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

2012

Freewheeler’s Film Night

Wed 8 Feb at 7.30 pm

Items include: the comedy series ‘Shady Oaks’, an autobiographical documentary from Peter Messer, ‘Recorded Messages of Love and Hate’.  There will be Q and A after each film.

Tickets:  £10, carers free, disabled half price

The History Boys by Alan Bennett.  Directed by Nathan Farrell

Tues 6-Sat 10 March 8 pm

In Alan Bennett’s masterpiece staffroom rivalry and the anarchy of adolescence provoke insistent questions about history and how to teach it, about education and its purpose.

Tickets:  adults £12 (£9 on Tues),  children and students £10

In the studio

Thurs 22-Fri 23 March and Thurs 29-Fri 30 March at 8 pm

Our Day Out by Willy Russell presented by the Senior Nomes directed by Nina Holmes

When Mrs Kay’s class set out on a coach trip, for some the only time they had ever left the city, nobody knew of the adventures to come.  The play highlights the fact that old and young alike, our judgement on others can always change – if only for a day.

Two by Jim Cartwright presented by the Young Nomads directed by Kate Raye

‘Two’ – a gentle play with incredible depth, observes several couples with all their eccentricities and histories, in a pub over the course of an evening.  The Young Nomads bring you an array of multi-faceted characters and relationships which they hope you will enjoy.

Tickets:  £9

Communicating Doors by Alan Ayckbourn  in association with Mid Surrey Theatre Co directed by Murray Stephen

Tues 17-Sat 21 April at 8 pm

Three women have urgent business in a hotel.  One has narrowly escaped being  murdered, one is about to be murdered and the other was murdered two decades before!  Time travel at its best in this thriller/comedy.

Tickets: adults £12, (£9 on Tues) children and students £10

Hello Dolly by Jerry Herman and Michael Stewart in association with Bookham Light Operatic Society directed by Jackie Shearer

Wed 16-Sat 19 May at 7.30 pm, Sat matinee at 2.30 pm

Meet the irrepressible widow Dolly Levi a professional matchmaker who “puts her hand” into the affairs of wealthy bachelor Horace Vandergelder and three other couples.  Enjoy intrigue and fun with Jerry Herman’s delightful music with hits such as ‘Hello Dolly’ and ‘Put on your Sunday Clothes’.

Tickets: adults £14, (£12 for matinee), children 12 yrs and under and students £10

Working the Musical presented by Showdown Theatre Arts as their annual international show

directed by Carli Jones, Becky Mossing and Donald Hicken

Sun 27 May at 4 pm and 8 pm

The hopes, dreams, joys and concerns of the average working person are the focus of this unique, extraordinary musical.

tickets: £8, children and students £6

Flipside Dance School End of Year Showcase directed by Deborah Rich

Sat 16 June at 2 pm and 7 pm

Flipside Dance School present their annual end of year show for all family and friends.  This year’s production is a showcase of the students hard work throughout the year incorporating all styles of dance.

Tickets:  adults £12.50, children under 12 yrs £7.50

Nomes Summer Show directed by Nina Holmes and Kate Raye

Friday 29 June-Sunday 1st July

Play in a Week directed by Brandon McGuire

Monday 23  to Sunday  July 29

Performances on Saturday at 7.30 and Sunday at 3.30

Tickets: £10

Play in a Week is an integrated theatre production rehearsed, staged and performed in one week.

Rent by Jonathon Larson directed by Stephen Whittock

22-25 August, 29 Aug-1 Sept at 7.30 pm

An exuberant East Village rock version of La Boheme.  Artists, addicts and impoverished young people find the salvation of love within each other and prove there can be a better world where art thrives and everything good is free.

Tickets:  adults £14, children and students £10, £9 for all on Wed 22 and Wed 29

Fawlty Towers by John Cleese and Connie Booth directed by John Norris

16-20 October at 8pm

Three episodes from the series.  Communication Problems, Basil the Rat and The Psychiatrist.

Tickets: adults £12, children and students £10, £9 for all on Tuesday 16 Oct

Stepping Out by Richard Harris directed by Laurence and Wendy Armitage

20-24 November at 8pm

This hilarious play follows the progress of eight people at a tap dancing class.  From treating the class as a social occasion they develop the skills and cohesion that lead to a spectacular finale.

Tickets: adults £12, children and students £10, £9 for all on Tuesday 20 Nov

2013

Fiddler on the Roof by Jerry Bock, Sheldon Harnick and Joseph Stein directed by Stephen Whittock

January 24 to 3 February  evenings at 7.30, Sun and Sat matinees at 2.30 (no performances Mon or Sun evening)

Tevye, a poor dairyman, tries to instill in his five daughters the traditions of this tight-knit Jewish community in the face of changing social mores and the growing anti-semitism of Czarist Russia.

Tickets:  adults £14, children and students £10

Nomes Youth theatre has limited spaces available in their Saturday drama classes. Please note that the Thursday production group is full at present.

Class times as follows:

7yrs to 9yrs 9:30am till 11am
9yrs to 11yrs 1:30pm till 3pm
11yrs to 13yrs 11:15am to 12:45pm

For further information and to book a free trial please contact nomesatnomads@hotmail.co.uk

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

The selection of the three particular one-acters from the original nine was particularly skilful.  Red Peppers gave an overview of the entertainers, Hands across the Sea a view of the more absurd elements in those that constituted the audience, while Family Album took us inside the homes of such people when they were not at play. Truly a snapshot, ever so slightly exaggerated (!) of Coward’s world.

The delightful song and dance routine and the wonderfully corny but “comfortable” jokes brought to life  in Red Peppers by Andrew Donovan and Katherine Attwood took us straight to the  Musical Hall.  The back stage stalwart Alf played by Nathan Farell, the drunken left handed conductor (Steve Nankervis), the cigar smoking and crusty Mr Edwards (Wally Cross Gower) and Mabel Grace, the ubiquitous ham actress past her best, beautifully portrayed by Carol McGlone gave us the very essence of the Music Hall!  One could practically smell the grease paint.  A splendid start to the evening.

The Coward/Lawrence partnership is, of course, legendary. The Nomads’s pastiche/entr’acte was delightful, it looked right, sounded right and by golly, it felt right.

When the curtain went up on the set of “Hands Across the Sea”, the audience broke in to spontaneous applause.  It was beautiful.  Its very simplicity and starkness was an eloquent statement of the elegance of the Art Deco period. Well done all those set builders!

Froth and wit are some of the more obvious features of Coward’s writing and he is a delight to play.  The cast of  “Hands Across the Sea” caught the mood wonderfully. Every home should have a Walters (Carol McGlone).  She became progressively more fed up with each ring of the doorbell and made no attempt to hide it.  The dapper Commander Gilpin (Steven Nankervis) and his gloriously breathless wife, Piggie (Gilly Fick), set the scene for the chaos of things to come.

Lieut.  Alistair Corbett (Andrew Donovan) “swanked” things up beautifully.  The arrival of the Wadhursts provided a wonderful foil for the excesses of the three.  Their quiet and confused restraint, coupled with the telephone wire which seemed to have life of its own and which was intent in ensnaring the hapless Mrs Wadhurst (Diane Nichols) created side splitting comic business.   As though that wasn’t enough, enter the Hon Clare Wedderburn breathless, fluttery and wonderfully OTT played by Mary Parsons and the delightfully graceful (even “in his cups”) Major Gosling.  Gary Griffiths’ reading of Gosling was a masterly mixture of swaying, dancing and constant cocktail mixing.  Hugely funny!  This was in stark contrast to the almost speechless Mr Wadhurst (Wally Ross Gower who showed us how to act with barely a word to say.) It was wonderful.  He did not drop his concentration for a moment.

Adding to all this hilarity was the unfortunate Mr Burnham (Nathan Farrell.)  He too had an almost non-speaking part but made a huge contribution to the humour especially when in receipt of an unexpected cocktail as Mrs Wadhurst left and thrust it into his hand, but even more so as he gave up the fight and crept up to the sofa to deposit the plans he had only come to deliver.

In Family Album, we really did get the photographic grouping of the family following the death of old Mr Featherways.  Here the ensemble playing was polished and measured.  The attempt at frivolity, or at the very least, even the lightening of the atmosphere was kept in check by the highly “correct” Lavinia Featherways.

While the whole group demonstrated really skilled and beautiful playing in this piece, I feel special mention must be made of the controlled and gradual development of Lavinia by Diane Nichols.  It made for a tremendously effective moment when she revealed that she and Burrows had burnt the most recent will.   She of high moral tone had burst forth in an act of deliberate revolt.

Her companion in this ‘wicked deed” was the hitherto deaf butler, Burrows.  Is deafness not part of the requirement of “butling”?   Wally Ross Gower gave a magnificent reading of this seemingly small but pivotal role.  He created a perfect English butler and timed his “revelatory” line to perfection.  The kind of butler our friend Coward would definitely employ.

The costume throughout was magnificent.  I particularly loved Carol McGlone’s gown in the Red Peppers but it is very difficult to fault any of the dresses. The set again in the Family Album was beautifully detailed and the lighting did what all good lighting should do, it showed us the scene!

All in all this was a very enjoyable evening and one of the best I have experienced at this lovely little theatre.