All the fun of a rather dark fair
Lorna Thompson and Danny Swanson (in a big hat) are on the floor, getting physical, and, in the corner, Rob Wallace and George Curry are making music. Josie Melton’s practising walking on a wooden leg, while Gavin Palmer quietly rehearses his accents. There’s talk of rats, as the Kama Sutra gingerbread men are handed round.
This can only be a Lou Wallace rehearsal! As usual, she’s creating something exciting and off the wall. The Massive Tragedy of Madame Bovary is John Nicholson‘s and Javier Marzan’s irreverent and bonkers adaptation of Gustave Flaubert’s original novel. Madame Bovary was published in 1856, and prosecuted for obscenity, before being hailed (by some) as the greatest novel ever written. Its merits have been discussed ever since. Even in recent times, I’ve seen it described as a study of neurosis – a rather old-fashioned Freudian take on it!
Poor Emma gets a much better press in this adaptation, where the tragic and high comedy intertwine. She’s bored. To escape her boredom, she married the doctor – and he’s turned out to be boring. Bored with her boring provincial village and bored with her role as a dutiful wife in (boring) nineteenth-century France. She’s reckless, I suppose, and lives beyond her means. But girls just wanna have fun – right? As in all her productions, Lou’s thinking goes way beyond what’s on the page:
‘I was drawn to the chaotic, ever-spinning carousel that appears to be Emma’s world… like a nightmarish ride at the fair – that you can’t seem to escape from. We’ve played with the idea of the fairground, with props pinging out of cubby holes like a fairground game, a revolving door, stripes and coconuts and characters that appear increasingly ‘heightened’ and nightmarish – our reference points range from ’Allo ’Allo!, to the Child Catcher in Chitty Chitty Bang, Bang! – it’s all the fun of a rather dark fair accompanied by wine-swilling musicians sitting at a pavement café.’
Lou continued:
‘Music, from Rob and George is, as ever, key to the style and the changing mood of the action. Lighting is also vital in telling the story and focusing on detail or conjuring atmosphere – along with music – always the other two characters on stage!’
Unusually for Lou, she has a cast of only four, playing over 30 roles. She said:
‘We had a fabulous round of auditions and I nearly played with a cast of twice as many, but this re-telling relies on the swiftness of the multi-role and the skill of the actors charged to carry us from farm to convent to Yonville – I think it’s more fun with fewer actors – and such a challenge for the four of them.’
This is not traditional Barn fare and tickets are selling fast. It’s unlikely that there will be another chance to see it in local theatres any time soon, if at all. It’s bold programming. So book now!
Carol Bush
From the Chair
Welcome to May’s Barn News
As I write this, Oliver! Is in full swing, playing to full houses. Putting on a full-scale musical can be quite challenging for us, given our small stage, and we had to remove the front row of seats to accommodate everyone, including the musicians and MD. Despite the technical problems, a well-known show like this achieves two important things for us. It gives opportunities to a lot of young actors to appear on stage, some for the first time, and it brings their family and friends to the Barn to support them.
I know from working on the bar and box office during the show that quite a few of them came to the theatre for the first time, and I hope that we made a sufficiently good impression on them that they come to future productions. At least they know where we are now.
It’s important to me that we also introduce the Barn to as many local people as possible, and we have hosted the last two meetings of the Handside Residents’ Forum in the Clubroom. This allows local people to hear from their Handside councillors and ask them questions, and at the last meeting representatives of the police and Welwyn Hatfield Council planning were also present.
These meetings, together with the Open Days (next one in September!), and other events, such as coffee mornings, allow us to give something back to the community which I think is vital for our long-term health as an organisation. If anyone has any suggestions for how we can do more in this regard, please get in contact with me.
I’m looking forward to the productions in May. First, we have The Massive Tragedy of Madame Bovary, which of course is a comedy! Directed by Lou Wallace, this promises to be as exciting and inventive as all her productions. Not to be missed! This is followed by the 89th Welwyn Drama Festival, including a revised and shortened version of Good Grief starring Danny Swanson. And finally, at the end of the month, we have three episodes of the much-loved radio comedy Cabin Pressure being performed in the Studio.
Last and definitely not least, on Sunday 12th May we have the Directors Evening where you can hear all about the plays we’re planning to perform in the main auditorium and Studio in the new 2024-25 season, hosted by Clive Weatherley. It’s always a fun evening, and a great way for new members to meet others and put their names down to help, which is always appreciated.
Ian Major
Chair
Review:
Beginning
Things aren’t what they used to be – and this is certainly true of the path to romance and long-lasting happiness. So the subject matter of this play has immediate resonance for many of us, who may not have personally experienced the lonely and seemingly endless search for true love, but who almost certainly know someone who has.
Our two protagonists, Laura and Danny, unlucky in love and both desperate in their individual ways, come together at the end of her housewarming party in her new flat. She has a plan – and he really just wants to go home! As they reveal their insecurities, their hopes and their fears, they glimpse the possibility of a happier ending and finally act upon it.
The open set allowed us to interpret the time and place, with some plump swags of party lights and some good music to build the atmosphere. The design gave some good acting areas with an effective kitchen and a spacious lounge area that served to highlight the distance between the characters as they navigated their uncertain situation. All of the action (literally and figuratively) takes place amidst the debris of the party, and the mise-en-scène was excellent. During the choreographed ‘tidy-up’ sequence the sound of a clinking bottle in the rubbish bag provided a perfect moment of recognition – we’ve all been there!
The technical elements were on point and as unnoticeable as they should be in a piece like this, with some perfect timing of the dance music. And the exploding beer can was brilliant!
It always takes a great script and three people to bring to life an intimate two-hander. The symbiosis between the Director and the actors is crucial in the realisation of the piece. This relationship was evident, resulting in some well-pointed and truthful moments, although I wasn’t always convinced by the physicality of the actors, needing more visual clues to reinforce the messages.
In the opening moments, Jessica Drucker’s performance as the successful but desperately lonely Laura was somewhat subdued but steadily gained traction as the piece progressed. By the time she delivered her monologue she had really got into her stride and earned our investment in the character. The emotional journey was clearly reflected through her face and hands, with her bare feet adding to her vulnerability.
The role of Danny is a tricky one for the actor – how to communicate the effect of fear and uncertainty while maintaining the necessary sympathy for the character. Pete Bryans delivered a considered performance, keeping the audience guessing as to whether Danny would stay or go. His great delivery of some of the comedy lines provided a contrast that leavened the angst, especially in the early part of the piece.
The use of explicit language can be challenging for both the actor and for the audience and accurately pitching the delivery can be difficult. There was, at times, a sense of pulling back from the intensity of the coarseness, which may have undermined the intended impact, but did still draw a palpable response from a few members of the audience.
The challenge of disrobing on stage is not to be underestimated – in this case the final moments of the play were handled with confidence and conviction.
The subject matter of this piece is hugely emotive and, in the main, the audience was absorbed by the story unfolding in front of them – testament to the collective achievement. For myself, I felt that I was very much on the outside looking in and I wonder if a more intimate setting might have achieved a greater sense of involvement.
Having said that – this was a good play, well realised and a worthy precursor to the next in the trilogy. I left feeling hopeful for Laura, for Danny and for their relationship.
Maureen Bukht
Company of Ten
A winning Beginning
A winning Beginning
One night, during a rehearsal of Beginning, Jess, who played Laura, had the brilliant idea of having a competition for the best story of a romantic beginning, the prize being two tickets for the play. So she put a box in the foyer, with some slips to be filled in, and we waited. And in they came! Some sad, some funny, some totally unbelievable. We particularly liked:
‘He was my Macbeth whilst playing Lady M on tour in Germany. The relationship didn’t survive being back in Blighty!’
Very appropriate for a theatre competition, we thought. Never trust an actor. What goes on tour stays on tour!
But our unanimous favourite was:
‘I was out with my boyfriend, and was introduced to his older brother who was home on leave from the Navy. He joined us for the evening and I walked home holding his hand. We have been married for 45 years and I still hold his hand.’
They were all anonymous, so we had no idea whose story it was. It turned out to be our own Bob Cameron, set builder and sound man, and his wife Jeanne – mum and dad to Tallan, Tristan and sister Tamar.
Apparently, there were no hard feelings – the brother who introduced the happy couple was best man at their wedding!
On stage with Pete Bryans (Danny) and Jess Drucker (Laura), Bob and Jeanne were still holding hands!
Carol Bush
Hansard reprised for Hertford Theatre Week!
So, we dismantled the beautiful, and much commented-on, Hansard set, saving some to go back onstage for Beginning, which followed. We were sad to say goodbye to this beautiful two-hander until… we were asked to represent the Barn at Hertford Theatre Week! We didn’t need asking twice!
When Hannah chose Hansard for this season, she found the rights weren’t available, so went instead for Holes, which she presented at last year’s Directors Evening, with a warning that huge amounts of sand were going to be needed on stage. Relief all round when, a few weeks later, the rights became available – and she ‘jumped at it’. It sold to packed houses during the run, and now she gets to do it again, for one night only!
“Well, this production has surprised us from the start, and it’s not done yet! Originally, Lou Wallace’s production of The Massive Tragedy of Madame Bovary was earmarked for Hertford, until the dates proved to be impossible for a couple of the cast. We were asked to step in and, thanks to the enormous help from our wonderful Barn set building team, we get to reprise this gorgeous production for one night only at Hertford Theatre Week! Wish us luck!”
Hansard will be performed on Saturday 1st June (last night of theh festival) so if you didn’t see it at the Barn, or want to see it again, get yourself over to the Ayckbourn Theatre at Haileybury College and support the Barn entry. Tickets costing £15 are available from www.ticketsource.co.uk.
PS: In 2016 Hannah took the two top prizes at Hertford Theatre Week with The God of Carnage, her second production for the Barn. She was awarded the Mercury Challenge Cup for the Overall Winner and the Freston Salver for the Audience Award.
Carol Bush
Good Grief, the Barn has an entry in the Welwyn Drama Festival!
I’m delighted to say that the Barn has an entry into this year’s Welwyn Drama Festival which runs from 20th to 25th May. The play, Good Grief, by some fella masquerading as Matt Adie, played to sell-out audiences and lovely feedback in the Studio last autumn as part of a double bill, and is scheduled to take to the main stage on Thursday 23rd May as one of three productions that evening.
In a slightly abridged format to comply with the WDF rules, Danny Swanson, Sam Powell and Paul Russell will reprise their original roles. In the absence of holidaying Julia Riley and new mum, Georgina Scotchford, they will be joined this time around by the irrepressible Ruth Heppelthwaite.
This abridged version, if anything, increases the intensity of the piece, so if you missed it first time around, please come along and experience the raw emotions for yourself. As one prominent Barn member wrote at the time: “I loved it. I laughed, I cried, I was totally engaged”. In fact, even if you did see it, please come anyway and support your theatrical chums.
Tickets are now available for all evenings on the Barn website.
Rob Graham
Director
The 89th Welwyn Drama Festival
20th to 25th May 2024
Hot on the heels of Madame Bovary comes the Welwyn Drama Festival, running 20th to 25th May at the Barn. This year we’re offering 16 one-act plays, with two or three plays each night, and are looking forward to welcoming a number of local teams as well as those from further afield. Take a look at the programme below or pick up a flyer from the Barn foyer.
At the end of each evening you can compare your thoughts on each play with the GoDA adjudicator, Bob Tomson, as he shares his views with the audience in a public adjudication. These comments, which cover play structure, direction and stage presentation, are great for actors, directors and even budding writers. On that note, this year we have four plays eligible for the Best Unpublished Play Award.
Last year’s winners, Total Arts Community Theatre, from Tamworth, Staffordshire, are back to defend their title with a production of The Real & Imagined History of the Elephant Man by Tom Wright.
The Barn, performing on Thursday 23rd May, are presenting an abridged version of Good Grief by Matt Adie, the much-acclaimed production from last September in the Studio. Also on Thursday are two plays from popular regulars SMP Theatre from North London, so if you’re planning on supporting the Barn you’d better get your tickets soon!
Tickets are available from the Barn website and box office at the excellent price of £12 per evening. If you’re keen to join us on four or more nights then please purchase a great-value season ticket at the discounted price of £45. Please note the earlier start time of 7.30pm Monday to Friday and 7pm on Saturday. The programme may be subject to change without notice.
Hope to see you there!
Monday 20th May, 7.30pm
Limitless Academy of Performing Arts (winners of the Youth Drama Festival)
Bouncers by John Godber
Time for dancing, drinking and the search for true love. The club’s getting hot but out in the cold the bouncers are ready for anything. Meet Ralph, Judd, Les and Lucky Eric as they relive a night in a London disco in the 80s, in an outrageous celebration of the UK nightclub scene.
Brightlight Theatre Company
The Start of Something by Jamie Lakritz
Three women. A lost letter. An obsessive pursuit to find the recipient. But are some things best left forgotten.
Tuesday 21st May, 7.30pm
Feelgood Factor (BEST)
Fabulous at Thirty by Deborah Heath & Catherine Lomax (new play)
One soulless conference room. Eight guilty strangers. One tea urn with a life of its own! Exploring guilt, friendships and the need for speed, Feelgood Factor bring you their original new play, Fabulous at Thirty.
Secret Theatre Company
The Plot Doesn’t Thicken by Barry Grossman (new play)
Welcome to the worst house-warming ever. Three couples bicker, argue and end up with full-on tantrums and assorted injuries as the evening disintegrates into chaos. At the same time, they all know they’re actors and aren’t slow to give their cynical opinions on theatre in general and this one in particular. At the same time as that they’re anxious to develop the plot, but somehow, whatever they try – the plot doesn’t thicken.
4 Door Theatre Company
Opening a Fuzzwallop’s Frame of Mind by Daniel Evans
In a closed room a group of people, trapped by their surroundings, accept their predicament. Then a naïve young stranger poses the question of life outside the room and the claustrophobic existence of this strange group is challenged. This play explores the nature of humanity and our fear of the unknown.
Wednesday 22nd May, 7.30pm
Theatre In The Square
Lunch by Steven Berkoff
In this short play, by the legendary playwright Steven Berkoff, two strangers meet at a deserted beach café. Will their intense encounter relieve their loneliness?
Contains adult themes and language.
Tait Productions
Forbidden Fruit by Johnny Tait (new play)
A scientist claiming to be the first man on earth creates the ideal woman, in order to build the perfect human race in this laugh-out-loud comedy taken from the novel Naked Truth by author Johnny Tait.
HD&OS
Double Acts: WYSINNWYG by John Finnemore
In the Sales Support Department of Willard & Son Bath Suppliers, Kerry meets an obstinate new boss, Adele, whom she must deal with in order to climb up the corporate ladder. “In the game of office politics, what you see is not necessarily what you get…”
Thursday 23rd May, 7.30pm
SMP Theatre
Checkmate by Robert Scott
A tense thriller. In this play, a friendly game of chess between husband and wife becomes more of a game of cat and mouse. Michael likes to think he’s always one move ahead, but perhaps this time Amy has him in check. The only thing for certain is not everything is quite as it seems.
Barn Theatre Club
Good Grief by Matt Adie (abridged) (new play)
A brutally honest, powerful and personal account of one man’s attempts to deal with the reality of loss and the ensuing void which threatens to consume him. Both visceral and funny, often within the same breath, this new play is Inspired by a true story of love, loss and friendship.
SMP Theatre
Normal For by Tony Domaille
Teacher Emma worries about a nine-year-old boy in her class. But when she raises concerns, they are dismissed as ‘normal for here’. As she struggles against a culture of indifference, Emma finds herself facing a real dilemma. Does she sit back and accept there’s nothing wrong or speak out and go against the chain of command?
Friday 24th May, 7.30pm
Woodhouse Players
Goldfish Girl by Peter Souter
Ally is the Goldfish Girl. She has no memory. Can Joe help her regain her past? A funny and sad exploration of love and loss… and hedgehogs.
Not suitable for children.
No Frills Theatre Company
On the Harmful Effects of Tobacco by Anton Chekhov
A bittersweet monologue in which a scientific lecture is hijacked by thoughts of domestic misery. A highly entertaining and comic short, offering an insight into the author’s development as a dramatist.
HD&OS
Double Acts: Hot Desk by John Finnemore
In the reception of Willard & Son Bath Suppliers, at seven in the morning and seven in the evening, a receptionist and a security guard meet to swap ownership of a desk each day, which blossoms into an unusual relationship.
Saturday 25th May, 7pm (note the earlier start)
Total Arts Community Theatre
The Real & Imagined History of the Elephant Man by Tom Wright
Joseph Merrick is an anomaly. In a city of factories that churn out uniformity, there’s no place for a unique being like him. But Merrick and the city are evolving into something new. We follow him through the workhouse, freakshow and hospital as he searches for acceptance in a society that just wants to stare at him.
The Players’ Theatre (Wales)
Albert by Richard Harris
An ordinary situation soon becomes extraordinary when three strangers meet, speaking different languages. Total confusion reigns supreme.
Followed by the Results and Award Ceremony
I’m delighted to say that the Barn has an entry into this year’s Welwyn Drama Festival which runs from 20th to 25th May. The play, Good Grief, by some fella masquerading as Matt Adie, played to sell-out audiences and lovely feedback in the Studio last autumn as part of a double bill, and is scheduled to take to the main stage on Thursday 23rd May as one of three productions that evening.
In a slightly abridged format to comply with the WDF rules, Danny Swanson, Sam Powell and Paul Russell will reprise their original roles. In the absence of holidaying Julia Riley and new mum, Georgina Scotchford, they will be joined this time around by the irrepressible Ruth Heppelthwaite.
This abridged version, if anything, increases the intensity of the piece, so if you missed it first time around, please come along and experience the raw emotions for yourself. As one prominent Barn member wrote at the time: “I loved it. I laughed, I cried, I was totally engaged”. In fact, even if you did see it, please come anyway and support your theatrical chums.
Tickets are now available for all evenings on the Barn website.
Sharon Jolly
Letter to the Editor
Dear readers,
Echoing Bob Thomson’s recent letter: the Barn is a hard act to follow. I miss it enormously and was sad to have missed out on Oliver!
My association with the Barn goes back to 1973 with the Owl and the Pussycat musical. Most of my involvement has been in a musical capacity, either performing or assisting both the wonderful and late-lamented Sylvia Pepper, and my highly talented pal, Laura Eddy.
Many have commented on the Barn’s role as a provider of high-quality ‘straight’ theatre. Of that there is no doubt. Over the years, though, musical activities have enhanced our success as a group, either through ‘plays with music’ (where members such as Rob Wallace and I have been part of the creative team) or through actual musicals. We clearly have much musical talent among our actors. In addition, we’ve enjoyed many a musical club night and hosted the long-standing Singers at the Barn.
Here I wish to congratulate many ‘old’ friends on their hugely successful run of Oliver!
Rachel Davies is to be congratulated on her superb Musical Direction. What a fantastic endorsement of a proper, live accompaniment! I’m so glad we didn’t have to endure relentless, soulless backing tracks. They are the work of the devil, IMHO!
As an amateur group there will sometimes be less experienced performers who need the support of a real live band whose playing was truly beautiful. Well worth the extra financial investment – it’s difficult music!
Here’s to a glittering Barn future, musical and otherwise.
Footnote: Rachel and her partner now live in Stamford, Lincolnshire.
Rachel Thomas
Audition Notice:
Home, I'm Darling
By Laura Wade
Directed by Jon Brown
Playing dates: 4th to 12th October 2024
Audition dates:
Monday 1st July 8pm
Thursday 4th July 8pm
Sunday 7th July 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.
Jon Brown
Director
Playing away
Barn members Will Smith and Matt Greenbank will be performing in the Green Room production of Beautiful, the Carole King Musical at the Wyllyotts Theatre, Potters Bar, from 7th to 11th May.
Partaking in the Edinburgh Festival? Be careful!
The famous Fringe Festival attracts many participants and includes, among other performances, an opportunity for new writers to present their work. From 1st April Scotland’s new Hate Crime Act is in force. The Scottish Police Federation has acknowledged it’s unprepared for this legislation, saying the two-hour on-line training course is ‘not fit for purpose’. The guidance tells officers that ‘threatening and abusive material’ can be communicated through ‘public performance of a play’. The offence categories listed are racial hatred, disability, religion, sexual orientation, age, transgender identity, variations in sex characteristics, and blasphemy.
Watch this space!
Who’s Who
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 Celia Roberts (07799 255425) [email protected]
Facilities Michael Merry (07973 238346) [email protected]
Stage Director Nigel Rive (07768 867534) [email protected]
Props Sheila Grimmant (07970 929290) [email protected]
Studio Danny Swanson (07583 613696) [email protected]
Youth Jacqueline Clayton (07981 866568) [email protected]
Social Director Lisa Roberts (07917 797712) [email protected]
Non-Executive Director Sarah Gennoe (07990 595245) [email protected]
Non-voting Council Members
Company Secretary Linda Miles (01707 335718) [email protected]
Artistic Director Clive Weatherley (07773 044801) [email protected]
Wardrobe Director Yvonne Bartlett (07890 561846) [email protected]
Other responsibilities
Archives Alice Croot & Rob Wallace [email protected]
If you have any archives 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 Lisa Roberts (07917 797712)
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]
Press Officer Alun David [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 Steph Dunn (07961 321111) [email protected]
Youth Groups
Barn Erroll Emma Turner (07841 836351)
Barn Pigwidgeon Georgina Bennett (07923 620163)
Barn Hedwig Georgina Bennett (07923 620163)
Barn Hermes Sean Scotchford (07814 236260)
Barn Owlets Kate Humbles (07712 343109)
Youth Group Administrator
Jacqueline Clayton (07981 866568) [email protected]
Telephone
Theatre & Box Office 01707 324300
Dates for your diary
Performances
The Massive Tragedy of Madame Bovary
By Gustave Flaubert, John Nicholson and Javier Marzan
10th to 18th May 8pm
Matinee 18th May 2.30pm
Welwyn Drama Festival
20th to 25th May 8pm
Cabin Pressure
By John Finnemore
28th May to 1st June 8pm
In the Studio
Harvey
By Mary Chase
14th to 22nd June 8pm
Matinee 22nd June 2.30pm
Social & Club events
Singers at the Barn
Sunday 5th May 7.30pm for 8pm
Directors Evening
Sunday 12th May 8pm
Next Council meeting
Tuesday 7th May 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