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Funny Money Poster_Layout 1 18/04/2016 17:48 Page 1
THE OAST THEATREOAST THEATRE
TONBRIDGE
London RoadTonbridgeKentTN10 3ANTonbridge Theatre & Arts Club
OAST NOTESOAST THEATRE
TONBRIDGE July 2016
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NEXT MONTH’S PLAY …… sorry there isn’t one! We’ve taken the
month off”
WEDNESDAY, 6TH JULY LAST DAY FOR COPY FOR
AUGUST OAST NOTES
Saturday, 23rd July to
Saturday, 30th July incl.
Play of the Month
“Funny Money”
Saturday, 23rd July to
Saturday, 30th July
Annual Art Show
Sunday, 31st July &
Sunday, 7th August
Auditions
“The Homecoming”
Monday, 1st August Subscriptions and Season Ticket
renewals due
Sunday, 7th August Oast Summer Lunch
Sunday, 14th August &
Wednesday, 17th August
Auditions:
“Around The World In 80 Days”
and “A Christmas Carol”
Friday, 23rd September Art Group Coach Trip to
Charleston Farmhouse
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“Funny Money” by Ray Cooney
This play is a frenetically funny farce by the master of the genre.
He was obviously utterly sure of its success, as for the first
production he also directed and played a principal part!
It moves with great speed from one unbelievable and yet just
possible situation to the next, creating virtually non-stop laughter
and enjoyment.
An ideal end to another successful season at The Oast. Please
don’t miss it!
Shirley Browning Director
The last production in what has been a very successful and popular
season. Let’s go out on a high with a laugh. There is really no excuse to
not see this one – it is funny – it is by a well-known playwright – it is the
last play of the season – and it will be well done!
Tickets are liable to sell like hot cakes so do make sure of yours by
booking nice and early. As usual we give you three ways to do this –
online at [email protected] – by telephone on 01732
363849 or by good old fashioned post using an Advance Booking Form
which you can get from the foyer in the theatre.
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THE HOPPERS’ SUMMER SHOW
This year the Hoppers made full use of all the theatre’s space and
facilities. The bar was festooned with flyers pertaining to the first
play in their programme. The Front of House notice board (usually
given over to photographs) was covered with imaginative material for
both plays. On stage was a large screen on which was projected a
continuous slick promotional video for the benefits of the micro chips
which were to play a large part in “The Digital Divide”. All this plus
entrances of members of the casts from the rear of the auditorium
carried out slickly, silently and well rehearsed.
Once again Phil Burns and his enthusiastic young players delighted
their audiences with two, very different, plays.
The first, performed, in the main, by the slightly older Hoppers, was
a rather sober, thought provoking production that they had developed
in Workshop. A sort of ‘1984’ up-dated to the digital age. Rich city
dwellers enjoying up-market life styles whilst those less fortunate
living out in the countryside mounted guerrilla warfare against the
oppressive state with its black clad and masked army of ‘enforcers’.
There was plenty of action here with well rehearsed movement and
fighting. Good characterisation by all the cast was well maintained
throughout by both the ‘goodies’ and the ‘baddies’. Guess who won
in the end?
The second play we had seen before, but never mind, both the Youth
Theatre and the adults invariably present plays that have been
presented before on the Oast stage. Unlike the first play the action
here happened, in the main, off stage but with some brilliant re-actions
from those on-stage as they watched the football match taking place
beyond the ‘fourth wall’. Scene stealers were the two small runners (a
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THE HOPPERS’ SUMMER SHOW contd.
duck and an elephant!) endeavouring to enter the Guinness Book of
Records by doing lap after lap of the football pitch whilst reciting
limericks. In the end, despite a bullying male chauvinist manager and
a couple of pushy ‘Mums’ our heroines were taken off the substitutes’
bench and the match was won. All the cast here is to be congratulated
on maintaining very high standards of characterisation. There were
no weak links.
So thank you again Phil, and all your team as listed in the programme,
for giving us such an enjoyable afternoon. All the young performers
show great promise and if they all stay with us I can see that Jason
and the Youth Theatre stand to gain some talented new recruits in the
future.
Ed
BOX OFFICE RESULTS
173 tickets were purchased for The Hoppers’ Summer Show, being
77% of the capacity. Online bookings accounted for 147 of those
bookings, being 85%.
Brian Perryman
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“The Homecoming” by Harold Pinter
Auditions: Sunday, 31st July – 3.00pm
Sunday, 7th August – 3.00pm
both in the Janet Young Room
Performance dates: 12th – 19th November
Director: Andy Taylor – 01622 743746 or
07743900710 or
Max, a retired butcher, shares his house in North London with his
brother, Sam, and two of his sons, Lenny and Joey. There is a sense
of violence in the all male household. His third son, Teddy, arrives
in the middle of the night with his wife, Ruth. He is a philosophy
teacher in America and has three sons who have remained at their
home. For the first time since the death of Max’s wife, a woman has
entered into the house. A kind of battle ensues between the men and
Ruth. Teddy returns to America, leaving her to remain with the men.
They decide to use her as a prostitute, and she appears to oblige, or
does she? Who wins? In typical Pinter style the characters attempt
to gain power over one another. This is a powerful play. The tone is
dark, cruel and harsh, but it is also funny.
If you like Pinter, or you are interested in Pinter, or, indeed, you have
a love of language, this is the play for you.
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“The Homecoming” contd.
Characters:
Max: Age – 70’s. A retired butcher. Aggressive. Has taken on the
role of both mother and father.
Sam: Age – 60’s. A chauffeur. Prides himself on being good at his
job. He is Max’s brother. A placid character.
Lenny: Age – 30’s. Possibly a pimp. Max’s son.
Joey: Age -20’s. Max’s son. Works on demolition sites and is
training to be a boxer. Which type of boxer isn’t made clear. He
could be anything from flyweight to heavyweight.
Teddy: Age – 30’s. Academic. Max’s eldest son.
Ruth: Age – 30’s. Ex photographic model. She is Teddy’s wife.
Audition pieces available.
As usual I will audition each actor individually.
Andy Taylor
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NEXT SEASON
The list of productions planned for next season appeared in last
month’s Oast Notes.
Below is a breakdown of the genders of the characters involved. (M
= male and F = female – naturally!)
“London Wall” – October – M 4 F 5
“The Homecoming” – November – M 5 F 1
“Around the World in 80 days” – December
& “A Christmas Carol”
see audition notices in this issue.
“What the Butler saw” – January – M 4 F 2
“Honour” – February – M 1 F 3
“The Country Wife” – March – M 7 F 7
“A Fine Bright Day Today” – April – M 1 F 2
“Going Green” – May – M 3 F 3
“Murder, Margaret & Me” – June – F3
“Three Men in a Boat” – July – M 3
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A MESSAGE FROM THE CHAIRMAN
Hope you are all Summering well.
With last month’s Oast Notes you will have received our next Season’s
programme.
Please be assured that ALL shows are available for Season ticket holders
– WITH THE EXCEPTION OF THE HOPPERS’ SUMMER SHOW.
Keep enjoying our wonderful Oast.
Hope to see many of you at our Summer Lunch in August*, if not, as
usual at the Theatre.
*
Have you booked for this yet? If not contact Valerie Armstrong.
Laura
NEW MEMBERS
Five new members to welcome at this the tail end of our season:
Juliette Finn and James Klech are both interested in Acting.
Andy Leggatt is also interested in Acting and Front of House and the Bar.
Daniel Palmer too is interested in Acting and Directing.
and
Jason Palmer is interested in Acting as well and Directing and Art.
A warm welcome to you all.
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THE OAST CHRISTMAS DOUBLE BILL Casting opportunities for Two Plays
Both of our Christmas shows this season, “A Christmas
Carol” and “Around the World in 80 Days” have a wide range of
characters that can be played by men or women, adults or youth.
Both will be staged with much atmospheric music and many special
effects. They will be played out in a black box with minimum props and
traditional costumes.
These combined adult/youth shows have always been great fun for the
cast and audiences alike, so why not audition for one or both!
Sunday, 14th August – 2.00pm
Wednesday, 17th August – 7.30pm
Both in the Janet Young Room
Other auditions can be arranged.
“Around the World in 80 Days” – Director Jason Lower
We are staging Laura Eason’s “Around the World in 80 Days”, performed
last year at St James’ Theatre in London. There are dozens of characters
across the play who can be played by either gender, adults or youth.
The show will be fast-paced and embrace the absurd – think “39 Steps”
on the West End (not film) or the ‘Fitzrovia Radio Hour’.
The four leads are Phileas Fogg (male, any age); Inspector Fix
(male/female, any age); Passepartout (any gender, any age – very physical
role); Mrs. Aouda (female, similar age to Fogg).
There are also one or two narrators who will become increasingly
exasperated throughout the whole play – think Mad Hatter crossed with
Statler and Waldorf.
For more information or to borrow a script contact Jason Lower
[email protected] or 07812061753.
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“A Christmas Carol” – Director Phil Porter
Our version of “A Christmas Carol” is that by John Mortimer as
performed by the RSC. It has a large cast but, by doubling and re-
doubling, the cast is somewhere between 16 to 20 playing 44 parts.
The core of the production is the Chorus. This sets the scenes, describes
characters, actions and sets mood and atmosphere. It dominates the play
and is on stage all the time. In short, there is a lot of Chorus to go round
and it is gender neutral. At present, being over-cautious, I have it as
between 6 and 8 people, but ideally it should be a lot more as it gives so
much to the play. Members of the Chorus can play as many other parts
as desired.
The single characters are Scrooge, Bob Cratchit, Mrs Cratchit, Nephew
and The Ghost of Christmas Present. All other parts are at least doubled
because the scope of the play is vast.
There is considerable ‘dumb show’; this acts out that which the Chorus
describes. The ‘dumb show’ is provided by members of the cast.
The cast list is too long to include here.
We need 6 females, each to play a number of important roles. Some of
these females could be in the chorus. What I am saying is that at first
glance this play does not have a great attraction for women but this is very
far from the case. It is essentially an ensemble piece that promises to be
quite a spectacle.
Further information available from Phil Porter at [email protected]
or ‘phone 01732 835460.
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ONE POINT OF VIEW
“Kindertransport” by Diane Samuels
Coming so soon after Parliament (eventually) offered child refugees the
possibility of settling in the UK, “Kindertransport” couldn’t have been
scheduled any better.
Unaware of the play, I expected it to be heavily political and perhaps that
explains the relatively small audience early in the week. In fact, the story
was intensely personal and all the more powerful for that, so it’s a pity so
many missed out on this moving play.
The opening saw the young Jewess, Eva, (Juliette Finn) being prepared
to be evacuated from Nazi Germany by her mother, Helga (Vivienne
Pattison). Then the action switched seamlessly to England in the 1980s
where the grown up Eva (Elizabeth Taylor-Moon) now called herself
Evelyn. Here we began to discover the troubled relationships she had
with her adoptive English mother, Lil (Valerie Armstrong) and her
daughter Faith (Lisa Bunyan). As her past was uncovered we saw how
her escape and her parents’ supposed fate in the concentration camps
disrupted her new life – with the nightmare figure of the Ratcatcher
(Denzil Edwards) always lurking menacingly in the background.
Elizabeth Taylor-Moon as Evelyn was both matter of fact and distracted,
showing us her battle with long-suppressed memories of her childhood
and very convincingly buffeted by the enormity of her experience and the
tough love of her strong adoptive Mum, Lil.
Valerie Armstrong was Lil, a warm but no-nonsense Northerner who
loves her Eva/Evelyn all the more fiercely because there is no-one else
who can. Valerie handled the movement between time periods
exceptionally well, taking the audience with her as she linked Eva and
Evelyn’s stories and it became apparent that the past was in Evelyn’s
memory, flawed and painful though it was.
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“Kindertransport” contd.
Evelyn’s daughter, Faith, was Lisa Bunyan, suitably
intolerant of her Mum who seemed to be trying to get her to leave home
– she held a fine balance between truculent child and independent young
adult as she discovered the source of her mother’s problems.
Juliette Finn tackled a challenging role as Eva exceptionally well. She
was entirely engaging as the nine year old with plaits and in neat knitted
cardigan who, with childish innocence, was being brave for her beloved
mother. Later, with some faultless German, Juliette skilfully held the
attention of the audience as she tentatively found her way to Manchester.
The scene painted with nothing more than her suitcase and her
observations of the boat, train and the sights of England. She further
impressed as she transformed into a teenager complete with Mancunian
accent. Totally believable and totally watchable.
Even from the opening scene, the figure of the Ratcatcher (played with
obvious relish by Denzil Edwards) and dressed in macabre black rags,
hovered in the background. Literally in this case as, unseen by the
audience, he was motionless at the back of the 1930’s scene waiting for
his moment to appear in Evelyn’s traumatic memory. He reappeared as
the other incidental male characters (from a Nazi border guard to a rather
insensitive British postman) each a reflection of the Ratcatcher; the
personification of Evelyn’s abiding fear of uniforms and authority and of
the retribution she felt was her due.
Vivienne Pattison as Helga at first in a bright red suit was all elegance and
precise German diction denoting her privileged background so her return,
physically transformed in dour refugee-black, was all the more moving.
Her unexpected survival forced the young Evelyn to make a choice
between attempting to go back, despite everything that had happened, or
continuing with her new life in England and rejecting her birth mother.
In the end we really felt Evelyn’s deep unhappiness was directed not at
the inhumanity of the Nazis, but at herself, at her own survival
and the choices that she had made.
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“Kindertransport” contd.
This was a real ensemble piece with the actors always
aware of the action happening in other scenes which,
sometimes, they observed and sometimes ignored but never detracted
from as they continued in character even in blackout.
The production team was as much part of the ensemble. A deceptively
simple but evocative set (designed by Veronica Dicker and built by the
Playgroup with Ann Smith and Annette Tranter) was dressed with
suitcases, trunks, boxes and the accumulated flotsam and jetsam of life in
the attic (props by Margaret Webb) many of which were essential to the
action as they were picked up and used by the characters literally sifting
through Evelyn’s life story. The 1930’s costumes already mentioned
were perfect and the 1980’s period was also successfully realised with
clear delineation between the generations and no conflict in styles as Lil
moved between time periods. Another excellent job by Jo Pierce and the
Oast costumiers.
The lighting distinguishing between scenes was neat and well-timed and
the cinema newsreel effect worked especially well. Sound was also well
chosen – effects where necessary and music underscoring just a few
scenes added greatly to the atmosphere. Kudos to Derek Goodwin for the
lighting design and the stage staff Ken Smith, Babs Smith, Annie Young,
Phil Porter and Biz Portlock. Director, Andy Taylor, should be proud of
his cast and crew who told the story with such conviction and control. He
and they should also be congratulated for bringing this touching and
important story to life on the Oast stage.
Philip Holden
BOX OFFICE RESULTS There were two full houses for “Kindertransport” on the Friday and last
Saturday. 628 people watched the show – being 70% of the capacity.
There were 154 Season Ticket holders (25%), 242 Members (38%), 226
Non Members (36%) and 6 Associate Members (1%). Online bookings
accounted for 408 seats being 65% of the tickets booked.
Brian Perryman
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BLOOMSBURY IN SUSSEX Coach trip to Charleston Farmhouse,
Friday, 23rd September
In association with Tonbridge Art Group the Oast Theatre Art Group is
planning a coach trip to Charleston Farmhouse, near Lewes in East
Sussex, the country house and meeting place of the writers, artists and
intellectuals known as The Bloomsbury Group.
In 1916 the artists Vanessa Bell and Duncan Grant moved to Sussex with
their unconventional household when Duncan, under the terms of his
exemption from military service, was employed at a nearby farm together
with David Garnett. Over the following half century Charleston became
the country meeting place for the Bloomsbury Group. David Garnett,
Clive Bell and Maynard Keynes lived at Charleston for considerable
periods. Virginia and Leonard Woolf, E M Forster, Lytton Strachey and
Roger Fry were frequent visitors.
Inspired by Italian fresco paintings and the Post-Impressionists, the artists
decorated the walls, doors and furniture. Vanessa and Duncan also
created a walled garden to designs by Roger Fry. It’s a painter’s garden
mixing Mediterranean influence with cottage garden planting, with
mosaics, box hedges, ponds and gravel pathways, but with a touch of
Bloomsbury humour in the placing of the statuary.
We shall have a guided tour of the house, telling the story of Vanessa and
Duncan and their family and friends and afterwards we shall be free to
investigate the garden. We shall then travel to Alfriston where there will
be time to have lunch and explore the village.
Alfriston is surrounded by the Wealden South Downs and the South
Downs Way passes through the centre of this historical village. Around
the village you can enjoy the famous church (the Cathedral of the South
Downs) and the Clergy House along with galleries, cafes, pubs and
boutiques offering a wide range of gifts from unusual chocolates to music
memorabilia. Mid afternoon we shall visit nearby Berwick
Church to see the beautiful murals painted by Vanessa and
Duncan in World War Two.
16
The cost of the trip is £26.00 which includes the coach,
tea/coffee and biscuits on arrival at Charleston Farmhouse
and a guided tour of the house. If you wish to go on this
trip please contact Mike Insley Tel: 01732 355573 or
email [email protected]
ANNUAL ART SHOW
The Art Group will be holding its Annual Show this year to coincide with
the production of “Funny Money” from 23rd to 30th July with works by
members of the Group exhibited in the Janet Young Room. Members of
the public and the audiences will be welcome to view the display from
before the start of the performance through to the end of the interval. The
actual opening times are:-
Saturdays 2.30pm to 9.30pm
Sundays 2.30pm to 6.00pm
Weekdays 7.00pm to 9.30pm
All are welcome and are invited to cast their vote in our “Favourite
Picture” competition. For further information please contact
NATIONAL THEATRE CONNECTIONS
Unfortunately the Oast Youth Theatre did not make it to the
National Theatre as part of Connections with our production
of “Bassett”. The cast, however, did give an excellent
performance at the Marlowe Theatre in Canterbury.
We are planning on taking it on the road to some festivals, so keep your
eyes peeled on these pages to find out where you can see it (and if you
thought it was good at the Oast, you haven’t seen anything yet...)
Jason
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WHAT – NO COFFEE BAR?
I really need more people prepared to do a duty (not just express an
interest in helping) in the Coffee Bar. I am (and everyone should be)
grateful to those who give their time very regularly – the same names
come up each month – but unless more help is forthcoming, you may find
NO COFFEE BAR when you arrive one evening. Email contact very
useful but not essential.
Valerie Armstrong
01892 723459, [email protected]
DIDN’T THEY DO WELL!
I am surprised that there has not been any official acknowledgement of
the success of the Oast’s entry in the recent Leatherhead Drama Festival.
“A Thing of Beauty”, by Charles Kray, was directed by Sandra Barfield
and the cast members were Elizabeth McCreadie, Nick Smith and Annie
Young. This production gained the Best Actress award for Elizabeth, Best
Actor award for Nick, Special Mention for Annie, Best Director
nomination for Sandra, Special Mention for Visual Impact – and the play
itself was the Festival Runner Up.
This was a tremendous achievement – congratulations to all those
involved.
Lynn Short
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100 CLUB – MAY RESULTS
£25.00 Carol Trott
£10.00 Ann Mattey
£10.00 Hania Simons
£10.00 Ray Russell
£10.00 Pat Large
BE IN FOR A CHANCE TO WIN!
It only costs £13.00 per year!
It helps to raise money for your Theatre!
Prizes every month!
Ring Rita Carpenter on 01732 358282
Or email on [email protected]
You can join at any time, but why not make it NOW!
Top Prize in the Year is £100.00 and is drawn in June!
Numbers available:
133: 150: 165: 166
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OAST YOUTH THEATRE
WORKSHOPS
Thursday, 14th July
Thursday, 21st July
Throughout August we will be running extra-long workshops again.
SUNDAY SOCIAL
After the success of the first, we are going to be having another Sunday
Social. Keep an eye on Facebook and emails for the date and time (it will
be a Sunday). Email/message me with suggestions for films.
Jason
07812 061753
Tonbridge Theatre & Arts Club Registered Charity No. 227035
www.oasttheatre.com
Officers
Chairman LAURA COLLINS 01892 750131 [email protected]
Honorary Treasurer DAVID KEITH 01732 458876 [email protected] Honorary Secretary ELIZABETH PORTLOCK 01732 300551 [email protected] Membership Secretary BRIAN PERRYMAN 01732 354368 42 St Bernards Road, Tonbridge TN10 3NL email: [email protected] Youth Theatre JASON LOWER 07812061753 [email protected] Premises Manager PHIL PORTER 01732 835460 Hirings and Rehearsal Bookings LYN PORTER 01732 835460 Publicity MAGGIE HOILES 01622 813573 Editor ANNIE YOUNG 01732 352084 [email protected]
Copy to 18 Hildenfields, London Road, Tonbridge TN10 3DQ or by email to above address.
Box Office: (01732) 363849
LONDON ROAD TONBRIDGE KENT TN10 3AN TEL: (01732) 350261
OAST THEATRE
TONBRIDGE
THE OAST THEATRETonbridge Theatre & Arts Club