Making Tracks #5

Meet the cast – part 2

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SUP’s new production of family favourite THE RAILWAY CHILDREN pulls into NST Campus in Southampton, 22-25 January 2020. You can book here – and tickets start at just £10

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Anna Hussey (Mother)

AnnaAnna has been with SUP for one year, and has enjoyed being part of both Agatha Christie’s Then There Were None and appearing in SUP’s wartime anthology For The Fallen. She is very excited to step into the role of Mother in The Railway Children, especially as she gets to perform her biggest role to date on the Nuffield stage. Anna has spent many years backstage, so is very grateful for all the opportunities that SUP offers her on stage.

_MG_8576Sam Hussey (Mr Szezcpansky, Detective, Superintendent, Worker)

This is Sam’s first show with SUP, having stepped in to play the role of Mr Szezcpansky and some ensemble parts. He is by no means new to the local theatre scene, though, having tried his hand at everything from Shakespeare to musicals. He’s looking forward to his first time on the Nuffield stage, and has particularly enjoyed being able to try out a new accent!

Rameen Jamal (Maid, Mrs Perks)IMG_6315

A graduate from the London College of Music, specialising in Musical Theatre for Actors. Rameen has been performing from a very young age and has spent her entire academic career studying: Performing Arts, Musical Theatre, Acting and Dance. Rameen has a keen interest in the Shakespearean era, physical theatre and spoken voice. She makes her return to performing after an eight-year hiatus as a new member of the SUP in The Railway Children.

_MG_8573Deborah Knight (Cook, Worker, Crowd/Passenger)

Deborah has been dabbling in acting and puppetry since the last century, joining SUP in 2018. Her most memorable roles include the Mayor of the Munchkins and a chocolate egg-laying chicken, both with ACTS. She enjoys singing with local natural voice choirs and leading a meditation group – and last December, played Mrs Christmas at Furzey Gardens for SUP/Minstead Trust.

Maisie Lake (Peter)_MG_8579

This is Maisie’s first production with SUP. She has been performing since she was 10 and is currently applying to go to drama school. Some of her favourite roles include Anita in West Side Story and Hamlet in an all-female production of the play. Maisie is a keen singer and enjoys writing poetry.

_MG_8345-2Jamie Lawrie (Jim, Detective, Perks child, Crowd/Passenger)

Jamie joined SUP in 2019, and is keen to develop his acting skills. His first role with the company was in the hilariously slapstick The Man On The Floor segment of Neil Simon’s London Suite, performed at the Rose Theatre, Eastleigh in October 2019.

Jenni Watson (Mrs Viney, Crowd/Passenger) _MG_8569

Jenni’s love of acting was ignited when she was an extra in the film A Man For All Seasons whilst at drama school. Over the years she has performed for many local groups, her favourite roles include Vladimir (Waiting for Godot), Lady Booby (Joseph Andrews), Ellie Dunn (Heartbreak House), Lady Capulet (Romeo and Juliet), Paulina (Winters Tale), Red Queen (Alice), Nancy (Sitting Pretty), Caraboss (Sleeping Beauty), Mrs Pearce (Pygmalion), Angela in (Vicars) and Clara (Hay Fever). Jenni is looking forward to The Railway Children – it should be absolutely spiffing!


Photo 07-10-2018, 16 07 19About the director

Paul Green has been acting and directing in the Southampton area for more than 40 years. He joined SUP in 2018 to direct our acclaimed production of Agatha Christie’s And Then There Were None, presented right here at NST Campus in January 2019. For SUP, he also co-wrote, directed and acted in the wartime anthology For The Fallen, which toured various venues and festivals in the summer of 2019. For RAODS, he directed Mary Shelley by Helen Edmondson at The Plaza Theatre in September. He is delighted to be directing The Railway Children as it allows him to use a variety of techniques, including his signature physical theatre style and imaginative stage effects. This production also gives him the opportunity to play with humorous material as, after all, theatre should be fun as well as creative.


THE RAILWAY CHILDREN at NST Campus, 22-25 January 2020 – matinee Sat 25th Jan

Book now: call 023 8067 1771 or click here

Tickets from just £10

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BLOG: Ghosts & Queens

I Want Candy

And Tell Sad Stories of the Deaths of Queens

Director Paul Cresser explains his choice of play for this year’s Totton Festival of Drama – and reports on rehearsals

When choosing the play for my directorial debut at last year’s Totton Festival of Drama, I looked for a play that would suit the dynamics of our group.

I settled on ‘Darlings, You Were Wonderful!’ – an all-woman piece to complement the all-male ‘Bully Beef and Whizzbangs’ that we were also entering.

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Paul Cresser: SUP Secretary and director of AND TELL SAD STORIES OF THE DEATHS OF QUEENS

Having found that, for the most part, I’d enjoyed the directing process, I started looking for another play to propose for the 2019 Festival.

This time I looked for a play that interested me rather than one that would suit others, and the proposal I came up with was rather different to our previous entries!

One of the things I decided early on was that I wanted to direct a play with an LGBT+ theme that wasn’t another (as I call them) ‘angsty coming out story’.

I wanted to direct a play that had a strong LBGT+ character that wasn’t about that character being gay. That’s when I found Candy: an out gay man and transvestite, perfectly comfortable with who he is in that respect.

The story of the play explores Candy’s character flaws that, although coloured by his sexuality, are simply ‘human’ flaws: the need for love and the fantasies that he constructs in order to find it.

In ‘And Tell Sad Stories of the Deaths of Queens’, I have set myself some challenges: a lead character who must be a convincing transvestite, as well as recreating late 1950s/early 1960s New Orleans and the Japanese-style home of an interior designer – all on a very limited budget.

I have found myself having to research wigs and sailor’s underwear as well as seeking out make-up tips and helping my lead actor try on various dresses. I’ve also had to pull together a co-ordinated set, worthy of the home of a talented interior designer.

These challenges aside, I’ve really enjoyed getting inside this little-known Tennessee Williams’ gem.

The play was never performed in his lifetime due to its subject matter, and it’s a play that is decades ahead of its time. It was written in 1950s/60s pre-civil rights America, yet many of the issues addressed are still as relevant today and it has been interesting to explore and discuss those issues.

I’m also delighted to have pulled together a fantastic cast – all of whom are playing parts outside of their normal experience.

They are working together extremely well and I’m enjoying seeing the characters from the pages of the play coming to life before me. Jonathan Shepherd has bravely stepped into Candy’s high heels and is gradually revealing more and more of his inner diva. Paul Jones is exploring what it means to be a bisexual hustler, whilst Stephen Fenerty and Chris Aland’s gay couple is a match made in heaven (not the nightclub!).

I have certainly found directing this play more stressful than my first experience with SUP, but that is because I feel so much closer to it and that in some way what I am producing here is an extension of my own personality.

It’s my baby, I love it and I’m just really hoping that everyone else will love it too.


SUP presents STORIES OF GHOSTS AND QUEENS at Totton Drama Festival in March 2019 – and FOR ONE NIGHT ONLY at the Rose Theatre, Eastleigh on Sat 6th April at 7.30pm

Tickets from just £9.50 – no booking fee payable

Click here to book tickets

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Christie on Campus #8

Countdown to death

It’s all hotting up in rehearsals, as the scripts go down and the cast don their costumes.

Director Paul Green pens our latest blog from the kill-zone that is Devon’s Soldier Island…

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All cast having made it through the Christmas and New Year break virtually unscathed – allowing for the odd car accident, house move and hangover, of course – everybody is now present and correct for Agatha Christie’s AND THEN THERE WERE NONE.

As you may have seen from some of our recent photographs, including those on this very page, the authentic 1950’s costumes have been obtained and tweaked. Just a few finishing touches are required now; the carefully chosen vintage costumes match the characters.

I think they look wonderful. It’s such a shame so many have to die. Then again, considering what they’ve all done in the past…

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Director Paul Green

These costumes really add something to the tone and character of the production.

Get it right, and the audience simply accept and get on with enjoying the show: just another element of the theatrical jigsaw to assimilate in a barely noticed way.

But get the costumes wrong, and the audience notice. We want the audience to be fully immersed – not distracted. 

So, we’re now entering the final stretch of rehearsals and the tension is rising nicely.

As the scripts have been torn from grasping hands, the flow and pace I’ve been striving for is now being achieved.

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Have you booked yet?

Everyone is having fun – or so they tell me – and this is evident in the performances and the group dynamic.

I am confident that, visually and verbally, this will be quite different from the traditional murder mystery format. I also believe this will be a very good thing – especially if you like edge of your seat tension and surprises.

Our prompt keeps telling me how transfixed she is by it all  – and she knows the ending!

I’m delighted with where we are, and I can’t wait to see it in front of an audience. So please make sure you’re part of this show too – by buying your ticket now.




SUP proudly presents Agatha Christie’s AND THEN THERE WERE NONE at NST Campus theatre from Wed 23-Sat 26 January 2019 – tickets from just £10

Concessions and group bookings also available

You can book your tickets here

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Ten Little Soldiers

Christie on Campus #6

Christie on Campus #6

Christie mystery

The strange case of the missing plaque

paulAgatha Christie famously disappeared in December 1926. The nation was gripped by this real-life mystery, which began when the 36-year-old author’s husband had asked her for a divorce.

Christie left the marital home in Sunningdale in Berkshire after writing a letter to her secretary to say she was going to Yorkshire.

Her Morris Cowley car and clothes were later found near Guildford, abandoned apparently after an accident, with no sign of the author, prompting speculation of suicide.Screen Shot 2018-12-29 at 16.23.03

Eventually, more than 1,000 police officers and 15,000 volunteers joined the search.

Even fellow crime writers Arthur Conan Doyle and Dorothy L. Sayers became involved.

Christie eventually turned up at the Swan Hydropathic Hotel in Harrogate eleven days after leaving her home.

She had spent the entire time there, under an assumed name. She never discussed what happened.

Reasons ranging from depression and amnesia to a publicity stunt have been suggested.

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Agatha Christie in 1946

In 2006, a biographer used “medical case studies” to show that Christie “was in the grip of a rare but increasingly acknowledged mental condition known as a ‘fugue state’, or a period of out-of-body amnesia induced by stress. In effect, the writer was in a kind of trance for several days.”

Her disappearance even formed the basis of the film AGATHA (1979), starring Vanessa Redgrave, Dustin Hoffman and Timothy Dalton.

And now – 92 years after the famed author became the star of her own ‘why-dunit’ rather than a ‘whodunit’ – another Christie-related disappearance is set to grip the nation. Well, perhaps not.

SUP Secretary and cast member Paul Cresser, our very own Captain Lombard, takes up the story:

ATTWNAND THEN THERE WERE NONE is the second Agatha Christie play that I’ve appeared in, having been cast as Leonard Vole in “Witness for the Prosecution” in Torquay many years ago.

In fact, I have something in common with Christie: we were both born in Torquay.

So a few days ago, whilst visiting my family for Christmas, I decided to visit the blue plaque that commemorates her birthplace.

I also wanted to prove to our Director, Paul Green, that I was looking at my script over the Christmas break!

I thought I’d be able to track down the plaque fairly easily, as my family said they knew exactly where to find it…” OR SO THEY THOUGHT!

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What Paul should have found…

“We were surprised on our arrival to find nothing but an empty space where the plaque should be.

I’ve already tried to investigate what has happened to it, but without success.”

We will continue with our enquiries and report back to you.

In the meantime, if you have any ideas on what’s happened to the plaque, do get in touch. Please remember to tell your friends, family and colleagues about the show – and don’t forget to book  yourself.


SUP proudly presents Agatha Christie’s AND THEN THERE WERE NONE at NST Campus theatre from Wed 23-Sat 26 January 2019 – tickets from just £10

Concessions and group bookings also available

You can book your tickets here

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Ten Little Soldiers

Christie on Campus #5

Christie on Campus #5

ATTWN1953: the good, the bad and the plain ugly

Guest blogger Stephen Fenerty – who is playing William Henry Blore in SUP’s new production of Agatha Christie’s AND THEN THERE WERE NONE – reflects on the year this version is set

AND THEN THERE WERE NONE is Christie’s bestselling novel, clocking up sales of more than 100 million copies worldwide.

Our production of this “masterpiece of suspense” takes place in 1953: the choice of our director, Paul Green.

The book itself was first published in 1939, when the Second World War was already under way. Christie wrote her play version in 1943, with hostilities still raging.

The story goes that at her agent’s urging, she changed the ending to a somewhat ‘softer’ and happier outcome, so as not to affect morale during wartime.

I’m pleased to report that SUP has reinstated her original 1939 ending from the book, using Christie’s original dialogue.

Anyway, in the original story, the action takes place some time in the late 1930s. Shifting it to 1953 means we retain that all-important vintage feel while also giving the story an ever-so-slightly more modern, post-war look.

TVcoronationIn the UK, the biggest event in 1953 was undoubtedly the Coronation of Queen Elizabeth II, which was televised.

This was the first time many people had seen a television, and sales of the new-fangled device skyrocketed. It actually poured with rain on Coronation day – which, in our version, takes place just eight weeks before the murderous events on Soldier Island.

everestThe other momentous event of 1953 – famously announced in The Times newspaper on the same day as the Coronation – was the conquest of Mount Everest by a British expedition led by Edmund Hillary and Tenzing Norgay.

Wartime rationing was only just coming to an end in 1953, a full eight years after the close of the war. In particular, petrol rationing ends at the beginning of February (as well as sweet rationing). This leads to a huge influx of cars onto Britain’s pre-motorway road network.

The end of rationing also means clothes and fashions are changing. Younger women favour a more ‘relaxed’ waistline, and so-called ‘pancake’ make-up becomes the norm.

teddy

Teddy boys

While swearing in public places is still an offence, youth culture linked to rock and roll music is starting to emerge with a vengeance, first in London before fanning out across the country.

1953 sees the Daily Express coin the name ‘Teddy Boy’ – Teddy being a shortening of Edwardian. Members of the Ted subculture were originally known as ‘Cosh Boys’.

So what of the plain ugly? The year starts darkly with the hanging of Derek Bentley for his part in the murder of PC Sidney Miles, in the notorious “Let him have it” case.

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Atomic test, USA, 1953

In America, meanwhile, President Truman announces that the US has developed the hydrogen bomb, with nuclear testing in Nevada in the spring and summer.

At the same time as the Cold War is hotting up, UFO sightings are on the increase.

At the end of January 1953, the North Sea flood kills more than 2,000 people in the Netherlands and on the east coast of Britain. Queen Mary dies in her sleep in March, with Joseph Stalin dying the same month.

John Christie arrives in prison van

John Christie arrives at court to be sentenced

The 10 Rillington Place murders are uncovered in March, with another Christie – John Reginald Halliday Christie – hanged for those grisly crimes just three weeks before the houseguests gather on Soldier Island.

That same week, the BBC airs the first episode of a groundbreaking sci-fi suspense serial Quatermass, while US spies Julian and Ethel Rosenberg are executed at Sing Sing Prison in New York.

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Piccadilly Circus, London – 1950s

With the Korean War officially ending, the Soviet prime minister announces – the same day as our characters arrive on Soldier Island – that the Soviet Union also has the hydrogen bomb. The country detonates its first thermonuclear weapon “Joe 4” a few days later.

This is the febrile atmosphere that forms the backdrop to SUP’s new production of AND THEN THERE WERE NONE.

It’s hardly any wonder that fear, suspicion and paranoia are the order of the day.

ryeBy the way, in 1953, Agatha herself – now aged 63 – is still working hard. That year sees her publish both a Hercule Poirot novel, After the Funeral, and a Miss Marple novel, A Pocket Full of Rye – another nursery rhyme reference, in this case ‘Sing a Song of Sixpence’, and again featuring cyanide.

To give you an idea of Christie’s longevity and enduring popularity, the year before saw the premiere of her play The Mousetrap in November 1952 – and 66 years later it’s still running in London’s West End.

However, you have an opportunity in just a few weeks to see her masterwork of suspense live and kicking, onstage in Southampton…


SUP proudly presents Agatha Christie’s AND THEN THERE WERE NONE at NST Campus theatre from Wed 23-Sat 26 January 2019 – tickets from just £10

Concessions and group bookings also available

You can book your tickets here

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Christie on Campus #4

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Ten Little Soldiers

Meet the suspects/meet the victims

Part 2

The second and final part of our guide to the mysterious house guests on Soldier Island in Agatha Christie’s AND THEN THERE WERE NONE – at NST Campus (Nuffield) Southampton from 23-26 January 2019 – you can book here

#ChristieOnCampus

In order of appearance continued – you’ll have to see the play for the order of disappearance

‘Mr Davis’ – Stephen Fenerty

This well-built and extremely bullish middle-aged house guest isn’t what he seems from the moment he steps foot on the island. Is he a South African millionaire as he claims or something else altogether: a “bit of a bad hat” with a history of corruption.

General MackenzieChris Aland

The oldest of the house guests, the General’s glory days are long behind him. Expecting a short holiday with Army chums, Mackenzie can be vague and detached: he misses his late wife terribly and appears guilt-ridden about a terrible choice that he once made…

Emily Brent Alison Wells

Rigid, ruthless and extremely religious, Miss Brent doesn’t suffer fools (or anyone) gladly. Although she reads the Bible every day, she lacks basic humanity – and refuses to take any responsibility for the tragic suicide of a young servant girl in her employ.

Judge Lawrence Wargrave Gavin Costigan

A retired judge, Justice Wargrave is intelligent and watchful, with an air of natural authority and commanding manner that mark him out as a natural leader. Could this man of the law have really sent an innocent man to the gallows?

Dr Armstrong – Hannah Harrison

A successful medical practitioner in the man’s world of 1950’s medicine, Elizabeth Armstrong has built a lucrative Harley Street practice as an in-demand nerve specialist. Her no-nonsense exterior may not be all it seems: did her respectability and success come at a price?


SUP proudly presents Agatha Christie’s AND THEN THERE WERE NONE at NST Campus theatre from Wed 23-Sat 26 January 2019 – tickets from just £10. Concessions and group bookings available.

You can book your tickets here

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Christie on Campus #1

Welcome to suspicion, fear, paranoia and ‘get to know you’ games

Kicking off our latest series of production blogs, Paul Green is our first victim: a director and actor with a long and impressive theatrical CV, he also has some distinctly sinister plans to bump off cast members

This being my first show for SUP, I wanted to get to know the cast, and to help cast who were members new to the company to get to know the more established SUP players. The cast for AND THEN THERE WERE NONE includes performers who joined SUP in the last few months working alongside more longstanding members – it’s a 50/50 split, really, between “old” and “new”. And of course, I’m a relatively new member of the team myself. 

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Paul Green is directing Agatha Christie’s AND THEN THERE WERE NONE for SUP Theatre Company

To me, simply starting rehearsals “cold” can throw everybody slightly, so we started the entire process with a four-hour session of exercises, on a Sunday, to get to know each other. This was, in part, about developing trust and team-working among the company members.

The first exercise, the “Name Game” – which we still play at the start of every rehearsal session – has a number of purposes. It’s for everyone to learn everybody else’s real name as well as their character name, to get them used to establishing eye contact, and getting them used to doing and thinking three things at once (which is, as I keep telling them, the basis of acting). If you can imagine mentally patting your head and rubbing your stomach and reciting the alphabet all at the same time, you get the idea. The cast has embraced this after persevering and the determination shown has been impressive. Much hilarity is also derived from identifying who is establishing eye contact and where you should walk and to whom (it takes too long to explain, but you should play it some time).

I also introduced the cast to “Flying”, which is pretty much as it sounds. Only one intrepid cast member did it to begin with, but after seeing what it entails, everyone took part, with one or two people still having to be convinced. You’ll see some pictures here.

We then played a game known as “Killer” or “Wink Murder” to introduce the cast to the feelings of paranoia and suspicion that I’ll be foregrounding in our production. In this game, one person is secretly chosen as the murderer and winks at their victims when no-one is looking. The victim then “dies” as spectacularly as possible in a way that also misdirects. So, as you can imagine if you know any members of this cast, the “spectacular death” aspect was really underplayed (the longest death scene was timed at more than two minutes). The more you play it, the more extreme the deaths are, and the more paranoid everyone becomes… precisely what I was aiming for.

Of course, we got through far more than just these games on the day, with everyone throwing themselves into the activities wholeheartedly – and we had a lot of fun while working hard to build a strong basis for teamwork and the underlying themes of the production.

Please follow our continued progress in future blogs from various people and different directions and of course, please remember to tell your friends, family and colleagues about the show – and don’t forget to book early yourself.


SUP proudly presents Agatha Christie’s AND THEN THERE WERE NONE at NST Campus theatre from Wed 23-Sat 26 January 2019 – tickets from just £10. Concessions and group bookings available.

You can book your tickets here

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Two Murderous Comedies

It’s a wrap

This week’s guest blogger is Stephen Fenerty, SUP co-chair. He reflects on the performance nights for our October one-act plays – and on a great audience reaction

First and foremost, a huge thank you to our wonderful audiences. 70-plus people enjoyed the Friday night double-bill, with that number swelling to more than 90 on the Saturday – which meant we were almost at capacity in the Rose Theatre and, more importantly, ensuring a great audience response for our casts.

And what a group of performers! 13 actors and actresses across the two plays, with more than half appearing in their first productions for SUP. And everybody did us proud, so a big thank you to our wonderful casts. Here’s a slide show, from rehearsals to get-in, show nights and after-show party…

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In the four-handed 1920’s murder mystery spoof A JOLLY SINISTER JAPE, the daft gags, double entendre and fast pace had the audience laughing and groaning in equal measure. The cast – experienced SUP hands Kerrie Brady and Naomi Scott alongside new members Martin ‘Timber’ Kelly and Michele Zadra – delivered Elliot Strange’s script with aplomb.

With the Rose Theatre at Barton Peveril College providing a bar for the first time, our audiences refreshed themselves at the interval before returning to their seats for THE REAL INSPECTOR HOUND by Tom Stoppard.

The longer of the two plays – 65 minutes compared to 35 minutes for the first half – this had the audience in stitches with its smart blend of satire, word play and slapstick, with excellent surreal performances and comic turns from an ensemble cast: Nick Hayward and Tim Ellwood, Paul Jones, Sarah Fergusson, Lee Barden, Jake Williams, Meg Britton, Carolina Scott, and not forgetting Andrew Clarke as the most convincing corpse on an SUP stage since Sophia in Dirk Gently.

Special thanks, of course, go to our brilliant behind-the-scenes team and tech crew, who make it all happen, including directors David Green and Kevin Bowers, along with Duncan Lang, Clayton Peters, Steve Town, Olly Trojak, John Peters and others. Thanks for all your help and continued support: we couldn’t do it without you!

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Lady Stoppard, Sabrina Guinness, with the SUP secretary and co-chairs

We were also delighted on the Friday night to welcome Lady Stoppard, Sabrina Guinness. While she’d read THE REAL INSPECTOR HOUND she had never seen it performed – and said she enjoyed the show hugely. Sir Tom, who couldn’t attend because he’s currently immersed in writing a new play, sent a handwritten ‘good luck’ message to cast and crew.

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A sneak preview of our next production: the Ten Little Soldiers themselves. Click here to book for Agatha Christie’s AND THEN THERE WERE NONE

When we plan and perform these one-acts, in addition to our ‘usual’ annual cycle of Totton Festival and January production at NST Campus, our objective is to provide more opportunities for SUP members to get involved, especially our new members, and to give audiences more opportunities to see our work.

There are obviously costs associated with putting on a show: licensing for the scripts (per night) plus set, costumes, props, van hire, and of course venue hire – the latter tending to be the main budget item. While we always try to “beg and borrow” wherever possible, using items for low or no cost, some of these costs are fixed. And there’s always a risk we may lose money on a production: you can never really tell if you’re going to attract an audience, despite your best marketing efforts and word-of-mouth.

Our objective is to at least break even, because it means we’re not eating into our reserves – but making a little profit is always great news, as it means we can carry on what we’re doing and provide even more opportunities.

I’m happy to report that while the final “profit and loss” accounts are still being finalised, it appears we have made a small profit on our Two Murderous Comedies. So thank you, once again, to all cast, crew and others at SUP who make it all possible – and, of course, to our audiences.

We hope to see you all at NST Campus 23-26 January 2019 for what promises to a rip-roaring production: Agatha Christie’s AND THEN THERE WERE NONE – with tickets from just £10

CLICK HERE TO BOOK

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It’s Murder – Take Two!

It’s Murder – Take Two!

Hounds of Love

This week’s blog is by David Green, director of SUP’s upcoming The Real Inspector Hound by Tom Stoppard

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19-20 October at 7.30pm, Rose Theatre, Eastleigh – book at http://www.ticketsource.co.uk/sup

This is my first time working with SUP so let me start by telling you a little about myself.

A director, actor and general theatre practitioner, I love to get stuck in with anything theatre-related. In fact, I’ve had a love for drama and theatre since the age of seven when I first got involved with Junior Minstead’s annual pantomime. After 10 years of panto, I started getting involved with the Youth Theatre in Minstead, and actually performed in a production of… you guessed it, The Real Inspector Hound!

Since then I studied drama from GCSE through to BA (Hons) at the University of Winchester. I now have my own theatre company, Out Of Bounds Theatre, and I freelance wherever possible. I even teach Performing Arts at Southampton City College.

But after all that, I still had a deep urge to direct Stoppard’s work again… just one more time, to really squeeze everything out of it, and demonstrate to people not only how great his work is, but also show the quality of our local acting talent. When I saw that SUP was looking for directors earlier this year and was open to suggestions, I knew that I HAD to get involved…

AND SO IT BEGINS…

We’ve had our first few rehearsals and I am VERY excited. The cast are enthusiastic, talented and hold a lot of potential, so I’m sure they will bring the final performances to life with ease.

So far, we’ve covered characterisation, looking into posture and physicality, in-depth back-stories for the characters and even voice and projection… and we have so much more still to cover. Stoppard’s work has so many layers to it, you could read it over and over again and find something new every time. So we have our work cut out for us.

Thankfully, the entire SUP team is brilliant, and I have absolutely no doubt that we’ll get through it, have fun, and produce a play that everyone will enjoy. Because, ultimately, that’s what all this is about: having fun, and ensuring that our audiences have a brilliant theatrical experience.

So please do come along to the Rose Theatre in Eastleigh this October, and enjoy the fruits of all the hard work these guys and the backstage crew are putting into the show. I’m sure you’ll have a fantastic time as we explore the weird goings-on at Muldoon Manor, the madman wandering around Essex, theatre critic Moon’s obsession with Higgs, and indeed, THE REAL INSPECTOR HOUND!


THE REAL INSPECTOR HOUND appears on a double bill with A JOLLY SINISTER JAPE at Eastleigh’s Rose Theatre, 19th-20th October 2019. Tickets are only £11 standard and £9.50 concessions – with no booking fees payable

You can book tickets here

Dirk Gently blog archive

It’s the end – but the moment has been prepared for

Kevin puts pen to paper for the last time: it’s the Dirk finale…

Well we’re here, the journey that started in July with auditions and the scripts being doled out is about to come to an end. We’ve done four shows and are in the dressing room getting mentally ready for the big finale.

This has been a great show to be a part of, both in the cast and as the production manager, blogger, delivery man and numerous other tasks that have fallen on my shoulders. I’ve learned a lot and know I’m nowhere near ready to direct on such a large scale, at least not without someone to hold my hand.

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The cast have uniformly been superb: from Paul Cresser as Dirk, wonderfully enigmatic and fully understanding the interconnectedness of everything, Paul Jones as Richard caught up in the whirlwind of the story, and Phillip DG as the forgetful professor Chronotis, in his 50th anniversary on the Nuffield stage – to Lou, Darcy and Beth as the impish Sarah complete with a yo-yo and of course the myriad of supporting players, everyone on the stage has given their all to make this the success it has been.

We were also lucky to have some amazingly talented people back stage and working on props and effects. Without the likes of Ollie, Clayton, Mike, Adam (both), Steve, Dave, and Tom we would look like fools running around in dress up. Their craft makes the unreal real and creates the illusion that we are in the world of Dirk.

All of this of course needs someone to be the puppet master, someone to pull the strings and we had someone colourful and larger than life to corral us and keep us in line. It’s not always been plain sailing, rehearsals with lots of sickness, line learning not where it should be, SFX taking a little, ahem, longer than hoped – but in the end almost 1,000 people will have left the theatre with a smile on their faces and mild feeling of confusion as they work out what they’ve just seen…

Lorraine, it’s time to get the sofa off the stairs and sit down and have a cuppa. Phew!