Cast Lists & Info

1939-1959 | 1960-1969 | 1970-1979 | 1980-1989 | 2000-2009 | 2010-2019


In-Tents Complications
by David Whitney
15-19 May, 1990
Mary . . . Michele Nunn
Dick . . . Kevin Dover
Miss Spindle . . . Christine Elmore
Denzil . . . Trevor Cook
Roger . . . David Whitney
Ellen . . . Hazel Wallington
Alistair . . . Richard Simon
Producer . . . Eva Sherratt
Naive Mary receives lessons in life from sophisticated Ellen, who has her own problems keeping control of husband Roger, who is incapable of keeping his eyes, and other parts of his body, off other women. Denzil, so camp that a tent site is the natural place for him, suffers disaster when partner Rodney deserts him but is amply compensated when the fire brigade arrive when Miss Spindle's unruly Brownie pack indulge in arson. A very funny play which would delight the connoisseur of the double entendre.


When Did You Last See Your Trousers?
by Ray Galton & John Antrobus
6-9 May, 1992
Burglar . . . Russell Green
Howard . . . Kevin Dover
Penny . . . Valerie Smith
Jimmy . . . David Mander
Tové . . . Louise Turnell
Neighbour . . . Steve Josiah
Deirdre . . . Christine Elmore
Captain Webber . . . Trevor Cook
Constable . . . Steve Wilmer
Inspector . . . Alan Josiah
Oliver . . . John Hare
Producer . . . David Whitney
This hilarious farce begins quietly enough with Howard and Penny asleep in bed, when a burglar climbs through the window and proceeds to steal various items, including Howard's suit. Awakening, Howard announces his intention to get back to his wife! But how is he to make it to Esher without his trousers, having been left only vest and pants by the burglar? Before you can say 'jockey shorts' he is being chased around the flat by his Danish au-pair, the Home Secretary (also involved in a bit of nookie in the flats) and a randy constable who doubles as a flasher. Add to this a punk with rainbow coloured hair, a gravelly-voice Captain and a singing telegram gorilla and you have the ingredients for a night of outrageous fun!


Out Of Focus
by Peter Gordon
28-31 October, 1992
Helen Beever . . . Christine Elmore
Sue Dixon . . . Adele Fagan
Evonne Duckworth . . . Phyllis Lawrence
Kath Enfield . . . Valerie Smith
Bob Enfield . . . Steve Wilmer
Leonard Trotter . . . Trevor Cook
Wayne Bryant . . . David Whitney
David Wright . . . Kevin Dover
Linda Hammond . . . Karen Thorpe
Producer . . . David Whitney
This play is set in the annexe of a church hall, where a series of over-bookings have occurred. A wonderful mix of characters from the local community descend on the church hall for a Brownie troupe meeting, a badminton game, table tennis, auditions for the vicar's wife's new pantomime and an illustrated talk on steam locomotives, each claiming their rightful place. Confusion reigns until everyone finally unites for a common cause, the production of the pantomime.
Over the following weeks of rehearsals, alliances are formed and switched as the cast battle against the odds and the opening night nears. Events finally culminate backstage after the final performance at the cast party, when everyone receives their just deserts.


Dracula - Another Story
by David Whitney
  27-30 October, 1993 12-14 November, 1996
Mina Westerman . . .
Lucy (her sister) . . .
Dottie (the maid) . . .
Renfield (asylum inmate) . . .
Archer (another inmate) . . .
Farmer (another inmate) . . .
Asylum Warder . . .
Jonathon (Mina's fiance) . . .
Dr Jack Seward . . .
Dracula . . .
Helen Wildman
Claire Slack
Vicky Williams
Steve Wilmer
John Hare
Roy Cobb
Angela Killoran
Kevin Dover
Trevor Cook
Wayne Bedford
Helen Wildman
Jane Simpson
Gill Armstrong
Steve Wilmer
John Hare
Roy Cobb
Christine Elmore
David Mander
Trevor Cook
Graham Sangster
Brides . . . Victoria Fryer,
Abi Walton
Sarah Elmore,
Nicola Elmore,
Laura Seabridge
Producer . . . David Whitney

A scary variation of the story offering plenty of scope for special effects. Staged upon a split set alternating between drawing room, bedroom, asylum and a final cellar sequence. The play opens with a prologue and ends with an epilogue which raises the question, "Was it all in the dreams of a very deranged Jonathon, or did it all actually happen?" The audience must decide for themselves.
A creepy version of this popular tale with a fair share of shocks for all blood-thirsty patrons.

"Master Of The Dark" by David Whitney

I didn't see the shadows
as they danced across the floor,
Or the eyes of poisoned rapture
Piercing through the open door.
The moon, a sickly yellow,
Grinned behind a latticed glass,
And the heavy velvet curtain
Swayed aside as something passed.
I shivered as a breath of ice
Blew terror in my face;
My jaw dropped to emit a scream,
My heart began to race.
I'd never seen a vampire
And I thought I never would,
But fate had played a deadly card
As there before me stood
A hideous arrangement
Of something better dead,
Equipped with fangs of needle points
And dripping something red.

A painful bloody blackout
Seemed to dissipate my fear;
Struck dead before the mirror
I was cursed not to appear.
Two marks of punctured feasting
Seeped the essence of my life,
As a cold unpleasant feeling
Tore into me like a knife.
The parasite had disappeared,
I shivered with relief
As I stood before the window
That reflected disbelief.
My heart a racing metronome
Beat weakly to a halt;
The silence of its ceasing
Brought my senses to a jolt.
If dead I was, then dead I am,
There's nothing more to do;
Except perhaps to feast myself
When I come after you!


Fringe Benefits
by Peter Yeldham & Donald Churchill
11-14 May, 1994
Isobel Hudson . . . Val Smith
Colin Hudson . . . Kevin Dover
Jim Nash . . . Trevor Cook
Brenda Nash . . . Helen Wildman
Doreen . . . Abi Walton
Fiona . . . Claire Slack
Richard . . . Graham Sangster
Producer . . . David Whitney
Isobel, Colin, Jim and Brenda are arranging to go on their annual joint holiday to Torremolinos. However, for different reasons they have all decided they would rather not go...


Death Rattle
by David Whitney
12-15 October, 1994
Richard Dennison . . . Graham Sangster
Sarah Dennison . . . Helen Wildman
Irma Zonarty . . . Abi Walton
Gerda Zonarty . . . Angela Killoran
Mr. Ferris . . . Trevor Cook
Danny . . . Carl McAlwane
Rachel Ferris . . . Claire Slack
Producer . . . David Whitney
Sarah and Richard's idyllic country cottage hides dark secrets that threaten their happiness and also their lives. Sinister events lead to a chilling climax where only the ghosts of the past win through in the end.


Wait Until Dark
by Frederick Knott
14-16 September, 1995
Mike . . . Steven Wilmer
Croker . . . Trevor Cook
Roat . . . David Whitney
Susy Henderson . . . Helen Wildman
Sam Henderson . . . Graham Sangster
Gloria . . . Sarah Elmore
First Policeman . . . John Hare
Second Policeman . . . Roy Cobb
Producer . . . David Whitney

A drug filled doll has disappeared from a London flat, and Mike, Croker and Roat, three petty crooks, are anxious to find it. They work out a highly involved plot to compel the owners to give away the whereabouts of the doll. The owner's wife is blind, and once the crooks have lured the husband away their task should be easy, particularly as the only companion left to her is a little girl who lives in the flat above - a little girl, moreover, of uncertain fidelity. The crooks tell the blind woman a frightening story involving her husband's supposed infidelity and othe complications. She, however, becomes suspicious, using her ears to make up for what she lacks in her eyes. In a terrifying climax she makes use of the fact that in the dark the blind have an actual advantage over those who can normally see.

This play was our first production in the new Castle Theatre in Wellingborough


Wedding Of The Year
by Norman Robbins
17-20 September, 1997
Ethel Murchinson . . . Jane Cox
Peggy Ramskill . . . Christine Elmore
Walter Thornton . . . Trevor Cook
Frank Edwards . . . Steven Wilmer
Alison Murchinson . . . Laura Seabridge
Honoria Murchinson . . . Jane Simpson
Matilda Murchinson . . . Helen Wildman
Melvyn Thornton . . . David Mander
Harry Elphinstone . . . John Hare
Priscilla Edwards . . . Geraldine Rigler
Producer . . . David Whitney
Alison Murchinson, fat, straight haired, bespectacled is the last sort of girl one would visualise as a heroine, but Uncle Frank decided to make her one by entering her as a prospective candidate for a Wedding of the Year competition - selecting a designer to create her wedding dress even before he has found her a suitable husband. His eye falls on Walter Thornton's son, Melvyn, a frustrated inventor and an appallingly clumsy young man. However, the best-laid plans...

This play was written in the 1970s, and on first reading seemed a little dated. It could also be described as 'fattist' (although Alison, the brunt of the weight jokes is triumphant in the end). However, we found it made us laugh and decided to give it a go. The audience reaction showed we had made the right decision, with every night being a sell out, something we had not achieved for several years. If you are looking for a funny comedy with plenty of sight gags which will appeal to a wide audience, this play is recommended.


The Edge Of Darkness
by Brian Clemens
3-6 June, 1998
Penny . . . Jane Simpson
Hardy . . . David Mander
Max Cranwell . . . Trevor Cook
Laura Cranwell . . . Helen Wildman
Emma Cranwell. . . Laura Seabridge
Livago . . . Steven Wilmer
Policeman . . . Roy Cobb
Producer . . . David Whitney
Having been found in a hospital by her parents, Max and Laura, after her disappearance several years ago, Emma's homecoming should have been an event of unalloyed happiness. Soon, however, it seems there is something strange about the situation. Emma's memory is damaged, which may be why there is much she does not recognise, much that does not quite fit: but why does she appear familiar with certain Russian phrases; why has she such a horror of a harmless bell, of a portrait on the wall, of knives? What lies behind the odd behaviour of the new 'hired man'? What is the significance of Max and Laura's somewhat ambivalent attitude towards their daughter? Is she, in fact, their daughter?

This play, set about 1900, at first reading seems perhaps a little slow. It is, however, very well written, with 'clues' almost imperceptibly buried in the dialogue which later events cause to be almost subconsciously recalled. The ending also appears to be weak but comments from audience members shows this not to be the case. Every major character, with the exception of the maid, is not what they at first seem to be, and each scene adds at least one twist to the plot. It proved very gratifying listening to the audience putting two and two together and rarely making four. Recommended.


Darling I'm Home
by Jack Popplewell
4-7 November, 1998
Rupert Johns . . . Trevor Cook
Celia Johns, his wife . . . Jane Cox
Karen Johns, their daughter . . . Jane Lindley
Robin Nightingale . . . David Mander
Inga Peterson . . . Laura Seabridge
Barry Bingley-Brown . . . John Hare
Rodney Billingham . . . Steven Wilmer
Janet . . . Gill Armstrong
Producer . . . David Whitney
With the capable and experienced Celia Johns growing more and more frustrated staying aimlessly at home and her husband Rupert proving more and more inefficient as a businessman, it seems a good idea - though Rupert is shocked at first - that they should change places: and indeed Celia soon starts Rupert's firm on a profit-making course, while Rupert runs the house with equal efficiency and enthusiasm. Complications arise, however, on both sides - not unconnected with Rupert's growing unease as Celia becomes increasingly the travelled-and-attractive male-accompanied career woman. Matters are brought to a head by the arrival of daughter Karen to take up residence - with two babies, but, for the moment, no husband.

This play was written in 1973, and it's main themes (the swapping of traditional gender roles and single parenthood) are perhaps a little dated. However, the cast enjoyed performing the play and the audience seemed to find it very funny. The main character of Rupert is rather a large part but some of the supporting roles are quite small, making them ideal for beginners or those who do not feel confident in committing themselves to too much line learning.


Tiptoe Through The Tombstones
by Norman Robbins
9-12 June, 1999
Vernon Prewitt . . . Trevor Cook
Edna Honeywill . . . Barbara Thompson
Zoe Mapleton . . . Sue Hastings
Mortimer Crayle . . . Steven Wilmer
Octavia Tomb . . . Geraldine Rigler
Henrietta Tomb . . . Helen Wildman
Augustus Tomb . . . Paul Griffiths
Athene Tomb . . . Maureen Shram
Larry Lewiss . . . David Mander
Fabia Tomb . . . Christine Elmore
Producer . . . David Whitney
Mortimer Crayle, the crusty old lawyer, and his secretary Zoe, have gathered the last remaining Tomb family members at the old house, ostensibly to inform them about their inheritance. However, Crayle has designs on the inheritance which demand the death of all Tombs. Fog descends on the gloomy mansion, and in the cobwebby corridors things - and people - are seldom what they seem. With poison in every decanter and mysterious disappearances into secret passageways, hosts and guests alike join the increasing number of bodies in the cellar.

This play was written in 1997. Norman Robbins writes with amateurs in mind, so none of the roles are excessively large and all have some good lines. In this play there are no stars, just constellations. Quite a good thriller in its own right with large amounts of comedy.


Still Small Voice
by Norman Latimer
3 - 6 November, 1999
Still Small Voice . . . Barbara Thompson
Dora Middleton . . . Helen Wildman
Diana . . . Tracey Unsworth
John . . . Trevor Cook
Letticia . . . Jane Lindley
Mrs. Sampson . . . Geraldine Rigler
Jerry Sampson . . . David Mander
Henry Clay . . . Paul Griffiths
Producer . . . David Whitney
Dora Middleton is a domineering mother who selfishly manipulates the lives of all those around her. At last they listen to the Still Small Voice in their minds and begin to take control of their own lives.

Although rather old (this play was written in the 1920s) the language is not too dated and the storyline is strong enough to keep the audience hooked. There is also plenty of room for comedy as some of the lines are potentially very funny and the character of Dora has the opportunity to steal every scene by being both hilarious and totally obnoxious. The description of the play in the script is "a play in three acts" whereas a better wording might be "a tragi-comic drama".


1952-1959 | 1960-1969 | 1970-1979 | 1980-1989 | 2000-2009 | 2010-2019