Keep Calm And Carry On (Performing)

Keep Calm And Carry On (Performing)

Can community theatre survive COVID-19?

e8a8b137-ebea-43b7-8665-5fe07ccf23bbSUP co-chairs Alison Wells and Stephen Fenerty reflect on the last few months

We hope this blog finds you and your loved ones safe and well.

We’ve been co-chairs of SUP Theatre Company for three years now, and we love the group for many reasons – but mainly because of the people we get to meet, work and socialise with. We come together through a shared love of theatre, the arts and performing, to make new friends and have fun.

Pre-coronavirus and like most people, SUP’s year was pretty well planned. We had a great mix in our programme that included festivals, outdoor theatre, regular plays, murder mystery events and socials – all of which went immediately on hold, like most of the rest of the country, in late March.Cast_StephenBW

Someone said to us, ”Well, I guess that’s it for you guys, for a few months at least?” Far from it.

The challenge for us and the SUP Committee was how to keep our society ‘going’ when we couldn’t actually get together physically and do what we came together to do in the first place: engage in theatre as a collaborative activity.

How do you run an amateur theatre group when there are no theatres and no audiences, when actors can’t be in the same physical space?

Of course, this is a massive challenge facing theatre groups and venues up and down the country, in so many cases magnified, and some – sadly including our own Nuffield Southampton Theatres – have already stumbled and fallen. We have performed at NST Campus for over fifty years. The future is uncertain and we can expect a lot more of that. But, as they say, the show must go on, in some form or another. We must try to stay positive.

So that is what we have done. Like many others, from the National Theatre to stand-up comedians, we’ve taken it online. In fact, we’ve been thrilled to see the SUP community thriving online.

These days, we hold our monthly committee meetings using Zoom. Of course we do.

But we also planned lockdown social events via Zoom, hosting two well-attended quizzes that also involved friends and family, as well as online play-readings, scripts provided. The second play reading was open to the wider public if they wanted to join us. Yes, reading a play online as a shared experience does take a little getting used to, but once you get that flow and pace, it works extremely well. And it’s fun. It brings us together. And together, we are stronger.

As part of our community remit, we also used our lockdown quizzes as opportunities to raise funds for charities including the Alzheimer’s Society and Rowans Hospice.

On Facebook, for our members’ only group, we’ve run ‘Lockdown Challenges’ for members to provide short video clips or images that are, for example, associated with a famous scenes or dialogue from plays and movies. It’s creative, it’s a distraction, it’s fun.

Back in March, we were disappointed when we had to cancel our rehearsals and public performances for our new wartime anthology ‘For The Fallen: Home Front’ that presented voices from the Southampton Blitz, D-day and VE Day.

Instead, our fantastic cast members of all ages performed the poems, letters, sketches, monologues, first-hand accounts and songs from the safety of their own homes, recording their brilliant efforts on video, some using virtual backdrops and other effects. We’re all learning.

Volume 2. Page 70, Picture 6. World War II. 8th May 1945. Whitehall, London, England. VE Day crowds are in high spirits after Prime Minister Winston Churchill+s speech.

Many of these clips were part of Royal Victoria Country Park’s live stream for its VE Day celebrations. We were even interviewed about our “virtual VE Day performances” on BBC Radio Solent. Take a look at the video playlist on Facebook, some clips are a little over a minute, none more than three minutes – https://www.facebook.com/watch/SUPTheatre/841452699676177/

We’re continuing to try and think of new ways to engage with our members and reach an audience. Members can dip in and out as they like, and we’re delighted to see them when they do join in.

Our next challenge will be online auditions and casting for our next production, which will take place in a theatre – we just can’t be 100% sure where and when right now – and we’re also thinking about other online performances we can put together as a group. As our technical prowess grows, so do our ideas.

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It does take a bit of work, time and planning but trying to keep the group together and active as best we can, while the country emerges from the Covid-19 crisis, is a priority for the two of us and for the rest of the Committee. SUP has been around for over 55 years and we’re still going strong! In fact, we even welcomed two new members this week: Jan and Greg, it’s great to have you on board.

Why not join us?

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: Making Tracks #2

BLOG: Making Tracks #2

Action stations!

SUP director Paul Green explains why he wanted to direct The Railway Children – and his vision for this immersive production

I’ve been keen to direct this particular adaptation of The Railway Children for quite some time. Let me explain why.

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Paul Green is directing THE RAILWAY CHILDREN for SUP Theatre Company

First, the place that its author E. Nesbit and this particular story hold in popular culture.

I read my first E. Nesbit  book at the age of nine and read virtually all her books in the next three years.

They were completely different from anything I had read before. As the previous blog explained, Edith Nesbit was a genuine trailblazer for what we now recognise as ‘modern children’s literature’. The genre, as we know it today, didn’t really exist before ‘Daisy’ got cracking.

Her style, structure, her approach and the way she presented her characters led the way, and many others followed in her wake. 

And for generations of adults, the 1970 film version starring Jenny Agutter, beautifully directed by Lionel Jeffries, is a touchstone for their childhood. It’s still a family favourite.

I felt we could not only bring the story to a new audience in Southampton, for all ages, but that we could also do something interesting and a little different with this well-known and much-loved story.

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SUP is promising “an immersive experience”

Which brings me to the second reason I wanted to tackle this story: this adaptation by Mike Kenny.

It was first produced as a site-specific piece at York Railway Museum, featuring a live steam train. The show then moved into London for two highly successful runs, at Waterloo station and then Kings Cross. Both, again, featured a steam locomotive.

His main surprise was that the children are played by adults (20 year olds),  to emphasise the family aspects and the humour that runs through the whole play.

We have a few surprises up our own sleeves. We plan to recreate ‘The Golden Age of Steam’ live on the NST Campus stage with an immersive experience, in the same way we created that distinctive atmosphere for our Agatha Christie production – but it’s the writing that really marks this adaptation out.

It’s fast moving and it’s funny. It moves along at a cracking pace like, well, like a train.

The structure is clever, and the dialogue directly involves the audience. As a result, we feel emotionally invested in the story. It really is for people of all ages.

It has some marvellous moments. Twinges of sadness, flashes of anger, moments of tenderness.

All the characters are beautifully drawn, in particular the central trio of children. If you haven’t seen this version, I think you’ll love it. (And we also have some fantastic actors rehearsing their socks off right now.)

My overall vision for the show is based on open staging with very fluid changes, projections, and fast-paced action, with evocative lighting and special effects. The emphasis is on fun and, for the cast, team work.

I want to give audiences a dynamic experience, gathering them up and taking them through the story. With a few surprises along the way.

So, how am I going to tackle the set-pieces on stage, those moments you may remember from the book or the film?

The simple answer is “you’ll have to wait and see”. But expect imaginative and inventive effects.

We are planning to give you the sense, sounds and visuals of a full-sized steam locomotive coming your way. We want you to feel a part of it. Expect immersive sound, lighting and special effects. We’re working hard to present the landslide in a very interesting way. The five-bar gate the children watch the trains from is the easy part.

Hope to see you there!


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

Book now: call 023 8067 1771 or click here

Tickets from just £10

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BLOG: Making Tracks #1

Welcome to The Three Chimneys

SUP Theatre Company is taking audiences back to the Golden Age of Steam: SUP co-chair Stephen Fenerty introduces our January 2020 show and its author.

E. Nesbit’s The Railway Children is an acknowledged classic. Originally serialised in The London Magazine in 1905, it made its debut as a book the following year.

The story, in case you didn’t know, is about an Edwardian family forced to relocate from London to a house near the railway line in Yorkshire – the house is called The Three Chimneys – after the father, a high ranking civil servant at the Foreign Office, is imprisoned after being accused of spying.

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A classic image from the 1970 film version of THE RAILWAY CHILDREN

The narrative follows the central trio of children – Bobbie (Roberta), Peter and Phil (Phyllis) – in their various adventures and with the colourful characters they meet in and around the railway.

The book mentions the then-current Russo-Japanese war, which dates the events to spring, summer and autumn of 1905.

The railway setting is believed to have been inspired by the author’s walks to Chesfield railway station in the London Borough of Bromley, near where she lived, and her observing construction of the railway cutting and tunnel.

Described by her biographer as “the first modern writer for children”, Edith Nesbit (1858-1924) wrote or collaborated on more than 60 books. Incidentally, even though her name was Edith, she was always known as Daisy.

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Edith Nesbit – ‘Daisy’

A follower of the Marxist designer, poet and novelist William Morris, she was also a political activist and co-founded the Fabian Society, a socialist organisation that was later affiliated to the Labour Party.

The Railway Children is perhaps her most famous work, closely followed by The Story of the Treasure Seekers and Five Children and It.

Noël Coward was an admirer of her work, writing that she had “an economy of phrase, and an unparalleled talent for evoking hot summer days in the English countryside.”

The Railway Children has been adapted for the screen six times, including three serialisations on the BBC in the 1950s and 1960s, and a TV movie in 2000. The most famous version is Lionel Jeffries’ 1970 film. Jenny Agutter played Bobbie in both the BBC’s 1968 and the 1970 film version—and was re-cast as Mother for the TV movie in 2000.

The Olivier Award-winning stage adaptation being presented by SUP at NST Campus in January 2020 was first staged in 2008 and 2009 at the National Railway Museum in York, and later enjoyed highly successful runs at London’s Waterloo and Kings Cross rail stations.

Almost one hundred years after her death, E. Nesbit’s work is still with us, and continues to delight successive generations of children. As her biographer Noel Streatfeild wrote:

“When an author dies, as E. Nesbit did in 1924, too often their books are forgotten. This did not happen in her case, for the books have gone on, loved by generation after generation of children. Not all her books were great, but enough were for her name to belong forever to children’s literature.”


SUP presents THE RAILWAY CHILDREN at NST Campus, 22-25 January 2020

Book now: call 023 8067 1771 or click here

Tickets from just £10

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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.

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“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.

https://www.ticketsource.co.uk/sup

Book here for Tennessee Williams’ AND TELL SAD STORIES OF THE DEATHS OF QUEENS – http://www.ticketsource.co.uk/sup

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.

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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.

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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 #7

Christie on Campus #7

The New Year brings new blood to the Nuffeld stage

The cast of SUP’s upcoming AND THEN THERE WERE NONE includes new faces

When we auditioned and cast the show, we were pleased to welcome some exciting new talent to SUP Theatre Company.

In fact, the 10-strong cast is an almost 50/50 split, comprising five new or new-ish members alongside five longstanding players. This has made for a genuinely interesting dynamic within the cast, as old friends have come to blows in character – and new alliances are forged.

So, it’s in with the new…

Anna Hussey plays Mrs Rogers

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Anna Hussey

Anna has mainly been working backstage for the last decade, specialising in costume since leaving university.

She returned to the stage in 2016 and is making her debut performing with SUP in this thrilling production, with a marvellous turn as the hectoring and put-upon housekeeper on Soldier Island.

Along with performing, Anna enjoys board games, sci-fi and fantasy TV/film and attending rock gigs. She also hopes to return to another of her university pastimes in the near future... skydiving!

Gavin Costigan is Justice Lawrence Wargrave

Gavin’s first public performance in 1972 received mixed reviews from the critics.

Some thought that a loud solo rendition of “Baa Baa Black Sheep” may not have been entirely appropriate for a Nativity play – and perhaps even less so since he was in the audience.

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Gavin Costigan

His acting skills have progressed since then, although sadly his singing is much the same. He has appeared in a variety of shows for different groups, and before the current production his favourite part was Charles Condomine in BLITHE SPIRIT.

Gavin is returning to the stage after a break from acting due a combination of work and children – but both of these are now somewhat more under control. His Wargrave is watchful and controlling. When not acting or trying to earn a living, he writes poetry, drinks whisky and walks up Scottish mountains, though not all at once.

Hannah Harrison plays Dr Elizabeth Armstrong

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Hannah Harrison

Hannah likes to think that her revolutionary gender swap makes her the TRUE first female Doctor!

She trained as a professional actress at the Academy of Live and Recorded Arts alongside fellow cast member Jess Capes. After following her friend of six years to Southampton, Hannah decided that she had to go one step further and join SUP – to further annoy Jess with her constant company.

Hannah is also an avid snow globe collector and has a thing for pineapple shaped objects. Her Dr. Armstrong is a joy to behold.

Alex Mawers is Anthony Marston

Alex is a qualified accountant working at Southampton General Hospital. As his amoral playboy character in the show says – repeatedly and annoyingly – he’s a “triffic!” addition to the team.

He’s only just returned to acting and this will be his first stage performance since his GCSE performance of Alice in Wonderland in 2010!

Although not seen on stage with SUP yet, Alex did appear as the Inspector’s assistant at two SUP Murder Mystery Dinners in 2018.

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Alex Mawers

Jess Capes plays Vera Claythorne

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Jess Capes

Jess trained at drama school with fellow cast mate Hannah.

She is very excited to be tackling this role alongside an amazing cast: if rehearsals are anything to go by, her performance in the climax of the play will have audiences on the edges of their seats.

Jess used to compete in ice skating, loves her brass music and once owned 13 gerbils!

Please remember to tell your friends, family and colleagues about the show – and don’t forget to book


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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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

ATTWN

It’s Murder – Take Two!

A Jolly Sinister Jape: a director’s journey part 2

This week’s guest blogger is director Kevin Bowers, currently rehearsing A Jolly Sinister Jape for SUP. He was previously seen for SUP, bless him, sporting a rather fetching wet-suit in Dirk Gently’s Holistic Detective Agency. Kevin writes…

Dear reader, we last spoke on 3rd September, so it’s high time for an update.

Rehearsals are progressing at quite a pace. The cast know their lines, their moves and – importantly – are having fun. There is a real sense of teamwork and genuine collaboration in the rehearsal room. and the characters in the script are coming to life; lovely. The humour on the page is filling the room and making me laugh out loud. And of course, it’s not always been plain sailing. Choreographing some of the scenes has been a challenge, for sure. A flying glass in particular has taken a huge amount of practice and I’m sure we’ll need to keep using the plastic stunt double for a while yet.

Biffy, played by Martin ‘Timber’ Kelly, is fortunately quick to recover from being hit with a poker, and then being stepped over and dropped by the “caring” and rather dashing Italian Lord Stubbs, played by real-life Italian Michele Zadra. And, of course, famous actress Ophelia LeBobo played by Naomi Scott is the third side of this triangle. The chemistry between these three characters as they unwittingly vie for affection is palpable and electric. Their comic disdain is clear and the comedic bitterness oozes out.

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

When this trio are joined by a mysterious stranger, the dynamic of the group has to change and sides are chosen. The newcomer, played by Kerrie Brady, regales them with stories of foreign travels and loves lost, but who exactly is she? Come and find out at Eastleigh’s Rose Theatre in October – you can book here

It’s been a fulfilling experience for me to work with such an engaged and enthusiastic cast. They’ve really bonded and supported each other. This was very apparent as the scripts were, begrudgingly, put down, and some lines were difficult to recall. They treated each other patiently and were reassuring throughout. Nobody has been backwards in coming forward with suggestions and ideas for what their character could do, or how to say something, and all have been willing to try things suggested by the director others in the cast.

With less than three weeks to go, I’m confident we’ll be giving our audiences a very, very funny show. Don’t forget to book!


A JOLLY SINISTER JAPE is on a double bill with THE REAL INSPECTOR HOUND at Eastleigh’s Rose Theatre, 19th-20th October 2018. Tickets are only £11 standard and £9.50 concessions – with no booking fees payable

You can book tickets here

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It’s Murder – Take Two

It’s Murder – Take Two

Great Scott!

This week’s blog is from a real diva… famed actress Ophelia La Bobo (aka real-life SUP performer Naomi Scott) who finds herself tangled up in A Jolly Sinister Jape

My public want to hear from me? Well, I suppose that that’s no surprise. After all, I am the famous Ophelia La Bobo. You’ve probably seen me in films such as ‘The Attack of the Killer Jelly’. And of course I have another one just around the corner. I can’t wait to start work on ‘The Curse of the Human Dung Beetle’.

Working in film is so thrilling. The lights… the people… the fame! And my characters get to have such marvellous adventures.

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I’m an adventurer at heart – so long as I don’t get muddy or break a nail.

Can you believe that some people actually go to far-off lands where they traipse through forests and mountains, sleeping outside and drinking from rivers? How ghastly! Some even jump out of aeroplanes! How silly.

But it’s true that I yearn for more excitement. It’s not my husband Biffy’s fault that he’s such a bore. But of all the men that I could have married, I really would have imagined someone more interesting – perhaps with an exotic accent?

Oh, the show? Well, it’s a bit of a step backwards appearing in theatre rather than on the silver screen, of course, but it’s good for one to remember one’s roots. And of course I know that my public will appreciate being able to see me in the flesh. The Rose Theatre, you say? Where’s that? Eastleigh? Never heard of it. No matter. I’m sure that it will be positively ripping!


You can see Naomi in person as Ophelia in A JOLLY SINISTER JAPE –  on a double bill with THE REAL INSPECTOR HOUND at Eastleigh’s Rose Theatre, 19th-20th October 2018. Tickets are only £11 standard and £9.50 concessions – with no booking fees payable. Click here to book tickets

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