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.

And Then There Were None

August 1939. Dark clouds are gathering over Europe, and off the coast of South Devon, a remote island becomes the setting for a series of sinister killings.

‘And Then There Were None’ has provided the model for innumerable ‘locked room’ mysteries. It’s also one of Christie’s very few works where there is no ingenious detective – no Poirot or Miss Marple – to solve the case. Just a group of extraordinary characters marooned together on an island, where one of them is deranged killer. But which one?

In some ways, it’s the purest mystery Christie ever wrote. Ten strangers are invited to Soldier Island, but on arrival, their hosts, Mr and Mrs U.N. Owen, are strangely absent.

As the evening unfolds, the fragile atmosphere of forced good humour is broken by the sudden accusation that they are all guilty of murder. Then one by one, members of the party begin to die, with the manner of their killing linked to a seemingly innocent nursery rhyme. Fear, suspicion and paranoia take hold of the remaining survivors as they realise the killer must be one of them.

Christie, who wrote the stage adaptation herself, provided a more upbeat ending than her novel. But a 2015 adaptation followed the novel more closely. Which have we used? You’ll have to find out…

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.

Radio Days Transmission Two : The War Years

After the success of our first Radio Days showcase in 2015, set in the golden days of wireless broadcasting, we’re leaping aboard our dramatic time machine and going back still further.

Transmission Two : The War Years sees us clutching our gas masks and ration books, with one ear listening to the radio and the other waiting for the air raid siren. A collection of songs, sketches and playlets, from the deadly serious to the downright funny, and all inspired by the period, means an excellent evening of new yet nostalgic entertainment for everyone.

So on with your siren suits, use gravy browning and an eye pencil if you can’t afford nylons, and make your way with care through the black-out to Coulsdon Community Centre. And put that light out!

On the BBC Home Service tonight, the following schedule will be broadcast on 668 kHz (South) and 767 kHz (North).

Welcome to tonight’s show.  Like our previous ‘Radio Days’ presentation back in 2015, this is very much a project that attempts to achieve a number of different goals. On one level we will try to evoke some of the feeling of living and surviving through the turbulent times of the Second World War. There was danger, but there was also community as people worked, and played, together to get through the storm. And a sense of humour was one of the strongest defences against a sea of troubles, from rationing, shortages and petty bureaucracy to death and loss.

On another level, this is a grand experiment, harking back to the early days of Theatre Workshop Coulsdon. All of the pieces you’ll see on stage tonight were written or adapted by members of the group. For some it’s their first time attempt at creative writing. It’s a big leap. And we’re very proud of what they’ve achieved. Almost nothing had been written when we started our rehearsals and workshops in January.  Each short play has evolved over the last three months, some easily and with grace, some more awkwardly, in fits and starts. But they are ready now, and all represent time, effort and imagination on the part of not just the writer but all the people at Workshop who’ve contributed ideas. This has been very much a team effort.

And let’s not forget the music. We have some glorious songs and voices for you tonight, accompanied by our ‘BBC Very Light Orchestra’, three talented, creative and endlessly patient musicians.

So close your eyes and be taken back in time again. And enjoy.

Warning. We are expecting atmospheric disturbances during latter part of this broadcast, which may interrupt the programme. We do hope your enjoyment won’t be too badly affected.

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.

The Ladykillers

When Mrs Wilberforce puts an advert in the local newsagent’s window to rent out her guest bedrooms, the last thing she expects is to be overrun by a group of enthusiastic, if eccentric, amateur musicians. But despite the constant sound of a string quartet filling the house, Professor Marcus and his friends The Major, Harry, Louis and ‘One-Round’ are not what they seem, and soon she finds herself dragged into the Professor’s scheme to pull off a violent robbery. With the police unaware, only Mrs Wilberforce and her parrot, General Gordon, stand between the five desperate criminals and their ill-gotten £200,000.

Will she see justice done? Or will they keep the ‘old girl’ quiet…permanently?

Who will be forced to face the music?

November 1956. It’s over 11 years since the end of the Second World War and Britain is still coming to terms with its new position in the world. The Empire is no more, and in an attempt to restore some national pride and underline an intent to remain a major player on the global stage, Prime Minister Anthony Eden is about to launch an invasion of Egypt to recover the Suez Canal. At home, the rationing introduced in 1939 only finished a year ago, and our austerity struck country still bears the scars of the war it supposedly won, with large sections of blitz-hit London remaining derelict. But the mood is upbeat. The early strains of rock ‘n’ roll are filtering across the Atlantic and with that, the seeds of teenage ‘rebellion’. James Dean and Marilyn Monroe, Rock Hudson, Doris Day and Yul Brynner are the Hollywood stars of the day. An 18 year old Bobby Charlton scored on his debut for Manchester United just three weeks ago and the Melbourne Summer Olympics start later this month.

This is the world of The Ladykillers.

Originally a film made by Ealing Studios and released in 1955, it starred Alec Guinness as ‘Professor’ Marcus, with a young Peter Sellers as Harry and Herbert Lom as Louis.  A largely unsuccessful remake starring Tom Hanks as Marcus, with the action moved to Mississippi, came out in 2004. Graham Linehan, who had already been successful in writing for television with such programmes as ‘Father Ted, ‘Black Books’ and ‘The IT Crowd’ wrote this theatre adaptation in 2011, and after debuting in Liverpool, the production went on to a successful and extended run at the Gielgud Theatre in London’s West End starring Peter Capaldi as ‘Professor’Marcus.

Interestingly, there is a theory that the story of The Ladykillers is more than simply a black comedy, and holds a mirror up to the times it was set in. Thus Mrs Wilberforce is the embodiment of Britannia, an aging defender of proper British values, while her house is the Empire, ramshackle and falling apart, full of the memories of one-time glories now faded. Arrayed against her are the con-man ‘Major’ representing the British ruling classes, with pill-popping wide-boy Harry as dissolute youth, punch-drunk ‘One-Round’ as the oafish masses and knife-wielding Louis the dangerous immigrant. Where ‘Professor’ Marcus fits in, the theory doesn’t say. Perhaps he represents intellectuals, pseudo-intellectuals, academics or even politicians. You can make up your own mind.

Graham Linehan sees it as demonstrating that even the worst of men have a little good in them…and that it is this that ultimately dooms them.Whatever its deeper meanings, if it has them, The Ladykillers is a classic black comedy. Enjoy.

 

As You Like It

Ever been young and in love? Shakespeare must have been, because this is a play that understands the sheer giddy joy of love, and the desperate lengths it can drive us to. ‘As You Like It’ is sometimes seen as a counterpoint to ‘Romeo and Juliet’ – love as comedy rather than tragedy. Rosalind is certainly no pale and wan Juliet, but arguably Shakespeare’s most memorable heroine. She has more lines than Juliet, Cleopatra, Beatrice and Portia, any of them. Maybe Shakespeare was just a little in love with his own creation. And who could blame him? She’s the kind of girl you’d want to spend time with, vital; brave; clever; funny and devoted. Oh, a bit of a liability too, of course, but fun to be around.

So, what’s the story? Well, firstly, there are two Dukes. The ‘good’ Duke, called Senior, has been toppled from power by his very own brother, the ‘bad’ Duke, Ferdinand. Senior is then exiled to the nearby Forest of Arden, where he seems to enjoy a carefree life hunting, shooting, fishing and singing. It seems that banishment has been more of a blessing than a curse. Meanwhile his brother’s court is an altogether darker place, full of gossip, scheming and suspicion. Now, each of the Dukes has a daughter, and the two girls are inseparable friends. It’s this that has initially prevented Rosalind from being exiled along with her father, but when Ferdinand finally casts her out, both she and Ferdinand’s daughter Celia run away. Of course, by this point, love has raised its head, and Rosalind has fallen for Orlando, a young man at court being persecuted by his less than pleasant older brother. Thankfully, he’s in love with her too, so when she leaves court for the Forest, he follows. However, Rosalind has now disguised herself a boy, calling herself ‘Ganymede’, and it’s in this form that Orlando finds her and in classic style, doesn’t recognise her. To make things more convoluted, Sylvius the shepherd boy is besotted with Phoebe, who in turn only has eyes for Ganymede!

Themes such as the liberating power of love, sibling rivalry and restitution, the healing force of nature and the simple pleasures of country life are all explored here, despite the plot being frankly ludicrous at times. And there’s a happy ending. Several in fact, as brothers are no longer at odds, lovers have put aside disguise and all is well. Except perhaps for Jaques, who has been melancholy throughout and decides ultimately to go off and be miserable in a monastery. You can’t please everyone.

The text has been trimmed in TWC’s version. Many topical gags that no doubt had them rolling in the groundlings back in 1599 are now impenetrable, and worse, not funny. If you’re a purist, prepare for disappointment, but it’s for the greater good.

There are more songs in ‘As You Like It’ than any other Shakespeare play. We’ve kept them and set them to traditional tunes. One of them, ‘What Shall He have That Killed The Deer’, shares many of its lyrics with ‘Hal-An’Tow’, the traditional Cornish May song. The version here is an amalgam of the two, complete with its reference to defeating the Spanish Armada, which at the time the play was first performed had happened just ten years previously. Many thanks are due to Jeannie Lewis who led the arrangement of all the songs and incidental music, and with the other musicians will be playing live on stage throughout the run of the show.

The Fairytale of New York

Melodrama, magic and mystery set in the riotous world of 1930’s Vaudeville.

A festive treat with a difference. A dash of ‘Annie’, a twist of ‘Cabaret’, and great big helpings of melodrama, mystery and rip-snorting comedy. Plus some of the greatest songs from the shows you could ever wish for. A great family entertainment for all ages.Macey Maguire has a dream – she’s going to make it big on Broadway. Arriving penniless in New York, Macey gets a break at Delancey’s, the city’s last Vaudeville theater. Soon she’s rubbing shoulders with the troupe of variety artists who ply their trade in the old music hall. But the public’s appetite for burlesque is on the wane, the theater’s finances are on the rocks, and the entertainers are squabbling like rats in a sack. Organised crime wants the real estate the theater’s built on, and worse still, members of the company keep disappearing into thin air… And nobody – not the theater management nor the New York Police Department – can figure out where they go. But they’ve all reckoned without Macey Maguire…

The Changeling

Licensed on 7 May 1622, The Changeling, by Thomas Middleton and William Rowley, is widely seen as one of the best plays of the Jacobean era (the reign of King James I). It’s a violent, baroque tale that manages to be both funny and horrific in its parallel plots.

Beatrice-Joanna – spoilt, rich, beautiful – is blinded by desire for Alsemero, but betrothed to Piracquo. To rid herself of her unwanted fiancé, she enlists Deflores – a disfigured servant who both repels and fascinates her. But Deflores has desires of his own, and Beatrice-Joanna has no idea of the terrible price he will exact.

Meanwhile, in the asylum, a pair of noblemen masquerade as lunatics to have their wicked way with the madhouse-keeper’s young wife. This comic plot holds up a mirror to the main plot, offering an alternative take on the same themes of madness and infatuation.

Who is the changeling of the title? Well superficially, it’s Antonio, one of the madhouse imposters. But the true changeling is Beatrice-Joanna – the young noblewoman who  inexplicably turns into an amoral monster. In Middleton and Rowley’s England, people would have had no hesitation in blaming witchcraft for such a sudden, total collapse of character. Including the substitution of an apparently dutiful and virtuous daughter by some evil surrogate or changeling.

The playwrights know better of course. They deftly show how a few fateful steps take an impressionable young mind from the delirium of love to dangerous obsession. But is Beatrice-Joanna deluded, deranged or simply hapless? Does she really make the fatal mistake of engaging a contract killer without understanding the nature of the contract? Is she a spoilt little rich girl, whose game of dare spirals out of control, or a calculating sociopath? This central riddle is one reason why The Changeling remains such a compelling thriller, four centuries after it was first performed.

Middleton and Rowley

Like Shakespeare, Thomas Middleton (1580-1627) was a successful jobbing playwright in the flourishing heyday of the early English theatre. He turned out dozens of plays, masques and pageants between 1602 and 1624. He collaborated with, amongst many others, Shakespeare himself, and is known to be responsible for parts of several of Shakespeare’s plays including Macbeth and The Winter’s Tale.

Middleton is generally credited with the tragic main plot of The Changeling, whilst Rowley is thought to be responsible for much of the comic sub-plot. But the hand of each man is also present in sections of the play attributed to the other. Middleton in particular had forged a style very much of his own, turning the conventional ‘aside’ into a parallel reality where characters converse with each other whilst sharing their thoughts with the audience – an intriguing subversion of the theatrical convention of his day.

Middleton was ahead of his time in his writing style too. He was capable of superb verse. But in The Changeling his dialogue is spare, gritty and workaday – more natural and immediate than Shakespeare’s. In fact, the play owes much to changes which coincided with the end of Shakespeare’s career. By the 1620’s, the outdoor Elizabethan playhouses had closed. The Changeling, first staged at The Cockpit in Drury Lane, forms part of a later genre known as ‘Revenge Tragedy’. These plays were tailored for cramped indoor theatres – hot, claustrophobic, and lit only by guttering candles. Small wonder The Changeling seems so gothic, shadowy and stifling.

That said, Middleton and Rowley’s setting of ‘Alicante’ owes very little to Spain, and a great deal  to the London the authors knew so well. With the asylum in particular, we are clearly in London’s Bedlam, and being royally entertained – as Londoners were – by madness.

Deaf on the Nile

Look out! He’s… Behind You! (Oh no he isn’t!)

Take a priceless diamond necklace, a luxury Christmas cruise down the Nile, a collection of very suspicious characters and add… a pantomime dame?

Theatre Workshop Coulsdon present a pantomime with a difference!

Comedy is guaranteed as the mystery unfolds. Can you unmask the villain before the familiar-looking Belgian detective, Hercules Toilet, does? Or will you be too busy laughing?

Is it Shelby and Lara Smythe-Rotter, the elegant Riviera thieves?

Lady Pokingham-Proditt, whose last five husbands have all met untimely ends?

Hesketh and Petunia, the runaway lovers with a dark secret?

The seedy Reverend Pinchme and his secretary Miss Chaste, on the run from blackmailers?

All will be revealed!                                                                                         

A festive show of songs, slapstick and skull-duggery! Not to mention a show-stopping turn from Mrs Eliza Wallop, our dame with a difference, as ‘she’ powers out a truly operatic rendition of ‘Nessun Dorma’!