Grimm Tales (2001)

A collection of traditional European folk tales are here given a new lease of life, stripping away much of the saccharine coating so many have accumulated through adaptation for children’s books, TV and film. Yes, we’re looking at you, Disney.

We’ve chosen nine tales all told, each with it’s own director and unique music composition, from one of three talented musicians, Pete Bird, Dominic Russell and Mark Taylor. See the programme for full details. The nine stories are;

Ashputtel

The Golden Goose

The Lady and the Lion

A Riddling Tale

The Hare and the Hedgehogs

Hansel and Gretel

Little Red Cap

Rumplestiltskin

The Magic Table

We like to finish our open air shows with a song, where we can. For this production, we’ve chosen ‘Who’s The Fool Now?’, an old song, first published in 1580 but most certainly far older than that. It doesn’t come from a Grimm tale, but it is a song about tall tales, and it’s also a drinking song, which given we’re sitting in a pub beer garden seems very appropriate. Join in the chorus if you fancy.

The Canterbury Tales (2011)

It is the 14th Century, and in the bustling courtyard of The Tabard Inn, Southwark, men and women from all walks of life gather for a pilgrimage to the cathedral at Canterbury. Friars and priests, pardoners and summoners, millers and good wives. In order to entertain these good folk, the host of the inn asks that each traveller tells a story as they make their way across Kent. And so they, and we, begin our journey.

In this joyous adaptation of Geoffrey Chaucer’s classic work by Richard Lloyd, Theatre Workshop Coulsdon present six of the best and most colourful tales, creating an exuberant and and often hilarious portrait of ordinary folk preoccupied with petty jealousies, mundane squabbles and simple pleasures. Bold and often bawdy, these tales bring home vividly just how little the English people have really changed over the last six hundred years!

The stories presented are The Nun’s Priest’s Tale, The Wife of Bath’s Tale, The Friar’s Tale, The Pardoner’s Tale, The Miller’s Tale and The Reeves Tale, neatly wrapped in an engaging background as host and landlord Harry Bailey attempts to maintain order amongst his boisterous and often wayward charges.

Chaucer (1343 – 1400) is widely considered to be the greatest English poet of the Middle Ages, and was the first poet to be buried in Poet’s Corner at Westminster Abbey. While he achieved fame during his lifetime as an author, philosopher, alchemist and astronomer, Chaucer also maintained an active career in the civil service as a bureaucrat, diplomat and courtier. His many works include ‘The Book of the Duchess’, ‘The House of Fame’, ‘The Legend of Good Women’ and ‘Troilus and Criseyde’, but it is ‘The Canterbury Tales’, in which he uses the tales to paint an ironic and critical picture of English society, for which he will always be remembered.

Much Ado About Nothing (2015)

The path of true love proves to be anything but smooth for not one but two sets of star-crossed lovers in ‘Much Ado About Nothing’, one of Shakespeare’s most romantic, yet comedic tales. For young Claudio and his lady Hero, their happiness is threatened by the Machiavellian scheming of the plain-dealing villain, Don John. For self-professed lifelong batchelor Benedict and the independently minded and sharp-tongued Beatrice, the biggest obstacles are…themselves!

By turns funny, touching, heart-breaking and hilarious, ‘Much Ado About Nothing’ is the perfect way to spend an English Summer evening.

Leonato, a kindly, respectable nobleman, lives in the Italian town of Messina. He shares his villa with his lovely young daughter, Hero, his clever but cynical niece, Beatrice, and his elderly brother, Antonio. As the play begins, Leonato prepares to welcome his good friend, Don Pedro, home from war. Don Pedro, a prince, is accompanied by two friends and fellow soldiers: Claudio, a well-respected young nobleman, and Benedick, a joker who delights in teasing his colleagues. With them too comes Don John, Don Pedro’s illegitimate brother, a sullen, spiteful individual who resents others’ happiness.

After the soldiers arrive, Claudio swiftly falls in love with Hero, while Benedick and Beatrice resume the war of words that they have carried on with each other for years. Claudio and Hero pledge their love to one another and decide to be married. But to pass the days before the wedding, the lovers and their friends decide to trick Beatrice and Benedick, who are obviously meant for each other, into falling in love.

However,  Don John intends to spoil everything. He plots with his followers Borachio and Conrade to ruin Hero’s reputation. And taken in by the treacherous scheme, an enraged Claudio humiliates Hero at the wedding by accusing her of lechery and abandoning her at the altar. Horrified, Hero’s family pretend that she has died of shock and grief and hide her away. Fortunately, a passing watch patrol overhear Borachio drunkenly bragging about his misdeeds to Conrade. Dogberry and Verges, the bumbling heads of the local watch, eventually arrest them and drag them in front of the local magistrate, Leonato. The truth of Don John’s plot is thus revealed, and Claudio and Don Pedro, who believe Hero is dead, are grief stricken.

Leonato tells Claudio that, as a penance for his misjudgement, he must marry his brother  Antonio’s daughter — a girl who, he says, looks much like the dead Hero. Claudio goes to church with the others, solemnly prepared to do his duty and marry the mysterious, masked woman he finds there. But when the masked woman reveals herself to be Hero, Claudio is overwhelmed with joy and all is forgiven.

Benedick then asks Beatrice if she will marry him, and after some verbal sparring,  she agrees. The joyful lovers then celebrate with a double wedding as Don John, who had attempted to escape, is dragged back to face his half-brother’s justice.

The Tempest

Torn from the sky!

Returning to its homeland from a royal wedding in distant Tunis, the ‘Napoli Rex’, flagship of the King of Naples’ airfleet, is pulled from the sky by a violent and unnatural storm.

The survivors find themselves scattered across a barren island populated with magical creatures and spirits, fearing for their very lives.  And behind this seeming disaster is Prospero, an exiled sorcerer seeking vengeance…

Shakespeare’s final play is his crowning glory, a tale of magic, love, humour and redemption.

Theatre Workshop Coulsdon have placed ‘The Tempest’ in a steampunk-flavoured Victorian age, where the might of an industrial revolution with its airships, guns and steam-power is confronted with forces beyond its wildest imagining…

Years ago, Prospero forsook his duties as the Duke of Milan to study the arcane arts. With his attention elsewhere, he was unprepared for the coup that saw him dragged from his position and sent out to die alongside his baby daughter, Miranda. By merest chance they survived, crash-landing on a remote and barren island in the Mediterranean, and with the help of two servants, the sprite Ariel and the twisted creature that is Caliban, Prospero lived on and plotted revenge. Now chance again plays into his hands, as those he would mete out vengeance to have been driven to the island by a tempest, their airship torn from the skies and the passengers and crew thrown down. However, he has reckoned without Miranda (now grown to womanhood) and her response to these strange new visitors, one of whom she falls in love with…

Shakespeare’s last play is here transported to a neo-Victorian setting, played out in the traverse among the broken spars and debris of his downed airship, the ‘Milano’. Prospero’s sorcery here vies with magic lanterns and steam-powered pistols in a unique take on the bard’s farewell to the stage.

A Christmas Carol

‘A Christmas Carol’ is a Victorian morality tale of an old and bitter miser, Ebenezer Scrooge, who undergoes a profound journey of redemption over the course of just one night. A financier and money-changer who has devoted his life to the accumulation of wealth, he holds anything other than money in contempt, including friendship, love and particularly the Christmas season. But when on Christmas Eve he is visited by the dread ghost of his former partner, Jacob Marley, and subsequently by other spirits who show him what his life has been before and what a bitter fate lies ahead of him, he is forced to make a decision that will change his life, and all those around him…

1918 – When The Guns Fell Silent

A dramatic exploration of the final year of the Great War and its aftermath.

100 Years ago the Great War entered its final few months. Victory was close. But for who? And at what cost? The world would never be the same again. The social landscape of Britain altered forever.

Using songs, readings, poetry and drama, even humour, Theatre Workshop Coulsdon explores this final year of tears and revolution, and looks beyond to see the impact that this bloody clash of empires made on the century that followed.

And exhibition on the First World War and the fallen soldiers of Coulsdon, curated by local researchers, will accompany the production.

What are you about to see? It’s a good question. It’s not a play, but there is drama. It’s definitely not a comedy, although there is humour. It’s not a lecture either, though we do hope you go away with a better understanding of the events of a century ago. When it was proposed last December, one of the biggest drivers was that this would our last opportunity to explore the Great War and still be relevant to the centenary. We’d run ‘Oh, What A Lovely War’ some years back, and we could have just reprised that, but we didn’t want to cover old ground. And we didn’t just want to look at the war in general. This is the 100th anniversary of 1918, and so we wanted to focus as far as we could on that specific year.

            Throughout January, February and yes, even March, we wrote dramas and narratives looking at subjects that the events of 1918 brought to the fore. Topics that interested and excited us. And we hope will interest and excite you too. Over the next couple of hours you will see them, interspersed with the poems of Sassoon, Houseman and others, along with songs either of the time or looking back at it, and a number of the ‘Forgotten Voices’ of soldiers who fought during the War. And yes, an episode from ‘Oh, What A Lovely War’. We follow a rough chronology, from January 1918 through until the modern day, hopefully showing that even now, the echoes of the war to end all wars continue to affect us.

            We haven’t managed to cover everything. There’s nothing here, for instance, about the exploits of the fledgling RAF, the first London Blitz or the Spanish Flu epidemic. What we do have is, I think, an attempt to show that the soldiers of both sides were very much the same, in their hopes, expectations and experiences.

            It was a war that saw over 19 million deaths, military and civilian, and over 23 million other casualties, ultimately all for no real purpose. Maybe, even 100 years on, it’s not too late to learn the lesson of the futility of war. But as George Ellison, the last British soldier to be killed in the war, and a character you will see in our performance says, ‘if we haven’t learned from this, we’ll never bloody learn…’          

The Snow Queen

Kai and Gerda have been friends all their lives. So when Kai is stolen away from their village by the dreaded Snow Queen, Gerda sets out to bring him back, despite the impossible odds. Across frozen lands where the Snow Queen and her dark companion Jack Frost are increasing their icy grip, brave Gerda makes her way north, encountering friends, foes and the fantastic. But nothing will stop her finding Kai. Nothing can break the bonds of true friendship.

Written by Lucy-Ann Martin, adapted from the classic fairy tale by Hans Christian Andersen, this delightful and uplifting tale is a magical adventure for all ages.

Fall under the spell of the Snow Queen this winter….

Dick Barton and the Slaves of the Sultan

Good evening. This is the BBC Light Programme broadcasting from London. It’s 6.45 and time for the next thrilling episode of Dick Barton and the Slaves of The Sultan’!”

When Dick Barton, Boy’s Own adventurer, all-English hero and teatime wireless star, is called upon by MI5 to track down a wealthy socialite missing off the Horn of Africa, little does he know the can of worms he’s about to open. Before you can say ‘I say, that’s not cricket!’ our hero is mixed up in a fiendish foreign plot to seize control of our upright and principled British armaments industry. Good heavens!

With his loyal working class sidekicks, Jock and Snowy, by his side, Barton sallies forth encountering a nefarious criminal syndicate called the X Faction; an hypnotic femme fatale; and a run-in with that other national treasure, Squadron Leader James ‘Biggles’ Bigglesworth of the Special Air Police.

Will Barton, side-parting and moral certainty intact, win the day through British pluck and determination? Will gorgeous heiress, Felicity Buff-Orpington, escape the steamy seraglio of Zanzibar; and if she does, will the pure un-distilled manliness of the Barton ideal wilt in the face of her manifold charms? Or will assorted foreign Johnnies and homegrown villains consign Barton to an improbable cliffhanger ending from which there can be no possible escape?!

There’s only one way to find out, tune in to the next exciting instalment of: ‘Dick Barton, Special Agent…’

 

 

The Adventures of Dick Turpin

When Clemency Turnip’s Coffee House is closed down for ‘low morals’ and dealing in illicit liquor, her son Jack and serving-girl Polly Flinders find themselves out on the mean streets of 18th Century London and surviving on their wits. For Polly, it’s a path that may see her find her real parents. For Jack it’s a road to fame and notoriety as the land’s most celebrated highwayman!

Set in the colourful time of ‘Poldark’, ‘Tom Jones’ and Hogarth’s ‘Rake’s Progress’, this all-new pantomime adventure comes complete with outrageous Dame, girls dressed as boys, an audience participation song and every opportunity to boo the villains and cheer the heroes.

Will Turnip’s Coffee House be re-opened? Will moody and smouldering Woss Poldork regain the rights to his Cornish treacle mine? Will merchant banker Sir Beastlie Fugg get his deserved come-uppance? Will true love find its way?

 

A Midsummer Night’s Dream (2016)

Return to the Forest

It’s 20 years since we last put on a production of ‘A Midsummer Night’s Dream’, and here, a few of the company reflect on the play and its part in both TWC’s history and theirs…

Dan (Director)

I was 16 when I played Flute in TWC’s 1996 production. I remember coming on stage at Bewl Water and looking up at this huge sea of faces : more than 650 people had come to  see our last night. It was amazing. Later on I went to drama school, worked as an actor (and now as an agent). How strange then, but also strangely wonderful,  to be back directing the play for a new generation. Most of the current cast weren’t in our previous productions, and it’s honestly a privilege to introduce this boisterous, joyful masterpiece — often said to be the nation’s favourite play — to a new  group of young TWC actors. It’s 400 years old, and still incredibly touching, incredibly funny. Evidently the English sense of humour hasn’t changed all that much.

Rupert (Flute)

This is only my second play with TWC (my second play anywhere for that matter), and  I wasn’t sure how I’d take to Shakespearean dialogue. I didn’t even know he wrote comedies. But once I’d got the meaning sorted, it was hilarious! Full of life. A complete revelation really. The characters and their motivations are easily recognisable, even 400 years on. As for taking on Flute, well, it’s a big responsibility.  I mean, I’ve seen a recording of a baby-faced Dan playing Flute 20 years ago. I can tell I’m walking in the footsteps of giants. :^) Luckily TWC are not only a talented group, but a positive bunch of people too. Joining them has been almost life-changing. And I’m proud to be a member.

Lucy-Ann (Helena)

I grew up surrounded by Theatre Workshop, and I remember watching the 1996 production when I was just six! The fairies were magical, the mechanicals hilarious, and the lovers meant to be together. You’d have seen me then in the front row with eyes as big as saucers, longing to be involved. Now I find myself a part of the legendary love triangle/quadrangle/tangle. The fairies have all the magic, mischief and poetry, but we have the most fun. The play revolves around the lovers,. The two friends are pushed to their limits and beyond, and come out the stronger for it. The two suitors, who seem to start with the upper hand, become pawns in the greatest game of all; the desperate, crazy, selfish, blind, obsessive yet wonderful thing that is love. I love them. I love it all.

 Richard (Bottom)

I directed both the 1989 and 1996 productions of ‘Dream’ and played Oberon each time too.  Playing Bottom this time is truly going from the sublime to the ridiculous. Obnoxious yet strangely endearing, he’s one of the most famous comic characters in English theatre. I love this play because it’s such a  joyful depiction of truly English idiocy. It might pretend to be Athens, but in this play Shakespeare is showing  the English at their best and worst.  Bumbling working men with hearts of gold and brains of straw, young toffs behaving badly and yet finding themselves in the end. And the fairy kingdom, glimpsed in the shadows of the wild wood. Magical.