Spotlight Summer 2015

Transcription

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of
Mar
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The magazine of The Marlowe Friends
ISSUE 12 Summer 2015
Gary Wilmot
The cheeky charmer
rides into town in
Oklahoma!
Simon Stephen
The playwright tells us
how he adapted The
Curious Incident Of
The Dog In The NightTime for the stage
Brian Conley
The Barnum star tells Spotlight
why he’s on such a high
HOUSEKEEPING
EVERY BRILLIANT THING
GLYNDEBOURNE
Meet the polished
performers who have the
task of keeping our theatre
spick and span • P10
Why you should put this
charming play about hope
in the face of crisis on
your list • P14
The relationship
between The Marlowe
Theatre and
Glyndebourne • P22
Welcome
CONTENTS
4 News
6 Paul Foot
The comedian on the verge of
becoming a household name
7In the Spotlight: Brian Conley
Barnum star Brian Conley
tells Spotlight why he is
on such a high
10 Behind the Scenes
We meet The Marlowe
Theatre’s Housekeeping and
Maintenance Department
14 Every Brilliant Thing
Why you should put this
charming play about hope in
the face of crisis on your list
16 Gary Wilmot
The cheeky charmer rides into
town in Oklahoma!
19 Simon Stephens
The playwright tells us how he
adapted The Curious Incident
Of The Dog In The Night-Time
I’ve never been one to make resolutions – especially a few
months into the year! I would, however, urge you to make one: if
you haven’t experienced the delights of The Marlowe Studio, do.
SPOTLIGHT
Issue 12 Summer 2015
22 Glyndebourne
A match made in heaven:
The Marlowe Theatre and the
opera company.
CONTRIBUTORS
Laura Kimpton
Dawn Kingsford
Sarah Munday
Amy Smith
EDITOR Sarah Munday
24Laura Kimpton
Our regular columnist takes a
look at an age-old problem
25Talks & Tours
26 Friends committee events
Events to be enjoyed across
Kent for our members
iscounts for The Marlowe
27 D
Friends
Plenty of savings to be made
for our members
DESIGN Cog Design
PHOTOGRAPHY Tim Stubbings
timstubbings.co.uk
ISSN 2046-4703 (print)
ISSN 2046-4711 (online)
THE MARLOWE THEATRE
The Friars, Canterbury
Kent CT1 2AS
Follow us on Twitter
@marlowetheatre
marlowetheatre.com
Write to us with your
comments at spotlight@
marlowetheatre.com
The “home of new writing, comedy and contemporary theatre”
has come into its own in the last year or so: audience figures
reflect this and it’s no surprise. The programme is interesting
and eclectic: from skiffle to Shakespeare, cute kittens to
cabaret. Some of the plays may tackle sensitive issues (such
as debt, dementia and depression), but they do so playfully,
simultaneously challenging and entertaining.
We are so proud that some of the country’s leading and
most exciting small-scale theatre companies are coming to
us: Paines Plough, The Paper Birds and Fourth Monkey to
name three. Please do get to know them. And last year, The
Marlowe Studio played host to Beached, our first production.
A great venture that will be repeated (more details soon!).
As I’ve often said, the success of The Marlowe Theatre is
down to the hard work, commitment and passion of all
staff members, but just for once, I would like to single
out Adam Wood and Amy Smith for praise. Their
programming and marketing of The Marlowe Studio
has undoubtedly helped make it the success it is.
If you haven’t ventured into The Marlowe Studio
so far, give it a go. I promise you will be
pleasantly surprised: good things do come
in small packages!
Mark Everett
THEATRE DIRECTOR
PAGE 19
2
SPOTLIGHT Summer 2015
PAGE 6
PAGE 16
Summer 2015 SPOTLIGHT
3
THE RIGHTS OF
OTHERS
IN NUMBERS
30
PERFORMANCE
In the year that we mark
landmark anniversaries of the
Magna Carta, the Second World
War and the fall of the Berlin
Wall, The Marlowe Theatre’s
second participation project
looks at our dreams of freedom.
Creative workshop members will
join forces with local people to
present The Rights Of Others,
the follow up to The Garden Of
England.
This year’s production is in July
and will once again be in two
halves: a promenade performance
around the theatre, followed by
Desperate Measures, a new play
staged in The Marlowe Studio.
Acting Head of Creative Projects
Andrew Dawson says: “Exploring
the treacherously winding path in
search of freedom, The Rights Of
Others poses questions about our
rights and liberties: a subject that
is as pertinent now as it was 800
years ago.”
The Rights Of Others:
Wednesday 8 to Saturday 11 July.
Hear about
it first
If you would like us to email you
to let you know when new shows
go on sale, please make sure you
have opted in to receive emails
from us or we are unable to
contact you this way.
You can either do this online
(marlowetheatre.com), by
contacting Mia Power (mia.
[email protected]),
or by calling the Box Office on
01227 787787.
4
The Brighouse and
Rastrick Band (with us in
May) have acquired more
than 30 notable triumphs
since they first came to
national prominence in
the 1920s. In 1998, the
band held concurrently
the English Masters, British
National and European
Championships, a unique
“triple Championship” still
not equalled.
A Marlowe First
PERFORMANCE
The Marlowe Theatre’s first in-house production was a big
success - in more ways than one!
Beached premiered at the The Marlowe Studio in October
and then transferred to London’s prestigious Soho Theatre
for a three-week run. Written by Melissa Bubnic, produced
with Paul Jellis and directed by Justin Audibert (who made
his debut at the Royal Shakespeare Company earlier this
year), it told the story of Arty, the world’s fattest teenager.
The Marlowe Theatre’s director Mark Everett says first-time
producing had been a long-held ambition for the Canterbury
venue and Beached had proved the perfect starting point.
“With the success of Beached – and some great reviews – we
are all eager to have another go. A case of once a producer,
always a producer!
“Plans and discussions are well underway to followup Beached with a second production, and more. The
experience was certainly challenging but it has changed us
and our theatre for the better.”
CANTERBURY CHILDREN’S FESTIVAL
RETURNS
FAMILY EVENTS
From dinosaurs to kittens, Canterbury Children’s Festival has
something for everyone this May half-term holiday.
The Marlowe Theatre and The Beaney have once again joined
forces to host performances, workshops and free events - all
under the watchful eye of Big Blue, the festival’s
monster mascot!
Highlights include the productions Captain Flinn
And The Pirate Dinosaurs and Pitschi – The
Kitten With Dreams, and an appearance by
children’s comedian, James Campbell. For full
festival details, go to marlowetheatre.com.
Relaxed Performance
success
PANTOMINE 2014
“A wonderful first experience of the magic of theatre”.
Donna Rees (talking about her son, Finley) was just one
of many satisfied customers who came to our Relaxed
Performance of Aladdin. She added: “It was so lovely
to actually relax and enjoy a show in an atmosphere of
acceptance and fun, no judgemental stares.”
The pantomime was specifically designed and adapted for
people with a wide range of disabilities, including those on
the autistic spectrum. Changes were made to the theatre
(for example, chill-out zones were provided), and to the
production (sound levels and lighting were different, and
no pyrotechnics or strobe lighting were used), making the
atmosphere less formal in order to reduce anxiety levels.
The show (on 6 January) was The Marlowe Theatre’s first
Relaxed Performance and was attended by families, schools
and charity groups. All agreed it was a great success.
Madison and Jasmine Gisby (pictured) came with their mum,
Elaine. She said: “It was a rare opportunity for us to come
out as a family and to relax and enjoy ourselves without
worrying about what anyone would think or say. The girls
had a wonderful time.”
There will be a Relaxed Performance of Snow White And
The Seven Dwarfs at 1pm on Tuesday 5 January 2016.
SCHOOL’S OUT
CORPORATE MEMBERS
An entire primary school enjoyed
Aladdin at The Marlowe Theatre
thanks to one of our Corporate
Members. It was the first trip
to a theatre for many of the
youngsters.
Holiday Extras, based near
Hythe, paid for all 109 children,
plus staff, of Palmarsh School
(also Hythe) to see the
pantomime – an example of how
businesses can support Marlowelead community initiatives.
Our Corporate Membership
scheme now has 18 members,
all with 26-plus staff. Recent
additions include Caxtons,
St Edmund’s School, Jobs In
Kent, Port Of Dover and MHA
MacIntyre Hudson. A new level of
the scheme has been launched
and is aimed at companies with
up to 25 staff.
For more details about either
scheme, email development@
marlowetheatre.com.
5
COMEDY
IN THE SPOTLIGHT
Paul Foot is on the verge of becoming a household name.
Ben Travis (something of a comedian himself) takes a look
at comedy at The Marlowe Studio.
WATCH THIS FACE
I
f the title of a show aims to
give you a sense of what you
are going to expect, then
the audience for Hovercraft
Symphony in Gammon # Major
are in for an extraordinary time.
But what else could you expect
from the mind of one of the
country’s most eccentric and
original comedians.
Paul Foot has been a fixture of
the UK comedy scene for many
years, building a cult following
(who he calls connoisseurs) for
his brilliantly surreal brand of
humour. But after appearances
on BBC Two’s Never Mind The
Buzzcocks and Channel 4’s 8 Out
Of 10 Cats, Foot is on the verge of
becoming a household name.
Telegraph Open Mic Award. After
reaching the final of the hit US
talent show, Last Comic Standing
on NBC, Foot continued to tour his
stand-up shows (or live musings
as he calls them) throughout the
UK and Australia.
Foot is the latest in a host of
up-and-coming comics to perform
in The Marlowe Studio. Many of
the country’s most exciting and
unique comic voices have graced
the stage of our intimate 150-
Studying mathematics
at Oxford isn’t
the usual route to
international comedy
stardom.
Studying mathematics at
Oxford isn’t the usual route to
international comedy stardom, but
it worked for Foot. He started to
perform shortly after graduating,
and before long won the BBC New
Stand-Up Award and the Daily
6
seat auditorium. Future dates
are scheduled for Edinburgh
Festival favourite Alex Horne and
TalkSport’s Matt Forde, as well our
regular Marlowe Comedy Cabaret
nights, where a host of the best
club comics perform to sell-out
crowds every month.
For more information on our
comedy programme, visit
marlowetheatre.com
Paul Foot: Friday 29 May.
BRIAN
BRIAN
CONLEY
CONLEY
Barnum star Brian Conley tells
Spotlight why he is on such a high.
B
Sum Comedian:
Paul Foot
rian Conley has spent much
of his distinguished career
playing Americans, even if
there’s no mistaking the Englishman’s
distinctively husky voice.
A native Londoner, Conley was
a 1996 Olivier nominee for his
performance as the Lithuanian-born
American singer Al Jolson in the
musical Jolson. He has also appeared
on stage as Professor Harold Hill in
The Music Man at Chichester and
as the capacious, warm-hearted
Edna Turnblad in Hairspray. Most
recently he played Fagin in Cameron
Mackintosh’s national tour of Oliver!
7
IN THE SPOTLIGHT
Wired:
Brian Conley in action
Conley comes to Canterbury in the
title role of Barnum, the revival of
the much-loved Cy Coleman-scored
musical about Phineas T Barnum, the
circus entertainer extraordinaire who
was famously known as America’s
greatest showman.
When the offer of the role came
Conley’s way, it was familiar to him:
“I saw Michael Crawford do it
originally in the West End. It’s a show
that I’ve always admired, just as I’ve
admired everyone that has taken
on the role. So now to be asked by
[producer] Cameron Mackintosh
to have a go myself is a wonderful
honour. I saw this production in
Chichester [in 2013] and just loved it.”
It is a physically-demanding role, but
Conley is prepared: “I started training
before Christmas last year, I was at
circus school twice a week and then
we had five weeks of rehearsals. It’s
certainly physically demanding but no
more so than doing panto twice a day.
“Sure, I have moments of thinking
I’m too old for this, but then I think to
myself, it’s as if I’ve been called up by
the England manager of the theatre
world in Sir Cameron Mackintosh so
I can’t let him down. And the
wonderful thing with Cameron is that
there’s absolutely no skimping; you
know everything will be done to the
highest degree.”
One of the many challenges that
Conley has to tackle in Barnum is
walking a tightrope: “It’s one of the
obstacles the show poses and I did find
myself thinking initially when I was on
8
I broke my finger
doing the tightrope a
few months ago now
and that was when I
was all of one foot off
the ground.
the tightrope, ‘what am I doing here?’
I’m not afraid of hard work, whether
in this or any show. I do eventually
cross the wire, not always on the
first attempt but that’s what makes
it so exciting, the whole audience
appreciates that I’m not a professional
tightrope walker.”
Conley says he has no fear of heights,
but admits: “I broke my finger doing
the tightrope a few months ago now
and that was when I was all of one
foot off the ground. I also sprained my
ankle pretty badly on the second
day of rehearsals when I was on the
wire at its full height which is eight
foot off the ground. I think you can say
that I’m afraid of falling but not afraid
of heights.”
Barnum is comparable to several
of Conley’s stage roles over the years:
Prof Harold Hill in The Music Man was
a similar type of conman character,
and Al Jolson was a hugely driven man
whom people grew to love. Conley
says: “In each case, you’ve got to play
these roles without malice but with
energy and charm.
“What I’m hoping I bring to Barnum
is a real contact with the audience
where we talk to them and keep them
engaged. It’s important whatever
you’re performing to be visually
interesting so you don’t just stand
there and waffle on!”
This Barnum is not a mere carbon
copy of what has been done before.
Conley explains: “For one thing, we’ve
restored So Little Time, which was
dropped originally from the show. It
is about how much he loves his wife
Charity, or Chairy [played by Mamma
Mia! and Joseph star Linzi Hateley],
and about how much he regrets never
saying ‘I love you’ as much as he should
have and cuddled her more. It’s the
most beautiful song.”
The vocal requirements of Barnum
are great, but Conley knows he can
cope: “Don’t forget that Jolson was
pretty full-on: that one had 26 songs,
though some to be fair were quite
short; they were never huge arias.
But all you can do with a role like this
is trust and hope that your muscle
memory kicks in and that you settle
into a routine. It helps, I think, that I
don’t drink anymore – I packed that
in 10 years ago –and that I know how
important it is to rest. That said, I’m
not afraid of putting the time in to
get results.”
Barnum clearly sets the bar very
high (literally so), and Conley says
he fully intends to walk that bar,
adding: “Anything after this will be
a piece of cake!”
Barnum: Tuesday 23 June to Saturday
4 July.
9
BEHIND THE SCENES
The boss:
Andy Nicholas
Spotlight’s Dawn Kingsford meets The
Marlowe Theatre’s Housekeeping and
Maintenance Department for the latest
feature from our Behind The Scenes series.
KEEPING UP
APPEARANCES
W
hen it comes to providing
a polished performance,
you’d be hard pressed to find a more
shining example of excellence than
the cast of The Marlowe Theatre’s
housekeeping team.
Miracle workers, masters of magic,
call them what you will, but without
fail, they tackle the daily challenge of
wiping away the evidence of a great
night out for the thousands that cross
the theatre’s threshold each week.
I meet the gang during their most
testing time... panto season, with 83
back-to-back performances – three on
a Saturday – and nearly 90,000 people
passing through the doors in less than
two months.
The team is on a mission, starting at
just after six in the morning to put the
shine back into the theatre, the foyer,
the dressing rooms, the loos – the lot.
It’s enough to send even the tidy fairy
into a spin.
But cleaning the theatre is only half
the story for those responsible for
maintaining The Marlowe Theatre
“estate”, with duties extending from the
paintwork, lighting, lifts and heating
to the air-conditioning, carpets, and
10
everything in between.
It’s this variety that enticed 52-yearold Andy Nicholas to leave a muchloved job in London after 20 years to
become the theatre’s Facilities Manager
(the boss) in 2011.
“My first job was as a senior engineering
technician with Islington Council,”
recalls Andy – one of four boys born
to Greek-Cypriot parents in London. “I
went on to run my own fruit and veg shop
and helped at my parents’ restaurant.
But after five years without
a holiday and working seven
days a week, I took myself off to
the Echo Employment Agency
in the West End and walked
out with a two-week placement
as a porter at the Institution of
Mechanical Engineers.”
In five years, promotion
took him through the ranks to
become Venue and Facilities
Manager. It was in this role
that he grew the beautiful
Birdcage Walk building’s
conferencing and banqueting
business from £1/4m to £2.4m
in just 18 months. “It was an
amazing time,” says Andy.
I love it. The
people are
fantastic and so
willing to get
stuck in and help.
Graeme McCredie (below)
“It gave me a great grounding
in the business and introduced me
to characters including Tony Blair,
Margaret Thatcher and Prince Philip.”
But after moving to Stelling Minnis
with Joanne, his wife of 20 years, and
sons James (now 18) and Ben (15),
he decided to look for a job closer to
home: “I worked out I’d spent two-anda-half years on a train commuting to
and from London.”
It was while recovering from knee
surgery (a consequence of playing semiprofessional basketball in his 20s) that
he saw an advertisement for a job at
The Marlowe Theatre. He applied
online that evening and the rest, as they
say, is history.
“I am a ‘seize-the-day’ kind of person
and I absolutely love my job; every
day is different, and that suits my
personality, which is all about attention
to detail,” he reflects.
In the last three years he has
recruited Graeme McCredie, a qualified
electrician, cleaning supervisor Diane
Lee and Malcolm Green, a plumber –
satisfying a personal pledge to tackle
more jobs in-house.
“This is something I was determined
to do from very early on,” says Andy.
“It means, as a department, we can
be more responsive to issues as they
occur, rather than relying on expensive
contractors. It’s already paying
dividends, reducing costs and waiting
times for repairs, which is good for the
theatre and our audiences.”
The department now undertakes
various jobs which were previously
contracted out, including window
cleaning, which used to cost £12,000 a
year, grounds maintenance (£5,000),
and Portable Appliance Testing
(£2,000).
But, he’s not leaving things there;
Andy has just finished a five-year
development plan, which he hopes will
improve the efficient running of the
building still further.
11
When not working, Andy loves
cooking and camping holidays.
Sport remains an important part of
his life, and he plays golf (“badly”),
badminton and basketball and
coaches Canterbury’s Crusaders youth
basketball team and the Dover Pirates.
His biggest regret, he tells me:
“Not being able to get back from his
holidays to meet Roger Moore when he
performed here last year.”
And his biggest thrill: “Just as a show
is about to open – when the theatre is
full of people – knowing we’ve played a
part in presenting a place people love to
come to.
“I take huge pride in making sure
everything is perfect and if it’s not, I
give my team a hard time!”
Fortunately for Andy, his team shares
the same view.
Graeme McCredie joined The
Marlowe Theatre as Maintenance and
Facilities Assistant in 2013.
Born in Newcastle, he worked at
the Shireoaks Colliery in Yorkshire,
spending a year on strike – witnessing
the demise of Britain’s mining industry
– before resolving to re-train.
He earned an HND in electrical and
mechanical engineering then worked on
the production line at Peugeot Talbot’s
car plant in Coventry. Graeme then
became Technical Manager at London
Underground, maintaining the lifts and
escalators, working nights for 13 years.
He jokes: “I was born in Newcastle
and the family moved to Yorkshire when
I was eight and I’ve kept moving south
ever since!
“I suppose my job on the underground
shared similarities with my job today
in that everything had to be carefully
planned and scheduled in.”
However, in Canterbury, his days are
never timetabled. In fact, in the last few
months, he fixed the lift, sorted out the
short-circuit on Aladdin’s carpet, and
replaced 200 bulbs in the auditorium.
Graeme (52) adds: “The halogen
12
lights kept overheating which meant we
had to run the air conditioning to keep
audiences cool; so I looked at upgrading
the system with LEDs. It took six weeks
(between shows) but now we are saving
on electricity and the number of bulbs
that need changing has gone down from
15 to one or two a week. It’s been a very
successful move.”
When he is not at work, Graeme, who
has four children by a previous marriage
(all in their 20s, including twin boys),
loves to play golf and ride and repair his
vintage scooters: a 1964 Lamberetta Li
special and a 1962 Vespa 166.
While a fan of Northern Soul, it’s
the tinkering with engines that began
his fascination with the bikes about 15
years ago. He is also a member of the
South Kent Saints’ Scooter Club.
Like Andy, he moved out of London
to Kent (Chartham Hatch), where he
shares an oast house with Ann, a family
lawyer in Chatham. The couple, who
plan to marry this year, enjoy village life
and now help with the summer fair,
Brass On The Grass, and a Christmas
meal for the elderly each year.
And as for his job: “I love it. The
people are fantastic and so willing to
get stuck in and help.”
He has no regrets, he tells me, and
his biggest thrill? “Going on to earn my
electrician’s certificate gave me very
transferrable skills and I’m really happy
where I’ve ended up.”
Clean dream team:
Right photo: (from left) Diane
Lee, Jim Williams, Andy
Nicholas, Marilena Niculae and
Pauline Moore. Sandra Stancic
is not pictured.
It takes two:
Below photo: Malcom Green
and Bridget Pithers
We find McDonald’s
wrappers, pizza
boxes, empty vodka
bottles, and even
toenail clippings
under the seats.
Diane Lee is the final cornerstone
that creates the department’s magical
backstage “Bermuda Triangle” –
where problems, like the 24 bags of
rubbish left behind by audiences after
every performance, disappear.
She joined the team as Cleaning
Supervisor two years ago.
The 54-year-old, who was born and
lives in Herne Bay, went to school in
nearby Faversham. Her first full-time
job was with Woolworth, in Herne
Bay, where she spent six years as a
Sales Assistant, moving on to become
Office Manager before leaving to have
her son (now 33). She returned in
1990 and stayed with the company
until it ceased trading in 2009.
Diane then took a job as head
housekeeper at the Marine Hotel in
Tankerton – a job she loved – staying
seven years - in spite of often working
60 hours a week.
She remembers: “Three of us shared
30 rooms and we had two hours to
clean them all.”
Today, her team of Bridget Pithers
(63), Sandra Stancic (48), Jim
Williams (65), Malcolm Green (63),
Pauline Moore (57) and Marilena
Niculae (29) also has allotted
“windows” in which to get their
work done.
Cleaning starts at 6am – or 5.30am in
panto season – to give the team enough
time to spruce up the foyer, bring a shine
to the toilets, de-clutter the dressing
rooms (there are 15) and put in a
polished performance in the theatre.
A self-confessed “task master”, Diane
is full of praise for her team. She adds:
“They’re all willing to go the extra mile
because they know I’d never ask them
to do anything I wouldn’t do myself.”
Indeed, she sets off for work at
5.20am every morning, but insists on
cleaning her bathroom from top to
bottom before she leaves.
“I like things how I like to find them.
I don’t care what’s happened in the
theatre the night before, I just want
it back to how it should be – clean
and tidy.”
When she’s not working, Diane, who
also has a daughter (28), loves to look
after her son’s daughter, Olivia, her
first grandchild. In spite of being kept
physically fit by her job, she also enjoys
cycling and gardening, as well as
holidays in the sun.
Her biggest regret: “Letting her
husband do the housework,” she jokes
(he only ever Hoovers the middle of
the room!).
And her biggest thrill: “Spending
time with Olivia”.
SHOPPING LIST
The team’s shopping list
at the end of the year
looks something like this:
250
litres of floor cleaner
100
mop heads
40
cans of chewing gum
remover
400
vacuum cleaner bags
8,640
loo rolls
500
litres of hand soap
100
bottles of hand santiser
for cleaning staff
6,000
dustbin bags
500
micro-fibre cloths
13
Amy Smith gives her personal
insight into a brilliant production
coming to the Marlowe Studio.
Every
Brilliant
Thing
I
t’s a play which touches on
depression and suicide, and it’s
also the most joyful thing you’ll
see this year.
This feels like an odd statement,
and I suppose it is, but that’s the
magic of Every Brilliant Thing. The
“it’ll make you laugh, it’ll make
you cry” line is clichéd but here it
is well earned.
When a six-year-old boy’s mum
has to stay in hospital after trying
to end her life, he starts a list of all
the wonderful things in the world
for her: things that make him and
others happy. As he goes through
life, the real impact of these earlylife experiences, and of the list
itself, becomes truly apparent.
This is a one-man play but really
it’s not: with the interactive nature
of the piece the audience becomes
fully involved and as much a part
of the piece as the performer
himself (Jonny Donahoe). I
usually fear this kind of audience
participation but Donahoe is so
warm and disarming that this
interactivity wasn’t daunting
but actually enjoyable and
quite liberating.
Every Brilliant Thing began
life as a short story by Duncan
Macmillan (the playwright behind
the critically-acclaimed Lungs).
With this as a starting point,
he asked comedic performer
Donahoe if he would be interested
in creating a funny piece about
depression. It was an offer he
couldn’t refuse. The play was then
co-written, using real life stories
to create something new.
The play is now enjoying critical
success across the waters at The
Barrow Street Theatre, New York.
With the likes of the New York
Times giving the show glowing
five star reviews, and unexpected
experiences such as Sex And The
City actress Sarah Jessica Parker
watching and getting involved,
the show’s success is huge.
I saw the show in Edinburgh
last year with my family. Mental
health issues are close to our
hearts, and it felt so refreshing for
this to be tackled with such headon honesty but also humour, and
crucially a sense of hopefulness:
“Things get better. They don’t
always get brilliant. But they
get better.”
Of the show’s comedic centre,
Donahoe believes “that’s the way
you should deal with these sorts
of things, there’s no way to look at
them other than to laugh”.
That’s not to say that the issues
shouldn’t be taken seriously,
but rather that humour can be
what can pulls you through
these difficult life situations with
laughter as a coping mechanism.
Also as John Cleese noted in his
December talk at The Marlowe
Theatre, comedy as community:
a sense of togetherness through
shared humour.
Every Brilliant Thing is a funny,
charming play about hope in the
face of crisis: a crisis which is all
too common, with one in four of
us suffering from a mental health
issue. It leaves you feeling happy,
less alone and wanting to make
your own list of brilliant things.
And I reckon this play will be on
your list.
Every Brilliant Thing: Friday 5 and
Saturday 6 June.
EVERYTHING
THAT’S WORTH
LIVING FOR
The beginning of
Jonny’s list:
1. Ice Cream
2.Kung Fu Movies
3.Burning Things
4.Laughing so hard
you shoot milk out
your nose
5.Construction cranes
6. Me
What would be on
your list? Let us know
#everybrilliantthing
@marlowestudio
Brilliant:
Jonny Donahoe
14
15
PROFILE
Charmer:
Gary Wilmot
I love Canterbury,
and I can’t wait to
play the new theatre;
I’m just hoping I’ll get
some time to have a
look around.
A NATION’S MR
SONG AND DANCE
Spotlight’s Dawn Kingsford chats with Gary
Wilmot ahead of rehearsals for Oklahoma!
G
ary Wilmot steps back on
stage in Canterbury this
summer as the cheeky
charmer in the Rodgers and
Hammerstein classic, Oklahoma!
And the loveable, Lambeth-born
song-and-dance man is looking
forward to being back in the city
he fell in love with during visits
to the theatre when it was in St
Margaret’s Street. A fact that
reminds me of his time in the
business (40 years, in May, to
be precise). “I love Canterbury,
and I can’t wait to play the
new theatre; I’m just
hoping I’ll get some
time to have a look
around,” he tells me.
I join him on his mobile phone as
he leaves Birmingham and another
successful season in pantomime (as
Dame Trot), 24 hours before the
start of rehearsals for Oklahoma!
Indeed, the actor (61 in May), will
have worked 18 months, without a
weekend off, by the time the tour
ends in August.
16
So it comes as quite a shock
to learn that when he’s not
performing, Wilmot spends his
free time writing fresh scores and
scripts for new shows (his other
hobby is eating good food).
He tells me: “Of course, I’d love
a holiday, but being busy is part
of the lifestyle and it’s the one I’ve
chosen. You never know, I could
spend next year doing nothing!”
An unlikely scenario, it seems,
for Wilmot, whose career began at
the age of 21 and has maintained
a blistering pace since, in spite of
his early indifference towards a
job in the industry.
Born Harold Owen Wilmot, it
fell to a frustrated friend to talk
to an agent about Wilmot’s talent,
even though his Jamaican born
dad had been in the performing
arts. (Harry Wilmot was the voice
behind the unforgettable line in
the novelty song I Am A Mole And I
Live In A Hole from 1958).
Either way – nurture or nature
– it was his appearance on the TV
talent show New Faces in the 1970s
that propelled his career into the
spotlight.
He remembers: “Up until that
point I had no real aspirations to
be in showbusiness. I’d had no
formal training, but was told by
friends I had talent and I could
certainly make people laugh.
However, the show proved the
springboard for the rest of my
career because everyone
watched it.”
The timing could also not have
been better, with comedians
providing TV programmers with
all-round performers positioned
to satisfy the demands for family
entertainment on Saturday night.
Wilmot regularly appeared on
variety shows hosted by favourites
including Bob Monkhouse and
went on to present his own
shows (So You Want To Be Top/
Showstoppers).
The move between comedy, TV,
stage and musicals that followed
has been seamless for the multitalented variety performer.
He tells me: “Back then you
would ‘bookend’ your act with a
short song to open and close your
performance … that’s how it was;
you were an all-round entertainer,
working alongside performers
such as Morecombe and Wise
and Bob Monkhouse; the likes of
which we will never see again.”
17
PROFILE
I would like
to think I’m
a charmer,
though.
Wilmot appeared in his first musical
(Me And My Girl) at the Adelphi in
1989 (as his first, it remains a personal
favourite to this day), with his portfolio
extending to the operatic Carmen
Jones, the colourful and contemporary
Copacabana, and classics such as Chitty
Chitty Bang Bang (he took over the West
End role of Caractacus Potts in 2003
from Michael Ball) – the list goes on.
In Oklahoma! he plays Ali Hakim,
a flirtatious “salesman”, with a
commitment phobia when it comes to
the ladies, in this wonderful tale of starcrossed lovers.
Any similarities I try to draw between
him and his character, he swiftly rejects,
adding: “Ali would make the worst kind
of husband for Ado because he has no
interest in marriage and his work takes
him away all the time.”
While it was time apart that he
blames for the failure of his first
marriage, which produced his two
daughters Katie and Georgia, he
concedes: “I would like to think I’m a
charmer, though.”
Now happily married to Sara, his
third wife, he is also very relaxed about
life, perhaps, because of his Jamaican
roots, he proffers. Retirement is not
on his radar and he keeps himself fit –
not at the gym – but by “resting” and
enjoying home life in Buckinghamshire.
18
“I don’t worry about anything I can’t
do anything about.
“When I started out, my fundamental
rule has always been that anything
goes, so long as I don’t hurt or offend
anyone else.”
Wilmot joins long-term friend Nic
Greenshields on stage and, for the first
time, Belinda Lang (Bill in the BBC
sitcom 2point4 Children), Ashley Day,
and Charlotte Wakefield in Oklahoma!
There will also be new choreography
by Drew McOnie, who has worked with
Matthew Bourne (among others) and
is fast becoming one of Britain’s most
sought-after choreographers.
“I really like working with people for
the first time It’s like doing a different
crossword every day,” he remarks.
He is also looking forward to fulfilling
a long-held ambition to work with
director Rachel Kavanaugh.
He admits: “When I was first
approached about the role I was
actually going to give it a miss because I
wasn’t sure I could bring anything new
to it. That was before I heard Rachel
was directing; I’ve seen so much of
her work, which is always fresh and
amazing, and that was that.”
Oklahoma!: Tuesday 16 to Saturday
20 June.
HIDDEN TALENT
Oklahoma! was the
first musical written by
Richard Rodgers and
Oscar Hammerstein II.
Based on the Lynn Riggs
play Green Grow The
Lilacs, it was originally
produced on Broadway
in 1943, with the
Academy Award-winning
film following in 1955.
SIMON
STEPHENS
Playwright Simon Stephens adapted Mark
Haddon’s best-selling novel, The Curious
Incident Of The Dog In The Night-Time.
He tells Spotlight about the process.
Dream team: Simon Stephens
(left) and Mark Haddon
Set in the early 1900s, in
the Oklahoma territory,
it tells the story of two
sets of star-crossed
lovers. Cowboy Curly
loves Laurey, Aunt Eller’s
niece, but Curly’s rival
is the mysterious hired
hand Jud Fry. Meanwhile,
Ado Annie is torn
between cowboy Will
and peddler Ali Hakim.
Their stories are told
with the help of some
of our most cherished
songs from the musical
theatre archives,
including Oh, What a
Beautiful Mornin’, I’m
Just a Girl Who Cain’t
Say No, and Surrey With
a Fringe on Top.
19
Spotlight: What inspired you
to adapt The Curious Incident Of
The Dog In The Night-Time for
the stage?
Simon Stephens: Mark Haddon
asked me to write it for him. I was
immensely flattered. I’d loved the
book for years and was inspired
by it in earlier plays before I’d
even met him. I was daunted by
the book’s celebrity status and
fascinated by the challenge of how
one dramatises a novel. I very
much wanted to find out what
Christopher’s parents looked like
and thought a good way of doing
that would be to dramatise them.
S: How did you go about adapting
The Curious Incident Of The Dog
In The Night-Time, which Haddon
had described as “un-stageable”?
in the story. I then spent some
time transcribing the direct
speech. I had the hunch that in
the direct speech there would be
clues as to the book’s dramatic
heart. It was through this that I
came up with the idea of using
Siobhan as a narrator. She is one
of only three people who read
Christopher’s book in the novel
about and why does it appeal to
readers and theatre-goers?
SS: I think it’s a story about
family. I think it’s about what
it’s like to raise a child or be
raised; to parent or have parents.
I think it’s a celebration of the
capacity for bravery in the most
unlikely of environments. Stories
of bravery resonate. Stories of
families resonate.
S: How much did you and
The innate dramatic
charge of his
dialogue means his
work is eminently
stageable.
Mark Haddon collaborate on the
stage adaptation?
SS: Hardly at all! He told me
I could do what I wanted. He
was supportive and I also kept a
beautiful distance. He read early
drafts and was very encouraging.
S: Can you tell us something
SS: The innate dramatic charge
of his dialogue means his work
is eminently stageable. I spent
some time trying to separate the
narrative from the prose of the
book. I worked through it listing
all the events that happened
S: What do you think the story is
and her viewpoint is so much like
the novel’s readers. I also think
that the idea of a favourite teacher
is one many people can relate to.
She’s a peripheral character in the
novel but central to the play.
about the staging and why you
think Marianne Elliott was the
right choice to direct the play.
SS: Marianne has an innate sense
of democracy. She combines
a fearlessly and ferociously
theatrical imagination with a real
concern for her audience. She
and designer Bunny Christie
and the rest of the artistic team
committed completely to trying
to get into Christopher’s head and
dramatise his world from within.
That’s what watching the play
feels like. It feels like you’re in
Christopher’s brain.
novel. The book is a road story
and we’re hitting the road. That it
starts at the Lowry in Salford, so
near where I was born and raised,
means the world. I’m taking 16
members of my family, including
my 94-year-old Grandma to
opening night. In fact the show is
starting at the Lowry so she can
see it!
S: How involved were you with
the creative process?
S: How did you feel about the
success of the show – from the
Cottesloe (the National Theatre’s
smallest space), to the West End,
Broadway and now a tour…
SS: I was at a fair few rehearsals
– mainly to offer occasional rewrites and a very few insights into
the progression. But Marianne
and her team were so robust that
they didn’t need me too much. I
mainly turned up late and tried to
make everybody a cup of tea.
S: How do you feel about the
show touring around the UK
and Ireland?
SS: Well, it means the world to
me. The whole notion of the tour
seems to resonate beautifully
with Christopher and his sense
of adventure and bravery in the
SS: Well I ‘m proud of it. And
proud that we never compromised
anything to have it succeed. We
never tried to succeed with the
play. We just tried to tell the story
as well as we could. I think that
bravery and a sense of experiment
comes through in the performance
and the idea that bravery like that
appeals to people is inspiring.
The Curious Incident Of The Dog
In The Night-Time: Tuesday 12 to
Saturday 23 May.
Boy wonder: Joshua
Jenkins as Christopher
20
21
Glyndebourne was –
and still is – emblematic
of the new Marlowe
Theatre.
PHOTOS: BILL COOPER
Glyndebourne
love coming to
The Marlowe
Theatre and we
love having them.
A match made
in heaven
Spotlight looks at the importance
of the relationship between The
Marlowe Theatre and Glyndebourne.
Sitting pretty: above
and right, Scenes from
Don Pasquale
22
“G
lyndebourne was – and
still is – emblematic
of the new Marlowe
Theatre,” enthuses Mark Everett,
the venue’s Director. Canterbury
first welcomed the opera
company, and more specifically
Glyndebourne On Tour, in
November 2012, a year after
opening, but introductions had
been made long before that.
“We had been using
Glyndebourne as an example
of the scale and quality of the
productions the new theatre could
stage while we were still open in
the old building,” recalls Mark.
“We started our relationship by
asking about seating and the size
of the orchestra pit in the new
building – we were given some
very good advice as to what we
would need. We were told that
if the pit could accommodate 80
musicians, Glyndebourne would
be able to put on a Wagner opera
if they were in a position to tour
with it.”
A breakthrough meeting came
when the theatre was being
rebuilt: Glyndebourne’s General
Director David Pickard and the
company’s Technical Manager
came to the site, donned highvis jackets, hard hats and boots
and declared it would be entirely
possible for the company to
bring their world-class opera
to Canterbury.
“Paula [Gillespie, now The
Marlowe’s General Manager]
talked terms, dates and repertoire
with David, knowing full well
none of this would have been
possible in the old theatre,”
recalls Mark. “We also had
great support from members
of The Marlowe Theatre
Development Trust. As several
of them had personal contacts
at Glyndebourne”
The Glyndebourne Tour hits
the road for six weeks every year
from October to December, so it
was not possible to open the new
theatre (in October 2011) with
a Glyndebourne production. But
nearly a year later, the dream
became a reality.
“I knew it would be – and
is – an immensely happy
relationship,” says Mark.
“Glyndebourne love coming to
The Marlowe and we love having
them. Technically it is challenging
but it always goes smoothly,
with audiences feeding back
incredibly positively.
“Many of the artistes have said
it is their favourite auditorium to
perform in because of its superb
acoustics and sightlines.”
Glyndebourne’s annual Festival
receives no public subsidy; the
Tour, however, receives Arts
Council support and now has
funding for the next three years,
ensuring its return to leading
regional venues, like The Marlowe
Theatre, until 2017 at least.
A chance for the relationship
to thrive and build, according
to Mark: “We want to further
develop our audiences,
particularly young people, and
Glyndebourne offer highlysubsidised tickets for schools in
the surrounding area.
“The Marlowe Studio has seen
some excellent performances as
part of the annual Tour, when
Glyndebourne has staged smaller,
cutting-edge works, such as The
Yellow Sofa in 2012.”
Glyndebourne Tour 2015 –
Donizetti’s Don Pasquale, Mozart’s
Die Entführung aus dem Serail
and Handel’s Saul: Tuesday 3 to
Saturday 7 November.
23
TALKS AND TOURS
LAURA KIMPTON
An age-old
problem
I
s the entertainment industry a
young persons’ game? A report
recently published by Drama UK
would suggest so, finding that the
majority of actors working in both
the live and broadcast sectors are
under 45.
The role age plays in casting has
been a hot topic lately, with Russell
Crowe proving unpopular with a
number of his fellow performers
when he spoke of “the woman who
at 40, 45, 48 still wants to play
the ingénue and can’t understand
why she’s not being cast as the 21
year old”. Some felt he was correct
however; if performers desire
longevity they must adapt as they
Surely if an actor’s
appearance allows
them to realistically
portray characters
of a vastly different
age they should be
permitted to do so if
they prove themselves
to be the best person
for the role?
24
grow older and embrace roles
appropriate to their life stage.
This raises some interesting
questions – when is it time to let
go of those ingénue roles and
embrace those that middle age
offers? When does a middle-aged
actor become defined as an older
person? Traditionally performers
have been defined by their ‘playing
age’ (usually around a 10–15 year
range), with this governing the
roles they are cast in. But with
personal information now more
freely accessible it is increasingly
likely that a performer’s real age
will be in the public domain and
it seems they may find it hard to
distance themselves from this.
In 2011 an actress attempted to
sue Amazon after her date of birth
was included on her IMDb (Internet
movie database) page, allegedly
resulting in a decrease in offers of
acting work. In commenting on
the case, two US actors’ unions
accused IMDb of facilitating age
discrimination: “What matters is
the age range that an actor can
portray. When their actual ages
then become known to casting
personnel, the 10+ year age range
that many of them can portray
suddenly shrinks, and so do their
opportunities to work.”
This certainly proved to be
the case for British actress Katie
Redford recently, when she was
dropped from the role of a 14-yearold in Coronation Street before
filming a single scene. The reason:
soap fans found evidence online
suggesting she was 25, not 19 as
had been publicised.
Her agent later confirmed she
auditioned with a playing age of
16 to 20, stating: “We were at fault
as we let her go in there without
the producers knowing her age.”
But does it matter how old Redford
actually is? For despite being only
two years younger than her screen
mother she was clearly deemed to
be suited to the role.
Surely if an actor’s appearance
allows them to realistically portray
characters of a vastly different age
they should be permitted to do so
if they prove themselves to be the
best person for the role? Restricting
someone to playing characters
close to their actual age might not
only deny audiences some very
fine performances, but also opens a
rather large can of worms – should
actors only be considered for
roles of the same nationality for
example? Acting is a craft based on
the ability to be versatile, to step
into the shoes of many different
people and adopt different guises.
To allow default perceptions to
influence us to the point where we
forget this would be a sad thing.
Laura Kimpton: Marlowe Friend &
some-time actress with a playing
age of 18(ish) – 35.
We will be hosting pre- and post-show talks with members
of the company from the shows below. Learn more about
the production and life as an actor at these events, where
you can ask the cast your questions.
Weekday Show Talks are free, Saturday Show Talks
cost £2, which includes a hot drink and programme.
Tickets for all talks are limited so please book your
place by calling the Box Office on 01227 787787.
The Marlowe Friends have two weeks priority booking.
La Bohème
Show Talk
Fri 8 May, 6.30pm, free
The Siege Of Calais
Show Talk
Sat 9 May, 6.30pm, free
Matthew Bourne’s
The Car Man
Show Talk
Thu 4 Jun, 6pm, free
Oklahoma!
Saturday Show Talk
Sat 20 Jun, 11.30 coffee,
noon talk
Barnum
Saturday Show Talk
Sat 4 Jul, 11.30 coffee, noon talk
Handbagged
Saturday Show Talk
Sat 12 Sep, 11.30 coffee,
noon talk
Blood Brothers
Show Talk
Thu 24 Sep, 6pm, free
Wuthering Heights
Show Talk
Thu 8 Oct, 6pm, free
Don Pasquale
Show Talk
Tue 3 Nov, 6.15pm, free
Die Entfuhrung aus
dem Serail
Show Talk
Wed 4 Nov, 6.15pm, free
Saul
Show Talk
Fri 6 Nov, 6.15pm, free
Snow White And The
Seven Dwarfs
Meet The Cast
Wed 23 Dec, 4.30pm, free
Wed 30 Dec, 5pm, free
Talk & Tour
Sat 2 Jan, 5pm, free
Bodyguard
Show Talk
Thur 25 Feb, 6pm, free
THEATRE TOURS
We hold regular theatre
tours. Tickets are £10,
including a hot drink
and cake in The Green
Room at 11am. The tours
begin at 11.30am and last
approximately one hour.
Wednesday
Wednesday
Wednesday
Wednesday
20 May
17 June
22 July
19 August
Please call Box Office on
01227 787787
to book your tickets.
25
ANNUAL GENERAL MEETING OF
THE MARLOWE FRIENDS
The Annual General Meeting of The Marlowe
Friends will be held in The Marlowe Studio at
7.30pm on Tuesday 19 May.
Nominations for the committee and items for
discussion under Any Other Business must be
submitted to The Chairman in writing by Tuesday
5 May. No discussion will be permitted of any
items not so notified.
Please send your items to:
June Brewer, Chairman of The Marlowe Friends
Committee, Copthorne, 23 Tyndale Park, Herne
Bay CT6 6BP.
Following the business part of the meeting there
will be a performance by a finalist from The
Marlowe Young Musician of the Year.
All shows start at 7.30pm in The Marlowe Studio. Tickets for Marlowe Friends are £13.
SUN 21 JUN
With Laughing Song And Up Close And Personal
Merry Dance
With Mandy Winters
An evening to delight fans of
Gilbert & Sullivan. Written and
narrated by June Brewer with
music from Cameo Opera.
SUN 13 SEP
Love Is The
Sweetest Thing
Michael Law returns with a tribute
to the crooners of the 1930s,
bringing memories of Al Bowlly,
Denny Dennis and others.
26
One of the UK’s top female
cabaret stars, who has toured both
the UK and US, brings an evening
full of great music and laughter.
SUN 29 NOV
Shaken, Stirred
With A Twist
Opera Tottie return fresh from
triumphant appearances at a
West End cabaret room with
warm and witty cabaret.
THE GREEN ROOM
AT THE MARLOWE THEATRE
The Marlowe Friends:
from 10% off food and
hot drinks, including
pre-show menus
CABARET CONCERTS
SUN 31 MAY
DISCOUNTS FOR THE MARLOWE FRIENDS
SUN 19 JUL
Dear Ivor And His
Leading Ladies
An affectionate tribute to Ivor
Novello, one of the best-loved
figures in the history of British
theatre.
SUN 13 DEC
Good Gnus!
The talented trio of Chris Price,
Jon Williams and David Flood
perform our Christmas concert.
Putting their slant on Christmas
music, you can expect an evening
of talent, humour and chat.
Platinum Friends:
from 15% off food and
hot drinks, including
pre-show menus
The Marlowe Theatre
The Friars
Canterbury CT1 2AS
01227 862485
marlowetheatre.com
A SIMMONDS JEWELLERS
5% discount on all
purchases
27 St Margaret’s Street
Canterbury CT1 2TG
01227 769842
ANTHONY GRAY CLOCKS
10% discount on clock
restoration
South Goodwin House
St Margaret’s Bay
CT15 6DT
0845 2601631
anthonygrayclocks.com
CANTERBURY
CATHEDRAL
2 for 1 on entrance
and guided tours
The Precincts
Canterbury CT1 2EH
01227 762862
canterbury-cathedral.org
CATHEDRAL SHOP
10% discount (excl. online
sales)
25 Burgate,
Canterbury CT1 2HA
01227 865300
cathedral-enterprises.co.uk
CROWTHERS MUSIC
10% discount on music and
CDs
1 The Borough,
Canterbury CT1 2DR
01227 763965
crowthersofcanterbury.co.uk
KENT BALLOONING
10% discount on all Flight
Vouchers
Yew Tree Studios
Stanford North
Ashford TN25 6DH
01303 812812
kentballooning.com
THE DRESSING ROOM
10% discount on all
purchases
74 Northgate
Canterbury CT1 1BB
01227 454712
dressingroomshop.co.uk
CUGLEYS OF HYTHE
10% discount on leather,
suede and sheepskin
clothing and small leather
goods:
141 Hythe Street,
Hythe CT21 5JL
01303 268597
LEO’S PRIDE
5–10% discount on most
holidays
259 Canterbury Road
Herne Bay CT6 7HD
01227 363636
leospride.co.uk
TIM STUBBINGS
Photography
Minimum 10% discount
01227 460604
[email protected]
timstubbings.co.uk
LIPSCOMB VOLVO
Up to 25% discount on
the Volvo range; five years’
servicing for £500 and
competitive finance deals.
Tony Hudson: 01227 208512
marlowefriends@lipscomb.
co.uk
WHITSTABLE HOLIDAY
PROPERTIES
£20 discount on any holiday
Hillcross Estates
224 Tankerton Road
Whitstable CT5 2AY
01227 273318
hillcrossestates.co.uk
DOVER MARINA HOTEL
& SPA
15% discount on spa
treatments and spa days
Dover Marina Hotel
Dover Waterfront,
Waterloo Crescent,
Dover CT17 9BP
01304 203 633
dovermarinahotel.co.uk
ESPRESSION PAINT YOUR
OWN POTTERY STUDIO
10% discount on creatives
29 Palace Street
Canterbury CT1 2DZ
01227 765665
[email protected]
espression.co.uk
FUDGE KITCHEN
10% discount
16 Sun Street
Canterbury CT1 2HX
01227 479399
fudgekitchen.co.uk
FUNKY MONKS
CLOTHING
10% discount
21 St Peters Street
Canterbury CT1 2BQ
01227 781781
funkymonksclothing.co.uk
HOLIDAY INN EXPRESS
CANTERBURY
15% discount on food and
drink
Upper Harbledown
Canterbury CT2 9HX
01227 865000
hiexpresscanterbury.co.uk
MADAME OISEAU FINE
CHOCOLATES
10% discount on all
chocolates (purchases
over £10)
8 The Borough, Canterbury
CT1 2DR
01227 452222
madame-oiseau.com
contact@madame-oiseau. com
MARLOWE’S FLORIST
5% discount on all flowers
St Margaret’s Street
Canterbury CT1 2TH
01227 463275
marloweflorist.com
ORTWIN THYSSEN
JEWELLERY MAKER
30% discount on any
valuations of jewellery
carried out by a registered
independent valuer
53 Palace St, The King’s Mile
Canterbury CT1 2DY
01227 788200
[email protected]
jewellery-maker.co.uk
TEAM BUCKLEY
10% discount on all
treatments
2 Broad Oak Road
Canterbury CT2 7PW
01227 458430
teambuckley.co.uk
All discounts on presentation of your Marlowe Friends card. Discounts and
offers are subject to availability and can be withdrawn at any time.
WILDWOOD TRUST
One child per family goes
free
(not available on bank
holidays or in conjunction
with any other offer)
Wildwood Trust
Herne Common
Herne Bay CT6 7LQ
01227 712111
wildwoodtrust.org
WILKINSONS TAXIS
10% discount on all metered
fares
Unit 4, Dunkirk Industrial
Park
London Road
Faversham ME13 9LG
01227 450450
wilkinsontaxisltd.com
WOODLANDS HAIR
BEAUTY & HOLISTIC
THERAPIES
15% discount on first
treatment, including
pamper packages
26A High Street Bridge
Canterbury CT4 6EH
01227 830120
woodlands-bridge.co.uk
27
THE TRIPLE OLIVIER AWARD–WINNING
WEST END SMASH HIT
‘A musical like this
comes around
once in a lifetime’
THE SUNDAY TELEGRAPH
Featuring Irving Berlin’s
classic songs:
Puttin’ on the Ritz
Let’s face the music & dance
Cheek to cheek
Isn’t this a lovely day
Top hat, white tie & tails
Tues 14–Sat 25 Apr
Box office 01227787787
marlowetheatre.com
‘High class.
Absolutely
topping’
MAGIC FM

Spotlight Summer 2015

Transcription

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