The making of Moonfleet part two

Laura Davies, Deputy Head of Workshop, gives another update on the making of Moonfleet.

Hello again from the Workshop department. We’re now about halfway into the Moonfleet build and things are going well. The large steelwork sections are nearly complete. Almost the whole workshop floorspace has been taken up with laying out the complicated structures, and then welding them together. We have to get the curves and angles millimetre perfect so that they will fit together quickly and easily on stage. After the welding comes the cladding. The steel skeletons are covered with different thicknesses of plywood and MDF so that they create the correct finished effect of heavy wooden ship’s beams. They’re certainly heavy enough already – we’ll need special equipment in the workshop and during the fit-up to be able to manoeuvre them safely into position. Moonfleet Workshop 1

In a couple of weeks our scenic artists will join us in the workshop to turn our wood and steel items into convincingly old and weather-beaten woodwork. It’s always exciting to see the transformation, it will look incredibly dramatic. It is often difficult for us to both build and paint large pieces of scenery in the workshop at the same time, so they are currently painting the floor boards and plywood planking at a paintshop space in Plymouth. Ensuring that they get the right materials at the right time is just one of many logistical challenges. We have also had to juggle building and storing two other studio sets alongside Moonfleet (Hansel and Hamlet). We have just fitted up Hansel in the Salberg, which looks beautiful and atmospheric, but, because we had to build it early, it subsequently took up valuable space in the workshop.

Moonfleet Workshop 2Earlier in the build we got ahead on some of the “furniture” pieces, such as ladders to access the balconies and crosses for the graveyard. Tim had to do some research on coopering so that we could make 2 large barrels for the crucial scene down the well, and we made 5 coffins which will be used to create the crypt scene. It’s been rather eerie having coffins hanging around the corners of the workshop, especially as I had to measure myself to get just the right size! We also did some effectively invisible work to make it possible for the rake to fit our unique hexagonal stage.

Finally, we’re pleased to be welcoming a new member of our team this week and we hope that he’ll enjoy the challenges and successes of Moonfleet along with us.

Moonfleet runs in the Main House from Thursday 19 April until Saturday 5 May. For more information or tickets call Ticket Sales on 01722 320333 or visit


Week two of rehearsals for Hansel

Actor Lee Rufford, who plays the Boy in Hansel, tells us about week two in the rehearsal room.

It’s been a week of re-examining the play and continuing to unlock how this story might unfold and fit together.

Hansel company in rehearsal

The Hansel company in rehearsal

The possibilities are many but I suppose our job is to find the way which feels most truthful to the text and in accordance with what the writer has intended and envisaged.

This play is exciting because almost every time we revisit a scene we find something new to play with or think about. It’s good when this happens as it hopefully leads to the play becoming textured. Our job as actors is to find these layers in rehearsal and then build our discoveries into the work.

There has been more yoga with Jo in the mornings and the nights are getting lighter now – so I’m even managing to fit in the odd run across the water meadows at the back of the cathedral (before the snow arrived). I like to run after rehearsals – It really clears my mind and freshens me up. Then, if I have any work to do or consolidate in the evening, I’m coming at it with a renewed and re-oxygenated brain.

I’ve found that most of the line learning on this job has happened in the rehearsal room. Especially on the sections of the text which are more poetic. I find it’s always easier to learn something that’s rhythmic or packed with images. I save the tricky sections of dialogue for the evenings after I’ve done a run.

It was great to open up the rehearsal room for an hour this week to some of those people who are patrons of theatre and of this project. I’m a big fan of this sort of thing and always enjoy seeing new faces in the room. I like it when things are transparent and inclusive. It’s so healthy to build this relationship with your audience and the community that you are serving.

One more week of rehearsal to come and then we will be getting very close to opening…

Hansel runs in The Salberg from Wednesday 14 to Saturday 24 March. For tickets call Ticket Sales on 01722 320333 or visit for more information.

Week one of rehearsals for Hansel

Lee RuffordHi, I’m Lee Rufford and I am playing the Boy in Hansel. I have been asked to write a short blog about week one of rehearsals so here goes…

We join Salisbury Playhouse in a week where three of Salisbury’s arts venues/organisations have just merged. There seems a real upbeat and optimistic vibe around the building which is heartening and good to be surrounded by.

I’ve visited this theatre briefly an actor before, on a couple of occasions and each time been made to feel extremely welcome by the staff. This is very helpful and settling for an actor and Salisbury Playhouse should be proud that it provides such a good platform and base for actors to work from.

In rehearsals we took time on the first few days to talk about the play, share research, get to know each other and worked towards discovering the dynamics in the relationships between the characters. We also did some work to kick start some character development which will obviously be continuous and ongoing. Every morning, before we start, we’re doing yoga with Jo Newman (our director who also teaches yoga… handy). It sets up the body and mind perfectly for the day.

It’s amazing what can be crafted in five days and it feels like we are starting to get real grasp on what this story is and who these people are.

This week we start with looking at last few scenes in the play before revisiting what we have already worked on for further play and exploration. It’s all a building process…

Hansel is in The Salberg from Wednesday 14 to Saturday 24 March 2018. For more information or tickets call Ticket Sales on 01722 320333 or visit

Is the arts industry conducive to mental health and wellbeing?

By Jo Newman, Associate Director, Salisbury Playhouse

On Friday 9 February artists and industry professionals from across the South West gathered at Salisbury Playhouse for the third South West Theatre Symposium run in partnership with Take Art, Activate and Theatre Bristol. This year we collaborated with Viv Gordon (performance artist, mental health campaigner and all round brilliant person) to put together the event, to interrogate whether the arts industry is conducive to mental health and wellbeing, to learn from and support artists who are making work with ongoing mental health conditions to create a more enabling sector. Though there is growing awareness of mental health in society, the arts sector still has a long way to go in terms of enabling artists with lived experience of mental health conditions who face countless barriers which are not recognised, more urgent than ever in an industry which is “whimsical, competitive and insecure… runs on artists’ adrenaline, resilience and vulnerability”. (Viv Gordon)

viv gordon

Viv Gordon

This is the third time we’ve run the symposium event and, after the success of the last two, we wanted to make sure that this one felt just as useful, meaningful and practical – and thanks to Viv and all the brilliant contributors, I think it really did. It feels really important to share these learnings here.

“For a long time mental health has been poorly understood in the arts. Many people can’t see any exclusion because they believe mental health is already included. They say that theatre is full of mental health narratives. But what they don’t see is that too often these narratives are told by people with no lived experience and riddled with stereotypes, oversimplifications, misrepresentations and problematic cultural appropriations.” Viv Gordon.

Following Viv’s opening provocation, we had the privilege of hearing from  artists Louisa Adjoa Parker (exploring mental health and intersectionality in relation to her life and work), Viki Browne (sharing her experiences of her practice) and Dolly Sen (how we can entrust a system to know what the word ‘reasonable’ means when it is full of old, decrepit prejudices, and asks if the arts world is any better) who gave moving, hilarious and rousing provocations in equal measure. All the provocations are recorded and you can listen to them here.

IMG_5216After the morning’s provocations we had break out groups and workshops led by Louisa on creative/life writing, Viki on exploring access strategies for performance making and mental health and Dolly led placard workshops which culminated in participants leading peaceful protests in the foyer of Salisbury Playhouse. There were also sessions from Tia Roos from Dorset Mental Health Forum (Mental Health Awareness), Emma Conway-Hyde from the Umbrella Tree (time management and avoiding stress and burn out), Oliver Jones from Creativity Works (peer-led support for artists), Kate Dalton, therapist (where the arts and therapy connect) and Ruth Kapadia, Relationship Manager, Diversity (Grants for the Arts access support).

There was an opportunity for pledges, action planning, practical next steps and we culminated the day exploring some draft access guidelines Viv has written for venues to support artists with mental health conditions. These are still in a drafting process but we are hoping to be able to share them soon, gathering some of the learning from the day and hopefully also sharing some of the learning from this event which happened on the same day at Battersea Arts Centre, led by Byron Vincent, also exploring practical support for artists with mental health conditions and who is taking responsibility for this within the zeitgeist topic of mental health in the arts and wider society.

“And this is the crux of it – when you have mental health needs the onus is ALWAYS on you to normalize, not on society or the arts sector to enable. So we must be careful today not to replicate that. Self-care is essential and brilliant and something everybody should practice but that can’t replace systemic changes which could make our industry enabling for people like me.” Viv Gordon

There’s a lot more learning to do but that’s why these conversations are so useful – so please share this and let’s keep talking about this – there are some big systemic changes that need to be made in the sector and if we all start to incorporate these learnings into our practice we could make some seismic ripples.

The making of Moonfleet

Moonfleet twitterLaura Davies, Deputy Head of Workshop, gives us an update on the making of the Moonfleet set…

So, here in the Workshop, we’ve just finished our biggest build of the year Jack and the Beanstalk, which was swiftly followed by Little Robin Redbreast. It was an extremely busy time for us. It was hard work, but we’re very proud of what we’ve achieved with both shows. We’ve had a short break from the hectic schedule (in other words, time to tidy the workshop up!), but now we’re heading into our next challenge – and it’s a big one!

On 13 December 2017 we saw the final scale model for Moonfleet. It’s all curves and angles  – very ship-like, as you might imagine, and there’s planks and algae all over the place!

The designer Tom Rogers, with whom we enjoyed working recently on Echo’s End, has not taken it easy on us with his stunning design. The stage is sloped, it’s full of trapdoors, and there are two large balcony sections. It will look incredible, but first we have to work out how we’re going to make it – with three people in six weeks!

To do this, Tim Reed, Head of Workshop, has spent a good few days in the office poring over the plans and doing a lot of calculations. Tim has to work out things like how many metres of planks there are on the whole set and what will we use to make them. Or how do we make those balconies strong enough to hold up the set and the cast while looking old and decayed?

Tim works hard to estimate the amounts of materials required and also how much time each scenic item will take to build. The overall cost is then run by our Head of Production, John Titcombe, who will look at the budget available and work out where any savings can be made.

Suffice it to say that there will be a lot of welding involved with this set, a lot of noisy plank carving, and we’re sure to be assembling sections in the workshop to make sure all of those tricky junctions go together nicely. We’re excited about being a part of bringing this new musical to life. It’s great to be involved with a world premiere too – hopefully people will remember this show (and the scenery!) for years to come.

Moonfleet runs in the Main House from Thursday 19 April until Saturday 5 May. For tickets contact Ticket Sales on 01722 320333 or visit

Adapting A Passage to India

Passage to India smallerOne of the great novels of the 20th century, A Passage To India will be brought to life on stage in a new adaptation by award-winning ensemble simple8 at Salisbury Playhouse from 22 to 27 January 2018. Taking EM Forster’s novel and re-imagining it for contemporary Britain, this new stage production will conjure up Imperial India, the elephants and caves, courthouses and temples with the simplest and boldest of means.

A Passage To India is adapted and co-directed by Simon Dormandy, whose recent directing work includes co-directing his own adaptation of Coen Brothers’ film The Hudsucker Proxy at Liverpool Playhouse, and directing Julius Caesar at Bristol Old Vic. Simon was also Director of Drama at Eton College for 15 years, where his students included Eddie Redmayne and Tom Hiddleston, as well as the co-director of A Passage to India Sebastian Armesto.

Do you think A Passage to India is still relevant today, over 90 years after it was written?

“Absolutely. The question which drives the story – how can we love one another in a world divided by culture and belief – is every bit as urgent in Britain today as it was when Forster first framed it. The world may have become a smaller place in the last hundred years, but it is no less divided than the India of Forster’s novel.  A Passage to India is a story for our times.”

When approaching this adaptation, did you have a certain idea of what the British Raj must have been like?

“My father spent his pre-school years in British India, and I was brought up to believe that, however much we might question colonialism as a policy, the behaviour of the British themselves was generally benign. And the essential decency of the British was something I found very hard to unthink, partly out of love for my family, partly from the romantic way the Raj is generally presented in fiction and film, and partly from direct experience of India, where I spent nine months backpacking in the Seventies.

“So when, at the end of my gap-year, I finally got around to reading A Passage to India, I was devastated. Its portrait of the Anglo-Indians (as Forster calls the colonial British, using the meaning current at the time) was utterly convincing and absolutely damning, not because they are individually malicious, but because the structure and ultimate purpose of colonialism forces them as a group, regardless of their personal qualities, to deny the common humanity they share with the Indians so that, when there is a crisis, they behave atrociously.”

Simon Dormandy (left) backpacking in India in the 1970s

Simon Dormandy (left) backpacking in India in the 1970s

What can audiences expect from this production?

“They can expect a simple, moving story about people overcoming terrible obstacles in search of love.  They can expect scenes and characters of exquisite delicacy – Forster’s dialogue matches the very best ever written for a stage.  They can expect thrilling and dynamic sequences of action and imagination – the conjuring of beautiful settings and terrifying experiences from the simplest of ingredients.  And they can expect comedy, tragedy and rich humanity at every turn.

We have chosen a minimalist design style, using appropriate costumes on a simple set, but dispensing with accessories, props and scene-dressing in order to focus on character and relationships, not period and milieu.  By inviting the audience to flesh out our hints with their imaginations in this way, we hope to draw them deeper into the drama, implicating them in something that might all too easily feel like a tale of long ago and far away.”

A Passage to India runs at Salisbury Playhouse from Monday 22 to Saturday 27 January. For more information and tickets, visit or call 01722 320333.


In the rehearsal room with Jack and the Beanstalk

Sam Harrison plays Jack Trott in this year’s pantomime Jack and the Beanstalk. He’s been in rehearsal with the rest of the cast for two weeks and tells us what’s been going on in the rehearsal room.

JACK cast 6 copy

The biggest issue when rehearsing panto is the filth. I’m not talking the traditional slop scene where everyone gets covered in goo. I’m talking about reigning in a cast of comics who want to get the biggest laughs.

We are at the end of week two rehearsing Jack and the Beanstalk and our director Ryan has created a very happy rehearsal room, but the phrase we hear most often is “you can’t say that”. For reasons of propriety I can’t repeat anything here, but rest assured young ears have been protected from all sorts of puns involving joy sticks, udders and …

That isn’t to say there isn’t a lot of sauciness and hilarity that makes its way through the censors. Half the time there’s only one person acting in a scene, whilst everyone else just tries not to laugh. In fact, rehearsing a panto is different from any other kind of rehearsal process. Conversations include:

“Do you want me on the cloud stage right or stage left?”

“That won’t work, my wig/udders/dress is enormous.”

“Can you make that bean pod look heavier?”

“Right guys, let’s take it from ‘Lady Gaga’ going into the Charleston.”

“I can see your hand up the chicken’s bum.”

Because of course comedy is a deadly serious business. Very often you can see people in corners looking like they’re thrashing out the next Brexit negotiation, only to discover they’re saying:

“So  if I look away and THEN you hit me, I can fall into HER so she has a reason to say the next line.”

“Yes but if you could then bounce BACK that would be really useful so we can get a clear path for HIS next entrance.”

“Perfect. Do we have  a sound effect for that?”

[It plays]

“Uh-huh, uh-huh, yes, I love the BOING but can we get more of a THWACK beforehand?”

Halfway through our rehearsals a lot is still up for grabs, smut will be bouncing around the rehearsal room until just the right tone is set and we are yet to get into costume or find our way around the stage. All that is to come, but what I do know is that we have a marvellously talented bunch who are having a ball creating a pretty special panto.

It’s certainly better than my last job. I used to work in a butcher’s tying sausages together, but I couldn’t make ends meet.

Jack and the Beanstalk opens on Saturday 2 December and runs to Sunday 7 January. For tickets visit or call 01722 320333.

Rosemary Leach 1935-2017

Arthur Millie, Salisbury Playhouse Archivist, remembers Rosemary Leach whose death was announced at the end of October. Rosemary starred in the premiere of 84 Charing Cross Road here in 1981.

Rosemary LeachLaurie Lee’s Cider With Rosie was a story that Roger Clissold had wanted to produce at the Playhouse for some time but the rights had been withdrawn by the author since its West End showing in the 1960s as he was not happy with the reception. Eventually, in 1981, he gave Roger permission to produce it as he had “a special sympathy with Gloucester because of his close connections with Stroud and I am sure he will present the play sensitively”.

Roger approached James Roose Evans who had written the adaptation and it led to a happy double. Roger mentioned that there was also a piece that he himself wanted to adapt called 84 Charing Cross Road. But Roose Evans rejoined: “You can’t – I’ve already got the rights!” So Roger came back with, “OK, you do it at the Playhouse then!”

Thus one of the most successful plays ever to appear at the Playhouse was performed in the summer of 1981 telling the story of the correspondence between Helene Hanff, a rather eccentric and feisty bibliophile and Frank Doel, the owner of an antiquarian bookshop in Charing Cross. David Swift was to play Frank Doel and that much loved actress Rosemary Leach was to play Helene Hanff.

Rosemary was born in Much Wenlock in Shropshire, the second daughter of a headteacher who ran the village school in Diddlebury near Ludlow. Amongst her early memories were going to the pantomimes and seeing Val Doonican when he was one of the Four Ramblers.

She was educated at Oswestry Girls High School where she excelled in the school plays. Her aim was to go to art school but she spent some time selling shoes in the Reading branch of John Lewis. However, one day her sister brought home a magazine that contained an article about RADA. She decided to apply and after an uneasy audition was accepted for the 1953 year. She says that she was deeply unhappy there as she “seemed not to learn anything” but she persevered, as she was concerned that her parents were paying the fees.

Her report once said: “She has a good temperament but no technique.” But, after a spell working with Caryl Jenner’s mobile theatre for children, Rosemary said: “After working off the back of a lorry and moving around all the time I suddenly learnt how to do it.”

After many successful stage appearances for a while she became what she described as: “a permanent member of the television rep” and she longed to get back to the theatre – “Charing Cross happened and suddenly I was taken seriously again.”

The role of Helene Hanff was tailor made for her exceptional talents and the production eventually transferred to the West End and she deservedly won the Olivier Award for the Best Actress in a New Play for the 1982 Season.

She was showered with praise. The Telegraph wrote: “Her performance was at once warm and witty in its mixture of romantic affection for Britain and what she can devour from books.”

The local Journal wrote: “It was brilliantly performed by that superb character actor, Rosemary Leach.” And the Financial Times simply said: “Rosemary Leach’s performance is magnificent.”

Sadly Rosemary Leach died in October. In his Guardian obituary, Michael Coveney wrote that, in an interview, Rosemary had once said that she had never been invited to appear with either the National Theatre or the Royal Shakespeare Company. “I’m as good as Judi Dench. I’m sure I am,” she said.

Salisbury Playhouse theatregoers who saw her performance in 84 Charing Cross Road will readily agree with her and consider Rosemary Leach to be the equal of any theatrical Dame.

Adapting Blown Away for the stage

Metta Theatre artistic director Poppy Burton-Morgan talks about adapting Rob Biddulph’s book Blown Away for the stage.

Like many parents reading that same bedtime story for the sixth time in a row, my mind occasionally wanders and, being a theatre-maker, it often wanders into theatre-making territory. Of course it’s hard to ever get bored of Rob Biddulph’s gorgeous work but it’s ever so easy to slip into a parallel world where the characters come into all singing, all dancing acrobatic life! Which is exactly what happened two years ago when I first read Blown Away to my two little boys.

Balance pole2So, with Rob’s blessing, we began to explore how to adapt the piece for the stage. The playful, sing-song verse of the original cries out to be sung so filling the show with songs was an obvious first step. But when you look further at the lovely illustrations you’ll notice (if you’re of a circus-y persuasion) that Rob has already drawn many of the characters in acrobatic positions – notably two-highs and three-highs (when performers stand on each other’s shoulders – a frequent physical trope of the show).

At a deeper level, the use of circus also lets us dig into some of the deeper themes of the story – trust and a friendship that is borne out of sharing a physical adventure together. Circus is always a great art form to make manifest themes of trust – it literally cannot exist without it. There is no greater pleasure than being close enough to the action to see the trust in the performer’s eyes as they throw and catch each other with grace and ease.

Thus far we had been very faithful to this relatively simple tale of friendship and adventure – even maintaining the aesthetic of the slightly ‘bobbly’ illustration through knitted costumes, props and puppets (which add a satisfying sense of the Antarctic temperatures). But being a Metta show (there are always multiple layers of storytelling) we wanted to take the characters further in terms of their backstories and their emotional as well as physical journeys. Puppet Stack

So we took a little artistic license and developed the characters further – so Penguin Blue became a penguin who had always wanted to fly (something real Penguins cannot do) but instead had spent her life following ‘colony rules’ and keeping her feet on the ground. Meanwhile Wilma (Wilbur in the original – always up for a bit of gender parity in casting) became an over-anxious seal, keen to travel, but afraid to leave the familiar surroundings of her ice hole, and Clive the polar bear just wants a friend – it’s lonely being a polar bear, especially if you try to eat your friends.

Now here we are two years later and the show is finished and ready to take flight – the props are knitted, the harmonies polished and the circus tricks drilled into the performers’ bodies. Join us for the ride… it’s a lot of fun.

Blown Away is in The Salberg on Friday 27 October at 12pm and 2pm. For more information or tickets call 01722 320333 or visit


The making of Great Odds

It’s all about the stories for theatre maker Esther McAuley – creating another world that relates to the every day, but with a difference.

Esther’s first play, Great Odds, is a story for six to 11-year-olds about how to follow a dream in a world where that can feel impossible. A collaboration with d/Deaf* and hearing actors that integrates puppetry, visual storytelling, drama, music and sound with British Sign Language (BSL), it has been co-produced with Lighthouse Poole’s centre for the arts, where it opens a UK tour on 18 October.

“I want to make accessible theatre that has something to say in a bold and entertaining way,” explains Esther, who was inspired to learn BSL after being in a play directed by Jenny Sealey MBE, artistic director at Graeae Theatre Company.

“It just blew everything I knew about theatre out of the water and made me want to set off in a new direction.”

Esther also works as a BSL Communication Support Worker and last year formed her own company Mac’s Arcadian in order to produce the kind of theatre she wants to make. Great Odds was developed in R&D sessions at the Unicorn Theatre with support from Improbable in London via workshops and informal sharings to tiny invited audiences.

“That process was invaluable as I was able to get some really interesting feedback and act on it. The piece looks at what it means to have a dream in a place where dreams are not necessarily encouraged.”

The story follows three people – Marco who communicates with speech and sign language, Grouch who uses British Sign Language and Jewels, a musician, who communicates through music and mime.

Charlotte Arrowsmith rehearsing for Great Odds.jpg

Charlotte Arrowsmith rehearsing for Great Odds

When their landlord The Big Boss hikes up the rent for the theatre that is their livelihood, the three set out to create a sell-out show that will save the day. Working with the audience they conjure a story about a puppet who sets out to follow a dream that escaped from its ear at night, but before they can finish, The Big Boss tells them she has had a much better offer from a supermarket chain and they must leave immediately.

“The puppet communicates with light,” says Esther. “The Big Boss is pre-filmed and is projected, so the play is about how these different types of communication are used to create a new world and tell the story.”

Central to the production is that nobody’s ability or disability is named or labelled or discussed, although that decision almost inevitably becomes a point of discussion around the play.

“Well, up to a point,” says Esther. We will be working with two sign language interpreters through rehearsals and there’s a short, very basic Deaf Awareness session for everyone at the start.”

Great Odds has been made possible with funding from Arts Council England, but company members have been applying to the Access To Work employment support scheme to fund some of the interpreter costs that make sufficient access possible for d/Deaf company members.

“The irony is that we have had to jump through all sorts of hoops and the process is slow and it’s far from certain we’ll get the Access to Work funding,” says Esther.

Jim Fish, Sophie Coward, Charlotte Arrowsmith (1)_Fotor.jpg

Jim Fish, Sophie Coward and Charlotte Arrowsmith in rehearsals

The struggle to put on a show is in Esther’s genes – not only are her dad and uncles Irish folk musicians, but her grandparents John and Margaret McAuley founded the original Mac’s Arcadian in west Belfast after the Second World War, taking the name from the local cinema.

“I’m lucky enough to be a bit better off than they were, they had absolutely nothing. My granddad played musical instruments and the spoons and my nan danced and sang – she was singing up until she died in her 90s. The original Mac’s Arcadian was a travelling show and they would tell stories, sing songs, play music and perform vaudeville sketches.

“Sometimes they’d bring other acts in – there’s a story about The Man Who Ran Around Himself, a man who put his head on the floor and literally ran around himself – but it was fundamentally about creative storytelling. So that’s where it all comes from. It seemed obvious to re-found the name and I hope they’d see the link with what I’m doing.”

* d/Deaf is a short-cut term used to describe simultaneously people who are Deaf (sign language users) and deaf (hard of hearing who have English as their first language and may lip read and/or use hearing aids).

Great Odds is in The Salberg on Wednesday 25 October at 2pm and Thursday 26 October at 11am. The Thursday performance is followed by a hands-on puppet workshop at 12.15pm. For more information or tickets contact Ticket Sales on 01722 320333 or visit