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.

The Adventures of Jason and the Argonauts

The legends of Ancient Greece have continued to weave their magic through our imaginations for over two thousand years. The capricious Gods and Goddesses of Mount Olympus playing with the fates of ordinary mortals for both good and ill. But from the ranks of those mortals came the fabled heroes, those who rose to the challenges and won out despite all. Odysseus taking on the mighty one-eyed giant Cyclops. Theseus defeating the monstrous Minotaur in the labyrinth of Crete. Jason and his Argonauts travelling far and risking everything in search of the Golden Fleece.

This last provides the basis for our winter production. But don’t worry, you won’t need a degree in the classics to work out what’s going on. This is a very loose interpretation of the myths handed down over the centuries. Jason and Medea are two mixed-up kids, an orphan and a runaway, who suddenly find themselves tasked with overthrowing the evil tyrant King Pelias. With a certain amount of divine intervention, Jason becomes the captain of the mighty ‘Argo’, a ship capable of crossing the uncharted seas, with a crew of oddball heroes including the world’s strongest (and possibly clumsiest) man, a wonderful woman warrior, a resting rock star, the least identical twins ever and a seriously streetwise cat. Now he must set off and find the Golden Fleece. If only he knew what it was. And then there are the challenges. The man-eating Harpies of Lemnos, the terrible Clashing Rocks, the fire-breathing Great Bull of Colchis, the evil Dragon Snake and Talos, the bronze giant. (Who might just be a really cool sock puppet.) Not to mention The Sirens…

Medea, Jason and his misfit Argonauts are here this December to have fun. This will be no ordinary adventure tale, but one with songs and laughter, and we’ll be encouraging you to join in, whether you’re five or sixty five. Ever fancied rowing the Argo? You’ll get your chance. Become part of the undead army of skeleton warriors? Oh yes.

The award-winning author of ‘Jason and the Argonauts’, Phil Willmott, is mainly famous around these parts for his creation of the hilariously stiff upper-lipped ‘Dick Barton – Special Agent’ spoofs that were so much a part of the sadly demised Warehouse Theatre in Croydon. But he’s written, adapted and directed numerous productions, many derived from classical sources, and we’re more than pleased to link up with him again.

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….

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.

Radio Days – The Golden Age of Wireless

 

This year marks the 70th anniversary of the launch of the BBC’s Light Programme in 1945, which went on to provide such iconic entertainment throughout the late 1940’s and 50’s. With just the spoken word, some music and a few choice sound effects, the listener could be transported anywhere. All they needed was a little imagination. Adventure tales such as ‘Dick Barton – Special Agent’ and ‘Journey into Space’, comedy from ‘The Goons’ and ‘Hancock’s Half Hour’ and serials like ‘The Archers’ attracted millions of listeners.

As a tribute to those classic shows, we’ve put together an evening of light entertainment using the same principles. Some drama, some comedy, all linked together with music from the period.  And this format has given us an excellent platform to showcase some of TWC’s newer and/or previously untapped talents. The show has been written or adapted, with two small exceptions, by ourselves. For Joe Wilson and Sean Young it’s the first time they’ll have seen something they’ve written come to life on stage.  They’ve directed them too.  And it may be their first writing, but it won’t be their last.

So tune in to Theatre Workshop Coulsdon this March, and be transported back to a time when a young Princess Elizabeth was about to become Queen, the British Empire still covered the pages of your school atlas in pink, Dan Dare was the pilot of the future, and Dick Barton was Britain’s finest secret agent. In the post-war years, before the real coming of television, families would gather around the wireless to be informed, educated and above all, entertained. A magic combination of sound, music, voice and a sense of wonder spirited the listening nation to far-off lands, distant times or sometimes just around the corner. Bold adventure and stirring drama rubbed shoulders with surreal comedy. TWC’s ‘Radio Days’ is an affectionate recreation of those golden years of British radio, showcasing a series of short plays evoking the atmosphere of those times, with live music and live sound effects. An evening of laughter, songs and suspense*. Come along, and bring your imagination with you…

*See the Radio Times for details (a pre-1957 edition that is).

‘Slaves of the Sultan’ by Richard Lloyd

‘Wrong Number’ adapted by Paul M Ford from a script by Don Negri

‘The Night Mail’ by W H Auden

‘The Crossroads’ adapted by Richard Lloyd from an original US Radio script

‘Reginald Rare – Rocketeer Extraordinaire! (In the 21st Century)’ by Sean Young

Agatha Christie’s ‘The Lamp’ adapted by Paul M Ford from a 1933 short story

‘Murder at Monford Manor – A Harrison Harrison Mystery’ by Joe Wilson

‘The Weather Forecast’ by Les Barker

The Producers

 

The Producers was Mel Brooks’ first ever movie back in 1968. Starring Zero Mostel as Max and Gene Wilder as Leo, it became both a cult and a commercial success, and Brooks even picked up an Oscar for Best Original Screenplay. An improbable hit as a movie, it was an even less likely one as a Broadway musical, which Brooks did in 2001. A byword for tongue-in-cheek bad taste, it became the most successful Broadway show of all time, winning a record breaking 12 Tony awards and running for more than 2,500 performances over six years. And then art imitated art, as a movie of the musical based on a movie came out in 2005, starring Nathan Lane, Matthew Broderick and Uma Thurman.

Born into a German Jewish family who fled the Nazis in the 1930’s, Mel Brooks was uniquely qualified to poke merciless fun at the Third Reich. Frankly, it’s impossible to believe that anyone without his background could have got away with it. Then again, the whole premise of a couple of Jewish con-men staging a sure-fire Broadway flop based on a camp musical about Adolf Hitler is so absurd, it would be difficult for anyone to take genuine offence. Besides, Brooks has many targets for his satire in The Producers – not least the whole shallow pretentious ‘bubble’ of Broadway itself. (Which is rather ironic, as it turns out, given the huge success of the show.)

The Producers is an extraordinary musical. Set in New York in 1959, the one-time ‘King of Broadway’, Max Bialystock, sees his latest show ‘Funny Boy’ close after just one night. Down and out, dependent on playing the aging lothario to wealthy but very elderly spinsters and widows, Max is thrown a lifeline back to success and the high life in the unlikely form of timorous accountant, Leo Bloom. Bloom discovers that a flop show can make more money than a hit, and so the two set out to lie, cheat and schmooze their way to a million bucks by staging a sure-fire Broadway flop – the worst taste musical ever written: ‘Springtime For Hitler’. The rest is showbiz history. Bursting with laugh-out-loud jokes and outrageously funny musical numbers, The Producers is pure, unadulterated joy.

Now it’s fair to say that Theatre Workshop Coulsdon are not, first and foremost, a musical group. But we do like projects that are a bit unexpected. So we’ve rescued ‘The Producers’ from the cold dead clutches of of the light-operatic am-dram circuit, and given it the down-and-dirty TWC makeover it deserves. We aren’t dancers, we aren’t singers. We don’t have the required 37-piece orchestra. But we do have a bunch of talented musicians and chutzpah to spare, and what could be more in keeping with the spirit of Mel Brooks than that? We hope you enjoy the show!

 

Catch 22

Yossarian had decided to live forever. Or die in the attempt…

Having just survived yet another murderous air raid into occupied France, bombardier Yossarian decides that the enemy isn’t just the Germans. It’s anyone who’s going to get him killed, no matter which side they’re on. If he can just get himself declared insane, he won’t have to fly any more.

Trouble is, he’s the sanest man on the base…

The original novel focused on the lives of a large number of different airmen as they try to survive both the war and the bureaucratic nightmare they find themselves in. Heller’s own stage adaptation brings the focus in more tightly on Yossarian, and as a result a number of popular characters (Orr, Dobbs, Hungry Joe, Sammy Singer and Chief White Halfoat, as examples) don’t make it into this version. However, the key themes of sanity and insanity, the power and absurdity of bureaucracy, the amorality of capitalism and the shifting definition of heroism remain. In the struggle of the central character against an illogical, intractable and unfair system, there are obvious parallels with Kafka’s ‘The Trial’ which TWC presented in the Spring of 2013.

Like John Yossarian, author Joseph Heller was a bombardier, flying B-25 Mitchell bombers based in Italy during World War II. He started to write ‘Catch 22’ in 1953, but it took him eight years to finish it. Published in the US in 1961, it was only a moderate success, but it became a bestseller in the UK and when the paperback version came out the following year it became a phenomenon, and throughout the 1960s its anti-war stance chimed with the rise of a youth culture embittered by the Vietnam war. The book royalties and movie rights (a film with Alan Arkin, Art Garfunkel and Orson Welles was released in 1970) made Heller a millionaire. In later life it was put to him that he’d never written anything better than ‘Catch 22’ subsequently. His response was a simple ‘Who has?’.

Catch-22 specified that the concern for one’s own safety in the face of dangers that were real and immediate was the process of a rational mind. If you were crazy, you could be grounded. All you have to do was ask; but as soon as you did, you would no longer be crazy and would have to fly more missions. You would be crazy to fly more missions and sane if you didn’t, but if you were sane, you had to fly them. If you flew them, you were crazy and didn’t have to; but if you didn’t want to, you were sane and had to.

Twelfth Night – The Panto

We’re sticking to a Shakespearean theme for Christmas, with another original TWC panto, this time based (very loosely) on “Twelfth Night”, but with added slapstick, men dressed as women (dressed as men), “oh no it isn’t”, and “oh yes it is”. It’s a riotously funny pantomime full of unexpected twists and turns. Forget Illyria – a freak storm blows a day-trip to Boulogne way off course. Six months later it’s shipwrecked on the coast of Australia. Auntie Podees and her niece, Sheila, have to find work disguised as men to earn their passage back to Coulsdon. Meanwhile, Lord Sydney Opera-House unsuccessfully pursues the love of his life, Lady Alice-Springs (most beautiful lady in the world – and incidentally, the wealthiest). Can Sheila help? Will the principal boys win the hearts of the principal girls? Will the barbie be a success? Are there any gags about Aussies we haven’t plundered and mercilessly exploited? And will the three witches be too evil to be allowed onstage and exiled forever to make tea and serve mince pies? To find the answers to these and many other mosquitoes (sorry, misquotes) don’t miss Coulsdon’s bonza pantomime, a show so big, it needs two dames…

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 Trial

‘The Trial’ tells the tale of Josef K, a man unexpectedly arrested by an unknown authority for an unspecified crime, and the story follows his increasingly desperate attempts to negotiate a labyrinthine legal process and an untouchable, unreachable court, while never finding out what it is that he has been accused of.

Kafka started to write ‘The Trial’ in August 1914 and continued on through 1915, despite the outbreak of war. Like his other two novels he never completed it, and it was only after his death in 1924 that it was published. His haphazard method of writing saw the novel take shape across a number of different notebooks, all being used simultaneously. When Kafka’s friend Max Brod eventually persuaded him to surrender the ‘manuscript’ (Kafka had a habit of destroying his own work, which Brod was trying to prevent) he was given 161 loose pages, gathered into chapters, but no clue as to what order the chapters should be in. It does have a beginning, and though abrupt, it certainly has an end, but though Brod, and later, others, have edited the work, it remains unclear what Kafka’s true plan was.

This uncertainty has been a fertile ground for dramatic interpretation over the years. In 1962, Orson Welles filmed a version with Anthony Perkins as Josef K, while Steven Berkoff presented his own unique and experimental take in 1970, with elements of physical theatre and mime, verging on the surreal. Tom Basden, who would also go on to adapt Dario Fo’s ‘Accidental Death of an Anarchist’, presented a new version in 2010 set in modern day London called ‘Joseph K’, where the main protagonist was a City banker.

Lucy-Ann Martin’s adaptation here certainly draws inspiration from Berkoff, notably in its use of physical theatre, and the employment of an ensemble cast. As each actor moves on to another role within the story, the intention is to underline the facelessness of the authority that Josef K finds himself hopelessly and inexplicably at odds with. His relationship with those he encounters on the twisting path of the system he is forced to take is polarised. Men only serve to confuse, presenting a series of barriers or problems that prevent him from obtaining justice. Women are a weakness for him, though he seems to be endowed with some form of unexplained allure which he uses not simply to satiate his desires but advance his cause. If this makes our Josef something less than the total innocent, then perhaps this is because nobody is completely without guilt, now are they? And then the driver becomes not simply what am I charged with, but what do they know, and paranoia takes its insidious hold.