In Alan Bennett‘s play, staffroom rivalry and the anarchy of adolescence provoke insistent questions about history and how you teach it; about education and its purpose.

The action of the play takes place in Cutlers‘ Grammar School, Sheffield, a fictional boys‘ grammar school in the north of England. Set in the early 1980s, the play follows a group of history pupils preparing for the Oxbridge entrance examinations under the guidance of three teachers (Hector, Irwin and Lintott) with contrasting styles.

Hector, an eccentric teacher, delights in knowledge for its own sake, but the headmaster ambitiously wants the school to move up the academic league table; Irwin, a supply teacher, is hired to introduce a rather more cynical and ruthless style of teaching.

CAST

Irwin                                      Francis Pindar

Hector                                          Ian Creese

Headmaster                     Richard Peachey

Mrs Lintott                               Lisa Arnold

Posner                                     Oliver Bying

Dakin                                    Johnny Craze

Scripps                  Richie Halsey-Watson

Timm                                                    TBA

Rudge                             Laurence Easton

Lockwood                          Ashley Gillard

Akthar                                  Dan Shepard

Crowther                      Stewart Tomkins

Doors (and bar) open from 7pm

Among much else this year’s Freewheelers Film Evening sees the continuation of the comedy series “Shady Oaks”, another in the occasional series of autobiographical documentaries – this one from Freewheeler director Peter Messer, and the film version of our recent stage production “Recorded Messages of Love and Hate”.

The evening will be introduced by members of the company’s media group and will show again how inclusive and collaborative the company is, with dance, film and drama strands coming together.

About us...
The Freewheelers Theatre Company brings disabled and non-disabled actors and supporters, production teams and the local community together.

We use theatre and dance, wheelchair and voicebox technology, multimedia, animations, puppets and shadows to create innovative work.
We like to work collaboratively, surprise people and challenge perceptions.  We don’t like barriers, rules or conventions.
We welcome new members!

www.freewheelerstheatre.co.uk

Contact Viv Colvill 01932 860950

The Freewheelers Theatre Company is a Community
Interest Company limited by guarantee, registered in England No 5994867.
Freewheelers Theatre and Media Ltd is a Registered Charity No.1142638
Registered Office: P O Box 339 Cobham KT11 9BD

All enquiries to rent2012@hotmail.co.uk

Production dates are 22 -25 Aug and 29 Aug – 1 Sept.

The Review – by ‘Polly’

Fun, fizz, sparkle and energy are all words which go some way towards describing the opening night of the Nomads presentation of Babes in the Wood. The director, back stage and cast had clearly worked their socks off in rehearsal because this was a slick and polished performance.

The opening night audience was very sparse, but we all gave our all to the participation bits and the cast made us work hard in the rendition of the action song.  We had hilarious problems with our coordination and I must say the screen was a little difficult to read, but who cares, it was great fun.

Klaire Atkinson as the fairy/narrator looked pretty and graceful despite the pink fluffy sock slippers.  She told the tale with great clarity. Her dippy, feather brained failure to remember which panto she was playing, was delightful.

Maid Marion (Helen Dixon) and Robin Hood (Melanie Kemp) fulfilled all our expectations of the roles.  Robin’s thigh slapping and Marion’s sweet and gentle nature came together in a really effective duet  “Why do I Love You?”

No panto would be complete without a “baddie” and a “Dame”.  In this case, the baddie, the Sheriff of Nottingham played by Paul Asher inspired booing and hissing at every entry and we were suitably revolted at the thought that he might get his hands on the lovely Marion.  The only fault, if fault there be, was that he a looked rather too good looking for the awful a character he played.  A little more make-up perhaps?

The Dame (Andrew Hamel-Cook) as Nurse Molly, was a delight.  Articulation was terrific and “her” Two Ronnies style jokes came across clearly and kept the laughter coming.  Pity she was up for marrying the Sheriff, but then she might have become a reforming influence in his life!

The two Babes, Pip and Penny, played by Alice Baron and Julia Mackay were as at home in their parts as though to the manner born.  Their performance of “Hushabye Mountain” was poignant and lovely.  It seems the Nomads’ future is safe.

Robin’s band of merry men was well represented by Colin Barnard (Will Scarlet), Richard Halsey-Watson (Little John), Alana Dale (Elaine Burns) and with David West as Friar Tuck.  I could understand why they cut a romantic reputation in the community……. a bit like a Parish Council really!

Causing all the confusion and creating a sense of comic interlude were Doc and Doris played by off-stage husband and wife, Jeffrey and Rae Ann Wightwick. Doc’s shambling, good-natured stupidity was kept in shape by the quick thinking and scheming Doris.  Both characters were delightfully drawn and Doris in particular showed great attention to detail and skilful comic timing.

Adding to the awfulness of the sheriff were his inept guards, Alan Wiseman and Oliver Forsyth.  Alan in particular, seemed to relish the role and created a palpable sense of evil.

Holding the sections together was the confident, robust and really endearing performance of “Dangerous Dave” by Iain Watson. It was such a relief when he finally became one of the Merry Men since he had gone through a whole series of permutations of his name, from Dimwit Dan to Dozey Dan.

The chorus is much to be praised for its chameleon like changes of character and costume. Their song  “Sherwood Taverna” with Dangerous Dave set the scene and tone of the panto.  We knew we were in for a good evening and that was confirmed by such moments as the schoolroom scene.  They really did seem like St. Trinian’s pupils.

The Dancers and Young Chorus gave of their all and the dance where they covered the babes with leaves was especially effective.

As always, a good show relies on its back stage personnel. The programme demonstrates the importance of such people since the Production Team Credits occupies a whole page.  The Director  (Jeffrey Wightwick) did a great job of coordinating such a large a team of cast and actors and producing work of this quality.

It seems unkind to pick out particular production elements for mention, but it would be an unforgivable oversight not to make comment on the costume (Jill Asher).  This was tremendous and the quick changes especially of the chorus were breathtaking.  The sets (David Martin et al) and backdrops especially were stunning and the fun in the lighting box (Charles Hope) didn’t go unnoticed nor did the sound effects! (Tim Williams)  The spot light was impressive too, no shakes…… spot on!  But whose was the hand that led it?  (Ed’s note: it was Clive Vinall that night)

The choreography by Christine Harris made a difficult job of finding space on a small stage for lots of people seem like a piece of cake and the dancing always seemed to “belong” which isn’t always the case in pantomime

It all came together, of course, in the finale which was sparkling both literally and figuratively.  The Musical Director, James Marr with Myer Rosen and David May on their multitude of instruments underpinned the whole performance with great gusto and enthusiasm.  This was opening night! It can only become even better before the end of the run. What a treat lies in store for those who have yet to see the show.

You can see photgraphs of the show here

For those interested in auditioning for a part in the April production of Communicating Doors by Alan Ayckbourn, the following dates are announced:

Read Through

Monday 9th Jan at the Effingham Methodist Church 8pm

Auditions

Monday 16th Jan at the Little Bookham Village Hall, 8pm

Wednesday 18th Jan at the Effingham Methodist Church 8pm

For further details please contact the Director Murray Stephens on 01306 877940 or 07831 262600

The curtain did rise to reveal a wonderful set.  There had been huge attention to detail.  One really did feel as though we were having a peep into the lives of the people before us.  I never fail to be thrilled by a table lamp or standard lamp lit just as the actor “switches it on.”  This act appears to be so simple, so effective and yet not as easy to achieve as one might think.   Here were absolutely perfect!  So well done those of you who were involved in set props and lighting.  Excellent stuff.

No less good was the costume.  Several costume changes gave visual interest and helped create the sense of time passing.  It was a delight to watch.  My only slight reservation was Julia’s handbag.  It rarely seemed to “belong” to her and seemed almost inappropriate since she was “at home’” in Lettie’s house. There was also the mystery of the constantly re-adjusted cushions.  Sometimes, this particular cushion was laid flat, then quite as deliberately arranged to support the back.  Was I missing something? Were there some crib sheets hidden in the pattern or had somebody had a delicate bit of surgery??

Dare I say, and it is probably a very healthy sign of the times, that the cigarette smoking was wildly unconvincing and thus a little distracting.

Patrick (Francis Pindar) played a “crisp” young man whose “sister” Julia (Sophie Johnstone) was positively unpleasant.  They were convincingly scratchy with each other, making it a real shock when we discovered their true relationship.  There was a nice contrast when they became the softer, gentler lovers. However, Julia had more to reveal and she effectively created a sense of indecision in us as we tried to decide if we liked her or not.

Mrs Swettenham (Lisa Arnold) presented a delightful, genteel busybody (I just know she had smelling salts in her bag) whose son Edmund (Nathan Farrell) played the supportive son, but we discovered he had an agenda of his own.  However, before we really got to that, he proved not entirely unexpectedly, to take an impish pleasure in giving his mum “a terrible turn.”    Was he the one who dun it??? Phillipa Haymes (Becky Smith) was also part of Edmund’s agenda.  Becky’s playing was very assured and her character well developed. Her very defensive and slightly prickly response when questioned by the Inspector put doubt in our minds. This sweet, unmarried mother/widow, was perhaps not as straightforward as we thought. Our unease increased on learning that poor Letitia had changed her will in Phillipa’s favour. Her reaction to this was perhaps too sweet? Was she the one we should be pointing the finger at?

Mitzi (Collette Wighton) provided us with light relief by the cartload.  Her inexpert use of English, the heavy “Hungarian” accent at various times made her the most suspect of the characters, especially as she found it difficult to sort out fantasy and truth.  A delightfully drawn character!

The heart of the plot was handled mainly by Letitia Blacklock (Carol McGlone) who used the set so convincingly that I really began to believe it was her home, the ailing, confused but really “all there” Dora Bunner (Tracey Gillard ) and the iconic Miss Marple, beautifully played by Annabelle Farrell.

Left to unravel the mystery and find the murderer, was the ever assured Inspector Craddock (Richard Peachey) and his note taking assistant Sgt Mellors, the very dead Rudi Scherz (both parts played by Richie Halsey-Watson, the producer!)

With suitable eleventh hour precision, all was revealed and the person what did it, was not the person we all thought had did it!

Though the whole performance had a slightly sedate pace especially in the first half, it was very well put together and was a most enjoyable bit of theatre. There was a sense that everyone took an equal share of the responsibility for making it work regardless of the size of their role.  Real team work and much credit to the director, Stephen Whittock, for this.

The wicked Sheriff is growing rich on the many taxes that he is forcing the poor townsfolk to pay and he is just about to become even richer. Pip and Penny, recently orphaned and heirs to vast fortunes have been entrusted into his care and he is hatching a horrible plan to make sure that he will inherit the cash and marry Maid Marion into the bargain.

All that stands in his way is the very brave and dashing Robin Hood and his Merry Men, (and women), the fearsome Nanny Coddle, brainless Dave Knave (the wannabe outlaw) and a rather overworked Fairy.
Will they succeed in thwarting the evil plot and beat the Sheriff and his villainous henchmen?
Boo the scheming Sir Silas Rottingham, Sheriff of Nottingham, and his henchmen as they plot diabolical deeds to steal the fortunes of the innocent babes, and cheer our dashing hero, Robin Hood and his Merry Men (and women) as they do their best to thwart the evil plans!

This is a traditional family pantomime with something for everyone.  A hero and a feisty heroine, an extremely nasty villain, silly jokes, a magnificent Dame and some very lively and upbeat songs.  Come and join us in Sherwood Forest.

For photgraphs of the show go to https://skydrive.live.com/?cid=ac5b43ec97bcf18a&id=AC5B43EC97BCF18A!107

In the swinging sixties, the Gold Star Employment Agency is faced with serious financial problems, the auditors being on the doorstep. Regular job-seeker, Peter (Francis Pindar) returns from a holiday in India with a magic stone which he uses to seduce manager Jane (Bronwen Elliott), who embezzles the company funds and runs off with him, leaving the Agency facing bankruptcy until rescued and re­newed by the ever-reliable businessman, Arthur Welham (an excellent Stephen Whittock). The Agency is re­born!

The middle of the holiday season is perhaps not the ideal time to present such an ambitious venture. The pro­duction team has to work within the limitations of those available – once again it says much for the fortitude of the Company that such a venture be attempted at this time.  However, certain criticisms must be made at the outset. It is a pity that the production was presented in the Studio Theatre, rather than the Main Auditorium, limiting the size of the audience but, more importantly, restricting the fair-sized cast’s movements. As a result the dance routines became very cramped in such a small space, with the excellent orchestra (led and conducted by the composer) being situated on the main stage and out of sight of the performers. While this drawback was overcome with aplomb the main stage would have allowed space for both sets of players and simplified communication.

The libretto showed signs of inexperience and could have been tightened up with the over-complicated plot being simplified. Although the well-written programme notes gave a comprehensive run-down of the action – almost like a Shakespearian description – the plot of amusical should surely be pretty self-explanatory without  recourse to notes – I would, too, have liked to know what happened to the run-aways Jane and Peter in Brazil, whose fate was left hanging in the air.

Finally, the composer has such a wealth of ideas that the musical was packed with more than 20 songs – too much talent. While we rejoiced in some splendid ensemble numbers, such as Transcendental, The Stationery Song (brilliant but difficult lyrics), Betrayal and Welcome to the Future, a number of others could have been omitted, not only speeding up the action, but allowing devel­opment of the best songs which, too often, ended just when the audience was really enjoying themselves and wanted more. Some songs proved too much for inexperienced singers I gather that the interesting programme note for advertisements for job vacancies in 1967 is based on contem­porary facts but the salaries on offer seem to me to have been from an earlier and less affluent time. Did a temporary typist really earn only 20/6 p.w.?

Francis Pindar was particularly impressive in his eastern mood as he chanted mantras sitting cross-legged and I appreciated the grace and beauty of Bronwen Elliott and the job hunter, Jill (Catherine Scott) who, however, did speak her lines rather too quickly. I loved the slow dance routine of Peter and Jill.

The lighting and sound effects by the old team of Charles Hope and Tim Williams was, as always, excellent. while the Farrell family – Annabelle (as Serena, the agency supervisor), Nathan (director) and Jordan (choreography) didn’t let the Company down.

Three short comic plays for the price of one ticket!

A top notch cast perform a wonderful trio of classic Coward comedies which encompass vaudeville, social satire, physical humour and pastiche.

Here is wit, music and fun.‘

Tonight at 8.30 is a cycle of ten one act plays which were originally played over three evenings. Not all of them are humorous but the three selected here are all comic. The plays have no connection to one another but a small company of actors perform a variety of rôles in them.
Red Peppers
George & Lily Pepper are a husband and wife act in a touring music hall. Their act has become rather tired and, between the musical numbers Has Anyone Seen Our Ship? and Men About Town, their life backstage has become an extension of vaudeville quick fire patter as the bickering couple drink beer and slang the Theatre Manager and the Musical Director. However, ‘he who laughs last….‘

Hands Across the Sea
Two bemused visitors accept a casual invitation from a fashionably smart couple to drop in at their Mayfair flat. However, in their enthusiasm, the hosts have invited such a horde of shrill glitterati to their cocktail party that amongst the arrivals, departures, telephone calls and flowing alcohol inevitable confusion abounds.

Family Album
It is 1860 and the mourning Featherway family gather to hear the will of their deceased father. Warmed by glasses of Madeira wine they begin to reminisce, old songs are revived, former games played and more glasses drunk.  Reticence is overcome and pretence becomes abandoned as the party becomes increasingly lively.  An amazing truth is about to emerge.

In addition to these one act plays there will be a musical interlude in the style of Coward.

Babes in the Wood

A Pantomime by TLC Creative

Director Jeff  Wightwick

Production Dates: 12 – 22 January 2012

Auditions: Sunday 21 August  12 noon – 6pm and Thursday 25 August 6pm – 10pm.

All are welcome to attend; membership of The Nomads is only required if you are successful in getting a part.

Audition pieces can be found at: www.nomadtheatre.com/babesinwood