Story-telling at its best
The best reason to book tickets for any Barn production is that it’s simply a wonderful play – and Dancing at Lughnasa is just that! Set in Donegal in 1936, the play tells of the five unmarried Mundy sisters and the disruptive events of one summer, narrated by the adult son of one of them, then a child.
Our cast are enjoying Brian Friel’s free-flowing language, describing events of the past in meticulous detail, bringing the various dreams and memories of the characters into clear focus. The words paint pictures and cleverly portray not only rural life and Irish culture in the 1930s but also happenings beyond. There are clear signs of a changing world in which a variety of customs, beliefs, power struggles and industrial development are undermining the old order. But are words quite enough?
It’s a play about a very real family. It recognises genuine feeling, family bonds and family tensions within this tightly knit group devoted to the little boy the sisters are bringing up. They live a hard life. The arrival of a wireless ‘beaming the beat of Irish dance music all the way from Dublin’ is the perfect release.
Then there’s the cast! You’ll want to see some new faces treading the boards of the Barn stage alongside one or two familiar ones. And what a cracking team they are! Up for anything, including a good go at an Irish accent!
If you love theatre this play is an absolute must-see! Why? Because of the way the story is told through a number of techniques suggested by Friel within the text and developed further by the team to show that the happenings are just a memory. A memory of a small boy of a time long ago. Is it real or illusory? How often is an audience told about what will happen before the end without it spoiling the piece? It’s story-telling at its best.
The dedicated technical team buy into the memory theme with their normal creative energy to enhance the acting style, giving it a dream-like quality. Really there’s so much to enjoy in this production. You’ll probably want to come more than once to fully appreciate the effects.
Friel was a writer who lost his faith in writing prose and turned from writing short stories to theatre. His text focuses on the need for non-verbal communication to adequately express deep emotion. Friel believes the importance of music, dance and rhythms of movement can be more expressive than words. Deep emotions and historical context are conveyed through the sound of Irish music and ritualistic movement,
It’s been a fascinating journey through many rehearsals. We hope our audience leave the theatre feeling joyous and somewhat emotional about this beautiful play. Please do come and see if we’ve pulled it off.
Coral Walton
Director
Seasons of Love
So… what would you find in your attic?
Old school reports? Embarrassing photos? Love letters? Lego? Old records? Old socks?! We’ve been trawling through the contents of attics and cupboards and suitcases to gather some inspirational props and characters for Seasons of Love (the story in the attic!).
And what have we found? A whole lotta love, that’s what! Love in many forms – tough love, lost love, love of friends and comrades, and most of all: love of life itself!
Come along and enjoy the fruits of our labours told in songs and text and poetry – in the Studio on 20th and 21st February.
Get your tickets now!
Lou & Lynsey Wallace
Directors
From the Chair
Welcome to February’s Barn News
I’m writing this just before the AGM, which is a great time to look back at what we’ve achieved in the last year and to think about what we want to and hope to achieve next. The past 12 months have been very successful for theatrical productions and audience numbers and therefore financially as well. The profits from all shows and social events have allowed us to invest more than £30,000 in improvements to the Barn from current income without having to worry about fundraising. Most of all, this success reflects the passion and commitment of so many people who give up their time to make our community work.
Our membership continues to grow, attracted by the quality of the productions but also the welcoming atmosphere of the Barn. When I became Finance Director eight years ago, I was told we had 600 members. In reality, we had 600 names on a list, including the youth groups, but only 350 bothered to pay! We’ve quietly grown the 350 to just over 500 who, as well as paying, contribute their time, skills and talent.
Also, the membership is gradually becoming younger. Senior members now account for 39% of the total, down from 45%, and I think this bodes well for the future as we need to continually work to reinvigorate the theatre while retaining our core of experienced and dedicated volunteers.
A good example of this is the growth of our social activities. Hannah Humbles and her team have done a wonderful job in creating a successful programme of events over the past few years (as well as reducing the average age of Council every time Hannah attended meetings). We’ve now sold out jazz nights every month, comedy nights and various one-off events that are being added to by our very own one-man ideas machine, Danny Swanson. The recent poetry night will hopefully be a regular event. Hannah is stepping down from Council at the AGM: I’d like to thank her for all she’s done, and I’m delighted that Lisa Roberts will be taking over as Social Director.
I also want to congratulate Belinda Putley on her 100th birthday which was on 21st January, and there’s an article about her in this edition of Barn News covering her involvement here over the past seven decades.
There’s also an article about the celebration of Keith Thompson’s life held at the Barn on 14th January, which was standing room only, and his last full house. Looking forward, we go from the second sold-out show in a row, The Unfriend to Dancing at Lughnasa directed by Coral Walton. This is a fabulous piece of drama performed at the National Theatre in 2023. It starts on 6th February, and I encourage you all to buy your tickets now.
I’ll see you in the theatre.
Ian Major
Chair
Performance start time
I forgot to mention something at the AGM – mea culpa. It’s been suggested by a number of people that we consider starting performances at 7.30pm instead of 8pm, as this would mean that plays finish earlier, which would be helpful for longer plays, and would be in line with performance times in London and other companies. We did, incidentally, experiment with an earlier start time around 15/20 years ago, but as that wasn’t successful we reverted to 8pm. We think, however, it’s worth revisiting as the world has moved on a bit since then, and we’d like your hear from you about whether or not you think this is a good idea.
Please drop me a line with your views at [email protected]. Realistically, any change wouldn’t happen before the 2027/2028 season.
We’ll look for an opportunity to discuss this in an open forum if there’s no clear consensus.
Ian
Keith's funeral
He'd have enjoyed the billing and the ticket sales!
“That is not something I have an opinion on…”
was cited by his granddaughter Hattie, while reading the obituary, as something ‘Chief Keef’ would never have said.
Well, I can guarantee that he most definitely would have had an opinion on the events of the day – his day. They would certainly have included how proud he was of all his family for organising it, of all his friends, and of having been part of the Barn for so many years. He would, of course, then have waxed lyrically about his top billing for the day and the sell-out attendance.
It was a crisp and beautiful January day and delightful, yet unsurprising, that the church was basically standing room only – full, with 300 plus in attendance, the vicar suggested. We heard some very moving readings from Ruth, Keith’s daughter, and Lorna, alongside a wonderful obituary from Hattie, and the church has probably not heard such singing in a long time. All the while, everyone knew Keith would be looking on and smiling, and quietly logging the moment for a future anecdote – “…interestingly enough, did you know that my funeral was blah, blah, blah…”
There were friends and acquaintances, past and present, some from very far afield and many, many local. All with one thing in common – Keith had made a difference to them at some point in their lives.
We all made our way to the Barn for the party, and I am not sure I have ever seen it quite so busy. We were packed in shoulder to shoulder, the caterers were struggling to weave their way through us all, and Martin and Nick sweated behind the bar, taking around £900. It was mad, uncomfortable, upbeat and perfect. Steve and Ruth had given the Barn a set of ten wonderful scrapbooks and folders that Keith had compiled over the years, and these were laid out and presented in the Studio. Looking through them, you can see just how important the Barn, and theatre in general, was to Keith and how much involvement he had. Wonderful photos and programmes from various festivals around the country, going back decades, were all part of these records. They will be curated by the Archive Team and, at some future date, be available online to browse through.
There have been dozens of people at the Barn who have been instrumental to so many of us. Eric and Pam Farlie, Brian and Denise Duffy, David and Shirley Shaw, Louis and Anne Davies, Pete Moore, Judith Claxton – the list really does go on and on, with countless others. Some of these names will be unfamiliar to many of today’s members but, nonetheless, the Barn we enjoy today would not even exist were it not for their hard work, vision, diligence and creativity. Keith, and his late wife Shirley, are very much on that list. For me personally, they were like second parents for most of my teenage years and beyond, and I remember so many wonderful, funny and stupid moments with them, and with Steve of course.
In some ways the most touching for me was the number of newer and younger members who were there. When you have a long history of friendship with someone like Keith, of course being at their funeral is an important part of the mourning process, but when you see how Keith had touched people he was more recently acquainted with, you realise what an amazing and positive influence he was to all of us.
We are all going to miss the old chap – his anecdotes, his insights, his presence – yet we all take a part of Mr T with us. We know that everything is simply better for having had him in our lives, and perhaps we can all pay forward the kindness and knowledge he gave to us to others who find themselves involved in this mad and wonderful hobby of ours. The Barn is an exceptionally important community-of-common-interest that provides a family of sorts for all of us. We should try to hold on to the reflections we make at these, our saddest moments, and try, at least for a while, to remember what we have at the Barn and in all our friends here.
Every time someone says “Interestingly enough…” we can all smile and doff a cap to Keith. Interestingly enough…I think he’d like that.
John Cook
Keith Thompson
Keith Thompson was one of the very first people I met at the Barn 20 years ago, and one of the last, when Annie and Keith were guests of ours as recently as September last year. He was on good form, frail but still very sharp and happy to chat for hours about many things, in particular his two great passions: the Barn and Tottenham Hotspur.
Keith was an exceptional actor and his stage credits at the Barn will, I’m sure, never be surpassed. If you have a few hours to spare, look Keith up on our great club archives.
As a director Keith, I think it’s fair to say, was very ‘old school’: looking at the big picture not analysing the text too much, leaving that to the actors, but he aways delivered good theatre. He was also a GODA adjudicator, and he and Jan Palmer Sayer were in my opinion the very best of the bunch. I’ve seen Keith adjudicate some absolute garbage yet find something positive and helpful to say.
His contribution to the Barn is immense and, to an extent, it’s the end of an era. While he may have had some issues with the Barn’s direction, he recognised that the theatre is being managed exceptionally well and is very much in the premier league of amateur societies.
The Barn owes Keith a huge debt of gratitude. He will be missed but remembered.
Bob Thomson
(former Chair)
Audition notice:
Death
A Youth mainstage production
by Woody Allen
Directed by Rob Graham
Performance dates: 15th to 18th July (inc. Saturday matinee)
Audition dates:
Wednesday 15th April 7.30pm-9.30pm
Sunday 19th April 2.30pm-4.30pm
Tuesday 21st April 8pm-10pm
All in Room One
The chosen play is Death by Woody Allen which is based on Ionesco’s The Killer. Allen’s film, Shadows and Fog, also draws loosely from the play. Despite the title, it’s a fast-paced, one-act, dark anarchic comedy which will be well-suited to a younger cast.
Kleinman, a meek salesman, is awoken late one night by a vigilante mob who force him to help catch a serial killer. But he’s never really given any idea about his part in the plan and so he stumbles, wisecracking, from one scene to the next in a state of total confusion, until he comes face to face with the murderer.
There are 20 characters but I’m looking for an energetic and enthusiastic cast of 12 with some doubling. Casting will be gender-blind and there are some terrific parts. The central character of Kleinman is an absolute belter. Auditions are open to all holding Barn Youth membership as at 31st December 2025. Rehearsals will likely start at the end of April but will not take place during the Spring Bank Holiday week. They will also be scheduled to take account of Barn Youth group sessions wherever possible.
There is no upper / lower age restriction on those wishing to audition but with rehearsals likely to be scheduled up to three days a week (including either Sunday morning / afternoon), this will be a big commitment. I will be expecting the actors to deliver a high standard of performance with strong production values and stagecraft to showcase the talent we have in the ranks of our younger membership. It will, however, be great fun as well!
Those auditioning with a particular creative talent, e.g. singing, musical instruments, magic, should make this known and we’ll try to accommodate in the show if at all feasible. Subject to chaperoning logistics, there may also be the opportunity for some youngsters to shadow the adult backstage crew, so if this is of interest please let us know.
Scripts are available from Jacqueline Clayton. We’ll be looking to hold auditions in 15-20-minute slots with up to three people at a time, so please contact Jacqueline to book your preferred slot. If for any reason you can’t make the dates, let us know and we’ll try and accommodate you. A synopsis of parts with suggested audition pages is given below. Note that the play is set in New York so American accents will be required.
Characters
Kleinman (M/F) – Pg 22-32
Confused by the strange demands being placed upon him / her by the vigilante groups, Kleinman is a rather meek, yet wise-cracking individual who is the only person trying to approach the murders logically. This is the lead role / main character and is never off stage. A very large part and a fantastic opportunity for a confident young actor.
Anna (M/F) – Pg 15-22, Pg 53-55
Kleinman’s rather unhelpful nextdoor neighbour. A good role. May also double with Spiro, the rubbish clairvoyant.
Hacker (M/F) – Pg 6-14, Pg 58-62
Leader of first vigilante group. Another good role. Likely to double with the Maniacal Murderer.
Al (M/F) – Pg 22-27
Second in command of first vigilante group. Has a significant scene with Kleinman.
Doctor (M/F) – Pg 28-32
Fancies themselves as a criminal psychologist, but is pretty useless. A significant role with also the opportunity to double for Henry (second vigilante group).
Gina (M/F) – Pg 32-39
A very streetwise individual. Kleinman mistakes her affections for something more, but ends up paying the price. Another significant role but may also take lines given to Abe.
Man (M/F) – Pg 43-48
Something of a go-between between the two vigilante groups. Despite the name, this is a decent role with some stage time with Kleinman alone.
Victor (M/F) – Pg 6-14
Part of first vigilante group. A smaller role but likely to absorb lines given to Hank and opportunity to double with Frank from second vigilante group.
Sam (M/F) – Pg 6-14, Pg 62-64
Part of first vigilante group. A smaller role but likely to absorb some lines given to John.
John (M/F) – Pg 6-14, Pg 62-64
Part of first vigilante group. A smaller role, similar to Sam.
Cop / Policeman (M/F) – Pg 43-48
A smaller but key role.
Bill (M/F) – Pg 52-57
Part of second vigilante group. A small role so likely to absorb lines given to both Don and Assistant.
Contacts
Production Manager: Jacqueline Clayton – [email protected]
Director: Rob Graham – [email protected]
Rob Graham
Director
Audition Notice:
Cabin Pressure (Series 2)
by John Finnemore
Directed by Sharon Francis
Performance dates: 24th to 30th May (inc. Saturday matinee)
As this is a radio play, tickets will also be available to listen to the show in the bar area.
Audition dates:
Sunday 22nd February, 2pm-5pm (Studio)
Tuesday 24th February, 7.30pm-10pm (Room 1)
Wednesday 25th February, 7.30pm-10pm (Room 1)
MJN Air is coming in to land at the Barn Studio this May for a second series of the hit sitcom about the pilots of a tiny charter airline for whom no job is too small, but many, many jobs are too difficult. Run by the forbidding divorcee Carolyn Knapp-Shappey (an unfortunate marriage, namewise, but in Carolyn’s opinion, marginally better than Carolyn Shappey-Knapp), her two pilots are the smooth, experienced and almost-certainly-fired-by-a-big-airline-for-all-round-naughtiness Douglas, and struggling almost-competent pilot Martin. All-round help is provided by Carolyn’s near-idiot son, Arthur.
Characters
(There are no playing ages applied as casting is totally dependent on vocal characterisation.)
Captain Martin Crieff, the over-eager but inept pilot
Arthur Shappey, the dim but enthusiastic (and often in the way) flight attendant
Douglas Richardson, the smooth-talking, pragmatic first officer
Carolyn Knapp-Shappey, the no-nonsense owner and Arthur’s mother
Madame Szyszko-Bohusz, a paranoid, fanatical bassoonist and passenger
Maestro, conductor of the orchestra
Amsterdam ATC (Air Traffic Controller)
Senor Quintanilla, Spanish airport manager
Diego, Spanish engineer
We will be performing three episodes from Series 2: Gdansk, Johannesburg, and Limerick. There will be a few rehearsals through April and May, the added advantage being there are no lines to learn and no moves to block. In addition to cast members we’ll be looking for two foley artists to help with live sound effects.
For an audition script, please contact:
Yours truly: Sharon – [email protected] or
Production Manager: Jacqueline Clayton – [email protected]
Sharon Francis
Director
Play readings
Browsing through old emails and back copies of Barn News, I was shocked to realise that it’s approaching four years since the stalwarts of the daytime Play Reading Group attempted to reconvene at the theatre after transferring to Zoom meetings throughout the Covid lockdown. The challenge of face coverings, social distancing and limited copies of available scripts borrowed from the library meant that we reluctantly decided that it was too soon. Not long after that Yvana and Trevor moved down to the south coast and the impetus was lost… but not forever.
Plans are afoot to resurrect the group and I’m currently brainstorming with Derek Palmer and Danny Swanson when and how to go about it, with the hope of fixing a date for March, shortly after the 82nd Youth Drama Festival ends. So, week commencing 9th or 16th March. This is where we’d love to hear your thoughts. The old group used to meet on Wednesday mornings to start reading at 10 and end around 12.30. Is this still a good time, or would something else be better? Drop us an email with your thoughts at [email protected] and watch your emails and the March Barn News for more details and, hopefully, a firm date for our first get-together.
Hazel Halliday
Happy birthday, Belinda!
We’re very happy to announce that very long-term member Belinda Putley reached the ripe age of 100 on 21st January and joins another member, Marjorie Sandiford, to the 100 Club. Belinda has been involved in 91 productions since 1969 when she was prompt for Trelawny of the “Wells”. Belinda has been a very active member of the Club, also appearing on stage in many roles and it doesn’t stop there as she’s also worked as production secretary, box office, ASM and set dresser. Her last production was Great Expectations in the 2009 season. Some record!
From Belinda’s family:
“It takes a remarkable sort of lady to get to such a milestone – 100 years young and still very much going strong. From Belinda’s early life in Malaya and her evacuation to the States during the war, to her subsequent spell serving in the WRENs, she then chose a career in primary education, where she spent many years teaching the children of Hatfield. Alongside her career, Belinda took a keen interest in the local amateur dramatic scene and was actively involved at the Barn for many years.
She was also quite the intrepid traveller, taking every opportunity to explore with friends, including a memorable trip to the old Soviet Union, among other exciting destinations. And not to forget all the time she spent supporting the local hospice’s fundraising activities. She’s had quite the life.”
We sent her a card, a lovely bunch of flowers and a Lifetime Barn Membership Certificate.
From the Archives
While thumbing through the archives for a picture of Belinda Putley, Hazel Halliday found this photo of the cast and crew of You Can’t Take it With You from 1985. Can you name everyone?
Mike
Editor
82nd Youth Drama Festival
The 82nd WGC Youth Drama Festival (YDF) plays at our theatre between 2nd and 7th March. This hugely popular (and unique) annual festival draws in teams from schools and drama groups from around Hertfordshire and beyond. The Barn’s own youth groups have three entries spread across the week, and the youngsters involved would love to receive your support and see full houses.
Our friends at The Company of Players (CoPs) also have an entry this year and there are strong Barn links with many of the other teams.
Each evening has three one-act plays or devised pieces to enjoy. Individual performances will run for between 20 and 50 minutes to comply with the festival rules, and we’re pleased to welcome back Chris Baglin for the third time to adjudicate each evening and to distribute those all-important awards based on the GoDA marking system. The overall senior winner will be invited to return to open the Welwyn Drama Festival, also at the Barn, in May.
There are a total of 19 entries and the YDF Committee didn’t want to disappoint any of them. As a result, there are four performances scheduled for the last night and, in order to accommodate them, as well as the Awards Ceremony and celebratory hog roast, the evening will start at 5pm. Always a hugely popular date and, at the time of writing, you’ll need to join the waiting list if you want to be in the auditorium for the last evening. If you can’t get a ticket, you can still watch (and listen to) the monitors in the Club Room.
Monday 2nd March (7pm)
- The Reach Free School present Ash by the cast (J)
- Limitless Academy of Performing Arts present Milewalkers by Jesus Valles (J)
- Barn Hermes present Animal Farm by Ian Wooldridge (S)
Tuesday 3rd March (7pm)
- Barn Hedwig present Double Double by Kathryn Funkhouser (J)
- Marlborough Science Academy present Mephisto by James Griggs / devised (S)
- Trestle School of Drama Advance Class present Mods and Gonsters by the cast (S)
Wednesday 4th March (7pm)
- Chancellor’s School present Sean, the Fool, the Devil and the Cats by Ted Hughes (J)
- Roundwood Park School present Girls Like That by Evan Placey (J)
- Company of Players Youth Group present Old Folks by Max Posner (S)
Thursday 5th March (7pm)
- St Albans School present Tuesday by Alison Carr (J)
- Limitless Academy of Performing Arts present Everything Here Is Fine by Jessica Heppelthwaite (S)
- Pump House CYT present Britney’s Lock by Alexandra Wood (S)
Friday 6th March (7pm)
- Barn Errol present Alice in Wonderland adapted by Andrew Biliter and based on the book by Lewis Carroll (J)
- Richard Hale School present The IT by Vivienne Franzmann (J)
- Gestalt Youth Theatre present Mindhaven by Natalie Jeffs (S)
Saturday 7th March (5pm)
- St Christopher School present Speak As You Will by Connor Vincent (J)
- Junior Archer Players present Macbeth by William Shakespeare (J)
- St Christopher School present Reboot by Emma Roskilly (S)
- St George’s School present The Patient by Agatha Christie (S)
Awards Ceremony and Hog Roast
Hazel Halliday
Fancy directing next year’s Youth production?
As you’re probably aware, we’re performing the first Barn Youth production for a while in July 2026 under the direction of Rob Graham. And I’m also pleased to announce that we have a director already in place for the July 2028 production. However, we’ve a gap for 2027 so we’re looking for a director for that slot.
Interested?
Just want to discuss?
Please contact me: [email protected]
Jacqueline Clayton
Barn Youth Director
Obituary:
David Rapp
We are deeply saddened to learn of the death of David in January, shortly after the death of his father. David appeared in ten productions at the Barn, his last being the fabulous Jerusalem in May 2012.
David was an A1 Assessor and a dedicated teacher, delivering day courses and sharing his knowledge generously with others. Beyond education, he was also a qualified diving instructor. As a performer, David appeared in a number of productions, most notably Faustus at the Arts Depot in Finchley, where his commitment and presence were greatly valued. Alongside his theatrical work, David was a respected professional within the industry, working with actors and major organisations through the BBB Talent Agency. He’ll be remembered as a warm, kind and generous individual whose passion for the arts and support for others left a lasting impression.
Our heartfelt condolences are extended to his family and loved ones at this very difficult time.
Who’s Who
at the Barn Theatre Club
Directors
Chair Ian Major [email protected]
Finance Sofia Oliva (07493 854400) [email protected]
Marketing Barbara Holgate-Stuckey (07740 812950) [email protected]
Membership Celia Roberts (07799 255425) [email protected]
Facilities Michael Merry (07973 238346) [email protected]
Props Sheila Grimmant (07970 929290) [email protected]
Social Director Lisa Roberts (07917 797712) [email protected]
Stage Director Nigel Rive (07768 867534) [email protected]
Studio Danny Swanson (07583 613696) [email protected]
Youth Jacqueline Clayton (07981 866568) [email protected]
Non-Executive Director Sarah Gennoe (07990 595245) [email protected]
Non-voting Council Members
Company Secretary Linda Miles (01707 335718) [email protected]
Artistic Director Clive Weatherley (07773 044801) [email protected]
Wardrobe Director Yvonne Bartlett (07890 561846) [email protected]
Other responsibilities
Archives Alice Croot & Rob Wallace [email protected]
If you have any archives items to send us please CLICK HERE
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 Lisa Roberts (07917 797712)
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) [email protected]
Photography Simon Wallace (07875 423550) [email protected]
Photo Studio Hire Stephen Kahn (07946 589466) [email protected]
Private Hire Victoria Rive (01707 336446) [email protected]
Press Officer Alun David [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 Steph Dunn (07961 321111) [email protected]
Youth Groups
Barn Erroll Emma Turner (07841 836351)
Barn Pigwidgeon Georgina Bennett (07923 620163)
Barn Hedwig Georgina Bennett (07923 620163)
Barn Hermes Sean Scotchford (07814 236260)
Barn Owlets Kate Humbles (07712 343109)
Youth Group Administrator
Jacqueline Clayton (07981 866568) [email protected]
Telephone
Theatre & Box Office 01707 324300
Dates for your diary
Performances
Dancing at Lughnasa
6th to 14th February at 8pm
Matinee 14th February at 2.30pm
Seasons of Love
20th and 21st February at 8pm
Matinee 21st February at 2.30pm
In the Studio
Welwyn Garden City Youth Drama Festival
2nd to 6th March at 8pm
Final performances and results 7th March at 5pm
All Our Children
27th March to 4th April at 8pm
Matinee 4th April at 2.30pm
Auditions
X
Wednesday 4th February 2026 at 7:30 pm (Studio)
Thursday 5th February 2026 at 7:30 pm (Studio)
Sunday 8th February 2026 at 10:00 am (Room 1)
Death
A Youth mainstage production
Wednesday 15th April 7.30pm-9.30pm
Sunday 19th April 2.30pm-4.30pm
Tuesday 21st April 8pm-10pm
Cabin Pressure
Sunday 22nd February 2-5pm (Studio)
Tuesday 24th February 7.30-10pm (Room 1)
Wednesday 25th February 7.30-10pm (Room 1)
Social and Club events
Singers at the Barn
Sunday 1st February at 7pm
Sunday 1st March at 7pm
Comedy at the Barn
Saturday 28th February at 8pm
Jazz at the Barn
Friday 13th March at 8pm
Sonorité Music at the Barn
Saturday 14th March at 8pm
Next Council meeting
Monday 16th February at 8pm
Members’ password
MASK
Archive submission link
If you have any digital archive items to send to the Archive team please
click here