Category Archives: Miller Centre Theatre Company

‘Tis the Season to Be Busy

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Hi,

I didn’t get to post last week, sorry.

I’m currently busy acting as Production Assistant for The Exorcism, which opens at the Miller Centre Theatre, Caterham on 3rd January 2013.

I’m also involved as producer for The Real Inspector Hound which opens at the Bridewell Theatre, London on February 20th. I’m also in that production playing the character Moon, so am busy learning my lines like crazy.

Added to this, my final college module starts in January, it’s entitled The Director’s Story, so I’ve been doing a bit of preliminary reading. (I’m also hoping to direct my first play in 2014, so this’ll module comes along at just the right time). I’m also in the process of getting my research area confirmed for my dissertation that begins next year too. So 2013 will be a “heads in the books” year for sure.

I am going to a few shows in December, so reviews will follow shortly.

I hope your Christmas preparations, be they familial or theatrical are going well.

Dominic

 

 

The History Boys – Miller Centre Theatre Company – Review

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Caterham’s very own likely lads

It’s one of my favourite plays, but I’ve only ever read it (and seen the wonderful film adaptation). So I was excited to finally get to see it brought to life by the Miller Centre Theatre Company.

A superb bunch of lads gave their all as the eponymous History Boys, battling their way against the social, educational and sexual mores of 1980′s grammar schooling. I went to a single sex grammar school (in the 1990′s not 80′s I hasten to add!) and I suppose that’s why I like the play so much, as I can identify strongly with the characters and situations.

However, even if you’re not from the world the play is set in I think it gives everyone something to think about, especially what is real education? As education ministers seem to become even more concerned with statistics and “results”, Alan Bennett shows us that what we take from our schooling is more than just the exam results.

Each of the cast give bring their characters to life and the superb set transports us from classroom to headmasters office and staff room seamlessly.

It’s been wonderful to finally see a production of this great play (one of best plays of the  21st Century so far, in my opinion), brought to life so competently. It’s sold out for its run, you may be able to get returns, but the cast deserve to be playing to full houses, A* to everyone involved.

End of the Road

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All good things must come to an end, and that’s what has happened to the run of The Long Road. I mentioned in my previous post how I’d enjoyed it and found it has helped me grow as an actor.

Theatre is an existential art form and now all that remains are fond memories. My thanks to my co-actors, Jen, Chris, Saskia and Helen who were such fun to work with. Thanks also to the director Iain, who pushed us to be the best we could be. I’ll miss you all.

Going to miss these folks!

I’ve spoken previously about Post-Production Depression  and how I always feel low for a few days following a production, as I miss the people and play. That’ll be especially acute following this play I know.

It won’t be long before I tread the boards again though (February 2013), so I’m looking forward to having a chance to see some theatre over the next couple of  months and the reviews will be here soon!

Being part of a production that moves people

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The Long Road run is going well. It’s been a real joy from the first day of rehearsals. We’ve now only got 4 more nights left and I will really miss it when it’s over.

Being part of a play that actually touches people (we’ve had people in tears some nights) has been a new experience for me and has renewed my conviction that theatre can touch people and act as a catalyst for change. The themes of restorative justice, forgiveness, grief and family have resonated with audiences in ways that I think they too were surprised at. All thanks to Shelagh Stephenson’s script.

The chance to do an opening soliloquy was one of the main attractions for the part of Joe for me.

As an actor I feel I’ve really grown taking on this part, it has been hard and I do come off each night feeling emotionally drained, but I love the opening soliloquy I have and there is no greater buzz than the curtains opening and the light being on me and having the opportunity to capture the audience’s attention from the outset.

My onstage mum and dad

Like any production this has been a group effort and I’m loving working with the talented actors and despite it being a “heavy” play we’ve had plenty of laughs backstage and after the play, which I think we’ve needed otherwise we’d all end up a bit depressed. Iain McGrath the director has been a gem to work with and has really focused my attention and  helped me to bring my character to life and fruition.

It’s been an experience I’ll treasure as I’ve learnt so much from it that I know I’ll take with me into future plays and projects.

(photos courtesy of http://www.avriljonesphotography.co.uk/)

Line learning, Paracetamol, Lucozade and the Long Road of Rehearsing.

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I’ve not written about the current play I’m rehearsing yet. Primarily as I’ve been busy rehearsing!

I’m playing the character Joe in Shelagh Stephenson’s play The Long Road. It’s an intense play looking at the issue of forgiveness and examines how a family reacts to the murder of their son. My character Joe, is the brother of Dan who has been murdered.

The poster encapsulates the blood, sweat and tears rehearsing can be.

I’m finding it a real challenge as the play has a couple of monologues for each character and these are particularly emotional and so getting the balance right is hard. As we don’t want to go over the top, but also we’re trying not to reign in the emotions too much either.

I’ve come down with a bit of a cold (“Man Up!!” I hear you cry!), and so am relying on paracetamol and Lucozade to get me through this afternoon’s rehearsal. I’m pleased that the rehearsal process has been great fun so far. The cast is only 5 of us, we’ve bonded well and even though it is a serious play we’ve been able to have some laughs as we’ve rehearsed it, which I think has been necessary otherwise I think we’d get depressed.

I have a feeling the director is going to push us hard this afternoon, and that’s no bad thing, in fact it’s the part of the rehearsal process I enjoy the most, as the sense of achievement you have once you’ve stretched yourself is one of the things I like the most about acting.

I must dash and work on my lines now though.

TTFN

(it’s on from 18th – 27th October, tickets can be bought here )

Calendar Girls – Miller Centre Theatre Company – Caterham

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We’re going to need considerably bigger buns!

Aiming to break a record for most performances of a single play in a 12 month period it was the turn of The Miller Centre Theatre Company to be one of the first amateur theatre groups to stage their version of Calendar Girls. There are over 200 other theatre groups putting it on between September 2012 – September 2013.

The Caterham Calendar Girls

The play has proved to be a great start to our season selling out the entire 10 performances and the cast have even taken their “method acting” to include making their own calendar! Funds raised going to the charity Leukaemia and Lymphoma Research which is set to have a boost to the £20 million they need to run each year with the 200 + shows throughout this year raising much-needed capital for them.

I lost a friend to this vicious cancer last year and was surprised how this play touched me, it’s a bittersweet tale and the cast bare all bringing it to life. Keith Orton’s set is especially clever and took us from the church hall to Yorkshire Dales with the sliding of two walls. It takes you from laughing heartily to having a lump in your throat and tear in your eye, as we see this group of friends seek to raise money by their unorthodox Women’s Institute Calendar.

I’m certain if you’re in the UK, a theatre group will be performing this near you, support them baring their all, and support the Leukaemia and Lymphoma Research by seeing it and giving generously.

Lilies on the Land by The Lions Part – Miller Centre Theatre Company – Review

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We finally saw the recognition for Bomber Command this week, with the Queen unveiling the memorial to the 82,000 airmen that died serving in it during WWII. Another “forgotten army” was the Women’s Land Army or the “Land Girls” as they were known. They were only acknowledged formally for their service in 2008.

This play is based on interviews and memories of former WLA members, and it serves not just as an entertaining and poignant piece of drama but as a testament to the hard graft and sacrifice these girls made during WWII.

The cast of four girls, Poppy, Peggy, Margie and Vera takes us through their experiences from their joining up to eventually demob. The roles are played by Becca Nielsen, Pamela Cuthill, Gail Bishop and Eleanor Swift. It relies on team work between them as the girls not only play their characters but an assortment of farmers, soldiers, airmen, farm hands, inspectors and farmers wives.  The cast ably let us into their world and it really felt these were”their” stories.

There is a huge amount of humour derived from their escapades and learning of working the land (some great physical comedy from all the cast), and from the few moments they get to let their hair down with service men.It is a play of great pathos too though as we learn about the less than glamorous side and the abuse that some of the girls unfortunately suffered. Pamela Cuthill’s chilling repeating of the line “you have to run fast” was a disturbing and moving moment.

Despite it’s more serious moments it’s a very upbeat and positive play, that left me with a great appreciation for what these women did. The cast did them justice with their vivacious portrayals, and will ensure those that saw the play won’t forget the sacrifice and service this “forgotten Army” gave.

The 39 Steps Adapted by Patrick Barlow – Miller Centre Theatre Company, Miller Centre Theatre, Caterham – Review

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This cast give it their all

Caterham became the scene of Nazi Spies, railway shenanigans, man hunts, seduction, mistaken identity, gun shots, aeroplane crashes, car chases and bagpipes. Thanks to this witty adaptation/pastiche of John Buchan and Alfred Hitchcock’s The 39 Steps.

The cast of 12 play dozens of parts each, and the innovative set keeps them and us on our toes. Michael Cooke as the pipe smoking lead, Richard Hannay was just right with his stiff upper lip and double takes to the audience.

Supported superbly by the rest of the cast they brought the varied characters and scenes to life with a knowing wink and tongue in their cheeks.

Why hellooooooo

This really is a feel good, laugh out loud show, that doesn’t take it or the audience too seriously. It was the perfect remedy to a two-hour commute home and I heartily recommend you book your tickets fast for one of the remaining 9 nights as three are sold out already!!

Congratulations to all involved, a riotous and fun night out.

An Ideal Husband by Oscar Wilde – Miller Centre Theatre Company, Miller Centre Theatre – Review

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Oscar Wilde’s classic play of political intrigue, manipulation and scandal in Victorian society comes to Caterham from now until the 25th February. I’ve been a great admirer of Wilde’s wit and writing but have never actually seen a play of his before, so it was a delight last night to be whisked back in time to see this play. This feeling of being taken back in time was in no small part due to Keith Orton’s wonderful set design and the perfect period costumes.

David Sanders as the "Ideal" Husband Sir Robert Chiltern and Tonia Porter as the conniving Mrs Cheveley

David Sanders gave a convincing portrayal as Sir Robert Chiltern, the apparently spotless politician whose one misdeed from his youth comes back to haunt him. Thanks to Mrs Cheveley played with just the right “bitchyness” by Tonia Porter. What a nasty piece of work! (Mrs Cheveley not Tonia!)

Sir Robert Chiltern’s wife, Lady Chiltern is the whiter than white idealist played with a great sense of gravity by Rachael Poulloin. It would be easy with this role to become a bit patronising and holier than thou. Rachel gave it a tenderness that made you sympathise with Lady Chiltern as she realises the man she has thought her Ideal might have feet of clay.

The charming Lucy Baker as Mabel Chiltern

Along with the blackmail storyline is the love story of Mabel Chiltern and Lord Goring. Lucy Baker portrayed the ditzy and playful Mabel with a great sense of fun that was infectious. The star of the show is without doubt Lord Goring, in many ways a character that is Oscar Wilde himself. This role was played with relish by Danniel Horton. Who got great laughs with his witty quips and observations.

A stage with TWO Danniel Horton's, can you have too much of a good thing??

Peter Damesick as director has molded and guided his talented cast to bring this wonderful play to life. I was struck by how contemporary the themes of corrupt politicians, blackmail and scandal are. The joy of Wilde’s wit is timeless too. I do feel that the final few lines are a bit clichéd and perhaps a bit of their time, but I’m about to summarise my review with a cliché so I’ll let Wilde off. My cliché? “This production of an Ideal Husband is an Ideal Night Out!”

 

DISCLAIMER: As regular readers of my blog know, I’m actively involved in the Miller Centre Theatre Company and I know a good number in this cast. HOWEVER my review is as impartial as I can honestly make it. All photos are with thanks from Avril Jones Photography.