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The death of a much loved husband prompts a group of ordinary women in a small Yorkshire Women’s Institute to do an extraordinary thing. Blasting away all preconceptions of what it is to be in a women’s institute, they decide to do an artistic nude calendar to raise money for charity. Upturning preconceptions is a dangerous business and none of them expect the emotional and personal ramifications, but gradually the making of the fabulous and funny calendar brings each woman unexpectedly into flower.
| Annie | Tammy Wall |
| Chris | Lisa Fitzgerald |
| Celia | Alison Downes |
| Cora | Mandy Sayers |
| Jessie | Susan Read |
| Ruth | Louise Bateman |
| Colin | Peter Sayers |
| Dennis | Chris White |
| John | Alex Ryde |
| Lawrence | Vinnie Clemmens |
| Rod | Adam Beckman |
| Teenagers | |
| Danny | Archie Davies |
| Jenny | Emma Gilby |
| Tommo | Kyle Hoy |
| Other members of the cast | |
| Brenda Hulse & Tannoy (Fête) | Avril Robinson |
| Jeff | Ray Beckman |
| Lady C | Sarah Gennoe |
| Marie | Gill Shaw |
| Nurse | Bex White |
| School Girl | Chloe Palmer |
| School Girl | Lauren Hill |
| Sister | Maryann Scott |
| Vicar | Richard Grifiths |
| Alice | Alice Palmer |
| Angela, Tannoy (Conference) | Angela Monaghan |
| Wilson Coffee | Colleen Town |
| Wilson Tea | Annette Leishman |
| Director | Clive Dancey & Mandy Sayers |
| Musical Director | David Meek |
| Production Manager | Avril Robinson |
| Costumes | Louise Bateman |
| Alice Palmer | |
| Set Design and Build | Tim Spink |
| Martin Lester | |
| Sound & Lighting Design | Andy Barker |
| Maisie Gibson | |
| With thanks to Nic Mog and Clifton Hoyle | |
| Props | Vanessa Baker |
| Nick Baker | |
| Advertising and Programme | Martin Lester |
| Treasurer | Angela Monaghan |
| Social Media | Louise Bateman |
| Adam Beckman |
| MD & Keyboard 1 | David Meek |
| Keyboard 2 | Stephen Lethbridge |
| Drums | Dan Wild |
A musical by Take That singer Gary Barlow and Tim Firth is coming to the stage in Welwyn Garden City.
The multi-award-winning Welwyn Thalians are bringing the West End show Calendar Girls the Musical to Thalian Hall this month. The death of a much-loved husband prompts a group of ordinary women in a small Yorkshire Women’s Institute to do an extraordinary thing. Blasting away all preconceptions of what it is to be in a women’s institute, they decide to do an artistic nude calendar to raise money for charity.
Upturning preconceptions is a dangerous business and none of them expect the emotional and personal ramifications but gradually the making of the fabulous and funny calendar brings each woman unexpectedly into flower.
Director Clive Dancey said: “It has been a challenge at times bringing a huge West End show like this to our stage but with a strong cast of 25 people the inhabitants of Knapely Village bring the story alive.
“Calendar Girls has been exciting to direct, particularly nurturing the characters and watching them grow, just like sunflowers.
“Also capturing the essence of the close knit community has been rewarding.
“It’s a rollercoaster of laughter, tears, joy and sorrow with an enduring message of hope.”
Co-director Amanda Sayers said: “I have enjoyed supporting our main director Clive in not only directing the more liberating areas of this classic story, but also being part of a group of amazingly strong ladies, each with their own story weaving throughout the show.
“I think we even surprised ourselves when the calendar event arrived how less scary it was to reveal more of ourselves when you are surrounded by wonderful women, who are also feeling the fear but doing it anyway!”
Calendar Girls is based on the true story of John Baker from Yorkshire, who tragically died in 1998 from non-Hodgkin lymphoma. During his illness, the idea for the alternative W.I. calendar was born and the creation provided much mirth and entertainment for John throughout his illness.
Following John’s death the fundraising continued and all the activities have raised £6 million for Blood Cancer UK, of which Angela Knowles MBE – John’s wife and Miss February in the original calendar – is an Honorary President.
Calendar Girls the Musical runs from Tuesday, October 25 to Saturday, October 29 at 7.30pm, plus a Saturday matinee at 2.30pm, at the Thalian Hall, 64-68 Bridge Road East, Welwyn Garden City.
Venue: Thalian Hall
This show ran from Tuesday 25th October to Saturday 29th May 2022, including a Saturday matinee.
Show start time: 7:30pm.
Dare – the song at the end of Act 1… sums up this whole story.
A group of women ‘dared ‘ to do something. Something that had never been done before and took amazing courage to do so.
In regard to this show it was my duty to honour the script and the moments that these women went through by keeping our ‘ladies‘ grounded in reality of their situation. To not ‘ overly musical theatre ‘ the show but to keep it real as much as is possible and to bring across the ultimate message of ‘courage’.
We have used our space to create a variety of ’areas’ in which our characters can live out their scenes and we hope that you will join us on this journey.
Our whole cast has worked on this show to bring to you all a story of ‘together-ness’, of ‘joy’ of ‘sadness and loss‘ of ‘acceptance’ of ‘moving forward’ and of ‘creating something good‘ out of a bad situation.
We hope that this show brings a lot of joy to you all in what are currently quite difficult times and that you leave with new found vigour, determination and would maybe inspire you to make a difference in your life and community.
The play is a musical reconstruction of incidents relating to the East End murders which took place between Friday, August 31st and Friday, November 9th, 1888. A solution of Jack the Ripper’s identity is hinted at, but the play is an atmospheric commentary rather than an historical re-enactment, shifting between reality and artificiality, with characters representing “real” people as well as members of the music hall audience and players.
| Marie Kelly/Music Hall Soubrette | Tammy Wall |
| Lizzie Stride/Queen Victoria | Jenny Lewin |
| Annie Chapman | Alison Downes |
| Poly Anne Nichols | Maryann Scott |
| Catherine Eddowes | Louise Bateman |
| Martha Tabram | Gill Shaw |
| Montague Druit | Clive Dancey |
| Chairman | Adam Beckman |
| Daniel Mendoza | Carl Robinson |
| Dinky Nine-Eights | Vincent Clemmens |
| Bluenose Stack | Alex Ryde |
| Slop Wallace | Martin Lester |
| Lady Overcoat | Sarah Gennoe |
| Police Sergeant Coles | Peter Sayers |
| Ensemble | Annette Leishman |
| Bex White | |
| Colleen Town | |
| Jackie Radford | |
| Vicki Shaw | |
| Ray Beckman | |
| Richard Griffiths |
| Director and Chorographer | Amanda Sayers |
| Production Manager | Avril Robinson |
| Musical Director | Peter Farrell |
| Artistic Director | Nick Baker |
| Specialist Choreography | Tammy Wall |
| Avril Robinson | |
| Costumes | Tammy Wall |
| Louise Bateman | |
| Set Design and Build | Tim Spink |
| Martin Lester | |
| Sound & Lighting Design | Andy Barker |
| Props | Vanessa Baker |
| Amanda Sayers | |
| Advertising and Programme | Martin Lester |
| Treasurer | Angela Monaghan |
| Social Media | Martin Lester |
| Louise Bateman | |
| Clive Dancey |
| Piano | Peter Farrell |
| Drums | Dan Wild |
| Bass | Olly Dowlen |
Review by Vicki Avery
Noda District 9
I was really looking forward to seeing this production, and I wasn’t disappointed as this was very well presented, rehearsed and sung.
The set design and construction had an eye-catchingly effect, representing both the street and the music hall. Using footlights at the front of the stage gave the impression of a music hall whenever needed and I thought the extra waterfront of the Thames added to the overall illusion. Congratulations to Tim Spink and Martin Lester for a great set design and build.
Company singing was great – ’Saturday Night’ was full of gusto as was ‘Sing Sing’. ‘There’s a Boat Coming In’ was filled with hopefulness only to be replaced by the utter misery of ‘Look at Them’.
Tammy Wall gave an excellent performance as Marie Kelly. She was tough but also showed a sensitive side to her character and she sang with emotion. I enjoyed the poignant rendition of ‘Goodbye Day’ with Alison Downes (Annie) and Jenny Lewin (Lizzie).
Poor Annie, not the brightest of women and it was inevitable that she would become a victim – Alison made a really good job of the character. Well done.
Jenny Lewin was kindly and yet unbending as Lizzie Stride and her ‘Step Across The River’ with Marie Kelly was full of pathos.
Louise Bateman as Catherine Eddowes gave a convincing portrayal throughout. Working well with both principals and company. Good facial expressions and body language.
Gill Shaw took on the role of Martha Tabram, whom some believe may have been The Ripper’s first victim. Gill was able to blend her role as Martha and that of a member of the main company perfectly. Convincingly achieved by an experienced actress.
As Dan Mendoza, Carl Robinson was superb. – He strutted around full of confidence as the leader of the gang of men. He was rough and tough and regarded the girls, who were his source of income, as his property. Convincing characterisation here.
Clive Dancey gave a strong performance as Montague Drewitt; very correct and elegant as a man of his class would have been, but also sinister and spine chilling enough to hint at the possibility of his being The Ripper. He made my skin crawl!!
The Chairman must engage the audience from the start and Adam did this very well. In his scene as Charlie Warren, the audience were able to pick up all the innuendo as he gave them time to think. He was splendid in the role. I particularly enjoyed “There Ain’t Any Work Today” which he sang with the company.
Alex Ryde played Bluenose as a gentle soul who was constantly pushed around by Dan and surely was black and blue by the end of the run!
Martin Lester gave a relaxed, confident performance as Slop as did Vinnie Clemmens as Dinky. The gang worked really well together and all three of them added much to the comedy of the piece.
Lady Overcoat was characterised just right by Sarah Gennoe, and her letter-writing scene (where did she learn to write I wonder?) was one of the most entertaining in the show.
Jenny Lewin also played the role of Queen Victoria, which provided a wonderful opportunity to be a posh cockney. She did it well.
As Polly Ann Nichols, Maryann Scott gave a good performance and I believe there is huge potential here for the future.
There were many other named characters who all added to the staging of the musical enabling the audience to be transported back in time to the hardships of life in Whitechapel in the late 1880’s, with characters who would have lived and struggled to survive there. Woven in amongst all that darkness was their spirit of fun, and of course the bawdiness inherent in such a story.
The Policemen’s Chorus was hysterically funny– I loved it. The fact that they weren’t completely dressed as women added to the hilarity and the audience love it too.
Costumes, hair and make-up were suitable for the era, but I felt that the company did not look grubby enough. Perhaps a black eye or a split lip would have added to the desperation of these unfortunate people.
The lighting was especially good and added to the atmosphere to the show. The sound was fine. Projection and diction were exceptional.
A small band was all that was needed for the musical and under Peter Farrell’s direction it was nicely balanced and accompanied the soloists sensitively. Musicality and harmonies were secure.
Thank you for your generous hospitality and I hope to see you again soon.
Venue: Thalian Hall
This show ran from Tuesday 24th May to Saturday 28th May 2022
Show start time: 7:30pm.
In the late 1920’s Velma Kelly was found in her hotel room with blood on her hands after her sister and fiancé were found murdered in Hotel Cicero. Though she had no recollection she was sent to Cook County Jail to await trial for murder Roxie Hart while having an affair with Fred Casel shot him after he tried to walk out on her. After a confession to the police she was sent to the same jail to await trial for murder and met up with Velma Kelly who introduced her to the lawyer Billy Flynn who was to represent her in her case Roxie convinced her mild and put upon husband, Amos, to put up the money for the lawyer and while representing Roxie , Billy built up for her, a fame and notoriety that was soon picked up by the press and moved her up from being common criminal to a celebrity and a star.
| Velma Kelly | Sera Dinmore |
| Roxie Hart | Tammy Wall |
| Billy Flynn | Carl Robinson |
| Matron Mama Morton | Kat Foxworthy |
| Amos Hart | Chris White |
| Mary Sunshine | Amanda Sayers |
| Hunyak | Jade Marriott |
| Liz | Jess Kolthammer |
| Annie | Josie Melton |
| June | Nicola Anne Clift |
| Mona | Melanie Plowman-Cobb |
| Go To Hell Kitty | Victoria Polydorou |
| Fred Casely/Harry | Tom Beirne |
| Fogarty | Peter Sayers |
| Harrison/Aaron/Announcer | Adam Beckman |
| Judge/Doctor | Martin Lester |
| Clerk | Bex White |
| Juror | Louise Bateman |
| Reporter 1 | Alison Lilly |
| Reporter 2 | Susan Read |
| Ensemble | Alison Downes,MJ Scott,Karen Bertram |
| Production Managers | Amanda Sayers and Rachael Betts |
| Stage Manager | Vinnie Clemmens |
| Lighting | Clifton Hoyle |
| Costumes | Yvonne Bartlett, Tammy Wall and Louise Bateman |
| Props | Nick Baker and Vanessa Baker |
| Set construction | Tim Spink and Martin Lester |
| Rehearsal pianist | Laura McHugh |
| Stage design and concept | Clive Dancey |
| Social Media Marketing | Tamsin Goodwin-Connelly |
| Rehearsal tracks hired from Right on Cue Services. | |
| Thanks to Haberdashers School and The Barn Theatre for the loan of various props. |
| Production Managers | Amanda Sayers and Rachael Betts |
| Stage Manager | Vinnie Clemmens |
| Lighting | Clifton Hoyle |
| Costumes | Yvonne Bartlett, Tammy Wall and Louise Bateman |
| Props | Nick Baker and Vanessa Baker |
| Set construction | Tim Spink and Martin Lester |
| Rehearsal pianist | Laura McHugh |
| Stage design and concept | Clive Dancey |
| Social Media Marketing | Tamsin Goodwin-Connelly |
| Rehearsal tracks hired from Right on Cue Services. | |
| Thanks to Haberdashers School and The Barn Theatre for the loan of various props. |
Review by Vicki Avery
Noda District 9
This was Clive Dancey’s first venture into directing adults and if you are going to cut your teeth on anything then why not go for a “Biggy!” The challenge of Chicago needed a well drilled cast who were used to working in a somewhat confined space, but with careful creative execution this is exactly what he got. The stark black setting, off set with cell block bars gave a minimalistic feel and the clean and classic letters of Chicago in red lights created a very dramatic effect.
If the setting and props are stripped back to the minimum then one has to rely on effective lighting. This was well designed and took our eye exactly to the action.
Musical Director Daniel Ephgrave and his small orchestra integrated into the show well although there were a few times when those members of the cast who did not project their voices quite so well were overtaken and could not be heard.
Choreography was slick, and as Fosse-esque as you would expect. The Cell Block Tango was on pointe. Exactly what I would expect from Tammy Wall.
Velma Kelly was expertly played and danced by Sara Dinmore – I certainly believed that she would shoot both her sister and husband if they crossed her. Strong casting here. She had a great rapport with Roxy and Mama Morton, played by Katherine Foxworthy. ‘Class’ was fantastic and their voices really blended beautifully.
Katherine Foxworthy looked to be enjoying every moment playing Matron Mama Morton and I loved the comedy she achieved with the part and the nuances, however, I did feel that she needed to be aged somewhat as this fresh faced young actress looked too young to have experienced a life of manipulation and depravity in a late 1920’s jail.
Roxie played by the very talented Tammy Wall simply blew me away. The song “I Know a Girl” was just amazing. The famous “Both Reached for the Gun” with Billy Flynn and the chorus was so strong and slick. Tammy’s characterization was simply beautiful and delicately done throughout, worthy of the West End.
Billy Flynn played by Carl Robinson again strong casting as the sleazy buck-making lawyer, holding on that long note while checking his bow tie and cuff links – brilliant.
Amos Hart played by Chris White was perfect for this role. A seasoned actor, he gave us a masterclass in insignificance, a very spectacular moment and one that had a very different feel from the rest of the show, gaining the audience’s sympathy. He played this role exactly as I imagined and I loved it. Congratulations.
Mary Sunshine played by Amanda Sayers, the tabloid reporter who always presumed that there was a little bit of good in everyone, including cold blooded killers, had the right impact on all her entrances. Normally played by a man in drag, you could tell Amanda really enjoyed playing the part.
Adam Beckman as the announcer gave a competent performance, with a twinkle in his eye that made us want to know more about what was coming next. Understated yet oh so necessary. Well done.
The cast were strong and there was not a weak link in the minor characters or ensemble.
The women prisoners in ‘Cell Block Tango’ were all sexy, strong in character/pose and looked very striking in their various black outfits, all bringing out their personalities from protesting their innocence.
Shout out to Hunyak played by Jade Marriott. Jade`s accent was flawless – not a clue what she was saying (without googling it), but who cares? I could listen to her talk like that forever! Well done Jade.
Costumes throughout looked good and stylised.
I have seen this musical a few times and I enjoyed this exciting, energised and astute production just as much as when it first became available to amateurs.
Congratulations to you all.
Venue: Thalian Hall
This show ran from Wednesday 29th Jan to the 1st Feb 2020 .
Show start times: 7:45pm and 2:30pm on the Saturday matinee.
‘the celebrity criminal’
‘CHICAGO’ The musical is based on a 1926 play of the same name by Maurine Dallas Watkins who was a journalist at this time and wrote about her experiences with criminals and crimes she actually reported on. The show penned by Kander and Ebb, took a satirical look at the play and turned it into the musical, CHICAGO.
Underneath all the well known showtunes and dances and all-round showbiz the story went on to tell the stories of Velma Kelly and Roxie Hart and to celebrate their ascendance to the titles of ‘celebrity criminals’.
CHICAGO
From the moment I was approached to direct this show I wanted to look it from a ‘real’ point of view. I wanted to look at the reasons why these women did what they did.
Were they pushed too far or are they justified in what they did ? There is a danger of this show becoming all about the dance or the big ‘numbers’ we all know like ‘cell block tango’ but I wanted to get back to basics .. to what Kander and Ebb were saying when they wrote this show. They took a satirical look at the world of the ‘celebrity criminal’ but threw in moments that challenge the whole concept. There are moments of glamour, thriller and comedy but most of all I believe there is an undertone in this show emphasizing the way ‘murder’ has become ‘glamourized’ by the press.
In 2020 we devour programmes about prison life , we love the fiction of ‘Orange is the new Black’ but we also love the factual stories like ‘Making a Murderer’ and we indulge in these fascinating stories that are told behind the steel prison gates.
Our production
I have been so privileged to work with so many talented performers throughout the Hertfordshire area. Their skills in dance, singing and performance are second to none and the ability to convey the story through all these mediums has moved this show on in leaps and bounds . Thank you all ,for the experience, the support, the energy, the commitment and the pure guts to perform this show.
I hope that you all enjoy the show as much as I have enjoyed working with
you all and putting it together.
The modern musical, Dirty Rotten Scoundrels, is based on the 1988 MGM film of the same name, starring Michael Caine and Steve Martin. In the exotic French Riviera, Lawrence Jameson makes his living by smooth talking rich, single women out of their money. He has been in the trade for many years and has got his technique down to a tee. But then he bumps into Freddy Benson … Freddy takes a humbler, more laid back approach, swindling women with emotional lies about his grandmother’s failing health and his own economic struggles. The two men initially decide to form a double act but their egos soon clash and the French coast isn’t big enough for the two of them. To settle their rivalry, they agree on a bet: the first to swindle $50,000 from the latest young heiress in town, Christine Colgate, can stay and the other must leave town . However, is Christine really all she seems? Hilarity and confusion ensue as the two men pull out all the steps to prove they are the best con man in town.
| Lawrence Jameson | Peter Sayers |
| Freddy Benson | Alex Ryde |
| Christine Colgate | Tamsin Goodwin-Connelly |
| Andre Thibault | Adam Beckman |
| Muriel | Alison Downes |
| Jolene | Kat Foxworthy |
| Cameo Roles | |
| Woman 1 (Lenore) | Alison Lilly |
| Woman 2 (Sophia) | Vicki Shaw |
| Woman 3 | Maryann Scott |
| Woman 4 | Devi Smart |
| Usherette | Jenny Lewin |
| Renee | Sarah Gennoe |
| Conductor/Hotel Manager | Clive Dancey |
| Waiter and Porter | Martin Lester |
| Croupiere | Rachael Betts |
| Sailors | Ray Beckman Richard Griffiths |
| Ensemble | Melanie Plowman-Cobb, Angela Monaghan, Elle Berrie, Darren Barsby, Stephanie Dunn, Tammy Wall, Gill Shaw, Louise Bateman, Colleen Town, Annette Leishman, Theresa Kiernan, Karen Bertram |
| Production Director | Amanda Savers |
| Assistant Director | Nick Baker |
| Production Manager | Avril Robinson |
| Choreography | Amanda Savers, Alison Downes, Tammy Wall |
| Musical Director | Peter Farrell |
| Stage Manager | Vinnie Clemmens |
| Assistant Stage Manager | Tim Spink |
| Stage Crew | Jackie Radford, Nick Baker |
| Costumes | Tammy Wall, Louise Bateman |
| Prompt | Brigitte Trister |
| Properties Manager | Vanessa Baker |
| Properties Team | Nick Baker, India Mason-Mills |
| Lighting Design | Cameron Biggs |
| Conductor | Peter Farrell |
| Reeds | Dan Ephgrave, Nathan Harding, Sue Pettit |
| Percussion | Dan Wild |
| Trombone | Ian Daniels |
| Trumpets | Tim Welch, Mia Raso |
| Bass | Olly Dowlen |
Review by Vicki Avery
Noda District 9
Taking on a show that few people know anything about can be a risky business as many a Society can testify. However, Welwyn Thalians took the gamble to perform the musical adapted from the 1988 film which starred Michael Caine and Steve Martin as two conmen working on the French Riviera and should really have paid dividends. The show was very funny and definitely should have pulled more people into the theatre.
Principally the show is a five-hander, plus a cameo performance from one of the society’s up-and-coming performers, Kat Foxworthy as Jolene. A good character actress but take care not to push the vocals too hard as there were moments when breath control was not secure. Otherwise I enjoyed your interpretation.
Much depended on the quality of the leading quintet however, and director, Amanda Sayers must have been proud of what they have achieved.
The two conmen, played by Peter Sayers as Lawrence Jameson and Alex Ryde as Freddy Benson were very convincing, sparking off each other throughout. Both seemed perfectly comfortable whether on script, or indeed off it, as several topical lines produced titters from the audience. Vocals were confidently sung and duets well balanced.
Tamsin Goodwin-Connelly provided the perfect foil as Christine Colgate, the butter wouldn’t melt in the mouth ‘little innocent’ American heiress, who becomes the target for the conniving duo.
This was Tamsin’s return to the Company after a break of some 16 years, and hopefully she will stay a while. Diction and accent were both well sustained and vocals were secure.
Andre Thibault, Lawrence’s ‘secretary’ and arranger, was played convincingly by Adam Beckman, who along with the competent Alison Downes as Muriel lent much to the success of this production with another two fine performances.
There wasn’t a great deal of work for chorus, but along with some thoughtful choreography they added some colour and support to the show.
There are no well-known numbers in the show, but the music is catchy enough and well sung by both the principals and chorus. I particularly enjoyed “Guys Like Us”.
The orchestra created a really good sound but at times overwhelmed the cast especially where it was spoken word over the music.
The scenes were creative and well planned. The props complemented the scenery and gave an uncluttered appearance. The lighting was well done and the split stage covered extremely well. The costumes worked well but some of the hem lines were a little on the short side and I did not quite understand the mix of evening and day wear in the same scene. The production was very well crafted and the integration of the principals and chorus was evident with each member of the chorus creating their own persona.
Well done on bringing together the many complicated scenes thus creating a story with style and panache.
Thank you once again for your generous hospitality and I look forward to your next production.
Venue: Hawthorne Theatre
This show ran from Wednesday 13th November to Saturday 16th November 2019
Show start times: 7:45pm and 2:30pm on the Saturday matinee.
Gilbert and Sullivan’s most popular show, The Pirates of Penzance, is a rollicking, delightfully funny tale of a band of soft-tempered pirates. Mistakenly apprenticed to a pirate (instead of a pilot) by his nursemaid Ruth at the age of eight, the handsome Frederic is now twenty-one and, though quite fond of the group of joyous and fun-loving pirates, chooses to abandon his profession and “lead a blameless life henceforth,” dedicating himself instead to their eradication. Shortly after leaving them, he encounters a gaggle of beautiful maidens (one of whom, Mabel, steals his heart) and their father, the eccentric Major-General. The whole group has a run-in with the pirates themselves before escaping on the false premise that the Major-General is an orphan — a fact these tender hearted pirates simply cannot help but take into account, given the fact that the majority of them are orphans themselves and “know what it’s like.” Just as Frederic is ready to lead a band of lily-livered policemen to take out the Pirate King and his men, a secret is uncovered that will change his fate forever, but, naturally, all comes out right in the end.
| Pirate King | Adam Beckman |
| Samuel | Peter Sayers |
| Ruth | Louise Bateman |
| Frederick | Alex Ryde |
| Edith | Justine House |
| Kate | Mariama Barrie |
| Mabel | Melanie Plowman-Cobb |
| Major General | Clive Dancey |
| Police Sergeant | Alison Downes |
| Police Women | Avril Robinson Gill Shaw Colleen Town Jane Smith Jenny Lewin Sarah Gennoe |
| Daughters | Tammy Wall Lauren Hill Rachael Betts Maryann Scott |
| Concubines | Alison Downes Gill Shaw Colleen Town Jane Smith Jenny Lewin |
| Pirates | Mike Smith Richard Griffiths Ray Beckman Vinnie Clemmens Martin Lester |
I don’t mind admitting that Gilbert & Sullivan have never been on my playlist, nor had I ever seen any of their operettas. I was familiar with several of their compositions however, songs such as “I am the very model of a modern Major General” and “When a fellon’s not engaged in his employment” (a.k.a. A Policeman’s Lot Is Not A Happy One). So I was unsure quite what to expect when I took my seat for the final performance of The Thalians latest offering “The Pirates Of Penzance” at the Thalian’s Hall in Bridge Road East, WGC on Saturday last.
I need not have worried as the entire show was a visual and musical delight from beginning to end. I do not exaggerate when I say it had everything from comedy, pathos, virtuoso singing (more of that later in my review), rousing ensemble singing, glamour, and did I mention comedy? Added to this was a first-class musical accompaniment by musicians, though few in number (only 3 plus Musical Director), who produced a full sound worthy of a much larger music section.
With a cast list of 24, fairly evenly split between ladies and gentlemen, many taking dual roles, it would not be practical to name everyone. However, I must single out some of the principal performers for special mention. Adam Beckman is not a newcomer to Thalians and was cast as The Pirate King, in stature and vocal performance I feel sure he would not be out of place of the stage of many professional opera companies, his commanding on-stage presence was mesmerising and his characterisation and vocal range a highlight of the show. Melanie Plowman-Cobb is new to Thalians, though clearly not new to singing. She was cast as Mabel, one of the Major General’s daughters, and it was as though she was born for the part. Her strong and assured singing was beautiful, and a perfect match for Alex Ryde who played Frederick, her love interest. Alex returns to Thalians after a break of several years and one wonders what he has been doing in the intervening period, performing I hope as his performance was first-class. Louise Bateman, a Thalians stalwart, was a joy to watch, first as the dowdy, down-trodden Ruth, Frederick’s nanny, and in the second half as a voluptuous lady pirate in black leather bustier (okay PVC but still!), breeches and thigh length boots (I needed to lie down for a while). Her singing and comic performance were spot on. Clive Dancey took the part of Major General and certainly did it justice, he was funny and energetic and carried off his iconic song extremely well. His other ‘daughters’ were played by Justine House as Edith, Mariama Barrie as Kate, both of whom sang solos, and Tammy Wall, Lauren Hill, Rachel Betts and MJ Scott, who were hilarious as modern day, slightly chavvy teenagers with all the usual poses and selfie taking. Peter Sayers was a very funny Samuel, the Pirate King’s right-hand-man, and Alison Downes played a very convincing Police Sergeant.
The Policewomen, the Concubines and the Pirates completed the cast and were lively, enthusiastic and rarely off stage. The costumes, choreography and simple stage set complemented the whole production and were much appreciated by the capacity audience who gave a seated but rousing ovation for a truly great evenings entertainment.
Congratulations to all involved, particularly Peter Farrell, the Musical Director, Tammy Wall and Alison Downes for choreography and Amanda Sayers, the Director who was also responsible for choreography. I await Thalians next production with anticipation.
Venue: Thalian Hall
This show ran from Wednesday 13th November to Saturday 16th November 2018.
Show start times: 7:45pm and 2:30pm on the Saturday matinee.
| Rita O’Grady (Eddie’s Wife) | Katherine Foxworthy |
| Eddie O’Grady (Rita’s husband) | Clive Dancey |
| Beryl (Machinist with a big gob!!) | Gillian Shaw |
| Connie Riley (Shop Steward) | Louise Bateman |
| Sandra Beaumont (Sexy Machinist) | Chloe Winter |
| Clare (Ditsy machinist) | Tammy Wall |
| Cass (Almost on the game machinist) | Alison Downes |
| Monty (Union Shop Steward – women) | Darren Barsby |
| Sid (Union Shop Steward – men) | Stuart Carnegie |
| Bill (Union Shop Steward – men) | Simon Parr |
| Stan (Union Shop Steward – men) | Martin Lester |
| Barry (Factory Worker that all women want) | Joe Hogan |
| Mr Hopkins (Di rector- Ford Dagenham) | Tim Spink |
| Lisa Hopkins (Wife of Mr Hopkins) | Sarah Gennoe |
| Harold Wilson (Prime Minister) | Peter Savers |
| Barbara Cast le (Minister of Transport) | Alison Gibbs |
| Tooley (American Boss) | Barny Shergold |
| Graham O’Grady (Rita/Eddie’s son) | Oliver Johnson |
| Sharen O’Grady (Rita/Eddie’s daughter) | Imagen Carnegie |
| Gregory Hubble (Personnel Director) | Ray Beckman |
| Mr Buckton (Slightly Sadistic School teacher) | Vincent Clemmens |
| Chubby Chuff (Comedian) | Ray Beckman |
| Cortina Man (Singer) | Darren Barsby |
| Minister Aides | Vincent Clemmens, Tim Spink & Martin Lester |
| Ensemble | Vicki Collins, Lauren Ryan, Colleen Town, Angela Monaghan, Claire Walker, Alison Lilly, Stevie Gibbs, Maryann Scott, Devi Smart & Stephanie Dunn. |
| Gymnasts | Masie Currant & Gwen Currant |
| Production Director | Amanda Savers |
| Production Manager | Avril Robinson |
| Choreography | Amanda Savers& Tammy Wall |
| Musical Director | Peter Farrell |
| Stage Manager | Jackie Radford |
| Assistant Stage Manager | Adam Beckman |
| Stage Crew | Chris Blythe, Nick Baker Richard Griffiths & India Mason-Mills |
| Properties Manager | Fiona Parsons |
| Lighting Design | Cameron Biggs |
| Sound Operator | Richard Griffiths |
| Costumes | Tammy Wall & Louise Bateman |
| Hawthorne Theatre Manager | Mark Woolman |
| Hawthorne Theatre Technical Manager | Julian Brooks |
| Front of House | Diane Cull, Carol Beckman, Elle Howe, Ann Clemmens, Jane Thorn & Mike Smith |
| Chaperones | Yvonne Bartlett & Sheila Mog |
| Conductor | Peter Farrell |
| Trumpet | Tim Welch |
| Reeds | Nathan Harding & Sue Pettitt |
| Bass Guitar | Will Stringer |
| Keyboard | Peter Farrell |
| Percussion | Ben Falkiner |
Review by Vicki Avery
Noda District 9
Despite performing the specialized task of sewing upholstery for car seats, women were classified as unskilled labour and paid much less than men. Encouraged by a sympathetic union representative, the women’s grievances are notified to Ford. The meeting goes badly and, outraged by the company’s lack of respect for them, Rita leads her colleagues to strike. This was a good choice for the company.
Katherine Foxworthy in her portrayal of ‘Rita O’Grady’ gave an outstanding performance reflecting how life had changed from domesticity at home to the reluctant though feisty spokesperson fighting for equal pay. There was a marked difference between both sides of her character which should be commended.
Clive Dancey as her husband “Eddie O’Grady’ was equally strong and the chemistry between them in tenderness and battle was a powerful one. Vocals were good and I particularly enjoyed his take on “The Letter”.
The first of a number of scene changes flowed well and introduced us to a Factory environment and a men’s chorus singing ‘Made in Dagenham’. This was quickly followed by a change to the sewing room and a very strong line-up for the girls who were at the heart of this historic event.
An appealing musical score & orchestra, ably controlled by Peter Farrell, contained some major harmony pieces.
“This is What We Want”” featuring bold brassy women none more so than ‘Beryl’(Gillian Shaw), with great effect demonstrating throughout her performance a special vocabulary – or lack of it – Yes, in the script but language that became a bit gratuitous.
‘Sandra’ (Stevie Gibbs), ‘Cass’ (Alison Downes) and with precise timing and in comedy mood ‘Clare’ (Tammy Wall), performed with the women “Wossename” which was excellent.
In depth and emotion ‘Connie’ (Louise Bateman) gave a convincing and emotional performance as the union representative character, losing her battle with cancer.
‘Lisa Hopkins’ (Sarah Gennoe) was every bit the upper-class wife of Ford’s UK boss in befriending the girls with sympathy for their plight but in dress and manner despite life poles apart.
In style and characterization, the men on the factory floor too many to mention individually were strong and powerful are to be commended for their contribution to the production.
‘Harold Wilson’ (Peter Sayers) in character, complete with pipe was brilliant as were his aides in the bowler hats song and dance routine – “Always a Problem”. However, at times the accent was not secure and one had to listen extra hard to pick up the nuances of the Yorkshire brogue.
As ‘Mr. Hopkins’ the Managing Director of Ford UK (Tim Spink) played the character with conviction. Under pressure yet covering it well.
Based on the white paper in “Place of Strife” the equal pay act was promoted and driven through by ‘ Barbara Castle’ very capably played here by Alison Gibbs as a no nonsense down to earth Secretary of State for employment. The scene in the House of Commons when she failed to secure agreement for a 92% towards equal pay worked well.
Ford of course is an American company and ‘Mr. Tooley’ (Barney Shergold) along with the ensemble in “This is America” presented a fast-moving opening to the second act. Again, unfortunately the accent was not secure and I sensed that the actor felt somewhat uncomfortable delivering some of his line. An accent and voice coach might have helped here.
There was great humour, powerful singing with pace and energy in the well-choreographed routines and raw emotion demonstrated by Darren Barsby as ‘Monty’ in his wonderful tribute to Connie. In “The Letter” too ‘Eddie’ produced a superb vocal performance.
Oliver and Imogen did well as the O’Grady children and it was evident that here we had two young star of the future. Congratulations to you both.
This was a big set, big story production with all involved making their contribution towards a successful show. There were props and scenery that made everything real and believable. I loved the launch of the Cortina1600E.
Well done all and thank you for your hospitality.
Venue: Hawthorne Theatre
This show ran from Wednesday 9th May to Saturday 12th May 2018
Show start times: 7:45pm and 2:30pm on the Saturday matinee.
When a new princess is born to King Norbert and Queen Dorothy, the entire kingdom rejoices. At a ceremony, three good fairies – Peaceful, Graceful and Beautiful bestow magical gifts on the child. However, before Peaceful finishes her wish an evil sorceress named Carabosse shows up with her evil cat Spindleshanks and, because of a rude remark by one of the fairies, she places a curse on the princess – that she will die before sunset on her 18th birthday after pricking her finger on a spinning wheel’s spindle. Peaceful turns things around by completing her wish and casting a spell that will allow the princess – named Aurora – to awake from an ageless sleep of 100 years by a kiss from her true love. The King is angry and banishes all spinning wheels. All is well and Aurora meets a Prince, Prince Orlando, the son of a king whose own kingdom will soon merge with King Norbert’s – and falls in love. Carabosse manages to kidnap the Prince and her horrible prophecy is fulfilled when she tricks Aurora into pricking her finger on the spindle of a spinning wheel and the Princess falls asleep for 100 years. The princess is brought to the castle and everyone is very upset to see her lying there. To help her on the sleeping journey fairy Peaceful puts the whole castle to sleep, and so they all rest for 100 years!! One day a Prince finds the castle and finds Aurora. He kisses her on the cheek and she awakes together with everyone else. There is much celebration that the Princess is awake and everyone is once again very happy. Carabosse and her cat spindleshanks are severely told off by the other fairies and made to say the fairy vow. And so the tale ends with a final celebration.
| BILLY | Tim Spink |
| KING NORBERT | Peter Farrell |
| QUEEN DOROTHY | Peter Sayers |
| KITTY | Jodie Mardlin |
| FAIRY PEACEFUL | Gill Shaw |
| CARABOSSE | Amanda Sayers |
| SPINDLESHANKS | Tammy Wall |
| PRINCESS AURORA | Lauren Hill |
| PRINCE ORLANDO | Alison Downes |
| FAIRY BEAUTIFUL | Stephanie Dunn |
| FAIRY GRACEFUL | Louise Bateman |
| FAIRY THOUGHTFUL | Vicki Collins |
| Ensemble | Claire Walker, Colleen Town, Avril Robinson, Jackie Radford, Tina Ravera, Brian King, Martin Lester, Chris Blyth. |
| Director | Maureen Davies |
| Production Assistant | Avril Robinson |
| Choreography | Maureen Davies, Tammy Wall |
| Musical Director | David Meek |
| Stage Manager | Vincent Clemmens |
| Costumes | Amanda Sayers, Tammy Wall |
| Prompt | Stephanie Dunn |
| Properties | Vanessa Baker, Nick Baker |
| Lighting & Sound | Vincent Clemmens |
| Set Design & Build | Maureen Davies, Tim Spink Rosemary Bianchi |
| Piano | David Meek |
| Drums | Dan Breeze |
| Special thanks to everyone who has helped Front of House, Bar and Tuck Shop! |
Review by Vicki Avery
Noda District 9
What a lovely warm welcome greeted me when I arrived at Thalian Hall, the Welwyn Thalian’s headquarters. A modest sized hall with a wide stage at one end. I immediately noticed the surround on the proscenium arch covered with beautifully painted roses and thorns and a crown in the centre.
The opening number was well sung and immediately put everyone in panto’ mood.
Billy (Tim Spinks) was well cast, with a good rapport and a cheeky smile. It is essential that whoever plays this role understands that they are the main link between the storyline and the audience and this was achieved perfectly.
King Norbert (Peter Farrell) played the frustrated yet lovable foil to Queen Dorothy, ably portrayed by Peter Sayers. This was a good pairing with the experience to verbally bounce off each other.
Kitty (Jodie Mardlin) was soft and gentle and would be loved by every little girl in the audience. I would have liked a few more cat like movements and hands cupped into paw shapes but on the whole a pleasing performance.
Fairy Peaceful (Gillian Shaw) was very well cast. Good clear diction and excellent use of pause and awareness of audience. I liked this portrayal very much, well done.
The three Fairy Godmothers (Stephanie Dunn, Louise Bateman and Vicki Collins) worked well as a team and supported Fairy Peaceful appropriately.
Carabosse (Amanda Sayers) or should I call her Cara Bossy, did an excellent job as the evil Fairy. This experienced actress knew just how to work her audience to the maximum. Vocal range was good and facial expression perfect for the character.
Spindleshanks (Tammy Wall) gave us a new and alternative slant to the evil fairy’s sidekick. Good interaction with the audience and I enjoyed the modern interpretation on cat movements. However, her costume seemed somewhat lacking for such a bad cat. Ripped coloured fishnets covering the arms, legs and chest overlaid on the black might have added another dimension and made her character visually more interesting.
Princess Aurora was played by a young Lauren Hill. Playing Principal Girl is a good way to learn your craft but you need to wok on projection and breath control. Vocals were good but do not be afraid to own the stage, especially when you sing. This was a nice performance that will develop with experience. A leading lady in the making I think.
Prince Orlando (Alison Downes) although a relatively minor character in this version of the story, did well to portray the typical Principle Boy. Body stance was perfect, with thighs pulled up tight and shoulders back. The duet with Princess Aurora was enjoyable but lacked power but perhaps this was due to the choice of song.
The ensemble worked hard, singing, dancing and smiling throughout. The rat dance was great fun but the highlight for me was the Dream Land Ballet. This had a beautiful fluidity about it and I enjoyed it very much
Lighting was well positioned and costumes appropriate although I would have liked to see Princess Aurora with her hair taken off her face and her makeup a shade darker. This is panto’ time so bring on the false lashes and bright lipstick! For me the fairies needed more sparkle on their eyes and cheeks and again hairstyles needed addressing. Makeup for the OTT characters was good but for mere mortals faces were very pale and the stage lighting drained the skin of colour.
Choreography was simple yet adequate for the size of stage and the various abilities of the cast. No one looked out of place or awkward.
This production was performed well considering the weakness of the script and I was pleased that some current jokes were interjected to bring the dialogue up to date.
Well done to you all.
Thank you for your hospitality – Vicki Avery District 9
Welwyn Thalians, “Sleeping Beauty”
Director: Maureen Davies
MD: David Meek
Choreographer: Maureen Davies, Tammy Wall
Thalian Hall, 14/12/2017
Venue: Thalian Hall
This show ran from Wednesday 12th December to Saturday 16th December 2017
Show start times: 7:45pm and 2:30pm on the Saturday matinee.
Time: Summer 1906
Place: Indian Territory (became Oklahoma in late 1906)
In the Oklahoma territory at the turn of the twentieth century, two young cowboys vie with an evil ranch hand and a traveling peddler for the hearts of the women they love.
On a small farm stead. just outside the town of Claremore, this musical tells the romantic story of two couples. Cowboy Curly McLain who has eyes firmly set for farm girl Laurey Williams and cowboy Will Parker who is besotted by his flirtatious fiancé Ado Annie. Laurey is a young girl living on a farm with aunt Eller. There is another living on the farm, a hard working but slightly sinister hired hand Jud. Curley and Laurey both have trouble admitting their feelings for each other.
Curly is fixed on taking “Miss Laurey Williams” to the Box social dance but Laurey is playing very hard to get and this gets her into serious trouble when she accepts an invitation from Jud to take her to the dance. This leads to all sorts of problems. Together, she and Curly have to do something to save their relationship and keep Jud from doing something terrible. Woven into this plot is the life of Ado Annie and her goings on with boyfriend Will Parker and smooth talking peddler Ali Hakim. Will has just returned from Kansas City having won fifty dollars cash in a competition. Ado Annie’s father has promised Will that if he can raise 50 dollars cash then he can have her.
However, Will turns this into a complicated matter as he keeps inadvertently spending the money. Also Ado Annie has eyes for the smooth talking Persian peddler Ali Hakim who is always trying to take her to a hotel in Claremore where they will find “paradise”. She mistakes this to be a marriage proposal and then even more problems ensue. Does Curley get the girl of his dreams and does Ado Annie take up with Will or run away with the peddler? A fabulous musical with
very well known songs like “Oh what a beautiful morning”, “Many a New Day”, “I’m Just a Girl Who Can’t Say No”, “All or Nuthin”, “Kansas City” and of course “Oklahoma”.
| Aunt Eller | Maureen Davies |
| Curly McClain | Simon Latter |
| Laurey Williams | Louise Bateman |
| Will Parker | Tim Spink |
| Ado Annie Carnes | Tammy Wall |
| Ali Hackim | Barny Shergold |
| Jud Fry | Peter Sayers |
| Andrew Carnes | Ray Beckman |
| Gertie Cummings | Elle-Louise Benie |
| Fred | Brian King |
| Ike Skidmore | Vincent Clemmens |
| Slim | Martin Lester |
| Ellen | Gillian Shaw |
| Kate | Angela Monaghan |
| Ensemble | Vikki Colins, Jane Thom, Lauren Ryall, Colleen Town, Jodie Mardlin, Adam Simmons, Vincent Clemmens, Tina Ravera, Chris Blyth, Peter Dunhalll & Avril Robinson |
| Production Director | Amanda Sayers |
| Production Assistant | Avril Robinson |
| Choreography | Amanda Sayers, Alison Downes, Tammy Wall |
| Fight Choreographer | Elle-Louise Berrie |
| Musical Director | Peter Farrell |
| Stage Manager | Jackie Radford |
| Assistant Stage Manager | Alison Downes |
| Stage Crew | John Thorn, Mike Smith, Simon Payne (Hawthone) |
| Costumes | Tammy Wall & Jane Thom |
| Prompt | Angela Dunham |
| Properties Manager | Vanessa Baker |
| Properties Team | Katherine Brassett & India Mason-Mills |
| Lighting Design | Cameron Biggs |
| Lighting Operator | Rose Oldershaw |
| Sound Operator | Chris Prosho |
| Fly’s Operator | Paul Leslie |
| Hawthorne Theatre Manager | Mark Woolman |
| Hawthorne Theatre Technical Manager | Julian Brooks |
| Conductor | Peter Farrell |
| Clarinets | Chris Pettit, Sue Pettit |
| Flute | Matt Smith |
| Trombone | Ian Daniels |
| Horn | Simon Cove |
| Trumpets | Tim Welch, Ellen King |
| Bass | Peter Neville |
| Piano | Dave Meek |
| Percussion | Chris Gray |
Review by Vicki Avery
Noda District 9
The timeless musical Oklahoma will always appeal to audiences and I know that the audience, though small, thoroughly enjoyed themselves on the evening I attended. The outstanding score was played with skill by an effective orchestra under the expert baton of MD Peter Farrell. Never to loud it was just punchy enough to get our feet tapping in the company numbers. Unfortunately there were a few issues with timing from some of the principals but they quickly got back on track and finished the number confidently.
The wealth of characters were all well cast and characterized in their roles effectively making Oklahoma interesting from start to finish. Like many, I never tire of this iconic musical no matter how many times I see it!
Simon Latter, excellent as Curly gave a confident performance his strong voice sealing success as soon as he sang the opening bars and with Louise Bateman as Laurie they were perfectly matched.
Maureen Davies was superb as a feisty Aunt Eller, bringing light and shade to every scene, lifting it to new heights and demonstrating what an experienced actress she is.
Spirited and with spot on comedy delivery, Tammy Wall was a great Ado Annie. This performance was packed full of energy and I enjoyed it tremendously. Well done.
Other fine performances were given by Barny Shergold as Ali Hackim and the talented Tim Spink as Will Parker. Elle-Louise Berrie made a perfect Gertie Cummings getting that terrible laugh just right.
Ray Beckman was perfect as Andrew Carnes. Excellent direction here proving that less is more and good timing makes casual perfection!
Jud Fry was brilliantly played by accomplished actor Peter Sayers giving a quiet menace until his powerful and explosive solo song. I would have liked him to look a lot dirtier until the auction scene. Personal choice but he still came over scary.
The small ensemble worked hard and made an excellent sound. I particularly enjoyed The Farmer and The Cowman. It was full of smiling faces and lots of energy.
Choreography was appropriate for the company and cleverly executed so that everyone appeared to achieve what they set out to do.
Costumes on the whole were suitable for the era but Laurey’s cut off jeans seemed somewhat out of place. Perhaps dungarees would have been better.
Fight sequences were effective and well designed. The set, though minimalistic, worked well giving the company plenty of space for the dance numbers.
Oklahoma is one of my favourite shows and I cannot help but enjoy myself whenever I go to review it. Thank you for an enjoyable evening and I look forward to being invited again in the future.
DATE 17th November 2016
SOCIETY The Welwyn Thalians
VENUE Hawthorne Theatre Welwyn
TYPE OF PRODUCTION Musical
DIRECTOR Amanda Sayers
MUSICAL DIRECTOR Peter Farrell
CHOREOGRAPHER Amanda Sayers and team
Venue: Hawthorne Theatre
This show ran from Wednesday 16th November to Saturday 19th November 2016
Show start times: 7:45pm and 2:30pm on the Saturday matinee.
The curtain rises on Broadway with restless movement and feverish atmosphere. Three gamblers, Nicely-Nicely, Benny and Rusty Charlie are pouring over the day’s racing form in an effort to pick the day’s winners. Near by is the Save-a-Soul Mission of the Salvation Army. Here Sky Masterson, a successful gambler, meets the Salvation Army Sergeant, Sarah Brown. He finds her fair game for his romantic sport. Sarah tells him in no uncertain terms that he is not her kind of man, and that when such a man comes along she will know.
At the Hot Spot night-club chorus girls are going through one of their routines. One girl, Adelaide, laments that she is addicted to psychosomatic colds; the cause, Nathan Detroit, another chronic gambler and her fiancé for 14 years. Nathan is busy trying to find a place to hold a floating crap game for some high players.
Meanwhile, Sky Masterson is pursuing Sarah. Stimulated by a bet, he decides to invite her to Havana. Her better judgment not with-standing, Sarah goes off with Sky. In Havana she comes face to face with the glaring truth that she has fallen in love with him. Sky also realizes that he too is also deeply in love.
But after they return to Broadway, Sarah discovers that it is not love but a bet that was Sky’s motive in taking her to Havana. She refuses to have anything more to do with him. Her troubles are compounded with the news that the Mission is in danger of closing down because not enough people take advantage of its services. With Sky’s help, the Mission is saved: with his wide circle of friends on Broadway he can see to it that the Mission is crowded. Sarah’s romantic interest in him is thereby revived. Her love affair with Sky achieves a happy resolution in marriage; and so, at long last, does that of Nathan and Adelaide.
Romance, however, is incidental in Guys and Dolls to the colourful picture provided of New York life, to the insight into the strange impulses and unique motivations governing the lives of some of the city’s more picturesque characters.
| Sky Masterson | Darren Barsby |
| Sarah Brown | Hannah Sayer |
| Nathan Detroit | Peter Sayers |
| Miss Adelaide | Emma Fox |
| Nicely Nicely Johnson | Tim Spink |
| BennySouthstreet | Bob Thomson |
| Rusty Charlie | Vincent Clemmens |
| Harry the Horse | Barny Shergold |
| Big Jule | Ray Beckman |
| Lt Brannigan | Ian Hamilton |
| General Cartwright | Gill Shaw |
| Arvide | Peter Dunham |
| Agatha | Angela Monaghan |
| Joey Biltmore | Carl Robinson |
| Mimi | Tammy Wall |
| Gangsters | Graham Blundell, Carl Robinson, Phil Hancock, Martin Desmond, Shaun Phillips, Martin Lester, Chris White, James Reynolds, Brian King, Joe Emler |
| Dolls | Annalise Spink, Hannah Robinson, Joyce Smith, Jane Thom, Lauren Ryan, Colleen Town, Louise Bateman, Belinda Gee, Vicki Collins, Adrienne Perry |
| Hot Box Girls | Annalise Spink, Hannah Robinson, Joyce Smith, Jane Thom, Lauren Ryan, Colleen Town, Louise Bateman, Belinda Gee, Vicki Collins, Adrienne Perry |
| Production Director | Linda Dyne |
| Production Assistant | Alison Downes |
| Dance Captain | Tammy Wall |
| Choreography | Linda Dyne |
| Musical Director | Peter Farrell |
| Stage Manager | Jackie Radford |
| Assistant Stage Manager | Libby Fox |
| Stage Crew | John Thorn, Mike Smith, Simon Payne (Hawthorne) |
| Costume Mistresses | Tracie Slade, Tammy Wall |
| Prompt | Angela Dunham |
| Properties Manager | Vanessa Baker |
| Properties Team | Katherine Brassett, Nick Baker |
| Lighting Design | Cameron Biggs |
| Lighting Operator | Zachary Hope |
| Sound Operator | Jason Wash |
| Flys Operator | Paul Leslie |
| Costumes | Harlequin Costumes |
| Hawthorne Theatre Manager | Mark Woolman |
| Hawthorne Theatre Technical Manager | Julian Brooks |
| Conductor | Peter Farrell |
| Clarinet, Oboe, Bassoon | Pat Light, Andrew Pummel, Matt Smith |
| Horn | Simon Cove |
| Trombone | Ian Daniels |
| Violin | Angela Pulsford |
| Trumpet | Tim Welch, Ellie Morgan |
| Bass | Peter Neville |
| Piano | Dave Meek |
| Percussion | Chris Gray |
If you have any records of a review for this show, or any other materials, such as photos, programme (although we do in this case) do please send us a copy so that we can show it here.
Many thanks.
If you can help fill the gaps, you can send any information here.
Venue: Hawthorne Theatre
This show ran from Wednesday 18th November to Saturday 21st November 2015
Show start times: 7:45pm and 2:30pm on the Saturday matinee.
Seymour Krelborn, the meek employee of Mushnik’s Skid Row florist lives a dreary life among the other unfortunate residents. The light of his life is his co-worker, Audrey, a fragile woman stuck in a relationship with a sadistic dentist. The flower shop is broke and Mr. Mushnik is on the verge of closing when Seymour shows him this strange plant he has found while shopping during a solar eclipse. However, the plant begins to wither. Seymour frantically tries to nurse it back to health, though water, sunlight, fertilizer, and minerals but none work. When he pricks his finger on a rose thorn and a few drops spill onto the plant the plant comes to life (literally) He names the plant Audrey 11 after his secret love. Mushnik is pleasantly surprised when customers begin flocking in after seeing the little plant in the window and the shop starts pulling in record
takings. Spoiler alert I!! Reading on may give away the story !!
The plant grows and Seymour becomes a local celebrity but there’s a problem as Seymour is running out of blood !! Seymour and Mushnik become concerned, when Audrey turns up at work with a black eye and a broken arm , caused by her sadistic dentist boyfriend, Orin Scrivello. Orin arrives at the shop one night to pick up Audrey and Seymour sees how roughly he treats her. He decides that Orin being a sadistic dentist deserves to get chopped up and fed to the hungry plant. The next day, Seymour goes to Orin’s office to shoot him but as
luck would have it, Orin in a sadistic flight of fun dons a special gas mask to get his Nitrous Oxide fix but the mask malfunctions and Seymour watches his nemesis asphyxiate before his eyes. Seymour drags the body back to the flower shop, where he reluctantly chops it up and feeds it to Audrey 11.
The next day Seymour tries to comfort Audrey for Orin’s unexpected disappearance and promises to stand by Audrey no matter what. Invigorated from finally winning Audrey’s love, Seymour returns to the flower shop. He is confronted by Mushnik, who had seen Seymour dismembering Orin’s body the night before.
Mushnik assumes that Seymour’s devotion to Audrey caused him to murder the cruel dentist, but does not suspect that Audrey II is involved and knows nothing of its grisly diet. Mushnik leads Seymour upstairs at gunpoint, planning to turn him in to the police. He then offers Seymour a proposition, leave town forever or he goes to the police.
In the ensuing scene Seymour nervously backs Mushnik into the gaping maw of the hungry plant and Mushnik become more plant food. Seymour’s celebrity increases as Audrey II grows into a giant
but Seymour is terrified that the plant’s eating habits are getting out of hand. He finally puts his foot down, denying the plant any further feedings. That night Audrey comes to the shop and the plant grabs her and when half way through eating her Seymour returns. He drags Audrey out but it’s too late. Audrey’s last wish is to be fed to the plant to go “somewhere that’s green” An angry Seymour tries to kill the plant but he too becomes plant food. The plant is now set to expand beyond the shop……
| Seymour Krelborn | Alex Ryde |
| Audrey | Tammy Wall |
| Mr Mushnik | Terry Cull |
| Orin Scrivello | Tim Spink |
| Crystal Girls | Alisan Downes, Louise Bateman |
| Chiffon | Emma Fox |
| Ronnette | Libby Fox |
| Plant (Audrey II ) voice | Peter Sayers |
| Plant (Audrey II) animator | Vincent Clemmens |
| Mrs Bernstein | Jackie Radford |
| Mrs Bernstein’s PA | Colleen Town |
| Partrick Martin | Peter Dunham |
| Mrs Luce | Gill Shaw |
| Mrs Luce’a PA | Dot Lutkin |
| Skip Snips | Brian King |
| Skip Snips PA | Lauren Ryan |
| Skid Row Ensemble: | Colleen Town, Martin Lester, Dot Lutkin, Angela Monaghan, Brian King, Jackie Radford, Vikki Collins, Stephanie Dunn, Lauren Ryan, Gillian, Shaw, Jackie Radford, Peter Dunham |
| Production Director | Amanda Sayers |
| Assistant Director | Nick Baker |
| Musical Director | Peter Farrell |
| Stage Director | Vincent Clemmens |
| Assistant Stage Manager | William Maxwell |
| Stage Crew | John Thorn |
| Wardrobe | Penny Howcutt |
| Prompt | Angela Dunham |
| Properties Manager | Vanessa Baker |
| Properties Team | Katherine Brassett, Nick Baker |
| Lighting Design | C.F. Biggs Theatre Services & Hawthome Theatre |
| Costumes | Harlequin Costumes, Baldock |
| Hawthorne Theatre Manager | Mark Woolman |
| Hawthorne Theatre Technical Manager | Julian Brooks |
| Conductor | Peter Farrell |
| Guitar | Andy Skelton |
| Bass | Paul Burdon |
| Keyboard | Peter Farrell |
| Percussion | Chris Gray |
Review by Vicki Avery
Noda District 9
Welwyn Thalians performed the comedy horror rock musical, Little Shop of Horrors, at the Hawthorne Theatre in Welwyn. This well-known story follows the hapless florist shop worker, Seymour Krelborn, who raises an alien plant in the hope of changing his fortunes. Little does he know that his ‘strange and interesting’ plant, which feeds on human blood and flesh, has plans of its own.
Brimming with enthusiasm, the cast certainly delivered with some exceptional moments. Alex Ryde, was well cast as the nerdy, needy, pathetic and bumbling Seymour, and provided a convincing performance, showcasing excellent musical ability.
Audrey, played by Tammy Wall, gave a marvellous interpretation of the hopeless, gullible heroine, with beautiful vocals throughout. “Somewhere That’s Green” showed great musicality and control.
Audrey 2 was skilfully executed in a combined effort by both puppeteer (Vincent Clemmens) and vocalist (Peter Sayers) to provide a convincing portrayal of the animated plant.
Mr. Mushnik (Terry Cull) acted the shopkeeper well and I enjoyed his duet with Seymour “Mushnik and Son”.
Orin (Tim Spinks) gave some good comic, outlandish moments as the sadistic Dentist. It is all too easy to go over the top with this part, however, there were moments when I did not feel this actor went far enough. A difficult part to interpret during rehearsals and a little more balance was needed here.
The Chrystal Girls, Chiffon and Ronnette were well cast and delivered some outstanding solo and joint vocals, certainly talents to watch out for in the future. The supporting ensemble all threw themselves into the spirit of the production with great enthusiasm and clearly enjoyed being involved in this fun musical. “Skid Row – Down Town” was an excellent start to the show.
Director, Amanda Sayers, assisted by Nick Baker, provided a good interpretation of this musical, ensuring all key directional elements such as simple setting, continuous action, flowing pace and spatial consistency were achieved.
MD, Peter Farrell, handled the orchestration well, providing good tempo and sound throughout, achieving well-balanced group sound and harmonies.
The Choreography was adequate and well performed, albeit there was a slight lack
of creativity and a sense of clumsiness about it at times. Overall, the production was of a high standard and I am sure that the company was extremely proud of their creative team with what they produced.
Technically, the planning and execution of the lighting was of a high standard apart from some occasional dark spots down stage. The sound and effects were generally well controlled; the set was simple, visually consistent, and well sourced, enabling near-seamless transitions and good pace. The costumes were the correct style and added to the visual quality.
Projection and characterizations were very good in a well-directed show, which the whole audience thoroughly enjoyed and showed their appreciation with some very enthusiastic applause.
Thank you for your generous hospitality
Vicki Avery
Welwyn Thalians “Little Shop of Horrors”
Director: Amanda Sayers
The Hawthorne Theatre, Welwyn 14/11/2014
Venue: Hawthorne Theatre
This show ran from Wednesday 12th November to Saturday 15th November 2014
Show start times: 7:45pm and 2:30pm on the Saturday matinee.
1830’s in the workhouse. Oliver is bullied by the half-starved orphan boys into asking for more. Mr Bumble, the heartless workhouse beadle, flabbergasted by Oliver’s behaviour sells Oliver to Mr Sowerbeny the local undendertaker. The next morning Noah Claypole, Sowerberry’s other apprentice, insults Oliver’s dead mother. A fight ensues and Oliver is locked in a coffin while Bumble is summoned. Oliver is let our but during a commotion Oliver escapes.
He runs to London where he meets Dodger, a boy pickpocket who offers Oliver shelter with a gang run by Fagin, a career petty criminal teaching young boys to pick pockets. Oliver is unaware of the criminality and believes that the boys make handkerchiefs and wallets rather than steal them. The next day Oliver meets Nancy, the live-in girlfriend of the terrifying Bill Sykes, a burglar whose abuse she endures because she loves him. Oliver is sent out with the other boys on his first pickpocketing job. Oliver is bullied into picking the pocket of a wealthy old gentleman, a Mr. Brownlow. After a chase Oliver is arrested for the crime. However, Mr Brownlow takes pity on Oliver, drops the charges and takes him back to his home.
Dodger tells Fagin about Oliver’s capture. Fagin and Bill Sykes decide to kidnap Oliver to protect themselves. Nancy at first refuses to help, but Bill physically abuses her and forces her into obedience. The next morning Oliver is sent to return some books to the library. Nancy and Bill appear and grab Oliver. They take him back to Fagin’s den where Nancy saves Oliver from a beating from Sykes. Nancy remorsefully reviews their dreadful life, but Bill maintains that any living is better than none. Fagin tries to act as an intermediary. Left alone, Fagin wonders what his life might be like if he left London and began an honest life. However, after thinking of various excuses, he elects to remain a thief.
Back at the workhouse, Mr. Bumble and Widow Comey, now happily married, meet the dying pauper Old Sally who tells them about Oliver’s mother and a legacy gold locket. Realizing that Oliver may have wealthy relatives Bumble and Comey visit Mr Brownlow, hoping to profit from any reward about Oliver’s whereabouts. He throws them out but recognizes the picture inside the locket as his niece and realizes Oliver is actually his great nephew!
Nancy visits Brownlow and promises to deliver Oliver to him safely that night on London Bridge. Suspecting that Nancy is up to something, Bill Sykes follows her. At London Bridge, Bill grabs Oliver and murders Nancy. Mr. Brownlow arrives and discovers Nancy’s body. A large crowd forms. Bill is spotted at the top of the bridge holding Oliver as hostage. Two policemen sneak up on him. One of them shoots Bill. Oliver is reunited with Mr. Brownlow. The mob disperses offstage in order to track down Fagin. However Fagin
appears and decides that the time has never looked better for him to straighten out his life.
| Oliver Twist | Joseph Milbourn |
| Mr Bumble | Peter Sayers |
| Widow Corney | Gillian Shaw |
| Mr Sowerberry | Tim Spink |
| Mrs Sowerberry | Arison Gibbs |
| Noah Claypole | William Maxwell |
| Charlotte | Niamh Jackson |
| The Artful Dodger | Kelly Young & Victoria Parry |
| Fagin | Terry Cull |
| Nancy | Tammy Wall |
| Bet | Rhiannon Gibbs |
| Bill Sykes | Martin Desmond |
| Mrs Bedwin | Arison Gibbs |
| Mr Brownlow | Brian King |
| Dr Grimwig | Peter Dunham |
| Old Sally | Maureen Davies |
| Street Criers | |
| Rose Seller | Louise Bateman |
| Milk Seller | Jackie Radford |
| Strawberry Seller | Zae Jasko |
| Knife Grinder | Tim Spink |
| Ensemble of Workhouse Assistants, Bow Street Runners, Street | Colleen Town, Emma Fox, Martin Lester, Annalise Spink, Carolyne Mitchell, Stephanie Dunn |
| Vendors, Townsfolk etc. | |
| Orphans and Fagin’s Gang | Leah Clark, Freddie Cooke, Nicole Cooper, Logan Cullen, Poppy Dilks, Christy Durbin, Phoebe Flay, Leanna Heffer, Lizzie High, Niamh Jackson, Edgar Jasko, Rufus Jasko, Alfie Kerr, Cameron McDermott, Poppy Pariitt, Victoria Parry, Lauren Ryan, Ketty Young |
| Production Director | Amanda Sayers |
| Phoenix Youth Director | Lauren Hussein |
| Musical Director | Peter Farrell |
| Stage Director | Vincent Clemmens |
| Assistant Stage Manager | Hannah Maxwell |
| Stage Crew | John Thorn |
| Costume Mistress | Angela Dunham, Jackie Radford |
| Prompt | Angela Dunham |
| Properties Manager | Vanessa Baker |
| Properties Team | Katherine Brassett, Nick Baker |
| Lighting Design | C.F. Biggs Theaue Services & Hawthorne Theatre |
| Sound | Owen Joseph |
| Costumes | Harlequin Costumes, Baldock |
| Hawthorne Theatre Manager | Mark Woolman |
| Hawthorne Theatre Technical Manager | Julian Brooks |
| Flute | Clare Taylor |
| Clarinet | Pat Light |
| Oboe | Isobel Naylor |
| Bassoon | Dominic Roe |
| Horn | Simon Cove |
| Trombone | Ian Daniels |
| Violin | Angela Pulsford |
| Cello | Rachel Sanders-Hewett |
| Bass | Peter Neville |
| Percussion | Chris Gray |
If you have any records of a review for this show, or any other materials, such as photos, programme (although we do in this case) do please send us a copy so that we can show it here.
Many thanks.
If you can help fill the gaps, you can send any information here.
Venue: Hawthorne Theatre
This show ran from Wednesday 13th November to Saturday 16th November 2013
Show start times: 7:45pm and 2:30pm on the Saturday matinee.
A musical based on H.G Wells novel ‘ Kipps’ . Half a Sixpence tells the tale of a humble clerk, Arthur Kipps, who finds himself working in a Folkestone drapery emporium together with his shop workers: Buggins – the pessimist, Sid – the socialist, Pearce – the dandy and the shop girls: Flo, Kate and Victoria. The drapery is run by a demanding owner, Mr Shalford, who is obsessed with three working values: system, efficiency and economy. As a child in an orphanage, Kipps meets a young girl, Ann, who becomes his childhood sweetheart.
As a token of their love, Kipps breaks a sixpence in two and shares it with Ann. As they grow up they drift apart. Now as one of the older apprentices, Kipps finds himself working in the drapery. However, just as life is getting him down, Ann turns up unexpectedly in Folkestone to seek out Kipps and rekindle their happiness. This isn’t the only surprise for Kipps for after a chance encounter with Chitterlow, an extravagant playwright, Kipps inherits a small fortune. Now with “money to burn” Kipps is drawn towards the high life and aspires to be a “proper gentleman”.
Forgetting his work pals and childhood sweetheart, Kipps moves up the social ladder to rub shoulders with the gentry. He is soon captured and engaged to the well educated Helen Walsingham who tries to mould Kipps into something he isn’t. Kipps soon realises that he’s not cut out for the high life, breaks off the engagement with Helen and seeks out Ann. However, just as Kipps is settling down with Ann, building a mansion and planning out his future, fate deals Kipps a blow and he and Ann soon find their newfound wealth is no more. But for Kipps, fate is a strange thing that always seems to change especially for the best as there is one more twist in the tale.
| Arther Kipps | Dominic Johnstone |
| Ann | Tammy Wall |
| Helen | Zoe Jasko |
| Chitterlow | Peter Sayers |
| Sid | Nick Baker |
| Mr Walsingham | Peter Dunham |
| Buggins | Vin Clemmens |
| Mrs Walsingham | Alison Mills-Barr |
| Pearce | Tim Spink |
| Laura | Louise Bateman |
| Kate | Gillian Shaw |
| Jeremiah | Nathan Molyneux |
| Victoria | Samamha Ademan |
| Gwendolin | Angela Monaghan |
| Flo | Alison Downes |
| Young Kipps | William Maxwell |
| Mr Shalford | Brian King |
| Young Ann | Annalise Spink |
| Attendant | Dot Lutkin |
| Reporter | Colleen Town |
| Company | Roisin Bateman, Keira Bateman, Mary Ferrie, Stevie Gibbs, Rhiannon Gibbs, Alan Gibbs, Graham Bird, Georgina Hill, Vicky Collins. |
| Production Director | Amanda Sayers |
| Stage Director | Vin Clemmens |
| Stage Manager | Jackie Radford |
| Musical Director | Peter Farrell |
| Choreographers | Mary Ferrie, Samantha Ademan, Tammy Wall & Alison Downes |
| Stage Manager | Vincent Clemmens |
| Assistant Stage Manager | Frances Green |
| Stage Crew | Peter Chenery, John Thorn, Rob Clemmens, Chris Love, Wendy Torney |
| Costume Mistress & Prompt | Angela Dunham |
| Properties Manager | Vanessa Baker |
| Properties Team | Katherine Brassett |
| Sound | Terry Cull |
| Lighting Design | Richard Boaste |
| Costumes | Theatrical Costumehouse (Westcliff) Ltd. |
| Campus West Theatre manager | Mark Woolman |
| Campus West Technical manager | Phil Bentley |
| Conductor | Peter Farrell |
| Flute | Clare Taylor |
| Clarinets | Pat Light |
| Trumpets | Tim Welch |
| Trombone | Ian Daniels |
| Horn | Simon Cove |
| Violin | Boris Peck |
| Bass | Peter Neville |
| Percussion | Chris Gray |
| Keyboard | Dean Evans |
If you have any records of a review for this show, or any other materials, such as photos, programme (although we do in this case) do please send us a copy so that we can show it here.
Many thanks.
If you can help fill the gaps, you can send any information here.
Venue: Hawthorne Theatre
This show ran from Wednesday 2nd to Saturday 5th November 2011
Show start times: 7:45pm and 2:30pm on the Saturday matinee.
If you have any records of a review for this show, or any other materials, such as photos, programme (although we do in this case) do please send us a copy so that we can show it here.
Many thanks.
If you can help fill the gaps, you can send any information here.
Prof Henry Higgins – a bachelor and recognised professor of language and phonetics is prowling the streets of London, recording local spoken dialects. He is noting down the conversations of a cockney flower girl ‘Eliza Doolittle’ when he is discovered by the local street goers and mistaken for a police detective (a “tec”). This encounter leads to a chance meeting with ‘Col. Hugh Pickering’ also a noted British linguist just back from India. Higgins boasts to Pickering that he could transform the unrefined, dirty, cockney flower girl (Eliza) into a refined Victorian lady and pass her off at any high society social function as a member of the aristocracy.
Pickering proposes a wager with Higgins that he can’t do it. Ignoring the emotional effect this may have on the girl and the consequence of what to do with her when they have finished, Higgins accepts. Eliza, full of pride and misunderstanding, turns up on Henrys doorstep and offers to pay for her tuition and unknowingly becoming their test case. Eliza hopes that once tutored she will be able to work in a shop however, all fail to foresee what is to become of her. Eliza’s father (Alfred P. Doolittle) another cockney with a gift for rhetoric upon hearing of Eliza’s ‘turn of fortune’ expresses his concern to Higgins but even with the conflicting realities of social injustice, turns a blind eye in favour of a small some of money.
After many weeks of hard work, long hours and little sleep, to everyone’s joy and relief, the transformation takes place. Ascot is chosen as the venue to test Eliza where Mrs Higgins (Henrys mother) has a race course box where she invites all her aristocratic friends. Mrs Higgins is shocked when she hears her son is bringing a common flower girl to Ascot, but, after their introduction, Mrs Higgins mother takes a shine to Eliza as does Freddy Eynsford-Hill, a young gentleman who falls madly in love with Eliza. Freddy is so besotted with Eliza that he camps outside Higgins house just to be ‘on the street where she lives’. Henry Higgins thus wins the wager but what now becomes of Eliza as Henry has grown accustomed to her face and can’t contemplate life without her presence.
The musical “My Fair Lady” is based on the book Pygmalion – a classic book written by George Bernard Shaw, a writer very local to Welwyn – living in Ayot St. Laurence. Shaw’s Pygmalion retells a myth by Ovid, in which a man creates and falls in love with a female statue. The goddess of love takes pity on the man, and brings the statue to life. “My Fair Lady” turns a drama of mythological weight into a light hearted musical comedy.
When George Bernard Shaw wrote Pygmalion, nearly a century ago, no one could have predicted his play would eventually be converted into one of the great musicals of our time.
“The English have no respect for their language, and will not teach their children to speak it. They spell it so abominably that no man can teach himself what it sounds like” -George Bernard Shaw (born Dublin 1856) “My Fair Lady” made theatre history when it opened on Broadway. Waiting for tickets to see a show was something unheard of for a musical. The original stage cast included Julie Andrews (as Eliza), Rex Harrison (as Higgins) and Stanley Holloway (as Alfred P Doolittle)
| Eliza Doolittle | Tammy Wall |
| Freddy Eynesford-Hill | Andy Hill |
| Professor Higgins | Peter Sayers |
| Mrs. Eynesford-Hill | Dot Lutkin |
| Colonel Pickering | Peter Dunham |
| Zoltan Karparthy | Brian King |
| Alfred Doolittle | Terry Cull |
| Jamie | Tim Spink |
| Mrs. Pearce | Gillian Shaw |
| Harry | Nick Baker |
| Mrs. Higgins | Anne Woolmington |
| Servants | Alison Downes, Samantha McRae; Angela Monaghan; Jackie Radford; Hannah Maxwell, Emma Kemble-Fox, Speciosa Nakavuma |
| Ensemble | Louise Bateman, Roisin Bateman, Keira Bateman, Stevie Gibbs; Mary Ferrie, Colleen Town, William Maxwell, Alan Gibbs, Graham Bird, Nathan Molyneux, Martin Desmond, Richard Eden |
| Production Directors | Angela Dunham & Amanda Sayers |
| Production Manager | Vin Clemmens |
| Musical Director | Peter Farrell |
| Choreographer | Samantha McRae |
| Dance Captain | Mary Ferrie |
| Stage Manager | Vincent Clemmens |
| Assistant Stage Manager | Frances Green |
| Stage Crew | Jon Marsh MBE, Peter Chenery, John Thorn,Rob Clemmens, Chris Love, Wendy Tormey |
| Properties | Manager Vanessa Baker |
| Properties Team | Katherine Brassett |
| Sound | Alex Dugdale |
| Lighting Design | Richard Boaste |
| Costumes | Theatrical Costumehouse (Westcliff) Ltd. |
| Campus West Theatre manager | Mark Woolman |
| Capus West Chief Technician | Andy Pye |
| Conductor | Peter Farrell |
| Flute Clare | Taylor |
| Clarinets | Andrew Pummell, Pat Light |
| Oboe | Isobel Naylor |
| Bassoon | Rebecca Maclean |
| Trumpets | Ellie Morgan, Tim Welch |
| Trombone | Ian Daniels |
| Horn | Simon Cove |
| Violins | Helen Sanders-Hewett, Angela Pulsford, Pam Davies |
| Viola | Tom Ried |
| Cello | Rosemary Leak |
| Bass | Peter Neville |
| Percussion | Chris Gray |
An adaptation of My Fair Lady was showcased by the Welwyn Thalians at the Hawthorne Theatre, Campus West. The chorus were singing “Who will buy my sweet red roses” as the dirty, scruffy flower girls tried desperately to sell their wares on the streets of London to all who passed by. Professor Higgins, superbly played by Peter Sayers, singled out Eliza Doolittle (Tammy Wall), a dynamic performance by her; he would teach her to speak the King’s English and she would become a lady. Housekeeper Mrs Pearce (Gillian Shaw) was always around to make sure Eliza wasn’t being bullied. During the course of her transformation to a lady Eliza had many tantrums, shouting at Higgins in her coarse Cockney accent.
Eliza was taken to Ascot as a lady, with all Its regalia and the mingling crowds. Mrs Higgins (Ann Woolmington) made her feel welcome. Freddy Eynsford-Hill (Andy Hill) appears on the scene and Is in awe of Eliza and her mannerisms; he played the lovelorn puppy with ease, the right part for him. He sings outside the place where Eliza lives, hoping she will come out to see him. Alfred Doolittle (Terry Cull) enters Walpole Street to see his daughter, he had dubious morals as well as vested interest in his daughter’s welfare.
The scenery and costumes were elaborate. The singing and dancing was brilliantly choreographed by Samantha McRae, and the music provided by Peter Farrell and his orchestra excelled throughout. The credit must surely go to the directors of this hugely successful production, Amanda Sayers and Angela Dunham. The full house appreciated the talent they had witnessed.
Venue: Hawthorne Theatre
This show ran from Wednesday 20th to Saturday 23rd October 2010
Show start times: 7:45pm and 2:30pm on the Saturday matinee.
Annie Get Your Gun opened at the Imperial Theatre on May 16, 1946. It had been written specifically for Ethel Merman. Playwright Dorothy Fields had felt that casting Merman as Annie Oakley would guarantee a sure-fire hit.
The story revolves around Annie Oakley, an illiterate hillbilly with a knack for shooting guns. Persuaded to join Buffalo Bill’s travelling Wild West Show, she soon falls hopelessly in love with Frank Butler, the show’s featured shooting ace. But when Annie eclipses Frank as the show’s main attraction, she realizes she’ll have to make some hard choices if she wants to win the man she loves.
The New York production of Annie Get Your Gun ran for 1,147 performances and was the third longest running musical of the 1940s. It was the biggest Broadway hit of Merman’s career. In 1966, she returned to the role for a revival at Lincoln Centre. The 1950 screen adaptation starred Betty Hutton and Howard Keel.
The 1999 Broadway revival showcased Bernadette Peters. While she lacked Merman’s brass and crassness, Peters stands as the prettiest and sexiest Annie to date, not to mention probably the greatest singer of the bunch. The show was somewhat updated for modern times. Not only did Peter Stone make revisions to Herbert and Dorothy Field’s original book (the story is now a
show within a show, namely Buffalo Bill’s Wild West Show), but there have been revisions to Berlin’s original score as well.
Annie Get Your Gun was the greatest box-office triumph of Irving Berlin’s rich Broadway career; it is his only musical to achieve an initial run of more than one thousand performances. The score is his best and most varied for the theatre, yielding as it does at least half a dozen substantial song hits. (One of these, “Show Business”, has since become the unofficial anthem of the American theatre.) But brilliant and inventive though were Berlin’s melodies and lyrics, his was by no means the only salient contribution to a remarkable first production. Mention should also be made of Ethel Merman’s compelling and irresistible performance as Annie; Joshua Logan’s imaginative staging; and
the colourful choreography of Helen Tamiris.
| Buffalo Bill Cody | Martin Desmond |
| Foster Wilson | Peter Garratt |
| Charlie Davenport | Terry Cull |
| Frank Butler | Peter Sayers |
| Dolly Tate | Alison Mills-Barr |
| Winnie Tate | Tammy Wall |
| Tommy Keeler | Ross Mcimles |
| Annie Oakley | Amanda Sayers |
| Jessie Oakley | Hannah Maxwell |
| Nellie Oakley | Hannah Clemmens |
| Little Jake Oakley | William Muxwell |
| Sitting Bull | Brian King MBE |
| Pawnee Bill | Peter Dunham |
| Company | Mark Goodfellow, Gill Shaw, Jaquie Hick, Katie Lilly, Richard Gregg, Jackie Radford, Annie Rumney, Colleen Town, Sue Hawkins, Angela Monaghan. |
| Production Secretary | Amanda Sayer |
| Stage Manager | Vin Clemmens |
| Ass. Stage Manager | John Marsh MBE |
| Prompt | Angela Dunham & Kate Muir |
| Stage Crew | John Marsh MBE, Rod Chillingworth |
| Stage Crew | Elliot Gregg, John Thome |
| Costumes | Theatrical Costume House, Westciff & Barn Theatre |
| Scenery | Paul Lazell & The Green Room |
| Props | Vannessa Baker & Sue Goodfellow |
| Guns | Keeley Hire, Hoddesdon |
| Pyrotechnics | James Rowles |
| Lighting | Mathew Carney |
| Sound | Zuz Bryant |
| Front of House | Dot Lutkin & Company |
| For Campus West Arts and Conference Centre | |
| Manager | Andrew Gibb |
| Technical Manager | John Vivash |
| Chief Technician | Natalie Fox |
| Leader/Keyboards | Peter Farrell |
| Reeds | Bethany Pearson, Clare Taylor, Angela Crispe, Martin Cook |
| Trumpets | Tim Welch, Tom Whalley |
| Trombone | Aiden Collins |
| Bass | Peter Neville |
| Percussion | Chris Gray |
If you have any records of a review for this show, or any other materials, such as photos, programme (although we do in this case) do please send us a copy so that we can show it here.
Many thanks.
If you can help fill the gaps, you can send any information here.
Venue: Hawthorne Theatre
This show ran from Wednesday 22nd to Saturday 25th November 2006
Show start times: 7:45pm and 2:30pm on the Saturday matinee.
If you have any records of a review for this show, or any other materials, such as photos, programme (although we do in this case) do please send us a copy so that we can show it here.
Many thanks.
If you can help fill the gaps, you can send any information here.
The action opens on Mushnik’s Flower Shop, a failing store on Skid Row. The few plants in stock are, like their surroundings, run down and fading. There we meet Mr. Mushnik and his two employees, Audrey and the nerdish Seymour Krelbom who secretly has a crush on his beautiful but much-abused co-worker.
Audrey, attempting to help Mushnik bring more customers into his failing business, persuades him to look at one of the “exotic plants Seymour has been tinkering around with”. Mushnik is intrigued and allows Seymour to display his flytrap-looking plant, which he has named, in honour of his secret love, Audrey II.
Seymour and Crystal, Ronnette, and Chiffon (who provide musical accompaniment and commentary throughout the show) perform an upbeat number explaining that the strange flower was purchased from Chang’s Flower Shop. The plant appeared, “mysteriously”, after a total eclipse of the sun.
Of course the strange plant draws customers and business is soon booming. In celebration Mushnik invites Seymour and Audrey out on the town, but Audrey has a date with her boyfriend, the sadistic dentist, Orin Scrivello. Seymour also declines and stays behind to tend to the suddenly ailing Audrey II. That night, alone in the shop, he discovers the shocking secret to the plant’s health and phenomenal growth: human blood.
Seymour encourages the plant’s growth by pricking his fingertips and feeding Audrey II his own blood. This only lasts for a few days, however, and the meagre drops of blood aren’t enough for the quickly growing plant. Finally, late one night the plant grows bold and speaks: “feed me” Audrey II has now become a singing, dancing, jive talking, vampire vegetable!
Eventually, the plant demands more and more, and Orin becomes more and more abusive to Audrey; thus Seymour comes up with the natural solution. Murder Orin and feed him to Audrey II! He is spared the ghastly deed, however, when the nitrous-addicted dentist laughs himself to death on his own anaesthetic gas. Seymour is left only with the task of dismembering the dentist and feeding him to Audrey II.
This, of course, also opens up interesting possibilities in Seymour’s love life. Following the disappearance of Orin, Seymour builds up the courage to tell Audrey of his true feelings for her. Audrey responds with the touching song, “Suddenly Seymour,” and the two are united.
Unfortunately, Mushnik witnessed Seymour’s crime and threatens to turn him into the police if he does not leave the country. The plant, however, must stay. Of course the solution for Seymour is once again right in front of him, and he tricks Mushnik into the jaws of the ever hungry Audrey II. As the plant and the body count grow so does Seymour’s fame and fortune.
Ultimately, however, Seymour’s natural goodness begins to make him think about his lifestyle and what he must do to maintain it. At last, he decides to flee with Audrey to be married and plots to destroy Audrey II. Before Seymour can complete his plan, however, the plant mortally wounds Audrey. Dying, she requests that she be fed to the plant, so she can become a part of it and always be near Seymour. As the music swells, Seymour feeds her to Audrey II, which at last reveals its ultimate plans-nothing less than world domination. Seymour makes one last attempt to kill the plant but fails. In the end, he too is devoured.
The singers, joined now by the faces of the dead characters, warn that Audrey II and other alien plants have begun to devour the world one city at a time-and we are left to scream with laughter!
| Mushnik | Terry Cull |
| Audrey | Tammy Wall |
| Seymour | Chris Ryde |
| Ronnette | Samantha McRae |
| Crystal | Kate Clemenston |
| Chiffon | Anna Hitti |
| Plant Audrey II | Vin Clemmens |
| Plant Audrey II voice | Peter Sayers |
| Mrs Luce | Gillian Shaw |
| Orin Scrivello | Ross McInnes |
| Mrs Bernstien | Kate Muir |
| Skip Snip | Mark Morton |
| Mr Martin | Tony Lutkin |
| Wino’s and Company | Nick Baker, Mark Goodfellow, Hannah Clemmens, Vicky Collins, Dot Lutkin, Jackie Radford, Annie Rumney, Colleen Town, Mike Barrett, Angela Monaghan, Brian King MBE |
| Production Secretary | Amanda Sayers |
| Stage Manager | Peter Dunham |
| Ass. Stage Manager | Alex Dugdale |
| Prompt | Angela Dunham |
| Stage Crew | John Marsh MBE, Richard Gregg |
| Stage Crew | Elliol Gregg, Harry Thorne |
| Costumes | The Barn Theatre & Harlequin And Company |
| Props | Vanessa Baker |
| Props | Amanda Chick |
| Lighting Design | Jon Vivash |
| Lighting Operator | Jon Vivash |
| Sound | Zuz Bryant |
| Front of House | Alison Mills-Barr & The Company |
| Programme Design | Terry Cull |
| Set Design | Theatre Props |
| For Campus West Theatre | |
| Manager | Mark Woolman |
| Stage Director | John Vivash |
| Leader / Keyboards | Peter Farrell |
| Guitar | Ben Davis |
| Bass Guitar | Paul Burden |
| Percussion | Chris Gray |
If you have any records of a review for this show, or any other materials, such as photos, programme (although we do in this case) do please send us a copy so that we can show it here.
Many thanks.
If you can help fill the gaps, you can send any information here.
Venue: Hawthorne Theatre
This show ran from Wednesday 17th to Saturday 20th May 2006
Show start times: 7:45pm and 2:30pm on the Saturday matinee.
A musical version of “The Taming of the Shrew” is about to open in Baltimore. In the show with producer- actor Fred Graham are his former wife, Lilli; Lois, a singer in whom he is interested; and Bill Calhoune, who is Lois’s interest. The irresponsible Bill informs Lois that he has signed Fred’s name to a 10,000 dollar lOU for gambling debts. She begs him to reform. Fred and Lilli patch up their differences as they reminisce nostalgically about other shows in which they have appeared together. Fred sends a bouquet to Lois, which is delivered in error to Lilli. On stage as Katherine, Lilli discovers that the bouquet was meant for Lois and threatens to leave the show. Her departure is prevented by two gangsters who have come to collect the lOU with Fred’s signature. As the first Act ends she is raging, both in character and reality.
Petruchio (played by Fred Graham) although just married to Katherine, and beginning his tempestuous wedded life, begins to yearn for his life as a single man. Because of a sudden change in gang administration the gangsters tear up the now worthless lOU and Lilli prepares to walk out on the show as Fred muses on his love for her. They gangsters sing the always show-stopping Brush Up Your Shakespeare. As the show comes to close, Lilli unexpectedly returns and in Katherine’s words expresses her intention of returning to her husband.
| Fred Graham/Petmchio | Peter Sayers |
| Lilli Vanessi/Kate | Alison Mills-Barr |
| Bill Calhoun/Lucentio | Terry Cull |
| Lois Lane/Bianca | Tammy Wall |
| Harry/Baptista | Brian King MBE |
| Gremio | Wetner De Waal |
| Hortensio | Marc Wall |
| Ralph | Martin Desmond |
| Hattie | Katy Clementson |
| Paul | Chris Ryde |
| 1st Gangster | Dick Breeze |
| 2nd Gangster | Peter Dunham |
| Rosalinde | Gill Shaw |
| Titiana | Anna Hitti |
| Porsche | Maggy Reed |
| Ensemble | Vicky Collins, Gail Elliot, Sue Hawkins, Angela Monaghan, Annie Rumney, Maureen Davies, Richard Gregg, Mandy Plinge, Jackie Radford, Winter Shang, Coleen Town |
| Stage Manager | Vin Clemmens |
| Ass. Stage Manager | Frances Green |
| Prompt | Angela Dunham |
| Stage Crew | John Marsh, Norman Mills-Barr |
| Stage Crew | Rod Chillingworth, Harry Thorn, Oliver Gregg |
| Costumes | Harlequin And The Company |
| Props | Vanessa Baker |
| Lighting | Design Mike Try |
| Lighting Operator | John Vivash |
| Sound | Zuz Bryant |
| Front of House | Dot Lutkin & The Company |
| Programme Design | Vin Clemmens |
| Set Design | Scenic & Property Hire |
| For Campus West Theatre | |
| Ops.Manager | Stuart West |
| Technical Director | John Vivash |
| Reeds | Clare Taylor, Martin Cook, Andrew Pummell |
| Trumpets | Tim Welsh, Tom Whalley |
| Horn | Simon Cove |
| Trombone | Aidan Collins |
| Bass | Peter Nevilee |
| Percussion | Chris Gray |
| Keyboard | Peter Farrell |
If you have any records of a review for this show, or any other materials, such as photos, programme (although we do in this case) do please send us a copy so that we can show it here.
Many thanks.
If you can help fill the gaps, you can send any information here.
Venue: Hawthorne Theatre
This show ran from Wednesday 23rd to Saturday 26th November 2005
Show start times: 7:45pm and 2:30pm on the Saturday matinee.
If you have any records of a review for this show, or any other materials, such as photos, programme (although we do in this case) do please send us a copy so that we can show it here.
Many thanks.
If you can help fill the gaps, you can send any information here.
The curtain opens on the birthday celebrations of the pirate apprentice Frederic – he is twenty-one, and out of his indentures. He then makes a shocking revelation – he was apprenticed to them due to his nursery maid, Ruth, confusing the words ‘pilot’ and ‘pirate’. As it was his duty, he remained with them – but now, his duty is to destroy them! The pirates are sympathetic to his dilemma, and depart, leaving him with Ruth, who has managed to persuade him to marry her.
Ruth’s intentions are foiled by the arrival of Major-General Stanley’s daughters. Frederic’s pleadings go straight to Mabel’s heart, and she agrees to marry him. Suddenly, the pirates
return and seize the remaining daughters, intending to marry them. Even the appearance of the Major-General himself does not dissuade them, until he reveals that he is an orphan. The tender-hearted pirates agree to let him, and his
daughters, leave unharmed.
The Major-General is wracked with guilt – he escaped the pirates through a lie, as he is no orphan! Fortunately, a band of
policemen are at hand who, led by Frederic, intend to arrest the pirates. Unexpectedly, the Pirate King and Ruth return
with the shocking news that, as Frederic was born on February the 29th, under the terms of his indentures he is only five and a quarter, and, consequently, still a pirate! Reluctantly, he re-joins his former comrades, who easily defeat the police
and sentence the Major-General to death. They cannot, however, resist the policemen’s secret weapon, and all surrender in the name of Queen Victoria! Before they can be brought to justice, Ruth reveals a long-held secret: all the pirates are really wayward noblemen. They are, of course, pardoned of all crimes, and provide a convenient way for the Major General to get rid of his daughters!
| Samuel | Chris Ryde | |
| Pirate King | Peter Sayers | |
| Frederic | Shai Rappaport | |
| Ruth | Alison Mills | |
| Kate | Samantha McRae | |
| Edith | Gillian Shaw | |
| Isabel | Kate Muir | |
| Mabel | Paula Fraser | |
| Major-General | Terry Cull | |
| Sergeant of Police | Mark Morton | |
| Pirates/Policemen | Peter Dunham, Richard Gregg, Jon Newham, Sue Kennedy, Nick Baker, Alan Bradbury, Rui Shang, Brian King | |
| Daughters | Vicky Collins, Anna Hitti, Jacky Radford, Maggie Reed, Annie Rumney, Kate Clementson, Susan Hawkins, Tammy Wall, Shevaughn Seedall, Colleen Town |
| Stage Manager | Vin Clemmens |
| Ass. Stage Manager | Frances Green |
| Prompt | Angela Dunham |
| Stage Crew | John Marsh, |
| Stage Crew | Rod Chillingworth, |
| Costumes | Harlequin And The Company |
| Props | Vanessa Baker |
| Lighting Design | Mike Try |
| Lighting Operator | Jon Lloyd |
| Sound | Ron Keech |
| Front of House | Dot Lutkin & The Company |
| Programme Design | Vin Clemmens |
| Set Design | Stagesets London |
| For Campus West Theatre | |
| Manager | Mark Woolman |
| Stage Director | John Lloyd |
| Flute | Clare Taylor |
| Reeds | Martin Cook, Andrew Pummell |
| Bassoon | Janet Leak |
| Trumpet | Tim Welsh, Euan Tees |
| Trombone | Aidan Collins |
| Bass | Peter Neville |
| Percussion | Chris Gray, Beckie Gray |
| Keyboard | Mel Sutton |
If you have any records of a review for this show, or any other materials, such as photos, programme (although we do in this case) do please send us a copy so that we can show it here.
Many thanks.
If you can help fill the gaps, you can send any information here.
Venue: Hawthorne Theatre
This show ran from Wednesday 18th to Saturday 21st May 2005
Show start times: 7:45pm and 2:30pm on the Saturday matinee.
Charity Hope Valentine is the girl, or more accurately the woman, employed as a hostess at a New York dance hall in the late 1960’s. Inside the Fan-Dango Ballroom Charity is companioned with streetwise hostesses who often share their cynical advice about love and occasionally their long abandoned dreams while Herman (the dance-hall manager the girls affectionately refer to as “Der Fuhrer”) makes sure the customers get what they’ve paid for. Outside the dance hall, Charity’s innocent vulnerability is repeatedly taken advantage of by con artists, panhandlers, and even a boyfriend who pushes her into a lake while stealing her life’s savings. But our heroine does manage a fleeting glimpse of fame when she unexpectedly spends the night in the closet of the Italian screen idol, Vittorio Vidal while he reconciles with his beautiful jet-set girlfriend.
Charity’s “real” chance for happiness comes when the fickle finger of fate traps her in an elevator with a claustrophobic tax accountant (Oscar Lindquist) who also seems to be in search of … “something”. Charity joins Oscar as he attends a service at the Rhythm of Life Church led by the Reverend Daddy Brubeck, the spiritual leader of a former San Francisco jazz group turned religious cult. Romance ensues only to falter when Oscar discovers Charity’s true occupation and dating history. Through trials and tribulations, sweet Charity continues searching for love, wide-eyed and hopeful.
| Charity Hope Valentine | Tammy Wall |
| Helene | Kate Clementson |
| Nicki | Amanda Maxwell |
| Carmen | Kate Muir |
| Suzanne | Susan Hawkins |
| Betsy | Shevaughn Seedal |
| Rosie | Caroline Fitch |
| Herman | Peter Sayers |
| Ursala March | Susan Hawkins |
| Vittorio Vidal | Martin Desmond |
| Oscar Lindquist | Chris Ryde |
| Daddy Brubeck | Mark Morton |
| Assistants to Brubeck | David Jackson, Harry Lockyear |
| Doorman | Mark Morton |
| Marvin | David Jackson |
| Manfred & Barney | Brian King MBE |
| Charlie Dark Glasses | Peter Sayers |
| Receptionist | Gill Shaw |
| Chorus | Gill Shaw |
| Jackie Radford | |
| Gail Elliott | |
| Annie Rumney | |
| Vicky Collins | |
| Rui Shang | |
| Nick Baker |
| Production Secretary | Amanda Maxwell |
| Stage Manager | Peter Dunham |
| Ass. Stage Manager | Frances Green |
| Prompt | Angela Dunham |
| Stage Crew | John Marsh, Vin Clemmens |
| Stage Crew | Rod Chillingworth, Paul Panter |
| Stage Crew | Norman Barr |
| Costumes | Elstree Productions & Harlequin And Company |
| Props | Vanessa Baker |
| Props | Amanda Chick |
| Lighting Design | Mike Try |
| Lighting Operator | Jon Lloyd |
| Sound | Alison Mills |
| Front of House | Dot Lutkin & The Company |
| Programme Design | Vin Clemmens |
| Set Design | Stagesets London |
| For Campus West Theatre | |
| Manager | Mark Woolman |
| Stage Director | John Lloyd |
| Reeds | Martin Cook, Derek Kirby, Clare Taylor |
| Trumpet | Tim Welsh, Euan Tees |
| Trombone | Aidan Collins |
| Bass Peter | Neville |
| Percussion | Chris Gray |
| Keyboard Peter | Farrell |
If you have any records of a review for this show, or any other materials, such as photos, programme (although we do in this case) do please send us a copy so that we can show it here.
Many thanks.
If you can help fill the gaps, you can send any information here.
Venue: Hawthorne Theatre
This show ran from Wednesday 24th to Saturday 27th November 2004
Show start times: 7:45pm and 2:30pm on the Saturday matinee.
THE original programme for CALL ME MADAM contained the following information: “The play is laid in two mythical countries. One is called Lichtenburg, the other is the United States of America.”
The curtain rises in Washington, D.C., where Sally Adams is being sworn in as the new Ambassador to Lichtenburg. (“Where the hell is Lichtenburg?” she inquires with her customary directness, when the swearing-in ceremony is over.) She has appointed young Kenneth Gibson, a serious student of economics and international affairs, to her embassy staff. When Kenneth tries to sound out Sally’s views on Lichtenburg’s economy, and discovers she is completely innocent of any information, he inquires how she came to be an Ambassador. With no less candour, Sally tells him (“I’m the Hostess with the Mostes’ on the Ball”). Sally then arranges a gala farewell party for her many friends in both political parties (“Washington Square Dance”).
In a public square in Lichtenburg the townspeople have been waiting for hours for their new Ambassador. But, apparently, she has lost her way enroute to the duchy. When she finally arrives she is given a royal welcome and introduced to Lichtenburg’s striking Prime Minister, Cosmo Constantine. Taken with him, Sally immediately inquires if Lichtenburg needs any money from the United States and is taken aback to learn from the Prime Minister that he considers any loan from Washington unthinkable for his government.
A few weeks later Cosmo escorts Sally to the lively Lichtenburg Fair (paid for out of Sally’s personal funds). The place is alive with gaiety and activity (“The Ocarina”). Here Kenneth meets the lovely Princess Maria of Lichtenburg for the first time, and impresses her with his immense fund of information about her country. He is at once completely captivated by her beauty and charm (“It’s a Lovely Day Today”).
As time passes, Sally proceeds to create consternation in Lichtenburg. She is brash. unconventional, uninhibited, and her actions and speech have created shock. Cosmo, however, is more than ever delighted with her, to Sally’s immense satisfaction (“The Best Thing for You Would Be Me”). But word has come back to Washington about Sally’s undiplomatic behaviour, and three Congressmen are sent to investigate. They appear at a lavish Embassy Ball, where they are flabbergasted to learn that Lichtenburg is one place that refuses to consider a loan from the United States. The Congressmen also take time out to do a bit of politicking of their own by maintaining that they have found a candidate for the United States Presidential election of 1952 (“They Like lke”). While all this is going on, Kenneth is oblivious to anything and everything except his growing love for the Princess (“You’re Just in Love”). Sally is finally recalled to Washington; but Kenneth stays behind in Lichtenburg to help build there a hydro-electric plant and to marry the Princess. Cosmo comes to Washington to get a decoration, and when Sally and he meet again they finally recognise that they, too, are in love.
CALL ME MADAM was first produced at the Imperial Theatre on October 12, 1950, with Ethel Merman as “Sally”, Paul Lukas as “Cosmo” and Russell Nype as “Kenneth”. It enjoyed a run of 644 performances.
| Mrs Sally Adams | Alison Mills |
| Secretary of State | Jackie Radford |
| Congressman Wilkins | Maureen Davies |
| Henry Gibson | Walter Plinge |
| Kenneth Gibson | Dan Breeze |
| Senator Brocklebank | Mark Morton |
| Senator Gallagher | Alan Bradbury |
| Cosmo Constantine | Peter Sayers |
| Pemberton Maxwell | Brian King MBE |
| Sebastian Sebastian | Alex Dugdale |
| Princess Maria | Phillipa White |
| Grand Duchess Sophie | Maggie Reed |
| Grand Duke Otto | Peter Dunham |
| Ladies and Gentlemen of the Senate and residents | Sam McRae, Nick Baker Tammy Wall, Rowan Baker, Annie Rumney, Sue Hawkins, Kate Muir |
| Costumes | Harlequin Costumes |
| Props | Vanessa Baker |
| Stage Manager | Jon Marsh |
| Ass. Stage Manager | Frances Green |
| Stage Crew | John Marsh, Peter Dunham |
| Stage Crew | Vin Clemmens, |
| Stage Crew | Christian Baker |
| Lighting Design | Mike Try |
| Lighting Operator | John Lloyd |
| Sound Operator | Mike Try |
| Front of House | Christine Goodwin |
| Programme Design | Terry Cull |
| For Campus West Theatre | |
| Manager | Mark Woolman |
| Stage Director | John Lloyd |
| Keyboard | Peter Farrell |
| Reeds: | Charles Rowe, Clare Taylor, Martin Cook |
| Trumpet | Tim Welch, David Mc Viegh |
| Trombone | Aidan Collins |
| Bass | Mark Davey |
| Percussion | Chris Gray |
If you have any records of a review for this show, or any other materials, such as photos, programme (although we do in this case) do please send us a copy so that we can show it here.
Many thanks.
If you can help fill the gaps, you can send any information here.
Venue: Hawthorne Theatre
This show ran from Wednesday 21st to Saturday 24th April 2004
Show start times: 7:45pm and 2:30pm on the Saturday matinee.
If you have any records of a review for this show, or any other materials, such as photos, programme (although we do in this case) do please send us a copy so that we can show it here.
Many thanks.
If you can help fill the gaps, you can send any information here.
The story follows a young farm girl who feeling unloved runs away, only to get caught in a storm and transported to a magical land. There she encounters fantastic characters in her attempt to get home and avoid the wrath of a wicked witch out to avenge the accidental death of her sister. On her travels she meets the Scarecrow, Tinman and Cowardly Lion who also go to Oz to get a brain, a heart and courage, respectively. In the end, Dorothy returns to Kansas, which proves the famous inspirational line to be true every time: “There’s no place like home.”
Adapted for the stage by L. Frank Baum himself, the original stage version of The Wizard of Oz tells the story of Dorothy and her pet cow (That’s right-a cow!), who are kidnapped by a twister and set down somewhere in the land of the Oz. When the Kansas farmhouse crashes from the sky it kills the cruel witch, who for
so many years has ruled so despotically over the Munchkins-inhabitants of Oz. The Munchkins are now free, and in gratitude the good witch of Oz presents Dorothy with a ring which has the power to grant two wishes. To test the ring, Dorothy wastes her first wish on a trifle. But she saved her second wish to bring a
Scarecrow back to life. Later they meet the Tin Woodman, and the Cowardly Lion, and together with their new friends, they set off to find the Wizard in the Emerald City of Oz.
The Wizard of Oz premiered at the Majestic Theatre on January 20, 1903 with a cast that featured David Montgomery, Fred Stone, Anna Laughlin, Arthur Hill, Bessie Wynn, and Grace Kimball. The story was changed for the classic 1939 screen version featuring Judy Garland, Frank Morgan, Ray Bolger, Bert Lahr, and Jack Haley, as well as a new score by Harold Arlen and E.Y. Harburg. The cow was replaced by Dorothy’s pet dog Toto and the ring became a pair of ruby slippers (originally silver but replaced by ruby, as it was considered a superior effect in Technicolour.) And of course the film introduced the memorable song “Over the Rainbow”, which won the Academy Award as the best song to come from the screen that season, and which from then on served as Judy Garland’s theme song. Growing up, almost everyone has seen the Wizard of Oz at least one time. The movie was designed as a musical, but it has become the ultimate symbol of Halloween, childhood, and much more. A girl named Dorothy is transported in her house by a tornado and sent to the magical land of Oz. All is fine and well in Oz except Dorothy just wishes to go home. She discovers that to get home she will have to find her way to the magical Wizard of Oz. The path to him is the yellow brick road. Along her journey to the Wizard, she encounters a cowardly lion, a scarecrow, and a tin man. Each of these characters desires something they feel they are lacking in their life. It all becomes evident in the end however that they already have the attributes that they seek and it takes the fellowship of the journey and its encounters to make them realise it.
| Dorothy | Tammy Wall |
| Auntie Em | Nora Jackson |
| Uncle Henry/Guard | Mark Morton |
| Almira Gulch/Wlcked Witch | Amanda Maxwell |
| Hunk/Scarecrow | Terry Cull |
| Hickory/Tin Man | David Jackson |
| Zeke/Lion | Peter Sayers |
| Professor Marvel/Wizard | Brian King |
| Glinda | Gillian Shaw |
| Crows | Hannah Britton, Philippa White, Tamsin Goodwin-Connelly |
| Trees | Shevaughn Seedall, Sue Hawkins, Ashleigh Muir |
| Munchklns/Ozians/Winkies | Jackie Radford, Colleen Town, Jackie McMath, Sheila Hodges |
| Munchkins/Ozian Children/Flying Monkeys | Lizzie Selley, Juliette Fletcher, Lauren Parkes, Amber Parkes, Jade Parkes, Hannah Maxwell, Emma Cook, Laura Cook, William Maxwell, Abbie Steer, Stevie Gibbs, Heidi Muir, Freddie Jenkins, Georgina Jenkins |
| Production Manager | Peter Dunham |
| Production Secretary | Amanda Maxwell |
| Costumes | Westcliff Costumes |
| Props | Vanessa Baker |
| Props | Katherine Brassett |
| Stage Manager/Pyrotechnics | Alex Dugdale |
| Ass. Stage Manager | Frances Green |
| Stage Crew | John Marsh, Peter Dunham |
| Stage Crew | Yin Clemmens, John Martin |
| Stage Crew | Paul Panter |
| Lighting Design | Mike Try |
| Lighting Operator | Sue Welch & Cliff Rogers |
| Special Effects by | Smartlight and Sound |
| Sound Operator | Sue Buckham |
| Front of House | Dot Lutkin |
| Programme Design | Terry Cull |
| Scenery | Peter Dunham |
| For Campus West Theatre | |
| Manager | Mark Woolman |
| Stage Director | John Lloyd |
| Violin | Ann Cook |
| Reeds | Martin Cook, Derek Kirby |
| Trumpet | Tim Welch |
| Trombone | Aidan Collins |
| Bass | Peter Neville |
| Percussion | Chris Gray |
If you have any records of a review for this show, or any other materials, such as photos, programme (although we do in this case) do please send us a copy so that we can show it here.
Many thanks.
If you can help fill the gaps, you can send any information here.
Venue: Hawthorne Theatre
This show ran from Wednesday 2nd to Saturday 6th December 2003
Show start times: 7:45pm and 2:30pm on the Saturday matinee.
The cultural inferno from which the original cabarets emerged, was fuelled by a potent mix of sex, drugs and politics. Seismic shifts in post World War I European culture, riots, strikes, unemployment, rampant crime, and also inflation colluded with some of the most innovative philosophical movements of the twentieth century to create an unforgettable amalgam of street-wise, intellectual, and high camp brilliance.
“The Golden Twenties” as they have since been dubbed, saw Berlin attract everyone from atomic scientists such as Einstein, to classical composers like Ravel. Even dancers fleeing the Russian Revolution such as Pavlova, went straight to Berlin where they interacted with the radical architects of the Bauhaus, the painters of Expressionism, the antics of the Dadaists, and the new nudity embraced by such outre performers as Anita Berber and Josephine Baker. Marlene Deitrich was in fact discovered while performing in a cabaret by Joseph Von Sternberg who cast her as the sexually dangerous Lola in the legendary film The Blue Angel in 1929.
The cabarets attracted people from all quarters of society, from the nouveau riche to the threadbare poets, from pimps to transsexuals, drug addicts to political activists. Without the traditional restraints and censorship of the Kaiser’s Germany, which had been swept away in the aftermath of World War I, Berlin was probably more permissive than most cities today. Cocaine was cheap and freely available. The economy was in tatters, and many people knew terrible privation. But despite rampant inflation, the arts flourished in a spectacular fashion. Faced with a world of ferocious uncertainty, Berliners embraced the arts. Both jazz and classical music flourished. Painters and writers not only flouted convention, they questioned all forms of authority. And from the stage the acerbic wit of the cabaret “conferenciers” (the masters of ceremony) found much to satirise in the raging storms of political extremism. When a Nazi shouted “dirty Jew” Wemer Finck, working from the stage of the fashionable left wing cabaret Der Katakombe, shouted back: “I’m afraid you are mistaken, I only look this intelligent.” His boldness marked the era, but it was not to last.
Perhaps it was the danger and instability of the period which inspired so many artists to challenge their society, but “The Golden Twenties” were to give way to a much darker and even more violent decade. The far Right and Left battled it out on the streets and in the ballot boxes. Hitler, and the Nazi party were able to exploit the very insecurity which had made Germany open up to the currents of Modernism. And the worldwide depression heralded by the American stock market crash of 1929 was to crush every vestige of the once-glittering playground of Twenties Berlin within the space of a few years. It is to this marvellous and toxic era that Sally Bowles and the other firebrands of CABARET belonged, and to this era that Mendes has returned them. It is a musical which has so much more depth and political resonance than is usual in the genre, and yet that probably explains why it has continued to evolve in the decades since the last curtain in the last Weimar cabaret came down. The wit, courage and sparkle of the characters transcends the tragic end which awaits them, and inspires each new generation to “Come see the CABARET!”.
| Master of Ceremonies (Emcee) | Peter Sayers |
| Clifford Bradshaw | Matthew Greenbank |
| Ernst Ludvig | David Jackson |
| Customs Officer | Mark Morton |
| Fraulein Schneider | Alison Mills |
| Fraulein Kost | Maggy Reed |
| Herr Schultz | Terry Cull |
| Telephone Girl No.1 | Jackie Radford |
| Telephone Girl No.2 | Phillipa White |
| Sally Bowles | Tammy Wall |
| Max | Brian King MBE |
| Two Ladies | Samantha McRae |
| Kate Muir | |
| Kit Kat Girls | Samamtha McRae |
| Sue McInerney | |
| Shevaughn Seedall | |
| Hannah Britten | |
| Kate Muir | |
| Gilliall Shaw | |
| Night Club | Tamsin Goodwill-Collllelly |
| Night Club | Jackie McMath |
| Sailors/ Waiters | Nick Baker |
| Alex Ducgdale | |
| Joe McInerney |
| Production Managager | Peter Dunham |
| Production Secretary | Amanda Mawell |
| Costumes | Harlequin Costumes |
| Props | Vanessa Baker |
| Props | Katherine Brassett |
| Stage Manager | Peter Dunham |
| Ass. Stage Manager | Frances Green |
| Stage Crew | John Marsh, Kathleen Mathers |
| Stage Crew | Rod Chillingworth |
| Lighing Design | Mike Try |
| Lighting Operator | John Lloyd |
| Lighting Operator | Sue Welch |
| Sound Operator | Nick Harlow |
| Front of House | Dot Lutkin |
| Programme Design | Terry Cull |
| Scenery | Peter Dunham |
| For Campus West Theatre | |
| Manager | Mark Woolman |
| Stage Director | John Lloyd |
| Pianist | Peter Farrell |
| Wind | Helen Makewell |
| Trumpet | Tim Welch |
| Bass | Mark Davey |
| Trombone | Aidan Collins |
| Drums | Chris Gray |
If you have any records of a review for this show, or any other materials, such as photos, programme (although we do in this case) do please send us a copy so that we can show it here.
Many thanks.
If you can help fill the gaps, you can send any information here.
Venue: Hawthorne Theatre
This show ran from Wednesday 30th April to Saturday 3rd May 2003
Show start times: 7:45pm and 2:30pm on the Saturday matinee.
The S.S. American, sailing from New York to England, carries an unusual group of passengers. Included amongst them are a gangster (Moonface Martin), a wealthy debutante and her mother (Hope and Evangeline Harcourt), a night-club singer (Reno Sweeny), and a wealthy New York businessman and his stowaway assistant (Elisha Witney and Billy Crocker). It turns out that Hope is Billy’s long-lost love. Unfortunately, she is now engaged to a wealthy Englishman, Lord Evelyn Oakleigh. After a series of comedic happenings, Billy manages to win back Hope. Meanwhile, Billy’s friend, Reno, manages to seduce and win Lord Evelyn. All this happens while Moonface Martin attempts to escape the law and Hope’s mother strives to maintain her social status.
Anything Goes was first envisioned by producer Vinlon Freedley while hiding out aboard a fishing boat in the Gulf of Panama after fleeing the country to escape creditors. His idea was based on the premise of an ocean liner facing the threat of a possible shipwreck. He returned to New York and, after paying off his debts, began assembling his dream team: Cole Porter, Guy Bolton, P.G. Wodehouse, Ethel Merman. Soon Freedley had a script that he felt sure would reverse his sagging fortunes. Then, with rehearsals just about to begin, the S.S. Morro Castle went down off the coast of New Jersey. Over 125 passengers lost their lives in the highly publicised disaster. Anything Goes, Freedley decided, would have to be rewritten.
Anything Goes did not actually appear as the title until this second draft and referred to the desperation with which the show was put together. The rewrite retained most of the same characters, but did away with the idea of the shipwreck. The plot revolved around night-club singer Reno Sweeney (Merman), her pall Billy Crocker, Crocker’s debutante-love Hope Harcourt, Moon-Face Mooney, and Public Enemy No.13 who slips onto the ship to avoid the FBI.
Anything Goes opened at the Alvin Theatre on November 21, 1934 and turned out to be the fourth longest running musical of the 30s. In 1987. it was revived at the Vivian Beaumont Theatre with Patti LuPone in the leading role and a revised book by Timothy Crouse and John Weidman.
| Rello Sweeney | Amanda Maxwell |
| Hope Harcourt | Alison Mills |
| Evangeline Harcourt | Nora Jacksoll |
| Lord Evelyn Oakleigh | David Jackson |
| Elisha Whitney | Briall King MBE |
| Billy Crocker | Peter Sayers |
| Moonface Martin | Terry Cull |
| Erma | Tammy Wall |
| Captain | Alan Bradbury |
| Purser | Matthew Greenbank |
| Henry T Dobson | Mark Mortoll |
| Luke | Harry Lockyear |
| John | Phillipa White |
| Purity ) | Shevaughn Seedall |
| Chastity ) Angels | Hannah Britten |
| Charity ) | Kate Muir |
| Virtue ) | Samantha McRae |
| Reporter No 1 | Tamsin Godwin-Connelly |
| Reporter No 2 | Jackie Radford |
| Passenger | GilIiall Shaw |
| Passenger | Colleen Town |
| Passenger | Alison Lilly |
| Passenger | Kayleigh Raille |
| Sailor | Nick Baker |
| Fred the Barman | Peter Dllnha |
| Prodution Manager | Peter Dunham |
| Production Secretary | Amanda Maxwell |
| Costumes | Westcliff Costumes |
| Props | Vanessa Baker |
| Props | Katherine Brassett |
| Stage Manager | John Marsh |
| Ass. Stage Manager | Frances Green |
| Stage Crew | Kathleen Mather |
| Stage Crew | Christian Baker & Tony Lutkin |
| Lighting Design | Mike Try |
| Lighting Operator | Jon Lloyd & Brian Rogers |
| Lighting Operator | Sue Welch |
| Sound Operator | Allex Dugdale |
| Front of House | Dot Lutkin |
| Programme Design | Terry Cull |
| Scenery | Scenic Property Hire |
| For Campus West Theatre | |
| Manager | Mark Woolman |
| Stage Director | John Lloyd |
| Reeds | Jane Archer |
| Charles Rowe | |
| Martin Cook | |
| Trumpet | Tim Welch |
| Trombone | Aidan Collins |
| Bass | Peter Neville |
| Percussion | Chris Gray |
If you have any records of a review for this show, or any other materials, such as photos, programme (although we do in this case) do please send us a copy so that we can show it here.
Many thanks.
If you can help fill the gaps, you can send any information here.
Venue: Hawthorne Theatre
This show ran from Tuesday 26th to Saturday 30th November 2002
Show start times: 7:45pm and 2:30pm on the Saturday matinee.
There is no other serial killer in history that chills the blood or heightens the imagination as much as Jack the Ripper. Over 100 years after the events in Whitechapel the murders are still surrounded in mystery. Over eighty books have been written on the subject and there are thousands of professional and amateur Ripperologists who will enthusiastically expound their own theories. Yet the identity of the killer remains as elusive today as it was in 1888.
Anything between four and eleven crimes at different times have been attributed to Jack the Ripper but most experts now agree with Sir Melville McNaughton who joined Scotland Yard as Assistant Chief Constable in 1889 the year following the crimes. He took an intense interest in the case and in his private notes he wrote “The Whitechapel Murderer had five victims and five victims only”.
Of those five victims the first was Mary (Polly) Nichols who was found murdered in Bucks Row on 31st August 1888 the second was Annie Chapman who was discovered in the rear yard of 29 Hanbury Street in the early hours of 8th September 1888. There then followed a three week lull before the Ripper struck again with a double murder on the night of 30th September 1888. The unfortunate victims three and four were (Long) Liz Stride who was found in the entrance to Dutfield’s Yard Berner Street at approx. 1:00 am and Catherine Eddowes who was discovered in Mitre Square at 1:45 am. All the women had died from a slash to the throat and all except for Liz Stride had been disembowelled. The Ripper, a name given to the killer by the newspapers as the result of a letter received, had struck sheer terror into the heart of the east end. On at least two occasions the beast had been within minutes or even seconds of being discovered and yet each time appeared to melt into the misty shadows of Victorian London.
The Ripper saved his most gruesome crime however for his last victim. On the 9th November 1888 Mary Jane Kelly was murdered around 3:30am in her lodgings at 13 Millers Court, off Dorset Street, Whitechapel. She had been mutilated beyond recognition. The outcry that followed resulted in the then Commissioner for Police Sir Charles Warren’s immediate resignation.
Many theories have been put forward as to the identity of the killer and whether or not the murders were linked by some conspiracy. It has even been suggested that Queen Victoria’s grandson Prince Albert Victor was involved, which, many say, is the reason why the Queen took such an interest in the case. More recently Sir Edward Gull the Queen’s surgeon, Dr Francis Tumblety an American quack doctor and James Maybrick a Liverpool cotton merchant have all been named.
In 1888 however rumours abounded. A leather apron found near the body of Annie Chapman lead to the arrest, and subsequent release, of a Jewish butcher. Many thought it was a foreign sailor from one of the ships in the London Docks. There was even a rumour at one time that the killer was a woman.
Let us leave the last word however with Sir Melvin McNaughton who wrote in his memoranda that he believed the killer to be Montague John Druitt, said to be a failed London Barrister, who disappeared and committed suicide shortly after the last murder and was pulled from the Thames at Chiswick a month later.
Whatever the myths and theories that surround the events of that dreadful autumn of 1888 however, one inescapable fact is that five women, who were already suffering a life of incredible hardship were brutally murdered. I ask you therefore to spare a moment’s thought for the memories of Polly Nichols, Annie Chapman, Lizzie Stride, Catherine Eddowes and Mary Jane Kelly five unfortunates of Whitechapel.
| Mary Kelly | Tammy Wall |
| Lime Stride | Sam Mcrae |
| Annie Chapman | Gill Shaw |
| Polly Ann Nicbolls | Hannah Britten |
| Liza Pearl | Jackie Radford |
| Martha Tabram | Eleanor Alexander |
| Catherine Eddowes | Kate Muir |
| Montague Druitt | Terry Cull |
| Chairman | Peter Sayers |
| Daniel Mendoza | Matthew Greenbank |
| Dinky Nine Eights | Harry Lockyear |
| Bluenose Stack | David Jackson |
| Slop Wallace | Mark Morton |
| Lord Overcoat | Brian King |
| Brother Paul | Alex Dugdale |
| Police Sergeant Coles | Peter Dunham |
| Paper Vendor | Alison Lilly |
| Asst. Producer & Choreographer | Samantha Mcrae |
| Production Manager | Peter Dunham |
| Production Secretary | Amanda Maxwell |
| Costumes | Harlequin Costumes |
| Props | Vanessa Baker |
| Props | Katherine Brasett |
| Stage Manager | Jon Marsh MBE. |
| Ass. Stage Manager | Frances Green |
| Stage Crew | Kathleen Mathers |
| Stage Crew | Christian Baker, Lee Hague |
| Lighting Design | Mike Try |
| Lighting Operator | Jon Lloyd |
| Front or House | Dot Lutkin |
| Programme Design | Terry Cull |
| Scenery | Welwyn Thalians |
| Piano | Peter Farrell |
| Percussion | Brian Booth |
| Bass Guitar | John Smith |
| Manager | Mark Woolman |
| Stage Director | John Lloyd |
If you have any records of a review for this show, or any other materials, such as photos, programme (although we do in this case) do please send us a copy so that we can show it here.
Many thanks.
If you can help fill the gaps, you can send any information here.
Venue: Hawthorne Theatre
This show ran from Wednesday 24th to Saturday 27th April 2002
Show start times: 7:45pm and 2:30pm on the Saturday matinee.
Nathan Detroit must win a bet from slick high roller Sky Masterson or Nathan’s Oldest Established Permanent Floating Crap Game will be forced to fold. Nathan bets that Sky will not be able to take starchy Mission doll Sarah to Havana with him. Sarah finds the rakish Sky very resistible at first, but eventually melts and accompanies him to Cuba, while Nathan almost loses his fianceé of 14 years, the psychosomatic showgirl Miss Adelaide. In the end, the Dolls get the Guys and all ends merrily.
| Nicely-Nicely Johnson | Matt Greenbank |
| Benny Southstreet | Dave Jackson |
| Rusty Charlie | Harry Lockyear |
| Sarah Brown | Alison Mills |
| Arvide Abernathy | Peter Dunham |
| Harry the Horse | Kyle Lytton |
| Lt Brannigan | Richard Gregg |
| Nathan Detriot | Terry Cull |
| Miss Adelaide | Amanda Maxwell |
| Sky Masterson | Peter Sayers |
| Gen Cartwright | Kate Muir |
| Agatha | Sam Mcrae |
| Big Jule | Brian King |
| Mimi | Tammy Wall |
| Hot Box Dancers | Julia Buck, Gretel Lilly, Sam McRae, Kate Muir, Shevaughn Seedall, Tammy Wall |
| Ladies | Eleanor Alexander, Hannah Britton, Alison Lilly, Jackie McMath, Jackie Radford, Kayleigh Raine, Marie Taylor, Colleen Town |
| Men | Alex Dugdale, Harry Lockyear, Mark Morton |
| Production Manager | Peter Dunham |
| Production Secretary | Amanda Maxwell |
| Costumes | Westcliff Costumes |
| Props | Vanessa Baker |
| Props | Katherine Brassett |
| Stage Manager | John Marsh |
| Ass. Stage Manager | Frances Green |
| Stage Crew | Lee Hague |
| Stage Crew | Elliott & Oliver Gregg |
| Stage Crew | Christian Baker &Tony Lutkin |
| Lighting Design | Mike Try |
| Lighting Operator | Jon Lloyd & Brian Rogers |
| Lighting Operator | David Rogers & Sue Welch |
| Sound Operator | Sue Buckham |
| Front of House | Dot Lutkin |
| Programme Design | Terry Cull |
| Scenery | Scenic Property Hire |
| For Campus West Theatre | |
| Manager | Mark Woolman |
| Stage Director | John Lloyd |
| Vivien Griffiths | Orchestra Manager |
| Leader | Ann Cook |
| Violins | Jonathan Acton, Margaret Grove, Stephanie Fano |
| Cello | Bernice de Smet |
| Bass | Ian Davidson |
| Reeds | Robert Hatberill, Julie Muncey, Derek Kirby, Martin Cook |
| Horn | Simon Cove |
| Trumpets | Tim Welch, Mark Taylor |
| Trombone | Aidan Collins |
| Percussion | Chris Grey |
If you have any records of a review for this show, or any other materials, such as photos, programme (although we do in this case) do please send us a copy so that we can show it here.
Many thanks.
If you can help fill the gaps, you can send any information here.
Venue: Hawthorne Theatre
This show ran from Wednesday 27th November to 1st December 2001.
Show start times: 7:45pm and 2:30pm on the Saturday matinee.
If you have any records of a review for this show, or any other materials, such as photos, programme (although we do in this case) do please send us a copy so that we can show it here.
Many thanks.
If you can help fill the gaps, you can send any information here.
Sid Sorokin is recruited at the Sleeptite Pajama Factory of Cedar Rapids Iowa as the new Workroom Superintendent by Mr Hasler, the General Manager. Things on the factory floor however are not all they should be.
The work force are pressing for an additional 7.5c per hour pay rise and leading the representations on the machine line is the union steward Babe Williams. Babe is also head of the grievance committee and when Sid has a brush with a maintenance operative they meet in strictly professional capacity. It is soon clear however that their feelings for each other extend beyond the shop floor .
At the Annual staff picnic the company’s Time Study Executive Vernon Hines displays his skill as a knife throwing artist and when , despite Hines slightly intoxicated state, Babe elects to act as his assistant and stand in front of the board Sid soon realises how deep his feelings go.
Their love is sorely tested however when back at the factory the girls elect to go on a slow down led by Babe and confrontation on the production line leads to Sid sacking Babe for misconduct.
The girls respond by sabotaging the company’s merchandise which in turn leads to a misunderstanding between Hines and his long time girlfriend Gladys over a missing pair of trousers.
In an attempt to solve the crisis Sid seeks the assistance of Gladys who is Mr Hasler’s Secretary. Sid gets Gladys drunk in Hernando’s Hideaway and she agrees to give him the key to Hasler’s safe in which he keeps the Company’s books.
Unfortunately, the insanely jealous Hines sees the couple together and exacts revenge on Sid by trying to scare him with his knife throwing antics.
All works out fine however after Sid confronts Hasler about his accounting irregularities and he finally concedes to the pay rise.
Sid and Babe and Hines and Gladys patch up their differences and together with the rest of the work force they all celebrate at Hernando’s Hideaway with a special “Sleeptite” pajama party.
| Babe | Alison Mills |
| Sid | Peter Sayers |
| Gladys | Tammy Wall |
| Hines | Terry Cull |
| Mabel | Gill Shaw |
| Hasler | Brian King |
| Prez | Matthew Greenbank |
| Pop | Peter Dunham |
| Mae | Kate Muir |
| Max | Dave Jackson |
| Poopsie | Julia Buck |
| Brenda | Samantha McRae |
| Eddie | Kyle Lytton |
| Joe | Joe McInerny |
| Charlie | Richard Gregg |
| THE FACTORYWORKERS | Jackie Radford, Jackie McMath, Sue Buckham, Dot Lutkin, Emerald Lutkin, Angela Dickel, Joe McInerny, Mark Morton, Kyle Lytton |
| ASSISTANT PRODUCER & | |
| ADDITIONAL CHOREOGRAPHY | |
| I’m Not At All in Love | Samantha McRae |
| Her Is | |
| Time Study Man | |
| Hernando’s Hidaway | |
| Seven and a Half Cents |
| Production Manager | Peter Dunham |
| Production Secretary | Tammy Wall |
| Costumes | Thalian Members |
| Scenery | Thalian Members |
| Props | Vanessa Baker |
| Stage Manager | Peter Dunham |
| Ass. Stage Manager | Alex Dugdale |
| Stage Crew | John Marsh |
| Stage Crew | Elliott Gregg |
| Stage Crew | Tony Lutkin |
| Lighting Design | Mike Try |
| Lighting Operator | Jon Lloyd |
| Sound Operator | Chris Ward |
| Front of House | Menna Biggs |
| Programme Design | Terry Cull |
| For Campus West Theatre | |
| Manager | Mark Woolman |
| Stage Director | John Lloyd |
| Piano | Peter Farrell |
| Reeds | Clare Taylor |
| Trumpet | Tim Welch |
| Bass | Mark Davey |
| Percussion | Brian Booth |
If you have any records of a review for this show, or any other materials, such as photos, programme (although we do in this case) do please send us a copy so that we can show it here.
Many thanks.
If you can help fill the gaps, you can send any information here.
Venue: Hawthorne Theatre
This show ran from Wednesday 2nd to Saturday 5th May 2001.
Show start times: 7:45pm and 2:30pm on the Saturday matinee.
If you have any records of a review for this show, or any other materials, such as photos, programme (although we do in this case) do please send us a copy so that we can show it here.
Many thanks.
If you can help fill the gaps, you can send any information here.
The Place is Oklahoma Territory USA and the time around the turn of the Century. Curly a young cowhand is stuck on Miss Laurey the young niece of Aunt Eller who farms a spread outside Claremore. Curly visits Laurey with the intention of inviting her to the box social to be held at Ike Skidmore’s ranch. Despite her feelings for Curly Laurey is not impressed with his fresh approaches and elects instead to accept the offer of their menacing farmhand Jud Fry to take her to the dance. This leads to a confrontation between the two men in the smokehouse where Fry sleeps.
In the meantime Curly’s friend Will Parker returns from Kansas City and intends to ask his sweetheart Ado Annie to marry him. Annie’s father has imposed a condition that he must be worth $50 before he can marry his daughter. Although Will won $50 at the Rodeo’s he spent all the money on presents for Annie and her father.
While Will was away Annie has been having fun of her own in particular with a travelling Pedlar named Ali Hakim. After her Pa finds out they have been flirting in a haystack and hears that Will Parker no longer has the $50 dollars cash he forces Ali by gunpoint to agree to marry Annie.
Back at the farm Laurey is beginning to regret agreeing to go to the party with Jud and after falling asleep in the meadow she dreams that Curly is killed by Jud and realises how much she loves Curly.
At the Dance Will meets up with Ali Hakim who sees an opportunity to get out of his promise to Ado Annie by purchasing Will’s presents for the $50 dollars thereby re-instating Will as the promised suitor.
The ensuing bidding for the lunch boxes see’s Will almost lose his $50 once more and Jud and Curly enter head to head bidding competition for Laurey’s hamper.
After Jud attempts to force himself on Laurey she fires him and finally admits her love for Curly and agrees to marry him. Wedding bells also ring for Will and Annie after some discussion about her commitment to marriage.
Final drama’s occur at Laurey and Curly’s wedding when Jud turns up to get even with them both but love triumphs and in the best traditions of the theatre they ride off into the sunset and a life of bliss.
| Laurey | Alison Mills |
| Curly | Peter Sayers |
| Aunt ElIer | Nora Jackson |
| Ado Annie | Tammy Wall |
| Will Parker | Terry Cull |
| AIi Hakim | Brian King |
| Jud | Martin Desmond |
| Carnes | Peter Dunham |
| Gertie | Kate Muir |
| Ike/Slim | Matthew Greenbank |
| Cord Elam | David Jackson |
| The Boys | Mark Morton, Kyle Lytton , Joe McInerney,Danny Oliver, Matt Greenbank, David Jackson |
| The Girls | Julia Buck, Sue Buckham, Kirsty Dickenson,Lisa Evans, Natalie Fox, Amber Jackson, Mandy Maxwell, Jaqueline McGrath, Pam Pryke, Jackie Radford, Gill Shaw. |
| Additional Choreography | |
| Kansas City | Kate Muir |
| Ballet Sequence | Samantha McRae |
| Production Manager | Peter Dunham |
| Production Secretary | Amanda Maxwell |
| Costumes | Marion Greenbank |
| Costume Supplier | Westcliff Costumes |
| Scenery | Scenic Property Hire |
| Props | Vanessa Baker |
| Stage Manager | John Marsh |
| Ass. Stage Manager | Francis Green |
| Stage Crew | Vic Fresle |
| Stage Crew | Tony Lutkin |
| Lighting Design | Mike Try |
| Lighting Operator | John Lloyd |
| Sound Operator | Chris Ward |
| Front of House | Menna Biggs |
| Programme Design | Terry Cull |
| For Campus West Theatre | |
| Manager | Mark Woolman |
| Stage Director | John Lloyd |
| Leader | Ann Cook |
| Violin | Jonathan Acton |
| Violin | Pam Davies |
| Viola | Margaret Grove |
| Cello | Bernice de Smet |
| Bass | Ian Davidson |
| Flute | Jane Archer |
| Oboe | Edward Burd |
| Clarinet | Martin Cook |
| Bassoon | Margaret Neil |
| Horn | Simon Cove |
| Trumpet | Tim Welch |
| Trumpet | Mark Taylor |
| Trombone | Aidan Collins |
| Percussion | Brian Booth |
If you have any records of a review for this show, or any other materials, such as photos, programme (although we do in this case) do please send us a copy so that we can show it here.
Many thanks.
If you can help fill the gaps, you can send any information here.
Venue: Hawthorne Theatre
This show ran from Tuesday 21st to Saturday 25th November 2000
Show start times: 7:45pm and 2:30pm on the Saturday matinee.
If you have any records of a review for this show, or any other materials, such as photos, programme (although we do in this case) do please send us a copy so that we can show it here.
Many thanks.
If you can help fill the gaps, you can send any information here.
