Checking In #3

Diana and Sidney

This week’s guest blogger Hannah Wright is directing the third section of LONDON SUITE – a bittersweet comedy that brings two old flames back together

When Chris Hawley, an established director with SUP Theatre Company, approached me with the prospect of directing for Neil Simon’s LONDON SUITE, I was thrilled.

Why? Well, the concept of London Suite is fresh and innovative, carefully allowing the audience an intimate view into the personal lives and stories of a vast array of characters.

I first met SUP members at the first reading of the play.


Hannah Wright, Director

I was instantly surrounded by friendly and welcoming people, who all share a love for the Arts and who, most importantly, have a cracking sense of humour.

There is something different about SUP Theatre, in comparison to other companies alike. They are highly professional, inclusive, with high standards and expectations for those involved. Everybody is included, stretched and challenged to the best of their ability.

There are so many opportunities made available for all.

During the first play reading, I instantly connected with the story of Diana and Sidney.

I loved their relationships, their story, and how in just 20 minutes, I was taken on an emotional rollercoaster. Their relationship is so honest, comical, and relatable. I was really excited to start exploring these characters with my cast.

As a new member for SUP, I was pleasantly surprised at how professional the audition process was. Every audition was held in the Lecture Theatre auditorium. Chris, Ali, Stephen and myself were able to meet everybody auditioning, discuss the characters they would like to audition for, and what skills set they could bring to the role. We were also able to audition people in pairs and groups, to better assess the dynamics of casting people, prior to the decisions being made.

During our first few rehearsals, I wanted the cast to get to know their characters.

We played around with different intonation and tone until it felt natural, and right.

We trialled different movements, different gestures and physicality, until eventually, a pattern started arising. The movement soon became second nature, and with regular yet small adjustments along the way, the characters flourished.

This was a collective project from the start for me, I wanted my actors to actively contribute and in doing so, we have bonded well along the way. The story and its characters now feels believable and incredibly honest for me, I’m emotional every time I see it. 

Come and enjoy this evening of sparkling comedy at the Rose Theatre, Eastleigh, 18-19 October 2019 – book tickets here






BLOG: Checking In


Stephen Fenerty takes a look at the author of SUP’s upcoming LONDON SUITE: a bona fide comedy legend

Neil Simon – acclaimed author of LONDON SUITE – wrote more than 30 plays and almost the same number of movie screenplays in his lifetime. He received more combined Oscar and Tony nominations than any other writer.


Neil Simon in 1974

In one theatrical season alone, Simon had four successful plays running on Broadway at the same time. In 1983, he became the only living playwright to have a New York theatre named in his honour.

Revered as a comedy legend, his other hits included BAREFOOT IN THE PARK (1964), THE ODD COUPLE (1965) which became a hugely successful film starring Jack Lemmon and Walter Matthau, THE SUNSHINE BOYS (1972), BRIGHTON BEACH MEMOIRS (1983) and many more. His autobiographical play LOST IN YONKERS (1991) won a Pulitzer Prize.

Growing up in the Bronx in New York City during the Great Depression of the 1930s times were hard for the young and extremely shy Marvin (his real first name).

He took refuge in movie theatres, where he particularly enjoyed screen comedians like Charlie Chaplin, Buster Keaton and Laurel and Hardy. An excellent grounding in comic timing and pathos for his later career.


Poster for the movie version of Simon’s breakthrough hit

After graduating from high school, and a few years spent in the US Army Air Force Reserve, Simon quit his job working in the mailroom at Warner Bros. to write writing comedy scripts for radio and early TV shows with his brother, Danny.

A big deal in the USA, you may not have heard of these classic shows from the early years of television: Sid Caesar’s Your Show of Shows (with Simon working alongside other young writers including Mel Brooks and Carl Reiner) and The Phil Silvers Show, more commonly known as Sergeant Bilko in the UK.


Simon in 1966

He began writing his own plays in 1961 and, by 1965, his Tony Award For THE ODD COUPLE had made him a national celebrity and “the hottest new playwright on Broadway”.

Writing stage plays and original screenplays until 2003, Simon’s “style” ranged from romantic comedy to farce and more serious dramatic comedy. All three styles and more are covered in SUP Theatre Company’s production of LONDON SUITE.

Written in 1995, LONDON SUITE is a standalone play but also a sequel of sorts – in terms of its hotel setting, structure and, indeed, a few characters – to Simon’s previous plays PLAZA SUITE (1968) and CALIFORNIA SUITE (1976). In the movie version of the latter, the characters of Diana and Sidney were played onscreen by Maggie Smith and Michael Caine. In LONDON SUITE, we have the brilliant Marilyn Dunbar and Jez Minns in these memorable roles.


Michael Caine as Sidney and Maggie Smith as Diana in the film version of Simon’s CALIFORNIA SUITE (1978)

Able to blend comedy with drama, Simon’s characters have been described as “imperfect, unheroic figures who are at heart decent human beings.” As you’ll see for yourself in SUP’s LONDON SUITE. His plays are  quirky and extremely funny.

Marvin Neil Simon died in New York City on 26th August 2018 aged 91.

Come and enjoy this master of comedy at the Rose Theatre, Eastleigh, 18-19 October 2019 – book tickets here.

Stephen Fenerty is co-chair of SUP Theatre Compoany, and is directing the first section of LONDON SUITE – “Settling Accounts”




BLOG: Checking In


Director Alison Wells reports from rehearsals…

Rehearsals are well underway for this female two-Alisonhander, Going Home.

An hilarious but also poignant account of a middle aged woman’s ‘date night’ with Dennis (or is it Kenneth!!?) Cummings and his numerous ‘habits’!

We have two fantastic actresses.

Lisa Dunbar is Laurie, the daughter – on the trip to London with her mother and setting her up on the date from hell.

Lisa is new to SUP but not to community theatre – having trod the boards regularly with The Chameleon Theatre Company of Chandlers Ford. Welcome Lisa!

Sarah Fergusson is Mother, in London to visit old haunts and shop till she drops. An established member of SUP, Sarah has appeared in a number of our shows as well as being an active committee member and keen SUP supporter. Welcome back Sarah!

With lines already learned, we are working on making our audience laugh out loud and perhaps shed a tear as Mother tells Laurie all about her night out at the theatre.

We’re gathering all our props at the moment – we need lots of shopping bags so I’m taking one for the team and volunteering to do a massive shopping spree – just for the bags, honest! The American accents are proving a little tricky; however, a few You Tube tutorials and we’ll get there!

At the first production meeting last week, the four directors – LONDON SUITE is four one-act plays that all take place in the same location – decided on the final set design and furniture.

We’re excited to bring a full-on 90’ ‘luxury’ hotel suite to the Rose Theatre in Eastleigh. Construction starts this week and we are currently sourcing furniture – creating that ‘luxury look’ from charity shops and Gumtree can be challenging but we love a challenge!

We also expect to see the contents of SUP members’ houses on the stage as we generously suggest our own furniture and then realise we’re sitting on the floor at home for the week of the show….

Anyway, back at our rehearsals, we’ve been focusing on the second scene of Going Home – Mother returns from her date  – and Laurie makes her tell the story of her evening in great detail.

The story is already very funny and I’m keen to bring as much physical comedy into the scene as we can. The actress, Sarah, has to get rid of all her inhibitions and really ‘inhabit’ the character of Mother. We, the audience, needs to feel like we are on the date with her – and then we want to enjoy all the ‘juicy’ details…

When I find myself laughing out loud at rehearsals, I know we’ve got it! I hope you can join us in October for a great night of theatre.

Alison Wells is co-chair of SUP Theatre Company




BLOG: Ghosts & Queens 3

Breathing new life into a Ravenhill play

Our latest guest blogger is Troy Chessman: a brand new SUP member and director of the upcoming GHOST STORY

Although I’ve trained as an actor, I’m no stranger to directing. I have directed a number of one act plays for drama festivals in Surrey.


Actor/Director Troy Chessman

I made my debut in 2015 with an abridged version of ‘Macbeth’ which went on to compete at the next round of the All-England Theatre Festival in Oxsted. Since then, I have directed ‘Brighton Beach Scumbags’ by Stephen Berkoff and co-directed ‘Almost Nothing’ by Marcos Barbosa, which I also won ‘Best Actor’ for.

Beyond the festivals, I have also directed a new modern contextualised version of Titus Andronicus, ‘Bonnie & Clyde’ by Adam Peck at NST City, and my own original brand new play ‘Won’t Fade Away’ about Alzheimer’s disease and memory.


Macbeth (2015)

When I heard that SUP was looking for a second play to enter into the Totton Drama Festival, my ears pricked up. ‘Ghost Story’ had been on my radar for a while. I then heard they were ideally looking for an all-female play and I knew I had to put it forward.

When choosing a play to direct, I always like to pick something that stirs something within me (and that can mean an array of things).

I ask myself, does this play make me think? Does it provide me with an opportunity to challenge myself as an artist? Are the themes relevant to me? Will it provide opportunities for my cast to create interesting characters? Is the message of the play something I advocate? Or is it something that bothers me, that I can address?


Troy in ‘Almost Nothing’

‘Ghost Story’ by Mark Ravenhill is, in its essence, a dark play with moments of comedy and embers of light.

Although the play is centred around the subject of cancer, it is NOT ‘a play about cancer’.

Rather , it’s a play that explores three women’s responses to having/dealing with/loving someone with cancer.

The play also goes against the conventional ‘Mark Ravenhill’ content that one might expect. There is no swearing, no profanity, no sex, just a stark insight into the characters’ responses to cancer.


Troy’s ‘Titus 2017’

The play questions the lies and truths that we tell ourselves and others in times of adversity. It offers three fascinating characters, each with their own motives and objectives.

Meryl is now a healer and a strong woman who had once overcome cancer but it is back  (is she a con women?).

Lisa is suffering from cancer and is looking to Meryl to coach and heal her to wellbeing (did her success in pushing Meryl to ‘cross the line’ impact Meryl’s fate?).

And there is Hannah, Meryl’s younger, naive and doting girlfriend, caught up in the impact of Meryl’s cancer (is her need to lie masking other issues?)

The play is not straightforward, the narrative leaves a lot to be deciphered, which is what makes the play so interesting.


Rehearsals for SUP’s ‘Ghost Story’ – 2019

As a director, I am free to unpick, explore and interpret the text as I see it. The text raises a lot of questions, which was exciting to discuss in rehearsals.

Who is the ‘villain’ of the play? Why does Meryl do what she does? Why is this character lying? Why is this character telling the truth? IS this character telling the truth? Who is dead? Is anyone dead?

The more you delve into the writing the more questions appear, more opportunities to make the performance interesting and dynamic.


Rehearsals for SUP’s ‘Ghost Story’ – 2019

In my rehearsal process I like to play with and explore new ideas.

I draw a lot of inspiration from the work of practitioners like Berkoff who choose to utilise the use of body and physicality, lifting the language of the text. I have tried to incorporate the use of breath and pace into the world of the characters.

The dialogue in this play is very important. I have stripped the set back to a minimum, giving us a suggestion of Meryl’s home in order to allow the performances, the dimensions, the chemistry of the actresses to be the focus of the piece.

I am incredibly lucky to have been able to cast three brilliant actresses who have taken on everything I have thrown at them and created three wonderfully compelling characters.

I can’t wait to share this piece with you and I hope you enjoy it.

SUP is proud to present GHOST STORY on a double-bill with Tennessee Williams’ AND TELL SAD STORIES OF THE DEATHS OF QUEENS for one night only.

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

Tickets from just £9.50 – no booking fee payable

Click here to book tickets

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BLOG: Ghosts & Queens

Stellar! Stellar!

Meet one of the star writers of 20th century American theatre: Tennessee Williams

Thomas Lanier Williams III – better known by his pen name Tennessee Williams – is considered to be one of the greatest American playwrights of the last century.

Born in 1911 in Columbus, Mississippi, the Southern United States would inform his most famous works, including SUP’s upcoming AND TELL SAD STORIES OF THE DEATHS OF QUEENS.


“I’ve had a wonderful and terrible life and I wouldn’t cry for myself, would you?”

Williams’ father, a travelling shoe salesman, was an alcoholic and generally not around the house.

He grew up with his mother in the parsonage home of his grandfather, an Episcopal priest. An early case of diptheria had left him a weak child, and he was confined to the house for a year.

His father, a violent man, had little time for the delicate son that he considered too effeminate. Trapped in an unhappy marriage, Williams’ mother focused her attentions on her frail son. Williams would draw on his turbulent family experiences in his later writing.

Aged eight, the family moved to St Louis when his father got a new job, and they moved around various homes.

Book here for Tennessee Williams’ AND TELL SAD STORIES OF THE DEATHS OF QUEENS –

Studying journalism at the University of Missouri, Williams feel in love with a girl and began writing to earn extra cash, but had little success.

He joined a University fraternity but it wasn’t exactly his scene, and he also failed a military training course in his junior year.

His father pulled him out of college and got him a job in the International Shoe Company factory.

Williams hated the nine-to-five monotony and starting writing prolifically in his spare time, often until late into the night. Overworked and unhappy, he suffered a nervous breakdown. He was still only 24.

In 1936, Williams enrolled at Washington University in St. Louis and his writing continued. In 1937 he transferred to the University of Iowa, graduating with a BA in English in 1938. In 1939 he adopted the pen name Tennessee Williams.


Brooding Brando in the movie version of A STREETCAR NAMED DESIRE (1951)

After another five years of writing toil and working in menial jobs, he became famous ‘overnight’ with The Glass Menagerie (1944), a play that reflected his unhappy family background.

This was the first in a run of huge hits that included A Streetcar Named Desire (1947), Cat on a Hot Tin Roof (1955) – both of which won the Pulitzer Prize for Drama – and Sweet Bird of Youth (1959).

Both Streetcar and Cat were made into highly successful films, which brought his work to a much wider audience. Both stories included references to various aspects of Williams’ life including his depression, alcoholism and homosexuality.

The playwright has began exploring his homosexuality in the late 1930s and had various relationships before settling into a long-term relationship with Frank Merlo in the late 1940s.

By this time, and following his sister’s severe ill health and institutionalisation, Williams was already a seriously heavy drinker, suffering from depression, and a user of amphetamines and barbiturates.


Paul Newman and Elizabeth Taylor in CAT ON A HOT TIN ROOF (1958)

Merlo became his personal secretary and a source of stability for some years until drug use and infidelities on both sides ended the 14-year relationship.

Shortly after, Merlo was diagnosed with lung cancer and Williams cared for him until he died in 1963.

In the years following, the writer descended into depression and increasingly heavy use of prescription drugs. A convert to Roman Catholicism (later said to be against his will) he was committed to mental health facilities a number of times. He never again scaled the heights of his earlier successes.

On 25th February 1983, he was found dead – aged 71 – in his suite at New York’s Hotel Elysée. The Chief Medical Examiner said Williams had choked to death after inhaling the plastic cap of a bottle, although there has been some debate about his actual cause of death. Despite his wishes to be buried at sea, he was buried in St. Louis, Missouri.

On his death, Marlon Brando said of Williams, “He always told the truth as best he perceived it, and never turned away from things that beset or frightened him. We are all diminished by his death.”

During his career, Williams also wrote screenplays, poetry, short stories and one-act plays – including And Tell Sad Stories of the Deaths of Queens. This was originally written in 1957, with Williams apparently continuing to work on the text as late as 1962. It was first performed in in 2004 in Washington DC, and published in its present form in 2005.

SUP is proud to be presenting this groundbreaking piece of LGBTQ+ writing on a double-bill with GHOST STORY by acclaimed British writer Mark Ravenhill – for one night only.

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 – 7.30pm

Tickets from just £9.50 – with no booking fee payable

Click here to book tickets

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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 #10

Christie on Campus #10

It’s show time: don’t blink

Ten victims. Ten suspects. Ten blogs… AND THEN THERE WERE NONE

It took a little persuasion from SUP to convince director Paul Green to take the helm on this new version of Agatha Christie’s AND THEN THERE WERE NONE.

He’d seen too many creaky am-dram productions on cluttered drawing room sets – and so he wanted to try something a little different…

“Don’t blink. Don’t even blink… Don’t turn your back, don’t look away, and don’t blink! Good luck…”

This time last year, if you had told me that I’d be directing an Agatha Christie play at NST Campus, I simply would not have believed you. But here we are, and you are about to see the culmination of a great deal of hard work, fun and ‘thinking outside the box’.

Fittingly, this is number ten in our series of pre-show blogs: the tenth and the last.

My starting point with the play was our group of performers. How do you integrate people who haven’t all worked together to trust each other? Remarkably easily, as it turned out.

I’ve been blessed with a cast that is happy to take multiple leaps of faith (quite literally) into uncharted territory, from the very first rehearsal onwards.



Maintaining the tension, suspense and paranoia that I wanted has been challenging and exhausting for all concerned but will, I am sure, produce a gripping, exciting and involving experience.

If you look at Christie’s script, I think the only real issues are to do with the stage mechanics, not her writing: notably the extremely detailed stage directions and the set itself, which are extremely prescriptive – if you choose to use them.

Her plotting is great. The story rattles along at a fine pace. Her characterization and dialogue are excellent. But the first thing I did was to strip back the set and furniture, so we could focus the action (and the audience) on what was really important – the growing suspicion, fear and paranoia on Soldier Island – and to throw the stage directions out of the window.

I wanted to create a far more fluid, free-flowing and immersive experience – reaching out into the audience at times.

So, if you come along expecting a drawing room/sit-down jolly murder mystery, I’d suggest that you strap yourself in and prepare for a rollercoaster ride instead. I believe theatre should be fun for all involved as well as challenging and risky – and hopefully there will be shocks and surprises aplenty.

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Paul Green

I also believe that challenging theatre convention provides a more interesting experience, so our audiences can expect to see stage pictures and behaviour that might grate and raise questions. That’s healthy.

A great many people have contributed to this show, far too many to mention, but my heartfelt thanks go to all those who have helped and supported the show.

So, can you spot the clues?

Never let your guard down. Don’t trust anyone. Don’t blink.

Enjoy the show.

Take your seats… 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

Click here to book tickets