The first production of the Gage’s 65th year was a resounding success. Congratulations to the cast, crew and Leslie Parker’s excellent directorship.
Boris Smolensky’s budget repertory production of Murder at Priorswell Manor is looking decidedly shaky, being mostly held together by long-suffering stage manager Pat. The cast, and the director, are more interested in their egos than in the play, and life imitates art when Boris’s wife, Renee, is murdered on stage. So whodunnit? Could it be dimwit Ginette, Boris’s current mistress? Or Ginette’s ex-boyfriend Tim? Or professional jealousy from Christa or Sophie? And is Boris completely guiltless? This play within a play provides bewildering clues, hilarious gaffes from the inept actors and red herrings galore to keep the audience guessing right till the end. Simon Brett is well known for his radio plays, his Charles Paris series of theatrical thriller novels, and his crime series of Fethering mystery novels, so to have a stage play by him is a treat.
It’s now 2 months since “Our Man in Havana”, which was a great production to be involved with, and from the feedback that we have received, it went down very well with the audiences as well. Many thanks go to everyone involved as always, but especially to our director Gill Lucas, whose vision it was.
Christmas dinner at “The Grumpy Mole” in Tadworth went down very well again this year. If you missed it, then you really missed out and we hope you can join us next year.
April’s production will be “Murder in Play” by Simon Brett, which will be directed by Lesley Crowther-Smith. Auditions will be held very shortly on Wednesday 4th and Monday 9th February. The play itself is a contemporary Mystery/Comedy/Thriller and looks like it will be as much fun to be in as to watch.
Later in the year, we a thinking of organising a trip to the close up show at the Epsom playhouse, an evening of close up magic performed by 3 magicians. Dates are not available yet but it will probably be planned for some time between June and August.
We are always on the lookout for people to help, whether it is behind the scenes, front of house or on stage. If you can spare an evening on any of the performance dates to help with tickets or refreshments, please contact Beryl White on 01737 217565 or by email on ber.white@ukgateway.net
If you are interested in helping and/or learning about lighting and sound, then Rod Lucas is your man and he can be contacted on 01737 812703 or by email heather.view@virginmedia.com
PUBLIC FORUM
As we are passionate about local, affordable theatre, we have set up this newsletter feature showing information about shows by some other amdram groups in our area – with their agreement, of course, and we expect others to join in later. There will also be web links on the Gage Players’ website.
Our spring production will be Murder in Play by Simon Brett. Dates are: 23rd to 25th April 2015. An auditions are Monday 4th and Wednesday 9th February.
GCT operates as a fully inclusive organisation – anyone who would kike to take part may join the cast or crew regardless of experience or age, although children must be over the age of eight, as all the performances are in the evening. There is no membership or production fee.
We are looking for adults and children to take part in an open-air promenade production of Pippa’s Progress: a Pilgrim’s Journey to Heaven. This is an adaptation by Anna Thompson from the book by Simon Parke, updating John Bunyan’s classic A Pilgrim’s Progress. This moving an modern-day story of Pippa, a 21st-century pilgrim on a journey to heaven, but this time through the trials and temptations of our secularised, multi-cultural society. Pippa’s challenges along the way include the Rock of Subconscious, the Cliff of Hopelessness Headspin’s Hallucinatory Mental Circus, the Garden of Sadness, the City ofSocialmeja, the Fabulous Fame Game, the Sea of Identity and, of course, Heaven – all brought to life in true GCT style in the dramatic setting of Gatton Park.
If you would like to join us on this journey, whether as an actor or backstage help in any way, come along to our drama workshops at Gatton Hall on Saturday, 21st and Sunday, 22nd March, 2015 at 2.30pm. There are no formal auditions.
There will be nine performances during the weeks of 13th to 26th July, with further information on them, and ticket prices, to follow.
Our February 2015 production will be two one-act plays: Ernie’s Incredible Illucinations with a young cast; and Hands Across the Sea with an adult cast, produced/directed by Eileen Hannah and Jill Gunn. Performance dates will be 19th, 20th and 21st February, 2015.
On 6th March, 2015 at Merstham Village Hall we shall be performing Intruder by Barry Lambert and What Shall We Do With The Body? by Rae Shirley, both directed by Barry Lambert.
Information on ticket prices, performance time and contact details will follow.
Mirror Image Theatre Company
www.mirror-image.org.uk
Our spring play will be September in the Rain by John Godber, directed by Sheila Carr, at The Meyers Studio, Epsom Playhouse from 18th to 21st March, 2015.
This heart-warming comedy tells the story of Jack and Liz (played by Chris Butler and Sara Watkins), as they recall their annual holidays in Blackpool, from their first trip as newlyweds to their final visit in old age. Come and share their memories, filled with tears and laughter, in a golden age of donkey rides, talent contests, ice creams, rolled-up trouser legs and stripey deck chairs along the wet and windy promenades during September in the rain.
Tickets available on line from www.epsomplayhouse.co.uk or from the Playhouse box office on 01372 742 555.
The Oxted Players are affiliated to NODA and are members of BRBAC.
In January we are performing Babes in the Wood at the Barn Theatre, directed by Chris Bassett with music from Jamie Cordell and choreography by Aimee Marie Bow; playdates 9th – 17th January.
With their parents away at the Crusades, Jack and Jill must rely on their uncle, Sir Guy of Gisbourne, to look after them. But Sir Guy is more interested in the children’s money. Protecting Jack and Jill from their wicked uncle and getting them home safely is obviously a job for a hero, but the only local hero has not been seen for many years. If they can find him, will Jack and Jill be able to persuade Robin Hood and his Merry Men to come out of retirement for one last adventure?
Matinees are full but tickets are still available for 7.30pm evening performances except 10th, 12th and 13th. Tickets are £8 children, £10 adults, available on 01883 724 852 for cheque/cash payments or book online at www.oxtedplayers.co.uk or www.barntheatreoxted.co.uk for all card payments (a booking fee will apply).
Polesden Lacey Shakespeare
www.polesdenlaceyshakespeare.co.uk
Our summer 2015 production will be Much Ado About Nothing, directed by Helen Hardwick.
Auditions will be held on Sunday, 11th and Sunday, 18th January from 2.00 to 5.00pm at Follett Hall, Behind the United Reformed Church in West Street, Dorking, Surrey RH4 1BS (the entrance is on Church Street). For more information, please email: communicando@hotmail.com
This was a sell-out production, and we’re planning great things again for our 65th anniversary year in 2015.
Jim Wormold, an under-employed vacuum cleaner salesman living in 1950s Cuba, is struggling to pay for his teenage daughter’s increasingly extravagant lifestyle. So when the British Secret Service asks him to become their ‘man in Havana’ he can’t afford to say no. There’s just one problem . . . he doesn’t know anything! To avoid suspicion, he begins to recruit non-existent sub-agents, concocting a series of intricate fictions about them. But he soon discovers that his stories are closer to the truth than he could ever have imagined . . . in a darkly comic tale, how will ‘our man’ come out on top?
Firstly, thank you to all who came to see our Spring presentation, “Yes, Prime Minister”. We were starting to wonder if there would be an audience at one point, but it was very well attended in the end.
Thanks go to David Wilson in his first role as director and all the cast. I would like to make a special mention of Yasmine (‘Yaz’) Nixon, who stepped in to take the place of Sharon Laws who was taken ill a week before the performance. She did a great job. I would also like to send Sharon our best wishes for a speedy recovery.
I would like to have been able to put a review into the newsletter, but as I am usually a member of the cast, it is rather difficult for me to write. If anyone else would like to submit reviews of our future productions, then please feel free to do so and send me a copy for inclusion in the newsletter, on our website and on our Facebook page .
I am told that our murder mystery evening went off very well indeed. Thank you to Pip Rolls for organising the event and to all of you who helped as actors and with the preparation and clear up.
July is starting to look a little busy. There are auditions for both our November play “Our Man in Havana” as well as our September rehearsed, performed play reading.
Auditions for the September rehearsed reading with supper, Pastiche by Nick Hall, directed by Christopher Slater will be 16th and 28th July at Chris’s home. If you are interested in attending, please contact Chris directly on 01372454963 or by email christopherslater@ntlworld.com.
Rehearsals will be on 25th and 27th August at Chris’s home and on 1st and 3rd September, 8pm at Christchurch Hall, Walton on the Hill.
The performance itself will be 6th September, 8pm, Riddell Hall, Walton on the Hill.
To book your ticket for the event, please call the usual ticket office number 01737812703 or by email friends@thegageplayers.co.uk.
Auditions for the November play, Our Man in Havana by Graham Greene, adapted by Clive Francis and directed by Gill Lucas will be held on 9th and 14th July, 8pm at Christchurch Hall, Walton on the Hill.
Rehearsals will be on Mondays and Wednesdays as usual, at 8pm in Christchurch Hall, starting from 8th September.
The Performances will be 28th, 29th and 30th November.
On Sunday, July 13th, Jon and Sharon Laws will be hosting a Gage Barbeque at their home in Tolworth. The price is just £5 which will include hot dog, burger and salads. Please feel free to bring along anything else that you might like to stick on the BBQ as well as a bottle or two. If you would like to come along, please call the usual ticket office number 01737812703 or by email friends@thegageplayers.co.uk
A dastardly murder was performed at Riddell Hall on 7th June by The Gage Players. The tragic death was re-enacted, private letters and pertinent newspaper articles were made available and an eccentric detective was seeking your help.
The jam, sold by Middy the French wife of ne’er do well Sam, is spiked and the local toff is killed. Was it Sam trying to get money, or his wife who can’t keep away from the bottle, or someone else? What exactly did happen on that bicycling holiday in France all those years ago?
The Gage Players put on a successful production of Yes, Prime Minister in the spring of 2014. A brief synopsis follows, as well as some photos.
As the play opens, in the Prime Minister’s study at Chequers, Humphrey and Bernard are scheming. It’s been a rough day for P. M. with the “government in crisis.” The economy is suffering, jobs are at an all-time low, debt is high, and it is all his fault. The way out Humphrey tells the P. M. is with the Kumranistanis who will loan 10 trillion dollars for an agreement to buy their oil. But joining the Euro is part of the deal and the P. M. will not agree. Humphrey has leaked the deal and his bank is buying up Euros. To counter and do damage control the P. M. threatens Humphrey with Civil Service Reform. Egad, there goes the home in Province.
Meanwhile a Kumranistani official has a request that threatens to topple the deal. Seems he wants sex with an underage schoolgirl or the deal is off. Procuring women for sex is against the law. Sutton sizes up the issue. “Better for one girl to get screwed than the whole European economy.” Will they procure a prostitute? Will the deal be on? The climax is brought about with a bolt of lightning and a thunderclap with such real sound effects and a downpour of steady rain. The P. M. is sure it is God speaking to him!
In November 2013, the Gage Players put on a successful production of this comedy by David Turner, directed by Gill Lucas.
The play itself concerns Fred Midway, a pillar of society and a model citizen. One Sunday his house is threatened with disaster when the love-lives of his three children come to an unfortunate and simultaneous crisis. Eileen’s boyfriend turns out to be a married man. Avril wants to divorce her husband. Tom is about to father a contraband baby. Something must be done about all this and only Fred has the necessary low cunning to do it.
The Gage Players? So – what’s in the name? You could say that sexual equality is at the root of it all! In 1950 the local Women’s Institute, with their usual radical fervour, got into all sorts of trouble when they dared to cast MEN into the men’s parts of a play production they entered for a competition! It was none-so-tactfully suggested that these reforming spirits might like to set up a separate amateur drama group in Walton on the Hill, and then were told: ‘You’ll never succeed – there’s not room for two drama groups in the same area.’
That was the challenge – the gage, or gauntlet, had been thrown down – and that gage has remained our symbol ever since. All these years later, here we still are, putting on shows three times a year. We’re very proud of our roll of past productions listing plays, authors and directors, which takes centre stage on our website home page, and proud of our reviews, too.
Our theatre venue, The Riddell Hall, Dean’s Lane, Walton on the Hill
In 1911 the late Lord Riddell transformed a gravel pit into a drill hall for the Territorial Army, complete with miniature rifle range and a Mess, which later became Walton’s Men’s Social Club. The hall was used for training during The Great War but on Lord Riddell’s death it was put up for sale – and then generously offered by Lady Riddell to the village as a memorial to her husband.
Local fundraising ensured that the hall could be restored for public use, and it was officially opened in October 1936. However, it was taken over by the War Office in 1940 and used by the Canadian Army troops until 1946. Once again the hall had to be restored – a teak floor was laid in 1940, a new boiler installed, kitchen and stage facilities improved and a false ceiling introduced to aid acoustics – and The Young Vic Company performed here in 1950 to celebrate the fact. Aspects of the hall are upgraded regularly, and many local clubs, organisations and private hirings make use of it for daytime and evening events.
Early days – the 1950s and 1960s
In our first years it was not common for everyone to have television for entertainment or to think of travelling up to London to a play. So from the start we aimed to give our audiences the opportunity to see a wide range of productions – classic plays, whodunnits, thrillers, comedies, even musicals – we do them all.
Our first review for our first production in 1950, The Chiltern Hundreds by William Douglas Home was uplifting, to say the least: ‘The Riddell Hall was filled to capacity. Encouraged by a receptive audience, the cast, some of whom were making their first stage appearance, gave a performance which fully justified the entry of these newcomers to the field of amateur theatricals.’
In our first two decades, our productions included:
Pygmalion by George Bernard Shaw; A Midsummer Night’s Dream, by William Shakespeare (‘The most spectacular success achieved by this comparatively young society in the post-war years of its happy existence . . . a production of almost professional level in presentation and performance.’); The Chalk Garden by Edith Bagnold; She Stoops to Conquer, by Oliver Goldsmith (‘achieved just the light, scintillating touch needed . . . an enjoyable and fast-moving production.’); Murder at the Vicarage by Agatha Christie; Rebecca by Daphne du Maurier; Separate Tables by Terence Rattigan; and Hay Fever by Noel Coward
The 1970s and 1980s highlights
Boeing-Boeing by Marc Camelotti (, . . nothing but high praise can be meted out for the polished end-product . . . The Gage may well be proud of this outstanding production.’); How the Other Half Loves by Alan Ayckbourn; Dracula by Ken Hill (‘The cast really sank their teeth into the parts they played . . . superb lighting and sound effects . . . the whole thing was splendidly done.’); The Beaux’ Stratagem by George Farquhar; The Diary of Anne Frank, dramatised by Frances Goodrich and Albert Hackett (‘The Gage Players performed with such powerful immediacy . . . People come from long distances to see The Gage Players, and for this they were well rewarded.’); Sweeney Todd by Brian J. Burton; The Odd Couple by Neil Simon (‘The Gage . . .presented a powerful production with forceful, well-rounded and marvellously funny performances.’); A Murder has been Announced by Agatha Christie; An Inspector Calls by J. B. Priestley; Cabaret by Christopher Isherwood; Habeus Corpus by Alan Bennett; Trelawny of the Wells by Arthur Pinero; Pack of Lies by Hugh Whitemore; and A Chorus of Disapproval by Alan Ayckbourne.
The 1990s and the Noughties
1990 was our Ruby Anniversary and that year we celebrated with, among other things, The Hunchback of Notre Dame by Ken Hill; The Slipper and the Rose adapted by Pip Burley; Jane Eyre by Charlotte Bronte; and Vanity Fair by William Thackeray, adapted by Constance Cox; Dangerous Obsession by N. J. Crisp. From 2000, our Gold Anniversary, the next decade included Dear Octopus by Dodie Smith; The Hollow by Agatha Christie; A Christmas Carol by Charles Dickens, dramatised by John Mortimer (with The Heath Players) – ‘All the ingredients for success – and full houses proved it was . . . a brilliant production.’; Daisy Pulls It Off by Denise Deegan; The Railway Children by E. Nesbitt; Toad of Toad Hall (with the Heath Players), 2006: ‘ . . . gave young members the chance to show their stagecraft . . .’
Up to the present day
2010 was our Diamond Anniversary, and we produced two winners that year: The Weekend by Michael Palin and Come on, Jeeves by P. G. Wodehouse and Guy Bolton. Then we went on include The Titfield Thunderbolt by Philip Goulding; The Drunkard by Brian J. Burton (with The Heath Players); Dangerous Corner by J. B. Priestley; Yes, Prime Minister by Antony Jay and Jonathan Lynn; Our Man in Havana by Graham Greene; The Teahouse of the August Moon by John Patrick and Vern Sneider (in which we famously cast a dog, and had people turning up on the night for tickets asking ‘Is this the play with the dog in it?’); Murder in Play by Simon Brett (‘The cast interplayed with one another exceptionally well, a true ensemble, and the effects and pace of the play were admirable . . . the audience clearly relished the fun, and the buzz in the interval and at the end of the evening showed how much they had got into the spirit of the occasion.’); Bedroom Farce by Alan Acykbourn; and Over My Dead Body by Derek Benfield.
More recently, our hits include A Touch of Danger by Francis Durbridge; Waiting for the Train by Pip Rolls; Vintage Hitchcock: a live radio play by Joe Landry (‘. . . an interesting and innovative production that includes three classic stories from Hitchcock films . . . I would have to rate this as one of the slickest productions I have seen from the Gage’); and Ladies Who Lunch by Tudor Gates.
We like to challenge ourselves . . .
Over the years we’ve supported numerous theatre festivals, with all the extra commitment that involves for casts and crews. So we’ve supported the Tadworth and District Arts Festival, the British Drama League Festival, the National Festival of Community Theatre, the Banstead Arts Festival, and done rather well at some others:
At the 1954 Betchworth Drama Festival, The Gage won the Festival cup for Barbara’s Wedding Day by J. M Barrie, and in 1988 won the Committee’s Cup for stage presentation (The Pool by the Dragon Gate by E. G. Andrews). And in the 1991 All-England Theatre Festival, Robin Sebastian Hunter, in our production of Come into the Garden, Maud by Noel Coward, won Best Supporting Actor. Robin has gone on to make a successful career in theatre, television and radio.
On the social side . . .
Theatre people are sociable people, and we like to enjoy ourselves off the stage as well. So we have a range of things to appeal to one and all – it could be a murder mystery evening, a Mid-Summer Day lunch, a pub quiz night, taking part in the Walton May Pageant, a rehearsed play reading with supper, or a Twelfth Night Supper – at which Gage members, their family and friends are all welcome. So when you see something you fancy joining in with on our website, Facebook, Twitter or Instagram – just contact us.
Our charitable work
As well as regularly contributing the upgrading of The Riddell Hall, The Gage has given donations to organisations like the local air ambulance service, and our production of The Drunkard in 2011 enabled us to donate £1,500 to Help for Heroes.
In September 2016 we launched The Gage Invitational Trophy, a charity quiz championship held between a local grouping of a dozen amateur drama societies, known as The Public Forum (which we also started up). The Forum helps to publicise each other’s events, enlarge our audiences and even share actors from time to time.
Gatton Community Theatre were the 2016 trophy winners, and together the groups’ teams raised £150.00 for our chosen charity, The Invictus Games Choir. Gatton held the trophy until 2018, when it was won by St Mark’s Players of Reigate and a cheque for £230 was sent to Combat Stress. St Mark’s Players will host the next quiz competition in 2020 – watch our website for updates. If you want to join the quiz but don’t belong to one of the drama groups, don’t worry – just get in touch with the contact person to see about fielding a team, or joining one.
The unsung heroes
It is a truth universally acknowledged that you cannot put on a great show without a great crew of backstagers, the people who do sets, lighting, sound, wardrobe, makeup, props and ‘front of house’ – oh, and make the tea at rehearsals, of course! We hold three open auditions each year, not just for actors and actresses but for people who’d like to learn and try out new skills, or offer existing ones, to help each production work – see our website, Facebook, Twitter or Instagram for details through the year, and get in touch.
And into the future
Just think how far technology has changed entertainment options since we started in 1950; these days you can watch what you choose more or less when and where you like on any number of platforms.
BUT – actually being at live entertainment gives a buzz like nothing else, so come and enjoy the fun of living theatre for two or three evenings a year! Not too much to ask, we hope, to help keep The Gage Players on-stage in your community. We look forward to welcoming you.
Our Spring 2023 play is the comedy Agatha Crusty and the Village Hall Murders by Derek Webb, playing on 27th, 28th and 29th April at 8pm. Tickets £10, box office 01737 812 703, doors and bars open at 7.30pm.
This is the Riddell Memorial Hall, there is no real car park so please park in the streets paying respect to the neighbours drives and cars.
