My Old Lady enters stage-left
Our first main stage play after lockdown!
The title holds few clues but it sums up in a nutshell a shock and central dilemma for Mathias, one of three characters in this fascinating play.
He’s 60-ish and an American, who inherits an apartment in Paris from his estranged father. Mathias sets off, and as we know every American loves Paris, to claim his own piece of prime real estate, only to find it comes with a catch. Which is a pity, as Mathias (played by Paul Russell, a particular dab hand at comedy) doesn’t want to live in the apartment – he wants to sell it to put some ballast into his empty coffers.
He’s reminded that life can play tricks, just when you think you’re on a winning streak. His father had agreed to a life lease or ‘viager’, a quaint French custom, where you buy a property but the ex-owner stays in it for life. He discovers Mathilde Girard, well into her 90s (thank goodness actors help us suspend disbelief as she’s played here by Jan Palmer Sayer) ensconced in the apartment with her feisty daughter Chloe, also 60-ish (played for us by Celia Roberts). He’s dismayed to find that not only can he not sell but he has to provide Mathilde with a pension too… zut alors!
Since he has nowhere else to go and no money, she agrees for him to stay, much against her daughter’s wishes. But Mathilde, a retired teacher of English is formidable and has her way. Then, as Mathias discovers uncomfortable truths about his father and battles with Chloe, he realises if he wants to sell, he’d better get to know his very own old lady, his ‘bonus’, along with her daughter.
Will his father’s decision to leave him the apartment make his life better or worse? Come and see for yourselves!
Catching up with Hannah Sayer at the Barn, after one of their Saturday rehearsals on stage, she contrasted her many months directing on Zoom to being back in the auditorium, with all doors open and masked crew members. She said:
‘It’s been wonderful. Finally I’m seeing my amazing actors face to face, albeit they’re up on stage and I’m in the auditorium, and in full glorious colour, not just from the waist up and on a screen. Watching them interact with each other and being able to make eye contact as well as reacting to physical cues – it’s just delightful to be back in the theatre with my chums. I literally bounce with joy!’
The play was filmed in 2014, with Maggie Smith in the title role, and Kevin Kline and Kristin Scott Thomas as her actor colleagues. This came after the stage version had some success in New York, Quebec and Paris. The playwright, Israel Horovitz, was interested to know whether audiences had preferred the film to the stage play and asked a friend which he preferred.
‘Impossible to say,’ he answered. ‘We liked both equally. They were so different, but we loved them both. And, of course, the story was the same. We laughed and cried at the play and we laughed and cried at the movie. Good job!’
Horovitz was happy with the answer.
I asked Celia, playing Chloe, who has acted with us and for The Company of Ten at the Abbey Theatre, how rehearsing in these tricky times had been for her.
‘Since we’ve been keeping the words fresh via Zoom it’s made knowing them so well and it’s much easier to absorb the moves and bits of business. Hannah gives us the freedom to move where it feels right so no two performances are likely to be the same. It’s much more natural and free-flowing that way. There’s great teamwork already: we know each other well, so the trust is there.’
I enjoyed being back at the Barn, watching a rehearsal in-process and particularly when the acting was already hitting high spots. I sat forward to absorb the action, drinking in a confrontation between Mathias and Chloe, humour and banter as Mathilde and Mathias share a nuanced understanding of a possibly salacious book. But, as the story unfolded and we began to realise the history and connections between these people, you could have heard a pin drop as Mathias asks Mathilde ‘How well did you know my father?’ I sat back in my chair, riveted to the spot, holding my breath to hear the answer. Great timing between the two actors which built the tension and the answer, which I clearly cannot reveal, was part of an unfolding story that says so much about the delight of live theatre. I can’t wait to see this fully-fledged!
This will be our first production on the main-house stage since Covid restrictions have run their unprecedented course. Fortunately, the Barn Council made an early decision to sell this show with social distancing in mind. This means 50 instead of 120 in the audience, no one in the front row and you book in bubbles or family blocks. Take a look at the website which will guide you.
Yvana Reeves
July 2021
From the Chair
Welcome to July’s Barn News
Welcome to July’s Barn News – and here is the news: WE’RE BACK! Maybe not quite as we would have wanted but after the last 16 months, I will take every step forward I can get, no matter how small. And this one actually feels like a large one, doesn’t it? Actual live theatre with live people – after so many months of rehearsals and two or three postponements, Class and My Old Lady will be with us over the next few weeks.
Firstly, a huge thank-you to all the cast members, both directors and all the crew of these two productions for sticking with it and being ready to perform for us – it’s been so hit and miss and we’re all, I know, extremely grateful to you
With all the uncertainty surrounding the lifting of restrictions we took what now seems to be a prudent decision not to sell all the seats in the main auditorium, so we don’t have to disappoint anyone by cancelling. In fact, we still have seats left for each performance of My Old Lady, so do get buying your tickets now. Mike Merry and Wendy Bage have been working hard to make our theatre as safe as possible, so you need have no worries about whether we’re Covid-safe. We’re following all the guidelines and, frustrating though it might be for those who are fully vaccinated, I’ve said all along that I would not bend the rules. Although it won’t be quite the normal experience, I’m determined that we should all be able to feel relaxed and safe. Hopefully, by September we will be freer from restrictions and by the time the new season starts we can start to fill up again properly!
This need to stay safe still governs our rehearsals and other teams meeting on the premises. It can seem a little inconsistent if we can sit in restaurants close to strangers but can’t meet up with more than six people we know in a controlled environment such as our theatre, but we will stick to the rules for just a little while longer. I’m sure all of us are looking forward to some spontaneity in all aspects of our lives; meeting up with friends at the Barn to chat socially or work on a production will be back soon.
Keep your eyes open in upcoming Barn News for more audition notices, and please also get in touch if you fancy turning your hand to one of the backstage roles – these vital roles are often filled by just a few people, and we’d love to spread the load a bit and get more of our membership involved. If you can sew, wield a paintbrush, a saw, or a props list, or if you want to learn about lighting or sound, there’s a job for you!
As we get back into the swing of things there will be lots of opportunities to learn, make new friends and be part of next year’s brilliant season. Do get involved – being part of a production is enormous fun and tremendously rewarding!
Grab your tickets for Class and My Old Lady – let’s get going again!
Simon Parr
Chairman
Membership & Council
Barn Council minutes May 2021
Please find the minutes of the meeting of the Barn Theatre Council held on 25th May2021 via video conference
Our membership news depends on information we get from YOU
Little Theatre Guild news
Our LTG Rep Robert Gill recently received the latest Newsletter
Click here to download the link.
Through many trials and setbacks to a first CLASS show
We all know a policeman’s lot is not a happy one, but sometimes nor is that of a theatre director – as Coral Walton knows better than most.
Many setbacks including late cast, crew and date changes, family ill-health and a certain pandemic are more than one production should ever suffer, but that has not stopped her from producing a first CLASS act.
After a sold-out run in the Dublin Theatre Festival 2017, Class transferred to the Abbey Theatre, Dublin, and then on to the Edinburgh Festival Fringe in 2018, which is where Coral came across it.
She said: “I thought how perfect it would be for the Studio, which is my baby; a three-hander with good story able to be performed without too many props or scenery. It encourages the use of the imagination which is what interests me.
“Everybody was after it but couldn’t get the rights because it was still being performed somewhere professionally.”
Eventually a licence for performing rights was obtained in September 2020 – but by then we were in the midst of Covid.
Casting and rehearsals began in the studio, with social distancing, continual sanitising and minimal people, the plan being for it to run in November.
“We were just about to get the techies in when the next lockdown started,” said Coral.
The production was rescheduled for June when another bombshell dropped. At Easter, Pete Bryans had to withdraw because of moving house and the pressure of work. However, he suggested a replacement, Howard Salinger. who hails from Hemel Hempstead.
Said Coral: “Howard collected his script at Ayletts Nursery, the drop made one windy Saturday morning, We met up the following day, masked, in the cold, hovering two metres apart outside the Barn, next to the tower to read relevant sections of the play. It was spitting with rain.”
“A team again, we attempted to rehearse on Zoom. Wi fi was temperamental and difficulties with sound and sometimes home locations problematic, we’d manage some of the text before losing the plot and giving up. On more than one occasion a rehearsal was abandoned when one of us thought we had Covid or was self-isolating.”
“The change of cast brought different dynamics but it has been interesting and a challenge to incorporate a new actor. The two other cast members are Tammy Wall and Alex Ryde.”
Then because Howard was involved in the St Albans Arena production and with the helpful agreement of the My Old Lady team, the initial June dates were moved to July 6th – 9th. “We still hope to have a small, socially distanced audience,” said Coral. “But it is wait and see time again!”
Class is about education – right up Coral’s street! Taxi driver Brian and his recent ex Donna have been called in to discuss their nine-year-old son Jayden’s educational needs after a standard test suggested low literacy levels.
Mr McCafferty wants their permission to bring in an educational psychologist to better understand his “learning differences”. He’s a good teacher – the kids’ favourite – who routinely goes the extra mile, but the meeting grows increasingly fractious as parents’ frustrations and teacher’s prejudices seep to the surface.
Coral, who was the Barn’s Artistic Director for six years, said: “I feel very privileged to be directing the first piece after lockdown and thrilled to be streaming it live. This is not a film, it’s a piece of live theatre and that’s what I want it to feel like. Of course, I’d like to do it with an audience, but for now, this is very exciting. When do you ever get the chance to do something so revolutionary!”
Tuesday 6th July – Friday 9th July at 8pm
In the Studio and on Zoom
Contents warning: Strong language and adult themes.
Carol Bush
Studio update
With the 2021-22 main-stage season in the bag, I’m now working on filling the three Studio slots. I thought I’d have two shows to announce but we’ve just been refused the licence for our proposed February show – so back to the drawing-board on that one. We do have a plan B but it’s not quite finalised… watch this space.
But the October show is! I’m thrilled to announce that Steve Thompson will be directing Peter Shaffer’s Equus which, amazingly, has never been staged at the Barn. It took the 1970s theatre world by storm and is just as powerful and shocking today. With all the fun and frolics going on in the main-stage programme, I thought a slice of darkness in the intimacy of the Studio would provide perfect contrast, a thread I intend to follow for the other Studio slots!
You can find Steve’s audition notice for Equus elsewhere in this Barn News.
Clive Weatherley
Artistic Director
From the Membership Director
Help (urgently) needed!
At long last we’re starting to return to some sort of normality. There are two plays in performance in July – Class and My Old Lady – and a full season is planned from September. The Barn has been dormant, production-wise, and we’re going to have to reignite all areas where volunteers are urgently needed to put on a show. By this I don’t mean we just need actors! We need to staff the following areas:
Front of house: box office / front of house management / bar (including interval coffees).
Backstage: stage management / prompting / properties / costumes / lighting / sound / set construction / set painting.
It’s now really necessary to increase our numbers in these vitally important areas as it always falls on the same members to do them. Spreading the load would make it far easier to stage a play and, of course, it gives members the opportunity to meet other members and get more involved with the club. Incidentally there are going to be more opportunities to socialise as our new social secretary and her team are currently preparing Club Nights, which have also been dormant!
We’ve gained quite a few new members over the last two months and you may be wondering how you can get involved – well now you know! Shortly I’ll be writing individually to those of you who have expressed interest in the areas outlined above, but in the meantime if you’d like to make direct contact with me expressing the area you’d like to volunteer in, my email address is [email protected] and I’ll point you in the right direction.
I look forward, hopefully, to finding my inbox full of willing volunteers!
Nigel Rive
Membership Director
New members
David Bailey
Membership level: Senior
Interests: Acting, directing
Elliot Cohen
Membership level: Ordinary
Interests: Acting, audience, bar-tending, box office, prompting, set building, stage management, stewarding
Sofia Duarte
Membership level: Ordinary
Interests: Admin and finance, bar-tending, box office, house managing, interval coffee, production management, programme selling, stage management, stewarding.
Alex Ryde
Membership level: Ordinary
Interests: Acting, House Managing
Welcome to the Barn!
The social scene
Over the last couple of months, Tammy and I have been busy pulling together a variety of events for Barn members. Our first thought was ‘we might need some helpers as it’s going to be quite a challenging job’, so I’d like to thank Pamela Wallis, Becky Done and Tristan Cameron for volunteering to help. If you’re interested in helping out, please email
We’ve managed to form a calendar for the 2021-2022 season and are really looking forward to opening the season in September with a party, celebrating the reopening of the Barn, so please save the date for Saturday 4th September at 8pm.
More information will be given regarding this in the next edition of Barn News.
Hannah Humbles
Social Director
Audition Notice:
Equus
by Peter Shaffer
Directed by Steve Thompson
Playing dates: 27th - 30th October 2021 in the Barn Studio
Shaffer’s masterpiece tells the story of a psychiatrist attempting to treat a young man who has committed a brutal crime. The play’s action has the structure of a detective story as the psychiatrist unpicks the past to understand the young man’s actions. The original Broadway production (starring Anthony Hopkins as the psychiatrist) won best play. It was successfully revived in 2007 with Daniel Radcliffe as the young patient.
Cast
Martin Dysart – Psychiatrist
Alan Strang – Patient
Frank Strang – Alan’s father
Dora Strang – Alan’s mother
Hesther Saloman – Martin’s friend and colleague
Jill Mason – Alan’s girlfriend
Other parts (including horses) played by members of the company. (Note: there is some room for gender-blind casting, e.g. Martin).
Audition: Monday 19th July in room 1 at the Barn or by Zoom if preferable.
Please email [email protected] to book an appointment.
Scripts available from:
Keith Thompson
Production Manager
keith[email protected]
01438 840553
Steve Thompson
Archive Request: 1970s Barn news!
The archive team are digitising past copies of Barn News. Unfortunately we have a rather big gap where we don’t have any copies. The period in question is from January 1971 to December 1974 inclusive. If any members have copies from this period, we would welcome a loan of them so we can scan them. Please contact [email protected] if you can help.
Thanks!
Robert Gill
Who's Who
at the Barn Theatre Club
Chairman
Directors
Chairman Simon Parr 07891 637532 Finance Ian Major 01707 320849 Marketing Mike Smith 07774 849606 Membership Nigel Rive 07768 867534 Facilities Michael Merry 07973 238346 Social Hannah Humbles 07940 226917
Non-Executive Sheila Grimmant 07970 929290 Administration John Davies 01707 882209
Ex-Officio Council Members
President Louis Davis Company Sec. Linda Miles 01707 335718
Stage Director John Cude 01525 374616 Artistic Director Clive Weatherley 07773 044801 Studio Director Clive Weatherley 07773 044801
Other responsibilities
Archives Robert Gill 01707 324572 Barn News Mike Smith 07774 849606
Bar Manager Ian Colpitts 07722 920186
Child Protection Linda Miles 01707 335718
Club Nights Hannah Humbles 07940 226917
Coffee Bar Sue George 01707 330274
Costume Hire Margaret Wallace 01707 321059 Sue Owen 01707 894841
Direct Debit Admin Lucy Winston 07888 838260
FoH Admin Wendy Bage 01707 331494
Library Vacant
LTG Rep Robert Gill 01707 324572
Photography & photo-studio hire John Davies 01707 882209
Private Hire Victoria Rive 01707 336446
Properties Barbara Foster 01707 694237
PR Carol Bush 01707 708704
Rehearsal Rooms Victoria Rive 01707 336446 Singers at the Barn Lesley Thomas 01707 872125 Site Manager Sharon Francis 07885 421051 Stage Lighting Nick Mogg 07802 866843 Stage Sound James Rowles 07958 427927 Website John Cook 07973 221617 Workshop Norman Merry 01707 326089 Youth Theatre Admin Lucy Winston 07888 838260 Barn Errol Louise Parr 07875 436317 Barn Pigwidgeon Georgina Bennet 07923 620163 Barn Hedwig Louise Parr 07875 436317 Barn Hermes Sean Scotchford 07814 236260
Green Room / Bar 01707 330672 Theatre Box Office 01707 324300
Emails :
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
Letter to the Editor
Time for change
I’ve been on a couple of Zoom calls recently with several local amateur theatre societies and am very concerned about the effects of lockdown on groups and how this has exacerbated many deep-seated issues within amateur theatre, which we now need to look to address as a matter of urgency.
The lockdown, and many theatre companies’ inability to engage with its members and audience in this new environment, has led to a severe reduction in members which gives additional cause for concern along with the longer-term issues such as:
- an aging membership and audience
- an aging acting, administration and technical membership base
- a lack of cultural diversity. Amateur theatre is terribly ‘white middle-class’ and should make far more effort to be inclusive, if it’s to remain relevant
If this situation is not addressed, I do fear many amateur theatre companies will disappear within the next few years. For consideration:
- Encouraging more drama at school – school plays seem to be less prevalent these days: my family had to endure me in several plays. Could local amateur directors not be brought in to direct school productions (suitably vetted of course)?
- Local groups reaching out to schools: open auditions with directors and producers presenting to local children
- Youth drama groups being given the same importance as adult groups. Often youth groups don’t get to perform on the main stage – a youth production should be seen as important as an adult production. When was the last Barn Youth production in the main theatre?
- More plays that are relevant to younger actors. While Ayckbourn may guarantee an audience, it won’t be a young one. Amateur groups must produce plays that feature and appeal to younger people
- Younger people as decision-makers. Most administrators within amateur theatre groups are ancient: we need to look at succession planning
- Increased diversity. Every amateur theatre group should have on its managing group one individual whose principal responsibility it is to seek ways of making the group more diverse, in both its membership and audience
Of course, this is far easier said than done, but I would respectfully suggest that if amateur theatre is to survive (let alone thrive) it needs to reinvent itself over the next few years to establish a far broader audience and membership base.
Bob Thomson
Dates for your Diary
Class
Directed by Coral Walton
Tuesday 6th – Friday 9th July at 8pm
In the Studio and on Zoom
Content warning: strong language and adult themes.
Tickets available from:
https://barntheatre.ticketline.co.uk/class
My Old Lady
Directed by Hannah Sayer
Saturday 10th to Saturday 17th July at 8pm
In the main auditorium
Tickets available from:
https://barntheatre.ticketline.co.uk/my-old-lady
Spotlight on Wendy Bage
Actor, trapeze artiste, FOH organiser
What is your favourite show and why?
At the Barn, The 39 Steps because I don’t think I’ve ever laughed so much. I enjoyed it far more than the version I saw in London.
What’s the best show you’ve been involved in?
In recent years, Nell Gwyn. What a gorgeous bunch of people to work with!
What story does your family always tell about you?
My youngest son Nick reminded me of this. In the mid 1980s we held an extension warming party (any excuse). I made a massive pot of chilli for the party. I put a tea towel over the top and left it to cool on the side in the kitchen. Fergus, one of our Burmese cats, decided to make a surprise entry through the kitchen window. He landed smack in the middle of the bowl, his feet turned orange and he scampered out of the kitchen at top speed. I decided, due to the five-second rule, not to mention it till later. Hope you were all ok!
If you could have lunch with any three people (real or fictitious / dead or alive), which three people would you choose and why?
I would love to have lunch with the three grandparents I never met. How boring of me!
If given complete freedom to start afresh, what profession would you choose and why?
Potter (famous and successful, of course).
What is the craziest thing you’ve ever done?
My trapeze act in the woods a few weeks ago.
If you were to change one thing about yourself, what would it be?
My age.
If you were stranded on a lonely beach, what are the five things that you would want to have with you?
1. A tent, 2. My iPad, 3. A comfy bed, 4. A good book, 5. Toto Wolff
What is one of your favourite quotes?
Be yourself: everyone else is already taken.
What are your most cherished childhood memories?
Finding my lost cat Peter in a roll of linoleum after my dad and I had been searching all day. Family holidays at Lake on the Isle of Wight.
If given a chance to skip work for a day, how would you spend the entire day? May not be relevant in these weird days!
A bit of light shopping round Covent Garden, meeting Ian for a light lunch, then on to a matinee, followed by dinner at Mon Plaisir with the family.
Wendy Bage
Audition Notice:
Goodnight Mr Tom
By Michelle Magorian and David Wood
Directed by Siobhan Hill Elam
Assistant Director Christopher Wallace
Playing dates: 11th - 30th December 2021
Audition dates:
Sunday 22nd August at 2.30pm
Monday 23rd August at 6.30pm
Friday 27th August at 6.30pm
All in Room One
Goodnight Mr Tom is a wonderfully feel-good Christmas story with lots of opportunities for the creation of memorable characters. The scene moves from a picturesque village in the west country to London in the height of the Blitz. There is considerable tension in the story as young William leaves London as a frightened, lonely little boy and eventually finds himself, for the first time in his life, among people who care for him. As time goes on, he is faced with huge challenges and for a while his very life hangs in the balance. Told against the backdrop of the early years of World War Two, scenes of great sadness contrast with scenes of absolute joy as William’s survival is ensured by widowed Tom Oakley who, in caring for William, finally mends his own long-standing heartbreak.
Roles
Tom Oakley, 60s, West Country accent
William Beech, 10, shy working-class Londoner (one solo song)
Zach Wrench, 10, extravert middle-class boy (sings and dances)
The following roles will all be doubled (at least) as shown:
Charlie Ruddles, the ARP Warden / David Hartridge, a trainee RAF pilot / Mr Stelton, a psychiatrist / Vicar
Dr Little / London ticket collector
George Fletcher, a village youth / Policeman
Mr Miller, village postmaster / London ARP Warden
Miss Miller, late teens – early 20s, daughter of Mr Miller / understudy
Billeting officer / Miss Thorne, the village librarian and drama producer
Mrs Beech, William’s mother, strict, prim, mentally disturbed / Mrs Annie Hartridge, housewife and mother
Glad, middle-aged Londoner, neighbour of the Beech family / Mrs Fletcher, housewife and mother / Social worker
Ginnie, village girl, early teens / London nurse
Carrie, Ginnie’s twin sister / Nursing sister
Sammy the dog (puppet) / Handler
Ensemble to play evacuees, villagers, Londoners and nursing staff
With the exception of the roles of Tom Oakley, William Beech and Zach, all characters will double (at least) with other roles, as shown above. Two teams of two children will be required to play the roles of William and Zach. The roles of these two boys may be played by female actors, if suitable.
Suitable audition pieces from the script may be obtained from Carol Bush, Production Manager, [email protected] or Siobhán Hill Elam, Director, at [email protected]. Alongside these audition pieces, the usual Audition Form will be supplied, which I would like people to complete and return by email in advance of the auditions.
Brave New Barn World announcement:
In addition to returning the Audition Form, all auditionees are invited, should they so wish, to attach a short, three-minute video of their performance of the audition piece of their choice. This would be enormously helpful to me in making good casting decisions and I would love to see as many of these as possible.
Siobhan xx
Director
Auditions in the time of Covid..
or lockdown for luvvies
A Bunch of Amateurs cast and crew
Whether you’re a supporter of the national lockdowns or a fervent opponent (like me) obviously the Barn has to abide by the law of the land and ensure that the rule and regulations are met.
So we undertook our A Bunch of Amateurs auditions with a limit of six people in Room One. I have to say credit to the Barn house management: the place was spotless and smelt like a hospital ward. Someone had been VERY busy with the disinfectant – well done. For a relatively small-cast play like ours it was no great hardship and, other than looking like we were about to rob a bank, it worked fine. For a large-scale production it would have been more awkward but hopefully normal service will be resumed soon.
Most gratifying was how many new people to the Barn the auditions attracted. We’ve undertaken a pretty broad ‘interactive focused dynamic social media campaign’ (we posted stuff on Facebook) and we’re delighted that two of the principal actors will make their Barn debut in our production.
Special thanks to the Barn house and room management team.
Cast list
Charlotte Collingwood Dorothy Nettle
Jefferson Steele James Markey
Nigel Dewbury Neil Harrison
Mary Plunkett Rachel Thomas
Jessica Steele Hannah Humbles
Lauren TBC
Mechanicals TBC
Bob Thomson
Director
Audition Notice:
Up Pompeii
By Miles Tredinnick
Directed by Maureen Davies
Playing dates: 14th - 22nd January 2022
Audition dates
Wednesday 8th September at 7.30pm
Friday 10th September at 7.30pm
Saturday 11th September at 2.30pm
All in the Studio
Synopsis
Up Pompeii is based on the TV series of the early 70s, which starred the late Frankie Howerd, and is a hilarious romp through ancient Pompeii. As Lurcio attempts to deliver his prologue, he is constantly interrupted by all the other characters and is quickly caught up in the myriad of liaisons in all quarters of his master’s house. And while the chaos ensues, an increasing rumbling is heard in the distance…
Characters: 6m, 5f
Lurcio: M. 40+. A fantastic role for a good comedy actor, with good timing and delivery. It’s a very energetic role as Lurcio, being the lynchpin of the play, is on stage for most of the time, so a lot of lines and business to be learned.
Ludicrus Sextus: M. 50/60. A bumbling senitor (master to Lurcio), who preaches morality but doesn’t actually practise it. A good comedy role. Has a very funny scene at the end of Act I when being hotly pursued by Suspenda.
Corneous: M. 30+. The household’s upstart footman, who’s after Lurcio’s job. Has some good comedy scenes with Lurcio, especially when they both dress as women to fool Captain Treacherus.
Captain Treacherus: M. 40+. The ruthless captain of a slave ship. He’s looking for a runaway slave girl and is not to be messed with (until he meets a pretty face of course). A super role where the actor can show some villainy as well as comedy.
Kretinus: M. 30+. Captain Treacherus’s dim-witted sidekick. Good comedy part with some very funny comedy scenes.
Nausius: M. Playing age 20s. The innocent son of Ludicrus Sextus and Ammonia. He falls in love with the runaway slave girl and is an ardent writer of love odes, but can never think of a word to rhyme with the last line (he’s the only one who can’t). A very good comedy role.
Ammonia: F. 50/60. Wife of Ludicrus Sextus. She oversees the running of the household and is prim and proper until an old flame resurfaces and lights her fire. Has a very funny scene with a pair of goggles.
Erotica: F. Playing age 20s. Ludicrus and Ammonia’s daughter. A smaller role, but a good part for a younger actor.
Voluptua: F. Playing age 30s. The runaway slave girl, who will do anything for anyone who will hide her from the evil Captain Treacherus. A lovely femme fatale role nicely served with comedy.
Suspenda: F. 40+. The original good time girl. She has a secret liaison with Ludicrus Sextus but things don’t turn out as expected. This role has some very funny comedy scenes. A loud cackling laugh is essential for this character.
Senna the Soothsayer: F. 40+. The bringer of doom and gloom. A great comedy role with a couple of nice comedy scenes. So much can be made of this character. Can be a real scene-stealer.
For scripts contact
Stephanie Dunn
Email: [email protected]
Mobile: 07961 321111
Phone: 01707 376260
Or Maureen Davies
Email: [email protected]
Phone: 01438 817472
1951 Festival of Britain
Seventy years ago In 1951, the Festival of Britain took place with a number of exhibitions and events centered around the Southbank in London. Today the only remaining legacy is the Royal Festival Hall which was constructed as part of the occasion. Most images of the Festival show a futuristic sculpture called The Needle which dominated the exhibition area.
One event that took place involved the Barn Theatre. As part of the Festival, a number of dramatic productions took place around London and elsewhere. The Shakespeare Stage Society invited Welwyn Garden City resident C B Purdom to produce a play for presentation at the Festival, he selected a play called ‘The Tragedie of Macbeth’ which was performed at the Crosby Hall, Chelsea, on 14th – 19th May 1951 (see front page of the programme above). Purdom chose to use the first folio script of the play as originally written by Shakespeare.
C B Purdom was one of the founders of Welwyn Garden City and also had a great deal of interest in drama. He formed the Theatre Society in 1921 which established the Barn Theatre in 1932, wrote a number of books on the subject of producing plays and was secretary of GODA. He was also a recognised authority of all things Shakespeare. For this Festival production he enlisted the Welwyn Folk Players (regular performers at the Barn in the 1950s becoming absorbed into the Barn Theatre Club in 1969) to provide actors, crew and support.
The play was later performed at the Barn Theatre 22nd – 29th September 1951.
One of the last surviving member of the cast taking part was Belinda Putley, a long standing member of the Club, she played the role of Hecat, see picture.
Robert Gill
Archivist