Playwrights, passion and pooches - don't miss Shakespeare in Love!
Our upcoming production of the enchanting play Shakespeare in Love is gearing up to be a delightful romp through the life and times of William Shakespeare. Set against the vibrant backdrop of Elizabethan England, this exhilarating adaptation brings together romance, humour and the magic of theatre, promising an unforgettable experience for audiences of all ages.
Adapted from the beloved 1998 Oscar-winning film (screenplay by Tom Stoppard), Shakespeare in Love was brought to the stage by Lee Hall. The play retains all the heart, wit and charm that made the film a worldwide success while taking full advantage of the theatrical medium to deepen the audience’s immersion into the world of Shakespeare’s London.
Fans of the film will recognise the compelling storyline, filled with mistaken identities, forbidden romance and moments of thrilling drama. The stage adaptation beautifully captures the original’s spirit while providing an even more immediate and intimate experience of the joy, danger and passion of live theatre.
Playing Will, we have James Copeman, a talented newcomer to the Barn. James’s passion and energy shine through in every rehearsal, and we know you will enjoy his portrayal of the young playwright navigating the trials of love and artistic ambition. James joins a fantastic ensemble cast, each member ready to bring this rich tapestry of characters to life.
Shakespeare in Love whisks audiences away to locations such as the Curtain Theatre, the Rose Theatre, Whitehall Palace, and the River Thames. The bustling streets of London, the opulent courts of Queen Elizabeth I, and the vibrant energy of the theatres create an immersive environment that will transport you straight into the heart of Elizabethan London.
This is a theatrical spectacle filled with song and dance, thrilling sword fights, cross-dressing, a play within a play… and various dogs. Meet Kit Marlowe, Shakespeare’s witty and boisterous contemporary, and the formidable Elizabeth I whose presence looms large over the artistic endeavours of her time. We’re delighted to announce that four renowned authors will be making surprise guest appearances during selected performances. These literary luminaries will step into the world of Elizabethan theatre. Keep an eye out – you never know which famous writer might take the stage when you attend!
Whether you’re a lifelong Shakespeare aficionado or a newcomer to his world, Shakespeare in Love is an experience not to be missed. Don’t miss your chance to witness the magic unfold! Tickets are now on sale, and performances will run from 8th to 16th November with a matinee on the 16th.
Updated Cast and Crew
Will Shakespeare – James Copeman
Kit Marlowe – Hope Eddy
Henslowe – Godfrey Marriott
Fennyman – Mark Skrebels
Lambert Frees – Robert Whatton, Hannah Sayer
Ralph, an actor who plays Nurse and Petruchio – Carl Westmoreland
Nol, an actor who plays Benvolio and Samson – Paul Long
Robin, an actor who plays Lady Capulet – Paul Long
Adam, an actor who plays Gregory, Benvolio, and serving man – Francine Ross
John Webster – Louise Davey
Wabash / Peter (with stutter) who plays Tybalt and prologue – Robert Whatton
Ned Alleyn – Hannah Sayer
Sam, an actor who plays Juliet – Tallan Cameron
Burbage – Steph Cotter
Mistress Quickly – Devi Smart
Edmund Tilney – Christopher Wallace
Queen Elizabeth I – Vicky Rive
Viola de Lesseps – Lauren Ryan
Nurse – Wendy Bage
Sir Robert de Lesseps – Peter McIntyre
Lord Wessex – Hannah Sayer
Boatman – Mark O’Sullivan, Steve Thompson, Rob Graham, Glyn Maxwell
Barman – Dave House
Molly – Francine Ross
Kate – Steph Cotter
Various parts / singers – Barbara Holgate Stuckey, Carolyne Mitchell, Mike Smith
Creative Team
Director – Laura Eddy
Production Secretary – Wendy Bage
Musical Director – Rachel Thomas
Set Designer – Ian Bage
Stage Manager – Sharon Francis
Costume Design – Nic Harrison, Wendy Bage
Lighting Design – Clifton Hoyle, John Gardiner
Props – Sheila Grimmant, Sarah Kerr
Lighting Operator – Stephen Khan
Dresser – Lesley Bilton
A man with drive and ambition
In the Studio, deep blue drapes create the darkness for Richard III. It’s Open Day and visitors are dropping in as Steve Thompson directs an early rehearsal.
The Wars of the Roses are over and Richard, Duke of Gloucester wants the crown. He’ll get it, and become Richard III, and he’ll have killed everyone who got in his way.
Act III, Scene 7. You know, the one where Buckingham (Lorna Thompson) is trying to sell Richard to the people and Richard (Neil Harrison) is slumped in his chair, feet on the table, pretending he’s not bothered. But we know he’s already got away with murder to get his hands on the crown. It’s an electric and thrilling rehearsal and Steve is very clear about what he wants. He jumps to his feet:
“Shakespeare intended this scene to be funny – don’t be afraid of it!”
Much of the dialogue is, of course, bitter rather than funny. In Act IV, Scene 4, the deposed Queen Margaret (Suzie Major) says to the current Queen Elizabeth (Julia Riley):
“From forth the kennel of thy womb hath crept
a hellhound that doth hunt us all to death”
Later, Elizabeth stands up to Richard’s urging that she act as go-between in his pursuit of marriage with her daughter:
“What were I best to say, her father’s brother would
be her lord? Or shall I say her uncle? Or that he slew
her brothers and her uncles?”
Steve says this is the heart of the play. Elizabeth is the only one who will confront Richard with what he’s done.
The drive to direct this play, here in the Studio, came from Steve’s personal ambition. He’s wanted to do it here for 20 years. He said:
“The Studio’s my happy place, and Shakespeare’s my favourite playwright. I enjoy my job but it doesn’t fill me with joy like this does. I love the play. It’s a great ensemble piece about a family’s struggle for power, particularly the women.
“My only training had been coming to the Barn and seeing loads of plays. I was in The Tempest here in the 1982-83 season, directed by Mervyn Lloyd. He taught me to speak Shakespeare!”
When I asked if he went on to drama training, he said he “did maths at Warwick, and spent my entire grant on going to the RSC. I saw two shows a week. The greatest show I’ve ever seen was Titus Andronicus with Brian Cox. It was like a drug and I was hooked”.
Alice Croot, Jess King, Ian Major, Paul Russell and Des Turner complete the cast of nine, playing 30 roles between them in a stripped-down, modern production of Shakespeare’s bloodiest play.
It runs in the Studio from 28th October to 2nd November. And Steve talks about it to Welwyn Garden Literary Society (LitSoc) on Monday 4th November (see accompanying article).
Carol Bush
Richard III at LitSoc - a community literature discussion and appreciation group
At each session, a member gives a short introduction to the book, lasting about 30 minutes, which forms the basis for the discussion that follows. Works include modern fiction (often Booker and Pulitzer nominated), classic novels, poetry, memoirs or plays. While our name may sound a little more formal than most book groups, this is a relaxed and friendly group – and I know that because I’m one of several Barn members who regularly attend, when Barn duties don’t take over!
The Barn and LitSoc have formed close ties over the years, so that a director from one of the season’s plays visits, sometimes with one or two cast members, to discuss the production and answer questions. It’s better than a post-show Q and A!
This season, we’re delighted to welcome Steve Thompson, whose production of Richard III runs in the Studio from 28th October to 2nd November. Steve is a fascinating and original speaker, and what he has to say about the play will be well worth hearing. Both play and talk are likely to inspire some lively discussion from the society’s members.
Previous presenters have included Glyn Maxwell and, more recently, Keith Thompson and John Davies. John has a long association with LitSoc: ‘A long time ago,’ he said, ‘when I worked for the County Library Service, I had a lot to do with the Literary Society, which has been in existence for even longer than the Barn Theatre Club. It’s still going strong, and if you haven’t yet come across it, this would be an excellent introduction to it.’
We meet at 7.30pm on alternate Mondays in St Bonaventure’s Parish Hall (next to the Church) on Parkway, Welwyn Garden City. We’d love to see you at Steve’s presentation, or any session. Just contact us and come along as a guest. If you decide to keep coming and become a member, the cost is just £10 a year.
Email: [email protected]
Website: welwyngardenliterarysociety.wordpress.com
Venue: St Bonaventure’s Parish Hall, 81 Parkway, WGC.
Carol Bush
From the Chair
Welcome to October’s Barn News
Welcome to the new season, with Home, I’m Darling about to start. At the recent very successful Open Morning, visitors were able to see Richard III in rehearsal and people said that they found it fascinating to see a show at such an early stage, and really enjoyed being part of the experience, albeit for a short time. Afterwards, I had another of my moments when I was stopped in the street by a neighbour to tell me how much they loved the ability to see all the various aspects of the theatre and meet the volunteers. (I hasten to add it’s not the same neighbour who says this each time).
Robert Gill and Barbara Holgate-Stuckey organised and marketed the day, along with a small army of helpers and all deserve our thanks.
You may have read about how a production of A Midsummer Night’s Dream at the Manchester Royal Exchange Theatre was cancelled just before opening night because of a disagreement between the theatre management, the director and cast about potentially contentious messages appearing in the show. It made me wonder what would be / should be the boundaries for the Barn?
Theatre is an art form that tells stories that are designed to move an audience, or make them think about topics and people in new or different ways. It also can act as a mirror to reflect uncomfortable truths above us or the world we live in, or it may just be joyous escapism that uplifts us all for a few hours. Each season, we make artistic choices about the plays that we perform, knowing that some will not be to everyone’s taste, but we do have to take some risks otherwise it becomes too bland.
We provide content warnings for all our productions, so audiences can make informed choices. The classic example of this was The Dysfunckshonals, directed by Steve Thompson, which was described as ‘unbelievably offensive’, but it was also hilarious and amazingly acted. At least people knew what they were getting before they came, and we put on more shows as a result of their choices.
As long as we don’t deliberately set out to offend people with gratuitous changes to plays in terms of language, direction, inappropriate stereotypes or costumes, then I think we can allow ourselves the widest range of shows. We have to recognise that tastes change over time, and we must allow new plays, new writing and new directors to be heard. Some may not work as we hoped, but it’s important to try new things, and new ideas bring new audiences.
Personally, I wonder how much longer we perform amateur productions of Alan Ayckbourn plays, or does he go the way of Brian Rix and Ray Cooney? Greatly appreciated at the time, but the world has moved on and his plays are largely unknown to people under 35. On the other hand, I hear you say, don’t our audiences like some of these older works, the staple comfort food of amateur dramatics that bring full houses? The answer is yes, but I hope we can find new insights and ways of playing them that keep them alive and fresh. I know this is something that Clive Weatherley wrestles with each year when putting together a season.
That’s why I’m looking forward to the new season which includes three plays better known as films: Shakespeare in Love, It’s a Wonderful Life and The Girl on the Train, together with the physical theatre of A Monster Calls – and I’m sure we’ll be seeing our excellent kitchen set and scaffolding on stage during the season!
In the meantime, please buy your tickets for the first shows in the main auditorium and the experimental reduced version of Richard III in the Studio. It’s the beginning of the season – everything is possible!
Ian Major
Chair
Membership & Council
Minutes from the last Council Meeting
Please find the minutes of the meeting of the Barn Theatre Council held on 2nd July 2024. These were approved at the September 17th Council meeting following the summer break.
Our membership news depends on information we get from YOU
New members
Melissa Chapman
Interests: acting
Mike Garbutt
Interests: acting
Emma Gilby
Interests: acting
Paul Long
Interests: acting
Ethan Powell
Interests: bar, front of house
Kaya Shoker
Interests: acting, box office, front of house, make-up, props
John Sparrow
Interests: acting, sound, set building, stage management
Welcome to the Barn!
Another barnstorming day at the Barn
On Sunday 15th September we once again held an ‘access-all-areas’ open day, where members of the public had the chance to see everything that goes into creating our wonderful shows at the Barn. This year the event was held during National Heritage Week, and a large part of what we showcased was the fascinating history of the Barn – from model dairy to an amazing theatre and performance space.
Around 150 visitors attended, many new to the Barn, and there was plenty for them to see and do. The stage area featured examples of original set designs, and on the stage visitors could view the work-in-progress for the set of our first show of the new season, Home, I’m Darling, designed by Stephanie Dunn. The sound and lighting teams were in the main auditorium explaining the intricacies of bringing a production to life on the stage. Some visitors also enjoyed watching a rehearsal for our forthcoming Studio production of Richard III, which was followed by the chance to see one of our Youth Groups in action. Children who came along were invited to take part in a ‘find the Barn owls’ treasure hunt.
Backstage there were displays from the props and costumes teams, and visitors were able to see the vast array of items in our costumes and props stores. Having seen the initial stage designs displayed on the stage, visitors then popped along to the set-building team to hear how those designs are turned into architectural drawings, before the work of building and painting the set begins.
There were many Barn members on hand to guide visitors around the Barn’s spaces, and to answer questions on the many skills involved in creating a successful production, with costumes, props, directing, set building, and sound and lighting all working together.
Barbara Holgate-Stuckey
Marketing Director
Heritage Open Day at the Barn
This article was received from the Together for Welwyn Garden City Group who conducted heritage walks from the Barn as part of the Barn’s Open Day.
Thank you to the Barn and Quaker Meeting House for hosting the Heritage Open Day in Welwyn Garden City and to all those who purchased items from our Heritage stall or joined our Walking Tours on Sunday 15th September.
Photo: Colin Adlam
We helped people reimagine how the Barn Theatre in the 1920s would have been a working dairy, surrounded by farmland and how Ebenezer’s vision for a second garden city came to fruition.
Volunteers from the Heritage Group of the ‘Together for WGC’ (formerly WGC Heritage Trust) were easily recognisable in the 1920s outfits, kindly supplied by the Barn’s Wardrobe team.
If you were unable to come along on the day, but wish to join a future walk please email [email protected].
Caroline Baynes
Volunteer
A Monster Calls
Cast and Crew
Cast
Conor – Isaac Pengelley
Mum – Rachel Wallace
Monster – John Cook
Gran – Jan Palmer Sayer
Dad and Ensemble – Gavin Palmer
Lily and Ensemble – Kizzy Hopkinson
Harry and Ensemble – Max Potter
Mrs Godfrey and Ensemble – Alice Croot
Ensemble and other parts – Doug Brooker, Noah, Breeze, Louise Wileman, Martha Baker, Alani Doggett
Creative Team
Director – Mark O’Sullivan
Assistant Director – Nick Baker
Movement / Choreographer – Lynsey Wallace
Composer – Ian Cullen
Set Design – Chris Janes
Lighting Design – Trevor Wallace
Costume Design – Tiffany Breeze, Jenny O’Sullivan
Stage Manager – Madeleine Palmer
Producer – George Curry
Audition Notice
Growing Pains
Written and directed by Kim Southey
Playing dates: 19th to 22nd February 2025 in the Studio.
As part of An Evening of One-Act Plays
Audition dates:
Wednesday 16th October (7 to 9pm)
Friday 18th October (7 to 9pm)
both in the studio
Synopsis
Kitty isn’t cool, and she’s okay with that. For the most part. Kitty was always a worrier, but with a playful nature and love of stories, she sought refuge in her imagination.
On returning home from university and discovering her childhood diary, Kitty is suddenly faced with the trials of adolescence she never quite managed to hide from. Reminiscing with laughter and tears, Kitty shares stories of friendship and boys, growing boobs and her first thong, and how to accept herself for who she really is.
Growing Pains is a coming-of-age comical drama, exploring the challenges of leaving behind a childhood you’re reluctant to let go of.
The play
Returning from its first successful run at the Hope Theatre in Highbury and Islington in 2022, this new adaptation of Growing Pains will transition from a one-woman play into an ensemble piece for the first time. The play, originally staged at RADA Studios for my dissertation, has gone on many leaps and turns over the years but I’m so excited to create a new version exclusively for the Barn. The play also includes some beautiful original composition written specifically for the play. Honest, heartfelt and apparently funny.
I’m particularly keen to hear from young creatives who would like to try their hand at production roles for the first time!
Roles
As this is the first time this play has been an ensemble piece, some of the roles may combine or adapt accordingly throughout the collaborative rehearsal process. Will be a large-ish cast of at least 10 individuals. Playing age not to put people off auditioning for the child roles.
Adult Kitty (19-21, female) Main protagonist, narrates a lot of the story. Insecure and anxious but honest and likeable. Introspective.
Child Kitty (6-12, female)
Teenage Kitty (14-18, female)
Kitty’s Mum (30s/40s, female)
Young Gina (8-14, female) Kitty’s older sister, bossy, seemingly self-assured but with hidden battles.
Teenage Gina (16-20, female)
Young Elijah (6-12, female) Kitty’s friend. Lives in the moment, easy going.
Teenage Elijah (14-18, female)
Tom Buckley (14, male)
Sasha (13-14, female) Elijah’s cousin and ‘the bitch of Kitty’s childhood’. Sassy, pretty, confident and outspoken. Classic mean girl.
Sasha’s Mum (30s/40s, female) Lady of leisure. Wealthy and very ‘darling’.
Gabby (14, female) Sasha’s ‘thick’ friend. Described as ‘someone with the brain of Crabbe and Goyle but with high heels and long blond hair’.
Toys! – These are part of Kitty’s imagination – any age, and they may require puppetry. I encourage you to experiment with creating original characters!
Nutty – newly bought squirrel, female
Nuts – lonely squirrel, male
Fuzz – newly bought bear, sweet-natured and shy, male
Prance – bouncy, energetic cat, female
Waddle – old Beanie Baby penguin, female
Coconut – leader of the toys, bear, male
Audition Notice
Tuna Fish Eulogy
A ladder play in one act by Lindsay Price
Directed by Tristan Cameron
Playing dates: 19th to 22nd February 2025 in the Studio
As part of an evening of One-Act plays
Audition dates:
Friday 8th November 7.30pm to 9.30pm
Saturday 9th November 2pm to 4pm
Thursday 14th November 7.30pm to 9.30pm
All in Room 1
Rehearsals from late November.
The play
This is a play in which the tragedy of a young boy’s death is examined. It’s set some 12 years after Albert’s death, and his grown-up self appears as a ghost in the hope of reconciling what happened. As the story unfolds, the mysteries start to pile up: was it suicide? Could it have been prevented? Who’s responsible? His mother? The babysitter?
Written in the unique ladder play format, the text runs in vertical columns, meaning that many passages are said in unison or across one another. Imagine two children in a playground informing you of an incident where they bumped heads, both telling you the same story from a different point of view at the same time. Intonation and inflection are essential in getting this across to the audience. If you’re looking for a challenge, this is the play for you.
The characters
The characters below are listed with approximate playing ages – this is only a guide. The listings refer to the column headings used in the script.
Ms Sully (listed as Woman One) Playing age 40
This is Albert’s mother. She became pregnant at a very young age and as such was pushed out by her parents to live on her own – the boyfriend, Albert’s father, did a runner as soon as he found out. Struggling as a single mother, she enlists a babysitter so she can go out to work and earn enough money to keep a roof over their heads and food on the table. She struggled. Following Albert’s death, she’s tried to move on and has got a better job. Reliving the story is a real emotional rollercoaster for her.
Cherry (listed as Woman Two) Playing age 30
Possibly too young to be a babysitter when she started. She was able to cater to all of Albert’s physical needs, but never really connected with him. Cherry comes across as a very practical person but has no real sense of imagination. Playing a game to her would mean opening a box and following the instructions. She can be very judgemental. In the present day, she’s now a mother of two, and comes across as just bored of the examination of the past. She wants to say her bit and just return back to her current life.
Young Albert (listed as Man Two) Playing age 12
Small, scruffy child who likes nothing more than to sing in church and count his 12 tins of tuna fish in the kitchen cupboard. People call him strange, and few really understand him – this is the flashback form of Albert.
Albert the Ghost (listed as Man Two) Playing age 24
The grown-up ghost form of Albert. Being older, he’s more articulate and better adjusted. His demeanour is soft and occasionally apologetic – he remembers every detail.
Others (listed as Man One) M and F of any age
This column plays the part of 7 cameo characters, traditionally cast as one person, but I’m looking for two as I want both a male and female voice. Actors will need the ability to quickly change their body language, posture and voice to fit each role without the use of props and costume. The characters will be divided equally among the two:
Mediator (male or female) – A well-spoken professional
Reverend (male or female) – A kind and caring person
Boyfriend – Young, bit of a lad, not ready to be a parent
Ms Sully’s mother and father – Traditionalists, very prim and proper, more worried about their own image than their daughter
Cherry’s mother and father – Working class, no airs and graces, wouldn’t be out of place on EastEnders
For scripts, please contact me.
Audition Notice
Waiting for God
By Michael Aitkens
Directed by Maureen Davies
Playing dates: 11th to 19th April 2025
Audition dates:
Thursday 12th December at 7.30pm
Sunday 15th December at 2pm
Both in Room 1
After five successful series during the 1990s, the BBC sitcom Waiting for God has been adapted for stage by writer Michael Aitkens. The play follows the lives of those inhabiting the Bayview Retirement Home – a dreary, slow-paced residential home that proudly boasts ‘highlights’ such as a trips to Lourdes and Stonehenge in a ramshackle minibus. Diana Trent, a resident at Bayview, is a woman who despises the title of senior citizen and all of the stereotypes that go with it. With no intention of slipping into old age quietly, Diana focuses her energy on making life for Bayview manager Harvey Baines as difficult as possible. When playful ex-accountant Tom Ballard moves into the apartment adjacent to Diana, she sees him as nothing but a boring man who’s lived a boring life. Eager to change her opinion, Tom decides to impress Diana by making a stand at dinner – declaring the food inedible and marching to wage war against Baines, much to the delight of the other residents. Seeing an opportunity to gain a partner in crime, Diana forms an alliance with Tom and the pair embark on a number of adventures together with hilarious consequences.
Characters
Diana Trent (playing age: over 65)
A feisty ex war zone reporter, who doesn’t care who she upsets with her caustic comments, especially if it’s the Bayview manager Harvey Baines. A terrific comedy part for a more mature actor, comedy timing is of the essence and, being a leading role, there’s a lot of dialogue to learn.
Tom Ballard (playing age: over 65)
A whimsical, if not a little eccentric, character. This a terrific comedy part for a mature actor, with good comedy timing and delivery. A leading role with a lot of dialogue to learn.
Harvey Baines (playing age: 30+)
Manager of Bayview, he is vain, incompetent and conniving. A lovely role for a good all-round actor, with some lovely touches of comedy.
Jane Edwards (playing age: 30+)
Harvey’s ditsy, flustered assistant. She’s totally in love with Harvey, which Harvey is oblivious to. Good comedy part.
Sarah Chase (playing age: 30+)
Diana’s niece, a successful businesswoman and charming.
Geoffrey Ballard (playing age: 40+)
Tom’s good-hearted but incredibly dull son.
Smaller parts (can be doubled)
Dennis Sparrow – a dithering vicar
Basil and Milly – residents at Bayview
Doctor Gyno
Doctor Henry
An undertaker
For scripts contact Kathryn Taylor: [email protected]
For further information contact Maureen
Audition Notice
The Girl on the Train
Based on the worldwide smash novel by Paula Hawkins. Adapted by Rachel Wagstaff and Duncan Abel
Directed by Mel Powell
Playing dates: 21st to 29th March 2025
Audition dates:
Sunday 17th November at 10.30am in the Studio
Wednesday 20th November at 7.30pm in Room 1
Roles
I need a cast of seven. There is some flexibility in the stated playing ages. Rachel Watson – Female. Playing age 25-40. This wonderfully rewarding role is physically and mentally demanding. The actress playing Rachel is on stage for the whole of the play. Rachel is by turns erratic, confused, paranoid, obsessed, determined and desperate as her life spins out of control. She’s divorced, after being unable to conceive a child. She’s lost her job and is about to be evicted from her flat. For much of the play Rachel is a barely functional drunk, though practised at hiding her alcoholism. She has some intimate moments with Scott and Tom and is both the perpetrator and target of physical aggression and violence. Tom Watson – Male. Playing age 30-45. Tom is Rachel’s ex-husband. He’s now married to Anna with whom he’s had a baby, Evie. He’s outwardly smooth and charming and uses this to attract women. He’s also ambitious, narcissistic, and controlling…Some intimate moments with Rachel. Physically abuses Rachel. Anna Watson – Female. Playing age 25-35. Anna is Tom’s new wife, and mother to their baby Evie. She’s living in the house that Tom and Rachel bought together. She’s in thrall to Tom and believes that Rachel is harassing Tom and is trying to win him back. Her priority is to protect her marriage and her baby, whatever that takes… Megan Hipwell – Female. Playing age 20-35. Megan is an artist, a hipster with the world at her feet, a woman that other women want to be, and that other people might easily fall in love with. In fact, she’s deeply unhappy in life and seeks comfort and excitement in extra-marital affairs. Megan’s disappearance shapes the story of the play, and her appearances are in a series of flashbacks and memories. Megan has brief intimate moments with Scott and Kamal. She is the subject of physical violence from Scott and discusses sensitive matters around child loss. Scott Hipwell – Male. Playing age 25-40. Scott is Megan’s husband. He’s possessive of her, reads her emails, checks her internet history, etc. and, on discovering her infidelity, threatens to kill her… Scott has a short temper and, as well as having some intimate moments with both Rachel and his wife Megan, he’s also physically aggressive towards them both. Kamal Abdic – Male. Playing age 30+. Megan’s therapist. He’s been helping her to work through her troubled past. He appears charming and professional but has in fact struggled to keep his professional and romantic lives separate…Has some brief intimate moments with Megan. Detective Inspector Gaskill – Male or Female. Playing age 40+. DI Gaskill is the lead detective on Megan Hipwell’s case. Insightful and persistent, with a dry sense of humour. Experienced and authoritative, but sometimes impatient. Requires an actor with a strong, grounded stage presence. Let me know if you’d like to see a script or are interested but cannot make the audition dates. If you decide to audition, let me know, and I’ll send you the audition pieces for the roles for which you’re planning to read. You won’t need to learn the pieces, but they will give you a chance to prepare ahead of what will be relaxed group auditions.The Revlon Girl
Cast and Crew
Cast
Sian – Hannah Humbles
Marilyn – Stephanie Cotter
Revlon – Louise Harris
Rona – Becky Done
Jan – Sarah Gennoe
Creative Team
Director – Belinda Gee
Production Manager – Carol Bush
Stage Manager – Andy Baker
ASM – Gillian Patterson
Lighting – Nick Mogg
Sound – James Rowles
Props – Bev Triber, Gerry Gritzman
Set Dressing – Bev Triber, Gerry Gritzman
Wardrobe – Ruth Burton
Make-up – Louise Davey
Dialect Coach – John Davies
Prompt – TBC
Little Theatre Guild
Central Region One-Day Conference
26th October 2024
Priory Theatre, Kenilworth
I’ll be attending this conference on my own, so I thought I’d put it out to the club to see if anyone fancies joining me for the journey – it’s only 1 hour 45 minutes, and I have 3 spaces available in my car! As the LTG representative, the club covers my travel costs, so it won’t cost you anything either – just the ticket for the evening show!
It should be an interesting day, networking opportunities with other LTG members to learn about what they do and how they manage this mad hobby of ours. It starts at 9.30am and finishing at around 11pm.
It’s really good to support the Little Theatre Guild with its National and Regional Conferences, so come on, have a day out with old Johnny-boy!!! 🙂
- Welcome introductory talk from Priory Chairman and LTG Member
- Workshop 1: Kelly Taylor, BAFTA-nominated professional hair and makeup artist. Kelly will demonstrate her art on volunteer visitors.
- Workshop 2: The Warwick Warriors, Kenilworth Castle’s resident Knights, will discuss medieval armour and present their impressive sword fighting skills.
- Workshop 3: Stephen Boden, MD and founder of Imagine Theatre, a leading nationwide pantomime production company. Also, former member of the Priory Youth Theatre and twice Priory Theatre Chairman.
- LTG Central region AGM: including a presentation by Anne-Marie Greene about her Community Theatres project.
- Tours of the Priory Theatre for those who missed the morning tours
- Evening Performance – The Addams Family
It's a Wonderful Life
Cast and Crew
Cast
George Bailey – Stephen Deaville
Mary – Emma Gilby
Clarissa – Samantha Day
Uncle Billy – Paul Russell
Mr Potter – Andy Mills
Mr Gower, Joseph, Tom – Keith Thompson
Violet, Sam, Charlie – Jessica Drucker
Bert, Ed, Welch – Chris White
Harry, Martini, Randall – Jess Wall
Gloria, Ruth, Mrs Thompson – Robyn Rae Meyer
Young George – Jonah Cook
Young Mary – Melissa Chapman
Young Sam – Huxley Lewis
Young Harry – Norah Vahdat
Young Violet – Kaya Shoker
Singers – George Curry, Emma Gilby, Robyn Rae Meyer
Creative Team
Director – Rob Graham
Production Manager – Jacqueline Clayton
Stage Manager – Nigel Rive
ASMs – Sarah Gennoe, Devi Smart
Props – Linda Miles, Georgie Palmer, Barbara Foster
Lighting – John Gardner
Wardrobe – design / sourcing – Ruth Heppelthwaite
Wardrobe – Yvonne Bartlett
Sound – Rob Wallace
Prompt – Annie Woolmington
Set design – Rob Graham
Set dressing – Kris Moore
Set building – The Amazing Barn Set Builders
Chaperones – Linda Miles, Jacqueline Clayton, Georgie Palmer, Yvonne Bartlett
A new festival at the Barn
In the studio next October, the Barn will be holding a new short play festival. All the plays will be performed for the first time at the festival. There will be between eight and ten plays selected, and each play can be no longer than 15 minutes long. The plays will be directed by an experienced director and performed by an ensemble of actors who will audition in the usual way. I am delighted that two of our homegrown professional playwrights, Glyn Maxwell and Steve Thompson, have agreed to write a brand-new play, each as part of the festival.
If you have a play that you would like to submit, please see the details below.
- Plays can be up to 15 minutes long and written for a maximum of six actors to perform.
- Play submission deadline: 31st January 2025.
- Final play choices selected: April 2025. ALL writers notified, whether successful or not.
- Last week of October 2025: Barn New Short Play Festival – Barn Studio
Please let me know if you have any further queries.
I look forward to reading the plays.
Let's talk rubbish!
We’re all trying to do our bit to save the environment and lower our carbon footprint by turning to eco-friendly options – and at the Barn we’re no exception. We have a few different bins which hopefully you’ve noticed around the building. In most areas we have our general waste bins, but alongside these we have dry recycling bins and food waste bins. Dry recycling bins are for paper, cardboard, cans and plastics, e.g. milk bottles (NO tetrapaks or soft plastics like cling film). We have three food waste bins (located in the Studio kitchen, the coffee bar and the backstage kitchen) for food waste including tea bags and coffee grounds.
However, currently coffee filters are NOT compostable and must go in general waste. We also have a battery bin in our Box Office where you can dispose of old batteries and old printer cartridges. Outside by the silo we have our large bins which are managed by our waste collection company. We have two large red bins: one for general waste, the other for dry recycling; two burgundy bins for glass only; a brown bin for food waste and compostable packaging; and two black bins for any scrap metal, which is collected frequently by our friendly scrap metal man David Harrison.
Unfortunately the free bulk collection of medicine blister packs through Terracycle has now ceased, however you can purchase pre-paid bags from zerowastebags.co.uk for blister packs any many other items that we can’t put in general recycling bins.
Sharon Francis
Site manager
Home, I'm Darling
Updated cast and crew changes and amendments:
The role of Fran is now being played by Sarah Gennoe.
The new Stage Manager is Stephen Kahn.
The two new ASMs are Brenda Tomlin and Fiona Carter.
Playing Away
Maureen Davies is directing the musical Evita for Welwyn Thalians, which runs from 5th to 9th November at the Thalian Hall.
Lou Wallace will be directing St Albans Musical Theatre’s unique production of Godspell at St Albans Cathedral on Thursday 30th January and Saturday 1st February under the illuminated moon installation that’s currently touring cathedrals in England. New member Emma Gilby who is playing Mary in It’s a Wonderful Life is the choreographer in what promises to be an unusual and challenging piece of theatre.
If you’re involved in a production with another society / club, we’re happy to include it in Barn News. Send details to the editor Mike Smith – [email protected]
Dates for your diary
Home, I’m Darling
4th to 12th October at 8pm
Matinee 12th October at 2.30pm
Richard III
23rd October to 2nd November at 8pm
In the Studio
Shakespeare in Love
8th to 16th November at 8pm
Matinee 16th November at 2.30pm
Auditions
Growing Pains
Wednesday 16th October 7pm to 9pm
Friday 18th October 7pm to 9pm
Tuna Fish Eulogy
Friday 8th November 7.30pm to 9.30pm
Sunday 10th November 11.30am to 1.30pm
Thursday 14th November 7.30pm to 9.30pm
The Girl on the Train
Sunday 17th November at 10.30am
Wednesday 20th November at 7.30pm
Waiting for God
Thursday 12th December at 7pm
Sunday 15th December at 2pm
Social and Club events
Singers at the Barn
Sunday 6th October at 7pm
Next Council meeting
Tuesday 15th October 8pm
Members’ password
GREEN
Archive Submission Link
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