F, 20-30) – she’s the mastermind of the operation in that she recognises the need for them all to work together in order to be successful. She’s part UN peacekeeper, part lap dancer, and pure femme fatale to all who enter the house. She’s able to take on a range of roles within each scam, enhancing them by ensuring the other two behave, and stay on task.
The Villains (in order of grotesqueness but all are horrible in their own way):
Sir Epicure Mammon (M, 50+) – he’s definitely a politician, a nasty piece of work in every way: greedy, lustful, lascivious, vain, and the superlative of arrogant. Full of hypocrisy and belief that he’s above and beyond the law. Wants to get his hands on the Philosopher’s Stone, not only to give him riches and power, but also sexual prowess and the ability to attract any woman he desires.
Tribulation (M or F, 40+) – a super-strict religious figure / zealot: despises what the conmen are doing, but believes that the ends justify the means. Wants the Philosopher’s Stone in order to increase his power, and the power of his church, so that they may cleanse the city. As with Mammon, Tribulation is horrible and filled with hypocrisy and arrogance, not to mention a biting tongue.
Ananias (M or F, 25+) – Tribulation’s underling, a real sycophant and an absolute snob. Totally convinced that they’re superior to everyone else, and has a total belief in their religion. Fails to see the hypocrisy in their actions, and likes to bully others, especially our antiheroes. Totally changes in front of Tribulation, becoming much more subservient.
Dapper (M, 30+) – he’s a gambler who wants a familiar spirit to help him win at every card table, and in every casino. A playboy-type character who sees himself as a James Bond-esque figure: tries to be suave and sophisticated, and thinks himself irresistible.
Drugger (M or F, 30+) – a young entrepreneur with grand designs on being successful in business, and a willingness to buy into a ridiculous scheme of setting up shops using astrological suggestion. Initially appears quite naive and innocent but soon reveals a greedy desire to succeed.
Kastril (M or F, 20-30) – if audiences are going to feel any sympathy for any villain then it will be for Kastril. He / she arrives in London, looking to learn how to quarrel and live by his / her wits; he / she is also looking to ‘marry off’ his / her sister to any rich aristocrat. Completely gullible and falls for Subtle’s claims of being the ‘Jedi Master’ of wit, but completely awful to his / her sister, seeing her as his / her property, and only interested in marrying her off to the highest bidder.
The others
Dame Pliant (F, 20-30) – Kastril’s sister and the ultimate object of Subtle, Face, Mammon and Lovewit’s desire. She’s a beautiful, rich young widow, blissfully naive to the ways of the world, and totally in awe of her brother. She’s ditsy but lovely, and serves to counterpoint how horrible the villains are, in how they lust after her, and see her only as an object.
Surly (M or F, 25-50) – the only person to see through the artistry of the conmen and attempts to warn everyone that they’re being fooled. Also adopts a disguise / other role in order to try and expose the scams but falls foul of their own cleverness.
Lovewit (50+) – owner of the apartment, makes a return at the end of the play and is the catalyst to the metaphorical explosion. Morally questionable but nowhere near grotesque enough to be a villain. As his name suggests, he enjoys a good joke and buys into the scam, especially when a certain rich young widow becomes part of the scheme.
Neighbours / Officers
Setting and style
The play is described as the ‘grand-daddy of all farces’, and it certainly plays like one. The action is fast-paced – it calls for quite a bit of physicality and quick changes, especially for the Antiheroes. Characters are bold and bawdy, often verging on the stereotypical and definitely leaning towards the grotesque: audiences need to root for Face, Subtle and Doll, and abhor the villains.
The action is going to be transposed to the present day, although the text will remain in its original form. If you mashed up Hustle, Ocean’s Eleven, Breaking Bad and Lock Stock…, you’d be well on your way to getting the intended playing style.
How do I audition?
Easy: send me an email stating which session you’d like to attend, and any of the roles you’re interested in playing. I’ll then send you the audition pieces and further details about the play and relevant characters.
The audition itself will involve a group activity – involving everyone who attends on that day – as well as a solo audition slot. The group activity will be based around the game Call My Bluff; again, I’ll provide further details when you book your slot.
How else can I get involved?
Alongside cast, I’m in need of various creatives and crew to join the team. Please email me if you’d like to get involved.
Contact details:
Simon Wallace
M: 07875 423550
E: [email protected]
Simon Wallace
Director
Youth Drama Festival
Playing away
Dates for your diary
Performance
A Bunch of Amateurs
by Ian Hislop and Nick Newman
Directed by Bob Thomson
4th to 12th February at 8pm
Auditions
Kiss Me Quickstep
by Amanda Whittington
Directed by Jon Brown
Tuesday 8th February at 7.30pm Room 1
Thursday 10th February at 7.30pm Room 1
Sunday 13th February at 7.30pm Room 1
The Alchemist
by Ben Jonson
Directed by Simon Wallace
Sunday 20th March 10am Room 1
Friday 25th March 8pm Room 1
Sunday 27th March 10am Room 1
Performance
Sydney and the Old Girl
by Eugene O’Hare
Directed by Belinda Gee
16th to 19th February at 8pm
In the Studio
Club Social Event
Quiz Night
26th February 8pm in the Clubroom
All photos used in Barn News are courtesy of John Davies and Simon Wallace (Melting Pot pictures).
Editor's note:
All material for inclusion in Barn News must be submitted by the 25th of the month before. We aim to publish on the 1st of the month.
Mike Smith
Editor