The April 2020 production, which is also Theatre 62’s Bromley Full-Length Play Festival entry, is Jane Eyre, by Charlotte Bronte, adapted for the stage by Polly Teale.
This is a modern interpretation of a timeless classic and although challenging, with many roles doubling, should provide performers and audience alike with a truly exciting and dramatic experience.
Friday 10 January, 8 p.m.
Monday 13 January, 8 p.m.
Monday 20 January, 8 p.m.
Friday 24 January, 8 p.m.
Details at http://www.theatre62.org.uk
Gather your friends for an evening of mayhem and merriment, with a sprinkle of Sparkle and a touch of Tinsel, as our actors perform sketches, poems, songs and bite-size pieces of festive fancy, all for your delight. Our brilliant bar staff will be only to happy to whet your whistle for a modest sum.
All for £10 a head – now that’s what I call a Cracking Christmas Cornucopia!
Nikki Packham – Director
CHRISTMAS REVUE GET-TOGETHER
Please text me if you are interested in being involved in any capacity and let me know if you can come to the meeting. I will then give you my address.
Remember, Christmas comes but once a year!
07752 210 244
Congratulations to Theatre 62 for its success at the 2019 Bromley Theatre Guild Full Length Play Festival awards
RUNNER-UP BEST PRODUCTION
BEST SOUND: Abel Fernandez & Ian James
BEST ACTOR IN A SUPPORTING ROLE: Paul Newton
Congratulations also for:
Runner-up Best Actor: Geoff Dillon
Runner-up Best Director: Howard James
And congratulations to John Heather for his lifetime contribution to Theatre 62; he was the recipient of the Pauline Broad Rosebowl Award.
Check out Theatre 62’s 2019 season here
Friday 12th October 2018 at 8pm
Saturday 20th October 2018 at 3pm
All the details at http://www.theatre62.wordpress.com/auditions
2019 season launch
We are revealing our exciting 2019 season of productions at Theatre 62 on Saturday 15th September at 8 p.m.
Directors of each play will introduce their 2019 production and give members a chance to register their interest in auditioning for a role or working as part of the back stage team.
Not a member yet? Don’t worry, you don’t need to be a member to come along on the 15th, but you will need to join if you take part in one of our productions.
It’s a great opportunity to get all the information you need about our 2019 season and fab night out too – the bar will be open and nibbles will be provided! Hope to see you all there!
Location details here
Performed at Theatre 62, West Wickham, from 25-30 June 2018
As is eruditely pointed out in the programme notes endorsing female friendships in literature, Amelia Bullmore’s play brings a modern take on the enduring friendship between three girls of very diverse characters.
As is only clear from the closing scenes, it seems to have been kind, ebullient and rather promiscuous Rose who threaded the three university friends together in their house share. Viv is the studious, brainy one, aiming for a first class degree, Di, a lesbian, is sporty but unsure of her way forward and Rose, who sleeps around, who cooks, who cares and soon loses any career prospects when she gives birth to twins from who knows which of eight possible fathers.
The casting for the three seemed perfect. Laura Gamble’s Viv was prim, proper and, with one delightful exception, un-giving, again until a final reveal. Diane Carters’ Di gave lesbian dating problems both humour and angst and Rachel Cormican’s Rose was warm, funny, affectionate to her friends and the mainstay of the trio’s friendship.
So much was good about this production. Spanning the period from 1983 when the girls first met at university, to 2010 when they are worldly-wise women, an overhead screen led the audience through the time scale with additional clues given through their changes in costume. Music played a prominent role with tracks from the various years. There was one spectacular musical eruption when all three let go with exuberant well-choreographed moves to Queen’s Don’t Stop Me Now which, played back at the end, after the tale had taken a sad turn, revived the joy of their house-sharing time. This playback was just one of many excellent uses of back-projection and images in the hands of Jon Lewis and technical co-ordinator Ian James, all seamlessly delivered. The demands of a set requiring, amongst others, a corridor in university halls complete with old-fashioned pay phone, a main set of the student’s living area, an apartment in New York and a café on the concourse of a busy train station were so well met by set designer Alan Matthews where ingenuity was copiously used. Costumes were changed with rapidity, as demanded by the change of year (s) and here Wardobe Mistress Diana Quinn and her team had input from the cast from their own wardrobes. On a very hot June night, my sympathy went out to Laura Gamble as Viv, in her thick black winter coat. The delivery of what was certainly a high calibre production does not come without dedicated and enthusiastic collaboration from a wide group of personnel. The programme bears witness to many of the names involves and, as always with such productions, there was likely input from un-named helpers too.
Director Howard James can only have been thrilled with the way his ‘girls’ interpreted their roles and most certainly did both him and Theatre 62 proud. The play was new to me – I was very pleased to make its acquaintance and, should it come my reviewing way again, I doubt I shall see it better performed.