A Happy New Year
Good health and happiness.
Constellations
New year, new plays, new ideas!
There’s nothing quite like the calmness that follows a chaotic Christmas, and the stillness that a new year brings.It’s a time for new beginnings, and an opportunity for quiet contemplation.And the Barn has certainly been quiet since those revolting children left the building: one can finally hear the wind whistle through the rafters and rattle the doors in their frames.There’s a storm brewing on the main stage, as another one of my counterparts is busy exploring the nature of existence, and teasing the questions of what is a ghost, and who’s haunting whom? “You think people are dead, but it’s not always the case” is one line that reverberates with me, especially in this moment of my winter solitude, as I float through an eerily empty building. I’ll be watching The Height of the Storm develop with avid interest.
Elsewhere, in the Studio, another theory of existence is being explored – this time at a party, and a meeting between Marianne and Roland who seem to be hitting it off. Or are they?One moment they’re going home together, the next minute they’re going their separate ways. I seem to be watching the same scenes played out again and again, but also played out differently. The only certainty I can glean is that she’s a physicist and he’s a beekeeper. Oh, and that they exist in a multiverse (a set of parallel existences that contain infinitely different futures). I find this concept fascinating: imagine that there are an endless range of possibilities in our lives, and that every one of these possibilities plays out, albeit in a different universe. It’s all very fascinating and I want to know more.
I quickly find out from the inter-web thing, that Constellations is a new play, written by Nick Payne – former student of Sandringham School, and of a certain Louise Wallace! It’s about one relationship and infinite possibilities; it’s about free will and friendship; and it’s about quantum multiverse theory, love and honey.It originally opened at the Theatre Upstairs at the Royal Court Theatre, London, in 2012, before transferring to the Duke of York’s Theatre, in November. It was awarded the Evening Standard prize for Best New Play 2012. It was revived in 2021 and featured multiple casts, and again picked up numerous awards and nominations. My fascination increases.
A quick sidle-up to director Coral Walton, and an excitable stream of consciousness flows forth. “It’s such a good play for the Barn: it’s incredible, it’s funny, it’s moving, and it’s thought-provoking. It explores a relationship, from its beginning to end, and the various paths it takes, through a series of different scenes, played in slightly different universes.It’s like Sliding Doors, where different futures happen depending upon the decisions people make in the moment. It’s also a good play for me as it requires copious amounts of creativity and collaboration to make it work.I’m enjoying working with the small company, and the two actors are simply magic together. I’ve worked with Kelsey (Cooke) before, on Let the Right One In, and Stephen (Deaville) is a real delight. It’s a tricksy play for them to learn as the scenes are so similar and yet have subtle differences: they literally have to remember which version of which moment they’re in. It’s also challenging for me, as I’ve not directed on the main stage for a number of years, and going back to an ‘end on’ space and large auditorium is reawakening creative possibilities. I’m loving the opportunity to use stage, sound and light to create these different universes.”
From this meeting, I find myself forced to speculate about my own life, whether I should have switched off the electricity before changing the light bulb in the bathroom, and what might have happened if I did. Would I be roaming these corridors and eavesdropping on the different goings on, or would I have had a different kind of life?
As I float away, I have a fleeting feeling that I’m being watched.It’s an odd sensation for someone from my realm, but nevertheless, out of the corner of my eye, I spy two women, peeping back at me through their binoculars…I’ll be investigating this further!
Constellations
Cast and crew
Cast
Marianne – Kelsey Cooke
Roland – Stephen Deaville
Crew
Director – Coral Walton
Production Managers – Fiona Carter, Brenda Tomlin
Set Design – Michael Merry
Prompt – Fiona Carter
Lighting Design – Clifton Hoyle
Lighting Operator – Nick Mogg
Lighting Advice – Nigel Sadler
Technical Coordinator and Sound – Andy Barker
Photography – Simon Wallace
Props – Fiona Carter
Additional Choreography – Tammy Wall
Additional Set – Yvonne Bartlett
The Height of the Storm
by Florian Zeller
13th - 21st January
An elderly famous writer and his wife are being visited by their two adult daughters, and we soon hear that there has been a recent funeral, though it’s not clear who has died. After a while it begins to appear as though it must have been one of the parents, except that both of them are on stage for a large part of the play, often speaking at some length, although at different times one or other of them doesn’t seem to have been heard by the rest. Surreal maybe, but in performance totally convincing, and a moving depiction of a long and happy marriage. Florian Zeller is regarded by many as the most talented new playwright to have emerged in the 21st century.
“At a single viewing, it is impossible to pin this beautifully elusive play down… I can’t pretend to have got all aspects of this slippery, poetic play, but what I can say for certain is that Zeller’s play penetrates the memory long after one has left the theatre.”
The Guardian
****
From the Chair
Welcome to January’s Barn News
As we head towards the end of another tumultuous year, I’m writing to simply do two things. Firstly, to thank all of you for being part of the Barn family – whether as member, audience, or part of cast, crew or as a volunteer. Whatever happens outside of our wonderful theatre we can rely on it to both take us away from the day-to-day, but also to shine a light on reality and give us the chance to reflect.
The productions we’ve all enjoyed this year have done both, I think, and that’s what good theatre should do. I remain immensely proud to hold the office I have.
Secondly can I take a moment to recognise that the world in which we live is, indeed, challenging both on a global but also on a personal level. As we wrestle with political upheaval, the sheer cost of living, the war in Ukraine and, in our own homes, lives changing.
And as we say goodbye, perhaps, to family members and hello to new ones, the opportunity to pause, take stock, re-charge the batteries and reflect is one that’s really important to me.
Simply, then, may I wish you all, and those close to you a positive and enjoyable New Year.
We pass this way but once – let’s live every day as richly as we can with the people we love, doing the things that matter to us most.
Simon Parr
Chairman
Membership & Council
Minutes for the Council Meeting November 2022
Please find the minutes of the meeting of the Barn Theatre Council held on
8th November 2022.
Our membership news depends on information we get from YOU
Social update
Hope you all had a lovely Christmas and wishing you a Happy New Year!
Thank you to everyone who came to the New Year’s Eve party: it was a great success. I just want to apologise for any sore heads the next day!
We had planned a Casino Night for 28th January, however we realised we were quickly running out of time! I’ve since spoken to my team and we’ve agreed to have another quiz night as it was a huge success last year. It will start at 8pm and the bar will be open from 7.30pm until 12 midnight.
If you’d like to come, please email [email protected] with names of everyone in your team.
You can have up to 6 people per team. Hope to see you there and good luck!
Hannah Humbles
Social Director
View from the Back Row
Haunting Julia
Inspired by the play The Woman in Black which was based on Susan Hill’s novel, and opened in 1989, and will close next March (as the second longest running play in London), Ayckbourn wrote Haunting Julia which premiered in Scarborough in 1994. Written for a proscenium stage, it nonetheless opened in the round. This may have caused some difficulties with the effects, but more of this later. It had also been included in an Ayckbourn trilogy titled Things That Go Bump.
Ayckbourn wanted to write a thriller / ghost story but which depended on the dialogue for tension rather than special effects. The action is in ‘real time’: one continuous scene throughout. The play takes place in the Julia Lukin Music Centre, a rather shabby room which had been her bedroom, now a museum with mementoes of her musical career and a walkway for public viewing.
There are three characters. Joe is Julia’s father, obsessed with her memory and believing that there are unanswered questions about her death. Andy was Julia’s student boyfriend. Ken is a gentle soul, once the janitor on the premises.
The dependence on dialogue for tension works really well. When Ken introduces himself to Andy he casually reveals he was once a mortuary attendant and your immediate reaction is to think ‘what else is he going to reveal?’ The effects include Julia’s recorded voice available as part of the Centre’s presentation and, when played later, another voice is heard crying over it. Lights flicker and a discordant piano plays. The exit door to the original staircase is bricked up. But all these moments are preceded by detailed conversations between the three men which slowly put together a picture, leaving the audience wondering how and when these moments of frisson will be expanded.
I don’t know how many actors auditioned for the three roles but these three were in all respects absolutely suitable in lengthy, demanding roles. Doug Brooker as Joe the father is proudly obsessed with his daughter’s talent and reveals he had been dominant in her life. Doug captured the frustration of the situation in outbursts when trying to explain events. Harry Harding as Andy the ex-boyfriend was sullen and resentful that he was becoming involved again after so many years had elapsed since her death until he admitted he had been with her that day and what had transpired. Neil Harrison as Ken created a complex soul, friendly and informative, but happy to exhibit his psychic abilities. He added to the tension simply and scarily when he closed his eyes and concentrated on the possible presence of Julia. The teamwork of the cast carried the slow development of the plot at the right pace and with just enough detail as it progressed up the scale to moments when we were made to start or jump suddenly.
I mentioned the author’s deliberate dependence on dialogue. This poses a problem for the director. There are almost no moments in the script that require or need physical action. In the first half hour we watched two actors standing in unchanging positions while the exposition was hatched. Although the setting is in a ‘museum’, and Joe says to Andy when looking at the exhibits ‘Don’t touch anything’, which seemed to excuse the apparent lack of direction, later they both sat in chairs and one wondered why this relief (for the audience) had not come earlier. But the direction of the actors was exactly right for the dialogue in every other respect, and Maureen Davies deserves praise for this.
A footnote about the excellent effects. Just enough to puzzle us and make us jump once or twice, In the earlier Scarborough production in the round which I mentioned where this presentation posed a problem for the door with the vanishing brick wall behind it, they changed the door to become a trapdoor!
A play which with its lengthy static conversations could have been dull was anything but – because the dialogue was delivered so expertly, and would have satisfied the playwright’s intentions.
View from the Back Row
Matilda Jr
Two teams designated Team Elsa and Team Lilly were the alternating casts of Matilda Jr. The Welwyn Times reviewer, Emma Perry, saw the former and by good fortune I saw the latter so both teams have the satisfaction of being publicly acknowledged.
A Roald Dahl original set to music, by Tim Minchin and Dennis Kelly, is successfully playing in the West End and has now been reduced to a one-act version specifically for youth casts. To further ease the complication of production, the music is available as a recorded track.
There were no adult performers and one of the regular ‘problems’ in these circumstances is the variation in height of the cast members, from diminutive youngsters to tall teenagers. In drama this can be a hurdle but in comedy it can be used to effect and was here, just as it is in the West End.
Let me begin by congratulating the whole cast on their energy and attack. During the chorus numbers, wherever one looked there were actors doing their utmost to entertain: confident and radiating enjoyment. The principal individual characters were well defined and created comic moments with both dialogue and action.
Keira Searles played Matilda with a fine variety of moods – including standing up to her father’s uncaring attitude, and cheekily making the most of her solo songs with a delightful voice. Max Dimitrov as Mr Wormwood caught the style and voice of the second-hand car salesman just right and, as his wife, Ava Blackett was suitably struggling to cope with his lack of manners, and settled for the ‘Strictly’ persona of Rudolpho, a small part but nicely done by Tom Hopley, as well as his efforts as Nigel in the chorus. Madison Scully as Miss Honey gained our sympathy with a sweet voice and a sad back story.
Dominating the cast, and towering over all of them, was Lilly Abbott as villainess Agatha Trunchbull in a military uniform. Vocally and physically she brooked no opposition from Matilda or the rest of them until the climax of the play.
The chorus numbers (Chokey, School Song and When I Grow Up are the ones I remember) were strong and vibrant. One little grumble – in one or two places I couldn’t hear the words clearly despite the strength of the singers. The structure of the piece held some problems.
Matilda’s psychic ability to move objects was underwritten and therefore underemphasised. And the use of the recorded track did not allow the singers on several occasions to slow up and generate applause at the end of the song – a pity, because the applause was definitely deserved.
The set design by Tristan Cameron, and his special effects, were delightful. The lettered bricks were excellent, and also the video window with its variety of views. The Barn wardrobe team, very much on form this season, lived up to their reputation – first-class!
Choreography by Joyce Smith was simple and well executed (second little grumble – in a dance dominated by unison arm movements brushing hair out of your eyes should be avoided – it spoils the effect).
A final word for all these splendid young performers. If you disagree or are disappointed with any of these comments, remember that after the applause, criticism is intended to help you improve. It’s a vital part of the process.
Congratulations to director Katherine Barry on a most enjoyable production.
Audition Notice - Being Jane Eyre
Written and directed by Lou Wallace
Playing dates: 9th - 17th June 2023
Friday 10th February at 7.30pm in Room 1
Charlotte Brontë was asked to write a play version of Jane Eyre after the novel received rave reviews. She declined that offer, but this play sees her on a stage with actors, props, costumes and instruments, ready to tell the story of Jane Eyre. She interacts with her characters, they make ‘amendments’ and we learn about some of the inspiration for the novel.
This is storytelling theatre and it requires actors who are playful, inventive and generous. We need multi- skilled performers who are ready to dance, sing, play instruments, improvise and generally get stuck in
I wrote the play back in 2019 as a vehicle for a large ensemble cast, so I’m not really sure how many actors we need; I’m guessing around 12-15? The text as it stands is likely to be changed during rehearsals, so it’s not the kind of play where casting is set before rehearsals begin! Most actors will play several roles.
There are, however, a few key roles that need particular casting:
Young Jane – Diminutive and playing age of eary teen?
One (or two) older Janes – Early to mid-twenties?
Charlotte (doesn’t multi-role) To look around 35-40 – also ‘diminutive’ in stature!
Rochester – Playing age: I guess late 30s to mid-40s
All the key characters from the novel are there: Helen, Brocklehurst, Mrs Fairfax, Adela, St John, the Reed family, Pilot the dog, etc. But most will double (and triple) with other roles as the narrative tumbles onto stage.
Please bring an ‘act’ – a song, dance, joke, story, anything!
Also helpful to let us know what other performance skills you might have. We’ll probably look at the opening during auditions, which will have a workshop element to them.
Read-through: 24th February. Rehearsals to begin in March.
Two evenings and one long day at the weekend. We also hope to go to Haworth during the rehearsal period.
Please come and audition – I’m excited to build on the kind of style we explored with The Red Shoes back in 2019.
Lou Wallace
Writer and Director
Obituary - Denise Duffy
Denise died in mid-December, having suffered a heart attack some weeks beforehand. I’m used to writing these notices for Barn News but I can think of no better words than those used by Simon, our Chairman, in his announcement of her passing, in his email to the membership.
‘Her shining, happy spirit, generosity and remarkably positive outlook on life, will stay with everyone who was fortunate enough to have known her.’
Denise had been involved with Barn productions since October 1973 when she did the set decoration for The Magistrate. She worked backstage as props, set painting, costumes and ASM, and played recorder in two period plays, Canterbury Tales and As You Like It in 1988 and 1989. On stage she was occasionally seen in chorus roles of which especially memorable was the award-winning Erpingham Camp which played in the English Finals at Bognor.
Her rare appearances in named roles included Claribelle the Cow in Jack and the Beanstalk in 1976. The archives reveal she worked in nearly 50 productions.
Together with Heather Gill, Denise was working weekly on the archives, sorting, labelling and filing, for ten years, a massive job which has made our archives so interesting and accessible.
Although not an official Barn activity, the Barnstormers were a music-hall group of Barn members which played a dozen or so performances each year in various halls for charity between 1974 and 1990, and in these Denise was regularly onstage as singer and dancer. The group played in the Barn programme just before Christmas in 1983.
Always helpful and always good company, Denise will be sorely missed.
We send our condolences to Brian, Tracey and Lou and their families and to her many friends.
Keith Thompson
Introducing 'The Social Curtain' in the website archives
You may have noticed that there’s a new document in the Barn Theatre website’s Archive section – Historical Documents. It’s called ‘The Social Curtain’ which covers the history of the Welwyn Folk Players from inception in 1924 to 1969 when it became absorbed into the Barn Theatre Club.
In my mind, this document fills a missing element of the Barn’s history. There are two documents which cover the Welwyn Drama Club and nine documents that cover the Barn Theatre Club. Harry Stull covered the Drama Club and early periods of the Barn Theatre Club but for some reason, the Welwyn Folk Players were not covered, perhaps because Harry actually belonged to the Drama Club and hence his focus. I have attempted to address the balance.
The new document essentially presents all the productions performed by the Folk Players including names of those involved. There are some gaps unfortunately as we don’t have details of a number of productions, only titles and dates. For those of an older persuasion, there will be names familiar even if not known personally: sadly, most are not with us now. I have not attempted to include details of the organisation of the Folk Players and how it evolved, principally because we don’t have all the details and it will be a time-consuming task to tell the story. However, I hope the information I have provided does give a good understanding of how things evolved, those involved and the sort of plays performed, including during WW2.
I’ve said many times, that the story of the Barn Theatre reflects the story of Welwyn Garden City: this document adds more to that story.
Hope you find it of interest.
Robert Gill
Archivist
Two months until the YDF!
The 79th WGC Youth Drama Festival will occupy its usual slot in the Barn year, running for six nights from Monday 6th to Saturday 11th March – and tickets are already on sale via the Barn website. They cost just £10 per night and there are bulk purchase and season ticket options which can make them even cheaper.
Last month’s very successful production of Matilda Jr has kept the younger members of the Barn’s youth group fully occupied and the Festival is therefore missing Barn Errol’s contribution this time. Indeed, those of you familiar with YDF will note that a few nights have only two performances. This is because timetable alterations for some of our regular schools have led to clashing school events. However, it means that there’s an opportunity to add items, competitive or non-competitive, while keeping evening lengths manageable. We’re open to ideas from anyone who thinks they might have something to put forward. Competitive entries need to fit the normal Festival rules, but we could consider including some short monologues, perhaps as exam practice, by anyone aged up to 21. Let us have your thoughts.
Whilst the Barn’s younger youth groups are missing, we’re thrilled that Barn Hermes, the senior of the three, will be the final entry on the Saturday night with what sounds like a highly amusing play. They’d love to perform before a supportive Barn audience, so why not come along and see what it’s all about? Bear in mind that the last night of the Festival is always very popular. All the teams are eager to learn how they’ve scored and find out if it’s been good enough to secure an award or two, so don’t leave it too long before securing your seat. Tristan Marshall’s observations, encouragement and suggestions were greatly appreciated by our teams last year, and we’re delighted to welcome him back as our GoDA Adjudicator again in 2023.
We’d love to see you and we know that the young performers would too!
Michael, Hazel, Derek, Jan and Brenda
Sharon pulls it off!
You dug deep into your pockets this Christmas to support two charities – Macmillan Cancer Support and Herts Young Homeless.
I don’t know about you, but I tend to avoid coffee mornings, find them a bit dull, to be honest. But Sharon Francis, Barn Site Manager, was the driving force behind the coffee morning held at the Barn on 9th December in aid of Macmillan Cancer Support – and it was fabulous! She was helped ‘backstage’ and front-of-house by an ensemble which included, always smiling, Kris and Pete Moore, who served coffee and tea to a multitude.
Annie Woolmington, Suzie Major, Jan Chapman, Jan Palmer Sayer, Celia Roberts Jim Rowles, Sheelagh Mogg, Sheila Grimmant and Cassandra baked an assortment of cakes that would have given Claridge’s a run for their money – I’ve never seen a spread quite like it. Laid out beautifully, with Christmas tablecloths and decorations, there were gâteaux, sponges, mince pies, ginger cake and tarts of every description. The atmosphere in the foyer and bar was terrific as people wandered in and out, loading their paper plates, catching up with each other. It was a truly joyful and festive event which raised, at time of going to press, an impressive £1,057
Well done, Sharon, for doing such a great job (doesn’t she always!) and everyone else who helped, donated and ate the cakes. She tells me she’s hoping to do some repeat performances, with Council’s blessing of course, starting with a Marie Curie fund-raiser to coincide with Hannah Sayer’s Calendar Girls, which opens on 5th May.
Carol Bush
Thanks from Herts Young Homeless
If you were lucky enough to get a ticket for Haunting Julia recently, you’ll have seen Dorothy Smith and her band of helpers in the foyer before the show, selling raffle tickets in aid of Herts Young Homeless. This particular raffle was to raise funds for Future Roots, the supported housing project established by HYF to provide young people with a safe home while they complete their education, or apprenticeship, and transition to independence.
You’ll be pleased to know that you bought nearly £700 worth of tickets – and I’m not surprised because you’re a generous lot, and anyway the prizes were amazing and included dinner at the Shard, a luxury spa day and the Harry Potter Studio tour. The raffle was drawn on 14th December, so you’ll know by now if you’re a winner!
Nicola MacKinnon, Community Fundraising Officer for Herts Young Homeless, said:
“A huge thank-you to our raffle ticket sellers and in particular to the customers of the Barn Theatre who have bought nearly £700 worth this year. As the cost-of-living crisis continues to grow, we’re seeing a rise in demand for our services, and a sum like this allows us to plan for this increase. We’re very grateful and look forward to working with the Barn again next year.”
You’ve donated to a good cause. At the moment, five young people are living in the Future Roots house, together with a live-in support worker who can help them to access HYH services, which include education, mediation and health.
In addition to the Barn tickets, Dorothy tells us that her volunteers sold £500 worth of tickets at the WGC light switch-on, and more to friends and families, raising a current total of £1,652.
If you’d like to know more about the work of Herts Young Homeless, go to www.hyh.org.uk
Carol Bush
Alys, Always
Cast and Crew
Cast
Frances – Jessica Drucker
Laurence – Des Turner
Polly – Alice Croot
Teddy – Arthur Roberts
Charlotte – Jan Palmer Sayer
Mary – Jessica Wall
Oliver – Loz Lowe
Sid – Hannah Humbles
Robin / Mr Thorpe – Paul Russell
Audrey / Mrs Thorpe – Mary Powell
PC Nagra / Julia Price – Devi Smart
Alys / Receptionist – Sarah Gennoe
Creative team
Director – Mel Powell
Production Manager – Sarah Gennoe
Assistant Director / Prompt – Laura Ilinca
Stage Manager – Sharon Francis
Lighting – Derek Palmer
Projection – John Bain, Richard Martin
Sound – Tristan Cameron, Bob Cameron
Set Design – Christine Neal, Matthew Neal
Wardrobe – Anne Mawer
Props / ASM – tbc
All photos used in Barn News are courtesy of John Davies and
Simon Wallace (MeltingPot Pictures)
Box office reminder
Member tickets are £11 on the opening Friday of most main-stage productions. To access the member price, customers will need the password ‘APPLE’.
Box office telephone: 01707 324300 (Mon to Sat, 9am to 5pm) – a £2 booking fee will apply for all telephone bookings.
The theatre box office will also be open every Sunday from 1pm to 3pm (from 3rd September).
Dates for your diary
Performances
The Height of The Storm
by Florian Zeller
Directed by John Davies
Friday 13th January to Saturday 21st January at 8pm
Matinee Saturday 21st January at 2.30pm
Constellations
by Nick Payne
Directed by Coral Walton
Friday 3rd February to Saturday 11th February at 8pm
Matinee Saturday 11th February at 2.30pm
Peep
by Jodi Gray
Directed by Jan Palmer Sayer
Wednesday 15th February to Saturday 18th February at 8pm
Matinee Saturday 18th February at 2.30pm
In the Studio
Treasure Island
by Bryony Lavery
Directed by Laura Eddy and Rosemary Bianchi
Friday 24th March to Saturday 1st April at 8pm
Matinee Saturday 1st April at 2.30pm
Audition
Being Jane Eyre
Written and directed by Lou Wallace
Friday 10th February at 7.30pm in Room 1
Saturday 11th February at 6pm in Room 1
Sunday 12th February at 2pm in Room 1
Social event
Singers at the Barn
Sunday 5th February, 7pm for 7.30pm
No January event
Club notice
AGM
Friday 27th January at 8pm
In the auditorium
Bar reminder
Barn bar opening hours
Fridays: 8pm to 11pm
Sundays: 1pm to 3pm