GASLIGHT
21st – 26th October 2013 By Patrick Hamilton Directed by Will Harris
Classic Victorian thriller The King and Queen hastened to the Apollo Theatre to see what the fuss was about when this play opened in 1938. They were spellbound, watching as Manningham’s dastardly plot to drive his wife insane was put at risk by the arrival of a former police detective. But will he be in time to uncover Manningham’s murky past and his true reason for buying their gas-lit home?
Cast   Crew Mr. Manningham Alex Greenslade   Set Designer David Boyd Mrs. Manningham Kathleen Armstrong   Set Construction Alan Croft & Rough Geoff Thorn   The Chipstead Elizabeth Ros Heath   Players Nancy Katie Milsom   Construction Team First Man Donald Hindle   Stage Manager Janet Harris Second Man David Wheeler   Lighting David Boyd   Sound Mike Dyson   Props Pauline Beckley &   Anne Hopkins   Furniture Janet Bennett &   Clare Sparshatt   Wardrobe Lorraine Bygraves   Prompt Sue Peerless   Production Manager Irena Webster
Review: By Theo Spring of The Croydon Advertiser
I would expect nothing less from the very experienced director Will Harris than the air of Victorian menace palpable immediately the curtain rose. It rose to reveal David Boyd’s truly superb set with his lighting adding an air of foreboding. This popular thriller deals with the subduing and mental abuse of a wife by her husband and the intriguing plot revolves around his darkness, the balancing lighter character of ex-detective Rough and the wife pulled between the two. Kathleen Armstrong, so beautifully dressed by wardobe mistress Lorraine Bygraves, caught the dilemma of Mrs Manningham from the start. Submissive, concerned, pleading, frightened and humiliated by turn; the role demands a high calibre characterisation which it duly received. As the bullying and manipulative Mr Manningham, Alex Greenslade certainly conjured up an aura of fear but he needed to be a little more sure of his character as there were chinks in his interpretation which at times looked a little insecure on the first night. Bringing the aforementioned lighter side to the play, Geoff Thorn created a Rough who was earnest, comforting and shrewd, still leaving the audience a little suspect of his claims and motives which added intrigue to the plot. Suitably cheeky and flirty, Katie Milson’s Nancy the maid brought in a little more light relief tinged with providing a red herring for the audience, and Ros Heath, as the housekeeper so loyal to Mrs Manningham, showed her predicament clearly between obeying the Master and consideration and sympathy for her Mistress. Sound effects were eerie, there was really clever shadow-play on the wall as the Master returned home. The fading up and down of the all-important gas lights added to the attention to detail of all the back stage crew for this production who helped create high drama and suspense much appreciated by the audience. Interestingly, the programme notes revealed that the play is the source of the term used by psychologists – Gaslighting – to indicate the kind of mental abuse which the play propounds. Not a lot of people know that!
LORD OF THE FLIES
4th – 7th September 2013 By William Golding Adapted by Nigel Williams Directed by Ben Tosh & Grace Hopkins
Compelling drama A plane crashes on a deserted island, its only survivors a group of schoolboys. They live in a land of bright exotic birds and deep blue seas, but at night their dreams are inhabited by a terrifying beast. Before long a demonic nightmare takes hold as they descend into a bloodthirsty and murderous tribe.
Cast   Crew Ralph Ethan Elsdon   Set Designer Georgia Thornton Jack Ben Marrow   Set Construction David Franks & Piggy Jessy Read   The Chipstead Rachel Hope Elsdon   Players Sam Ben Jeffreys   Construction Crew Eric Monty Camisa-   Stage Manager Nick Gane   Bundy   Lighting Design Ben Gilbert Simon Laurence Read   Lighting Operator Gus van Manen Henry Jevon Clark   Sound Fergus Walling Molly Frances Loosley   Props Debra Elsdon, Billie Katie Bignell   Anne Thorn & Percival Toby Maynard   Goergia Thornton Officer/   Furniture Clare Sparshatt   Parachutist Nick Gane   Wardrobe Irena Webster,   Edwina Marrow &   Lorraine Bygraves   Prompt Lynn Webb   Production Manager Jo Hopkins   Original Music John Chandler     Honnor
Review: By Theo Spring of The Croydon Advertiser
Adapted for the stage by Nigel Williams from William Golding’s famous book, the play relates most of the relevant events from the novel and is performed with gusto by this Youth Theatre. Using girls in the cast somewhat changes the dynamics of the all school boy plot, but the girls pitch in with energy and commendable understanding of the circumstances. The cast soon melded into the fast growing change from school children stranded on an island following a plane crash, to savage youngsters reverting to hunting and fighting bitterly amongst themselves. Ethan Elsdon was the sensible, civilised Ralph, hoping to keep order when voted the "chief". Ben Marrow opposed him as the feral Jack, wanting to steal Ralph’s crown and out for blood – either animal or, with sad consequences, human. Both these roles were played with commendably believable characterisations. Jessy Read made Piggy, so renowned as a put-upon boy, a trusting castaway, accepting the bullying and teasing and coming to a sadly sticky end. To Laurence Read as Simon fell the task of common sense and trying to keep the group from taking sides and from reverting to running wild whilst Hope Elsdon as Rachel sided strongly with Jack, helping him hunt and encouraging his savagery. Ben Jeffreys and Monty Camis-Bundy were the close brothers Sam and Eric, always supporting each other. Jevon Clark played Henry, vacillating over which side to join; Frances Loosley was Molly – follower of the decisive Rachel, with Katie Bignell as Billie following suit. Toby Maynard was the latecomer to the group as Perceval – young, scared and bemused. Georgia Thornton’s simple set of piled boxes created the all-important high ground and effective fire lighting brought realism to the plot. Sound by Fergus Walling was spot on and the three wardrobe mistresses turned smart uniforms to tattered rags most effectively as the show progressed. Original music was by John Chandler Honnor with Grace Hopkins as assistant director, and Ben Tosh was in charge of the fast deteriorating rabble as director.
CALENDAR GIRLS
30th June – 6th July 2013 By Tim Firth Based on the Miramax motion picture by Juliette Towhidi & Tim Firth Directed by Anne Gregory
Heart-warming comedy What an opportunity! No, not to peek at WI ladies in a state of undress as they prepare a calendar somewhat in the provocative style of the Pirelli masterpieces. While the professionals tour to packed houses, we’re one of the few amateur groups to be allowed to stage this deeply moving, hilarious show during a brief interval when such rights are available. So come along for a great night out. Oh, all right – and maybe just one peek!
Cast   Crew Lady Cravenshire Jane Foster   Set Designer Mel Morgan Elaine Katie Milsom   Set Construction Mel Morgan & Liam Noel Harris   The Chipstead Brenda Hulse Irene Amos   Players WI President Margaret Ramsdale   Construction Crew Ruth Sandie Kirk   Stage Manager Lorraine Fitzwater John Geoff Thorn   Lighting Design & Rod Charles Taylor     Operation David Boyd Lawrence Matthew Vickery   Sound Jeff Stone Chris Sharon Laws   Props Pauline Beckley, Annie Anne-Marie Carlile   Linda Hall, Cora Lauren Milsom   Maureen Holdaway Jessie Jan Robinson   & Lynn Webb Celia Krissi Perry   Furniture Clare Sparshatt   Wardrobe Janet Bennett,   Irene Webster &   Lorraine Bygraves   Prompt Margaret Ramsdale   Production Managers Jo Hopkins &   Vicky van Manen   Calendar     Photographer Lauren Milsom   Flowers kindly provided by Gillian Ranger – Flower Ranger, 16 Chipstead Station Parade
WEEKEND BREAKS
20th – 25th May 2013 By John Godber Directed by Kate Thurlow
Comedy It’s peaceful and quiet in the Lake District, ideal for Martin to focus on writing his Hollywood blockbuster. But he needs source material. Inspiration: invite his parents, as he finds them unwittingly amusing. They turn up, belligerent and complaining. What will emerge as the three chat, row and repeat themselves?
Cast   Crew Martin Dawson Geoff Thorn   Set Designer Stephen Thurlow Len Dawson Colin Edgerton   Set Construction The Chipstead Joan Dawson Maggie May   Players   Construction Crew   Stage Manager Michael Rahman   Technical Advisor John Leventhall   Lighting David Boyd   Sound Mel Morgan   Projector Operation Stephen Thurlow   Props Louise Delaney   Furniture Clare Sparshatt   Wardrobe Roz Hayes   Prompt Rosalind Heath   Production Manager Louise Delaney
Review: By Theo Spring of The Croydon Advertiser
Playwright John Godber, who has brought much comedy to the theatre, uses a stand-up comedian reflecting on the comic material provided for his act by his elderly and acerbic parents, as the plot for this quite intense three-hander. Geoff Thorn as the son Martin mastered a huge role as a successful comedian who invited his parents to spend the weekend with him – partly out of filial duty and partly to glean more material. His mother Joan, given the full force of a woman discontented with almost everything by Maggie May, gave this slightly mercurial role its necessary fault-finding but softened in the flashbacks to more youthful, happier times, particularly on the dance floor or when voicing the hope of seeing her grandchildren. As her husband Len, Colin Edgerton brought off a character seemingly uncaring and critical of his wife whilst also giving away his love and dependence upon her. Neither Joan nor Len are ever on the same wavelength as their son Martin and recall futile efforts in the past to make him enjoy what they enjoyed, at the same level. Stephen Thurlow’s set design was clever but simple, allowing scenes to be imagined against black flats which held just a hint of the cinematography which is also encompassed, rather oddly, in the plot. To John Leventhall goes the technical accolade for the scenery projections, although it is to be remembered that what looks good on a reasonably small screen can be distorted when viewed on a very large one – the remembered boat trip being specially pertinent in this regard. Empathetically directed by Katayoun Thurlow, the play demanded much from the actors, both in memorising so many lines and bringing out the many different emotions, some of which were buried quite deeply in the script.
THE WIND IN THE WILLOWS
10th – 15th April 2013 By Brian Kenneth Grahame Adapted by Mike Kenny Directed by Debra Elsdon Assisted by Geoff Thorn
Classic comedy This delightful stage adaptation combines all the joy and mystery of Kenneth Grahame’s much-loved classic with a lightness of touch and playful theatricality. Tired of spring-cleaning, Mole leaves Mole End and ventures out to the riverbank, where he befriends the resourceful Ratty, the gruff Badger and the infamous Toad of Toad Hall (Poop-poop!). Together they explore the Wide World, and the Wild Wood, and try to keep Toad out of trouble……!
Cast   Crew Toad Kate Batchelor   Set Designer David Boyd Badger Ethan Elsdon   Set Construction Alan Croft, Mole Simon Perry   Mel Morgan & Rat Edie Nelson   The Chipstead Judge Molly Atkinson   Players Washerwoman Jevon Clark   Construction Team Chief Weasel Katie Bignell   Stage Manager Nick Gane Driver Edison Fallon   Lighting Design Ben Gilbert Portly Toby Maynard   Lighting Operation James Woodhead Rabbit Aurora Chandler-   Sound Design &   Honnor     Operation Fergus Walling Otter Maria Gallagher   Props, Furniture & Clerk Mia Meggiolaro     Set Dressing Anne Franks Hedgehog / Horse Elodie Guyon-   Props / Voice Coach Anne Thorn   Pelfrene   Costumes Celia Mill Jaden Driver Louis Forsth   Hair & Makeup Hope Elsdon Billy Gemma Bottomley   Fight Arranger Chris Hanvey Gaoler’s Daughter Isabelle Palmer   Music & Composition John Chandler- Chelsea Driver Emily Foster     Honnor Horse / Bargee Isobel Huber   Choreography Kirsty Hudson Guard Kayley Herbert   Prompt Lyn Webb &   Alice Chandler-     Honnor   Production Manager Liz Bignell   Our thanks also go to the many chaperones who helped backstage, without whom the show could not have happened.
Review: By Theo Spring of The Croydon Advertiser
This delightful tale, skilfully adapted by Mike Kenny from the Kenneth Grahame original, keeps faithfully to the much-loved story but offers many opportunities for participation – a fact eagerly utilised by director Debra Elsdon and her assistant Geoff Thorn. The weasels from the Wild Wood were remarkable well rehearsed, particularly in the exciting fight scene and there were lines, actions and other character parts for them as well. It is Simon Perry as dear Mole and Edie Nelson as the caring Ratty who lead the action, both giving superb performances and clearly relishing their characters. Ethan Elsdon is wise Badger who shelters the pair unwise enough to venture into the Wild Wood, making him an authoritative but kindly "uncle" figure. Add in the cause of the mayhem, Kate Batchelor as Toad, and the story is underway. Perhaps a little padding for Toad may have helped establish "his" bombastic, completely egotistical character here, although the "poop poops" were really wistfully delivered. I loved the witty sarcastic delivery of Isobel Huber as Horse (and the Bargee) and the neat back legs of Elodie Guyon-Pelfrene, peeping out from beneath the speedily-constructed horse-skin (a grey blanket) to join in one of the musical numbers running through the play. Molly Atkinson and Mia Meggiolaro as Judge and Clerk respectively caught the mix of severity and comedy that is the sentencing scene and Isabelle Palmer as the Gaoler’s Daughter added more comedy in helping to dress Toad as a washerwoman, played by Jevon Clerk in amusing drag. There were cuddly rabbits, a naughty Portly (Toby Maynard), some little lost hedgehogs and a knowledgeable Otter (Maria Gallagher) amongst the cast. The play opens and closes with Toad Hall up for sale, bigged up under the weasel words of Katie Bignell as Chief Weasel and estate agent. David Boyd’s very clever set design led an adult team providing all the vital operations to present the show including the important sound from Fergus Walling – excellently delivered. Costumes by Celia Mill were kept very simple but effective. The "Hall" window was a triumph for the set construction by Alan Croft and Mel Morgan and the music and composition of original music for the show was the icing on this particular Riverbank cake.
WHOSE LIFE IS IT ANYWAY?
25th February – 2nd March 2013 By Brian Clark Directed by Warwick Beazley
Drama Claire’s got a good brain, but her body’s useless. Paralysed from the neck down after a car accident, she wants to sculpt her own end. But the state keeps interfering, first wanting to discharge her from hospital, then challenging Claire’s right to answer THE question: To be or not to be?
Cast   Crew Sister Anderson Susie Timms   Set Designer Linda Hornzee-Jones Clare Harrison Kate Perry   Set Construction John Fitzwater & Kay Sadler Sarah Macdonald   The Chipstead John Jason Edwards   Players Construction Dr. Scott Michael Rahman   Crew Dr. Emerson Nick Foster   Stage Manager Nick Gane Margaret Boyle Rosalind Heath   Lighting John Leventhall Helen Hill Elaine Teague   Sound Don Hindle Mrs. Justice     Projection & Music John Chandler-   Millhouse Meryl Jones     Honnor Radio Presenter &     Furniture Clare Sparshatt   Patient in   Props Anne Hopkins &   wheelchair David Wheeler   Louise Delaney   Wardrobe Roz Hayes   Prompt David Wheeler   Production Manager Linda Hall
Review: By Theo Spring of The Croydon Advertiser
Combine a consummate actress for the lion’s share of the script with a first time actor and add experienced cast into the mix and you have the major success which Director Warwick Beazley created for a play which has high demands on an amateur society. Kate Perry, centre stage, created the angst of almost paralysed accident victim Clare Harrison from its initial concern about her empty future to its heartbreaking close. Delivering Clare’s witty and acerbic lines with a humour which underlined her more serious thinking, Clare manages to control the outcome of her destiny from a hospital bed where she can do virtually nothing for herself. Often overused, this really was a tour de force from Kate Perry and she is highly commended for her portrayal, to say nothing of being able to surmount the learning of so many lines. The newcomer to the Players was Jason Edwards whose hospital cleaner and part time rapper did him great credit. The all-important hospital staff in charge of Clare’s welfare were efficient in the case of Sister Anderson whom Susie Timms made firm but friendly, the compassionate young trainee nurse Kay, with Sarah Macdonald capturing her calling as well as a sense of fun and mischief; the caring Dr Scott with Michael Rahman revealing the conflict of saving life and supporting Clare’s final wishes and his superior Dr Emerson – the dapper Nick Foster – reluctant to allow Clare to die. The play offers opportunities for important but small cameo roles. Rosalind Heath as Margaret Boyle – trying to lend a helping hand but out of her depth with Clare’s thinking; Elayne Teague as Clare’s determined legal representative Helen Hill, determined to fulfil her client’s wishes against the medics’ ethics and an imperious Meryl Jones as Mrs Justice Millhouse who finally gives Clare the decision she craves. A cleverly-contrived set designed by Linda Hornzee-Jones made the hospital environment real and furniture (Clare Sparshatt) and props (Anne Hopkins and Louise Delaney) added to this ambience. A huge achievement for all concerned.
SKELLIG
7th – 12th January 2013 By David Almond Directed by Lauren Milsom Assitant Director: Jo Hopkins Musical Director: John Chandler-Honor
Family drama Owls and dinosaurs might captivate the girl next door, but Michael’s found someone in the cluttered garage of his new home. Or is it a something? Can a man with wings survive any more than Michael’s critically ill baby sister? "Death is all around", the script says. But so – often improbably and against all odds – is life in this heart-warming modern fairytale.
Cast   Crew Skellig Nick Foster   Set Designer Graham House Michael Ben Jeffreys   Set Construction David Franks & Mina Zoe Kirk   The Chipstead Dad Noel Harris   Players Construction Mum Sharon Laws   Team Leaky / Narrator Sam Holland   Stage Manager Colin Edgerton Coot / Narrator Katie Bignell   Lighting Design Jonathan Laverock Mr. Stone / Yeti /     Lighting Operation Ben Gilbert   Dr. Macnabola /     Sound Design &   Narrator Nick Gane     Operation Jon Laws Mrs. McKee / Nurse /   Furniture &   Miss Clarts /     Set Dressing Clare Sparshatt   Narrator Sarah Richardson   Properties & Rasputin / Old Man Rick Thompsett     Set Dressing Vicky van Manen, Old Lady / Lucy Carr /   Clair Jeffreys,   Chinese Takeaway   Sarah Holland &   Worker /   Jacqui Sanders   Narrator Fran Loosley   Prop construction Kerry-Ann Radburn &   Matt Kirk   Wings creation Rob Searle   Wardrobe Janet Bennett &   Irena Webster   Set Painters Kate Argles &   Jessica Barrett   Prompt Lynn Webb   Production Manager Simon Kennedy   Production     Assistants Jevon Clark &   Michael Poupart   Child Protection Edwina Marrow
Review: By Theo Spring of The Croydon Advertiser
This charming tale of an ailing being, living in a damp garage, who turns out to be powerful enough to work a miracle is demanding both to stage and cast. Chipstead fielded two excellent young actors to take the leads: Ben Jeffreys – so natural as Michael – and Zoe Kirk, who mastered some very demanding lines as Mina. The triumph of a set, with its different levels transformed well into scenes at home, garden, school, old house and hospital without any cumbersome movement required, and the flying scenes, so cleverly lit by hand held spots from below, achieved the necessary ethereal quality. It took, the programme reveals, 80 man hours to create the scaffolding set which involved 250 separate pieces and 280 clamps to secure them, so full marks to Graham House for his design and the construction team for their endeavours. The three young narrators – Sam Holland, Katie Bignell and Fran Loosley – transformed themselves effortlessly into a variety of other characters too, helping the fluent changes of scenes, whilst the adults of the piece also created different roles and Nick Gane, Sarah Richardson and Rick Thompsett added much to the production with their variety of interpretations. Michael’s dad was sincerely played by Noel Harris and his mum by Sharon Laws, who conjured up maternal concern for both her new-born daughter and her son. With wings created by Rob Searle, Nick Foster created a Skellig who believably evolved from a downward spiral of health to a being with strength to share. Lighting and sound – both vital contributions to this play – were by Jonathan Laverock, Ben Gilbert and Jon Laws and direction, so well planned it flowed seemlessly and told the tale so clearly, was by a talented Lauren Milsom.