Children love puppets! Puppeteer Drew Colby and his hand shadow puppets will be at Dulwich Picture Gallery on 4 May.

There is a man who can tell a story with just a few props and his hands. Drew Colby, founder and leader of Finger and Thumb Theatre is that man. Hiding behind a screen he turns his agile hands into animals, people and children and they become so alive that you forget about the trickery and just get carried away with the story.

Hand shadows are possibly the oldest form of puppetry – created very simply when the hands, coming between a light and a flat surface, are shaped into different animals, people and things to become shadow puppets. When combined with different storytelling techniques, songs and audience participation, the result is an imaginative and lively performance.

Drew uses everyday objects such as buckets, umbrellas, rags and pegs, creating inspiring little puppets before your very eyes that can run and jump and dance and go on all kinds of adventures!

Drew made his first professional appearance as a puppeteer at the age of twelve and that was some 26 years ago. “I have always been fascinated by storytelling and miniatures, and maybe I just like being in charge,” he adds with a laugh. His present company, Finger and Thumb Theatre, grew out of his first company called Object Darts, where he used everyday objects to tell a story. “We used flowerpots, glasses and coat hangers and somehow it was a natural development to look closer at using light, or rather the absence of light, to create images.”

The company has achieved quite a name in the world of puppets and Drew travels all over the world to show his plays.  He is soon off to Turkey and then to France. “In Spain and France they take this art form more seriously and in the former Soviet Union there is even proper funding available for puppet theatres.”

Drew enjoys performing his shows at the Gallery. “I just love Soane’s work and to see the beautiful gallery building, the fine gardens with its café and with Dulwich Park opposite, I cannot think of a better place for a family day out.” Modest as he is, he does not mention that his show would be the star of any outing.

The show will be based on the  thrilling musical tale ‘Peter and the Wolf’. It will be full of action, simple narrative and clever use of objects.

‘Children’s Puppet show‘ at Dulwich Picture Gallery, on Sat 4 May, 10.15am. There will be fruit in the interval and the show will finish at 11.45am. Tickets £5, you can buy tickets on the door, the Friends desk in the Gallery or by calling 0208 299 8750.

A bitter-sweet physical comedy, Little Soldier Productions’ “You and Me” at Blue Elephant Theatre is more than a play about two elderly woman veering towards senility; it’s about the comforts of home, the frustrations of love and the exhaustion of existence.

Patricia Rodriguez (left) and Merce Ribot play two elderly Spanish sisters. Photos by Pau Ros.

Patricia Rodriguez and Mercè Ribot play sisters trapped in their own home, haunted by vague memories and premonitions of death. The original play, by Roger Simeon, was about a husband and wife, but he and director Bryony Shanahan adapted the play to focus on sisterly love and the actresses’ Spanish heritage instead. The sisters address their old age many times; one decides that she wants to die, while the other declares, “I’ve decided I will live forever.” One writes down everything she hears, in case she forgets it, and one pauses in the middle of a sentence to start another one. Most of the play consists of eccentric conversations about a variety of topics, including writing, the point of life and the machines that make shoes.

The sisters never leave their home, which consists of a battered rug, an old TV and several mysterious boxes. It’s clear to the audience that they are both dependent on and completely annoyed with each other and their never-changing environment. As the play goes on, it’s both endearing and heart-breaking to watch how they entertain themselves, playing chess, arguing or telling stories.

However, it’s important to make clear that the play is not entirely depressing. While a poignant undercurrent of the play makes audience members aware that, eventually, these sisters will die, on the surface, the play is hilarious. It’s a physical comedy, meaning that it depends on visual, exaggerated jokes and gestures. For example, in one part, Ribot acts as Rodriguez’s arms, pinching her face and groping her body. To really underscore the fact that “You and Me” is a physical comedy, just watch the beginning of the play – it starts with a fart.

“It was a playful process,” said Patricia Rodriguez. She continued by explaining that they concentrated on the pleasure of being on stage, playing games and improvising.

Watching the show, it seems obvious that Rodriguez and Ribot have a history; they are so in sync with every line and uproarious laugh. In fact, the two actresses knew each other before. “We decided to work together because we were such good friends,” said Rodriguez.

Their cogency is what makes “You and Me” so believable and touching. Allison Porzner, an audience member, was especially touched. “I want to call my sister now,” she said. “Just to check in.”

“You and Me” made the audience roar with laughter and sniffle with tears all at the same time. The play also had a mysterious aspect to it – what was in those boxes? – which kept them interested and eager. While the question was never answered, I would venture to guess that the boxes contained memories. When Ribot knocks one over, black-and-white photographs soar out and smother the floor. Rodriguez and Ribot literally lived in a roomful of memories, in case (or because) they forgot them. It might also allude to them as  agoraphobic hoarders. A knock at the door frightens Rodriguez, who turns off the light and tries to act as though she’s not there. Perhaps, she was too afraid to face whatever’s going on in the outside word.

Overall, “You and Me” explores a variety of themes. Director Byrony Shanahan, said, “We looked at the very fine line between comedy and tragedy and how, after a lifetime together, people face their final years.”

“We wanted to talk about displacement,” said Rodriguez, “and aging away from home.”

In many ways, the play also concentrates on old age, regret and memories.

“You and me should have changed the world,” said one of the sisters. But they did; they changed each other’s worlds.

This touching production will be at Blue Elephant Theatre until 27 April. The show starts at 8pm, Tuesday through Sunday, and tickets cost £12 regular, £10 concessions and £8.50 for Southwark residents.

The Blue Elephant Theatre is Camberwell’s best kept secret – FACT! Established in 1999, the theatre boasts an eclectic and vibrant programme from dance to surreal cabaret and re-imaginings of classic texts.

The lovely Jasmine. Photo taken by Dougie Firth

I was fortunate enough to interview Jasmine Cullingford, Artistic Director at the Blue Elephant (BET), and find out a little more about BET, the theatre world, lovely old Camberwell and an embarrassing story or two.

What makes Blue Elephant different from other theatres?

The fact that we defy categorisation… Our work can’t easily be pigeon-holed, although it is usually non-naturalistic and off-beat. We also don’t just specialise in ‘theatre’ in the traditional sense, but value all art-forms, from music to visual art, creating theatre which crosses genres, from dance-theatre to ‘concert-theatre’, a term newly coined for Sonata Movements earlier this year which was simultaneously a recital by pianist An-Ting Chang and evening of plays directed by Jude Christian.

Describe BET in 3 words…

Ambitious, alternative, challenging

How did you get into Artistic Directing?

Through hard graft and an obsession with theatre from an early age! I did my school work experience placement at the Contact Theatre, Manchester, and during my student days was a Rep for the Royal Shakespeare Company and an intern at the Royal Court. After graduating I worked at the Orange Tree, Richmond and then Theatre Royal Stratford East before coming to the Blue Elephant Theatre. Despite their completely different remits, I loved the work of all of these companies – what they have in common is how good their shows are. I have tried to reflect this appreciation for all forms of theatre as Artistic Director of BET, by programming eclectic seasons united not by theme or genre but only by quality.

Describe yourself in 3 words…

Small, sociable and smiley :)

What’s the best thing about working at BET?

Being able to support amazing people to develop their art and careers. I love hearing how well our ‘alumni’ are doing, knowing we made a difference by giving them vital opportunities early on. Artists and companies we have nurtured are many and varied, including: Evening Standard Award-winning designer Mamoru Iriguchi, Paul Morris (who won the OffWestEnd Adopt a Playwright Award), Levantes Dance Theatre (who won the Samuel Beckett Theatre Trust Award), and Bush Theatre Associates Theatre Ad Infinitum.

…and working life in Camberwell?

Being part of the creative community in South London. A lot of people we work with live a short walk or bike ride away and I’m always bumping into them and stopping for catch ups on street corners! Being close to but not in central London is a bonus too. I can get into the West End very quickly, but can bypass it on days when I want to stay away from the hustle and bustle.

How do you select the productions shown at BET? 

We receive proposals in lots of different forms, from an unsolicited script from a writer, to footage of scratch performances, to invites to see productions from companies whose next piece we might programme. We also have a lot of returning companies with whom we have an established relationship and can sometimes programme their work just from an idea that’s in their head. All our work is new so every show is a risk, but it usually pays off!

What does the BET do to encourage community involvement?

Oedipus at BET. By Adam Trigg

We have a thriving participation department which works with local residents from primary age upwards, delivering workshops in schools, providing after-school and holiday activities and producing community plays. All our education and outreach work is at no cost to participants. We also have a discounted rate for Southwark residents on all our productions.

How has BET changed over the years?

The theatre used to have an international remit, but since starting to co-programme the venue in 2006 and becoming Artistic Director in 2009, I have focused on home-grown talent: London-based, and Southwark in particular wherever possible.

Is your audience made up of the general London public or mainly south Londoners?

Much of our audience is South London based (because North Londoners often don’t seem to want to venture more than a minute from a tube station!) but we do get London-wide theatregoers as well. There aren’t many venues which feature the cross-platform & physical theatre work we do, so people do travel to come and see it.

What’s the future for the Blue Elephant? What are your wildest plans and hopes for 2013?

A Midsummer Night’s Dream

The theatre goes from strength to strength and, as ever, we hope to continue in this vein! We don’t programme too far in advance as we would hate to have to refuse an amazing project because of lack of space, but we’re very excited about our new season which has just opened. We’re working for the first time with physical company Glass-Eye Theatre, devising company Tattooed Potato (beat that for an unusual name!) and Joon Dance. We’re building on our relationship with Spanish company Little Soldier Productions, and we’re welcoming back Lazarus, our resident classics company, and Lecoq performer David Ralfe – working with newcomer Hannah Moss. We are also starting work on our in-house show, a one-man adaptation of Mervyn Peake’s ‘The Boy in Darkness’ with Gareth Murphy, directed by Aaron Paterson.

What’s your favourite London theatre/play?

I love outdoor theatre (when it doesn’t rain!) and festivals where you can see a variety of work, often site-specific. So I always try and get to see Steam Industry’s work at the Scoop, the Watch This Space season at the National and the Greenwich & Docklands Festival. I also enjoy going to other venues specialising in cross-art-form work such as Kings Place & the Barbican, as well as seeing ENO’s innovative work at the Coliseum.

What is your favourite place in south London and why?

Horniman Museum

Ooh, there’s definitely more than one so I’m going to have to choose a few! I think the Horniman Museum is fab (and free!), with its stuffed animals and instrument collection vying for your attention. I love the Bonnington Cafe in Vauxhall, a co-operatively run vegetarian cafe where you can eat delicious and cheap home-made dinners, but with other people making the culinary efforts! I also like the House Gallery & Cafe in Camberwell where you can do food and culture at the same time!

What do you like to do on your day off?

I’m not one to stay at home, nor to stay still for very long, so days off are usually packed (much to my husband’s chagrin! I do allow us a lie-in at least!). Typically I might go on a walk exploring areas of London I don’t already know, hoping I might find a hidden museum or gallery to get a bite to eat at and then look at their collection, and then meet friends for an evening out at some arts event.

What advice do you have for theatre newbies?

Get some good work experience… This will help you build contacts and gain an invaluable working knowledge of theatre. Sometimes placements can lead directly to paid work too. Southwark Playhouse Associate Director David Mercatali started his career as a volunteer with us, going on to assistant direct and then direct shows with us. Also see as much theatre as you can (it always helps if you have seen work by companies before you apply for jobs with them) and not just of one kind or at one theatre – go out of your comfort zone: this will either broaden your tastes or help you appreciate your preferences more and enable you to talk knowledgeably about theatre you do and don’t like.

Dinner before or after the theatre?

I’m going to sit on the fence on this one… Shows at BET usually start at 8pm and end at 9.30pm so you can fit in dinner either side!

Any embarrassing stories you would like to share with us?

In the middle of leading a post-show discussion once, I realised I had a big hole in my tights and had to position myself in such a way that it couldn’t be seen. I looked like I needed the loo the entire time!

Blue Elephant Theatre - 59a Bethwin Rd, Camberwell, London, SE5 0XT T: 020 7701 0100.  Follow @BETCamberwell and like https://www.facebook.com/blueelephanttheatre.

Smoke shrouds the stage. Shadowy figures wander through the mist. Audience members young and old sit at the edges of their seats, entranced, immersed in the land of Thebes.

By Adam Trigg. Andrew Glen, Alec Parkinson and Jack Cosgrove trudge through war-torn Thebes.

The Lazarus Theatre company brings Sophocles’s Greek drama “Oedipus” to life at Blue Elephant Theatre in Camberwell from Feb. 28 to March 23. In a battle-torn land, Oedipus stands tall as a king and leader. However, upon hearing of a prophecy made at his birth – that he would kill his father and marry his mother– he embarks on a search for the truth, scourging his past, but in doing so, he brings ruin to his family, his land and himself.

By Adam Trigg. Robin Holden plays a striking Oedipus.

Most people know about the story of Oedipus because of Freud’s concept, the “Oedipus complex.” Director Ricky Dukes’s production plays on the audience’s own knowledge of the play: slow-motion choreography and James Fogarty’s haunting music intensifies the tension. Several staging choices also cleverly mirror the play’s themes; for example, the constant smoke and incense in each scene symbolizes Oedipus’s own confusion. The scene changes, in which nurses offer insight by praying to the Gods or mourning the discord in the country, are the most stirring, as actors leer at the audience, don gas masks and twitch animatedly, adding to the audience’s anxiety.

However, Robin Holden as Oedipus and Samantha Anderson as Jocasta, Oedipus’s wife, are the ones who steal the show. Holden perfectly portrays the pompous king transformed into a desolate wanderer, while Anderson delivers a heart-breaking speech about her son while remaining regal throughout. Other great performances are those of Andrew Glen as the compassionate priest, Nasa Ohalet as the soldier who tearfully delivers the news of the queen’s death, Alec Parkinson as Oedipus’s sympathetic brother-in-law, Creon, and Joseph Tweedale as a the blind, wise Tersias.

Nasa Ohalet. By Adam Trigg.

The fantastic crew succeeded in transforming the stage into a contemporary Thebes, and in doing so, making the play more accessible to modern audiences. “It didn’t feel like an old play,” said Robin Holden. “We tried to make it contemporary, truthful, real.”

And indeed it was, so much so that audience members felt included in the action. Katie Leonowitz, a student from South Kensington, said, “It felt like we were part of the crowd.”

Holden agreed. “There’s no separation. If you’re doing a speech, [the audience] is part of that.”

About his role, Holden said, “It’s been a huge emotional journey.” He will play Oedipus until March 21, when alternative Jack Cosgrove will step in.

Overall, “Oedipus” was an amazing production with talented cast and crew members. See “Oedipus” at Blue Elephant Theatre in Camberwell from Feb. 28 to March 23. The production is 95 minutes, tickets cost £15 and performances are Tue – Sat at 8 pm.

So & So Circus is performing Backgammon for Beginners on Friday 1st March at the Michael Croft Theatre in Dulwich.

The ambitious and dramatic show created by So & So Circus uses breathtaking acrobatics to tell a brilliantly engaging and entertaining story which goes like this….

November 1976. A military jet arrives in London and a bemused looking Iranian man in flares steps on to the tarmac. He holds a single suitcase and blinks in this new land. Unknown to airport officials, he has smuggled in the last of his opium supply, and brings with him a complicated past from a culture which doesn’t slot very neatly into this one.

Backgammon becomes a seduction tool, cockney accents cause confusion and the Iran he once knew disappears after the Islamic revolution of 1979.

When So & So are not touring with Backgammon for Beginners, they teach weekly classes at Jacksons Lane for young people aged 10-16 as well as adult acrobatic balancing classes. The group also won the Deutsche Bank Pyramid Award for Circus in 2007 and were shortlisted for Jeunes Talents Cirque Europe 2010.

Please do come along to watch this fantastic show!

Backgammon For Beginners

Saturday 1st March at 8pm

Tickets are £13 and £10 concessions

Dulwich Players’ director Jane Jones brings “Ladies’ Day” to Dulwich.

In 2005, Ascot Racecourse was closed for redevelopment so the Royal Ascot meeting decamped north to York for the year. Amanda Whittington has used this event as the backdrop for Ladies’ Day, her earthy comedy about four fish-factory workers from Hull who treat themselves to a day out at the races. Pearl, who is celebrating her imminent retirement, has a particular reason to be there. The mouthy Shelley is hoping to be “discovered”, Jan is perpetually anxious and Linda just tags along with the rest.

I chose this play for our latest production basically because it makes me laugh and I feel we all need a bit of cheering up in February – the gloomiest month of the year. I’ve never seen Ladies’ Day performed, so it’s a bit of an unknown quantity but from just reading the script I knew I wanted to stage it. What I love about the play is the banter between these women, four very different characters at different stages of their lives who are brought together through work.

They think they know each other very well, and on a day-to-day level they do, but there are some things they keep to themselves, and in the course of their day out the confessions come thick and fast. There are not many similarities between Hull and Dulwich, but some of these ladies’ predicaments may still strike a chord with our audiences. After all, how well do you know the people you work with or see every day? They probably have their secrets too, their mistakes, regrets and ambitions that are only revealed when they get drunk at the Christmas party.

Another reason this play appealed to me is that it offers four equally-long parts for women, quite a rarity, so I can make good use of the plentiful female talent within the Players. A particular challenge for us Southerners is the accent. The Hull accent is a very distinctive one and, instead of sending my cast to the Humber Estuary for a total immersion course, we have aimed at a generic Northern accent, somewhere east of the Pennines, to avoid mangling too many vowels.

So far the cast are doing a great job of developing their characters and, more importantly, enjoying themselves. It’s not very appealing to leave the warmth of your home on these chilly winter evenings to rehearse, so you have to love doing it and we hope the audiences will enjoy the end result too.

This amateur production of Ladies’ Day by Amanda Whittington, by arrangement with Nick Hern Books, is playing at the Edward Alleyn Theatre, Dulwich College SE21 7LD at 8pm on Thu-Sat, 21 to 23 February 2013. For more details: http://www.dulwichplayers.org/. 

Tickets £8 in advance from the Box Office: Tel. 07582 002 559, Email: Boxoffice@dulwichplayers.org or the Art Stationers, Dulwich Village. Also available at £10 on the door.

Supporting Athol House, Leonard Cheshire Disability.

We have just launched our annual Write Now 4 Festival to find the best, new theatre writing in South East London. This is a fantastic opportunity for the winning playwright to have their script selected for a two week run at the Jack Studio during the festival run in spring 2013.

The Jack Studio is constantly punching above its weight with a formidable programme of new writing and shows with a myriad of outreach opportunities for the local community to become involved in workshops and ambitious theatre, making this small fringe studio theatre a hub for challenging new writing and powerful drama in south east London.

Skinhead by Jessica Brown. Photo by Tony Nandi

Now it’s your turn.

The Festival seeks submissions of previously unperformed plays that reflect contemporary culture or society. One play will be given a full production in a two week run at the Jack in May 2013, and two further selected plays will be given staged readings. All playwrights who submit must have a strong connection to south east London.

During the month long festival there will also be writing workshops, two evenings of short plays, as well as discussions with the playwrights and creative teams taking part.

We are now accepting submissions and the deadline for this year’s applications is Monday 4 February 2012. Guidelines and application forms can be downloaded from the theatre’s website: www.brockleyjack.co.uk.

Shadow Puppets back to charm and enthral the whole family

Drew

There is a man who can tell a story with just a few props and his hands. Drew Colby, founder and leader of Finger and Thumb Theatre is that man. Hiding behind a screen he turns his agile hands into animals, people and children and they become so alive that you forget about the trickery and just get carried away with the story.

This year Drew Colby and his assistant Peter MacDonald are coming back to Dulwich Picture Gallery with a new show and it is a real cracker. It’s called The Rabbit’s Lollipop and it is just one of the magic stories Drew will present on 8 December. There will be more, much more. Rudolf the reindeer will make an appearance and one story relates to the Nativity, but with a spider in the cave. Well, that’s a new twist on an old theme.

And there will be music, composed by Drew, some of it recorded but there will also be live music as Drew attacks harmonica and Peter the ukulele. The two are also trying other ideas, experimenting with new techniques, which is bound to thrill all ages.

Drew made his first professional appearance as a puppeteer at the age of twelve and that was some 26 years ago. “I have always been fascinated by storytelling and miniatures, and maybe I just like being in charge,” he adds with a laugh. His present company, Finger and Thumb Theatre, grew out of his first company called Object Darts, where he used everyday objects to tell a story. “We used flowerpots, glasses and coat hangers and somehow it was a natural development to look closer at using light, or rather the absence of light, to create images.”

The company has achieved quite a name in the world of puppets and Drew travels all over the world to show his plays.  He is soon off to Turkey and then to France. “In Spain and France they take this art form more seriously and in the former Soviet Union there is even proper funding available for puppet theatres.”

Shadow puppetry is not a common art form and Drew is now looking for an apprentice. “It’s hard and it takes months to learn but it is very rewarding.” For the rest of us who are all thumbs it looks almost impossible to create these figures, which appear in Drew’s shows. His bear in last year’s Christmas show at the Gallery was so sweet and touching that the children wanted to cuddle him.

After the show Drew and Peter teach the children to create some of the show’s animals with their hands and it is a time much loved by the young, although parents have been seen trying out some of the shapes themselves.

Drew and Peter enjoy their shows at the Gallery. “I just love Soane’s work and to see the beautiful gallery building, the fine gardens with its café and with Dulwich Park opposite, I cannot think of a better place for a family day out.” Modest as he is, he does not mention that his show would be the star of any outing.

Shadow Puppet Show: The Rabbit’s Lollipop

Sat 8 Dec at Linbury Room, Dulwich Picture Gallery
10.15 – 11.45am with an interval for fruit
£5 per person, parents welcome
Tickets available online: www.dulwichpicturegallery.org.uk, by phone: 020 8299 8750 Mon-Fri 10am –4pm, or visit the Friends Desk in the Gallery

Evelina Puzaite

Internationally renowned Pianists Grace Mo and Evelina Puzaite have had a very busy year.

Between them they have given solo and ensemble recitals at festivals all over the world, including Italy, Lithuania, France, Bulgaria, USA and in the UK; London, Glasgow, Edinburgh, Wimbledon, Brighton and The Gower.  This year, Evelina also fulfilled one of her lifelong ambitions by making her solo debut at the Carnegie Hall in New York. “Spending so much time ‘on the road’ it will be nice to finish the year with a concert just a few minutes’ walk from home, at the Michael Croft Theatre in Dulwich.

It will also give many friends and family the chance to see us play locally!” Grace and Evelina studied together at the Guildhall School in London, both gaining scholarships to continue their studies from Vancouver, Canada and Vilnius, Lithuania respectively. It is evident they are still best of friends, and Grace says, “We are thoroughly enjoying the experience of practising and performing together for the first time. It doesn’t happen often for pianists”.

Grace Mo

A lot of pieces written for 2 pianos are arrangements of works for opera and ballet originally scored for a full orchestra. Grace continues, “and this programme gives the audience an opportunity to hear extracts from many of these works all in one evening.” On the subject of choosing to donate all profits from the concert to Leukaemia Research, Evelina tells the story of when her niece (also called Grace) was diagnosed with the illness 5 years ago. “Grace is now 8 and has made a full recovery, but our family continue to raise money however we can to support the on-going research to fight the illness.

Rather than run marathons, I can offer what I do best to a very worthy cause.” Evelina and Grace have elected to include a piece written by Evelina in the programme, which has been performed by many other ensembles but it will be the first time for her. Grace jokes, “It is a rhythmically challenging piece…not made any easier sitting so close to the composer!”. The programme is a combination of solo and pieces for 2 pianos, including excerpts from Tchaikovsky’s Nutcracker Suite, Liszt’s – Rigoletto Paraphrase, Puzaite’s Toccata for 2 Pianos,  and several pieces by Liszt, Rachmaninoff, Vasks and Lutoslawski.

4 Hands 2 Pianos! Evelina Puzaite and Grace Mo Saturday 8th December, 2012 7pm start (bar service before and during the interval) Michael Croft Theatre, Alleyn’s School, Townley Road, East Dulwich SE22 8SU/

Tickets available from: www.michaelcrofttheatre.org.uk. For more information about Leukemia Research.

I enjoy retellings of classic works and was not disappointed with the Blue Elephant Theatre’s Christmas show, the enchanting “A Midsummer Night’s Dream”.

A Midsummer Night’s Dream is perhaps seen as one of Shakespeare’s most gentle of plays and this production brings plenty of originality, but with a 1940s flavour to the script.

As soon as you walk into the theatre to take a seat, the actors are already at work. A group of actors are laughing and chatting away (after a dinner feast) at a long table which stretches out across the stage. The women are dressed in beautiful tea dresses and the men are dressed smartly in formal attire, all achieving the elegant 1940s look.

Once the audience settles, the play begins.

James Taylor Thomas

The story is one of love, and mischief as it follows four lovers, Hermia, Helena, Lysander and Demetrius. Hermia is in love with Lysander, but her father wants her to marry Demetrius; Demetrius is in love with Hermia but she loves Lysander. The plot thickens as enter naughty fairy Puck who, with the help of a love potion, makes Demetrius fall in love with Helena. The tangled love story is an important part within the play.

Playing Shakespeare’s diverse and often complicated characters can be daunting. But all of the actors memorised the classical text beautifully and it was quite easy to follow and understand the Shakespearean language. All the actors embodied their characters well, but the star of the show (for me) had to be James Taylor Thomas. He delivered a solid performance as Bottom the weaver; all his scenes were a delight to watch. Thomas was full of humour and confidence, which indeed helped to give the play its humorous touch.

Jen Painter

The set was minimal, with only a few chairs, duvets and torches used as props. The lighting was used to good effect, helping secure scenes and characters into place. But it was the snow machine that adds the magical Christmas effect to the show – the snow looks and behaves like the real thing!

I really enjoyed this unique adaption; there is a good portion of love, magic and movement and music with this production. The snow machine and humour add a magical winter feel for audience members. Like all Shakespeare plays, it takes a bit of getting used to the language, but it is a thoroughly enjoyable winter show.

A Midsummer Night’s Dream runs at the Blue Elephant Theatre until 15th December 2012. You can book tickets online at www.blueelephanttheatre.co.uk/midsummer-nights-dream.

Dulwich OnView readers are in for an early Xmas treat! Win a pair of tickets to A Midsummer Night’s Dream at the Blue Elephant Theatre.

Lazarus Theatre Company returns to the Blue Elephant with their seductive, magical & ravishing take on this classic, perfect for the festive season.

Tickets normally cost £15.00, £10.00 (concessions) or £9.00 (southwark residents), but you don’t need to spend a penny. Just answer this easy peasy question and you could be our lucky winner.

What year did Blue Elephant Theatre Open? 

You can answer the question via the comment box below – email editor@dulwichonview.org.uk or tweet your answer to @dulwichonview. Good luck!

The competition will end midnight on 29 November • The winner will be chosen at random on 30 November, and contacted via email or twitter • A Midsummers Night’s Dream will run from Tue 27 Nov – Sat 15 Dec 2010.

Many regard Charles Dickens as the greatest novelist of the Victorian era, others do not agree: they see him as the greatest novelist of all times. And it is true that his books have never been out of print and that his novels are continuously turned into plays, films and even musicals.

It is to celebrate 200 years since his birth that Jill Alexander, former Chairman of the Friends of Dulwich Picture Gallery and Brian Green, Chairman of the Dulwich Society, have come together to devise a programme to pay tribute to the great writer.

It is not well known that Dickens had several connections with Southwark, both literary and personal. His father was thrown into the debtors’ prison at Marshalsea when Dickens was only twelve and the rest of the family moved in with him, this was often done in those days. It fell on poor Charles to help to support his family and he did not join them. He lodged and started working in a shoe polish factory down by the Thames, an area he got to know well.

This was not an easy time for young Charles, he felt abandoned and betrayed by his family, as he was left on his own. This feeling of abandonment would later be a theme in many of his novels.

When his grandmother died the family was left some money and could leave the prison and Charles could go back to school and move back with his family.

His links to South London continued. His first major serial work was the popular The Pickwick Papers. Mr Pickwick is known to have retired to Dulwich and we have Pickwick Cottage and Pickwick Road in the Village to remember him by.

“The house I have taken is at Dulwich. It has a large garden and is situated in one of the most pleasant spots near London. It has been fitted up with every attention to substantial comfort; perhaps to a little elegance besides; but you shall judge for yourselves.”

In later life, when Dickens had left his wife Katherine, mother of his ten children, he lived with the actress Ellen Ternan. It is known that he rented a house in Linden Grove in Nunhead, for the two of them.

Dulwich Players

His life is worthy a novel in his own right. He became the first literary global celebrity, and no one has since reached his fame both in the UK and abroad. He toured the States and his readings were sell-outs everywhere. It is said that he never used props or costumes but somehow managed to make the characters come alive through his voice and facial expressions.

Now it is the turn of nineteen actors from the Dulwich Players to enact passages from his plays and to read excerpts from his writings. Scenes from The Pickwick Papers -  for obvious reasons – Bleak House, Oliver Twist and Christmas Carol are promised as well as songs from the musicals Oliver! and Pickwick. The music director is Paul Grimwood.

It promises to be an evening of delight in the atmospheric Christ’s Chapel next to Dulwich Picture Gallery. There are still some tickets left.

A Bicentenary Evening with Charles Dickens
Thursday 29 November 2012 at 7.30 pm Christ’s Chapel, Dulwich
£12, £10 Friends, includes a glass of wine.

Tickets available online: www.dulwichpicturegallery.org.uk
By phone: 020 8299 8750 (Mon-Fri 10am – 4pm)
Or visit the Friends Desk in Dulwich Picture Gallery

HOME TRUTHS, written and performed by Edinburgh Festival Fringe double sell-out writer and performer Ginny Davis, is a one-woman comedic play satirising modern family morals and life with teenagers. Ginny talks to Milly Hutchinson about what inspired her to start a theatre career as her children were growing up.

“I’m an avid people watcher. Restaurants, waiting rooms, supermarket check out queues and school car parks are perfect venues to see how the world and his wife cope with their kids.

After a few years of life as a stay at home mother and observing that I was not the only one to find it challenging, it struck me that one person’s stress must be another person’s comedy and I started carrying a notebook around with me and recording situations, often direct quotations (“there’s no such thing as a nice walk!” – Toby (14), which I put into in short sketches to perform  at school fundraising events. There was no shortage of material and over the years it has just got better and better as my own children and their friends have grown older and modern parenting methods have been forced to try to keep up with or, better still, a step ahead of modern teenagers. Fat chance!

In 2007 I decided to write a full length play, conscious of the rule that writers should only cover subject they know.

By now parenting was all I did know about so I created the Rich family: a harassed mother, unhelpful father, three difficult and demanding children and a bewildered granny. Are these characters based on real life? Definitely not. I only have two children and my husband is better than me at most domestic tasks. My mother is fully compos mentis too. As for me, I am a model of calm and serenity. Ask anyone.

I am, however, a control freak so I decided to perform every part myself. In a one-woman play there’s no one else on stage to take over during off-stage costume changes so I rely on alterations of body language, posture, expressions and voices to distinguish between the thirteen or so male and female characters who feature in all of my plays. They range in age from 15 to 80. People seem to like my 80 year old, bewildered granny. I prefer the 16 year old, casual boy.

In 2008 I took my first play to the Edinburgh Festival Fringe in order to have an adventure and to discover whether my sense of humour was shared by audiences beyond those at home in Warwickshire. Imagine my job when it achieved overall sell-out status! Since then I have written four more plays in what I call the Ruth Rich Saga and writing and performing is now my full time occupation. Its highlights have a subsequent sell-out run in Edinburgh in 2010, performing to HRH Princess Anne and to one of my favourite film idols, Greta Scaachi, and appearing in venues ranging from Trafalgar Square’s Fourth Plinth to a millionaire’s living room in the posh end of Sussex (Excellent people watching material there too, I can say!)

The next highlight on the horizon is my performance at the Michael Croft Theatre. Why? Because I shall be performing two plays in one night. “Double Booked” which sold out in Edinburgh in 2010 and its sequel, a new play for 2012, “Something Fishy”. The plays (which require no knowledge of any other Ruth Rich Saga play) feature the antics of the Rich family as Ruth, the mother, attempts to save face by telling a few little white lies, only to discover that her nemesis, the perfect but perfectly awful, Tim’s mum has bigger fish to fry. When, a year later, Ruth decides to leave her daughter at home alone for a week in “Something Fishy”, the fish suffer a worse fate.”

“Home Truths” is at the Michael Croft Theatre, Townley Road, Dulwich SE22 8SU on Friday 30th November 2012 at 7.30 pm. Tickets (£13 or £8 concessions) available from 0208 557 1541 or www.michaelcrofttheatre.org.uk.

For more information about Ginny Davis go to www.ginnydavis.com

It’s now some way into rehearsals and it’s lovely to be back. After performing in a number of plays as a child with the Dulwich Players I am now returning as Ada, a ward of Jarndyce who falls madly for her distant cousin, a fellow ward, and appears destined for sadness and heartbreak.

A number of new faces are a welcome addition to the experienced cast and Bleak House looks set to be anything but.

Rehearsals are going well and as scenes begin to piece together we all gain a greater understanding of our own character’s journey and how external factors affect them within the play. Watching the act run-throughs gets better and better as the pace quickens, the humour is unveiled, and the connecting scenes complete the picture.

We’ve got an excellent back stage team and we’re all looking forward to the costumes whilst taking a pared down approach to set, save for a fantastic backdrop created by Michael who plays Mr Richard Carstone – I always knew Ada had good taste!

Full details of the performance are below so please come along and enjoy this adaption of a classic novel.

Performances take place at the Edward Alleyn Theatre, Dulwich College from Wed 24 to Sat 27 October at 8pm.  Tickets are £8 in advance and £10 on the door, available via email at boxoffice@dulwichplayers.org, by calling 0208 693 4830 from the Art Stationers in Dulwich Village or on the door.

Very rarely does one get the chance to munch down delicious hot food during a theatre performance….

unlike during a screening at Peckham Plex Cinema, it is frowned upon to devour nachos during a Pinter play at the National. However, theatre company Unfinished Business latest creation ‘Only Wolves and Lions’ is a whole different kettle of fish/meat/expansive vegetarian options. In the company’s most recent production, the preparing, cooking and eating of food as a group is at the centre of the whole performance- as well as the discussion that food and (good) wine brings with it.

Leo Kay’s production brings together a group of individuals; asks that each person brings along an raw ingredient, and invites them to share in the unique experience that is meeting and creating something to eat together as a collection of relative strangers. Having umm-ed and ahh-ed about what ingredient to take for over a week, I plumped for plantain; a versatile ingredient used in many different cultures for many years…. and one I had never cooked with before. I did not even know how to identify a ripe one, to the wry amusement of the sales assistant in one of the grocer’s on Peckham Rye High Street. So, clutching a bag filled to the brim with strange fruit/veg that I had no idea what to do with I waited for the other members of the audience to arrive at the Battersea Arts Centre (BAC).

They arrived in dribs and drabs of varying states of lateness (true to form with an arts event) and far from being intimidating and ultra-cool, everyone seemed excited, nervous and each clutching carrier bags with their own ingredients. A small amount of nosey-ing about each others choices went on, along with some laughter and raised eyebrows (I had no cause to be superior about my plantain… what even is it?!) until we were ushered upstairs into the Member’s Bar at the BAC. Here we were asked by Leo Kay and Unai Lopez de Armentia, who were leading the event, to queue up, introduce ourselves and each present the ingredient we had chosen for the evening’s performance.

Laid out before us was a huge table, complete with chairs that had clean white aprons laid over them, water jugs and glasses. On smaller tables dotted around the room were cooking stations with hobs and cooking equipment, and at the other end of the room was a table laden with basic ingredients: onions, garlic, tinned tomatoes, herbs, spices and different breads. This excited me instantly, having not been sure how much of the performance would be actually cooking – or to what degree the show was metaphorical when it spoke of cooking. I was not to be disappointed however…

The evening began with wine and several elaborate toasts to the evening ahead, happiness and general well-being. This was perfectly within everyone’s comfort zone, and there was much chinking of glass and swigging of surprisingly delectable wine. More ambivalent glances were exchanged when we were asked to stand, impersonate monkeys, shake our booties and catch the eye of other individuals in the room that you would mate with if you were a monkey with more primal instincts than cooking and toasting with wine! However, it could not be denied that these icebreaker techniques were a total success, as everyone was flushed and giggling afterwards, all pretence of aloof politeness shattered.

The group was subsequently asked to split into smaller groups of three or four, and given three minutes to examine all of the ingredients we had before us on the table, and come up with as many recipes as we could, using as many or as little of what we had available. After a flurry of tipsy group-forming we discussed food, our group deciding on guacamole, bruschetta, apsaragus and mint ristotto, and fried plantain with spicy salsa. All ideas were eventually brought together and Leo and Unai shocked us all by agreeing that we would try and cook every single dish the groups had come up with in forty minutes, adding to our list aubergine curry, sweet potato tagine, pan-fried chorizo, warm green salad,spicy kale, and cob nuts.

The next forty minutes were spent in a delightful rush of great smells, flavours, sounds from the mixed playlist that was playing while we cooked, and working as a united whole. Discussion ebbed and flowed as we concentrated on the task ahead but interest in each other’s cooking took over, with people drifting from station to station sampling one another’s dishes as they were created (my fried plantain being a popular choice as it was quick to cook and everyone was becoming ravenous!)

Finally, time was up and we all sat, sauce-splattered and very eager to eat the magnificent spread before us. Leo and Unai once again gently led discussion with another toast, and by asking us what we had named our dishes. (I went for Peckham Surprise, because I truly had not known what the outcome was going to be of my dish!) It was remarkable how quickly audience and performance directors relaxed into this unfamiliar ‘scene’, as after this initial encouragement from the members of the company, the group really began to talk to one another. As the tension subsided, a great deal of laughter, debate and flirting went on, as we really got to know one another- Leo and Unai acting as mediators to the discussions at hand. Food, relationships, family, friendship and politics were all covered in varying degrees, and the sharing of so many great dishes were a welcome accompaniment to the ebbs and flows of conversation.

I really admired the spirit of Leo’s work, because it is true that I as an individual don’t often get the chance to cook and share a meal with fifteen other people and bounce off their moods and spirits. Working a job with unsociable hours often leads to eating alone, in snatched moments between shifts or in the small hours of the morning after work. I don’t think one can appreciate the difference it makes to eat with others until you have that luxury, and then later do not. The next week, we had a lively dinner party with friends of the family for my mother’s birthday, who stated after the meal (and several times since) ‘That was just great, we should do it more often’ as the evening had been so elated and enjoyable. I hope the tradition will continue over the next coming weeks, and for years afterwards!

This kind of reaction is what I believe Leo is trying to highlight through these performances, and his others like it; we as members of society thrive from these social gatherings, as it is in human nature to be around others, especially during times of creativity, exploration and when satisfying those primal instincts like feeding and interracting. ‘Only Wolves’ really taps into said issues, and the whole experience is both great fun and socially revealing. I am sure I am not the only one who is excited to see where these guys will take the project next after such a successful reaction in London.

From November, ‘Only Wolves and Lions’ will move to Reading where it will feature as part of the Sitelines Festival in the South Street Arts Centre.

Thanks to Freya for this lovely article, you can visit her website: littleghostweb.wordpress.com and follow her on twitter @littleghost_hq.

The Dulwich Players decided to celebrate the 200th anniversary of Charles Dickens’ birth by performing Nick Moseley’s adaption of Bleak House.

Friendly behaviour of Mr Bucket – Bleak House

At nearly 1000 pages anyone who has read the book will know that the various plots revolve round subjects that were close to Dickens’ heart – for example the cumbersome processes of the law, child poverty and social injustice.

The main plot, the ongoing legal case of Jarndyce and Jarndyce, is very straightforward but the many subplots and richly observed characters make this a story to savour. The cast are currently in the middle of rehearsals, which under the direction of Kevin Smith are going extremely well. Lines are being learnt, costumes are being tried out and entrances and exits are being memorised.

Edward Alleyn Theatre

Some of us, me included, are playing more than one character which presents its own challenges, not so much in learning lines but in quick costume changes. For one of my character changes I have only a page and a half of dialogue in which to not only change costume but also to get across to the gallery on the opposite side of the stage – this is going to take a lot of practice! Full details of the performance are below so please come along and enjoy this adaption of a classic novel.

Performances take place at the Edward Alleyn Theatre, Dulwich College from Wed 24 to Sat 27 October at 8pm.  Tickets are £8 in advance and £10 on the door, available via email at boxoffice@dulwichplayers.org, by calling 0208 693 4830 from the Art Stationers in Dulwich Village or on the door.

The Hound of the Baskervilles heads to Greenwich Theatre for one week only, from 2 – 8 July.

Sir Arthur Conan Doyle’s classic mystery The Hound of the Baskervilles is one of the greatest detective stories of the 20th century and it’s now on stage at Greenwich Theatre.

Plot summary: After the death of his father under inexplicable circumstances, Sir Henry Baskerville returns to his family’s manor house on the lonely moors where he is confronted with the mystery of a supernatural hound hungry for revenge upon the Baskerville family. Fearing for the safety of himself and his family, he calls upon the world famous detective, Sherlock Holmes, and his ever dependable assistant, Doctor Watson, to help get to the bottom of the mystery.

My personal review: Christopher Anderton is an excellent Holmes, intelligent, thoughtful and brings a jovial side to the role that suits the character perfectly, whilst Phillip Rowntree as Dr Watson is the perfect loyal assistant, with a great sense of humour. Marcus McSorley gave an excellent performance playing Sir Henry Baskerville and the other characters were equally incomparable.

The set was spot on, as well as the period costumes. It’s a well executed play with the entire action taking place at the centre of Baskerville Hall, allowing the audience to witness the rising tension from inside Baskerville’s front room. To some extent, the play does miss out on some good old-fashioned detective mystery and action. Regardless, the performance does leave you with some vague suspicion throughout and the unravelled mystery will come as a surprise.

So leave the magnifying glass at home and watch The Hound of Baskervilles at Greenwich Theatre, on until 8 July. Click here for ticket bookings and further information.

A beautiful bookworm. A hideous beast. And an enchanting love story.

It can only be Disney’s classic, Beauty and the Beast – which is coming off the big screen and onto a Dulwich stage in just a few weeks’ time.

The musical is the latest offering from the Quay Players, an amateur dramatics society celebrating their 15th anniversary this year. The 32-strong cast sing and dance their way through the high-energy show with panache, keeping the audience entertained at every turn.

Fans of the 1991 Disney film won’t be disappointed – it was adapted for the stage by Alan Menken, who wrote the original score, and all the familiar songs from the film still feature with a few new numbers thrown in for good measure. It’s no surprise that the musical adaptation has played to over 35 million people worldwide – songs like Be Our Guest are a joy to watch as they are brought to life onstage – only in Disney could choreography feature a cutlery cabaret and crockery doing the can-can!

The Quay Players - A strong cast of 32

For those unfamiliar with the story, it follows Belle, a beautiful and intelligent young woman taken prisoner by a hideous Beast – who is in fact a young prince trapped in a spell. The Beast must learn to love and be loved in order for the spell to be broken and for him to be transformed back to his former self.

In adapting the film for the stage, the writers have worked hard to ensure there’s something for everyone in the audience. Children will be entertained by the classic love story and slapstick humour that feature in the film, and adults will find their own enjoyment in the subtle double-entendres which will sail over the youngsters’ heads but be of great amusement to the more mature members of the audience.

Whether a die-hard fan of the Disney film or just in the mood to watch a classic fairytale brought to life, the Quay Players’ Beauty and the Beast will not disappoint. A must-see for all the family, we defy you to come out of the theatre without a smile on your face and the warm glow that only Disney can deliver.

Beauty and the Beast is being performed at the Edward Alleyn Theatre, Dulwich College from 11-14 July 2012 at 19:30 (14:30 Saturday matinee). Tickets are £11/£9 (conc) and there is a BSL interpreted performance on 12 July. Please visit www.quayplayers.org.uk for further information and to purchase tickets.

South London Youth Theatre is thrilled to announce the launch of this summer’s intensive musical theatre workshop for talented students aged 13 – 21 years.

Any young actor/dancer/singer or musician who has dreamed of performing in a fully staged musical with a live band and stunning lighting effects is invited to audition for this year’s production of the worldwide phenomenon Fame the Musical!

Following on from the tremendous success of last year’s production of Once on This Island, in which 35 talented teenagers from across London appeared, Director/Choreographer Spencer James, Musical Director Katharine Woolley (Jersey Boys, West End) and Designer Will Feasey, are looking for an outstanding cast to bring this vibrant and dynamic musical to life. The production team will also feature guest choreographers from the West End!

JYT's production of Once On This Island, Summer 2011, Photography by Nobby Clark

Any student with a passion for the performing arts will be welcomed to our auditions in July, where we hope to discover some the best talent in South London!

The group has been presenting theatre in the Dulwich area for over 10 years under the banner of Jasspa Youth Theatre, however, this year see’s the group re-launch for the next generation of young performers.

The intensive 9 day workshop commences on Saturday 18 August and runs through until Sunday 26 August, with 2 final performances on Sunday 26 August.

The course is designed to give students a taste of the world of professional theatre, with rehearsal days starting at 10am and finishing at 6pm.

JYT's production of Once On This Island, Summer 2011, Photography by Nobby Clark

The intensive schedule takes the students from rehearsal room, to technical rehearsals in the theatre, band rehearsals, and the final production at the fabulous 200 seat Prissian Theatre!

Rehearsals: Saturday 18 August – Saturday 25 August – 10am – 6pm daily.

Performances: Sunday 26 August – Midday – 10.30pm

Cost: The course costs £300 per student and includes full tuition for 9 days, costumes and tickets for the final performances at the Prissian Theatre.

A very small number of half/full scholarships are available to candidates who would not normally be able to understake this level of private tuition.

WHAT NEXT?

A workshop audition will be held on Saturday 7 July from 10.00am – 1.00pm at James Allen’s Preparatory School.

To register your interest and request an application form call 0203 566 9710 or e-mail spencer@gleekschool.com.

Starting rehearsals for a play you’ve never heard of with a group of people you’ve never met could go one way or the other.

Happily for me my induction into the world of the Dulwich Players couldn’t have been more enjoyable. I hadn’t set foot on stage since school days, but the group have made me feel very welcome since the casting for ‘Pericles, Prince of Tyre’, which will be performed at the Dulwich Picture Gallery Gardens from the 4th to the 8th July.

It was on that evening, in a small room above the Crown and Greyhound pub, when Roger the Membership Secretary suddenly lay down on the floor to fully ‘become’ the downcast central character that I realised that the group’s sense of fun is coupled with some serious commitment to their art. It seems to be the perfect combination.

The beautiful Gardens at Dulwich Picture Gallery

The play itself is coming to life as rehearsals progress and our Director Jan, with support from the team, fast creates another world filled with wonder, disaster, romance, adventure, good and evil. I commented at the first rehearsal that instead of being in the play I wanted to watch it. Lucky for me then that the outdoor nature of this production means I will be able to!

It’s a fantasy world that I’m thoroughly enjoying being transported to after a day at the office and there are always lots of laughs. Perhaps the cherry on the cake so far has been the securing by Jan of a slot for us at Stratford’s Dell in August as part of the RSC’s World Shakespeare Festival. The whole cast are excited about that, but of course there’s the gallery first, and I for one am really enjoying the preparations.

The Dulwich Players In conjunction with the Friends of Dulwich Picture Gallery present Pericles by William Shakespeare. Performances from 4th to 8th July in the Gallery gardens. Further information can be found here.