Love and laughs in harmony
Spring is a time when birds’, bees’ and humans’ attentions traditionally turn to love and coupling – and why should the Barn break with tradition? So we’re delighted to present one of the wittiest, most entertaining explorations of the mating game written in recent years – the award-winning I Love You, You’re Perfect, Now Change.
Even the sentiment of the title raises a smile, so you can expect an evening of sharp, observant lyrics, toe-tapping tunes and fun moments from four talented actors, all with a great track record in musical theatre. Other song titles include When a Man Texts a Woman, Funerals are for Dating and Always a Bridesmaid.
Director Lorraine Bottomley is excited after another lively rehearsal: “I’m so lucky with my cast – they’re working so hard. And it’s great to be collaborating with my musical director Philip Colman again. He brings such insight into the show’s different musical styles”.
The show originally hails from 1996 but Lorraine’s chosen to use the revised 2018 version, with new songs and updated dialogue and lyrics throughout. The author Joe DiPietro’s name may be familiar to long-standing Barn members: we performed his Over the River and Through the Woods in 2005, the hilarious and poignant story of a young man torn between his career and his Italian grandparents. I Love You shares its East Coast sass, and has lyrics every bit as witty as DiPietro’s later success, the smash-hit musical Memphis.
“I first came across I Love You 15 years ago,” says Lorraine. “I loved the way it brilliantly captures the humour and awkwardness of love and marriage across different life stages. This is the third time I’ve been involved with the show – and taking it back to the original concept of just four actors. It’s pretty demanding for them, but they’re up for it!”
I bumped into one of the cast in the Green Room, trying on an ‘interesting’ garment just delivered from Amazon. No spoilers, but it should get a laugh on its own… Don’t miss this chance to see it – and the rest of this smart and hilarious musical lovefest: I Love You, You’re Perfect, Now Change runs from 2nd to 10th May.
Clive Weatherley
I Love You, You're Perfect Now Change
Cast
The four members of the cast.
Adam Beckman
Sarah Comerford
Lizzie Droy
Ben Tossell
They play several roles each.
Creatives
Director – Lorraine Bottomley
Stage Manager – Stephen Kahn
Assistant Stage Manager – Gillian Hall
Set Design – David Bottomley, Lorraine Bottomley, John Cook
Set Dressing – Kris Moore
Lighting – Clifton Hoyle
Sound – Tristan Cameron
Props – Barbara Foster
Wardrobe – Yvonne Bartlett
Poster Design – Simon Wallace, John Cook
From the Chair
Welcome to May’s Barn News
Waiting for God was a real crowd-pleaser, with sold-out performances and a great review in the local paper. As Simon Parr said after the show, comedy is hard work to produce and requires a huge amount of unseen, frantic activity behind the set to allow the actors time and space to perform. The selection of back projections and music brought the show to life, so congratulations to Andy Barker and John Gardner. I must also mention Nigel Rive’s cameo role at the end of the play. If this had been a television production, then I can imagine a spin-off series called The Undertaker.
We now have a change of pace and style for the next show. I Love You, You’re Perfect, Now Change is a modern revue-style musical that hopefully will bring some new audience members to the Barn. We”re lucky to have Lorraine Bottomley, an experienced director, in charge of the show, and Clive Weatherley has written about it above.
Following that, there will be another comedy highlight of the season, The Crocodile in the Studio. Danny Swanson writes about the show, and it has an amazing cast, so make sure you buy your tickets now. You don’t want to find that it’s another sellout show, and you’ve left it too late!
Barbara Holgate-Stuckey has announced she will be giving up her role as Marketing Director this summer, as she and her husband will be moving away from Welwyn Garden City. I’ll miss Barbara’s enthusiasm and humour at Council meetings, and I wish her well in her grand new adventure.
This means that we have two important roles on Council that need to be filled: Stage Director and Marketing Director. If you’ve ever wanted to help out more at the Barn, and are interested in shaping how productions are staged and marketed, then please get in touch. Barbara has written a piece about the marketing role based on her experience, and she recommends dividing the work between more than one person to make the workload easier. Therefore, if you’ve ever felt that we could Improve how we tell people about the theatre, or different ways of communicating with audiences, then this is your chance to try. There’s a team to help, so you won’t be alone.
The Stage Director role was described in an earlier edition of Barn News, and I’ll repeat some of it here. He or she has complete control in ensuring that the stages are fit for purpose and that everyone concerned with a play in the auditorium or Studio (set designers / builders / director) have made clear their requirements so that all bases are covered before any building and production begins. One of the great things about being Stage Director is that they get to meet many Barn members over the year and they play an active role in every play at the Barn, as well as being responsible for the management and use of the stage. The Stage Director also sits on Council where they have an important role in determining policy for the current and future use of the Barn.
If you’re interested in finding out more about either of these roles, please get in touch with me at
[email protected].
The Directors Evening is on Sunday 11th May, and Clive has now revealed full details of the season in his piece above. I’m really looking forward to hearing the directors speak about their ideas for the shows, and it’s always a great social event as well. I look forward to seeing as many of you as possible on the 11th (note early start time of 7pm!).
P.S. Please remember Singers at the Barn on Sunday 4th May.
Ian Major
Chair
Membership & Council
Minutes from the last Council Meeting
Please find the minutes of the Barn Theatre Council meetings here. This information is regularly updated so please do bookmark the link for future use.
Our membership news depends on information we get from YOU
New members
Jessica Bolevin – Props, set painting
Steve Dringer – Props, set design, set building, painting
Sheila Lahey – Audience
Ryaan Mathew – Acting
Monica Mitchell – Audience
Welcome to the Barn!
The Crocodile in the Studio
- snap up a ticket before they're gone!
The final show of an exciting season in the Studio is The Crocodile by Tom Basden, running 28th to 31st May. It’s based on a surreal short story by Fyodor Dostoevsky where a man gets swallowed whole by a crocodile.
This version is modern, playful and, yes, snappy. Ivan, a struggling actor, is urged by his friends to give up on a failing career but suddenly becomes an overnight sensation when, after mocking the lowly exhibits at the zoo, he’s swallowed by a giant crocodile and, while inside, becomes a singing and dancing sensation. Sadly the fame goes to his head and he begins to alienate his new-found fans with his political fables and belief in his own importance. Desperate to get the crowd back on his side he proposes publicly to Anna (his childhood sweetheart) and she joins him in their new ‘home’. It’s silly, very, very funny and contains a bit of a bite about celebrity culture and how fame and money can corrupt.
I have a fantastic cast to bring these characters to life. Mark O’Sullivan is taking time off from winning prestigious TV awards to play Ivan. Emily Fairman, last seen in the ridiculously brilliant Hansard is playing Anna. Lorna Thompson is showing her remarkable versatility by playing a plethora of very different characters – all brilliantly well – and Paul Russell is cooling down from his run in Good Grief at the Hen & Chickens Theatre and warming up for A Midsummer Night’s Dream with the key role of Zak, the bemused fiancé of Anna and best friend of Ivan. Eli Thompson is creating a fantastic animated film to complement the action.
The writer, Tom Basden also wrote the sitcom Plebs and co-wrote Fresh Meat. Look, basically it‘s going to be a real blast and there are some tickets but not that many as we’re only doing five shows. Right, enough – don’t say I didn’t warn you!
Danny Swanson
Director
The Crocodile Cast and Creatives
Studio, 28th-31st May
Cast
Ivan – Mark O’Sullivan
Anya – Emily Fairman
Zack – Paul Russell
Various eccentric characters – Lorna Thompson
Crew
Director – Danny Swanson
Production Manager – Carol Bush
Stage Manager – Maddie Palmer
ASM – Wendy Bage
Lighting and Sound Designer – Tristan Cameron
Set Build – Ian Bage, Carys Bedford
Rehearsal Prompt – Janet Lloyd
Costume Design – Sarah Haverson, Anna Maria-Kress
Crocodile mask design and build – Christine Neal
Props – Sheila Grimmant, Sarah Kerr
Poster and programme design – John Cook
Animated short film:
Director – Eli Thompson
Producer – Kirsten Jane Reed
Production Designer – Freddie Fredholm
Animator – Sophie Dique
Sound Recordist – Charlie Brodie
Review: The Girl on the Train
When I read Paula Hawkins’ bestselling novel The Girl on the Train ten years ago, I loved it but never dreamt it could be turned into a stage play, let alone one that could deliver the same gripping tension as the book. The Barn’s March 2025 production of The Girl on the Train did just that – and it didn’t disappoint on any level.
Jessica Drucker offered a standout performance as the lead character, Rachel Watson, perfectly conveying the character’s mental confusion, fragmented memories and battle with alcoholism. Jessica gave the audience a Rachel who was vulnerable, yet engaging, while conveying a real sense of her life spiralling out of control: her grasping attempts to steady herself had a pathos which is not easy to convey.
Laurence Lowe as Tom Watson captured his character’s ambiguity to great effect. On the surface a loving husband doing his best for his family, while underneath a sly, lying, conniving murderer given to violent outbursts. Martha Furnival as his wife, Anna Watson, provided a nuanced performance, juxtaposing an outward composure with the underlying tension of a mistress turned wife, struggling to be the perfect wife and mother while never really trusting her husband.
Matt Hughes-Short delivered a powerful performance as possessive alpha male, Scott Hipwell, husband of missing Megan. Matt perfectly portrayed a character torn between grief and suspicion, adding intensity to the thriller. Calypso Powell portrayed the young, artistic, sensitive Megan, whose story is depicted in flashbacks throughout the play. This is a complicated role – Megan’s disappearance is the crux of the action – but she’s a complex character, not only a murder victim but a victim of the pressures which society exerts on women to be perfect wives and mothers, and Calypso conveyed this pressure with great aplomb.
Tony Cocozza was perfectly cast as Megan’s calm, comfortable, soft-spoken therapist Dr Kamal Abdic, easily conveying the sense of a mild-mannered man being caught up in a web of intrigue and lies when he himself becomes a suspect in Megan’s disappearance. Another perfect casting was Des Turner as DI Gaskill, the lead detective on Megan’s missing persons case, who provides an objective counterpoint to the chaos of Rachel’s amateur investigations.
Lucy Hegerty and Mary Powell provided a small, but highly effective ensemble, playing various roles throughout the play, and their haunting rendition of the nursery rhyme ‘One for sorrow, two for joy’ sung with Megan, which opened the show, deserves special praise for setting the tone for what was to come.
The production’s technical elements created a seamless integration of performance and design. The split set was clever and innovative, allowing the action to move from scene to scene without ever breaking the tension. The muted lighting design subtly added to the sombre, claustrophobic atmosphere and guided the action seamlessly from scene to scene. Credit must also be given to the sound design which also helped to ratchet up the tension at key moments in the show.
Costumes were well chosen, from Rachel’s unkempt, bedraggled appearance in old jeans and a shapeless brown coat, to Scott’s form-fitting T-shirt which showed off his muscular physique: the costumes added ably to each characterisation.
Overall, Director Mel Powell’s production of The Girl on the Train was a great success, combining strong performances with clever set design to create a memorable, thought-provoking and quite thrilling theatrical experience.
Sarah Gennoe
Review:
Waiting for God
Originally a BBC sitcom series of the 1990s, this stage version by the original playwright Michael Aitkens premiered in Letchworth in 2017. I never saw any of the former but the stage version is a pleasant, light comedy with interesting characters and some good dialogue.
Set in a retirement home, Bayview, the well-defined characters, from the original TV script, grumble, argue and cope with growing older. The setting, as with most stage versions of TV shows, poses problems. If a script requires several locations, TV can cut instantly to the next, while live stage changes have to be physically reset as quickly as possible. The options are blackouts or stage hands appearing, to move the set in sight of the audience. This method has an increasing appeal for audiences who like to see how the job’s done, and was used here. The projections on the cyclorama were large and beautifully colourful. Other scenes were set in front of two white flats with wall decorations added each time they were changed, and simple furniture placed as well. Lighting was reduced each time this was done. The crew handled this expertly and quickly, but the operation occurred a little too often and I think a better set design would have improved things. Recent Barn productions have used double folding flats and concertina multiple flats: five seconds and a cross-fade will reveal a new painted scene and preset furniture already in place. Actors can move to their new positions during the cross-fade. In this light comedy the chosen method worked but a more imaginative design would have been an improvement.
The production overall was slick and fast and properly accented. All the cast were well chosen and the full-house audience clearly enjoyed themselves. Trish Galloway as Diana Trent grumbled and moaned at almost everything and everyone in her surroundings and gave a splendid performance in a role which allowed scope and humour. She related significantly to the other characters, offering them neatly worked opportunities to respond. Tom Ballard was played by Simon Parr, a very skilled portrayal of an eccentric whose blunt replies concealed a warm heart and an understanding of others’ problems. He criticises the food and tries to make other improvements. His gentle and brief wooing of Diana was a delightful scene for them both. I noted that for the third time in 18 months we witnessed naked male buttocks on our stage. Trigger warnings, perhaps? No. It got a good laugh.
Kathy Taylor showed an immature naïveté in the role of Jane Edwards, one of the staff of Bayview, feeling left on the shelf, adoring and eventually capturing Harvey Baines (or so we thought). Harvey, the manager of Bayview, was a delicate misogynist played by Andy Hill (“You’re touching me, Jane”.) Trying far too hard to be pleasant while really concerned with budgets, he was selfish and conceited, and was just right in Andy’s unctuous performance.
Sarah Gennoe doubled as a doctor and Sarah Chase. The former was a brief appearance in a white coat, the latter pre and post appearances giving birth. This scene was very realistic (I can vouch for that) and Sarah’s maternal discomfort was very authentic. Tom’s son Geoffrey – loud and unsympathetic to his dad and blunt with everyone else – was given a strong character in just a few appearances by Pip Gray. Three characters by Keith Macdougall showed his range – a one-liner as an annoyed diner, an unhelpful doctor and, best of all, a confused parson. No make-up changes, just different costumes and different voices.
Nigel Rive, the Stage Manager, stole the show as the undertaker. Almost no dialogue, a morning suit and a silk hat, and a coffin on a trolley wheeled on with purpose, he was made for the part. Finally, Natalie Gavaghan completed a talented cast as Milly.
Maureen Davies is to be congratulated on this production. All the creative team deserve compliments. Lighting, despite my earlier comment about set changing, costumes, props and sound all contributed to the success of this enjoyable evening, played to a very appreciative audience.
Keith Thompson
See you at the Directors Evening!
It’s almost upon us, so don’t miss the hottest night of the year – and note the early start time of 7pm. You won’t want to be late for all our wonderful directors presenting what they’re going to be up to next season. Here’s the 2025-26 season in full, with Studio shows in italics.
19th to 27th September: Jon Brown
The Herd by Rory Kinnear
A hilarious and heartfelt look at a family coping with mental and physical disability.
17th to 25th October: Adam Long and Allan Plenderleith
A Midsummer Night’s Scream by Adam Long and Allan Plenderleith
Shakespeare’s Dream – with added zombies and vampires…
27th to 31st October: Danny Swanson and Rob Graham
SHORT AND SWEET (various)
An evening of new short plays by local writers.
14th to 22nd November: Steve Thompson
The Children’s Hour by Lillian Hellman
Rumours in a school lead to scandal and, eventually, tragedy.
12th to 20th December: Hannah Sayer
A Sherlock Carol by Mark Shanahan
A mash-up of Dickens and Doyle in a heartwarming Christmas treat.
16th to 24th January: Hannah Humbles
The Dinner Party by Neil Simon
Three divorced couples are individually invited to dinner by a mystery host.
6th to 14th February: Coral Walton
Dancing at Lughnasa by Brian Friel
The classic drama of family, hardship and celebrations in 1930s Donegal.
18th to 21st February: Belinda Gee
Cooking with Elvis by Lee Hall
Desperate measures when an Elvis impersonator is paralysed in a car crash.
27th March to 4th April: John Cook
All Our Children by Stephen Unwin
One man uncovers a terrible crime taking place against disabled children in 1941.
24th April to 2nd May: Maureen Davies
The Late Edwina Black by William Dinner and William Morum
The day before an unexpected funeral, Inspector Martin calls with a puzzling problem.
27th to 30th May: Andy Mills
The Mercy Seat by Neil LaBute
After surviving 9/11, a couple face up to their future choices.
12th to 20th June: Matt Greenbank
X by Alistair McDowall
Billions of miles from home, a skeleton crew on Pluto has lost all contact with Earth.
Youth show: 14th to 18th July (tbc): Rob Graham
Death by Woody Allen
A logical man in a mad world gets involved in tracking down a maniacal killer.
Clive Weatherley
Artistic Director
Audition Notice
The Herd
By Rory Kinnear
Directed by Jon Brown
Playing dates: 19th to 27th September 2025
Audition dates:
Sunday 8th June at 1.30pm at the Backhouse Room,
116 Handside Lane, WGC, AL8 6SZ
Thursday 12th June at 7.30pm, at The Backhouse Room
Monday 16th June at 7.30pm in Room 1
Rehearsals begin: Mid to late June: two evenings a week, and some Sundays later on.
Carol, an anxiety-ridden mother, has arranged a small family party to celebrate the 21st birthday of her severely disabled son Andy, who has long been in a care home. Carol has meticulously planned every detail for the family celebration – balloons, party hats, sausage rolls. But as relatives gather and tensions rise, unexpected guests force long-buried truths to the surface.
Those invited are Andy’s elder sister Claire, and his grandparents Brian and Patricia. But there are also two unexpected guests: Claire’s boyfriend, a performance-poet, and Andy’s father Ian, who abandoned the family and is cordially loathed by everyone in the room.
Rory Kinnear’s acclaimed play is a heartfelt, sharply funny look at family dynamics. It explores the weight of caregiving, sacrifice, trust, forgiveness and the complexities of love and responsibility. The characters’ interactions provide a poignant and often humorous look at the challenges and energies within a family facing extraordinary circumstances.
Roles:
Carol (50s) – A devoted mother, Carol has dedicated her life to caring for her severely disabled son, Andy. Her intense devotion has strained her relationships, especially with her daughter Claire and ex-husband Ian. Carol’s character is portrayed with a mix of strength and vulnerability, reflecting the complexities of parental love and sacrifice.
Ian (50s) – Andy’s estranged father Ian abandoned the family years ago. His return to celebrate Andy’s birthday is met with hostility and distrust. Ian’s character embodies themes of guilt, redemption and the complexities of familial ties.
Claire (early 30s) – Andy’s sister. She feels burdened by the responsibilities her mother has placed on her. She harbours resentment towards her mother for the lack of support and attention, leading to a strained relationship. Claire’s character grapples with feelings of neglect and the challenges of balancing family obligations with personal desires.
Mark (30s) – Claire’s boyfriend Mark is a performance poet. His presence adds a layer of external perspective to the family dynamics, offering moments of levity amid the tension. Mark’s character provides insight into the outside world and its perceptions of the family’s situation.
Patricia (70s) – Carol’s mother. Witty, opinionated, and often blunt, she has a sharp tongue but a deep love for her family.
Brian (70s) – Carol’s father. Kind-hearted and diplomatic, often the peacemaker in tense moments. Has warmth and wisdom.
Brian and Patricia bring their own histories and perspectives to the family gathering. Their interactions with other characters reveal generational differences and the enduring impact of past decisions.
Note: The character of Andy is present but not seen on stage.
All six characters are wonderful parts, and I’m very much looking for a strong team ethic to bring these characters to life on stage. We’re going to have a great time, and I know it will be hugely enjoyable. It should make a wonderful start to our new season.
I will be flexible with the ages, and during the auditions, I’ll be focusing more on characterisation, and looking for a bit of chemistry, I hope. We’ll be reading a few pages from various scenes, with some movement. I can notify all attendees of the bits we’ll be covering during the auditions a little closer to the time. No lines will need to be learnt.
Scripts are available for loan from Production Manager, Fiona Carter. Tel: 07736 813238. Please contact Fiona to borrow a copy. Our other Production Manager, Brenda Tomlin, can also be contacted, on 07968 747795.
If you have any questions or if you’re interested in joining my team, please contact me on 07768 494039 or by email [email protected]
Hopefully I’ll see lots of you at the auditions!
My best wishes
Director
Jon Brown
We need a new marketing team!
Barbara Holgate-Stuckey, who’s been the Barn’s Marketing Director for the past two years, is stepping down at the end of this season as she’s planning to relocate to the other side of the country. As a result we’re interested in hearing from anyone who’d be interested in taking on this role.
Working closely with John Cook, the role involves overseeing all things marketing, including:
- Production of the annual season leaflet
- Working with the director and production manager of each season’s main stage and Studio productions to promote each show (posters and programmes, social media, press releases, videos)
- Attending the monthly Barn Council meetings and reporting on marketing matters
- The Barn website
- Other marketing activities: e.g. Welwyn Street Market
We’ve decided to expand the marketing team to enable sharing of tasks and covering absences, with the plan being to appoint a Marketing Director supported by one or more deputies. This is a busy but fun role and is a great way to be involved in the Barn’s productions and to get to know a wide range of our members. If you’re interested in getting involved, or would like to find out more, please contact Barbara via [email protected].
So you want to be a Production Manager?
Ever thought you might wish to get involved in a show at the Barn as a Production Manager (PM) but wondered what a PM does? Read on!
What does the role involve?
This depends on the Director but typically you help the Director to set up auditions, book rooms, set up communications (email and/or WhatsApp), organise production meetings, work with the Director on the programme and publicity, and help to recruit backstage staff if necessary. Other jobs include: arranging catering for all-day rehearsals and the last-night party and, of course, making the tea/coffee at rehearsals, if necessary.
It’s a great role because…
You’re involved throughout the production – plus you get to meet new people and make new friends in both cast and crew.
Interested?
Please email Jacqueline Clayton ([email protected]) or
Carol Bush ([email protected]) for more info.
Jacqueline Clayton
A call for help
A friend, who’s also a long-standing Barn member, has a problem with her
eyesight and finds it difficult to read Barn News. Many years ago Marion and
Denys Wells used to organise cassette tapes with Barn News recorded on them
to deliver to members with a similar problem.
Is there anyone who could provide a more modern way for members with this
problem to still enjoy listening to Barn News instead of reading it?
If so, please contact the editor.
Yours hopefully,
Heather Gill
Call for volunteers
On Saturday 21st June we’ll once again be present at this year’s Welwyn Village Street Market, which is part of the week-long Welwyn Festival. Taking place in the centre of the village, on the Codicote Road, it attracts lots of stallholders and visitors. There’s a fun atmosphere, with stalls selling everything from plants to honey to cupcakes, as well as local charities and clubs promoting
themselves. It’s a great opportunity to showcase the Barn, and we’ll have the new season leaflet ready to hand out to people on the day.
The street festival runs in the morning until 12.30pm, and we’d love your help on the day. Please get in touch if you can spare the morning, or even just an hour or so, to come along and help on the stall and hand out leaflets. If you’re able to help, please contact Barbara Holgate-Stuckey at [email protected].
Barbara Holgate-Stuckey
Marketing Director
LTG Conference 2025
27th – 29th June
I just wanted to add a very brief note here to let members know that the Little Theatre Guild are having their annual National Conference in June. National Conference unites representatives from all 126 member theatres for a weekend of networking, workshops, and discussions on shared challenges and opportunities.
I will be headed up north to Sunderland on the Saturday morning and spending a couple of days there. If anyone is interested in joining me, I would be happy to share the journey.
Get in touch:
Tel: 07973 221617
Email: [email protected]
John Cook
LTG Rep
Letter from Andrea
Our Chairman Ian Major received the letter below from Andrea Brady after the Barn performed a Charity performance of A Monster Calls
Dear Barn Members,
On behalf of the Trustees of the Jessica Brady CEDAR Trust, I wanted to reach out to extend my deepest gratitude to you all for the most heartwarming support for Jess’s charity.
Jess grew up with the Barn Theatre as a backdrop to her life. When she was a little girl, I performed frequently at the theatre and she was hauled along, dutifully watching the productions. To be fair, she was often delighted by the costumes and, if not entirely convinced by her mother’s performances, was frequently beguiled by the other cast members. When she was seven years old, she performed as Elizabeth in a production of The Herbal Bed. We have been so grateful to see a rosy-cheeked image of Jess featured in the Barn programme – an act of true compassion and kindness.
Losing Jess to stage 4 cancer just three weeks after diagnosis was the most earth-shattering experience. We are utterly devastated. Setting up the Jessica Brady CEDAR Trust, with a mission to support earlier diagnosis of cancer by improving awareness amongst medical professionals in GP surgeries, through training and research, has been part of Jess’s legacy.
The Barn was one of the first donors, with a charity night linked to the production of Calendar Girls – thank you, Hannah. In the last five months, the Barn has hosted a coffee and bake sale, organised and run by the indomitable and big-hearted Sharon and her team of bakers and supporters, and another charity night linked to Mark’s incredible production of A Monster Calls.
We have privately thanked the supporters of these events for their immense kindness and support – it means so much. But this letter is to you, the Barn members, for your continued support. Without you, buying cakes and tickets, these events would not have succeeded. Thank you so much to the Barn community for raising awareness and for remembering Jess.
With love and gratitude,
Anrea Brady
jessicabradycedartrust.org.uk
Yours ever, Sarah !
We’ve received the following email from Sarah Finch whose play Yours Ever, Jane we hosted in the Studio recently:
The whole process of arranging / getting in and out for the Jane Austen show has
been smooth, and you’ve also all been so amazingly supportive! I would also
like to thank James and Jackie for the House Managing and chair and rostra
moving! It has been a pleasure and a delight!
It looks as if Jane’s next outing will be in Thailand in June. Then, later this year,
on Jane Austen’s 250th birthday, we’ll be doing it as part of a festival at Jane
Austen’s house in Chawton!
With warm wishes and thanks,
Sarah
Thank you!
17th April 2025
A big thank-you from everyone on the Good Grief team to those who of you who came and supported our six-performance run at the Hen & Chickens Theatre in Islington towards the end of March. We had some fabulous feedback from the audiences and I’m also pleased to say we received some cracking independent reviews including this four-star one from Everything Theatre.
Thanks again.
Rob Graham
An informative and personal exploration of the different emotions arising from grief, and the differing approaches of how to care for yourself and others affected by it.
★★★★
Excellent
An exploration of the nature of death and grief could be presented as a heavy and morbid debate. However, in developing the story of Good Grief, writer Matt Adie has brought his personal experiences to present the true-to-life use of humour as a coping mechanism to hide the pain from both others and ourselves.
Alex (Danny Swanson) puts on a brave face to his family and friends whilst exploring how to manage the deep grief which he feels from the absence of his recently deceased wife. His best friend, Jake (Paul Russell), keeps up a barrage of banter to keep his spirits up and coax him back into socialising again. Alex’s daughter, Ella (Georgina Bennett), makes him realise that he cannot focus solely on himself as she is also in need of comfort. Alex reflects on what support is helpful or unwanted, receiving advice and solace by visualising his wife, Alison (Lou Wallace), who guides him on how to move on with his life without her.
This is very much a character drama, and Adie’s script made a wise choice in having Alex directly speak to the audience to convey his feelings, which really brings out the personal nature of the experience. Swanson is fully engaging and charismatic, generating both laughs and empathy for Alex as he conveys the pain hidden beneath a carefree surface. The script cleverly uses each character to focus on a different aspect of the impact of grief and loss. Ella is used to explore the discussion on how shared grief should be embraced rather than avoided; Alison conveys the belief that grief should enable people to be more understanding of others; whilst Jake raises the harsh truths that Alex’s behaviour is at risk of negatively impacting on everyone. The cast share excellent chemistry as they bring the sparkling dialogue to life. Swanson, Bennett and Wallace bring a believable familial warmth as they provide mutual support for each other, whilst Russell provides comic support and honest reflection as a good friend would.
Director Rob Graham adopts different approaches to enhance the distinct emotional moods of the story: a lightly surrealist delivery is used for the humorous reflections whilst a sombre presentation is used to convey the distraught grief. When Alex bemoans the variety of well-meaning but equally empty messages of condolences he received, they are brought to life by the versatility of Julia Riley adopting the range of accents and costumes of the sympathisers. When Jake reminds Alex of the outside world, his jovial descriptions are accompanied by Tristan Cameron’s comic light and sound effects. In Alex’s most poignant moments, the stage darkens in solidarity whilst sombre music plays to highlight the display of deep emotions.
The set design also subtly reflects the mindset of Alex, being permanently fixed as his sparse kitchen as he chooses to isolate himself at home. Rather than waiting off stage when they are not sharing a scene, the cast are instead seated at the back of the stage, as a symbolic representation of how Alex chooses to keep them at a distance instead of embracing the support
they readily offer.
Rob Graham
A century of magic as A Midsummer Night's Dream comes to the Barn
At about this time in the summer of 1925, a group of around 150 residents of Welwyn Garden City, still in its infancy, was rehearsing A Midsummer Night’s Dream – the first play to be performed in the Dell in Sherrardspark Wood. Staged over two magical Saturday evenings in June, it attracted total audiences of around 1,500, laying the foundation for a legacy of creativity and culture.
Fast-forward a hundred years, and now the Barn’s full of fairies, lovers and mechanicals as over 60 of the Barn’s finest actors and creatives rehearse an iconic midsummer promenade production for the theatre, with opening scenes performed in the bar and Studio area and the last Sunday outdoors, in David Thompson’s magnificent garden.
I’ve just come from the first run-through – what a magical experience! Explosions of energy as the actors come in, one by one, in twos – laughing, chatting, skipping. All on time. Directors Steve Thompson and Lou Wallace run a tight ship! Steve delivers his vision of the scenes – a masterclass in Shakespeare. ‘Please, everybody, speak up,’ says prompt Annie Woolmington, ‘I’m deaf’. And we’re off, as Egeus sends Hermia spinning across the floor.
‘Shave 30 seconds off the pauses,’ Steve calls to the mechanicals – and they do! ‘This scene is the most difficult to get a laugh for modern audiences,’ he says. Well, he’s done it – here are mechanicals as you’ve never seen them.
The rehearsal’s electric. The fairies are unsettling, and the woods are touched with an almost hallucinatory quality. ‘I really wanted to make the world of the woods feel very different,’ says Lou, ‘I guess it’s a dark, magical, natural place of old folklore…’
This is just a heads-up. There’ll be plenty more in the June issue of Barn News. What you need to know now, though, is that tickets cost £15 and they’re flying out the door. A Midsummer Night’s Dream runs at the Barn from Thursday 12th to Sunday 22nd June, with no performance on Monday the 16th. Outdoor matinee performance on Sunday 22nd June in David Thompson’s garden.
‘Having a connection with those actors in 1925 makes this feel very special and exciting,’ says Lou, ‘a unique opportunity. I’m loving it!’
Carol Bush
Heritage Walk: a midsummer meander to the Dell
Imagine the scene: it’s 1925 in Welwyn Garden City when the population was around 3,000. There are no ‘community buildings’ so a natural hollow in Sherrardswood – The Dell – was used to stage theatrical productions.
To coincide with our production of A Midsummer Night’s Dream in June we’d like to invite you on a walking tour to show you where The Dell is located, learn more about the production and consider what life was like a century ago.
Hosted by volunteers from the Heritage Group of ‘Together for WGC’ (formerly WGC Heritage Trust), the walking tour will last approx. 90 minutes. Please note: sturdy footwear is advisable and the route is unsuitable for those with limited mobility.
Look out for details of how to book and dates (provisionally two walks are planned – one morning, one evening) in June’s issue of Barn News.
Robert Gill
Welwyn Drama Festival
2025 Welwyn Drama Festival Programme
The Welwyn Drama Festival celebrates its 90th outing this year! To mark this achievement, there will be a complimentary Hog Roast following the Awards Ceremony on the final evening.
Tickets are available from the Barn Theatre box office: barntheatre.co.uk or 01707 324300.
Monday 19th May
- Marlborough Science Academy – Shadows of the Stage by James Griggs
- Biggleswade Arts & Theatrical Society – Right on Cue by Barry Lambert
- Corvus Amateur Drama Society – Virtual Reality by Alan Arkin
Tuesday 20th May
- Theatre in the Square – Just Thinking of You by Mary Groom
- Theatre in the Square – Susie by Alice Gill-Carey
- Digswell Players – Queen of the Castle by Mary Portalska
Wednesday 21st May
- BOATS Theatre – Paper Trail by Sean Lang
- Back to Front Theatre – Reckoning by Kathy Mead
Thursday 22nd May
- Barn Theatre Club – Tuna Fish Eulogy by Lindsay Price
- Theatre in The Square – Rubber-Ducking by Rosie Fiore-Burt
- HD&OS – A Flock of Tigers by John Finnemore
Friday 23rd May
- The Players’ Theatre (Wales) – Retribution or Madness by Gabe Torrens
- Woodhouse Players – 12hr Life by Robert Scott
- 4 Door Theatre – A Short Holiday from My Life by Philip Eley & Beanie Richardson
Saturday 24th May
- Brightlight Theatre – Songkeeper by Jamie Lakritz
- HD&OS – English for Pony-Lovers by John Finnemore
Another chance to meet Albert
If you didn’t get a chance to watch this intriguing production, now’s your chance. Come and support this year’s Barn entry to the Welwyn Drama Festival, playing on Thursday 22nd May.
This is Albert’s Story.
Albert was not a normal child. He liked nothing more than to sit and count his tins of tuna in his kitchen cupboard. He was an only child born to a young single mother, Ms. Scully. Pushed out by her parents, and abandoned by Albert’s father, she struggled to make ends meet. She had to go out to work so hired the cheapest babysitter she could find – Cherry. Cherry was young, some would say too young to be babysitting Albert, and although she looked after his physical needs, she struggled to understand him.
At the age of 12, Albert was found dead by his cupboard and the only clue to what happened is that tins were missing… The play is set 12 years later, where his grown-up ghost has returned to interview his mother and babysitter to reconcile what happened. Written in ladder format – in columns – the play presents a challenge to cast, director and audience as much of the dialogue is said simultaneously. A unique theatrical experience!
Dates for your diary
Performances
I Love You, You’re Perfect, Now Change
2nd to 10th May at 8pm
Matinee 10th May at 2.30pm
A Night at the Musicals
Saturday 17th May at 8pm
The Crocodile
28th to 31st May at 8pm
In the Studio
A Midsummer Night’s Dream
12th to 21st June at 8pm
Matinees 14th, 15th and 21st June at 2.30pm
Auditions
The Herd
Sunday 8th June at 1.30pm
Tuesday 10th June at 7.30pm
Thursday 12th June at 7.30pm
Social and Club events
Directors Evening
Sunday 11th May at 7pm
Singers at the Barn
Sunday 4th May (Bank Holiday weekend)
Comedy Night
Friday 16th May at 8pm
Welwyn Drama Festival
19th to 24th May at 8pm
Jazz at the Barn
Friday 6th June at 8pm
Next Council meeting
Tuesday 27th May at 8pm
Members’ password
GREEN
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