The Bunch will be back
Producing a show at the Barn is, as we all know very hard work. Having to postpone one after one performance is heart-breaking for all concerned. It would be easy to dwell on the misery of cancelling A Bunch of Amateurs, but I think the reaction of everyone involved, the crew, the cast, the audience membership and the Barn management was excellent and made the very best of a bad situation.
Within a couple of days, the set had been cleared and safely stowed away, the props accounted for, tickets sorted and the production, in effect, put on ice. Good news was to follow with the confirmation that the rights would be available for a February date, and I’m delighted that the original crew and cast will be available.
Sometimes something has to go wrong to show how some things are right and my thanks to all those who helped the Bunch over this difficult period.
Bob Thomson
NOVEMBER 2021
Make sure you're in the audience for The Audience!
During her long reign, Queen Elizabeth II has met each of her successive 12 Prime Ministers in a weekly audience at Buckingham Palace to discuss Government matters – a meeting like no other in British public life.
These meetings are held in an audience room in her personal apartments and are entirely private. Though the Queen remains politically neutral on all matters, she’s able to ‘advise and warn’ her PMs when necessary. Both parties have an unspoken agreement never to repeat what is said. Not even to their spouses.
But this brilliant play, entitled The Audience, breaks the contract of silence and imagines a series of pivotal meetings between Downing Street incumbents and their Queen. From Churchill to Cameron, each Prime Minister has used these private conversations as a sounding-board and a confessional, sometimes intimate, sometimes explosive.
It was written by the British playwright and screenwriter Peter Morgan, best known for his hugely popular television series, The Crown, and now you can be a fly on the wall and eavesdrop on eight of the PMs.
The role of the Queen was originally played by Helen Mirren when the play premiered in the West End in 2013, at the Gielgud Theatre. It was after seeing this, and being so impressed with the ‘superb and fascinating dialogue’, that Linda Dyne knew she wanted to direct the play herself.
Growing up, she had ballet and singing lessons, then at 22 auditioned and got a part in the BBC Play for Today, The Mill on the Floss. “I was a member of Equity within three weeks,” she says. “How lucky was that? I then worked non-stop for the next 20 years but after having my two children I made a commitment not to work away for long periods, so no long runs. I made television commercials and did voice-overs, which actually paid much more!”
Linda continues: “When I was 32 I performed in a play called The Gambler with Dame Edith Evans and Sir Michael Redgrave. It was a painful production because the Director had no handle on it, mainly because he was completely over-awed. I said to my husband ‘I could do as well as that’ and he answered ‘Why don’t you?’ So I decided to try.”
Linda reckons that she’s directed and choreographed more than a hundred musicals since then, which includes productions for many societies within a 30-minute drive of home.
She’s been involved at the Barn for about seven years, her first play being Blue Stockings followed by productions including Pygmalion and The Lion in Winter. But she says The Audience is one of the most challenging she’s ever done.
When you know that the Queen has to age on stage from 25 years old to 86, you realise why.
The young Queen Elizabeth, from 11 years to 23, is played by Tammy Wall, while Suzie Major is reprising her role as the monarch that she portrayed in Handbagged at the Barn in 2017.
Linda adds: “I’m so lucky that the Barn allows me to experiment, and everyone is so supportive. I have a great cast who are getting the essence of their characters by their speech and way they present themselves. And I’m also happy to have a super crew who work with me. I’m enjoying the challenge!”
The actors playing the Prime Ministers are: Simon Parr – John Major; Mel Powell – Winston Churchill; Peter Sayers – Harold Wilson; David Thompson – Gordon Brown; Ian Major – Anthony Eden; Amanda Sayers – Margaret Thatcher; and Alistair Woodgate – David Cameron. Keith Thompson plays the Queen’s Equerry and Stephanie Cotter is Bobo, her childhood nanny.
The Audience
12th to 20th November 2021 at 8pm
Matinee on 20th November at 2.30pm
If you’d prefer to attend a performance with a more socially distanced audience, we will be selling our matinee and Monday performances to a maximum of half capacity. At these performances we’ll ensure households are seated separately in the auditorium.
12th to 20th November 2021 at 8pm
Matinee on 20th November at 2.30pm
If you’d prefer to attend a performance with a more socially distanced audience, we will be selling our matinee and Monday performances to a maximum of half capacity. At these performances we’ll ensure households are seated separately in the auditorium.
Georgie Palmer
From the Chair
Welcome to November’s Barn News
Welcome to November’s Barn News. You’ll be aware by now that we’ve had to postpone A Bunch of Amateurs – you may not have heard yet that we’ve also taken the decision to postpone Equus. Both are as a result of Covid infections. I considered trying to go ahead, but the safety and comfort of cast, crew and audience are paramount. Clearly double-vaccinated people are not required to self-isolate any longer, but we have a broad demographic in our casts and audience, and I want to ensure we remain as safe as we can – notwithstanding the practical difficulties of stand-ins, and people reading in on book. I would rather we go again with the original cast, than take any risks with either people’s health or the production itself.
A Bunch of Amateurs has already been re-scheduled and has taken the slot originally assigned to Ben Hur in February – we may look to bring that one back in future. We’re already looking to re-schedule Equus and will publish those dates as soon as possible.
First and foremost, I know you join me in wishing a swift recovery to those friends who are or have been unwell – by far the most important thing is that we look after ourselves.
We often find out about ourselves in times of strife – and I’m very proud of the response from Barn colleagues. The casts and crews have shown pragmatism and so have our audience. Behind the scenes we’ve been able to re-schedule swiftly, clear the stage of ABOA’s set so that it can be carefully stored, box up props and protect costumes, and work with ticket-holders – all done within about three days of hearing the news.
While really disappointing for all involved, the fact that we’ve been able to get things sorted and put plans in place is a great credit to so many of you – thank you.
As we all try to get back to some sort of normal, the news surrounding us suggests that winter may yet be challenging and I would ask that you have a quick look at the Barn website to reassure yourselves that we’re still taking precautions, advise wearing of masks and have hand sanitiser around the building.
Frankly I’m not surprised that we’ve had cancellations – I think it was inevitable the way things stand, but I also know that we are resilient, financially strong, and flexible. In time, this will all be behind us and we’ll be back to our normal run of productions.
While we all work through the next few months we’ll continue to look after our members, keep the shows coming, and continue to plan for the future.
See you all for The Audience, and Goodnight Mr Tom.
Simon Parr
Chairman
Membership & Council
Minutes for the Council Meeting September 2021
Please find the minutes of the meeting of the Barn Theatre Council held on
6th September 2021.
Our membership news depends on information we get from YOU
New members
Anthony Barker
Membership level: Ordinary
Interests: Acting, bartending, programme selling, stewarding
Kizzie Hopkinson
Membership level: Ordinary Interests: Acting, directing
Charlie Evans
Membership level: Youth
Interests: Acting
Harrison Evans
Membership level: Youth
Interests: Acting
Charlotte Collingwood
Membership level: Ordinary
Interests: Acting, interval coffee, programme selling, stewarding
Matthew Flexman
Membership level: Ordinary
Interests: Acting
Alastair Woodgate
Membership level: Ordinary
Interests: Acting, house managing, set building, set design, set painting, stewarding
Ruori Spooner
Membership level: Youth
Interests: Acting
Tom Fletcher
Membership level: Youth
Interests: Acting
Leslie Payne
Membership level: Senior
Interests: Acting, bartending, box office, house managing, production management, programme selling, prompting, properties, set painting, stewarding
Keith Macdougall
Membership level: Ordinary
Interests: Admin and finance, acting, box office
Welcome to the Barn!
Tune!
We’re pleased to announce an evening of live music in the Barn Clubroom / Bar on Friday 5th November. The bar will open at 7pm with entertainment from 8pm courtesy of Andy Clewlow, a talented local singer and guitarist. The event is free to attend but will be limited to an audience of 50, and a ‘bucket collection’ will be taken at the end to show appreciation.
Please contact Ian Colpitts to secure your place ([email protected] or via Facebook). Places are going fast so if you want to be there, act now! Members may bring guests – up to a maximum of four in the party.
Ian Colpitts
Bar manager
The Social Scene
Welcome Back party
Our very first social event, the welcome back party, was a huge success and I just wanted to say a massive thank-you to all those who came and supported us. We received some incredible feedback.
I’d also like to thank everyone who was involved with helping that evening: Carol Bush, Alfie Hart, Michael and Ben Merry, along with my social committee, Tristan Cameron, Tammy Wall, Pam Wallis and Becky Done. Huge thanks also to Tammy and Adam Beckman for giving their time to entertain as guests arrived at the Barn.
See the fabulous photographs, courtesy of Carol Bush!
As covered elsewhere in this issue, Ian Colpitts is organising a live music event on 5th November, so my committee and I have decided that we won’t do a separate event this month. Thank you to Ian for giving us a breather!
Hannah Humbles
Spotlight on Pete Dawson
Actor
What is your favourite show and why?
West Side Story, because Bernstein’s score is genius, catering to every emotion. This, coupled with the Romeo and Juliet story set in New York among the Jets and Sharks gangs, makes for a heady dramatic cocktail. There’s not a weak song in the entire show.
What’s the best show you’ve been involved in?
Brassed Off at the Barn, 2016.
What story does your family always tell about you?
My mum loved to remind me about when I was 5 or 6, making a rare trip to the cinema, to watch the recently released James Bond film. Me being something of a ‘shufflebottom’, as mum used to say, I fell through the folding seat, slamming my knees into my face, blood pouring everywhere, and was rushed out to the nearest dentist, missing the entire film.
If you could have lunch with any three people (real or fictitious/dead or alive), which three people would you choose and why?
Paul Tortelier, the charismatic French cellist, because he was my childhood cello hero, and because at the end of the lunch I’d ask him if he’d give me a free lesson (or I might try bartering with him!)
Severiano Ballesteros, the flamboyant and swash-buckling Spanish golfer, who died of a brain tumour at the age of 50. He was my golfing hero. I’ve still got the Mars bar wrapper that he cleared away when I watched him at Wentworth in 1985. I’d ask him if he remembered me stepping in, holding my hand out and saying “I’ll take that, Sevvy”.
Dame Evelyn Glennie, the Scottish percussionist, because I’d love to talk to her about the classical percussion repertoire.
If you were stranded on a lonely beach, what are the five things that you would want to have with you?
Cello, bow, rosin (not resin!), chair and the sheet music of the Bach Cello Suites,
If given complete freedom to start afresh, what profession would you choose and why?
I’d love to train to try to become a conductor (not of a bus, but of a symphony orchestra!). I sometimes feel I made a bad choice aged 14 when I chose to take O-level geography instead of music.
What is one of your favourite quotes?
“I’m sorry, but I won’t be able to make it, due to a subsequent engagement”. Was it Wilde? Groucho Marx? Might even have been my brother,
What is your most cherished childhood memory?
Being summoned to the Headteacher’s office, aged 9, thinking he was going to cane me for some cheeky behaviour, only for him to say “I understand you’d like to learn to play the cello”.
What is the craziest thing you’ve ever done?
Telling a French driver, in France, in the filthiest French where he could ‘get off’, after he’d overtaken me, slammed his brakes on and sauntered up to my car. On hearing my choice words, he waited for me to drive on, chasing and tailgating me for a mile or so, eventually ending in an impasse (bien sûr!), where he turned round, wound down his window, and motioned to me to do likewise, my three terrified passengers urging me not to. On my winding down my window, he said with an evil smirk “Bon voyage”, and drove off. He’d had his fun. (My passengers reminded me that he could’ve had a gun!).
If you were to change one thing about yourself, what would it be?
That very youthful cockiness that I too often displayed, which I just alluded to in the car chase story
If given a chance to skip work for a day, how would you spend the entire day?
Going for a 15-mile walk with a friend in deepest Hertfordshire, followed by a few pints and some pub grub.
Pete Dawson
Audition Notice
Hangmen
By Martin McDonagh
Directed by John Cook
Playing dates: 25th March - 2nd April 2022
First Readthrough TBC: 9th January at 14:30 (after beer in the bar)
Rehearsals TBC: Wednesday, Friday and Sunday mornings (then to the bar!)
Synopsis
The play takes place in the days following the abolition of hanging in the mid-1960s, and the action unfurls in a pub, somewhere up North, run by Harry Wade – formerly the second best hangman in England. Harry is a bastard and a buffoon, full of chest-puffing bluster and quivering self-righteousness. His pub is his castle, and Harry’s word is law. He holds forth to his family and punters, a sorry collection of brown-nosers, booze hounds and bent coppers, with the unwavering conviction of the idiot.
Hangmen illuminates 1960s Britain with a brutally revealing glare: a land where violence is ever present, from the violence of language, casual racism and sexism staining the air, to the constant threat of physical violence that’s very often delivered during the play. It is entertainment – a dark comedy, and a thought-provoking meditation of the violence buried deep in British society.
Most of the parts have an Oldham accent. A great resource on the accent/dialect can be found here: https://sounds.bl.uk/Accents-and-dialects/BBC-Voices/021M-C1190X0004XX-0401V0
Roles
Harry Wade – 40s / early 50s
The central character of the play. A loyal and principled gentleman. Always smart, suited with a trademark bow tie, strong and arrogant, sure of himself. He and his wife run the pub where the action takes place. He’s also a local celebrity, being the chief hangman on the day hanging is abolished. He is a bluff, blunt and somewhat misogynistic ‘proud Northerner’. Considered the second best hangman – 233 hangings, including one German – and has real problems with his nemesis, Albert Pierrepoint, who also happens to own a pub not too far away!
Alice Wade (Harry’s wife) – late 40s / early 50s
Likes a drink / probably an alcoholic
Well turned out, glamorous…maybe a little flirty, maybe busty, a bar lady.
Shirley Wade (Harry and Alice’s daughter) – young / teenager? (supposed to be 15)
Helps behind bar – a slightly unfortunate-looking teenager in terms of dress sense. Trialling her make-up and eyeliner. Shy, possibly a touch overweight, moody, mopey… a teenager. Innocent and funny, doesn’t realise or think about what she says. It’s a lovely part for an aspiring actor, perhaps one from the Senior Youth Group?
Syd – 30-50
Hangman’s assistant – weak, stutters when stressed, unsure, a ‘hint’ at a stutter in normal speak. Did time for distributing indecent material.
Mooney (Peter Aloysius Mooney) – late 20s to early 40s
The classic disruptive stranger: he appears from nowhere and changes everything. Hilariously menacing – a Londoner, a charmer, and somehow also strange. We’re constantly unsure of him and his motives. He listens carefully and takes note for later use. He’s the chief troublemaker in the play. Smoker (if actor can smoke properly – roll-ups?). Very dry, as if he’s smiling inside in everything he says and does.
Clegg – 20s/40s
Reporter on the Oldham Gazette. Interviews Harry about his role as a hangman and his thoughts on the abolition of hanging.
Fry – 40s
The place to find Chief Inspector Fry, at work or play, is Harry’s pub. Typical ’60s bent cop. Physically intimidating would be good, probably a loner.
James Hennessy
A young man in jail waiting to be hanged. First scene only and the potential to double with one of the pub regulars below. A young wheeler-dealer who finds himself in a whole lot more trouble than he bargained for.
Pub friends / fans:
Arthur – old
Deaf, simple life, not self-aware, inappropriate, gentle and unsympathetic.
Bill
The pub’s innocent alcoholic.
Harry / Charlie (could be gender-blind)
These are lovely smaller parts in quite a few scenes. May also appear in the first scene as part of the prison staff conducting our first hanging!
Albert Pierrepoint – 60/70
Upright, sharp, disciplined and somewhat intimidating. Serious about his job and his reputation. One lovely scene at the end of the play and will possibly also double as the prison doctor in the very first scene. Albert Pierrepoint was the foremost hangman in England. He executed between 435 and 600 people in a 25-year career that ended in 1956.
Audition Schedule/Dates and Times Information
Playing dates: 25th March - 2nd April 2022
Rehearsals TBC: Wednesday, Friday and Sunday mornings (Friday & Sunday...and then to the bar!)
First Readthrough TBC: 9th January at 14:30 (after a beer in the bar)
Sunday 14th November at 10am
Wednesday 17th November at 8pm
Friday 19th November at 8pm
07968 636437 or 01707 708704
We can, of course, accommodate anyone not able to attend on these dates.
If you would like information on specific audition scenes please ask, but we are happy for you to prepare something of your own choosing….from the play! 🙂
PLEASE NOTE
We really, really want EVERYONE at the first readthrough on 9th January. I’d love the entire team, including the backstage team of magic-makers and set builders there too. It will give everyone a full introduction to each other and to the play itself. You’ll get to hear the play out loud for the first time and understand what a great piece it is – we’ll do some nibbles too, etc, etc, and make it a bit of a party! 😊
It’ll be a great, fun afternoon, most welcome in dark, post-Christmas January, and it’ll help get this fabulous production off to a truly fabulous start!
I am so excited!
John Cook
Director
Goodnight Mr Tom
Revised cast
Tom Oakley – Pete Dawson
William Beech – Harrison and Charlie Evans
Zach Wrench – Freddie Samuels
Mrs Beech / Mrs Hartridge – Lydia Hopley
Billeting Officer / Miss Thorne – Jan Palmer Sayer
George Fletcher – Tom Hopley (understudy Seoirse Hill)
Carrie – Isabella Martin
Ginnie – Charlotte Winston
Mrs Fletcher – Catherine Hutchinson (Orla Kennedy on 19th)
Gladys / Social Worker – Catherine Hutchinson (Hazel Halliday on 19th)
David Hartridge – Aiden Hill
Charlie Ruddles / Vicar / Mr Stelton / Policeman – Simon Parr
London ARP Warden – Roger Eames
Dr Little / Mr Miller / Ticket Collector – Keith McDougall
Nurse – Francine Ross (Orla Kennedy on 24th and 27th)
Mrs Miller – Francine Ross (Siobhán Elam on 24th and 27th December)
Nursing Sister – Anne Mawers
Ensemble – Seoirse Hill, Ed Buckley, Aiden Hill, Orla Kennedy, Sharon Francis, Siobhán Hill Elam
Obituary
Bernard Usher

Bernard Usher died at home on 18th October, after a period of declining health which prevented him joining in events at the Barn for some time.
He was a member for more than 20 years. His first appearance in the archives was in 1995 appearing in a Studio play called The Pregnant Madonna. Early in 1996 he made his main house debut in The Wolf. Over the years he was in more than a dozen plays, but spent a greater amount of time designing and building sets on over 20 productions. His acting appearances included roles in Our Country’s Good, All My Sons, The Trial and Death of a Salesman. In 2001 he directed The Memory of Water.
On occasion he would play more than one role as in The Coarse Acting Show (2004), Kindertransport (1999) and, memorably, in Dad’s Army (2008) where, as the U-Boat captain, he was gifted the question ‘Vot is your name?’ to provoke the immortal response ‘Don’t tell him, Pike!’. His final performance at the Barn was in the David Mamet classic Glengarry Glen Ross in 2011.
He was for many years a professional extra, and body double (for Bill Nighy). He made frequent screen appearances, and compiled a video of many of them which is fascinating. Earlier in life he had been a very successful photographer, and his portraits included Marilyn Monroe. He had also served a spell as Marketing Director to the Barn while on Council.
Always a knowledgeable conversationalist on theatre, he was good company and willing to discuss all aspects of the Barn’s operations. He was a keen supporter of the Barn’s social events.
We offer our condolences to Rosemary, and his family and friends.
Friend or faux?
To all you wonderful set builders, props masters and set dressing heroes out there – here’s one for you!
Barn Council has agreed to fund a workshop in a quick and stunning technique for faux wood and marbling effects for stage sets. It seems to me that we do quite a few shows that need panelling of one sort or another and if there’s a technique we can use to speed this up, as well as looking amazing, then it has to be a good thing. It will give you all yet another tool in your already mighty box of tricks, and help you produce sets that are even better than those you do already.
The image above is not real wood or marble, these are faux effects produced by David Pullin, a local chap who I met at the Living Crafts Fair at Hatfield House about five years ago. I was completely blown away by his work and kept his details. I then, of course, promptly mislaid them but, having found them again recently, I thought I’d try and get a workshop organised for you all.
I do of course have a vested interest in that Hangmen (on at the end of March and such a brilliant play you must GET YOUR TICKETS HERE NOW!) is set in a 1960s pub which has plenty of panelling, so I thought let’s get a workshop organised and then we can put what we’ve learnt into practice straight away!
I really hope this is of interest to those already involved in set production work – and hopefully others will join us too and then go on to join in with our amazing set production teams.
David has agreed to do a workshop on the afternnon of Sunday 27th February 2022. Possibly after we’ve all met for a drink in our spanking new bar…use it or lose it folks!
Let me know if you’re interested in attending this workshop so I can give him some numbers.
Thanks everyone
John Cook
Evita - help!
Harpenden Musical Theatre Company are performing Evita at the new Eric Morecambe Centre in Harpenden from Wednesday 30th March to Saturday 2nd April 2022. They currently need more men (tenor and bass) in the ensemble. They rehearse at St John’s Church Hall in Harpenden on Tuesday and Thursday evenings.
If you’re interested in participating, please contact Kay Ward on [email protected] for more information.
A request
We received the following email recently – if it’s of interest to anyone please contact Samuel directly using his email address.
I’m a freelance content creator for Samuniverse Production. I’m writing as I’d like to discuss the possibility of interviewing cast and production for your theatre performances. It’s just to talk about theatre, why they love it, history of the Barn Theatre, etc. The interviews will be posted to my YouTube channel but I can also provide you with the videos too if you’d like to post.
Thank you for taking the time to read this.
Kind regards,
Samuel Parkes
Dates for your diary
The Audience
by Peter Morgan
12th to 20th November
Music Night
5th November 7pm for 8
In the Clubroom
Auditions
Sydney and the Old Girl
by Eugene O’Hare
2nd November at 8pm
4th November at 8pm
7th November at 11am
All in the Studio
Auditions
Hangmen
by Martin McDonagh
14th November at 10am
17th November at 8pm
19th November at 8pm
All in the Studio
Goodnight Mr Tom
by Michelle Magorian and David Wood
12th to 30th December





