A winning end to the season
Well, the Barn stole the show at both local drama festivals! Good Grief, directed by Rob Graham, took the Welwyn Drama Festival awards for Best New Play, Audience Appreciation, Best Stage Presentation and third place in Overall. And then, just one week later, Hannah Sayer walked away from Hertford Theatre Week with Overall Winner, Audience Appreciation and Best Presentation for Hansard.
A debut play, Good Grief was first performed in the Studio last September, after which Rob was invited to reprise it as the Barn’s entry for the 89th Welwyn Drama Festival. As we now know, Matt Adie wasn’t the author: Good Grief was written by Rob, in response to tragedy within his own family.
Rob said: ‘I’m happy to break the silence on the pseudonym, which I’d used for two reasons. Firstly, to try and keep some element of objectivity between the writer and the director – interestingly, during rehearsals the cast went along with this subterfuge and I think it maybe helped the process as a result. Secondly it was submitted to the Barn as a new play and I didn’t want any favouritism creeping in – I wanted it to be approved by Council on its own merits. It was worth it to see Clive’s face when I revealed the true identity of the author at last year’s Directors Evening. He looked like a stunned mullet!
‘In conversation, after performances, I realised that the play had struck a chord with many audience members, so was absolutely delighted to be awarded Audience Appreciation. I hope it might serve as some sort of twisted therapy for anyone else who may be coping with loss.’
As a result of his success at WDF, Rob will now have a chance to submit Good Grief for the Derek Jacobi Award, run by the National Drama Festivals Association, the winner of which gets their play published. Honest and brutal, with echoes of the haunting Florian Zeller plays, it really does deserve a wider audience and Rob’s hoping to direct it again next year at Islington’s Hen & Chickens Theatre.
And a week later, at the end of Hertford Theatre Week, the Mercury Challenge Cup for the Overall Winner, the Freston Salver for the Audience Award and the Roy Seammen Award for Best Presentation, were presented to Hannah Sayer, for Hansard. In his summing up Walker Ewart, one of the UK’s leading adjudicators, told the audience:
‘You’ve just been treated to a masterclass in acting!’
The actors in question were the fantastic Emily Fairman and Paul Brown. He went on to congratulate the set builders and lighting, and gave a special mention to Georgie Palmer, who headed the props team: ‘It’s not easy to work with so many props,’ he said, ‘to create a table, once the heart of the kitchen, now shoved to one side and covered in memories of a lost child’.
Hannah said: ‘I’m so glad he picked up on that. The table was so symbolic, almost a third character’.
Georgie was quick to point out that, like everything else, props was very much a team effort, with Sheila Grimmant at Haileybury and, all the way through, the much-loved Kris and Pete Moore, who did a terrific job on props and set dressing – as they always have – on more shows than anyone can name – for 40 years!
Hannah continued: ‘We’d dismantled the beautiful set, designed by John Cook, after the Barn run, with no idea we’d have to rebuild it. But our wonderful set builders, led by Ian Bage did just that. They rebuilt it, loaded it on the van, unloaded it and, in a few hours, had installed a whole kitchen on the Haileybury stage, complete with electricity and running water.
‘I’ve enjoyed everything I’ve directed, but Hansard was very special, even before we won. It’s intimate and behaviourally driven, calling for deep psychological dives into the inner world of the two characters. I’m really proud of this one. We had a really wonderful team, so THANK YOU to Madeleine Evans, Chloe Evans, Sharon Francis, Carol Bush, Annie Woolmington, Ian Bage, Wendy Bage, Bob Cameron, David Fairhurst, Ian Major, John Sear, Eddie Washington, Colin Hickey, Stephen Kahn, Tristan Cameron, James Rowles, Georgie Palmer, Yvonne Bartlett, Sheila Grimmant, Michael Merry, Kris Moore, Peter Moore, Des Turner, John Cook, and the entire Hertford team for their help, patience and baked goods and, of course, Emily Fairman and Paul Brown, on whom the spotlight shone so bright!’
Then she said ‘What do you want, do you want a poop?’, which threw me a bit, until I realised she was speaking to Obi, her lurcher!
With an adjudicator’s mark of 99% out of a 100% – the highest mark Ewart had personally ever given, and possibly a Hertford record – Hannah has plenty to be happy about! Her first Barn production was Bouncers which took three awards at the 2014 Welwyn Drama Festival, followed in 2016 by winning the Mercury Challenge Cup and the Freston Salver at Hertford Theatre Week, when adjudicator Colin Dolley told her: ‘Don’t go back to acting – we need inventive directors. Do more!’
‘Well,’ she said, ‘I took him at his word and have directed in every season since 2014 and acted in a few. I’m not directing next Barn season though. I miss being on stage, so I’m going to audition for something.’
There’s talk of a celebration, and turning the bar into a ‘Winners’ Enclosure’ for the arrival of the trophies. Watch this space!
Carol Bush
From the Chair
Welcome to July’s Barn News
We have a bumper edition this month with details of successes at drama festivals including the team effort involved with Hansard at Hertford. We have two reviews, and we also have four audition notices for next season, so we’re not resting on our laurels!
Therefore, I’m not going to add much except to recognise the dedication, team spirit and creative talent that exist in the Barn. At a time when some amateur drama companies are struggling, we’re managing to thrive, and I do mean managing.
Our successes when they arrive are not a fluke. They are the result of a large number of volunteers turning a director’s vision into reality, with detailed planning and organising, and hard work. At the same time, we have to keep things in perspective and ensure that it’s enjoyable and sociable, and I want to thank everyone who contributes to the life of the theatre in any way. On a housekeeping note, I’ve been asked to remind members and volunteers about expenses. If you have been involved with any productions, please remember to claim back any expenses you have incurred. All you need to do is fill in an expenses form and get it approved by the Director, Stage Director or production secretary and email it to [email protected] – or put a paper copy in the finance pigeonhole in the bar area. A copy of the form can be found using this link.
Finally, I’m grateful to everyone who has helped me in my first season as Chairman. I’m very proud to be a part of this special community.
Ian Major
Chair
Membership & Council
Minutes from the last Council Meeting
Please find the minutes of the meeting of the Barn Theatre Council held on 7th May 2024.
Our membership news depends on information we get from YOU
New members and their areas of interest
Elena Skelly (Ordinary) – audience
Lee Hanley (Youth) – sound
Elizabeth Hyde (Senior) – audience
Ian Maden (Ordinary) – acting / directing
Emma McFarland (Ordinary) – front of house
Jan Hassan (Ordinary) – bar
Welcome to the Barn!
Obituary:
Pete Moore
Peter died on 5th June after a short illness. He and Kris had worked as a team on many productions and their names became inseparable on the programmes. Kris began working on Props in 1976 and Pete joined her when she was with the crew of her second play in 1977. He then disappeared from the archives until 2004 by which time Kris had worked on over 50 productions, and he joined her on the crew of The Last of the Red Hot Lovers as one of the set builders.
From then on, usually working together, they concentrated on set dressing and for the next 20 years Pete was involved in over 40 plays. Making or sourcing props, furniture and interior decoration, they regularly created authentic detailed stage sets which delighted directors and amazed audiences.
Sometimes after a discussion with the director, Pete would appear at the next rehearsal with an unusual prop he’d built, or the right piece of period furniture (not very expensive from a dealer), repainted if necessary or modified to fit the space. On other occasions he would build set pieces for the stage such as the wooden box he transformed into a safe – totally visually correct in a grey metal finish with combination lock and maker’s name for Whipping It Up. He was a fund of useful ideas and he would produce the goods in double-quick time. Working with Pete on a play was a pleasure. His knowledge and craftsmanship were a significant and good-natured contribution and we will miss his friendship and skills. We send our deepest condolences to Kris and the family and their friends.
Keith Thompson
Review:
Oliver!
An apology on behalf of the Barn News Team. This review should have been published in the May issue of Barn News but was somehow mislaid.
When I first heard that the Barn was going to be staging Oliver! as part of its 2023-24 season, I was surprised. The Barn isn’t really known for doing musicals and Lionel Bart’s Oliver! is a complex show to stage. In addition, this production was to be Hannah Humbles’ directorial debut and, even with the support of her very experienced co-director, Amanda Sayers, this was going to be a very tough challenge!
I needn’t have worried. The stars aligned and the show flew, showering the audience with wholesome good cheer and a deep-seated feeling that while the world still has Oliver! in it, it can’t be such a bad place. The set was imaginative and as the auditorium lights went down, the mist began swirling over the cobbled stage, the lamplight seemed to flicker and the chimney-tops stood blackly silhouetted against the sky, we were transported to the murky streets of Dickensian London and a thrill of expectation raced through the audience.
The show had two teams of children playing Fagin’s gang, aptly named the Rascals and the Urchins. I saw the show twice and both teams were equally superb. As each child was literally ‘thrown’ on to the stage, freezing in position before launching into the iconic Food, Glorious Food, it was apparent that this was a confident cast! No doubt, and in no small part, because they would have been choreographed to the ninth degree by the brilliant Tammy Wall, so that all their perfectly timed moves looked completely natural.
The roles of Oliver and the Artful Dodger were cleverly cast as gender-neutral, with Oliver played in turns with endearing innocence by Felix Whatton and Astrid Palfreeman, and the Artful Dodger with comic cheekiness by Lilianne Swaile and Oliver Alexandru. Where is Love? was sung with haunting beauty by both Olivers and I’d Do Anything was performed with fabulous swagger by the Dodgers. All these young actors were perfectly cast and looked so at home on the stage that there were moments when they really reminded me of the 1968 Oliver! film actors, Mark Lester and Jack Wild, so polished were their performances.
The orchestra directed by Rachel Davies was discreetly hidden behind the set and provided a constant musical narrative, which raised our spirits with Oom Pah-Pah, Consider Yourself, It’s A Fine Life and Be Back Soon and then dashed them down with the haunting Boy For Sale, and As Long As He Needs Me, the latter beautifully sung by Georgina Shaw with just the right amount of emotion to make us genuinely feel for the conflicted Nancy. The orchestra were also there for the comic moments, of which there were many. I particularly enjoyed Tim Spink and Alison Downes as Mr and Mrs Sowerberry singing That’s Your Funeral which was fabulously funny, as was Reviewing the Situation sung by the crafty Fagin, excellently portrayed by a fabulously bewigged Will Smith.
Adam Beckman was perfectly cast as the cruel and pompous Mr Bumble and his romancing of the devious Widow Corney, hilariously portrayed by Louise Bateman, and their rendition of I Shall Scream was pure comedy and set up an even bigger laugh later when they both got their romantic just deserts! Archie Davies was perfect as the ghastly Noah Claypole and Megan Harvey’s portrayal of Charlotte had just the right touch of softness to it.
In contrast, Neil Harrison played Bill Sykes with real menace and there were moments when the audience could actually feel the fear that he engendered in the other characters, as he strode about the stage looking for trouble and the horror as he finally killed his love, Nancy. Danni Pumilia’s portrayal of Nancy’s best friend, Bet, conveyed well her staunch support of Nancy, and her heartbreak when Nancy was finally killed by Bill was touching to see.
Mike Smith as Mr Brownlow, Stephanie Cotter as his kindly housekeeper Mrs Bedwin, and Colin Macleod as Dr Grimwig provided a convincing alternative to Oliver’s life on the streets and you really wanted to jump up out of your seat and shout ‘don’t go!’ when Oliver went off on Mr Brownlow’s book errand, seemingly never to return.
All of these wonderful characters were well supported by an energetic, characterful ensemble who were integral to providing colour and depth to the show, including Laura Brendish, Sarah Haverson, Becky Done, Stephanie Dunn, Leo Gilbert, Angela Monaghan, Lauren Ryan and Vicki Shaw. Similarly, Scarlett Wake and Mia Wildman as Charley and Ruby Chrysanthou, Eva Harrison, Molly Iris Hunter, Zack Karbritz, Keira Marshment, Joshua Meredith, Megan Meyer, Georgia Seaman, Lucy Sibson, Leonie Smith, Leo Stewart, Hugo Whatton, Maddison Willson and Priyena Valani were all perfectly cast as the aforementioned Fagin’s gang members, bringing just the right amount of exuberant energy to all of their scenes.
The costumes for this show were beautifully chosen and deserve proper credit, each costume being perfect for each character. My favourites were Mr Bumble’s blue beadle suit and Fagin’s green greatcoat, which was just the right side of shabby and made a perfect silhouette at the end of the show.
There are so many good things I could say about this show. I think everyone in the auditorium on both the nights I was there felt thoroughly entertained and for many days after the show I was still humming You’ve Got to Pick a Pocket or Two, which perhaps says more about my psyche than I care to admit, or maybe it’s just that it was such a wonderful show that it stayed in my mind long after it ended. Whatever the reason, this show richly deserved to be the sell-out it was. A big ‘well done’ to everyone involved and what a fantastic start to Hannah Humbles’ directorial career!
Sarah Gennoe
Cabin Pressure
In the Studio
After picking up the Best British Radio Sitcom Award three times by 2014, the second series of Cabin Pressure in 2014 was voted Comedy of the Year across TV and radio, the first radio show to win this honour. Sharon Francis had suggested the show to Cliff and tackled her first outing as director enthusiastically and successfully. This is not intended as a conventional Back Row review, rather it is a commentary on the differences from our regular stage work that this experiment encountered.
Presented as a radio broadcast from our Studio, the most obvious change was that the actors didn’t have to learn their lines. Scripts in hands, they read into a couple of microphones. No set was required and no character costumes, and no movements at all. The net effect of this was a much shorter and very relaxed rehearsal period. The plotlines of the three half-hour episodes chosen concerned a third-rate airline (only one plane) and their travails at different locations (Abu Dhabi, Douz in Tunisia, and Edinburgh).
Sharon rehearsed an experienced cast (with three newcomers to the Club) and they made the most of the slick comedy dialogue. Trish Galloway played (read?) the distraught owner of the airline, and Andy Hill the ineffective Captain, with Des Turner as his cynical First Officer. Elliot Cohen played the idiot cabin steward while other members of the cast played multiple smaller roles in a variety of accents – Dan Badger as Control Tower and Tunisian ground crew; Andrew Sibley as French airfield manager and Welsh sports commentator; and Keith Thompson as Irish pilot and drunken millionaire passenger. Given that the audience just had those voices to listen to and nothing much to watch, the excellent comedy dialogue was well spoken making the most of the verbal comedy and adding enough to the character voices to allow the audience to exercise their imagination. The six full-house audiences laughed all the time and followed up with cheers and applause.
The sound effects team were two students from a Hatfield University Film Course, Lee Hanley and Kacper Pawlak. Significant rehearsal time was given to the timing and insertion of the sound plot, and fitting it into the dialogue. With a keyboard and buckets of water, trays full of gravel, squeaky toys, and doors and bells in their armoury, they interested the audience as much as the dialogue had. Lighting was arranged and operated by Tristan Cameron. Studio-style signs were in evidence, e.g. ‘RECORDING’. Devi Smart was Stage Manager and Radio Announcer. Other help was given by Jacqueline Clayton, Sarah Gennoe, Roger Eames and James Rowles. The real radio experience could be had in the bar where the voices and sound effects were relayed to the overflow audience who commented favourably on the entertainment.
The shorter rehearsal schedule, and not having the pressure of line learning, allowed a more relaxed involvement for the cast while some of the pressure was shifted to the effects team. The audience reception made for a very rewarding experience for the company. This experiment is well worth repeating provided the script is a good one!
Keith Thompson
Audition Notice:
Home, I'm Darling
By Laura Wade
Directed by Jon Brown
Playing dates: 4th – 12th October
Audition dates:
Monday 1st July at 8pm
Thursday 4th July at 8pm
Sunday 7th July at 10.30am
all in Room 1
Obsessed by the 1950s, Judy and Johnny live in an idyllic retro home with her keeping house while he plays the traditional breadwinner. Judy is striving to be the perfect 1950s housewife and look after her husband. She revels in the joys of domesticity: making cakes, fancy cocktails and homemade marmalade. Johnny seems to have it all: an attentive wife, a beautiful home – and a promotion at work on its way. But how long can it go on? As reality begins to creep in, and the cracks start to appear in the bakelite, the couple are forced to question their lifestyle choices and consider compromise.
Quirky, funny, entertaining – and set in Welwyn Garden City!
The play was first staged at the National Theatre in 2018, winning the Olivier Award for Best New Comedy, and was nominated for the UK Theatre’s Best New Play.
I’m really looking forward to returning to the Barn to direct this fantastic play, which I believe will make a great opening production of the new season. Home, I’m Darling is very much an ‘actors’ play’, with some super writing. It’s a study on our lifestyle choices and habits and how life outside the comfort of our four walls can, at times, weigh upon them.
Judy – lead role, in her late thirties (playing age 35-45)
The central character of the play and on stage for the duration of the show. This is a wonderful role with full-on 1950s retro feel. Judy has a strong and determined outlook, but she’s trying desperately throughout the play to keep together the façade she’s built of being the perfect 1950s housewife. We do see her vulnerabilities and her struggle to keep the ‘wall of outside life’ from falling in on her. For this role, the actress needs to be prepared to dance jive, and be comfortable with brief intimacy.
Johnny – main role (playing age 35-45)
Judy’s husband who initially seems supportive of his wife’s choice to live as a 1950s housewife and to live with the 1950s façade. He too has adopted the 50s lifestyle and clothing. Johnny becomes under pressure from outside life and starts to look at the reality of home life with Judy. Also needs to be prepared to dance jive, and be comfortable with brief intimacy onstage.
Fran – medium role (playing age 25-40)
Judy’s good friend and recently married to Marcus. She’s interested in Judy’s lifestyle and appears to admire her and Johnny’s perfect relationship. She attends jive weekends with Judy, Johnny and Marcus.
Sylvia – medium role (playing age 55-65)
Judy’s mother. She’s horrified by Judy’s choice to become a housewife having brought Judy up in a commune and to be a feminist. She has two brilliant scenes including a fabulous, powerful monologue.
Alex – small but important role (playing age late 20s to 30s)
Johnny’s boss at the estate agency firm. She wears modern dress. She’s seen as somewhat opposite to Judy in both her appearance and attitudes.
Marcus – small but important role (playing age 30s/40s)
Fran’s husband and friends with Johnny and Judy. He dances jive with Judy. Marcus is an interesting role who has some controversial views. He’s probably the least sympathetic character. Needs to be prepared to dance jive.
At the auditions, we’ll be looking at various scenes from the play and reading particular extracts, with some movement. As always, I intend to be flexible with the playing ages: they’re just a guide. I’ll be looking at the chemistry between the characters, especially between Judy and Johnny. During the play, some of the cast will dance jive, but you don’t have to know how to – we’ll learn this during rehearsals!
I really encourage you to consider auditioning – I know we’re going to have lots of fun and bring a taste of both the 1950s and the present day to the Barn! I look forward to seeing you at the auditions!
You don’t have to be a member to audition, however, should your audition be successful, we do ask you to join the Club in order to participate.
Scripts are available from Brenda Tomlin. Tel: 07968 747795, email: [email protected]
If you have any questions about the production or the auditions, please do contact me on 07768 494039.
Brenda will be away for a while so Fiona will be looking after scripts for us during that time.
Fiona Carter – 07736813238
Thank you
Jon Brown
Director
Audition Notice: Updated
Richard III
By William Shakespeare
Directed by Steve Thompson
Playing dates: 28th October – 2nd November
Audition dates:
Monday 8th July from 7.45pm in Room 1
Wednesday 10th July from 7.45pm in the Studio
“Bloody thou art… bloody will be thy end.”
At the end of the bloody Wars of the Roses, the victorious Yorkists look forward to a period of peace under the newly-crowned King Edward IV. But Edward’s younger brother, Richard, Duke of Gloucester, secretly plots to win the throne for himself… He arranges for the murder of his brother, Clarence, and also his two young nephews, whom he has sworn to protect. As the court becomes increasingly fearful of Richard, his closest friends and allies gradually turn on him…
This modern-dress production will be performed by 7 actors (possibly more). Note: all roles can be played as a woman or a man. Ages can vary.
Characters
Richard, Duke of Gloucester – pathological ambition masked by irresistible charm.
King Edward – the dying King, desperately clinging on to power.
Prince Clarence – the King’s hapless brother, Richard’s first victim.
Queen Elizabeth – ambitious wife to the King, mother to the murdered Princes.
Queen Margaret – the ageing deposed Queen, Richard’s nemesis.
Lady Anne – young woman wooed by Richard, later thrown aside in the power games.
Duke of Buckingham – Richard’s ruthless mentor and co-conspirator.
Everyone (except Richard) will play other parts too (e.g. murderers, Lords, henchmen, the Princes in the tower).
The text is available online. (Note: our version will be cut to 2 hours in length). Suggestions for audition pieces are in June’s Barn News – but you DO NOT need to learn these.
PLEASE NOTE: I prefer to see people individually so if you plan to audition, please email me to book a slot: [email protected]
Steve
Director
Audition Notice:
Shakespeare in Love
By Lee Hall
Directed by Laura Eddy
Playing dates: 8th – 16th November
Audition dates:
Thursday 11th July at 8pm
Sunday 14th July at 11am
Both in the studio
Shakespeare in Love enchants audiences with a captivating tale set in the bustling world of Elizabethan England. Amidst the vibrant backdrop of London’s theatre scene, we meet the charismatic yet struggling playwright, William Shakespeare. Plagued by writer’s block and personal turmoil, he finds unexpected inspiration in the radiant Viola de Lesseps, a spirited woman whose heart beats for the stage.
Their clandestine romance ignites a whirlwind of passion, defying the rigid social norms of their time. As Shakespeare and Viola’s love deepens, it inspires the creation of his most beloved masterpiece, Romeo and Juliet. But their journey is not without obstacles, as their love faces opposition from society, jealous rivals, and the ever-present spectre of duty and censorship.
Filled with wit, humour, and Shakespearean flair, this enchanting tale explores the transformative power of love and art. Through laughter and tears, triumphs and tragedies, Shakespeare in Love reminds us that the greatest stories are often born from the deepest wells of the human heart. In a world where passion knows no bounds and creativity knows no limits, this timeless romance will leave audiences spellbound, celebrating the enduring legacy of love and literature. It is also very funny!
Cast – there are a lot of characters and there will be doubling where possible. I intend to cast regardless of race or gender with the eye firmly on telling the story. There is music, singing and dancing too so singers, musicians and dancers will be most extremely welcome as well as the wonderful actors that make up the Barn.
Playwrights
Will Shakespeare: Poet and playwright
Kit Marlowe: Will’s colleague, friend, and inspiration
The Rose Theatre
Henslowe: Owner and manager of the Rose Theatre
Fennyman: The Money
Lambert and Frees: Fennyman’s heavies
Ralph: An actor who plays Nurse and Petruchio
Nol: An actor who plays Benvolio and Samson
Robin: An actor who plays Lady Capulet
Adam: An actor who plays Gregory, Benvolio, and Serving man
John Webster: A street urchin
Wabash: A stammering actor and Henslowe’s tailor
The Admiral’s Men
Ned Alleyn: The lead actor of the Admiral’s Men, plays Mercutio
Sam: An actor who plays Juliet
Peter: An actor who plays Tybalt
The Chamberlain’s Men
Burbage: The lead actor and owner of the Curtain Theatre
Dog: who delights the Queen
The Palace
Mistress Quickly: Wardrobe mistress at Whitehall Palace
Edmund Tilney: The Lord Chamberlain
Queen Elizabeth I
The De Lesseps House
Viola De Lesseps: A daughter who disguises herself as Thomas Kent to audition to be an actor
Nurse: Servant to Viola
Sir Robert De Lesseps: Viola’s father
Lord Wessex: A nobleman betrothed to Viola
Boatman
The Tavern
Waiter
Barman
Molly and Kate – whores at the tavern
Scripts are available from Wendy Bage – [email protected] – 07834 586144
Any questions please email me – [email protected]
Laura
Director
Audition Notice:
It's a Wonderful Life
By Mary Elliott Nelson
Directed by Rob Graham
Playing dates: 13th – 21st December
Audition dates:
Monday 29th July at 7.30pm. Studio (ages 18+)
Wednesday 31st July at 7.30pm. Studio (ages 18+)
Friday 2nd August at 7.30pm (ages 18+)
Sunday 8th September at 10.30am. Room 1 (ages 10-17 only)
This play is based on Frank Capra’s classic film of the same name, in which the youthful and travel-hungry George Bailey is thwarted at every corner in the pursuit of his dreams. Instead, he’s destined to remain in the small American town of Bedford Falls where he was born, diligently serving his beloved community, sacrificing his own ambitions in the process. An unfortunate mistake by a family member has grave consequences and George becomes despairing. He’s saved by the most unlikely hero – a hapless angel seeking his ‘wings’ who shows George what the world would look like if he’d never been born. Cue redemption and (spoiler alert) a happy ending. To many, this old black and white film is as treasured and essential a part of the festive period as mince pies and Father Christmas.
But, like so many of the best Christmas stories, It’s a Wonderful Life is more than just mistletoe and good cheer. There’s an inherent darkness as the lead character is pushed towards contemplating taking his own life. And set against the background of war, collapsing financial markets, mental anguish and families struggling to get by, the themes are still as relevant today as when the film was made. Given that the story will be familiar to many, my vision is for this to be an innovative, immersive and joyous re-telling. I want to bring out the bleakness and desperation as much as the play’s warmth and humour. Laughter and tears in equal measure, I want the audience to leave with a warm fuzzy glow inside.
To be absolutely clear, this show runs from 13th to 21st December in a standard nine-show run so you’ll still have time to buy and wrap those presents for your loved ones.
This adaption is written for just four actors though it can be played by many more. I have in mind a cast of somewhere up to eight with mostly gender-blind casting, plus the potential for two or three children or young adults. With the exception of George Bailey, the lead character and Clarence or Clarissa – take your pick – the angel, there’ll be plenty of doubling, trebling even quadrupling for some of the adults as there are upwards of 20 characters. Most roles will require American accents. Some singing may be involved and a little dancing, but don’t let that put you off!
As a general observation, I don’t want to be too prescriptive about the roles and ages given that this will very much be an ensemble piece, but here’s some guidance together with the pieces we’ll work from in the auditions.
George Bailey – the lead character, who goes through a whole range of emotions during the play’s timespan of 25 years. A cracking part and an iconic role (audition pages from the following 20-21, 23-24, 26-27, 31-32, 52-53, 54-56, 57-61)
Clarence / Clarissa – the bumbling angel sent to rescue George. A gift of a part (audition pages 57-61)
Mary – George’s girlfriend and, later, wife (audition pages 23-24, 52-53)
Violet – the town’s heartthrob (audition pages 31-32)
Billy – George’s well-meaning but hapless uncle who helps him run the town’s building and loans business (audition pages 20-21, 25-27)
Mr Gower – who runs the drugstore and almost poisons an innocent child (pages 15-17)
Mr Potter – the town’s banker and very much the villain of the piece (audition pages 25-27, 54-56)
Other notable adult characters, which will very likely be doubled with some of the above, include Joseph and Gloria (angels), Harry (George’s brother), Sam (George’s friend), Bert (the local cop), Mr Martini (who owns the local bar), and Ernie (the taxi driver).
Young George, Mary, Violet, Harry, Sam – these parts could be played by two to three children (age 10+) and their involvement would be in the opening couple of scenes of the play only. Alternatively, they could be played by young adults (age 18+) in which case there would be the opportunity for doubling up with the adult roles in the rest of the play. Note that the auditions for the younger actors (ages 10-17) will be held when the schools are back at the start of September (audition pages P11-17).
I usually favour a shorter, more intense rehearsal schedule so we’ll maybe have just one or two rehearsals a week from mid-September until the end of October but then really get cracking at the start of November with three rehearsals a week – days to fit around those cast as much as possible. Please get in touch if you’re interested and/or come along to one of the audition dates. A heads-up to which date would be appreciated, though don’t worry unduly if you can’t make them as I’m happy to see people individually if need be. Scripts are available from either me or Jacqueline. Thanks!
Rob Graham and Jacqueline Clayton
Pre-Audition Notice:
A Monster Calls
By Patrick Ness, Adam Peck & Siobhan Dowd
Directed by Mark O’Sullivan
Playing dates: 7th – 15th February 2025 (and Hertford Theatre Week)
The full Audition Notice for A Monster Calls will be appearing in August’s Barn News, but as it’s a complex play (which will need a slightly longer rehearsal period than normal) we’ll be auditioning in early September.
There are some incredible parts for people of all ages (including an ensemble who will play multiple roles) but the main roles are:
Conor – M, although he’s 12 in the story, we’ll be casting 16+
Mum – F, 35-50
Grandma – F, 60+
Monster – M, 30+
It’s an intensely emotional and physical play – everybody needs to be able to move, and be willing to be bold and experimental. Scripts are available now from
and if you fancy a chat with Mark, please feel free to contact him – [email protected] or 07957 669126.
Mark
Director
Have you heard of the Barn Theatre?
Report from the Welwyn Street Festival
Sunshine and heavy showers greeted the sadly few volunteers at the Welwyn Street Festival on Saturday 22nd June. The response to the question ‘have you heard of the Barn Theatre?’ from a friendly public was very positive. Lots of folk had been to our theatre: some recently, some a while ago, and some never but they were aware of us. The Street Festival is a great opportunity to promote the Barn. We handed out the new season leaflet and, where appropriate, Youth Group information, and hopefully have enhanced the Barn’s reputation for the future. A pity there were not more volunteers but those few who were there enjoyed meeting the public. Lots of theatre chat and enthusiasm.
A big thank-you to Barbara Holgate-Stuckey who organised our stand which contained some amazing photos of recent shows courtesy of Simon Wallace. Thanks also to Josh Holloway who had first-hand knowledge of the Youth Groups and is soon off to drama school; Nigel Rive, our Membership Director; and my wife, who stepped in at the last moment to help out.</div
Mike
Editor
Create movie magic this summer In Welwyn Garden City!
CreaTech Academies make a triumphant return to the Barn this August, after producing the 40-minute ‘short’ Choices.
This year, we’re excited to be making another fantastic film. It’s not surprising that every single one of our participants loves what we do and how we do it.
If you’re aged between 9 and 18 then we want to hear from YOU!
Have an amazing experience when you:
- are a camera-operator and learn how to compose a frame
- record live sound, source FX and music (or even compose some!)
- are part of an animation team, using digital and hand-drawn imagery
- create the perfect lighting states to capture all the action
- are a producer and mark-up a bespoke screenplay
- sort and source costumes
- are a continuity officer and clap the clapperboard!
- are part of a team that films all the behind-the-scenes silliness and nonsense
- perhaps you’d like to learn how to edit using Final Cut Pro X
- or even show off your acting skills – small / medium / large roles available!
The course runs from Monday 5th to Friday 9th August, from 9am until 4pm. We spend a whole day planning and organising kit, performances, locations and teaching technical skills. Then, for the rest of the week we film, film, film…
At the end of a fantastic week, we sadly say goodbye but come back together for a premiere where we show all of the films that we’ve made, including the main feature, where all the hard work is recognised in an amazing piece of cinema. Every participant gets recognised with a certificate of skills and a trophy!
Parents love sending their children on this course as it gives them such incredible scope to develop their creativity, confidence, communication skills, teamwork, artistry and resilience in the way that they ‘get the job done’.
But don’t take our word for it. Here are what lots of mums and dads have said to us in the last few years:
“I can’t believe what you achieve in a week. He loved it!”
“You’ve inspired her to pursue this as a hobby and she’s now looking into a career in the industry.”
“I’ve never seen my son get so excited by anything before. This course has given him such enthusiasm. Can I book him on for next year?”
When: Monday 5th to Friday 9th August 2024, 9am to 4 pm
Where: The Barn Theatre, Handside Lane, Welwyn Garden City AL8 6ST
Who: 9-18-year-olds (we can be flexible here…)
Cost: Members of the Barn Theatre Club £175 / non-members £195
Experience: None! Just an open mind and enthusiasm to learn new skills!
Look: www.createch.org.uk
Contact: [email protected]
Jacqueline Clayton
Youth Group Director
Introducing the Owlets
A new Barn Youth Group will be starting in September 2024. Called ‘Owlets’, this group is aimed at 6-8-year-olds (school years 2-4) and will run from 4pm to 5pm on Tuesdays in the Studio. Kate Humbles (known to many of you) will be teaching this group.
Interested? Please apply via the Barn website.
Jacqueline Clayton
Barn Youth Director
Introducing The Everything But Acting Club...
Starting on Saturday 28th September (2pm to 3.30pm) we’ll be running a special club for those who want to know more about the workings of the theatre – in fact we plan to look at everything but acting!
More details on how to book will be in the August edition of Barn News. This will be an exciting opportunity for anyone who wants to find ways of getting involved in our lovely theatre that don’t involve acting.
Details to follow – remember to read August’s Barn News for full information.
Michael and Jacqueline
The Barn Theatre Club
Volume 10: 2014 to 2019
Recently added to the Historical Volumes in the Archive section on the Barn website is Volume 10: 2014 to 2019. This summarises the history of the Barn Theatre over the seasons September 2014 to August 2019 and follows on from the previous volumes also in the Historical Volumes section.
During the period covered:
- we had two Chairs, Nigel Rive and Simon Parr
- membership varied from 580 to 636
- plays ranged from How the Other Half Loves by Alan Ayckbourn to The Red Shoes by Emma Rice
- the finances looked healthy
- a good profit was achieved each season though some productions didn’t do as well as others
Have a look and remind yourself what you did both for fun and for the benefit of the Club. Hope you enjoy the memories…
Robert Gill
Stage Director
Who's Who June 2024
at the Barn Theatre Club
Directors
Chair Ian Major [email protected]
Finance Sofia Oliva (07493 854400) [email protected]
Marketing Barbara Holgate-Stuckey (07740 812950) [email protected]
Membership Nigel Rive (07768 867534) [email protected]
Facilities Michael Merry (07973 238346) [email protected]
Stage Director Robert Gill (01707 324572) [email protected]
Props Director Sheila Grimmant (07970 929290) [email protected]
Non-Executive Sarah Gennoe (07990 595245) [email protected]
Non-Executive Danny Swanson (07583 613696) [email protected]
Administration vacant [email protected]
Youth Group Jacqueline Clayton (07981 866568) [email protected]
Ex-Officio Council Members
President Vacant
Company Secretary Linda Miles (01707 335718) [email protected]
Non-voting Council Members
Artistic Director Clive Weatherley (07773 044801) [email protected]
Social (Temporary) Neil Harrison (07514 089927) [email protected]
Show Costumes Yvonne Bartlett (07890 561846) [email protected]
Other responsibilities
Archives Alice Croot and Rob Wallace [email protected]
If you have any archive items to send us please CLICK HERE
Barn News Mike Smith (07774 849606) [email protected]
Bar Manager Martin Moore (07768 650660) [email protected]
Child Protection Linda Miles (01707 335718) [email protected]
Club Nights Hannah Humbles (07940 226917) [email protected]
Coffee Bar Sue George (01707 330274) [email protected]
Costume Hire Sheelagh Mogg (07909 196252) [email protected]
Direct Debit Admin Ian Major (07789 728997)
FoH Admin Wendy Bage (07834 586144) [email protected]
Library Clive Weatherley (07773 044801) [email protected]
LTG Rep John Cook (07973 221617) [email protected]
Photography Simon Wallace (07875 423550) [email protected]
Photo Studio Hire Stephen Kahn (07946 589466) [email protected]
Private Hire Victoria Rive (01707 336446) [email protected]
PR (temporary) Carol Bush and Georgie Palmer [email protected]
Rehearsal Rooms Victoria Rive (01707 336446) [email protected]
Singers at the Barn Michelle Williams (07946 376993) [email protected]
Site Manager Sharon Francis (07885 421051) [email protected]
Stage Lighting Nick Mogg (07802 866843) [email protected]
Stage Sound James Rowles (07958 427927) [email protected]
Studio Director Danny Swanson (07583 613696) [email protected]
Website John Cook (07973 221617) [email protected]
Workshop Norman Merry (07905 615439) [email protected]
Youth Groups
Barn Erroll Louise Parr (07875 436317)
Barn Pigwidgeon Georgina Bennett (07923 620163)
Barn Hedwig Georgina Bennett (07923 620163)
Barn Hermes Sean Scotchford (07814 236260)
Telephone Numbers
Green Room / Bar 01707 330672
Theatre Box Office 01707 324300
Dates for your diary
Comedy at the Barn
Friday 28th June 8pm
Victor & Albert
Purveyors of Fine Musical Comedy
Friday 5th July at 8pm
Abba Sounds
Saturday 20th July 2024 at 8pm
Jazz at the Barn
Friday 26th July at 8pm
The Red Stripe Band
Friday 13th September at 8pm
Social & Club events
Singers at the Barn
Sunday 7th July 7.30pm for 8pm
Next Council meeting
Tuesday 2nd July 8pm
Bar reminder
Barn bar opening hours
Fridays: 8pm to 11pm
Members’ password
APPLE
Archive Submission Link
If you have any digital archives items to send to the Archive team please
CLICK HERE