Season's greetings!
Well, it’s out there: another year-long cavalcade of theatrical delights set to inhabit your favourite theatre over the coming new season. If you weren’t at the Directors Evening in May, you missed a treat: always a popular event, this year’s seemed even more buzzing and entertaining than ever, even spilling over into the bar. My personal thanks to everyone involved, especially our wonderful directors, and to those audience members who made such lovely comments! It certainly made all the hard work that goes into assembling a Barn season worth it.
If you weren’t there and haven’t seen one of my famous synopsis sheets, we reproduce it below. And look out for the full-colour new season brochure which is about to go to press.
BARN SEASON 2023-24
On the main stage…
13th-21st October
King Charles III
by Mike Bartlett, directed by Cliff Francis
Written eight years before the death of the Queen, Bartlett’s provocative study of the royal family raised eyebrows. Now, with the title character on the throne, audiences can judge how accurate Bartlett’s predictions were, and how much of the imagined conflict with parliament, the press and his sons was borne out.
10th-18th November
Toast
by Nigel Slater, directed by Keith Thompson
Well-loved TV chef Nigel Slater shares his childhood memories and life-long relationship with food in this nostalgic trip through the tastes, smells and brands of the 60s and 70s. Featuring on-stage cooking and possible treats for the audience, this is a warmly evocative tale of love, loss and… toast.
15th-23rd December
Grimm Tales
by Philip Pullman, directed by Simon Wallace
A compelling and atmospheric stage version of Pullman’s acclaimed retellings of the fairy-tales we thought we knew so well – perfect for Christmas! While magical and family-friendly, the familiar (and not so familiar) stories don’t shy away from the macabre shocks of the Grimm brothers’ originals…
19th-27th January
War and Peace
by Leo Tolstoy / Helen Edmundson, directed by Steve Thompson
Tolstoy’s famously long epic of Western literature has been cleverly condensed and accessibly retold for the stage, presented at the Barn in two separate parts. On a vast canvas of places, people and events, Edmundson weaves an intricate saga of families, love and loyalty against the dramatic backdrop of Napoleon’s invasion of Russia.
9th-17th February
Holes
by Tom Basden, directed by Hannah Sayer
A plane crash on a remote desert island leaves three work colleagues and a teenager wondering if they’re the sole survivors, not only of the crash but of a global apocalypse. This gritty comedy comes from the writer of TV comedies Plebs and Fresh Meat.
22nd-30th March
Beginning
by David Eldridge, directed by Paul Morton
A modern look at love and relationships as two lonely people come together in real time to explore whether there’s a connection between them. As booze flows and Bros songs play, the layers peel back to reveal to us more and more about the couple and their chances of finding love.
19th-27th April
Oliver!
by Lionel Bart, directed by Mandy Sayers and Hannah Humbles
Consider yourself invited to one of the greatest musicals of all time – Lionel Bart’s evergreen delight in which every song’s a classic, from Food, Glorious Food to Oom-Pah-Pah. Enjoy heart-warming stuff from Nancy, Dodger and our young hero, with darker moments supplied by Bill Sikes and Fagin.
10th-18th May
The Massive Tragedy of Madame Bovary
by Gustave Flaubert / John Nicholson / Javier Marzan, directed by Lou Wallace
A refreshing comic take on Flaubert’s classic tale of bourgeois boredom, as Emma Bovary longs to escape life with her dull doctor husband. Zaniness, creativity and surprise replace the gloom and doom of the original as our heroine fights for a happy rather than tragic ending.
14th-22nd June
Harvey
by Mary Chase, directed by Belinda Gee
This comic tale of one man’s imaginary friend, who happens to be a six-foot rabbit, is most familiar from the movie version starring James Stewart. Seen today, it raises questions on mental health, celebrating difference and defying convention in small-town US high society, stifled by rules, prejudice and assumptions.
…and in the Studio
w/c 27th September
Two one-act plays
Good Grief
by Matt Adie, directed by Rob Graham
Vanilla
Written and directed by Laura Mead
Good Grief is a tale of love, loss and one family’s efforts to navigate their way through life, often shaped by the reactions of others, after tragedy strikes.
Vanilla features a couple during lockdown, desperate to reignite their passion and escape those endless Zoom quiz nights.
w/c 25th October
The Mercy Seat
by Neil LaBute, directed by Andy Mills
It’s the morning after 9/11. Two World Trade Center employees engaged in an illicit affair have avoided the disaster and, believed dead, face a life-changing decision…
w/c 19th February
Iron
by Rona Munro, directed by David Smith
A tense psychological drama set in a women’s prison. A mother and daughter try to build bridges after a long time apart, and are hit by the mysteries and memories surrounding the mother’s terrible crime.
w/c 27th May
Cabin Pressure by John Finnemore, directed by Sharon Francis
Originally a hit Radio 4 sitcom, the world’s smallest airline, MJN Air, lands in the Barn Studio, with its staff of four – owner Caroline, two pilots and a steward – sharing with us their work and their lives away from the runway.
Clive Weatherley
Artistic Director
July 2023
Getting close to season's end
Dearest readers,
It is a truth universally acknowledged that as the summer sun blazes overhead, the theatres go dark, their stages empty of thespians and their velvet curtains closed tight. But do not be disheartened, for behind those seemingly impenetrable walls, a flurry of activity ensues. Auditions are under way, rehearsals persist, costumes are stitched, and dreams of the next season take shape like exquisite works of art.
Yes, my dear theatre enthusiasts, while the audience may retreat to seaside resorts and country estates, or, indeed to outdoor theatres (may fortune smile upon the brave souls of the Shattered Windscreen Company as they embark upon their audacious endeavour – bringing forth their production of the illustrious Captain Corelli’s Mandolin to the esteemed Minack Theatre) the show at the Barn must go on. The dedicated actors and actresses, like soldiers in a theatrical army, gather in rehearsal rooms, honing their craft with unwavering determination. Their passion for the stage burns brighter than the midday sun, as they perfect their lines, polish their movements, and embody the characters that will grace the boards in due time.
And speaking of light, please give a thought to the Ghost Light that will burn while our stage space is empty. In fact, indulge me, if you will, as I explain this curious phenomenon that persists within the hallowed walls of our beloved theatres to those of you not familiar with the tradition. Behold the ghost light, that solitary luminary left burning when the audience departs, as if to honour the unseen spirits that inhabit these magical realms. It whispers of the spectral tales and hidden energies that pervade the stage, a beacon of respect for the ethereal performers who tread the boards. With its flickering glow, it silently reminds us that even when the final curtain falls, the theatre’s enigmatic presence lingers, forever captivating the hearts of those who dare to venture within.
And as our Ghost Light burns, behind the scenes, the creative geniuses work their magic, conjuring the next season’s spectacles. Costumiers meticulously design gowns and uniforms that shall transport us to distant eras, while set designers draft blueprints for grandiose worlds yet to be unveiled. Directors, like conductors of a symphony, guide their cast through the labyrinth of emotions, sculpting performances that will leave us breathless.
So, as we bask in the summer’s embrace, let us not forget that within those darkened theatres, the spirit of the stage thrives. Rehearsals persist, fuelled by a passion that knows no season. The anticipation builds, and when the time comes, we shall return to witness the unveiling of a new chapter in the grand theatrical tapestry.
Yours ever watchful,
The Grey Lady
Situations vacant and an appointment
There are currently three vacant positions to fill to enable the continuing efficient management of the Barn.
- Chair: the situation became vacant with the loss of Siobhán. Nigel Rive has been fulfilling the role but strictly on a temporary basis. If you think you’ve got what it takes to chair the Barn’s Council please contact him and he will be pleased to meet with you and explain the role in detail. He can be contacted at [email protected]
- Archivist and LTG representative: these are covered separately by Robert Gill in this issue.
- Stage Director – We’re very pleased to announce that the role of Stage Director has been filled by Robert Gill. Robert held the post a few years ago and knows the Barn – especially backstage – very well indeed. He’s warmly welcomed back onto Council and has already swung into action! Robert is now relinquishing his role managing the archives and is also going to stand down as our LTG (Little Theatre Guild) representative. We urgently need members to come forward to volunteer for these very important tasks – there is separate editorial in this issue by Robert which describes the jobs and we hope there’s enthusiasm out there to fill these as well. These have been difficult time for the Barn and we’re slowly getting back to the efficient management of the Club.
We're looking for a new archivist
After a number of years, from 31st October, Heather and I are stepping down from being the Barn’s archivists.
The Barn has a comprehensive archive going back to the 1920s when the build of Welwyn Garden City started and brought with it amateur theatre. Over the years amateur theatre has been an extremely popular pastime for many of the town’s residents and has gained a wide reputation for the quality of the productions. The Barn Theatre Club was formed in 1969 by the amalgamation of a number of the earlier drama groups and societies.
In addition, the archives contain a lot of material about the theatre from the day ‘it was a tree’ and the corresponding history of the farm-owners and use of the building. The archive needs to be continually updated as we continue to put on plays and other activities, all the while contributing to the town’s history. With Heather and myself standing down, there’s an important opportunity to be filled. We like to think that today, the work required is easy as long as things are kept on top of.
If you’re interested in taking on the archivist post, we’d be happy to show you round the archive, explain how it’s put together and what’s required to continue the archive process. Please contact me on: [email protected]
Alternatively, we’re often at the Barn so just have a word.
Robert Gill
Vacancy: Barn LTG representative
I will be standing down as the Barn’s Little Theatre Guild (LTG) Representative at the end of the year or AGM whichever comes first. The LTG was formed in 1946, the Barn joined the LTG in 1982, and I became the Barn’s Representative in 2013 which has included a three-year stint on the LTG National Executive Committee.
What is the LTG?
The LTG has a membership of 124 amateur theatres across the country and provides a body which promotes close cooperation and developments across all the theatres.
What does the LTG do?
The LTG organises national and regional conferences, and publishes an annual Year Book and quarterly Newsletters as well as Grey Papers providing advice to members.
I can provide further information about the activities of the LTG, if needed.
Representative commitments and activities
As the Representative, the tasks required mainly consist of attending the National and Regional (Central Region) Conferences which are held at member theatres around the country. The Representative is also expected to report back to the Barn Council following attendance at a conference. Also, it’s the responsibility of the Representative to provide an input for the Barn Theatre into the Annual Year Book – a relatively easy task. That is the minimum: there are opportunities to become more involved is desired.
The job is not very onerous though, like most things, a lot depends on what you put into it.
If you’re interested in becoming the Barn’s Representative at the LTG, please get in touch on: [email protected]
Robert Gill
Box Office opening hours
Please note that the Box Office will not now be open on Sundays.
Michael Merry
Facilities Director
View from the back row - Closer
First produced in 1997 at the National Theatre, Closer reached the Barn stage in 2004, directed by Sylvia Pepper. That season it was the second most popular play of the ten in terms of box office. Checking the publisher’s synopsis of the play, I found the tags listed as follows: Love, Sex, Relationships, Truth, Illusion, Modern, Post-Modern, Sexually Explicit Language, Crude Language, Lust, Adultery, Lies, Selfishness, Olivier Award. I was confused. Was this a warning re offensive material or a plug to sell the play?
The Studio was arranged in a conventional layout facing a small stage with the unusual design of cutting off the far wall by a curtain to create a backstage area for cast and crew. Multiple locations were created with blocks frequently rearranged by a very slick crew, but this did interrupt the flow of the plot once or twice. Inter-scene or background music was well chosen, excellent use was made of video in a few scenes, and the email conversation between the men as Dan fools Larry in an explicit exchange was beautifully managed by cast and techies. Props were neatly introduced. (Note: if the glasses are plastic, don’t clink them, just raise them!). Frequent changes of suitable costume helped with the passing of time.
The action takes place over four years although this span is not easy to follow over the 12 scenes without referring to the programme. The interactions of the four characters in their affairs, rivalries and betrayals are chronicled in explicit detail.
‘La ronde’ begins with Dan, a journalist, meeting Alice in a hospital waiting room. Harry Harding’s portrayal of Dan was a highly skilled, tightly controlled combination of selfish uncertainty, achieved with a stillness coupled with searching questions as he works his way into the lives of his targets. Lauren Ryan’s Alice began as a waif and despite her youth becomes a self-assured sex worker as the play develops. She starts an affair with Dan, but he’s also attracted to Anna, who marries Larry but betrays him.
Anna is a more mature character than Alice, but is nonetheless vulnerable. As portrayed by Jess King she was composed but her guilt and doubts were outlined with cautious responses in a fine performance.
Steve Deaville’s cheerful doctor, Larry, tries to cope with sex and deceit with probing and finally uncontrolled attacks. ‘Why do you hate me so much?’ cries Anna. ‘Because it’s easier than loving you,’ he replies. He vocally abuses Alice while she’s performing for him, and screams foul questions at Anna in an astonishing explosion of jealousy, shockingly climactic in his rage at her unfaithful admission. A similar moment occurs between Dan and Alice where the verbal lashing nearly becomes physical. ‘What can be bigger than jealousy?’
Directed by Ian Colpitts, the result was a strong, engaging intrusion into the complex lives of four very unlikeable people. I saw the original production in the West End in the late 90s when it was drawing the crowds and offending quite a few. I think its impact as a potentially offensive offering has been lessened by the passing of 20-odd years, but it’s still not everyone’s choice – though the four excellent performances attacking the dialogue and situations without holding back made it hard to resist.
Audition notice - Toast
By Nigel Slater
Directed by Keith Thompson
Playing dates: 10th to 18th November
Auditions: Tuesday 8th August (Studio, 8pm), Thursday 10th August (Studio, 8pm), Sunday 13th August (Studio, 10.30am)
Nigel Slater, the author and presenter of nine TV series and food columnist of The Observer, wrote his memoir, Toast, the story of a boy’s hunger, which won six awards and became a BBC film, available on Netflix. Adapted for the stage by Henry Filloux-Bennett, it premièred in 2018 and Time Out said of the production at the Edinburgh Festival: ‘a poignant and mouth-watering stage adaptation, it captures the intoxicating pleasure of food woven into every part of Nigel’s life’. Principally set in the kitchen, it nonetheless offers other locations as Nigel tells anecdotes and enacts his relationship with his mother as they cook and shop together.
As he grows up we see his school friends, his first girlfriend, his dad and Joan the cleaner, Josh the gardener, his new friends as he starts work, and the family holidays. The script mixes comedy, fantasy, sadness and poignancy. Nigel addresses the audience directly linking the scenes. Some food is cooked on stage and samples handed out to the audience. They make jam tarts, a Victoria sandwich, sometimes burn the food and have a disastrous experiment with spaghetti Bolognese.
The cast
21 parts with 5 principals and a series of cameo roles which may be doubled,
Nigel – needs to play Nigel as a young boy and a maturing teenager, then an adult. Narrates to audience, has a very warm relationship with his mum.
Mother – encourages Nigel, has some great cooking scenes including comedy.
Dad – a bit stern but a good strait-laced parent.
Joan – the cleaner, all fags and curlers. Marries Dad after Mum dies.
Warrel – Nigel’s best mate.
The cameo roles: Doreen, a cook / Josh the gardener / Stuart, a ballet dancer / Stuart’s mum / Aunt Elvie and Uncle Len / Mrs Everard and Mrs Potter / Savoy chef / Miss A, a teacher / Peggy and Janice, schoolgirls – and four other very small parts. Many of these may be doubled, depending on the turnout at auditions. Age is not critical for some of the roles.
I have the nucleus of a very strong backstage crew: Stage Manager, set dressing, props and set design. Set in the 60s and 70s.
Books available from the Director, Keith Thompson 01438 840553.
Keith Thompson
Director
Audition notice - War and Peace
By Helen Edmundson after Tolstoy
Directed by Steve Thompson
Playing dates: 19th to 27th January 2024
A magnificent two-play epic, adapted from Tolstoy’s novel and first staged by Shared Experience at the National Theatre in 1996. Painted on a vast canvas of locations, characters and experiences, Helen Edmundson’s stirring adaptation is an intricate saga of families, love and friendship, set against a backdrop of war – Napoleon’s invasion of Russia.
Playing dates: 19th – 27th January 2024. Each of the two plays will be performed five times, alternately, including one full-length four-hour marathon!
Audition dates: Monday 25th and Wednesday 27th September 2023, Room 1, 7.45pm.
Director: Steve Thompson (07590 565177, [email protected]). Please contact me if you’d like me to send you a script.
Characters
The play was written to be performed by 16 actors: eight men and eight women – but it can be done with fewer. The story centres around three aristocratic families (ages are approximate because the story spans ten years).
Pierre Bezuhov (30s) – Narrator. An educated, socially awkward misfit.
Count Rostov (40s-50s) – A sweet, deeply loving family man.
Countess Rostov (40s-50s) – Neglectful of money, head in the clouds.
Natasha (their daughter, late teens-20s) – Lively and charming, a dreamer.
Nikolai (their eldest son, 20s) – Impetuous, eager to join the army.
Petya (their younger son, teens) – Beloved of his mother, killed in battle.
Sonya (their niece, teens) – Nikolai’s childhood sweetheart.
Marie (godmother, 40s-60s) – Scheming, eager to recover her lost fortune.
Prince Bolkonsky (50s-60s) – A cruel, mean-spirited recluse.
Maria (his daughter, 20s) – Lonely, plain, long-suffering, treated cruelly.
Andrei (his son, 20s-30s) – Intelligent, ambitious soldier – cold and analytical.
Lisa (Andrei’s wife, 20s-30s) – Deep in love, tragically dies in childbirth.
Mme Bourienne (Maria’s companion, 30s) – The object of the Prince’s affections.
Helene Kuragin (Pierre’s wife, 20s-30s) – Cold, fortune-hunting, conniving.
Anatole Kuragin (her brother, 20s-30s) – Roguish, on the hunt for a rich wife.
Prince Vasili Kuragin (their father, 50s-60s) – Machiavellian nobleman.
Anna Pavlovna (society hostess, older) – A matchmaker.
Napoleon Bonaparte (40s) – The ruthless Dictator.
Other parts are played by members of the company (including Russian soldiers, French soldiers, dancing bears and hunting dogs). Some gender-blind casting.
For a quick introduction to the story: the BBC adaptation is available on iPlayer, starring Lily James (Natasha), James Norton (Andrei), Jessie Buckley (Maria) and Paul Dano (Pierre).
Steve Thompson
Director
The Golden Spatula Awards
And the winner is...
You’re invited to the Barn’s Golden Spatula Award Ceremony! Join us on Saturday 15th July at 8pm (doors open at 7.30pm) in the auditorium for an evening of celebration as we present awards for categories such as Best Actor, Best Actress, Best Director and more!
We’re excited to finally announce the list of nominees and you now have the chance to vote for your favourites. Click on the link below to view the nominations: you never know, it could be you! If you’re nominated, please try and come along. If you’re unable to attend, please send someone on your behalf. All nominees: please can you prepare a short speech for when you collect your award (doesn’t have to be long, it can just be ‘thank you’ or a nod, no pressure!)
This event has a black tie dress code and we’ll have a red carpet welcoming you into the theatre. We’re really looking forward to this so please do come along as it’s the final social event of the season.
See you there!
Hannah Humbles
Social Director
Word on the street
The Barn had its usual stall at the Welwyn Street Festival on Saturday 24th June. We were able to publicise our forthcoming season while chatting to lots of interested people, most of whom knew the Barn!
Pictured are Mike Smith and Barbara Holgate-Stuckey with the two new Barn banners. My thanks to Anne Mawer, Jacqueline Clayton, Nigel Rive, Barbara Holgate-Stuckey, Sheila Grimmant and John Cook for their valuable assistance. It was fun!
Mike Smith
Volunteer
Good Grief
Cast & Creaive Team
Cast
Alex – Danny Swanson
Alison – Samantha Day
Ella – Georgina Bennett
Jake – Paul Russell
Ensemble – Julia Riley
Crew
Stage Manager – Madeleine Evans
Production Secretary – Brenda Tomlin
Prompt – Fiona Carter
Props – Barbara Foster
Lighting/sound – Tristan Cameron, Devi Smart
Celebrating Siobhán
We’ve had sad times recently, losing some very special Barn members. And then, in true Barn style, we celebrated them!
On a sunny Friday afternoon in June, we gathered at the Barn to celebrate the life of Siobhán Hill Elam, our dear friend and Chair, who took office only a few short months ago. Her obituary was in last month’s Barn News. Siobhán had requested no funeral service at all but her close friends, with the agreement of her family, arranged to celebrate her life on Friday 2nd June at the Barn, which was so much a part of Siobhán’s life.
We gathered in the foyer and clubroom, welcomed by beautiful live cello music, courtesy of Pete Dawson, and at two o’clock moved to the auditorium where Christopher Wallace welcomed Siobhán’s family and friends and introduced a series of speakers. First of course was the family and Anthony and Aidan Hill, Siobhán’s younger brothers, gave us some lovely insights into her early life in Dublin, followed by Sally Bayley Hill (daughter-in-law) who spoke a few words on behalf of Siobhán’s son, Aidan.
Two former colleagues from the police followed with glowing tributes and Aitch Dight (a burly six-foot ex-copper) had everyone laughing at his account of Siobhán losing her temper and pinning him up against a lamp-post on Westminster Bridge, uttering dire threats. Malcolm Cowan followed with a tribute to Siobhán’s work as a LibDem Councillor.
Lesley Bilton then took to a stage not unfamiliar to her, to speak of Siobhán, her friend for 46 years, and their work together at the Tower Theatre in Islington, singling out in particular her leading role in Duet for One and the fun they had together as the Pigeon sisters in The Odd Couple.
From John Davies, we heard about Siobhán’s devotion to the Barn. He highlighted her directing of Inherit the Wind and Goodnight Mr Tom, the first Christmas show after lockdown which, with outbreaks of Covid and frequent cast changes, would have defeated a lesser woman, or man! He went on to pay tribute to her performances in The Beauty Queen of Lehane and Julius Caesar (as Mark Antony) as well as mentioning her hard work as Social Director. And, of course, he spoke of our sadness at her short time as Chair of the organisation recognising, as we all did, what a great job she would have done.
The celebration finished with poetry, of which Siobhán was very fond: an Irish poem from her schooldays read by Órla Kennedy (reproduced and translated below) and They Are Not Long by Ernest Dowson, read by Sarah Doyle, which Siobhán had used as the epilogue to her book, The Blackthorn Seed, which she wrote during lockdown.
The 140 guests then repaired to the bar to drink to Siobhán and nibble a sandwich or two surrounded by her favourite peonies and roses, beautifully arranged by Stephanie Dunn, and entertained by Rob Wallace’s lovely showreel of moments from Siobhán’s life.
Cúl an Tí
by Seán Ó Ríordáin
Tá Tír na nÓg ar chúl an tí
Tír álainn trína chéile
Lucht ceithre chos ag siúl na slí
Gan bróga orthu ná léine
Gan Béarla ná Gaeilge
Ach fásann clóca ar gach droim
Sa tír seo trína chéile
Is labhartar teanga ar chúl an tí
Nár thuig aon fhear ach Aesop
Is tá sé siúd sa chré anois
Tá cearca ann is ál sicín
Is lacha righin mhothaolach
Is Gadhar mór dubh mar namhaid sa tír
Ag drannadh le gach éinne
Is cat ag crú no gréine
Sa chúinne thiar tá banc dramhaíl
Is iontaisí an tsaoil ann
Coinnleoir, búclaí, sean-hata tuí
Is trumpa balbh néata
Is citeal bán mar ghé ann
Is ann a thagann tincéirí
Go naofa, trina chéile
Ta goal le cúl an tí
Is bíd ag iarraidh déirce
Ar chúl gach tí in Éirinn
Ba mhaith lion bheith ar chúl an tí
Sa doircheacht go déanach
Go bhfeicinn ann ar chuairt ghealaí
An t-ollaimhín sin Aesop
Is é ina phúca léannta
Cúl an Tí
by Seán Ó Ríordáin
Tír na nÓg is at the back of the house
A lovely topsy-turvy place
Those with four feet walking the way
Not wearing shoes or shirts
Not speaking English or Irish
But a cloak grows on every back
In the topsy-turvy place here
And languages are spoken at the back of the house
That no man could understand but Aesop
And he is now dead and gone
There are hens there and a clutch of chickens
And a simple, obstinate duck
And a big black dog like an enemy in the place
Giving everyone grief
And a cat milking the sun
In the corner behind there is a mound of rubbish
And the wonders of the world there
Candlesticks, buckles, an old straw hat
And a neat dumb trumpet
And a white kettle with its goose neck
It is there that tinkers come
So saintly, topsy-turvy
They have a connection with the back of the house
And they would be seeking alms
At the back of every house in Ireland
I’d like to be at the back of the house
From darkness till late in the day
That I may see there on a moonlit visit
That little erudite being Aesop
And he a scholarly ghost
Christopher Wallace
A quiz night for John
Then, just over a week later, Sharon Francis joined forces with Martin Johnson, landlord of John Cude’s local, The Stag, to take part in a quiz night in memory of John, who’d been the Barn’s Stage Director, lighting man and many other things, involving him in a total of 69 productions. John died in May and his obituary was in last month’s Barn News.
Sharon said: ‘One Tuesday night, a couple of weeks ago, twelve of us drove up to Leighton Buzzard, where John had lived for nearly 37 years, to take part in the quiz organized by Martin, landlord of John’s local, where he’d been an avid quizmaster and quizzer.
‘Martin told us that John, affectionately known in the pub as Santa, especially around Christmas time, always used to go in to watch Tottenham play, with a pint of Wild River or London Pride at his elbow. We hadn’t known about this part of John’s life at all, and it seems that his pub crowd hadn’t known much about us at the Barn either. Which, I suppose, wasn’t surprising. John was a private man.’
She continued: ‘John had been part of the Stag’s quiz nights for over 13 years, often winning the quiz on his own, beating the teams of six at the other table! So Martin and his staff felt the best tribute to John would be to hold a quiz night, reserving two tables for Barn members.’
So off they went to Leighton Buzzard: Cliff and Sharon, Kris Moore and Pete Moore, James Rowles, Steve Deaville, Rob Graham, Stephanie Dunn, Anne Mawer, Órla and Nigel Kennedy, and Clifton Hoyle. They didn’t come first, but they didn’t come last either, and Pete and Steve won a couple of raffle prizes!
‘The pub was packed when we arrived,’ said Sharon, ‘all tables booked, barely any standing room at the bar and we had a fabulous warm and friendly welcome from the regulars, who clearly loved John. One of the question rounds was based on John’s love of theatre, football and cricket. The compère confessed to having gone through our website in search of events John had been involved in, and throughout the evening each mention was greeted with enthusiastic and theatrical rounds of applause for John.’
By the end of the night £350 had been raised and landlord Martin kindly rounded it up to a donation to the Barn of £400.
Sharon concluded: ‘We had such a good night. It was really heart-warming to see the Barn community coming together for John. We haven’t yet decided exactly how to spend the £400, but you can be sure it will involve the lighting box, which is just what John would have wanted.
Hover over the images below to see who was there!
Calendar Girls triumph
Our Finance Director Ian Major received the following letter after the charity performance of Calendar Girls.
Dear Ian,
Thank you so much for the generosity of Council and Barn members in providing such staunch support to Blood Cancer UK (formerly Leukaemia Research Fund) with the superb charity performance of Calendar Girls. The cast and crew gave their all to a very appreciative audience.
The net ticket income was £1,285.27 and audience members made additional donations of £28.41, making the magnificent total of £1,313.68
Since 1960 over £500 million has been invested into Blood Cancer research and from the blanket term ‘Leukaemia’, it is now known that there are many variations of Blood Cancer which require individual discrete treatment. Eighty-two research projects spread across 27 institutions and involving 145 researchers are currently being funded. Blood Cancer can affect any age and in children with acute lymphoblastic leukaemia the survival rate over the last forty years has improved from below 50% to over 90%.
Research will provide success in many other areas.
Thank you again for your kindness.
Best regards
Peter Reiss
Hon. Treasurer
Ware & District Branch
Who's Who
at the Barn Theatre Club
Directors
Chair – Vacant [email protected]
Finance – Ian Major (07789 728997) – [email protected]
Marketing – Barbara Holgate-Stuckey (07740 812950) – [email protected]
Membership – Nigel Rive (07768 867534) – [email protected]
Facilities – Michael Merry (07973 238346) – [email protected]
Stage Director – Robert Gill (01707 324572) – [email protected]
Non-Executive – Sheila Grimmant (07970 929290)
Non-Executive – Sarah Gennoe (07990 595245)
Administration – John Davies (01707 882209)
Youth Group – Jacqueline Clayton (07981 866568) – [email protected]
Ex-Officio Council Members
President – Vacant
Company Sec. – Linda Miles (01707 335718) – [email protected]
Non-voting Council Members
Artistic Director – Clive Weatherley (07773 044801) – [email protected]
Studio Director – Cliff Francis (07547 373326)
Social – Hannah Humbles (07940 226917) – [email protected]
Other responsibilities
Archives – Vacant
Barn News – Mike Smith (07774 849606) – [email protected]
Bar Manager – Martin Moore (07768 650660)
Child Protection – Linda Miles (01707 335718) – [email protected]
Club Nights – Hannah Humbles (07940 226917)
Coffee Bar – Sue George (01707 330274)
Costume Hire – Sheila Mogg (01707 265276)
Direct Debit Admin – Ian Major (07789 728997)
FoH Admin – Wendy Bage (01707 331494) – [email protected]
Library – Vacant
LTG Rep – Robert Gill (01707 324572)
Photography – Simon Wallace (07875 423550)
Photo-studio hire – John Davies (01707 882209)
Private Hire – Victoria Rive (01707 336446) – [email protected]
Properties – Sheila Grimmant (07970 929290)
PR – Simon Wallace (07875 423550) – [email protected]
Rehearsal Room – Victoria Rive (01707 336446)
Show costumes – Anne Mawer (07968 829084)
Singers at the Barn – Michelle Williams (07946 376993) – [email protected]
Site Manager – Sharon Francis (07885 421051)
Stage Lighting – Nick Mogg (07802 866843)
Stage Sound – James Rowles (07958 427927)
Website – John Cook (07973 221617) – [email protected]
Workshop – Keith Collingwood (07710 426990)
Barn Erroll – 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
Dates for your diary
Performances
Good Grief
by Matt Adie
Directed by Rob Graham
and
Vanilla
Written and directed by Laura Mead
27th to 30th September in the Studio
Auditions
Toast
by Nigel Slater
Directed by Keith Thompson
Tuesday 8th August 8pm
Thursday 10th August 8pm
Sunday 13th August 10.30am
All in the Studio
War and Peace
by Helen Edmundson after Tolstoy
Directed by Steve Thompson
Monday 25th September 7.45pm
Wednesday 27th September 7.45pm
Both in Room 1
Social events
Singers at the Barn
Sunday 2nd July, 7.30pm for 8pm
Golden Spatula Awards
Saturday 15th July at 8pm
Club event
Barn 100
Painting the Barn!
Saturday 8th July, 10am to 2pm
Bar reminder
Barn bar opening hours
Fridays: 8pm to 11pm
Sundays: 1pm to 3pm
Omissions and corrections
In the June issue of Barn News we forgot to include Sarah Gennoe as a Non-Executive Council Member; and Sheila Grimmant is now in charge of the props department. Apologies.
An updated Who’s Who is included in this issue.
Mike Smith
Editor
Editor's note
The deadline for submitting articles to Barn News is 25th of the month.
Mike
Editor