Home, I'm Darling comes home!
It seems no time at all since I was in the Studio, watching rehearsals for Harvey, which closed the last season. And here we are again. The Studio’s buzzing as Laura Ilinca directs rehearsals for Laura Wade’s Home, I’m Darling, to open the season on 4th October. It’s set in Welwyn Garden City, so our lovely Barn Theatre feels like its natural home.
A joint National Theatre and Theatre Clwyd production, the play premiered there in 2018, directed by its then Artistic Director Tamara Harvey, who’s now co-director of the RSC. When it transferred to the National, and quickly sold out, The Times gave it five stars:
‘An amusing, affecting, inspiring evening of soft gingham and hard truths’.
The play sprang from ideas about “fetishised domesticity”, says Wade. “Things like Bake Off were just starting to bubble up, and that cupcake culture seemed to be in the ascendant. There was something comforting about those nostalgic ideas of home life and I was curious why people needed that.”
Judy Martin is a proud, archetypal 1950s housewife. She waves her husband, Johnny, off to work in the morning and welcomes him in the evening with a cocktail and his slippers. Except – Judy lives in modern-day Welwyn Garden City and used to have a high-powered job. She’s created a fantasy world that she’s too young to remember, and she manages to live in it. Why would she do that? It’s not so easy for Johnny, who goes out to work every day in the real world.
Wade actually wrote the play for her long-time friend, Katherine Parkinson, who played Judy in the original. In this production Becky Done takes on that role in her second appearance on the Barn stage, joined by well-known Barn actor Jon Brown, playing Johnny, her husband. The other familiar face is Hazel Halliday, who plays Judy’s mother. They’re joined by three actors who’ve been theatrically busy elsewhere, and are making their Barn stage debuts. So, welcome, Mike Garbutt (Marcus), Sophie Rose (Fran), and Jane Lee Jones (Alex). It was a lively and happy rehearsal room that I sat in last night and I can’t wait to see it on stage.
A props-heavy show, the team have quite a job on their hands, dressing a 1950s house. And it must be authentic, because quite a few of us will remember exactly what we ate, what we wore, what we sat on, what we danced to… However, Georgie Palmer, Linda Miles and Kris Moore are all over it, and with Barbara Foster making the 50s food, you can be sure that when you enter the auditorium in October, you’ll be stepping into 1950 Welwyn Garden City.
I hadn’t managed to get tickets for the National in 2018 so, even though I was in Dorset, I went to the little local library and used their laptop to join the Friday rush queue, at number 1,362, sat there for two hours, and got two tickets. And it was SO worth it!
You won’t have to do all that: just book it now before it sells out – the Barn doesn’t do Friday rush!
Carol Bush
From the Chair
Welcome to September’s Barn News
Summer is here at last (well, at the moment as I write this), and I hope everyone is taking time to recharge their batteries, or simply switch off from everyday pressures. Suzie and I went to see the open-air dress rehearsal of Hertfordshire Players’ Wendy and Peter Pan before it went to the Minack, involving many of the Barn’s regulars. It was a terrific show that included John Cook’s statuesque but mute crocodile, and I’m sure the audiences in Cornwall loved it.
It made me think about all the inter-relationships between the Barn Theatre and other local drama groups, with people being involved or acting with the Company of Players, the Thalians, the Queen Mother Theatre and the Abbey Theatre, as well as organising the Youth Drama and Welwyn Drama Festivals. We also help each other out with costumes, props and even parts of sets, so we all benefit.
This interaction is good for all concerned as it gives opportunities to work with different people, and the groups have their own cultures and history, and play to their own strengths. For example, the Barn isn’t a musical theatre company, but we benefit from the experience and talent from within the Barn membership and from other companies when needed.
I’m pleased that all the shows up to Christmas are fully cast and rehearsals are under way, or soon will be, and we have a jazz night, the Red Stripe Band, and a comedy night to begin the season. These evenings always sell well, so make sure you buy your tickets.
I want to thank Robert Gill and the set builders who have resurfaced the stage, and huge thanks to Roger Eames for all his continuing work to upgrade the electrics in the Barn, which is carried out mostly unseen by everyone. Thanks also to Martin Moore for his work during the summer to update and improve the area behind the bar counter.
We have our next open morning on Sunday 15th September, and a leaflet drop will be made in the next week or two to invite people from WGC to come along and find out more about the theatre. I hope this helps raise awareness in the town and brings in new audiences.
Ian Major
Chair
Membership and Council
Minutes from the last Council Meeting
As the Barn Council does not meet in August, the July minutes have not yet been approved – they will be available in the next Barn News.
Our membership news depends on information we get from YOU
New members and their interests
Susan Boardman – audience
Jane Lee Jones – acting
Gillian Paterson – admin, production management, props, stage management
Jay Puranik – acting, directing, lighting, production management, sound
Casey Winter – directing, lighting, hair and makeup, production management, props, set design, set building and painting
Welcome to the Barn!
Take a Heritage Walk on our Open Day!
15th September (10am to 2pm)
As part of the Open Day on 15th September, the Together for Welwyn Garden City organisation will be conducting some Heritage Walks from the Barn around the local area highlighting features and buildings which are part of the history of the town. The following provides more information and how you can join the walks.
…from The Barn Theatre
How WGC was born!
Imagine the scene – cast your mind back to the 1920s when the Barn Theatre was a working dairy, surrounded by farmland. We’d like to invite you on a walking tour to explain about a man who bought some land and how a town was born. That man was Ebenezer Howard, and a statue created by Ben Twiston Davies to celebrate the centenary of Welwyn Garden City concludes the 1.5 hour walk (see photo).
Hosted by volunteers from the Heritage Group of the ‘Together for WGC’ (formerly WGC Heritage Trust) you’ll learn how Howard’s second garden city came to life and more about the concept ‘marriage of town and country’.
If you would like to join us, please book a place via TicketSource (see links below) and for any enquiries please email [email protected]. A few spaces will be available on the day, with tours starting at 10.45am and 11.45am.
Tour guides will be easily recognisable as the Barn is kindly loaning appropriate 1920s costume. Please note children must be accompanied by adults.
HERITAGE WALKS LINKS:
10.45am https://www.ticketsource.co.uk/together-for-welwyn-garden-city/t-lnodvem
11.45am https://www.ticketsource.co.uk/together-for-welwyn-garden-city/t-noqjvmq
Robert Gill
Stage Director
It's later than you think...
While most members’ thoughts are of the new season which starts in October with Home, I’m Darling, I have to think slightly further ahead. Yes, I’m immersed in the delights that the Barn will be bringing you in the 2025-26 season – which may sound early but isn’t when you realise I need to have most shows finalised by January!
Last year a couple of directors were caught out by requesting a slot far too late to be accommodated. Don’t be that director! If you’d like to be considered for the 2025-26 season, please let me know as soon as you can: I have a few empty slots at present – but probably not for long. Drop me an email at: [email protected] and give me an idea of what you have in mind, and we can take it from there.
Clive Weatherley
Artistic Director
Obituary
Kevin Dinnin
We are sad to report the death on 23rd August of Kevin Dinnin, after a long series of illnesses which had kept him from any active part in the Barn for several years. We extend our sympathy to his wife Christine and their children and grandchildren.
Kevin came to the Barn after he and Christine retired from running the George & Dragon in Watton-at-Stone – at which time it was one of the most successful pubs in the county.
He was for several years chairman of the local cricket club. He first appeared on our stage in 2006, playing the Earl of Caversham in An Ideal Husband. He was subsequently involved in a further 13 productions, most often as an actor, but also as ASM, set builder and painter; he was assistant director of Twelfth Night.
He was always an entirely reliable and believable actor, but my personal opinion is that his most impressive performances were as Captain Cat in Under Milk Wood, and as the Professor in Jerusalem. Whatever the role, he was an immensely useful member of any cast, always helpful, reassuring and good humoured.
The funeral will be on Thursday 19th September at Watton-at-Stone church at 12 noon.
John Davies
Children's Audition Notice
It's a Wonderful Life
By Mary Elliott Nelson
Directed by Rob Graham
Playing dates: 13th to 21st December 2024
Audition dates:
Sunday 8th September at 10.30am
(ages 10 – 17 only)
In Room 1
Based on the film of the same name, the play centres on the travel-hungry George Bailey whose dreams are shattered when his father dies unexpectedly. Instead, he has to sacrifice his ambitions to see the world and remain in the small American town where he was born. An unfortunate mistake by a family member has a major effect on George and he wishes he’d never been born. George is saved by an angel who shows him what the world would have looked like – a much darker and miserable place – without him.
In the opening scenes (ten pages) of the play we see a flashback to George as a younger boy, firstly when he saves his brother, Harry, from an icy lake and secondly, when he works in his local pharmacy and saves a child from being poisoned. In these scenes, as well as George and Harry, we are introduced to the younger versions of Sam, Mary and Violet. This is a lovely play and a well-known story which is sure to bring in the audiences at Christmas time, and I already have a great cast of adults and a terrific backstage team. This will be a great opportunity and experience for children to get involved with what is essentially an adult production. I am therefore seeking a team of 3-5 children (ideally aged 9+) to play the younger versions of:
George Bailey – the lead character and substantial part – 50 lines
Mary – George’s first girlfriend – 7 lines
Violet – George’s friend – 4 lines
Harry – George’s brother – 10 lines
Sam – George’s best friend – 7 lines
I’m less concerned about the genders of the roles and whether the children look like their adult versions so am more than happy for boys / girls to audition for any of the parts and will instead be looking for a mix of personalities that work well together as a team. Depending on the level of interest, it may be possible to double up the roles of Harry / Mary and Sam / Violet. It would be lovely to see Barn Youth members at the audition though it’s open to all. Chaperones will be present at the audition and at rehearsals. The shows will start at 8pm with the children finished by 8.30pm. Any more information and/or scripts can be obtained from either me or Jacqueline Clayton. Thanks!
[email protected]
[email protected]
Rob Graham
Director
Audition Notice
The Revlon Girl
By Neil Docking
Directed by Belinda Gee
Playing dates: 17th to 25th January 2025
Matinee 25th September
90-minute run with no interval
Audition dates:
Sunday 8th September at 3.30pm
Wednesday 11th September at 8pm
Thursday 12th September at 8pm
all in Room 1
Scripts available from Carol Bush: [email protected] or 07686 36437
Questions for the director Belinda Gee: [email protected] or 07768 373866
The Revlon Girl is set in a dingy function room above a hotel bar in Aberfan. There are thunderstorms overhead and a leaking roof which foretell of a stormy June evening in 1967.
In October 1966 a coal tip slid down a Welsh mountain demolishing a junior school, killing 116 children and 28 adults. Eight months later, four of the bereaved mothers secretly invite a representative from Revlon to give a presentation and demonstration to their bereaved mothers’ support group. The ‘Revlon Girl’, from Bristol, is ushered in quietly, lest anyone considers the mothers to be frivolous or uncaring.
As the evening progresses, the inclusion of an outsider sparks conversations about subjects normally kept hidden. Tempers flare amongst the four old school friends. Friendly banter turns into bickering, emotional outbursts, resentment and anger, all interspersed with humour and memories of their school years. In a devastatingly sad situation there is still a lot of humour to be found. Their monologues are beautifully written for each mother to tell her story.
The ‘Revlon Girl’ naïvely believed that her experiences gave an insight into the group. She quickly learns that she is very out of her depth when faced with the raw emotions in the room. Recounting her own story finally gains her some acceptance from the mothers.
This is a heart-wrenchingly sad but funny, thought-provoking story.
Characters
Playing ages are a guideline. However, three of the mothers were at school together so will need to look the same age as each other. I will be looking mostly for chemistry and compatibility between the friends and for empathy with their situation. I need five strong, brave female actors who are prepared to share their emotions with the audience – with just the right amount of comic timing to lighten the atmosphere now and again.
Welsh accents for the mothers and a Bristol accent for the Revlon Girl will be required but, please, do not feel the need to be perfect at the audition – just give it a go. We have been offered help with accents so we can polish later.
The cast
Marilyn – early to late 30s
Introverted, fearful, tense, quiet. Has not come to terms with the deaths of her two daughters and seeks comfort from a medium.
Rona – early to late 30s
Fiery, foul-mouthed and easily set alight. Wants to get away from the valley when she receives the compensation money.
Jean – early to late 30s
Married to the church minister, regards herself as a pillar of the community. Jean hides her new pregnancy because she fears people will regard her as ‘replacing’ her dead child.
Sian – early to mid 30s
Instigator of the Revlon presentation evening and desperate for it all to go well. She would like to have another baby but her husband’s grief denies them physical contact.
Revlon Girl – mid 20s to mid 30s
Young and naïve and not prepared for the emotional turmoil of the group. She is from Bristol (across the border!) and has her own moving story to tell.
There is no lead role: all are fairly equal. Each member of the cast has their moment to tell their own story.
If the cast are willing, I would like to arrange a weekend trip to Aberfan. I have been. It is a sobering, emotional place to visit. Seeing the school site and the cemetery really helped me to understand this play better.
Belinda Gee
Director
Audition Notice
A Monster Calls
By Patrick Wilson, Adam Peck and Siobhan Dowd
Directed by Mark O'Sullivan
Playing dates: 7th to 15th February 2025 and Hertford Theatre Week
Audition dates:
Saturday 14th September at 2.30pm
Sunday 15th September at 2.30pm
both in the studio
Rehearsals from late September / early October
The story
You might know the book, or the film with Liam Neeson; you might have even seen the original production at the Old Vic. I haven’t seen or read any of those. I’ve only read the play, quickly in one sitting. And it floored me. It made me gasp, it captivated me with its magic, and then it punched me in the face, threw me off a cliff and left me in a heap, sobbing, broken… And desperate to bring it to life.
Spoiler alert: A Monster Calls is not a happy story.
Conor O’Malley’s life is not that of a typical 12-year-old’s. His dad lives abroad, he’s getting bullied at school, his mum has cancer. And Conor is angry. Understandably, Conor cannot accept the truth of what’s happening. He expends the last of his anger by confronting the yew tree at the back of his house – yew trees are ancient, magical, dripping with folklore – they can heal, can’t they? Why isn’t it healing his mum?
This is when a monster calls…
“Here is what will happen: I will tell you three stories – three tales from when I walked before. Stories are the wildest things of all! Stories chase and bite and hunt. And when I have finished my three stories, you will tell me a fourth. And it will be the truth. Your truth – the one you hide, Conor O’Malley – the thing you are most afraid of.”
The monster’s stories are sort of fairy tales, fables, allegories, set in magical kingdoms – but in these tales, good and evil aren’t always clearly delineated. Good people do bad things, bad people good. They don’t always make sense. A bit like life.
But they each contain a message for Conor, and they’re each preparation for the tale Conor must himself tell. The truth he is terrified and ashamed to admit, about his life, his situation. About his mum, and the ultimate truth of her illness.
The play
The play is in three distinct ‘modes’ which mix and change throughout. There’s the real world, which is fairly naturalistic for the main characters (but created and populated by the ensemble’s movement). The second is Conor’s Nightmare – a terrifying, dizzying sequence which is replayed at different times during the story. And then there are the monster’s stories – fairytale-esque (which we’ll have a lot of fun putting together). There is one other ‘mode’, right at the end… but I’m not going to tell you about that.
The characters
Main parts
Please note, for the younger parts – Conor, Lily, Sully, Anton, Harry – we’ll be casting 16+ (despite the characters being 12).
Conor
Conor is the focus of our story. Angry, confused, he wants to be normal, live a normal life. But life hasn’t gone that way for him. He can be stubborn and kind, strong and vulnerable. An extraordinary part, which will require an extraordinary young actor.
Mum (late 30s – early 50s)
A beautiful part for an actor who can show someone trying desperately to be strong and normal for everyone around her, whilst facing the reality of – and battling – a deadly illness.
Monster – could be almost any age late 20s+
An incredibly physical, mystical powerhouse of a role. He’s got to be both gargantuan and terrifying, kind and human, and everything in between. You don’t get roles like this very often – it’s a proper once-in-a-lifetime part.
Grandma – 60s+
Stoic, stern, serious, she seems to be everything Mum isn’t to Conor. But her rigid and hard exterior is there for an important purpose – to protect Conor and herself from the impending sadness which is about to engulf their lives.
The ensemble
(including Lily, Sully, Anton, Harry who will also play Conor’s school friends, Miss Godfrey, Mr Marl, King, Queen, Princess, Farmer’s Daughter, Prince, Parson, Apothecary, Parson, Parson’s Daughter).
I’m looking for around 8-10 actors to play the other roles, and form the physical ensemble, who will create everything from characters in the monster’s stories, to the physical spaces and landscapes of Conor’s nightmare. This will be demanding, physically and mentally, but a lot of fun, and I’m open to anybody of any age (with the exception of those who will be playing Conor’s schoolfriends) who wants to come along to audition. You need to be able to move, and be strong enough to support others, and hold some tricky shapes and positions. If in doubt, come and have a go!
Crew
We already have a talented bunch of creatives and crew including:
Music – Ian Cullen
Set – Chris Janes
Costume – Tiffany Breeze and Jenny O’Sullivan
Movement – Natalie Garvey
Stage Manager – Madeleine Palmer
Auditions
The auditions will be in two parts – separate readings of parts, plus a movement / ensemble workshop. You’ll need to attend both parts (on the same day, if you can).
Each of the two sessions will comprise:
Hour 1 – separate auditions for named roles
Hour 2 – movement workshop (everybody)
Hour 3 – separate auditions for named roles
When you book in for an audition, tell us which movement workshop slot you can do, and we’ll arrange your individual audition for either side of it.
If you’re only interested in auditioning for the ensemble, that’s fine – just let us know. And if you can’t make either, but are interested, let us know, and we’ll try to find an alternative time / date.
Contact George Curry ([email protected]) to book an audition slot.
Contact Mark O’Sullivan ([email protected]) if you would like to discuss anything ahead of the auditions.
Mark O’Sullivan
Director
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 (7pm – 9pm)
Friday 18th October (7pm – 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
Kim Southey
[email protected]
07790 153374
Jane Southey
Director
Wanted...a prompt!
New stage floor!
During the summer break, we did some repairs to the stage floor by replacing the hardboard covering over the front half of the stage. During the process, we exposed the original stage ‘boards’ from the 1930s which are in remarkably good condition despite the multitude of nail holes from years of set building. Those boards have witnessed all sorts of performances over the years. Talk about uncovering ghosts…
Thanks to Bob Cameron, Ian Bage, John Sear, David Fairhurst and Dave House.
Robert Gill
Stage Director
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
Auditions
It’s a Wonderful Life
Sunday 8th September at 10.30am
(Children 10–17yrs)
The Revlon Girl
Sunday 8th September at 3.30pm
Wednesday 11th September at 8pm
Thursday 12th September at 8pm
A Monster Calls
Saturday 14th September at 2.30pm
Sunday 15th September at 2.3opm
Growing Pains
Wednesday 16th October 7pm to 9pm
Friday 18th October 7pm to 9pm
Social and Club events
Barn Open Day
Sunday 15th September
Singers at the Barn
Sunday 1st September at 7pm
Sunday 6th October at 7pm
Jazz at the Barn
Friday 6th September at 8pm
The Red Stripe Band
Friday 13th September at 8pm
Next Council meeting
Tuesday 17th September 8pm
Members’ password
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