Louis Davis
In Harry Stull’s history of the Welwyn Drama Club his summary of the year 1953 to 1954 begins ‘The year was more or less uneventful’. It might have seemed so at the time, but in that year Louis Davis joined that society and over the next 60-odd years he left his mark on all aspects of the Barn, and was the prime mover in changing its history.
Louis was engaged in the family business, manufacturing brown paper bags somewhere in north London. When the war intervened he served in Italy with the London Jewish Rifles. In the 1950s he was in the Middlesex Hospital and his nurse was Ann Brewer. They married, and it just so happened that Ann’s father was Roy Brewer, Committee Member and leading light of the Welwyn Drama Club. This group was one of several companies using the Barn, mounting three productions each year and a festival play.
In 1954 Louis found himself in Roy’s production of The Beaux’ Stratagem. By the next year he was on the Club committee and the year after he became Treasurer.
In the next few seasons he played several roles and also worked as box office, lighting designer and operator, and stage manager. In 1959 he played the lead in the memorable Noël Coward comedy Red Peppers which won the Welwyn Festival. In the next ten years he was involved in 47 Drama Club plays and a handful of Folk Players plays, including the clubs’ joint productions, which were a test-run of the forthcoming merger of the two clubs to form the Barn Theatre Club. His last appearances for the Drama Club were in 1969, just before the amalgamation.
Having worked for this event, which didn’t please all the members, he was appointed the first Chairman of the new society, a post he held until 1973 and again from 1978 to 1983.
The complexities of the amalgamation were overseen by Louis. The new club had to lease the building from the New Towns Commission; participating clubs had to be wound up and their assets transferred to the new Club; membership had to be offered to all users of the Barn; and the constitution of the new Club arranged.
When the purchase of the Barn premises in 1984 became a possibility, Louis was the lead negotiator in our dealings with the New Towns Commission.
After this, Louis carried on with his frequent involvement with productions. In 2002 he took his cast to the Lake Worth Playhouse in Florida with Ayckbourn’s Round and Round the Garden. His last part was as Private Godfrey in Dad’s Army in 2008. He appeared in the Rotary Music Hall and the informal Barnstormers charity shows. He was Stage Director, then Chairman and later President of the Welwyn Drama Festival, and Chairman of the Youth Drama Festival. He played at the Minack with the Hertfordshire Players. He played pub-style piano at club nights. He and Ann moved from Radlett to Welwyn Garden to be closer to us. He was appointed President of the Barn Theatre Club in 2009.
Always cheerful and helpful, he was a guiding and important part of the Barn and a friend to everyone. We send our deepest condolences to his family, Jo, Kate, Ben and Martin and their families, and to all his friends at the Barn.
To say he will be missed does not come near how we will feel.
Keith Thompson
Avast there, me hearties!
Far be it for this grey lady to give way and allow someone else to occupy her front page / centre stage position, but for Louis Davis I happily and willingly stand aside. He was the most gentle of men, the most generous with his time, and one of the kindest souls to grace this building with his presence. His benevolent spirit is literally woven into the fabric of this theatre, and I’m certain that it will live on, even though he has now passed. And to think, it was only a few weeks ago, at the AGM, that his strength of character and the esteem that this club holds him in, was spontaneously acknowledged. One of Simon Parr’s outgoing words, as Chairman, was that Louis should remain President of the Barn, for life, and this was met with complete agreement from those assembled in the auditorium.
And speaking of the AGM, was it a hotbed of gossip and theatre shenanigans, or a fairly sombre affair of Barn business? I’d like to say that it was a bit of both. Of the official proceedings, the highlight had to be the changing of the guard. We bid farewell to the outgoing chairman, and usher in the new. Simon Parr gave a humble thank-you for the honour of steering the good ship Barn Theatre through the stormy waters of Covid and out the other side; he praised the team that make up the Barn Council; he reflected on what was a pretty good few years, despite the challenges that a couple of global pandemics presented! Quite rightly, he highlighted the work of Ian Major whose financial stewardship has ensured that the Barn is a lot more stable than other theatrical societies. Simon’s final act was to hand over the keys of the theatre to our new Chair, and he did so, knowing the club is in a confident position going forward. The applause saw him to his seat, and continued to welcome the new boss to the stage. Siobhán is, undoubtedly, a popular and well respected appointment: she has been a member for a number of years, and has done nearly everything that there is to do in the club. She gave a lovely speech where she touched on how she came to join the club, the variety of roles she has undertaken, and where she sees the priorities as we move forward. She accepted the honour and the challenge, and took the helm with aplomb.
Once formal proceedings were competed, the Any Other Business end of the evening started, and it was here that members were given the opportunity to share thoughts and raise issues. Nothing too contentious, but it was good to allow all corners of the club to have their voice. Of these, our Friday Night and Sunday Lunch regulars were the loudest: they voiced their concern that the emergence of Club Nights (a fabulous variety of events, superbly organised by Hannah Humbles) had impacted on them being able to sit in the clubroom, as they have done for numerous years. They represent an important part of our club and their contribution to club activities should not be overlooked; the Barn is a community and it was great to see this aspect highlighted and given due respect. Simon summarised that there’s a balance that needs striking between what is traditional activity, and what is new. If the club is to stay on an even keel then events, such as jazz and comedy nights, are essential to bring new patrons into the building, raise awareness of what we do, and hopefully increase our membership. Other topics that emerged for discussion included printed programmes, Barn News, ticket prices, membership, and the notion of audition fees. It was this latter discussion that really needed more voices, particularly from those who might be most affected by introducing them. Otherwise, attendance was pleasing for an AGM, especially on a cold Friday night. Most importantly, there was a real sense of community: of members, friends, acquaintances, catching up and socialising. The Barn is at its best when it’s buzzing, and this alone should encourage more people to attend the AGM.
Away from the drama of official business, the business of drama continues apace, although it may seem that the stage has gone dark again. It’s the time of year when the Barn gets to host the Youth Drama Festival and welcome theatre groups, schools, and other assorted young people from across the Home Counties into the building to perform one-act plays, in friendly competition with each other. This is the 79th year of the YDF and the 75th-ish time it’s taken place at the Barn (it started performing at the Barn in 1947). If you’ve never been to the YDF then I strongly recommend you grab a ticket, or two – the range of plays and talent on display is fabulous! If you wish to support the home team, then Barn Hermes are performing on the last night, Saturday, with a play intriguingly entitled Harry’s Hotter at Twilight.
Alongside this, pirates abound in Room 1: marauding pirates, most mirthful and tuneful to boot! They have bizarre names such as Billy Bones, Red Ruth, Black Dog and Blind Pew, and they’re set on finding Flint’s treasure. When I float through the rehearsal room, the assembled crew are singing sea shanties, and speculating on the whereabouts of a treasure map.The Admiral Benbow inn is being ransacked, there are raised voices, and threats of ‘the black spot’! The scene is lively and merry, Room 1 is packed with bodies and yet, through the mayhem, lots of detail is being layered in, all under the watchful eye of Laura Eddy. The play in production is Treasure Island – the classic Robert Louis Stevenson tale of mutiny, murder and money – recently adapted for the stage by Bryony Lavery. And this version really sings! For those of you lucky enough to have caught it at the National Theatre, or in its Digital Theatre format (it was the first major stage production to be screened by NT at Home during the lockdown), then you’ll know the pace and energy required to make this show fizz. It’s promising to be a fabulous production and looks as though it will continue the rich vein of quality drama we’ve enjoyed this season. Laura, and her company, look exhausted post-rehearsal, which is testament to the energy they’re all expending; it will certainly be one of the most colourful, loudest and fastest-paced productions of the year. Costumes are looking equally fantastic, even at this early part of the proceedings, and I’m particularly taken with Ben Gunn who’s hiding beneath the dirt, the hair and the dishevelment! The combined talents of Tiffany Breeze and Penny Coyston are really going to showcase what a creative wardrobe team can do! It will also be the biggest company of the season: a real contrast to the ensemble who brought us Constellations. At the last count there were nearly 50 people involved in the show! More will be revealed through our social media channels, so make sure you’re tuned in to those. Tickets are starting to shift, so you’d be advised to get yours while you can, before they become as valuable as a dozen ‘big doubloons!’
Treasure Island update!
Cast and crew amendments: the part of Grandma will now be played by Wendy Bage; and ensemble member Dave House is now part of the set building team.
From the Chair
Welcome to March’s Barn News
Since my election at the end of January, it’s been quite busy, one way or another. I’ve chaired my first Council meeting, dealt with a small mountain of emails and, sadly, have needed to deal with the dissemination of the very sad news of the death, earlier this month, of our much loved President, Louis Davis. Louis’ funeral was held in Edgewarebury recently, his full obituary is contained elsewhere in this issue of Barn News, and a memorial gathering will be held at the Barn in the not too distant future at which everyone who had the pleasure of knowing Louis can share their happy memories of him.
We have a lot to look forward to this year – a full season of great shows, some well into rehearsal, and we’ve made an excellent start with the productions we’ve seen already, both in the main auditorium and the Studio. We also have a terrific programme of social activities in the planning, some of which we’ve already enjoyed, thanks to the efforts of Hannah Humbles and her team.
All of these activities, both on the stage and off, are, as you well know, only made possible by the ginormous regular input of members whose efforts often get taken for granted so let this year be the year when all of us seriously think about doing just that little bit more to support the Barn whenever we can. Don’t overcommit yourself, burn out and give up. Just do a little bit here and there. Here’s an idea: why not find a friend to jobshare a night behind the bar during a show night? You do the first couple of hours and they take over and do the last two. This might suit people who don’t finish work early or don’t want a late night. It would certainly help Martin, our Bar Manager, to cover the week more easily.
Give it some thought.
Siobhán Hill Elam
Chair
Membership & Council
Minutes for the Council Meeting January 2023
Please find the minutes of the meeting of the Barn Theatre Council held on
10th January 2023.
Our membership news depends on information we get from YOU
New and returning members
Dan Breeze
Membership level: Ordinary
Interests: acting, bar, front of house
Lexi Chan
Membership level: Ordinary
Interests: bar, box office, lighting, sound, set design, set dressing, stage management
Kelsey Cooke
Membership level: Ordinary
Interests: acting
Penny Coyston
Membership level: Ordinary
Interests: wardrobe
Madeleine Evans
Membership level: Ordinary
Interests: front of house, props, stage management
Frances Farrugia
Membership level: Ordinary
Interests: acting
Barbara Holgate-Stuckey
Membership level: Ordinary
Interests: acting, front of house, stage management
Dave House
Membership level: Ordinary
Interests: acting, lighting, production management, set design, set construction
Lawrence Lowe
Membership level: Ordinary
Interests: acting
Nazareno Feito Matias
Membership level: Ordinary
Interests: audience only
Charlotte McDermott
Membership level: Ordinary
Interests: acting
Peter McIntyre
Membership level: Ordinary
Interests: acting
Richelle Pitt-Chambers
Membership level: Ordinary
Interests: acting
Viv Richardson
Membership level: Ordinary
Interests: audience only
Des Turner
Membership level: Ordinary
Interests: acting
Rachel Wallace
Membership level: Ordinary
Interests: acting
Welcome to the Barn!
Festival Costumes update
Margaret Wallace has now retired from her role as Wardrobe Mistress for our costume hire department, Festival Costumes. Council would like to thank Margaret for all her hard work in making a huge and valuable contribution to this part of the Barn.
This important role has now been filled by Sheelagh Mogg (Tel: 07909 196252).
Although Margaret has now retired from the role, she will still take part in the sewing circle.
View from the Back Row
Constellations
Not another damned play where we can’t be sure what has really been happening? I’m afraid so, and I confess that having already seen two separate productions of it I was the one who suggested that the Barn should do it. And having now seen our own superb production I must tell you that I’m glad I did. If your opinion of the play significantly differs from mine it might reduce your blood pressure if you stop reading now and pass on to something less annoying.
Based on the suggestion by some theoretical physicists that there may be trillions of parallel universes in parallel dimensions, each with a slightly different chain of events from their neighbours, Nick Payne shows us a selection of different consequences of a man and woman (one of them, coincidentally, a theoretical physicist) meeting by chance at a party. In most of them, the consequences are zero: the guy is already married. But in some of them they carry on chatting, and he ends up late at night in her flat. Which either leads nowhere, or to a longer relationship; which in turn finally breaks up, because either he or she has an affair with someone else. And then much later they happen to bump into one another again, which either leads nowhere or to them re-uniting. And so on.
This results in a series of mostly short scenes in which the two characters repeat almost exactly the same snippets of dialogue, with minor variations, until the story veers off into a longer session. The author’s comedic skill prevents this becoming boring: many of the earlier scenes are hilarious, and the final scenes are deeply moving.
But this is not an easy play to act, and much of the success of the production was down to the superb acting skills of Kelsey Cooke as Marianne and Steve Deaville as Roland. I cannot praise them too highly for the subtlety and realism of their performances. But I’m also in no doubt that acting of that quality is also based on skilled direction, and everything about this production proclaims Coral Walton’s achievement as Director. The skilled and interesting transitions between the scenes, and the overall look of the production must surely owe much to her.
But technical and design skills are also needed. The set, designed by Michael Merry, was simple but impressive, and most importantly highly practical. The scene changes were stunningly effective, due to the busiest lighting and sound plots we have experienced at the Barn for many years. Congratulations to Clifton Hoyle (lighting design) and Nick Mogg (lighting operation) and to Andy Barker who designed and operated sound.
In short, I can truly find nothing about this production to complain about. I’m aware that some people did not share my enthusiasm for the play, but I would be very surprised to hear anyone express dissatisfaction with the way it was performed.
John Davies
View from the Back Row
Peep
From their flat Caitlin and May, armed with high-powered binoculars, visually intrude on a neighbour’s flat where the curtains are never drawn. Their target is a man who has seduced both of them in the past, and who is relentlessly working his wicked way through most of the local female population. To what end are their spying efforts going to be put?
The setting was simple: a couple of folding chairs and a big pile of props. These were collected on a number of occasions by Caitlin expertly wielding a litter picker to put the fluffy toys, drinks bottles and even the folding furniture into plastic bags. This was entertaining but was it relevant? Was it symbolic or just a device introduced by the director to add some visual interest to the largely dialogue-laden scenes? Similarly the dance routines by Caitlin, presumably covering the time gap while May was changing or the resetting of props, were enormous fun to watch but were they in the script or were they introduced by the director? If so, they were a welcome addition.
The Irish accents were authentic but occasionally, when spoken softly, inaudible even in the small acting area.
As Caitlin Julia Riley was the harsher of the two characters, often responding aggressively to May’s comments. She handled the busy props business very efficiently, and created a strong-minded and outspoken woman. Emily Fairman was lighter, more controlled and apparently easygoing until the later plot revelations. Between them they exhibited a team effort, carrying the play through its varying emotional moments with great confidence, challenging each other and riding the rise and fall of the arguments and suggestions very well.
Jan Palmer Sayer’s direction certainly drew the best from this script. I thought the play was quite good. The performances, and direction, were terrific.
The climactic moments of the play were surprising and exciting. We had been expecting revenge but not the volte-face of May suddenly wanting to repeat the sexual encounter with ‘the man’ and hysterically changing her clothes and getting ready to run to him. Then Caitlin appeared with a very modern high-powered rifle to threaten May. What weapon was described in the script? Black comedy? (Well done, props!)
The ensuing effect – blackout, flash, deafening noise – and the bloody and violent aftermath were excellent.
The overall achievement was a credit and encouragement to the standards and reputation of the Barn Studio.
Obituary - Maryam Rodway
Maryam died suddenly at the beginning of February. Her association with the Barn dates back to the days of the Welwyn Drama Club and the Folk Players. When the Barn Theatre Club was formed by the amalgamation of these two societies, Maryam was in the first production, the Cockney musical, Fings Ain’t Wot They Used T’Be, in October 1969
Over the years she was involved in more than 70 productions, often in support roles, Prompt, ASM or Production Secretary, but more so on stage. Included in her roles were performances in the festival-winner The Real Inspector Hound in 1970, Salad Days (1973), Regan in King Lear (1974), Muriel Wicksteed in Habeas Corpus (1980), the Wife of Bath in Canterbury Tales (1988), Mrs Bennett in Pride and Prejudice (1996), and Mrs Gray in Dad’s Army (2008). Her last outing was as prompt for Boudicca in 2019.
A lively personality with a strong singing voice, her preference was for musicals but as the list above shows, she was capable of a wide range of characters.
We offer our condolences to her son Richard and her family, and her many friends.
Keith Thompson
Playing away
Mary Goodfellow and Mike Smith will be appearing in Harpenden Musical Society’s production of Follies at the Eric Morecambe Centre in Harpenden directed by Linda Dyne. It runs from 29th March to 1st April.
Social scene
Thank you to everyone who came to the Barn Quiz Night – I’m so happy with the turn-out considering it was such a last-minute decision.
Following the Jazz Night on 24th February which was officially sold out, we’ll be having another Jazz Night on Friday 19th May. While tickets are not yet on sale, please keep an eye on the website as the details will be up very soon.
Another really exciting bit of news to share with you is that we’ll be bringing Comedy at the Barn back!
Join us on Saturday 18th March at 8pm for a guaranteed evening of laughs and entertainment.
WARNING: there will be strong language during this event.
Again, full details aren’t ready as yet but if you’re interested, they’ll be available on the Barn website soon.
Tickets cost £5 each and as they’ll also be available to the public, I suggest you get in first!
Hannah
Social Director
Calendar Girls
Cast and crew
Cast
Chris – Barbara Holgate-Stuckey
Annie – Suzie Major
Cora – Rachel Wallace
Jessie – Maureen Davies
Celia – Richelle Pitt-Chambers
Ruth – Charlotte McDermott
Marie – Celia Roberts
John – Rob Graham
Rod – Andrew Sibley
Lawrence – Roly Taylor
Lady Cravenshire – Frances Farruggia
Elaine – Catherine Hutchinson
Liam – Tallan Cameron
Brenda – Stephanie Cotter
Crew
Director – Hannah Sayer
Production Manager – Stephanie Dunn
APM – Brenda Tomlin
Stage Manager – Sharon Francis
ASM – Tori White
Prompt – Madeleine Evans
Wardrobe – Barn Wardrobe Team
Props – Barbara Foster, Linda Miles
Sound – James Rowles, Devi Smart
Lighting – John Cude, Sarah Gennoe
Set Design – Rosemary Bianchi
Set construction – Keith Collingwood, Ian Bage, John Sear, Bob Cameron, Keith Lambert, Stephen Kahn, Nigel Rive, Norman Merry, Dave House
Additional Crew – Stephanie Cotter
Reviews!
John Davies
Council member John Davies thought this letter that appeared in The Times might amuse our readers:
‘Your article took me back many years to when, as a student, I earned a few pounds reviewing amateur dramatic productions for the local newspaper using the nom de plume Harlequin. It was de rigueur not to write anything overtly damning about well-intentioned amateurs and so a euphemistic code, understood by many readers, was employed. ‘Brave’ meant way beyond natural ability; ‘imaginative’ implied entirely incoherent; while ‘fresh’ indicated completely under-rehearsed. Truth was told and feelings were spared.’
Constellations: a phrase comes to mind
A good friend sent me the following email after watching Constellations at the Barn last month:
“the phrase is ‘what a triumph’ ”.
I’d just like to offer a huge thank-you to my team and to all the volunteers who make the Barn work for all their hard work, help, encouragement and kind words; to those behind the scenes; and to all of you who came to see this piece and brought your friends and who passed the word on.
Thank you for helping us realise such a stunning success.
I’d also like to thank our new and wonderful Chair who kindly let Welwyn Garden City Rotarians collect for the DEC appeal for the Turkey and Syria earthquakes on Thursday, Friday and Saturday – a quick decision that brought in £800 for the appeal. Thank you to all who contributed so generously to such a worthy cause.
It certainly felt good and, all in all, maybe the phrase ‘what a triumph’ was deserved.
Coral Walton
Welwyn Youth Drama Festival - help us sell out!
Welwyn Garden City Youth Drama Festival
6th-11th March at the Barn
7.30pm nightly (Saturday at 7pm)
Well, would you believe it, but the Youth Drama Festival is almost as old as the Garden City itself! Through thick and thin, it’s been providing a performance opportunity for youngsters from the county and beyond. In its 79th year now, the Festival regularly sells out and even during the dreaded Covid nightmare, it managed to keep going, staging a wonderful variety of youth drama via Zoom.
This year, the Barn’s single entry – Harry’s Hotter at Twilight by Jonathan Dorf, directed by Sean Scotchford, is performing on Saturday 11th March at 7pm and if you want to come and see that, you’ll have to put your name on the waiting list, because it’s sold out! It’s a hot, hot ticket, and it’ll be a wonderful experience for our youth group to have the thrill of performing to a full house. I’m sure we all wish them well.
However, at the moment, not all groups will have that experience. Tickets for Wednesday 8th and Friday 10th March haven’t sold so well and at the moment, the house will be only half-full. So, if you can spare a night or two, we’d love to see some of our regular members coming along on either of those nights to see if we can’t provide the same exciting experience for all our groups. The programme for Wednesday 8th, for example, includes Limitless Academy with their production of Bassett by James Graham, and those regular supporters among us will remember just how good (and consistently so) Limitless have been in recent years. Did you catch their Teechers? Or Private Peaceful? The latter won the Youth Section at the All-Winners Festival, and it was a memorable piece of theatre. Bassett, no doubt, will prove as good.
So, give yourself a treat – book a ticket, and we’ll see you there!
Tickets and full details of all the shows are available via the Barn’s website: www.barntheatre.co.uk
Jan Palmer-Sayer
All photos used in Barn News are courtesy of Simon Wallace (MeltingPot Pictures) and John Davies
Box office reminder
Member tickets are £11 on the opening Friday of most main-stage productions. To access the member price, customers will need the password ‘APPLE’.
Box office telephone: 01707 324300 (Mon to Sat, 9am to 5pm) – a £2 booking fee will apply for all telephone bookings.
The theatre box office will also be open every Sunday from 1pm to 3pm.
We aim to publish Barn News on the first of the month. This depends on whether we receive copy to be published by 25th of the preceding month.
Dates for your diary
Performances
Welwyn Youth Drama Festival
Monday 6th to Saturday 11th March at 7.30pm (7pm on Sat 11th)
Treasure Island
by Bryony Lavery
Directed by Laura Eddy and Rosemary Bianchi
Friday 24th March to Saturday 1st April at 8pm
Matinee Saturday 1st April at 2.30pm
Alys, Always
by Lucinda Coxon
Directed by Mel Powell
Friday 14th to Saturday 22nd April at 8pm
Matinee Saturday 22nd April at 2.30pm
Calendar Girls
by Tim Firth
Directed by Hannah Sayer
Friday 5th to Saturday 13th May at 8pm
Matinee Saturday 13th May at 2.30pm
Social events
Singers at the Barn
Sunday 5th March, 7pm for 7.30pm
Comedy at the Barn
Saturday 18th March at 8pm
Bar reminder
Barn bar opening hours
Fridays: 8pm to 11pm
Sundays: 1pm to 3pm