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BOOK SOON FOR OUR NEXT PRODUCTION:
We are grateful to BATS & NODA who support us during our season. These are extracts of their reports of our plays:
This is the video that we presented at the begining of 'Snow White' (2022)'Prepare to Meet Thy Tomb'(2023) as part of our Centenary Celebration Year which was curtailed by Covid-19. We hope that it brings back happy memories. This video is best viewed in horizontal format. Click on the 'arrowhead' to play....
Directed by Ian Hunter
17th-21st March 2026
Tyldesley Little Theatre take on this classic piece from the pen of Helene Hanff, with dramatisation by James Roose-Evans. The story details the long distance communication between Helene Hanff, author and playwright and Frank Doel , the Chief buyer of the firm Marks and Co, where she purchased her rare edition books, along with building written communicative relationships with Doel and his staff, resulting in food hampers being sent for special occasions and the constant promise of a visit to the shop from Hanff, which, alas, came too late. Having based this piece on her own story of purchasing books from England, and have them sent to her apartment in New York, it gives the feel of a ‘fly on the wall’ documentary of this unique arrangement which crossed back and forth across the seas for many years. Ian Hunter takes on the role of director for this production. Not having directed for many years, Ian takes on this task with enthusiasm and creativity, resulting in a credible production for TLTs ever increasing repertoire. Stewart Racle admirably plays Frank Doel. A commendable performance that this relatively inexperienced performer makes short work of. Some nice expressions and stance, showing thought and meaning whilst delivering the dialogue. The mammoth role of Helene Hannf is taken on with gusto by Catherine Henderson. As with the role of Frank, so many words to learn! Catherine is not phased at all and steams through, setting and maintaining the pace from start to finish, complimented by a sustained New York accent throughout. The book shop had a number of dedicated staff who were constantly beavering away ensuring stock was bought, sold, posted and replenished. The feeling of library rules being observed was apparent as silence prevailed whilst working during the times when the only voices heard were Doel and Hanff as they penned their communication. Daisy Clark as Cecily Farr delivers well and offers consistent characterisation, coming into her own as she spies the opportunity to reply to one of Hanff’s letters to Doel. Displaying a constant smile and pleasant demeanour, Daisy made the most of this cameo role. Jenny Ackerley shows versatility as she takes on two roles within the play. As Megan Wells, the shop assistant, we see a reserved character who quietly gets on with her job at the bookshop, making a difference in her own way. Conversely, as Maxine Stuart, Jenny gives a confident interpretation of an almost brash American Maxine Stuart, with a good accent and body language that depicts the confidence of this character. Mr Martin, another shop assistant, was given just the right amount of bumbling by Alex Sangster. Again, playing a dual role, the addition of young shop assistant Thomas was equally as watchable. Adam Paton as William Humphries, gave this cameo just what was needed. Not a lot to say, but gestures and reactions that were sufficient. Coming in during act two, Mrs. Todd appears to be employed to replace the regular ladies, both of which had left the shop to pursue different paths in life. Karen Ward, who exudes experience, gave this relatively small cameo role a huge amount of character, which is what we have come to expect from Karen. Well done. Costumes were of the period, with an array of cardigans for Hanff to wear during the 20- year span of time. The set was the highlight of this production. A split set depicting Hanff’s apartment and the book shop. Books a plenty, all with authentic detail which gave the true feeling of a olde worldly bookshop. Props team; Jo Hibbert, Laura Solski and Paul Whur have paid attention to detail in sourcing the many books displayed on the set. An all round enjoyable production of this classic piece that holds so much history of how things used to be done with not a laptop, mobile phone or email in sight!
Paul Cohen
Bolton Amateur Theatre Societies Reviewer
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There is something rather special about 84 Charing Cross Road. Its quiet charm and heartfelt storytelling rely heavily on sincerity and connection — and Tyldesley Little Theatre approached this piece with clear care and respect for its heart. Behind the scenes, the production team worked steadily to create a smooth and considered performance. Stage Manager Laura Solski, alongside Continuity by Karen Ward, and Props by Jo Hibbert, Laura Solski and Paul Whur, ensured the flow of letters, parcels and — most importantly — the many books central to the story were handled with ease. The transitions felt organised and allowed the actors to move comfortably within the space. Hair, wigs, make-up and costume by Alex Haymes, Danny Tooby, Jenny Ackerley and Stewart Racle were appropriate for the period and supported the storytelling without distraction. The understated styling suited the tone of the piece well. Set Construction by Eddie Stanley and Andy Haymes, with Set Decoration by Peter Hood, deserves particular mention. The staging was thoughtfully designed and made strong use of the performance space. The bookshop setting in particular created a convincing world that helped the audience settle into the rhythm of the play. There was a warmth to the design that reflected the spirit of the script. Lighting Design and Set-Up by Jenny Ackerley and Tony Doherty, operated by Jenny Whur, alongside Sound Operation by Paul Whur, provided steady technical support throughout. The lighting shifts helped guide us through time and place in a subtle and effective manner. Now to the performances. A standout performance of the evening came from Stewart Racle as Frank Doel. With a role driven heavily by dialogue and letter-reading, and without the benefit of constant onstage interaction, Stewart demonstrated assured stagecraft. His delivery felt natural and grounded, and the ease with which he handled such a dialogue-heavy role was commendable. A performance to be proud of. Catherine Henderson as Helene Hanff created a well-rounded character with clear development across the production. She captured Helene’s determination and warmth nicely, building a believable connection with the audience as the correspondence unfolded. Daisy Clark, in the role of Cecily Farr, brought a gentle positivity to the stage. Though the role carries less dialogue, Daisy maintained a pleasant and consistent presence that supported the naturalistic tone of the performance. Supporting roles played by Jenny Ackerley (Megan Wells/Maxine Stuart), Alex Sangster (Mr Martin/Thomas), Adam Paton (William Humphries), and Karen Ward (Mrs Todd) helped shape the wider world of the bookshop and its community. Together, they contributed to the ensemble feel of the production and maintained the steady pace of the storytelling. Overall, this was a sincere and heartfelt presentation of a much-loved play. Community theatre thrives on dedication, teamwork and a shared love of storytelling — and that spirit was evident throughout this production. Every member of the company clearly gave their time and effort to bring this piece to life, and that commitment should be recognised and appreciated. Thank you to Tyldesley Little Theatre for inviting my guest and I to share in this production. Your continued passion for theatre within the community is always valued, and I look forward to seeing what comes next.
Craig Pinnington
NODA North West District 5
Directed by Danny Tooby
27th-31st January 2026
Tyldesley Little Theatre start 2026 with the one woman show Shirley Valentine written by Willy Russell, in 1986 and later in 1998 was turned into a film starring Pauline Collins. The scene is first in Shirley’s kitchen – airy, open with cream walls and a window Stage Left with blue curtains and a door to the rest of the house. Stage Right is a pantry door which we see stocked with various household items; also Stage Right, a pine table and chairs with wine glass and bottle on the table and behind that is an ironing board and iron where Shirley places a basket of washing. On the back wall is a door to the outside Stage Right with a picture on the wall. Then the other side of the door are wooden kitchen units shaped in L coming down under the kitchen window, with wooden wall units to match. A cooker, fridge and sink with drainer are also featured. Various props then help complete the look with spider plant on shelf, bottle opener hanging on the wall. Teapot, kettle, collection of pans and other items. A convincing kitchen of the late ‘80’s with appropriate lighting giving it a fresh bright look. Act Two we are transported to Greece, where an off-white cloth cuts the size of the stage down to give an intimate feel. Stage Right is a large blue fringed beach umbrella; a small table and two chairs are set off Centre Right with wine pitcher and glass on the table. A large rock Stage Left and blue wooden screen coming from Stage Right with wisteria-like pink flowers hangs overhead. The blue and white traditionally seen in Greece was not lost. Lights were then strung across the stage like you would see in a taverna. Subtle warm lighting was also used to give the hint of heat in contrast to the stark lighting in the English kitchen. Sound effects of the chips cooking and the fried eggs added authenticity to the kitchen scene. The opening music was I’ve Never Been To Me by Charlene which was then on the radio in the kitchen when the curtain opened and Act Two was Zorba’s Dance from Zorba The Greek by Mikis Theodorakis. Set Construction Eddie Stanley and Andy Haymes. Set Decoration Andy Hood. Properties Jo Hibbert and Laura Solski. Lighting Design Peter Gower and Jenny Ackerley. Lighting Operation Jenny Whur and Jenny Ackerley. Sound Compilation and Operation Paul Whur. Hair and Make-up Danny Tooby and Rebecca Southern. You would be forgiven for thinking this play was written by a woman - the observational accuracy is amazing. Russell takes his time from when he was a hairdresser to portray how women often struggle with identity once the kids have left home. The feeling of invisibility and menopause was not a thing talked about much in the mid-1980’s, so I really feel this play is ahead of its time as we witness the fears and thoughts of a woman who talks to her kitchen wall and then a rock when in Greece. I did note that the audience was probably about 90 per cent women on the night I was there and nodding in agreement at what was being said. Danny Tooby takes on the role of Director and it’s clear the intimacy of one to one comes across in this piece. It is noted we only see the actor on stage - no stage crew to break atmosphere, with the actor clearing the set herself, as you would in your own kitchen in the first act between scenes. Using the space well and changing from a fully fitted kitchen to the shores of Greece worked a treat. The costumes and hair all adding to authenticate the look. Rebecca Southern takes on the mammoth task of Shirley Valentine, no one to hide behind - just her on stage. She takes us through a gamut of emotion, using the wall in her kitchen and on the Greek island a rock her thoughts are spoken to us the audience. This is actually one massive out-pouring of a monologue. Rebecca builds us the picture of her husband she has grown distant from and his love of the things that happen regularly. For her friend Jane - who actually suggests the holiday in the first place - we are given an insight into her marriage ending. Shirley’s two children have both left home, although one does come back briefly. Then there’s her neighbour who can always top what Shirley is doing and ends up surprising her. I wonder how many people can relate to the headmistress story or the girl at school that you envy when in actual fact she is envying you. Russell’s observational humour is spot on here and Rebecca delivers - she inhabits the kitchen as her own, peeling potatoes and cooking chips and eggs making the mundane relevant. The pathos and humour were brought out well and I reiterate the audience were nodding and agreeing with what Rebecca said. It was almost like being at a women’s well-being rally. Rebecca as Shirley’s pragmatic approach to the holiday romance is enlightening and we begin to see Shirley blossom: the idea that a woman cannot be on her own on holiday touched on in a hilarious way; the freedom to skinny dip in the ocean. The coming of age of Shirley was well portrayed and as Rebecca stood there, deciding not to go back to England, she appeared to have grown a foot in height, strength & looked majestic. I am sure this piece would have resonated with a lot of people as it still stands up today. Well, done Rebecca and Danny for taking on this one-woman play about disillusionment of life and watching the character come alive, blossom and triumph.
Liz Hume-Dawson
NODA North West District 5
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Willy Russell is renown for his clever writing style, and Shirley Valentine, first performed in 1986, is testimony to Russell’s ability to take real-life situations and convey them from page to stage. In mono-dramatic style, a middle-aged working-class housewife spends a lot of her time talking to the wall and herself as she vocalises her internal thoughts, dreams, aspirations and frustrations. The action takes place in Shirley’s kitchen and in Greece. The kitchen was just as it should be. A working kitchen complete with cooker, fridge, sink, ironing board and iron. Simple and effective with appropriate props depicting an everyday family kitchen. The transition to Greece for act two was created by presenting a bistro table and 2 chairs, an impressive bougainvillea, and the all-important ‘rock’ for Shirley to speak to! Props were used to great effect. The meal of egg and chips was created as part of the action. Peeling potatoes, making chips and frying eggs all realistically executed. The sound effects were timed to perfection here duping the audience into thinking they were cooked on stage. Rebecca Southern presents a faultless tour de force as Shirley Valentine. No other actors to bounce off, no time to relax backstage before the next entrance, Rebecca was on stage for the entirety of the play. Page after page of libretto, learnt and delivered with ease. Rebecca displayed a natural ability, not only in conveying the words with a relaxed delivery, but in her mannerisms, facial expression, double takes and emotions. Rebecca had obviously studied this role in depth as her portrayal of Shirley was more than palpable. Rebecca is a great storyteller and handled the narrative of this piece with care and attention, ensuring we understood every nuance, intricacy and idiosyncrasy of Shirley. Good levels of intonation, ensuring we were able to tune in easily. A detailed and considered characterisation that I am sure Rebecca, and her director Danny spent hours exploring, developing and nurturing, leading to the polished portrayal that Rebecca delivered with stylised interpretation. Rebecca may not have been fluent in Greek, but she was more than fluent in presenting poignant reflections and many moments of reminiscence. Rebecca, you had us laughing one minute, as you used your comedic skills to ensure the many one liners and punch lines landed, and left us reaching for our tissues to dry our eyes as you reduced us to tears, due to your ability to play pathos. You made your performance personal to each and every one of us, as if there was only one person in the audience. You opened your heart to us, and we entered in willingly as we were with you every step of the way. That was because you played this part so brilliantly. There were many moments where I could see that the audience were transfixed on your acting. I witnessed several occasions where you could literally hear a pin drop as your storytelling hypnotised us and took us on your journey and allowed us into the world of Shirley Valentine - Superb. It was as if we were peeling away the walls of the house to peer into your world, where you are swathed in your own world, ruminating about what is, what should be and what could have been. Director Danny Tooby has played a blinder here. Danny, you have taken this play and made short work of it. You have given it your all and your hard work has paid off. I could see that you have carefully considered the authors intent and offered detailed interpretation of the text. Each section of the story carefully deconstructed and built up again with detail, vision and creativity. Your direction offered the chance for Rebecca to express herself not only by words, but by gesture, expression and stance. Some great pause moments to, where a drink was taken, or the eggs were cracked and added to the frying pan – all very natural and ‘normal’. Your vast experience of directing shone out with this production. You are on top of your game and you should be rightly proud of what you and Rebecca have created. Congratulations Danny, Rebecca, backstage team and technical crew on this stunning production.
Paul Cohen
Bolton Amateur Theatre Societies Reviewer
Directed by Cathryn Hughes
28th November-6th December 2025
Tyldesley Little Theatre’s annual panto has long been a community favourite, and this year’s Sleeping Beauty, directed with warmth and wit by Cathryn Hughes, with Danny Tooby assisting, delivers all the sparkle, silliness and seasonal charm audiences hope for. It’s a production full of heart, humour, and a surprising amount of polish, with Martin Taylor’s musical direction and Katie Kenny’s lively choreography giving the show professional sheen while keeping its grassroots joy. From the moment the curtain rises on King Cactus and Queen Marigold’s delightfully colourful kingdom, it’s clear that the creative team has embraced the traditional panto spirit. The costumes and makeup are particularly strong—bright, detailed and character-defining—helping create a world that feels magical from start to finish. Alex Sangster and Katie Ward make a charming royal duo as King Cactus and Queen Marigold, playing the exasperated-but-loving parents of Princess Rose with gentle comedic timing. Speaking of Princess Rose, director Cathryn Hughes pulls double duty, giving a graceful, warm performance in the title role. Her stage presence anchors the story, especially in the more sincere moments leading up to the famous slumber. Among the comic characters, Stewart Racle’s Muddles stands out with infectious energy and a natural rapport with the audience. His enthusiasm keeps the momentum high and adds a welcome spark to every scene he appears in. Neil Robinson, as Nurse Hettie Harpic, delivers the traditional dame moments with a gentler touch—measured, good-humoured, and never overplayed, fitting smoothly into the ensemble. The hero of the tale, Prince Alexis/Alexander, is played by Danny Tooby, who brings charm and poise to the role. His interactions with Princess Rose feel sincere, and his dual-role moments are handled with a light, comedic touch. On the villainous side, Daisy Clark as Witch Hazel and Matthew James as Egor make an effective duo. Clark gives Hazel plenty of bite and character, while James supports her with well-timed reactions and physical humour, creating a nicely matched pair of troublemakers. In the magical tug-of-war between good and evil, Helene Lyth brings a soft, reassuring presence as Good Fairy Lilac. Supporting roles shine too: Joe Taylor as Fetch and Ian Hunter as Carrie both add quirky humour, while the “wonder horse” is brought to life with charm and coordination by Chris Nicholls and Veronica Cormack—a classic bit of panto fun executed with enthusiasm. Rounding out the magical ensemble are the fairies—Kylie Browne, Chris Nicholls, Veronica Cormack, Jenny Ackerley and David Hope—whose presence adds sparkle to scenes of enchantment and ensures the world feels rich and populated. Their choreography, guided by Katie Kenny, is well-paced and accessible, fitting the scale of the theatre while still feeling lively. With catchy musical numbers and a well-balanced mix of jokes for children and adults alike, the production moves at a bright, engaging pace. The audience is pulled in with call-and-response moments, slapstick gags, and just the right amount of local humour. With strong direction, memorable performances, and excellent costumes and makeup, it’s a festive treat for all ages.
Jason Crompton
Bolton Amateur Theatre Societies Reviewer
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Tyldesley Little Theatre presented their traditional family pantomime Sleeping Beauty by Alan P. Frayn — a cosy, familiar festive offering filled with community spirit, dedication, and plenty of heart. Directed by Cathryn Hughes, with musical direction by Martin Taylor and choreography by Katie Kenny, this production embraced the charm of a classic pantomime, bringing families together for an evening of laughter, tradition, and shared enjoyment. This was very much a team effort, supported by Production Assistant Danny Tooby and Stage Managers Jo Hibbert and Laura Solski, whose hard work ensured the show ran smoothly. You could feel the commitment of everyone involved, both on and off the stage — a true testament to community theatre at its best. The set design offered a traditional pantomime feel, transporting us through various locations within the kingdom using painted backdrops and colourful washes. It created a warm, nostalgic atmosphere that felt comforting and familiar — exactly what audiences hope for in a family panto. Huge credit to Eddie Stanley, Andy Haymes, Peter Hood, Jo Hibbert, and Laura Solski for crafting a setting that wrapped the performance in that classic fairy-tale glow. Costumes followed a traditional style with playful nuances, particularly for the Dame and Silly Billy, adding personality and visual humour. Designed by Danny Tooby, Alex Haymes, and Joanne Hibbert, the costumes worked well within the genre, with a special mention to the fairy colour palette — bright, cheerful, and instantly recognisable. Lighting, operated by Jenny Whur, was handled with complete professionalism throughout, supporting the action on stage and helping guide the audience through each scene with clarity and confidence. Now to the cast — and it must be said, every performer gave their heart and soul to this production. The audience clearly appreciated the effort, responding warmly to the familiar jokes, audience interaction, and pantomime traditions. From the King and Queen offering a knowing nod to our very own King and Princess Diana (a lovely touch), to the Dame and Muddles causing chaos across the village, the spirit of panto was very much alive. And while Muddles may have been very muddled at times, the audience interaction added to the fun and kept the energy bubbling. There were, of course, some standout performances that truly shone: Princess Rose, played by Cathryn Hughes, who also directed the production, was performed with grace and confidence. Her vocals were delivered beautifully, and her traditional portrayal sat comfortably within the style of the show. She was well balanced by Prince Alexis/Alexander, played by Danny Tooby, and together the pair worked nicely, sharing good chemistry and a sprinkling of cheeky innuendo that landed well with the audience. For me, the show-stealers were undoubtedly the villains. Daisy Clark as Bad Witch Hazel and Matthew James as her evil sidekick Egor took to the stage with confidence and flair. Their potion-making scene was a highlight — the balance between the two characters was spot-on, and their performances felt fresh, focused, and thoroughly entertaining. A real breath of fresh air whenever they appeared on stage. Well done to both of you. My final standout moment goes to the Fairies — Red, Orange, Yellow, Green, and Blue. From playful mishaps to constant laughs, they filled the theatre with joy. Their clear enjoyment on stage was infectious, reminding us all what pantomime is truly about: fun, silliness, and shared laughter. Special mentions to Fairy Orange (Chris Nicholls) and Fairy Blue (David Hope), who had the audience laughing throughout. All the fairies looked like they were having the time of their lives — and that joy spilled straight into the auditorium. Thank you, Tyldesley Little Theatre, for inviting my friend and I to witness your traditional pantomime. It was a pleasure to see a community come together to create something festive and heartfelt.I look forward to seeing what you bring to the stage in the new year.
Craig Pinnington
NODA North West District 5
Directed by Jenny Whur
30th September -4th October 2025
Dirty Dusting, written by Ed Waugh and Trevor Wood, is billed as a comedy– and that’s just what is it. With many laugh-out-loud situations, raunchy inuendo and expletives aplenty, this was a cracking nights entertainment that had many a gasp, snigger and raucous laughter moments from start to finish. As 3 elderly cleaners work their shift, we soon get to grips with the lives of these 3 characters. Each with an interesting tale to tell about the very different lives they lead, the trio seem to do a lot of chatting and very little dusting. On one particular shift, they are furious about their pending redundancy but as the spats fly, they are disturbed by a wrong number phone call from a gentleman wishing to access X-rated telephone services. As they are discussing how disgusting this is, they soon become deep in conversation about the financial benefits of such activities, and before they know it, they have talked themselves in to setting up their own chatline, to be known as ‘Telephone Bbelles’ – and this is where the fun starts. As Elsie, Andrea Peters is spot on. Andrea expressed those smutty lines with consummate ease! Andrea’s timing was impeccable, and her defined experience ensured every move, expression and interaction was well thought out and measured – so easy to watch. Karen Ward was suitably snooty as Olive, the ex-guide leader, come cleaner, come sex line operative! As always, Karen turns in an effortless performance ensuring a natural delivery, including facial expression and effective use of the ‘pause’, was consistently in place. So very well done. Characterisation is so important, and Gemma Manfredi has this in spades. Gemma’s ‘Gladys’ was funny, unpredictable and believable. Gladys was the most reluctant to join in the ‘telephone belles’ but the antics of the three ladies seems to have stirred loins somewhere, and Gladys ends up being the most proactive in making this idea work – brilliant! Oblivious to the goings on in his office, office boss Dave is played with a confident swagger by Stewart Racle. Brash, male chauvinist and downright arrogant, Dave throws his weight about and putting the women down. This is until realisation sets in, and he is exposed as a client with a fetish for hoovers– an interesting twist that sees his plans to get rid of the older ladies into turmoil. Together, all three ladies are hilarious and deliver great comedy. Obviously well drilled by their director, Jenny Whur, a line wasn’t dropped, and a comedic opportunity was not missed. The simple, but effective set was well used, the parody of Meri Wilson’s 1977 hit, telephone man was perfect ending to this quirky piece. Director Jenny Whur has once again given the capacity audiences at TLT a great night’s entertainment – just what was needed on a blustery, rainy October evening.
Paul Cohen
Bolton Amateur Theatre Societies Reviewer
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Dirty Dusting is a comedy by Ed Waugh and Trevor Woods set in an office, the three mature ladies have a ball when their income from cleaning is about to be cut short: they get creative. The set was a disused office with paint on the walls that had seen better days. A bookcase on the back wall with folders and files also coat stand. Stage Right Upstage was a door into the cleaning cupboard housing the Henry Hoover. Stage Left was the exit and entrance and way to the other offices. Three small trestle tables were Downstage front each with a telephone. Stage Right against the wall was a desk with files, radio and tea making facilities. Stage Left was another table with various boxes piled up underneath it and old-fashioned computer on top. Various office chairs and suitable posters and pinboard on the wall. Set Construction Andy Haymes, Peter Hood, Ian Hunter and Eddie Stanley. Set Decoration was by Peter Hood, Andy Haymes and Eddie Stanley. Props were by Jo Hibbert, Jenny Whur and Paul Whur. Costumes all looked in keeping with the characters - costumes by Alex Haymes, Jo Hibbert, Danny Tooby and cast members. Sound was good and the Dictaphone used was effective. Well-chosen music for each scene. Sound Compilation, Editing and Operation was by Paul Whur. Lighting worked well during the scenes, I just could not see the characters faces at the end for the song, which was a shame. Lighting was by Jenny Ackerley, Lee Ackerley, Tom Ackerley and Jenny Whur. Jenny Whur directs and the laughs are plentiful with a good use of the stage and the three women really gelling as friends, each character is individual. A few line wobbles and prompts which were recovered from. The women had good chemistry on stage. The audience certainly had a good laugh. Stewart Racle takes on the role of Dave the Boss. With his inflated ego and misogynist and ageist view towards the women, it was then good to see how he reacted to his mum’s phone call. So funny. He played the character so full of himself so we as the audience delight in his demise at the end. Gemma Manfredi played Gladys aka Madonna playing the role of the prude and not wanting to get involved, with an innocent air about her. Gladys becomes the leader and gives her marriage a new lease of life for sex with her husband despite him ending up in hospital. Not quite getting what a sex line is about at first and the talk of large pants not being sexy, she soon enters into the swing of things and enjoys the notoriety. Andrea Peters plays Elsie aka Kylie. Elsie is up for the Telephone Belles’ sex line from the get go, even though she revels in talking about death, you did get the feeling she was lonely and reveals this later. Some great lines and always the joker of the group. “Sucking on a sherbert lemon used to be so innocent” hilarious line. Great Character. Olive aka Marilyn played by Karen Ward. Living by the Girl Guide code at all times Olive reveals all is not what appeared in her marriage. Olive bit by bit reveals the life she lived and it’s her idea for the sex chat line. Rather than be thrown on the unemployed scrap heap she takes action. Karen slowly unravels Olive to us and we see another lonely person emerge and take action with her life. Well played.
Liz Hume-Dawson
NODA North West District 5
Directed by Alex Haymes
13th-17th May 2025
(Web-Editor's Note: After being deserted three weeks before opening night by two of the leading characters, we are proud to have received these outstanding reviews from BATS and NODA and make no apologies for reproducing them in their entirety, 'warts and all' - It should also be noted that this superb production WON the GMDF's Adjudicator's 2024/25 season award "for actually getting 'All in Good Time' onto the stage. Two replacement actors with two weeks to go and a very supportive cast")
Bolton playwright Bill Naughton’s 1963 classic comedy ‘All In Good Time’ was brought to life with great style by Tyldesley Little Theatre. The action takes place in the living room of the Fitton family with the wedding reception of their son, Arthur and his bride, Violet. It has all the hallmarks of the 1960’s Lancashire household where, once married, most couples move in with their husband’s family until they can afford a place of their own. This brings problems for the newly married couple and after six weeks of marriage it is discovered that the marriage has not been consummated. The gossip mill starts rolling, parents meet to discuss the scandal and soon everyone knows of the couple’s marital problems, culminating in Arthur’s boss jibing him to the point of punches being thrown. The requisite split set of living room and Arthur’s bedroom was well designed and used to full potential. Props were in keeping and well thought out, especially the real food. The copious amounts of tea being poured must have kept the props team busy and the kettle permanently on boiling mode. Katie Ward in the role of Violet Fitton was perfectly cast. Katie brought a naïve innocence to the role and delivered a very natural, confident performance. This performance was complimented very well by Joshua Thomas in the role of Arthur. Joshua gave a believable and assured performance with just the right number of motions required to portray the character’s feelings. Arthur’s parents Ezra and Lucy Fitton. were played by Nicholas Worthington and Carolyn Haslam respectively. Nicholas portrayed the father role very well, showing just the right amount of authority whilst showing his softer side towards the end. Some good comedy moments here too from Nicholas. Carolyn’s performance as Lucy Fitton was outstanding. Carolyn delivered excellent one liners displaying superb comic timing that was a joy to watch. A natural ‘motherly’ interpretation of this gem of a role. Just for the record, these two distinguished actors took the roles on at just 2 weeks’ notice – fantastic! The roles of Violet’s parents Leslie and Liz Piper were in the more than capable hands of Matthew James and Ingrid Folkard-Evans who both turned in splendid performances. Ingrid’s upper-class busy bodying was just right, and Matthew’s nagged husband expressions and dry wit responses were spot on – both giving a nod to the art of good comic delivery. Arthur’s brother, Geoffrey, who had a soft spot for Violet, was played by Stewart Racle who’s confident and polished performance was excellent. With supporting roles from Neil Robinson, Lauren Allister, Joe Taylor and Brandon Norbury, it was apparent that director Alex Haymes had a clear vision for this production, which shone through. Alex had obviously drilled her cast well as this polished, tight knit production was delivered with aplomb to a very appreciative capacity audience. Well done on an excellent production. A great production to close yet another successful season at Tyldesley Little Theatre.
Paul Cohen
Bolton Amateur Theatre Societies Reviewer
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Before proceeding on the actual adjudication, I need to say right now that I thoroughly enjoyed the whole evening, some very good acting and energy with very many ‘laugh out loud’ moments, so if some of my comments seem over-picky do please remember it is always more difficult to write an adjudication for a good production than for one with little flaws and errors along the way! In fact, my only criticism (if indeed it can be called such) is that I was enjoying it so much that I made very few notes – I was just drawn to watch – so I did! Watch and thoroughly enjoy! (Which is not going to make the writing of this adjudication any easier).
Stage Presentation
Setting: The Set is mainly in the Fitton (the new Bridegroom) household beginning on the night of the wedding. The set was excellent shouting the 1960s showing the ‘front room’ of the Fitton home, with an easy chair and a dining table and chairs. It also showed a cut-out dais, back stage right, showing ‘the marriage bed’. Photos/Pictures in both ‘rooms’ looked appropriate (was it Beethoven in the bedroom?). One scene in Uncle Fred’s Garden and another on some waste ground, were achieved by means of a painted hinged screen placed and removed for the single required scene and worked quite well. Congratulations to the set designers and constructers. One small problem with the ‘front door’ in the last scene, when it did not close properly and looked a little ‘odd’ for Mr Piper’s entrance as the door was already open when he knocked.
Props: All Good and looked time appropriate. I did make a note that the tray to take the pot of coffee upstairs did not contain any cups, but it did, just that the sides of the tray were SO high that the cups were hidden.
Lighting: Good. The differentiation when the action (a somewhat inappropriate word due to the plot of the play) was in the bedroom, putting the ‘living room’ in semi darkness and vice versa. An announcement was made apologising for the houselights, but I confess I did not see any issue at all so all good.
Costume: Once more, all looked appropriate, with the possible exception of the Wedding Dress, which somehow looked out of place. In the 60s the dress would have almost certainly have been a long dress. I loved the way the perceived (by them) ‘class’ of the respective parents was highlighted through costume as well as the acting. Not sure if this should be part of the costume but the silver bracelet (?) worn by Ezra was inappropriate and very clearly visible in the arm wrestling. The ‘Mary Quant’ type dresses worn by Violet looked just perfect.
Make-Up: Looked good with a real 60’s feel for the ladies.
Effects: I liked with ‘music via the radio’ which somehow sounded different as it should.
Direction
It is the director’s job to assemble all the various elements of the production and to interpret the authors vision of the piece then combine all those many and complex aspects, the script, actors, set, costuming, lighting and sound and costume into a cohesive whole. I must offer my congratulations to Alex Haymes, what a play to pick for a directorial debut with 7 scenes and a cast of 11 quite enough to be going on with, but then losing actors for two such major parts only 3 weeks before. You, Nicholas Worthington and Caroline Haslam, in fact the whole cast, all deserve major congratulations for pulling it off. I am pleased the announcement was made though, as otherwise I would have mentioned ‘the script’ and then felt REALLY bad about it. The direction was generally very good, however, if you could suggest some ‘business’ for the cast to enable them to ‘ride the laughs’ to ensure that the audience do not feel constrained not to laugh in case they ‘miss anything’. There were, unfortunately, several examples of just this over the evening.
Pace: The pace of the dialogue was excellent, but the scene changes seemed far too long and so were in danger of breaking the illusion which you had created SO well. The length of time waiting for the ‘final curtain’ seemed interminable.
Grouping: You made the very best use of the stage, and used it to it fullest extent. Particularly impressive were the scenes when the whole cast were on stage, but somehow it did not look overcrowded. The scenes in ‘the bedroom’ worked really well, although I did not really see what they did to the bed , but the end result was excellent.
Movement: Good, everyone moved with purpose. The ‘arm wrestling between Arthur and Ezra was superb, and the facial expressions told the back-story perfectly – very impressive. However, still on the Arm wrestling Arthur was a little ‘previous’ in striking the pose to begin as he had just said he did not know how to do it. (over-picky?)
Teamwork: Just excellent throughout, every single person, and I very much include backstage crews were clearly working together to produce, despite all the ‘issues’ a really good production, which was thoroughly enjoyed by the audience with very, very many laugh out loud moments. Many, many congratulations to the whole team on stage and off to those ‘at the wedding’ and ‘The Poor Relations’ (as cited in the programme – I would never, ever describe the various back stage crews as Poor Relations) although it did make me laugh, so I guess ‘mission accomplished’.
Overall: Just a really good show, very enjoyable, loads of laugh out loud moments (and we did) a brilliant example of what determination and teamwork can produce – I congratulate you all.
Acting
The acting throughout was very good. It demanded and delivered excellent teamwork, believable relationships, and good facial expressions from the whole cast over the entire show. You were all believable, focussed and compelling to watch and generally vocally good. Many congratulations also on maintaining your characters it must have been very difficult for some of the characters, as some of the parts were really quite small, but still very important and SO funny, I normally mention facial expressions and vocal quality as specifics for each character but I suspect this is going to become boring and repetitive as in the main everyone had wonderful facial expressions and in general vocally good. That said a few specific comments:
Joshua Thomas (Arthur Fitton) you made a great job of this part, superb characterisation and vocally good. As mentioned, I was SO impressed with your facial expression during the arm-wrestling, you told the whole story with your facial expressions. I also very much enjoyed the unlacing of the wedding dress – perfectly portrayed and looking suitably inexperienced, but a believable relationship with Katie (Violet) Well done – great job.
Katie Ward (Violet Fitton nee Piper The Bride) Another part well played, you worked really well with both Joshua and with later on Geoffrey creating two different but equally believable characters and relationships. I was particularly impressed with your embarrassment both on the ‘wedding night’ and then later with Uncle Fred. Really good facial expressions throughout, and vocally good, just be careful not to drop the volume too low in the ‘embarrassed’ scenes.
Nicholas Worthington – (Ezra Fitton) I think all I can really say is HUGE congratulations and very, very well done. To take on such a huge part with only two weeks to opening night – respect! Not only did you take on the part, but characterised it perfectly, exactly right! Wonderful relationships with Joshua (Arthur) and Carolyn (Lucy). Great vocally and, strange thing to say, but you never once allowed the audience or even more spectacularly, yourself to be distracted by ‘the book’. Just superb in every respect – well done!!
Caroline Haslam – (Lucy Fitton) Again congratulations on taking over the part at such very short notice. Great characterisation, with some great one-liners delivered SO well.
Really believable relationships with all ‘your family’ and some lovely scenes with great facial expressions with Katie (Violet) and Joshua (Arthur) and especially Nicholas (Ezra).
Ingrid Folkard-Evans – (Liz Piper) I think the biggest compliment I can pay you is that you reminded me SO much of some of the ‘ladies of my youth’ a cut above! Just perfect characterization, wonderful facial expressions and ‘that’ tone of voice. You showed us so clearly the upset that felt SO much that you did not have the relationship you craved with you daughter – well done.
Matthew James – (Leslie Piper) Another great character, some good facial expressions and vocally good. Lovely scenes with Katie (Violet) reinforcing the script well that Violet was certainly a ‘daddy’s girl’.
Stewart Racle – (Geoffrey Fitton) I really enjoyed the scenes with Katie (Violet) your facial expressions in particular were very good indeed, telling the story, almost without any need for words. Good character well played.
Joe Taylor – (Joe Thompson) You came across really well as a ‘corporate bully’, the ‘discussion’ with Joshua (Arthur) was excellent, good character and some lovely facial expressions really rounded the character for us. The ‘bed wrecking’ was really well played, and your facial expression showed how much you enjoyed doing it. Well done.
Lauren Allister - (Molly Thompson) Smaller parts can be difficult to sustain the character but that did not appear to cause you any concern, good and believable relationship with Joe (Joe) with some great expressions before and during ‘the fight’.
Neil Robinson – (Fred Stansfield) Your scene with Katie (Violet) was really well played and emotional, with some lovely facial expressions. Well done, for maintaining your character across the production.
Brandon Norbury – (Eddie Taylor) Well done! Two quite important sections, the wrecking of the bed and the fight scene both played and characterised well, with some great facial expressions especially in the ‘fight scene’.
Taken as a whole, you were entertaining, a delight to watch and very funny and your audience went home smiling so I would say that was mission accomplished! I know I singled out Nicholas and Carolyn for congratulations on taking over the parts a short notice, but you all deserve congratulations for not letting it phase you in the least. When you have been rehearsing for weeks, then suddenly ‘the team’ changes it can alter the whole dynamic, as far as I could see, you simply did not allow it to do so. Very well done, just simply SUPERB teamwork. It was a well-acted, funny and in the main a fast-moving piece Many, many congratulations and Thank you on stage and backstage for a most entertaining evening of drama!
Christine Hunter-Hughes
NODA (All District Drama Award) Reviewer
Directed by Cathryn Hughes
18th-22nd March 2025
Jonathan Harvey’s 1993 play, Beautiful Thing, is packed full of pathos, emotion and poignancy as we are taken through the story of 2 young men finding their way through their feelings and sexual status in a time when the world looked down on same sex relationships, mainly due to the scourge of the previous decades aids outbreak and the huge amount of homophobia that was prevalent. TLT take on this theme with respectful implementation in all areas as, director, Cathryn Hughes steers her cast and crew to present a thought-provoking, intimate and beautiful piece of quality theatre. The set, built on 2 levels, incorporating a bed that was utilised and then placed under the balcony of the flats was innovative and very well designed by Cathryn Hughes and constructed by Eddie Stanley, Andy Haymes and Ian Hunter. The upper level, complete with doors, representing deck access flats, adorned with hanging baskets and drying laundry, and the lower level, with communal garden area were both well used. Wardrobe, by Danny Tooby and Alex Haymes was in-keeping of the time and attention to detail was more then apparent, ensuring authenticity was maintained. Cathryn’s direction was impeccable. The use of pauses in line delivery ensured the audience understood that the actors were ensconced in the story and gave us, the audience, time to process the minutia of the events unfolding before our very eyes. Very cleverly done Cathryn. Tara Haywood was superb as Sandra, Jamie’s mum. A typical depiction of a council estate single parent who, as most do in that situation, work hard for their kids and will move heaven and earth to give them what they need. Tara fought, laughed and cried her way through this character, and she hit the right note on every aspect. Nicolas Worthington as Tony, Sandra’s boyfriend, added a little fun to proceedings with his cheeky cockney antics, making him a likable fella. He shed clothes without batting an eyelid, and his entrance wearing one of Sandra’s silk dressing gowns brought the house down – a nice touch from the wardrobe department here! The character of next-door neighbour, Leah, requires an actress with no inhibitions. Lola Walch threw herself into this role and offered energy and a carefree persona as she stuck up for herself as Sandra berated her at every opportunity. Her obsession with Mamma Cass was well played, especially as she tried with some musical difficulty to recreate the songs of her icon. The main theme of this story is the realisation of 2 young lads that they are gay. Not an easy topic to navigate and one that needs to be realistic and sensitively handled. The characters of Jamie and Ste are the same age. Jamie brough up by his mum and Ste, brought up by his physically abusive dad and equally abusive older brother. Jack Hannah excels as Jamie. Such confidence from this young actor who portrayed Jamie with a well-balanced contrast between cheeky young lad who likes to skip PE lessons, to a frustrated teenager who knows who he is, but has trouble opening up and admitting this to his family. Some nice moments here from Jack as he approached the subject with Ste with sensitivity and makes the first move and sealing their secret with a kiss, that was executed with confidence and considered sensitivity in order to get the message across. Really well-done Jack – a stunning performance. Christopher Johnson gives Ste and initial defensive edge, as he struggles with his turbulent family life. As the character develops, we are allowed into Ste’s world and get to share with him as he comes to terms with his sexuality and obvious feelings for Jamie. Christopher is so easy to watch, and due to his effective use of pause, and carefully executed facial expression we were allowed to think with him, as he carefully considered the situation he was in. Your performance was very commanding Christopher. I feel, as a reviewer that is it important to mention the chemistry of these two actors, Jack and Christopher. In terms of acting style and ability there was nothing between them. Different characters, different styles, but a marriage of correlation which made the characters and plot believable. Two outstanding performances that brought a tear to the eye on more than one occasion – just brilliant. Thank you TLT for your hospitality.
Paul Cohen
Bolton Amateur Theatre Societies Reviewer
Directed by Danny Tooby
28th January - 1st February 2025
Alan Bennett, award winning author and playwright, has written many a cracking play. However, the Talking Heads series is a stroke of genius. Written in monologue style, each tells the story of an individual and their lives, peppered with humour, satire, and a touch of pathos. Bennett’s titles offer the ability to “wonder what that’s all about” in a clever way to keep you gripped. TLT have handed this production over to the safe hands of innovative director Danny Tooby. Karen Ward opens proceedings with a superb Miss Irene Ruddock in ‘A Lady of Letters’. A masterclass in delivery of continuous dialogue packed full of witticisms, one-liners and an opinionated account of how things should be done, supported by the might of her pen. She switches from one thing to complain about to the other seamlessly and keeps the narrative interesting. Moreover, the art of talking to herself, and answering herself was clear here as she justified her actions in writing as many letters as she can in order to advise the recipient on her views! This brought out the perhaps unintended humour from the character, but the clear intent to produce a giggle from the author. Karen transitioned from dowdy spinster to imprisoned convict with ease which assisted in displaying the depth of this actress’s ability. Effortless and natural at every turn, Karen was every bit, Miss Ruddock. With attention to detail in costuming, hair and make-up, the transformation from Karen to character was remarkable. A very watchable performance that created many laugh-out-loud moments through good comedic delivery. Nicholas Worthington performed ‘A Chip in the Sugar’, with a stylised delivery, displaying a dry wit. This was a physical style performance in as much as Nicholas’s use of gesture and body levels in depicting the character he was referring to. Standing, sitting on the bed, all done with clear direction, this made the character believable from start to finish. Vocalisation was just right for the character of Graham. Softly spoken where required but with the ability to raise the tone as he became frustrated or concerned. Just the right inflection of the Yorkshire brogue, Nicholas had good reactions when he was referring to the people in his life. His Mother, Frank, the daughter, all given a different expression by Nicholas when mentioned, linked to his perceived relationship with them. Delivering a truly stunning ‘Her Big Chance’, Alex Haymes as Lesley simply excels. Stature, stance and, when sat, positioning with crossed legs, all timed well and realistic, bringing out the visual body language that this character required. Alex oozed confidence and brought us into her world. Believing she would be a superstar was her way of coping with the many rejections and put downs in her bid for stardom and we were in-tune with her as her many facial expressions, use of light and shade in delivery of dialogue and an effective use of pause in speech ensured we were with her every step of the way. Each step, walk, each movement of the eye and stroking and tossing of the hair was well thought out here, and this communicated well across the footlights. Emotions were well used, from almost ‘happy go lucky’ to ‘sad and rejected’ as her story unfurled. All three actors were word perfect throughout as they delivered these wordy pieces. All had obviously studied the dialogue and considered this when bringing the words from page to stage. Monologues require a skill of keeping the audience engaged and Karen, Nicholas and Alex achieved this admirably. Characterisation was on form and full costume changes effortlessly completed. Director, Danny Tooby has worked his socks off to bring these 3 characters to life. The research was clear as each nuance and idiosyncrasy of the three characters was brought out and laid bare. Danny’s direction was well thought out, clearly defined and had purpose. Same too for the very clever set design that made good use of the stage area by providing three separate rooms for each character’s space which was used well as each scene progressed. With effective lighting and a good choice of music for the well-executed costume and scene changes, the continuity never slowed, and each piece had pace and audible delivery. Danny has done a cracking job here in ensuring all aspects of the production were given the required amount of attention to detail. An outstanding piece of theatre that, whilst creating the laughs intended, also provided some thought-provoking subject matter that caused a tug at the heart strings along with the realisation of the struggles and underlying emotional turmoil that some people must endure. Talking Heads is yet another notch to TLT’s list of successes. Thank you TLT for a lovely evening and your hospitality.
Paul Cohen
Bolton Amateur Theatre Societies Reviewer
Directed by Jenny Whur
29th November - 7th December 2024
Tyldesley Little Theatre’s vibrant production of Dick Whittington is a festive treat packed with humour, energy, and a heartwarming sense of community spirit. This classic pantomime, with its charming mix of slapstick, song, and fairy-tale whimsy, brought the house down with its engaging performances and clever staging. Danny Tooby shone as the titular hero, Dick Whittington. His earnest portrayal and strong stage presence made him an endearing protagonist. Tooby’s chemistry with Gemma Manfredi as Alice was a highlight, with Manfredi bringing grace and warmth to her role as the Alderman’s daughter. Together, their duet scenes were delightful and touching. Ian Hunter as Alderman Fitzwarren was perfectly cast, exuding a fatherly warmth that balanced his characters comic moments. The comic duo of Neil Robinson as the outrageous Dolly Dumpling and Andrea Peters as the hapless Idle Jack, had the audience in stitches. Robinson’s comedic timing and larger-than-life performance as the dame were particularly memorable, while Peters had the audience in the palm of her hand and brought a lovable chaos to the antics. Another duo of Joe Taylor as the boisterous Captain Cuttlefish and Daisy Clark as shipmate Scupper brought added charm and humour to the scenes aboard the ship with great chemistry from them both. Fiona Woodhead as Tom the Cat showcased remarkable physicality and charm, convincingly embodying the loyal feline companion. Matthew James delivered a scene-stealing turn as the villainous King Rat, exuding menace with just the right touch of pantomime exaggeration. Meanwhile, Catherine Aspinall as Fairy Bowbells provided a sweet and spirited counterpoint, her melodic voice adding a touch of magic to the production. Smaller roles were equally well-filled, with Alex Sangster as the Sultan of Morocco adding a dose of comedic grandeur. The ensemble of rats — Veronica Cormack, Chris Nicholls, and Kylie Browne — proved to be a delightful mix of mischief and silliness. The supporting cast, including Ingrid Folkard-Evans, David Hope, and Katrina Leyland, added depth and energy to crowd scenes, ensuring the stage was always brimming with life. Musical Director Martin Taylor delivered a score that perfectly complemented the narrative, with catchy songs that had the audience clapping along. Cathryn Hughes’ choreography was great with lively group numbers and playful movement sequences that showcased the cast’s enthusiasm and coordination. The production’s technical aspects were also noteworthy. The costumes were vibrant and detailed, adding to the visual appeal, while the set design efficiently transported the audience from London’s bustling streets to far-off Morocco. Director Jenny Whur’s touch was evident in the show’s pacing and the seamless interplay between scenes. Her ability to bring out the best in her cast, from seasoned performers to newer faces, added to the production’s charm and energy. Dick Whittington at Tyldesley Little Theatre was a thoroughly enjoyable night out. The cast’s infectious energy, combined with sharp direction and well-executed musical and choreographic elements, created a panto that was as heartwarming as it was hilarious. It’s a testament to the enduring charm of community theatre — and a perfect way to celebrate the festive season.
Jason Crompton
Bolton Amateur Theatre Societies Reviewer
Directed by Jenny Whur
14th - 18th May 2024
For the final production of their current season, Tyldesley Little Theatre bring us John Willard’s ‘The Cat and the Canary’. However, not the original version, but the radio play adaptation by David Muncaster, which was a fantastic creative choice by director Jenny Whur. Director Jenny had clearly done thorough research into the radio medium, as the extensive and informative programme notes confirmed. The stage was set as a traditional BBC recording studio of the 1930s. The stage was split into two areas, with the actors on one side, and the Foley artists on the other, complete with their numerous props, records and genuine looking recording equipment. The diligent research into BBC-Marconi Type A microphones and booms, carried out by Andy Haymes, Peter Hood, Eddie Stanley, Sue Haymes and Paul Whur allowed them to reproduce the period style recording equipment to such a high standard, which certainly enhanced the overall impact of the performance. The live on-stage microphones gave the audience a genuine ‘radio’ effect from both the dialogue and the highly effective ‘Foley’ sound effects throughout the narrative. This really added to the overall piece, and at times, I found myself closing my eyes to allow myself to imagine the action of the story. A massive technical achievement from the whole team, and especially the compilation, editing and operation by Paul Whur, what a brilliant job! On to the performers, who were all dressed in full, spot-on period costume evening wear, which truly set the tone. Performing script-in hand, as they would in the 1930s, the 6 actors were either gathered around the large microphone, or lounging on background chairs when not in the action. As both Elowen and Annabelle, Andrea Peters brought great dynamics to the script, keeping the story at great pace, with a crisp and clear RP accent throughout. As Susan, Karen Ward carried herself very well and gave a truly posh accent, creating good rapport with the other characters. Alex Sangster as Charlie provided a fantastic character voice and when not speaking, provided great, but sublte background business in the ‘resting’ area. Daisy Clark was also great in providing reactions to the dialogue, as well as bringing great comedy in her ‘Birmingham’ accent as Cicely and Elowen. Ian Hunter, as Crosby and again, also Elowen had brilliant tone and projection and also kept a great pace of dialogue. However, by far, the most challanging task was presented to Joe Taylor, in multiple roles as Harry, Paul, Hendricks and Patterson. Joe handled this with ease, as he gave us four different accents, including Welsh and French, often switching back and forth between the two, within the same sentence. A great performance, full of comedy and flair...bravo! Finally, as the ‘Foley’ artists in the ‘grams’ studio, were Paul Hilton and Jenny Ackerley. On stage throughout the entirity of the performance, yet between them, not saying a single word. They had brilliant rapport, with fantastic use of facial expressions, both subtle, and at times, exaggerated and comical; they provided the audience with lots of laughs. Jenny’s brow-furrowing and eye rolling was absolutely spot on, while keeping up with the continuous opening and closing of the door; and her ‘lion’s roar’ was an amusing highlight for the audience. Paul’s use of expression was also very effective, and he operated the boom seemlessly, with great attention to detail in his execution of the mutilple props and sound effects. A fantastic duo, whose on stage work in skillfully recreating the authentic and genuine radio sound effects massively enhanced the whole performance. As an audience, we were truly transported back to the 1930s BBC studios. A brilliantly researched and well prepared production, which certainly gave the desired and impactful effect of a real radio play...well done to one and all. Thank you so much to Jenny, Paul and the team for your wonderful hospitality.
Matthew Gavin
Bolton Amateur Theatre Societies Reviewer
Directed by Danny Tooby
19th - 23rd March 2024
Mike Leigh’s Abigail’s Party, devised and set in 1977, offers an almost fly on the wall insight into a suburban neighbourhood. A quiet street, populated by the emerging middle-class sector that was apparent in the 1970’s. As the first scene opens, we see Beverley Moss, Housewife and wife to local estate Agent Laurence Moss. Beverley is busy ensuring that everything is ready for a party she is hosting in a bid to get to know their new neighbours, Tony and Angela Cooper. Beverley has also invited long term neighbour Sue Lawson, whose daughter, Abigail, is having a party of her own and has made it clear that Sue must be out of the house. As the guests arrive and settle in for the evening, we witness several awkward silences, often broken by small talk to appease the awkwardness. It soon becomes clear that relationships are not in the best shape as we see Beverley and Laurence at each other’s throats. Also, Tony and Angela’s young marriage is not as blissful as it could be, with Tony rebuffing Angela every time she touches him, which was consistent and well done. Rebecca Southern gave an excellent portrayal of middle-class housewife Beverley. Her characterisation and sustained delivery never faltered. Matthew James, a self-assured Estate Agent, whose lust for work had him constantly on the phone, nipping to and from the office to be at the behest of his customers, and the shops for extra items for the party. A believable simulation of a heart attack was done with consummate ease. Both Rebecca and Matthew complimented each other extremely well. Lauren Allister’s interpretation of Angela was just right. Good comedy timing and a wellmaintained delivery, that, complete with some cracking facial expressions, allowed the audience to laugh before she delivered the next amusing one-liner. This performance received great responses from the audience. Nicholas Worthington as Tony, the newly married husband who seemed like all he wanted was an easy life, gave a good all-round performance, especially as he danced seductively with Beverley, which Angela seemed totally oblivious to – or was she? Completing the lineup of this multi-talented cast is TLT favourite, Ingrid Folkard-Evans as next-door neighbour Sue Lawson. A brilliant performance, displaying anxiousness and worry, due to her daughter’s party, as she fears the noise from the party is causing too much of an issue for the rest of the neighbours. Director, Danny Tooby has gathered a hugely talented and experienced cast whose individual performances and teamwork presented this piece to perfection. The very effective set, complete with trimphone and lava lamp, was used well, with furniture and props appropriate to the era. Congratulations to all involved.
Paul Cohen
Bolton Amateur Theatre Societies Reviewer
Directed by Cameron Rowe
30th January - 3rd February 2024
Jim Cartwright’s TWO has 14 characters and two actors, one male and one female. It has a simple set, and very few props. This could be a recipe for disaster or a recipe for success, dependant on how well it is handled. Tyldesley Little Theatre took on this challenge, and my word, not only did they make this a recipe for success, but they also took the recipe and made it into what I can only describe as a Michelin star production, with outstanding performances and clear direction. Set in a northern pub in the 1980’s, TLT’s set construction team provide a traditional pub setting, complete with bar, optics, tables and chairs. The two actors play the landlady and landlord, along with an array of characters, the pub regulars, who call into the pub throughout the day. Cathryn Hughes presents a tour de force of characterisation as she takes on this mammoth role. As landlady she is witty, caring, strong and emotional. As the old lady she is in comedic heaven, with clear delivery and a sustained ‘stoop’ as she drags along her shopping trolly. Maudie provides an opportunity for Cathryn to display her ability to deliver a convincing Liverpudlian accent, whilst Mrs. Iger was definitely a ‘big’ performance, allowing Cathryn to keep a running theme side-creasingly funny each time it was repeated. We all now know she prefers big strong men! A round of applause after the opening paragraphs of this scene was very well deserved. By sheer contrast, Cathryn’s Lesley was endearing. The fear of her partner was clear to see, and as she stood up to him, she was never going to have the last word. A great performance. Moving on to Alice, this was just funny. Reminiscent of a Hylda Baker sketch, every ounce of character was in place which led to consistent laughter throughout. Concluding Cathryn’s characters, The Woman was played with just the right amount of assumed anonymity, as we all know she wanted to be seen. With all the above, Cathryn presented a masterclass in character interpretation, physicality, facial expression and precise comedy timing, which worked so well. Nicholas Worthington was equally brilliant. His landlord was on point. Moth was convincing as he reeled us in to liking this loveable character who tries all ways to get Maude to buy him a drink, and although she refuses, she always eventually gives in. A character change as Nicholas plays an old man, setting off tones of sympathetic support from the audience for this poor soul as he reminisces about his dearly departed late wife. Mr Iger allows Nicholas to portray the downtrodden husband whose intermittent outburst of strength are soon weakened by his wife’s put downs, but he still tries his luck, asking, can we share a bed tonight, although he does not get the answer he hopes. Nicholas is a brilliant stooge to Mrs Iger’s big character, giving us some great double takes and expressions. Fred brings Nicholas the opportunity to become quiet and withdrawn as Alice confirms their uncomplicated love. In contrast, the character of Roy demands the actor to be strong, domineering and down-right nasty, and this is what we got from Nicholas. A convincing portrayal of this violent and jealous man who has no qualms when it comes to striking a woman. Completing this list of characters, The Boy was a cute little cameo type role which was done well. Nicholas showed he can take on a character and make it real. With all the above said, in terms of the individual performances of these two fine actors, the icing on the cake is when they worked together. Landlady and landlord, Moth and Maudie, Mr and Mrs Iger, Alice and Fred, Lesley and Roy. The teamwork was evident, the understanding of each other’s stagecraft was there in abundance, and moreover, their ability to respect each other in performance was pure genius. These two worked their socks off from start to finish and the result was an impeccable production with TWO equally stunning performances. Director Cameron Rowe has excelled here. Research into the play, author, and characters is clearly evident, and an eye for detail, especially as all the pouring and drinking of drinks was in the form of mime, and an excellent use of the set ensured the interpretation and technique of this production was polished and very well-rehearsed – Congratulations.
Paul Cohen
Bolton Amateur Theatre Societies Reviewer
Two By Jim Cartwright is what it says on the packet: two actors - taking on various roles. Set in a northern pub the landlord and lady run a busy pub with all manner of punters that visit - we are treated to a collection of characters Mise-en-Scene. The set comprises of bar centre stage back with optics on the back wall and till on one side, beer pumps the other. A bell for last orders is on the back wall. Two tables and four chairs stage right and left complete with beer mats. On the wall stage left is a juke box and darts board on the back wall. Entrance to the pub is stage Left and upstage Left is louvre double doors into the back of the pub. The pub is painted in muted green and beige. Set Construction is Andy Haymes, Eddie Stanley and Ian Hunter. Set Decoration is Andy Haymes, Peter Hood, Eddie Stanley and Cameron Rowe. Lighting and Sound all helped to set the scene. With a blue wash used before the lights came up and the action started, accompanied by the hubbub of pub noise. Lighting Design Peter Gower, Sound Compilation Paul Whur. Operation Jenny Whur, Jenny Ackerley and Paul Whur. Costume included quick changes and all worked and looked good. Wardrobe by Cameron Rowe and Company members. This is the second time Cameron Rowe has directed and he takes on the role as a seasoned pro. His attention to detail is wonderful and I particularly liked the choreography to Kiss By Tom Jones with Art of Noise. There were numerous times where moments were explored and detail added. The pace was particularly impressive and played around with depending on the character. Pause was not feared and there was space for the audience to think about what had just happened and take in and equally sometimes at speed and the comic moments coming thick and fast. I was genuinely astonished when it was the interval. Never noticing the time. When a director has a strong vision and the actors take hold of script and characters and run with it, it’s a joy to see. Cathryn Hughes takes on the roles of The Landlady, Maudie, The Old Woman, Mrs Iger, Alice, Leslie and The Woman. Nicholas Worthington takes on the roles of Landlord, Moth, The Old Man, Mr Iger, Fred, Roy and The Boy. Cathryn and Nicholas work really well together to bring out the characters with pathos. At the beginning we are shown a couple who obviously have serious issues with each other. They keep the banter up with the invisible customers as they take side swipes at each other -sometimes physical. We know something is wrong and this is played through the whole show with the catalyst being the little boy who comes in at the end. Emotions and feelings are poured out and while the clever writer doesn’t make it an everything-is-fine scene, the parting shot delivered by Nicholas’ “I love you” gives you hope that there is a chance for the couple. This was set up beautifully by Cathryn and Nicholas. The change in physicality these two actors took on shows you how you don’t need prosthetics to age, you can just change your stature. Cathryn as the Old Woman was hilarious and her walk and trying to sit or even stand worked so well. While being funny there was also a sadness about the character having ‘lost’ her husband as she was now his carer. Cathryn’s speech pattern also changed to match the character. Nicholas as The Old Man had the comfort that he felt his dead wife’s presence and the calm manner in which he spoke helped this character. Maudie and Moth - Moth who thinks he stands a chance with the women with his roving eye. When you get the feeling he wouldn’t know what to do with any other woman than Maudie. The walk and stance of Mrs Iger who just loves big men - the tiny detail in her jamming, her continual put down of Mr Iger, which earned Cathryn a round of applause at the end of her speech. Nicholas as Mr Iger trying to get a drink at the bar and as he is invisible to everyone, he appeared as if he had shrunk in size. One of the most unsettling things was to watch Roy and Leslie - we hear of domestic violence and coercive control, but to witness it is shocking. Watching Nicholas as Roy’s simmering anger and constant contradictions was uneasy, the atmosphere definitely changed. Cathryn with Leslie’s submissiveness was equally uneasy and sad to see. When she finally blows you do a little cheer inside only to have that come crashing down. Fred and Alice happy in their own little world, although the ‘white room’ is mentioned are probably the happiest and know what they want, even if it is spotting their favourite extra in films. The characters pace was excellent. I think Tyldesley Little Theatre can be very proud of this extraordinary piece of drama and the three that created it: this was one of those times you felt something special has just happened and you were lucky to have been there to see it.
Liz Hume-Dawson
NODA North West District 5
Directed by Jenny Whur
1st - 9th December 2023
Tyldesley Little Theatre pantomime this year is Hansel & Gretel by Alan P. Frayn and getting a ticket is like gold dust, selling out in just five hours of going on sale is amazing. Jenny Whur takes on the role of Director this year and gives us a colourful romp through the woods. The main set is draped curtains and the flats are covered in various colourful chiffon material which was effective. The Sugar Candy cottage set up-stage was decorated with various sweet and picture book clouds and the oven was aptly named The Kidi Kiln. Glitter curtain, back cloth of the woods and a star cloth were also used. Set Construction Eddie Stanley and Andy Haymes, Set Decoration Peter Hood and Company members. Various oversized prize props are used and the baking scene with the aid of the radio was hilarious, with voice-overs by Alex Sangster, Jenny Whur and Paul Whur. Props Jo Hibbert, Laura Solski, Andy Haymes, Eddie Stanley and Paul Whur. Stage Management by Jo Hibbert and Laura Solski. Lighting and Sound all helped the show along - Lighting Design Pete Gower and Lighting Operation by Jenny Whur and Jenny Ackerley. Sound Compilation and Editing Paul Whur. The costumes were fitting and loved the nod to Where’s Wally? Hansel and Gretel looked sweet and the Dame’s costumes were hilarious - loved the silly touches like sports socks with high heels and the aubergine Christmas baubles for earrings. Wardrobe by the ever capable Margaret Speakes, Danny Tooby and Lou Courtney. Make up and hair all looked just the part, loved the rosey cheeks on the chorus that gave a cartoon feel. Hair and wigs by Danny Tooby. Choreography was a group effort with Cathryn Hughes, Cameron Rowe, Danny Tooby and company members all helping. Martin Taylor once again takes up the role of Musical Director as we were treated to a compilation of old and new songs. Really liked Super Trouper and the men’s chorus stage right. Jenny Whur has a few animals to deal with in this production and I thought they all had great physicality and characterisation of the animal they were playing. The supportive chorus of Muchen Lunchen were Veronica Cormack, Rebel Moore, Chris Nicholls, Joe Taylor and Fiona Woodhead. Rebel Moore was unfortunately taken into hospital so Laura Solski, Fiona Woodhead and Joe Taylor stepped into the parts of Klaus The Ringmaster and various other roles. The show must go on - well done to them! Laura Solski played Otto and Wolf. The Nasty Crows’ Nightshades sidekicks were Russell, played by Chris Nichols and Sheryl was played by Veronica McCormack. The comedy duo were Nut-Meg played by Daisy Clark and Ian Hunter was Basil always trying to make a money. Ian Hunter also played the strongman in the circus - that image may never leave me, hilarious though! The Prince’s Equerry was Wolfgang played by Alex Sangster. Tom Allen was Wally and the jokes at his expense kept coming - he was great with the audience. (‘a clothes peg short of a washing line’ apparently). The love interest was Cathryn Hughes as Heather and Danny Tooby as Prince Johann who played their part and gave us great vocals, working well together. Catherine Aspinall as Bluebell the Fairy of the Forest looked fabulous in ice blue and worked her magic trying to keep the peace. Lovely song while some of the action was taking place in the forest. Great work. Mirenda Mason took the title role of Gretel as did Harry King as Hansel. They looked the part, great casting and love the nod to Mirenda’s accent. Fritz ( ‘I don’t have an opinion, I have a wife’ ) was played Paul Hilton. His not very nice wife and step mum to Hansel and Gretel was Hildegard played by Lauren Allister. Lauren, mistress of the side eye look, gave us the wicked step mum trying to get rid of the kids (although she was under a spell) - Lauren looked stunning and just the part in her red dress. Hilarious the amble through the woods . . . well done! The person who put Hildegard under the spell and thoroughly rotten too was Nightshade played by Andrea Peters who really looked to enjoy getting her teeth into the character. Her ‘shut your gob’ to the audience fantastic. And finally, Cameron Rowe gives us Peggy Pumpernickel who likes to party. Cameron gives us the butch pantomime dame version with gruff voice to match. His splits now legendary. His interaction with the audience is strong and soon gets you on side. The part of the show where the children are invited on to stage has Cameron getting onto the floor and I think this showed a real warmth as not to tower over them. Pantomime is innuendoes and as an audience how dirty your mind is that what your hear. Well! no judgement here but the audience were with you all the way. Congratulations Tyldesley on Hansel And Gretel.
Liz Hume-Dawson
NODA North West District 5
Directed by Connor Parkinson
3rd - 7th October 2023
Set in the 70s, in a flat over the National United Bank, No Sex please, We’re British tells the story of a
respectable young newly wed couple who, following a delivery to the ‘wrong address’, end up with a
menagerie of unwanted explicit material which certainly goes against the grain of the morals of this
up-and-coming aspiring National Bank Manager.
Currently employed a sub-branch manager, Peter Hunter has set up home in the flat with his new
wife, Frances. All is well, apart from the pending visit from Peter’s Mother and a misdirected parcel,
containing illicit items which sends things on a downward spiral. Nicholas Worthington as Peter
holds himself together well as he tries to please everyone, whilst at the same time running himself
ragged to keep the potentially sordid issue a secret from his mother.
Alex Haymes gives an energetic burst to Frances. She is never still! Switching from calm to manic
with ease, Alex throws herself into this role and bounces off each character well as she interacts
effortlessly.
The arrival of Peter’s Mother, Eleanor sets the cat among the pigeons as she gets in the way, seduces
Peter’s boss, and seemingly bags herself a man, all in a couple of days! Rebecca Southern brings an
air of sophistication to Eleanor with a great stage presence and a varied wardrobe.
As Bank Manager, Alex Clarke delivers well and thinks he is the cat that got the cream as Eleanor
accepts a dinner date, leading to further dates. As they become embroiled in their shenanigans, they
are blissfully unaware of the deliveries that keep arriving but when they do become suspicious, it is
the skill of the other actors, in terms of comic timing that allows the game not to be given away. A
good performance from Alex here.
The arrival of bank inspector Arnold Needham seems straight forward enough. He is offered a room
for the night and takes himself off to bed. However, the arrival of Susan and Barbara (Helen
McCarrick and Lauren Allister) from the company that are providing all the unwanted explicit goods
ends up with Mr Needham being almost taken advantage of – and he offers very little resistance. Ian
Hunter plays Mr Needham and is brilliant in this role, unwitting and naive. Helen and Lauren add a
touch of visual comedy here, especially as they reveal their ‘fancy dress’. The one thing that was clear here was the teamwork of all the cast, but there was one actor who
stood out in terms of characterisation, character development and pure physicality. Danny Tooby as
Brian Runnicles was superb. He literally threw himself into the role. His jumping through the kitchen
hatch was well executed and went down a storm. Danny’s got a real feel for comedy and his timing
allowed the audience to get the most out of the plots, leaving time for laughs, which is so important.
Cameo roles by Paul Hilton (Vernon Paul) and Alex Sangster (Delivery Man) add to the success of this
production.
Director Connor Parkinson has presented a first class fast paced farce that is packed full of laugh out
loud moments. Attention to detail, in terms of doors opening and closing is spot on – just as farce
should be.
A very enjoyable evening
Paul Cohen
Bolton Amateur Theatre Societies Reviewer
Tyldesley Little Theatre open the season with the farce No Sex Please We’re British written by Alistair Foot and Anthony Marriott. One of the longest running comedies in the West End from 1971 to 1987. With striking colours the setting is a flat above a bank with the many customary doors for a farce. Blue, mustard and a hint of green is the wallpaper and painted walls. On the back wall there is a disappearing staircase stage right and stage left door to into the hall various intercoms are on the wall. Stage left two doors leading to main bedroom and study with small round table down stage with trim phone on the table and waste basket on the floor. Stage right at the back is small kitchen with door and hatch (with hatch door that has a life of its own) you can see right through and the action that happens in there. Also right are two doors one to the spare bedroom and one to the bathroom. Settee and rocking chair are centre stage with coffee table and small table at the side of the settee. This set us up for the period. Set Construction Eddie Stanley, Andy Haymes, Peter Hood and Harry King. Set Decoration -Alex Hymes, Alex Sangster, Connor Parkinson, Nicholas Worthington, Rebecca Southern, Sally Mason, Jake Little, Ian Hunter, Mirenda Mason, Paul Hilton and Pete Hood. Props all appropriate and video tape help dating it and also the use of a fire in the wastepaper basket effectively done. Props Alex Haymes, Connor Parkinson, Alex Sangster, Paul Whur and Margaret Speakes. Costume looked good hair and make-up, although I would have maybe kept the Inspector’s hat on as not to reveal the 21st century hairstyle. Wardrobe by Margaret Speakes, Danny Tooby and Cast Members. Lighting unobtrusive as should be design and operation Pete Gower, Jenny Ackerley, Harry King and Jenny Whur. Sound involving phones, buzzers and music was Paul Whur. This all helped the audience buy into the feel of the 1970’s. Connor Parkinson directs and certainly brings out the comedy in the farce with full use of doors, half-dressed characters and confusion in abundance. The cast of ten were Delivery Man played by Alex Sangster, Vernon Paul played by Paul Hilton, Susan played by Helen McCarrick and Barbara was played by Lauren Allister.( How to make an impact without speaking Lauren) Ian Hunter played Arnold Needham who gets more than he bargained for with sex, drugs and rock and roll. Alex Clarke played the boss Leslie Bromhead who has his eyes on Peter’s mum. He is outed and looked suitably bashful when found out about his sexual goings on. Playing Peters mum was Rebecca Southern as Eleanor Hunter the ‘vegetarian’ who likes the occasional roast duck. Eleanor clearly younger than the part, found her character with her delivery, stance and style - she came across well as the annoying mother-in-law. The bunch of flowers gag was great and good reaction. Her son Peter Hunter was played by Nicholas Worthington as newly married and wanting to make a good impression – well, it all goes to pot and his frustrations were well played out in farce style. I felt Nicholas took time to warm up at the beginning but soon got into his stride. Nicholas worked well with Alex Haymes playing his wife Frances Hunter who inadvertently sets off a catalogue of events leading to buffoonery and ludicrous improbable situations. Alex had great facial expressions and especially when talking about her mother-in-law or behind her back. I really liked the manic rocking in the rocking chair. Alex also had great physicality to her character too - well done! Last but not least was Danny Tooby playing Brian Runnicles - the success of his performance was he brought the comedic balance to the production and this was expertly done. Danny ramped it up on each entrance and never once over doing it as one can he brought the element of surprise – we were never quite sure in his panic what he was going to do next. I loved the moment he put his arm up and hid behind his coat - just hilarious! His energy was clear to see and his confusion as to what he is involved in as well as athletic dive through the hatch. Enjoyable to watch and excellent work. The cast must be exhausted but delighted with this production to start the season off
Thank you for the invite and hospitality from Matthew and I.
Liz Hume-Dawson
NODA North West District 5
Directed by Cameron Rowe
16th - 20th May 2023
Tyldesley Little Theatre end their season with the comedy In At The Deep End written by Derek Benfield. This season has seen them give some of the well-known faces on stage a chance to direct and this time sees Cameron Rowe who will be a familiar figure from many plays and his jump splits as the Dame in Panto, legendary!
The stage splits into two showing the health farm and one of its bedrooms. Back stage right raised is the bedroom as is customary with any farce or comedy there is a fascination with multiple doors, entrances and exits. This does not disappoint. On the raised area accommodating a double bed, door from the corridor stage left and on the back door to the bathroom and functioning sash window. The health spa has an archway stage left leading to the bedrooms, up stage right leading to the entrance of the Health Farm and other treatment rooms including the doctor’s room. Down stage right are swing doors to the sauna. Chairs and plant on pedestal adorned the set with white wood lattice sun lounger down stage right. Set construction by Eddie Stanley, Andy Haymes, Paul Hilton and Peter Hood. Opening music is Grieg’s Morning Mood, setting us up for a tranquil time which never actually happens.
Lighting played a crucial role in this production as action swung back and forth from bedroom to health farm and very well done too - Lighting Design Pete Gower, Sound Compilation and editing Paul Whur. Operation Jenny Whur, Jenny Ackerley and Paul Whur.
Cameron Rowe stamps his mark on this play and there were some great moments between the actors ensuring the comedy is played out fully. With action and facial movements over the top, not to mention the physicality some actors at the end were perspiring heavily and had given their all.
Gerald Corby played by Ian Hunter has come away for a rest - he wants to see no one. If only he knew what was about to unfold, he would have stayed at home. Ian looked suitably distressed at the appearance of one-by-one people he knows, some intent on making mischief, some not pleased to see him and his wife.
His wife Marion Corby played by Roma Etherington thinks it would be a nice surprise for her hubby - little did she know. Her first shock is being hugged by the manager of the health farm - things only get worse from then on. It was funny how everyone wanted her gone and she still hung around. Ian and Roma - I did feel some moments were missed due to uncertainty of lines but there were also some funny comedy scenes usually involving the bed and a toothbrush.
Mr Potter the manager of the health farm played by Connor Parkinson we watched as in a day his world dissolved into chaos. Usually having the control over events, alcohol, food and affairs are happening under his nose. I almost want to imagine when he runs to his office he is going for a quick sherry (sorry just my thoughts)! His bursting into song - is he a frustrated musical theatre buff? With energy and physicality Connor more than brought Mr Potter to life to our amusement.
Lauren Allister takes on the sex mad Sandra. Men be afraid of Sandra, she knows what she wants and is not afraid to throw you under the bus to get it. Hilarious. Confident and well thought out character with a Beyonce booty shake too.
Jake Little takes on Rodney. A younger member of the cast with a mature ethic to taking on character. Playing each little detail out to the very end. The going through the window and up and down the ladder you believed he was climbing that ladder. I was exhausted watching him in a good way. Almost the stooge character and no idea what is going on but pushed from pillar to post with a look that says what’s going on. Good comedy skills.
Jake’s partner in crime was Cathryn Hughes as Linda Corby - again all Linda wants is some alone time with her window cleaning boyfriend. Cathryn certainly brought out the comedy in her character - spot on with the twists and turns she had to endure. The panic, the deception and thinking on your feet all played out before us making it look easy while giving us a chance to enjoy Linda. Cathryn’s first entrance was noted and it was almost like she passed the baton on to the rest of the cast with a burst of energy – excellent!
The cast of six worked well together and the laughs came fast, you probably heard me. The audience certainly enjoyed it. It’s great to see Tyldesley Little Theatre giving new directors a chance and an injection of new actors keeping amateur theatre alive. Well done to cast and crew.
Liz Hume-Dawson
NODA North West District 5
Directed by Hannah Boardman
21st - 25th March 2023
Tyldesley Little Theatre certainly like to take on a challenge - not the normal two One Act plays in an evening, but three! I did think will this work and will I be ready for bed at the end?. . . but this was not the case. The order was perfectly picked as the amateur dramatic nonsense of these plays just got more ridiculous. With box set of the rehearsal room used for all three painted in a neutral colour, with customary black stacking chairs used for various things one does in rehearsals, bath and hospital trolly. Sparse bits of scenery leaning against the walls. The last scene a few props and scenery are brought on: a white bench that has just been painted before opening - you get the gist. Set Construction Eddie Stanley, Andy Haymes and Paul Hilton. Props Sadie Hobson and Margaret Speakes. Costume all looked in keeping – even down to the slap dash costumes for the panto. Wardrobe by Margaret Speakes. I was honoured to present Margaret Speakes District 5 Lifetime Achievement Award for all her services to Amateur Dramatics earlier this year. Sound and Lighting were apt from the flushing of the toilet and various ringing of telephones. The lights failing in The Last Tango and the actors scurrying to find their light, very funny. Lighting and Sound by Paul Whur, helped by Jenny Whur.
Anyone involved with the theatre must surely appreciate the writing that goes into these One Act plays - very observational. The committee meetings where decisions are made as to what will sell the most tickets to the sorting dates of who can do what. The conversations that go off piste time and time again, whilst the chairman/director tries to keep them on track. The tactfulness that one has to try and keep because the person is actually not up to the job but does a job no one else can or wants to do.
Hannah Boardman directs and must have had an easy job with the well-cast actors all playing their part. The scene with Bernard and the tape measure was funny and I did think it could have been milked more and maybe had some suitable silent movie piano music (just an idea)? But it was funny waiting for the metal tape measure to behave. As this is bordering on farce I think to help Gordon to lose it even more supporting actors should have been encouraged to sharpen their cues to assist the moments of high anxiety Gordon was trying to achieve, almost Fawlty-esque.
Alex Clarke takes on the role of Gordon. The stalwart of the group, Chairman and Director not averse to putting his hands in his pocket to help the failing group out. He suddenly finds a liking to writing plays, always putting himself in the lead and in Little Grimley realising sex sells much to the chagrin of the others. Alex was suitably exasperated by his fellow committee members and would give his life to keep this group going, however small – his facial expressions when he has to reveal yes there is sex in the show and his blustering were spot on.
Karen Ward playing Margaret the teacher with sarcasm built in. Always the lead suitable or not. Loves a good argument and you get the feeling not one to stay silent. Absolutely disgusted at Gordon’s suggestions of sex in the play. Yet saves the day with her flashing and quite proud about how full her inbox is after she had to do it to save the play. Her banter and niggles with Bernard were hilarious - almost like two toddlers wanting to have the last word. In the Lockdown In little Grimley it appeared almost churlish of her to wipe the seat. But hands up who has done that?. . . just me then! She won’t let the society down, turning up with broken leg and arm to play Dick Whittington. Great superior tone when speaking to Gordon and she is not sharing her moist toilet wipes.
Connor Parkinson plays Bernard the Stage Manager, Set Builder, Set Painter, Lighting and Sound who also gets roped into acting even though he can’t - he is a one-man band. His one-liners hit out and his winding up of Margaret who suitably reacted was hilarious. His budget of £28.00 on the last show which bombed is just about to get interesting - can you even buy paint for that amount? In Lockdown in Little Grimley it took me a few seconds to realise the measuring of two metres (how quickly we forget) - the tape measure moment was almost like a Buster Keaton or Charlie Chaplin scene. The pinching of the loo roll and whole situation that ensued was funny too. You got the sense of his home life and why he wants to stay with this group. Great set up of the banana scene too.
Rebecca Southern playing Joyce - what a joy of a part. The character doesn’t have a bad bone in her body only when it comes to acting and singing. Don’t get me started on the singing. ‘Don’t Rain on My Parade’? I may very well have PTSD if I ever hear that again - absolutely hilarious! I loved how we sometimes knew what Joyce was going to say before she said it - great facial expressions. The hospital drama where she is the nurse and says tacky cardigan instead of tachycardia was spot on, great timing. Joyce is the treasurer and always has her mind on the figures – but her learning shorthand - that may take some time. She is treated awfully by the others and you wonder why she stays but she gets her moment in the spotlight at the end dressed as Cat - great performance Rebecca!
A feeing of cast unity came across, congratulations to committee, cast and crew - an enjoyable laugh out loud night (still laughing at the trying to sort a date to rehearse out!).
Liz Hume-Dawson
NODA North West District 5
Directed by Danny Tooby
31st - 4th February 2023
Educating Rita by Willy Russell is Danny Tooby’s directorial debut. First shown in the 80’s this play does not date, showing a woman trying to better herself at the expense of her existing life. The play opens up to a well thought out set of Frank’s university study. Window Stage Right and I could not see properly from where I was sat but through the window it looked like it had been dressed with greenery from the outside. Stage Left an entrance door. The room was furnished in dark wood with green walls. It boasted one large desk surrounded with books, radio and a trim phone Up Stage Right. Stage Left against the wall was another desk with books and papers and a typewriter. A fireplace complete with bust on the mantlepiece Up Stage Centre and either side were bookcases laden with books, hidden alcohol and objets d’art. An easy chair took Centre Stage and around the room were various piles of books to add to the atmosphere. Set construction Eddie Stanley, Andy Haymes, also set decoration Alex Haymes, Andy Haymes, Jo Hibbert and Eddie Stanley. Special Props Paul Whur. Lighting was unobtrusive and effective. Design and set up Paul Gower and Operation by Jenny Whur. Sound again was complementary and Music by Paul Whur. Costume was befitting the characters and a great idea to use the idea for Rita of just changing the jacket or cardigans for the different scenes. Wardrobe by Margaret Speakes. Frank’s wig looked good too and matched up to the beard and eyebrows. The 14 scene changes were handled well and I was intrigued by the moving of the skull about the set. The Stage Manager was Jake Little.
The curtain opened up to Frank played by Ian Pattison on stage in his university study room. Ian’s obviously younger than Frank & was aged up well, talking to his girlfriend he sets the scene of his drinking habits. The girlfriend Julia we never meet and through his description of her I felt sorry for her. I didn’t think anyone knows why Frank is teaching, least of all himself. We gather he has had various warnings about his conduct including falling off the rostra drunk but gosh is he proud of himself - he kept talking through the whole debacle. We see the fascination almost like a toy he has with Rita, I as an audience member am not sure if he even fancies her - it’s all ambiguous. Left for the audience to decide. The role reversal is portrayed well, in addition to the drunk scene. This is a massive part to undertake and lines were well rehearsed and delivered and you felt safe in the knowledge that the two actors had this. By no means taking away from Ian’s portrayal of Frank I would liked to have seen a bit more light and shade. I know when only two people are on stage you have to work with each other’s energy but this man is heading for rock bottom and the anger and confusion could have been portrayed more for me. There were some lovely moments between him and Ingrid and I did notice subtle use of his eyes.
Rita was played by Ingrid Folkard-Evans bursts into the room and doesn’t draw breath for a while, again another mammoth line learning. When only two people are on that stage during the fourteen scenes it’s a vocal and mental work out. Rita, spurred on by reading Rita Mae Brown an American feminist writer of “Ruby Fruit Jungle” about the coming of age of a young Lesbian author is the catalyst to Rita coming of age right before our eyes. You do get the feeling Rita is doing the interviewing and somehow is always in front of Frank while he trails behind. Ingrid didn’t play it brash and bolshy rather with a wide-eyed innocence and always aware of her position in life. Everything is new and it’s an adventure to soak up the knowledge and what is inside Frank’s head. Danny makes the Director’s decision to have Frank more static and Rita moving around freely which works well, we see her bursting with energy - her words coming out all at once, we saw the character wanting to run before she can walk analogy. So as an actress, you have to then control your energy and place it more as the character starts to take on more knowledge and better herself. Ingrid did this well and brought out the awkward funny moment when she was trying to speak RP. When talking about her husband challenging her on having an affair she makes the remark that she is too busy trying to find herself by going out into the world and meeting it head on and that includes going to see an amateur production of The Importance Of Being Earnest - much to Frank’s disgust. As the second half progresses Rita’s wedding ring is gone and the clothes start being more sophisticated. The role reversal is complete. I know this play is likened to Pygmalion and on one of Rita’s exits lines from the stage I was reminded of this.
Well done Ian, Ingrid, Danny and crew.
Liz Hume-Dawson
NODA North West District 5
Directed by Connor PArkinson
2nd - 10th December 2022
Tyldesley Little Theatre’s production this year is Cinderella - on entering the theatre the stage curtains are parted and a single slipper is presented on a pedestal - very magical.
Connor Parkinson directs this play and his notes say that on joining TLT at the age of 15 Cinderella was his debut show, starting backstage and - fate taking a turn - ended up on stage playing Dandini. Here, set construction was by Eddie Stanley and helped with set decoration by Connor Parkinson and company members. Could Cinderella’s carriage maybe have had some fairy lights around it to make it appear more magical? . . . but I loved the moving clock at the ball. The gauze curtain worked a treat when Cinderella was singing and remembering her time with the Prince at the ball - using a double was a lovely idea, adding to the magic. Lighting and Sound worked well and enhanced the show.
Lighting by Pete Gower and operated by Jenny Whur and Karen Ward, sound by Paul Whur. Costumes looked good and fitted the characters, the Sisters didn’t disappoint in their attire. Wardrobe by Margaret Speakes. Hair and Make-up were apt too - great idea the fairy lights in the wigs! Hair and wigs by Jake Little and make-up by members of the cast. Choreography was by Chloe Thomas and although a small ensemble, she worked the cast well. Musical Director Martin Taylor was a one-man band - great choices of songs and some fab sounds and music effects. The Eastenders ending hilarious and Mission Impossible to get the ticket to the ball - well played, literally!
Baron Hardup was played by Ian Hunter, his new wife the Baroness by Alexis Hollis, Chambers by Tom Allen and Hagan the Horse (Sharp End) Laura Solski, (Blunt End) and also the Ghost was Lindsay Taylor. Fairy G was played by Chloe Thomas, lovely voice. The comedy duo was Andrea Peters playing the long suffering Bodgett and Leggett was played by Sally Mason who has the most innocent-but-naughty of faces. Buttons was Gemma Manfredi with Bob the Bunny. I still cannot remember what we were supposed to shout when anyone went near him – hilarious! Gemma worked hard and was lovely with the children who went on to stage. I have to say my ears are still ringing from the audience interaction. Principal girl Alex Haymes was a delight and a little comedy thrown in for good measure too working well with Danny Tooby who was the thigh slapping Prince Charming, who looked and sounded the part. His partner in crime Dandini was played by Jake Little and very funny him crawling along the floor after being with the Dames and looking dishevelled.
Cameron Rowe as Grizelda and Cathryn Hughes as Gertrude truly lit up the stage especially the cart-wheeling. Working well together as one and knowing what each other was doing. With sauce and sass, they worked the audience (poor Derek from Rochdale!) With Alyssa Edwards tongue pops and poses seen on Ru Pauls Drag Race they had a ball and we did too watching them. Difficult to boo them for being mean to Cinderella – you just felt like cheering them on their next hilarious entrance.
Liz Hume-Dawson
NODA North West District 5
Directed by Jenny Whur
4th - 8th October 2022
Jenny Whur directs her fifth Eric Chappell play (yes, she’s a big fan!), this time taking on Double Vision - a comedy for Tyldesley Little Theatre, with a small cast of three. It states it’s a comedy and that’s what we got - I certainly laughed out loud! Slow to start, but on reflection it’s a marathon not a sprint with small cast. With well-drawn characters growing on you and Jenny coaxes the cast in twist and turns in the plot - it certainly kept my guest and I guessing where we were going with this web of lies. Eric Chappell died earlier this year aged 88, he was also known for writing the TV series ‘Home To Roost’ and ’Only when I Laugh’ with political statements still relevant today - Eric Chappell would have been proud of TLT’s show.
The curtain opens to Abba’s ‘Money Money Money’ to reveal a living room with two-seater settee centre stage and matching armchair stage right. Two dressers adorn the stage on the back wall with various ornaments and the red boxing gloves. Ships wheel complete with fairy light (an impulse buy) is stage right. Dining table and chairs upstage. Doors upstage right leading to the kitchen and stage left to the rest of the house and front door. The audience fourth wall is the fire, mirror and door to balcony. Set Design Eddie Stanley and Paul Whur, Set Construction and Decoration Eddie Stanley, Ian Hunter and Paul Whur.
Lighting and Sound was appropriate and unobtrusive by Peter Gower, Paul Whur and Operation Karen Ward and Paul Whur.
Costume and Make-up were all fitting by Margaret Speakes and cast members.
The over-cooked steak smoke just right theatrically.
The whole cast have to be congratulated on learning all those lines and performing great characters - they must have had fun!
Alex Clarke takes on the character of Arthur Spinks, the myopic ex-boxer that actually never won a bout. Myopic means ‘short-sighted or lacking foresight or intellectual insight’. . .well, Arthur Spinks certainly has no intellectual insight as to where his schemes and lies will lead him. His quest for friendship and love and his mother’s words still haunting him are what drive him. Loved his line “You haven’t got a reputation - you’re a pisshead!” to Kingsley and his line “Laid out like lamb and lettuce” I had to google (go on, do it!). He had great rapport with the two other actors and knows how to deliver a line
Connor Parkinson as Kingsley was the perfect foil for Arthur. An actor having to play drunk all the time is something and I can imagine is quite tiring - it’s not an easy feat. Connor handled this well (I did wonder about his bladder!). With bottle or glass in hand or even drinking others when he wasn’t trying to set the kitchen on fire. Great line “She’s a black note short of a keyboard”! Connor and Alex worked the comedy. Connor is turning into an accomplished actor this being his largest role to date.
Gemma Manfred took on the role of the twin sisters Dawn Pringle and Donna Miller. Wow! what a challenge for an actor. They could not be more different - one church going, sensitive, unsure and modest dresser while the other - let’s just say would eat any man alive and spit out the pips while in heels. The sisters never to be seen on stage together for more reasons than you think. Gemma looked to relish this role. If the audience watch closely the clues are there, but I only saw them after the event. What a delight to get to play such a role and do it well.
Tyldesley Little Theatre cast, crew and committee must be really proud - well done!
Liz Hume-Dawson
NODA North West District 5
Directed by Hannah Boardman
17th - 21st May 2022
Alan Ayckbourn’s 1969 farce has its challenges – split set, actors on stage who are not meant to see each other, and the sharing of furniture for two separate households. Tyldesley Little Theatre have taken on this challenge with gusto and have certainly pulled it off. Described by Ayckbourn as a farce, it is a true comedy with many a one liner, situational comedy and a mix of characters in the form of three couples who each have their individual nuances. The set, at first glance looks like a regular sitting room, but if you look closely there are two front rooms in one with a full drinks table to define the status of one of the owners, and a child’s toy box depicting a young family. Congratulations must go to Eddie Stanley’s set design and set decoration team. Well, designed, dressed, and well used. Fiona Foster is the wife of Frank, the “boss” of the firm where, unbeknown to him, his wife is having an affair with one of his employees. Karen Ward plays Fiona with great confidence and has the character just right. Karen knows how to act, and, as I have come to expect from Karen, she knew this role inside out. Her ability to maintain pace was apparent and her knack for subtle comedy was ever present – perfect. Fiona’s Husband, Frank was in the safe hands of TLT veteran, Ian Hunter. Befuddled, in a world of his own, slightly confused, are words that we may use to describe this character, but he does know exactly what is going on. Ian’s delivery was bang on, and ensured we were able to tune in to his thinking, whilst feeling a little sorry for him as his wife, at times could throw him a cutting remark. In contrast, Teresa (Terry) and Bob Philips lead a different lifestyle. Bob, although he holds down a job is almost slobbish, demanding and a little chauvinistic, and Terri is feisty, determined, but has a sensitive side too. Alexis Hollis as Terri plays a blinder in giving us a true insight of this character and her talent which resulted in a super performance. Equally, Cameron Rowe as Bob gave an energetic and physical portrayal and made the most of each quip and put down. The entrance of Mary and William Featherstone was hilarious. Of course, this can only be the case if the actors are up to it, and my word, were they! Alex Haymes as Mary and Danny Tooby as William were outstandingly funny. At first, they reminded me of Frank and Betty Spencer! but soon made their own mark by giving individual comedy performances that were well rehearsed and considered. Facial expression, timing, characterisation and an engaging body language are key elements to comedy and they had these in spades. They worked well together as a double act too. Such a talent. They are both relative newcomers to amateur theatre I do hope to see more of them in the future – brilliant!
Director Hannah Boardman has done a cracking job in bringing Ayckbourn’s words to life. The use of the dining table was well directed and executed by the actors. The transition from one “house” to the other was seamless, well timed and believable. Congratulations TLT – a real great nights entertainment of quality live theatre.
Paul Cohen
Bolton Amateur Theatre Societies Reviewer
Directed by Margaret Speakes
1st - 5th March 2022
Tyldesley Little Theatre welcome back audiences with the second production after Covid - a play. Before this commenced, we were treated to a slide show (see above) of photographs that were shown in 100 seconds of the Theatre’s missed centenary that was 1921 to 2021 - a nostalgic look at how far the Theatre has come - an accomplishment when they had over 30,000 (not a misprint!) shots to choose from.
Margaret Speakes directs this comedy thriller - the curtains open to reveal the Monument House Hotel and Alternative Health Spa Garden Room. The dark red and brown set is striking with two large bookcases on the back wall (one of which is a secret passage), appropriate furniture with red chaise lounge centre stage and double doors stage left, window stage right with plush curtains falling to the floor. Set construction by Eddie Stanley, Michael Stanley and Laura Solski. Set decoration by Jo Hibbert, Margaret Speakes, Eddie Stanley, Danny Tooby and Paul Whur.
So! a comedy thriller about killing people and not just in the usual manner (if there is a usual manner!) - they were inventive and took pride in it. The death count was high - and I mean high - of the ten cast: only one is left standing at the end and it’s a surprise who it is - loved that reveal! The deaths were done well and although seated in the balcony, I could not see any movement from the ‘corpses’ and some were laid there for a while – convincing! All the characters were not as they appeared and no sooner had a person declared what they were up to they were gone - dead! There were some fluffed lines in places by one or two actors and I am not sure if this is down to being uncertain on lines and cues or the talking that I heard in the audience, as this may have caused a distraction (I was certainly distracted)?
Gemma Manfredi as Drusilla Tomb and Hannah Boardman as Hecuba Tomb live at Monument House each with their own grudges – they are descendants of the Borgias - their motto ‘the family that plays together, slays together’ - what they don’t know about plants and herbs isn’t worth knowing – never accept a cup of tea from them!
Adrian White as Sir Beverley Comstock was as brash and irritating as his character was meant to be, loved his line “why have Lemon and Cinnamon tea, what’s wrong with Typhoo?!”. . . I do wonder if he could have been dressed a little more grandly as a ‘Sir.’ We didn’t get to witness his death - only hear of it – he delivered some great lines.
Lorraine Reynolds played Daphne Summers scared of everything and she did take a cup of tea that was her downfall - good characterisation and probably the only innocent one in this den of schemers - well played!
Ingrid Folkard-Evans playing Phillipa Collins certainly knows how to make an entrance, she brought in a gust of energy and we certainly had no idea what her plan was - her plot twists were great and played with such belief - even the maniacal laugh – what a character to get your teeth into, which she did! Good to see she didn’t get a meat cleaver in the back of her head - excellent!
Ian Hunter played Quentin Danesworth who was out to expose people for his own means and fame. Well, that did not happen - after his death they fell like flies. Karen Ward playing Miranda Torrence - the actress who had changed her name and was just a voice for a puppet, was on honeymoon with Robert Sandbrooke, played by Cameron Rowe (who at one point was thought of as a murderer when really, he was anyway): this couple certainly were playing us. . .characterisation of one character and in Karen’s case voice too - then changing to something else was good. It’s great to have that reveal and they looked to be relishing their parts - well done!
Cicely Venner played by Andrea Peters, who was secretly in cahoots with the honeymoon couple as well as Hecuba Tomb and knew Sir Beverley by another name: do you remember the American TV series Soap? . . . every week at the beginning the voice over said used to say “Confused?. . . You will be!” and you were! . . . it reminded me of this - in a good way!
And finally, the tenth cast member who played a blinder - Connor Parkinson was Anthony Strickland, two very different characters, well-defined and the first part almost in the background as PA to Sir Beverley. Near the beginning something was said and the look that flitted across his face, I thought oh right, is he up to something? But I forgot about it and that is testimony to his characterisation. So, when he revealed himself as the brother, his physicality changed. Great work Connor - showing the little details can make all the difference.
As with any production the work that goes on behind the scenes is immense and it is a compliment to Tyldesley Little Theatre that it is no mean feat to have been going 100 years - the passion is evident.
Thank you for inviting me and making my Hubby and I so welcome as usual.
Liz Hume-Dawson
NODA North West District 5
Directed by Jenny Whur
27th November - 4th December 2021
Due to Covid-19 situation, we didn't get our normal reviews for 'Snow White'. However, we have included many of the comments which were posted on the TLT Facebook page by our Patrons. It looks like it was enjoyed, from the opening 'Centenary Celebration Video' to the 'Finale'.
Fantastic show tonight !!! First time to the little theatre had a great night - L.A.
Fantastic show. Thanks - P.J.
What a fantastic show you put on this afternoon Team TLT…..our Grandaughter was enthralled and we can’t thank you enough for all your hard work to put on this wonderful panto - I.M.
Great panto tonight... All your hard work has paid offf. Well done everyone involved - J.S.
Fantastic show tonight, my little boy laughed so much, thank you all - A.B.
We all loved it xx - G.H.
Brilliant performance as always, we had a fantastic time. Thank you to everyone involved - J.L.
Once again you didn’t disappoint!!! T’s sorry she ruined one of the jokes (she’s actually not she’s so excited by it!) loved every minute - worth the wait!! - S.M.
Thank you so for tonights panto. Great performance! Great to be back out and supporting our community - B.W.
You was brilliant .. you all was.. well done.. we loved it - A.J. ----- Great panto yesterday you were all amazing Thank you - C.H.
What a performance... we loved it.. our first time to x - A.J. ----- Amazing show - kids, parents and grandparents all loved it. Well done to all the cast & crew for putting on such a great performance. X - A.R.
Really enjoyed it yesterday - W.R. ----- It was excellent. Well done - V.H.
Fabulous show the actors were amazing - P.P. ----- Fantastic show tonight. Well done to all involved. You provided lots of entertainment and laughs. Brilliant to be able to go to the theatre again! Thank you for a great night. X - A.E.
...we’ve had a super busy day finished of with fabulous family time watching panto at Tyldesley Little Theatre - Pb.
Fantastic time, we all loved it, thank you. My 4 year old’s favourite was Chuckles - A.C.
Was brilliant wasn't it. I truly loved it x never stopped laughing and singing along x - T.P.
I took my grandkids last week it was fabulous so funny x - W.S. ----- My son absolutely loved you in the pantomime he's not stopped saying how funny you was - J.F.
We loved the Panto last night. You were all amazing - L.P. ----- We all had a brilliant time last night. Thank u for putting on a great show x - J.S.
Amazing night as usual! Thanks everyone for a fab performance x - S.H. ----- Thankyou for an amazing evening... Best panto ever - L.D
What a wonderful show last night well done to you all thoroughly enjoyed the performance x Loved loved loved the show xxxxxx. - L.S.O.
Fabulous show tonight - loved every minute - J.H.
** Thank you to everyone who took the time and trouble to post these comments. We are so glad that you came along and enjoyed yourselves**
Directed by Jenny Whur
28th January - 1st February 2020
Eric Chappell’s comedy, Passing Strangers tells the story of a singles night in a local hotel bar and focuses on 4 characters, 2 female friends and 2 male friends who decide to try their luck in finding love, lust or what ever they can get. The fun starts when they assume out of reach professions and it doesn’t stop until the final curtain. Eric Chappell penned such classics as Rising Damp and Only When I Laugh, so by reading the name you know you are in for a treat.
The extremely talented cast of 4 excel and work so well individually, in pairs and together which makes this presentation seamless, slick and absolutely funny.
An impressive set, safe in the hands of Eddie Stanley and Liam Stanley works well and effective lighting (Peter Gower) and continuous background music (Paul Whur), gave the feel of a bar and set the scene perfectly.
As the evening commences, Julie and Liz arrive ready to paint the town red, or at least the hotel bar as they intend to find Mr right. Ingrid Folkard-Evans is a superb Liz, bringing style and an assumed elegance to the proceedings. This assured performance is done in true Ingrid style, making it look effortless, whilst at the same time commanding the stage, resulting in a more than watchable performance – brilliant.
Her colleague, or side kick Julie is brought to life by a standout performance by Catherine Megan Hughes. What an actress, what a comedienne and what a performance. Every entrance stylised and every exit well executed, she had the audience in the palm of her hands with an expressive, well timed and stunning performance that left the audience wanting more – simply outstanding.
As we are introduced to the 2 single men, it soon becomes apparent that they too are not all they seem, in terms of careers, and this is the recipe for even more laughs and it is revealed that the importing executive is a market trader and the medical worker is a hospital porter.
Cameron Rowe impresses as Clive, the divorcee who is so obviously still in love with his adulterous ex wife. An endearing performance that had you feeling sorry for him one minute and laughing at him the next. Adrian White offers a great portrayal as Lothario Malc, who’s wooing ways from his early days end up going full circle without him realising. Well balanced and measured, Adrian was every bit the silver fox, with an unnatural singing ability that was more than unique.
The strength of this production was the fact that it came across as an ensemble piece. All 4 characters working , engaging and interacting so well which resulted in a cracking production.
Director Jenny Whur has created an excellent piece of theatre and should be congratulated on bringing this production to life. As an audience we were entertained, as actors the cast were having a great time, and as for amateur theatre, we are blessed to be in a position where we are treated to such a high standard performance by amateur actors who present amateur theatre at a professional standard.
This is the first time I have seem this play, but it is already on my list to watch again and direct in the future. Well done TLT.
Paul Cohen
Bolton News Review
Aladdin is one of the most thrilling of pantomimes and Tyldesley Little Theatres production did not disappoint. Colourful costumes, excellent singing, plenty of audience participation, a Chinese laundry, magic carpet and more comedy one liners than you can shake a stick at.
Cathryn Megan Hughes as Aladdin was likeable and engaging with a cheeky wink. The character was matched by a charming Princess So-Shi played by Carly Bozdogan. Their harmonies were quite stunning.
I must congratulate the MD and accompanist Martin Taylor for his song choices, they were a breath of fresh air. Everyone seemed at ease with their songs and were so very obviously well-rehearsed.
Connor Parkinson was clearly enjoying himself in the role of the wicked Abanazar. With an audience full of the local scouts/cubs, I could barely hear him for the boos. The 2 genies couldn’t have been more different with the flamboyant Genie of the ring (Danny Tooby) and the very green Genie of the lamp (Leon Jeffries), different but equally effective. Good strong performances. There were many supporting comedy duos, in fact, so many I would have to take up a full page to write about them, so hats off to the Emperor and Empress, Cheap & Cheerful, Desert Sunrise & Golden Mountain, Camilla the camel (front & rear hump). However, the standout couple, for me were Ping (Ellie Ward) & Pong (Karen Ward) as the palace guards. They didn’t have many lines to say but they never stopped acting and working the stage - always in character. Wishee Washee played by Sally Mason was a joy to watch as the simple but good hearted brother of Aladdin and as is usual in panto, the ‘star’ was the Dame. Cameron Rowe was fab-u-lous as Widow Twankey.
This run is practically sold out so I’m going to tell you about a couple of highlights of the show. I didn’t expect Widow Twankey to sing Proud Mary, neither did I expect her to do the splits – both were done spectacularly.
Thank you for a great evening’s entertainment.
Sharon Morris
Bolton News Review
Tyldesley Little Theatre (TLT) opened their new season with Michael Cooney’s farce ‘Cash On Delivery’. Set in the 1990’s this well written play takes us to the home of benefit fraudster/con artist, Eric Swan who has been cheating the system for a good number of years to the tune of tens of thousands of pounds. Using the name of his lodger and other people in his household as the bogus claimants. Feeling the heat, he decides to kill off some of his bogus claimant- hypothetically. The plot comes to life when a visit by a benefits inspector threatens to reveal his dark secret. Not only was the visit by the inspector to check on the claimants but also to see what other benefits they could be entitled to. As the story concludes, Swann is even offered a job as a fraud investigator as he was so good at hiding is own misdemeanour. A series of mistaken identity, cross dressing, fake corpses and every other aspect of farce that you would expect ensue as the story unfolds.
In the role of Swan was Eric Clarke, who is no stranger to the TLT stage, he handled the demand of character very well and gave a very credible performance. Diannah Miller as Eric’s Wife - Linda Swan - was very assured. Brendan Higgins portrayed the lodger, Norman Bassett - who was drawn into this scandal through no fault of his own. Higgins brought the right amount of naivety to the role and gave an all round good performance. Benefits inspector – Mr Jenkins, was in the capable hands of Bill Rogers who was just right for this officious role. He handled the farcical situations well. In the role of Uncle George was TLT stalwart, Ian Hunter who gave another good performance and didn’t seem to mind being carried across stage and bundled into bedding boxes whilst playing dead to add to Swans every increasing farcical situation.
Supporting roles were played by Gemma Manfredi, Karen Ward, Lorraine Reynolds, Andrea Peters and Eloise Ward who all gave performances that complement the whole cast as a whole.
With a well built set, TLT brought this well written piece to life exacting their usual standards. under the direction of Connor Parkinson.
Graham Cohen
Bolton News Review
To bring the season to a close, Tyldesley Little Theatre chose C.P. Taylor’s northern comedy - And A Nightingale Sang, and what a great choice it was! The action of the play spans the years of the Second World War in the Manchester area. As the curtain opens we see ourselves in the modest home of the Stott family, all getting on with life amidst the bombings and upheaval of wartime Britain. As the plot unfolds we have an insight into the ups and downs of family life and dealing with awkward situations, whilst ensuring that the family unit is always at the forefront.
The father of the family – George Stott is played by admirably by Adrian White. We are treated to Adrian’s vocal talents throughout the evening as this piano loving character sings his way through most situations. He delivered one liners with aplomb and reacted perfectly to his wife’s constant nagging. Joyce Elder was in the role of Peggy Stott, the staunch Christian who kept the house together. Joyce brought a natural ease to the role and portrayed the character perfectly with excellent comedic timing and a good singing voice to boot. The youngest daughter – Joyce was in the capable hand of Sally Mason, Sally brought a naivety to the role, which she played perfectly as she struggled to decide whether she loved her boyfriend enough to marry him but we then saw the character mature as the years passed by.
In the role of resident Grandad, Andie, was Society stalwart Ian Hunter. Ian’s delivery and comic timing was spot on – a character well portrayed.
Matt Walshaw as Joyce’s somewhat dim but forthright boyfriend then husband Eric was another excellent performance as was that of Alex Clarke as the boyfriend of elder sister, Helen.
Cathryn Megan Hughes played the part of elder sister, Helen and she certainly did not disappoint. This was a dual role in theory as she also narrated throughout the piece. Cathryn’s performance was exceptional. She engaged with the audience straight away and told the story with conviction as well as portraying her character perfectly. A joy to watch.
The split set of Lounge and kitchen was simple yet very effective.
Director, Margaret Speakes has done a sterling job and must be congratulated on an excellent production that brought the curtain down on another season at Tyldesey Little Theatre.
This is an extremely funny play, whilst having it’s poignant moments and is certainly worth seeing.
Graham Cohen
Bolton News Review
Fledgling director Matt Walshaw does well with his small cast in this lesser known comedy from the pen of Peter Quilter about a group of women who are left a derelict theatre in a will from a common acquaintance and must overcome difficulties (and their differences) to make their inheritance work for them.
Cathryn Megan Hughes puts in an enthusiastic performance as eternal optimist Theresa, still compensating for the death of her father by hoping to make his theatre a success, whilst Joan Rogers as Pam conveys the bitterness of a woman scorned with some acerbic lines.
Andrea Peters is a joy as chirpy dieter Sharon, filling the stage with liveliness and vivacity, but Margaret Speakes as Betty has all the best pithy one-liners. The cast is completed by newcomer Gemma Manfredi as glamorous Jackie who provides a suitable foil for Pam’s envy.
A keep fit routine in act one is particularly amusing, but the comedy really flows when the fundraising concert is due and a replacement for Lisa Minnelli has to be found......
The hard working stage crew are slick and professional, and the transformation from foyer to stage during the interval is very well thought out and executed.
Peter Haslam
Bolton News Review
As ex tennis player Tony Wendice realises his wife is having an affair he sets about planning her murder. He sets out his elaborate plan, involving an old school pal and has it planned like a military operation so nothing can go wrong – or can it?
Alex Clarke excels as Tony Wendice. A strong consistent performance that never once dropped character as he convincingly entices his wife to her destiny. As the plot develops you see the sinister side of the character come out as he gets closer to completing his plan. A well-rounded performance that was well received.
Ingrid Folkard-Evans is on top form as alleged adulteress Sheila Wendice. Ingrid has great stage presence and has a natural acting ability that makes the character she is playing believable. This performance was no exception as she effortlessly breezed her way through the plot displaying the ability to portray a devoted wife whilst harbouring the secret of many assignations with her lover, Max Halliday.
The character of Max is safe in the hands of Cameron Rowe who transitioned from relaxed, almost arrogant “friend of the family” to frantic, frenzied with ease as he realises the game is up and the secret of was his affair is out. This steady performance complimented the other cast members and a contrast was clear when he interacted with the other characters, especially Tony and Sheila.
Newcomer Adrian White certainly succeeded as he made his amateur stage debut. The programme indicated that this was Adrian’s first ever role, but the audience wouldn’t have known this from what came across the footlights. This was a relaxed performance and he looked just right as he agreed to become embroiled in the planning, plotting and execution of his old classmates’ crazed idea.
Completing this cast, TLT stalwart Ian Hunter plays a convincing Inspector Hubbard as he deduces the movements and whereabouts of each character before and after the deed to place.
From the opening curtain to the final bows this production had pace and was obviously well rehearsed and directed. Congratulations to Director Jenny Whur who has presented a cracking thriller which, if the comments of the audience are anything to go by has certainly hit the right spot.
Paul Cohen
Bolton News Review
Directed by Carly Lomax - 25th November - 2nd December 2018
The curtain opened on this year’s pantomime season as Tyldesley Little Theatre presented their festive offering ‘Beauty And The Beast’. This traditional Tale was in safe hands as the cast portrayed the story with ease.
Chloe Thomas in then role of Belle gave a warm, assured performance with an excellent singing voice to boot. Andrea Peters and Hannah Boardman were excellent as Belles sisters – Ermengarde and Esmerelda. They worked very well together.
Bill Rodgers in the role of The Beast gave a well studied performance and his version of ‘I Dreamed A Dream’ was superb.
There were some excellent supporting roles which added humour and pathos to the production as well as the traditional good verses bad. We were treated to some great dancing as well as acrobatic talents from the children of the chorus who added greatly to this production.
The audience made the most of their opportunities to shout out to the cast and join in with the fun which is what panto is all about. Carly Lomax makes her debut as Pantomime director and she has done an excellent job.
Graham Cohen
Bolton News Review
'Criminal Capers'
Tyldesley Little Theatre opens its 97th season with this comedy from the pen of Derek Benfield. Debut director Connor Parkinson does well in leading his cast, obviously understanding the play and bringing out good moments of comedy from the script.
The story concerns the unlucky home of Andrew, Jane, and daughter Sally, where fatal accidents to visitors occur on an alarmingly regular basis. To elaborate more would diffuse the comical lines in the plot, but suffice to say that when Sally’s boyfriend Geoff overhears a conversation it is the catalyst for an evening of misunderstandings.
Alex Clarke and Joyce Elder (as Andrew and Jane) carry the plot confidently, with able assistance from Rhiannon Burke as Sally and Hannah Boardman as Sarah. Newcomer Joe Wellman puts in a commendable performance as Geoff, leading the crusade to save any visitors from an untimely exit.
But the comic moments reach a new level when Cathryn Megan Hughes arrives as the new vicar in the village, a characterisation full of energy and experience. The ensemble is completed by Roma Etherington and Ian Hunter as Geoff’s bewildered grandparents entering the confusion later in the proceedings, and Sally Mason as the TV Repairer.
The set is excellent, conveying the split locations of inside the house and the garden.
In the title role of The Snow Queen, Karen Ward proves to be as icy as the title suggests as she weaves her evil spell and kidnaps Gerda’s friend Kai. Luke Hope-Nixon played the part of Kai very well. This young lad has promise with a great stage presence and clear delivery he is certainly one to watch for the future. Alana Howarth-Lees as Gerda was sweet and endearing as she journeyed through the snow and ice to find her friend and realise her true feelings for him. Connor Parkinson is developing well in the comedy role and is starting to make the part his own. As Helmut he displayed some admirable rapport with the audience and he sustained this throughout. Seasoned panto player Ian Taylor in the role of the dame, Nanny Annie gave his usual polished performance and had the audience eating out of his hand. As soon as you see the name Joyce Elder in the programme you know you in are in for a vocal treat and her rendition of Let it Go from Frozen was up to her usual high standard. The chorus provided some entertaining dancing and Musical Director Martin Taylor provided a variety of songs that fit the bill. It is always good to see younger people taking parts and Ellie Ward played the part of Frederika the robber with confidence. As with Kai, I can see these two youngsters treading the boards of TLT for many years to come. For me, panto needs a character that can keep the pace and provide some laugh out loud moments and we had this aplenty with Carly Lomax in the role of Blossom, the mad flower lady. Vocally strong as an added bonus, Carly is a great pantomime comedy actress and understands the needs to entertain the audience and not herself. Her characterisation of the part was just right. This was a well-balanced performance and went down a treat with the audience. This was a well presented production, and whilst I am not convinced that a pantomime needs three directors, the team of Ian Taylor, Garth Waddup and Andy Sutton provide a family pantomime that has all the ingredients to ensure a fun-packed evening is presented – and it worked!
But that is no bad thing as it quickly becomes evident that Out of Focus, being staged by Tyldesley Little Theatre until Saturday, is packed full of laughs. A mismatched bunch of cleverly-crafted characters are thrown together and soon find themselves signing up to appear in a pantomime. All the action in Peter Gordon’s comedy, first published in 1990 and updated in 2009, takes place in the annexe of a church hall. It is a delightful satire of village or small town life and had a touch of the Victoria Wood sitcom Dinnerladies about it, as the unlikely bunch try to make the best of the situations they find themselves in, with some great laugh out loud moments. Ian Taylor and Andrea Peters, as bickering couple Bob and Kath Enfield, give particularly natural performances and Ian delivers his lines with great comic timing and facial expressions. Ian Hunter puts in a very enjoyable performance as a tank top-clad Roy Cropper type character, Leonard Trotter, intent on delivering a talk on steam locomotives to anyone who will listen. The rest of the cast puts in strong performances - Roma Etherington as the nervous vicar’s wife who is prone to bursting into tears; Joan Rogers as the haughty Brownies leader Helen Beever; Ingrid Folkard-Evans as Sue Dixon, the voice of reason; Connor Parkinson as wannabe Romeo, Wayne Bryant, and Alex Clarke as badminton-playing policeman David Wright, while newcomer Rhiannon Williams makes a nice debut as flirty Linda Hammond. The first act and pantomime performance scenes were particularly enjoyable, as the characters donned a range of wacky outfits as they gathered in the hall and prepared to go on stage. I felt the end, with the slides scene, petered off slightly but perhaps that was more due to the fact that the preceding scenes had been so entertaining. Out of Focus, directed by Jenny Whur and on at the Lemon Street theatre until Saturday, is a very strong and enjoyable start to TLT’s season.
This was my first visit to Tyldesley Little Theatre (TLT) and I was certainly not disappointed. Set in a side Street, hidden away off a Main Street in Manchester, we are taken to an empty shop building that is being refurbished in to a cake/coffee shop by young baker Penelope Hart played by TLT debutee Jodie Brown and what a debut it was. Jodie brought the character of Penelope alive with her warm approach and confident delivery. In charge of the refurbishment is Joiner Peter Stanford, played by Paul Ward. Wards stage experience shines through and his interpretation was totally believable. It soon becomes apparent that there is a spark between the two characters. Penelope takes on the task of interviewing candidates for the position of shop assistant. This is when we are treated to the comedic talent of Alana Howarth Lees. Alana’s portrayal of dippy Lizzie Grieg was excellent. She had the character just right. Perfect comic timing and delivery without going over the top. A joy to watch. Connor Parkinson played David Fletcher, the estate agent that has let the property to Penelope and then as the story unfolds he becomes the love interest of shop assistant Lizzie. Alex Clarke as Penelope’s ex-boyfriend Michael Parkes, who comes and makes the struggling business a success but nearly at the cost of her blossoming relationship with Peter, completed the line-up of five main actors who complemented the rest of the cast with credible performances. The script called for support artistes to act as labourers and shop customers and these were made up of no less than 17 members of TLT members. One of these include director Ian Taylor’s one year old daughter Tilly. The set was a simplistic box set that started out as a rundown building then transformed before our eyes into a quaint little coffee/cake shop that was quite inviting. Taylor’s experienced direction and an easy to follow plot entertained a near capacity audience who like myself thoroughly enjoyed themselves. Congratulations on an excellent production that had the word teamwork written all over it.
With bright costumes, colourful sets and many additional touches it was clear that a great deal of work had gone into presenting this year’s Panto. Jenny Whur, in her debut at directing Panto did a credible job and the laughter from the audience must have made her breath a huge sigh of relief – it was a success and a great nights entertainment – congratulations! Ian Taylor and Garth Waddup were excellent as the ugly sisters. They never outplayed one another and both soon created a rapport with the audience. Andrea Peters gave us a fine interpretation of Buttons and the audience warmed to her immediately. Shelley Tickle’s Cinderella was played just right and what a voice! The duet, “I Think I Wanna Marry You” with Prince Charming, played with style by Ingrid Folkard-Evans was a delight. I am not a great lover of pop songs in pantomimes, I find it untraditional, but I concede that this one did actually work! Whilst there is not space to mention every member of the cast, each person played their parts well and the sense of team spirit was rife throughout. Panto is all about having fun and enjoying yourself - it was clear that every member of the cast, from the principal roles to the competent chorus of dancers, did this as they all seemed to be having a fantastic time. The packed auditorium were well and truly entertained with this great start to the festive season.
When you think of nursery rhymes, many things come to mind, but is murder one of them? In TLT’s latest production, murder is definitely in mind as we work our way through a 10-verse nursery rhyme, each verse leading to the death of a guest. The 10 guests are invited to a mansion on the remote Soldier Island, but suspicion arises when the hosts are not there to greet them, leading to the assumption that one of the guests is pretending to be someone else – who could it be? Ian Hunter’s interpretation and depth of character was believable as General Mackenzie in a well-rounded performance. The scenes between Emily Brent, played superbly by Carly Lomax, and Vera Claythorne, played by the excellent Karen Ward, were exceptionally good. They gave the right mix of pathos, suspicion and cynicism and played their parts to perfection. Mike Jeffries’ interpretation of being above suspicion was expertly displayed in his role as Sir Lawrence Wargrave and his unsuspecting twist seemed to pay off until another guest got the better of him, much to his convincing shock. The simple but effective set was used well with particular attention to detail by use of an outer balcony area through patio windows. Ian Taylor’s well considered direction ensured we were taken along with the plausibility of each character and we were kept on the edge of our seats wondering who would be next. His idea to have music playing quietly in the background as each scene came to an end was genius. It gave the audience the signal that the demise of a guest was upon us – the anticipation throughout the audience was more than apparent. All in all, this was an excellent evening’s entertainment and lived up to the standard we have come to expect from this dedicated theatre group.
. Buddy (played by the excellent Paul Ward) is the hapless lad who decides to leave his parents’ home to live with older sibling, ladies’ man Alan. Sinatra must have had little trouble playing the man about town — and while Alex Clarke is no Ol’ Blue Eyes, he handled the role nicely. Buddy longs to be like his brother — who has a seemingly endless stream of women visiting his New York apartment — but Alan’s life is no bed of roses. A constant disappointment to his father (the superb Bill Rogers) Alan starts to rethink his outlook when the one gal he really does love — Connie, played by the feisty Ingrid Folkard-Evans – leaves him. This is a smart comedy, if perhaps a tad on the long side — am dram groups in general need to be a lot more brutal when cutting down their scripts. Come Blow Your Horn, with a booze-free interval, is a good two-and-a-half hours long. This minor gripe aside, there are nice turns too from the hilarious Joan Rogers as the boys’ mother and the stunning Gill Lingings as “the other woman”, Peggy. Ably directed by Ian Taylor, Come Blow Your Horn is a solid show, still fresh 50 years on from its first performance.
Written by Richard Harris and brilliantly directed by Paul Ward in a style that allowed the tension to build slowly through the first half and suddenly ramp up in the final half hour, everyone was left guessing exactly who the culprit was until one character — I won’t spoil it for you — revealed their true colours.
Karen Ward, as Julia Darrow, has a relentless part to play and does it with no small degree of energy, her character’s physical and mental problems increasing as the production moves on. Joyce Elder is excellent as the grieving Margaret Haddrell, gradually taking over Julia’s life, and planting the question in the latter’s mind: “Does she know I was having an affair with her husband?”
Things start to go missing in the house and odd-job man Gary, well played by Alex Clarke, gets the blame, while counsellor Kaye Taylor (Anne Bennett) makes little progress despite no small degree of persistence.
I’m not going to reveal who did it, but the end will have you spellbound.
A retirement home is not an obvious choice for the setting of a murder mystery, and a comical one at that, but it works! Eric Chappell, probably best known for the TV sitcom Rising Damp, is behind Summer End and it is Tyldesley Little Theatre’s latest offering. It tells the story of cantankerous Emily who believes the death of her former roommate was far from innocent. She points the finger at a host of different suspects, arousing suspicion herself. Will the truth come out? Well one night everything comes to ahead but I won’t spoil what happens. There are plenty of laughs along the way, the audience chuckled along, utterly drawn into the comical tale.
Winnie Beatty was fantastic as Emily, perfectly teamed up with Margaret Speakes, who plays May Brewer, her new roommate. The cast of just five did a superb job, just a couple of first night jitters.
Congratulations to all the behind the scenes team too. Another good show from Tyldesley, touching and funny. Lots of chuckles, you’re guaranteed to go home smiling.
You know you are within striking distance of Christmas when the children start to get that little bit more unruly and excitable than before. So what better way to channel all that excess exuberance than with an afternoon of pure unadulterated fun including lots of singing and shouting with no-one complaining about the noise?
That is the great thing about panto - you can be as noisy and silly as you want to be - and that includes the adults. This year's fun production from Tyldesley Little Theatre has all the right ingredients for a successful panto, from a hilarious dame in the form of Garth Waddup to the hero (Robinson Crusoe) played in fine style by Ingrid Folkard-Evans. Add to the mix Ian Taylor as the hapless Nutty Nick, Andrea Peters playing the evil pirate Cut-Throat and a very cheery competent chorus of super little dancers and you have got a recipe to be proud of.
Everyone had obviously worked incredibly hard on the production (the set design was great and the costumes first-class) and judging by the roar of approval from the capacity audience at all the right moments the cast would know they had produced something to be proud of. The corny, at times slightly risque, jokes, bright costumes and a great rapport among the cast made sure this was pantomime at its very best. The children thoroughly enjoyed every minute of the production - my nephew Liam was laughing from start to finish - and the adults were equally impressed.
SMASHED crockery is just one result when two opposites become roommates. The Odd Couple follows two friends who end up living together but couldn’t be more different, one is neat and is a worrier and the other is messy and relaxed. It is not a good combination and tensions start to show. Throw in a group of Trivial Pursuit players and two hilarious Spainards and it all comes to a head. My highlight was the flinging of crockery as a stressbuster! And in the end it was good to see both women had learnt something from their opposite number. Overall a great story, which got plenty of laughs from audience.
Tyldesley Little Theatre chose to put on the female version of the play and it worked a treat. The original featured two men becoming roommates, with Tyldesley Little Theatre putting on a male show in 1999. This time it was the women’s turn and Karen Ward, as Olive Madison, and Louise Robinson, playing Florence Unger, were superb. It was a faultless first night performance, you could tell they really knew their lines and characters, it was very impressive. The American accents weren’t bad either. And they were well supported by the other six cast members.
I really enjoyed The Odd Couple and could tell the rest of the audience did too.
I’m simply not a fan of Am Dram productions – or at least I wasn’t until tonight when six people changed my mind, perhaps forever. Picture the scene. I was slumped at the back of the auditorium, I knew football was on the tele, and I if truth be told, I would rather have been watching it. Then the curtain was raised – and they had me from the start. Tyldesley Little Theatre’s production of Ghost Writer was magnificent; a whodunit performed by a cast of six actors with consummate skill. The plot centres on a writer who is suffering from depression on the year anniversary of his wife’s death. His pal makes jovial attempts to perk him up, but it is the ghost of his former missus who eventually gets under his skin – and sets up what plays out to be a funny, and sometime touching affair. Director Jenny Whur has been devilish in her inclusion of more than a smattering of double entendre - and in some cases pure comedic filth. Many of the risqué elements are a bit too racy for a family publication; but if I were to say superglue, glitter and a man’s unmentionables, you might just get the drift.
This was a production that simply relied on the skills of the cast. There were no gimmicks, just the passion and ability of the six performers. Ian Taylor held things together well as the despairing playwright, Edwards. His leading lady, Ingrid Folkard-Evans was magnificent as the ghost of his dead wife, Ruby, with her well-timed catty putdowns a true highlight. Alex Clark delivered just the right amount of ‘comedy camp’ to play the role of Edward’s gay pal and landlord, Alex, while Rachel Hill, who was making her debut for the TLT as Edward’s new love interest, Glenda, impressed. Tribute must be paid to the ability of the impossibly pompous alcoholic jobbing actor, Hedley, who was played to perfection by Tony Thompson, while Joyce Elder did a solid job in the role of Frances, an apparent cosmetic surgery addict. There are enough twists and turns in this production to keep the audience on their toes. And while the sound of applause rang out at the end, it was the sound of laughter that ruled the evening. Am Dram…twee? Who said that? Certainly not me. This could well be the start of a long-lasting love affair.
A good effort by all concerned, not least the hard working director. This had many positive things about it – from well-stage scenes to nicely judged performances – and a real degree of commitment and conviction from the actors.
- DANIEL (Glenn Robinson)
- As you mentioned, it is never easy directing yourself in something, especially when the character is onstage the entire time. You did really well in these conditions with such a huge responsibility – as director and actor – and it is to your credit that everything moved well and you did wonder what was happening to Daniel, sharing his frustrations and genuine reason for suspicion, and thinking the odds were really stacked against him.
- THE INSPECTOR (Alex Clarke)
- A solid and consistent performance throughout, nicely laid back and seemingly uninterested in the machinations of the plot when, of course, you were behind it all. You had a genuine Policeman quality about you, which ensured people thought you were the real thing, even if some suspicion might fall upon you… You delivered a good ‘straight’ man to the goings on around you.
- THE PRIEST (Ian Taylor)
- A nicely judged performance, which started with a totally convincing appearance of the warm, friendly priest, upping the ante when the suspicious behaviour began…a great, consistent and well pitched performance throughout.
- THE WOMAN (Joyce Elder)
- You made the most of your appearances, and were convincing as both the distressed wife, and the manipulator of the plot…a good performance…
- THE TRAMP (Ken Berry)
- …conveyed the tramp like qualities and made the most of your scene, bringing some humour to the situation.
- THE NURSE (Kaye Taylor)
- A strong cameo, and two really nice appearances made this role both memorable and believable. There was a nice shift in the second appearance, as a really convincing ‘money grabbing’ character was seen…. You have a good clear voice, and a confident stage presence, which really brought this character to life, and gave a new energy and impetus to these scenes. Well done.
A missing wife, a suspicious imposter and a man pushed to the brink of insanity - the ingredients of Tyldesley Little Theatre’s latest production have all the hallmarks of the tensest of thrillers. When Daniel Corban’s new wife vanishes just days after the couple arrive at a chalet in the French Alps, the police fear the worst. When a woman claiming to be Mrs Corban appears it seems their fears are unfounded - but when Daniel claims he has never met the woman before the stage is set for a twisty plot that keeps the audience guessing until the very last moment. Some of the plot devices are a little contrived, requiring a bulldozer attitude to push through, and first night nerves stopped the cast carrying them off as confidently as they otherwise might. Nevertheless the six-strong cast certainly won the audience’s approval. Alex Clarke stood out as the police inspector whose apparent faith in Corban’s version of events keeps the poor man hoping until the very end, while Joyce Elder is suitably scheming as the so-called “Mrs Corban”. Ian Taylor is grave as the priest who seeks to reunite the couple, while Ken Berry adds a touch of comedy as the tramp and Kaye Taylor has a small but important role as the nurse who, having seen the real Mrs Corban when she was sick, could shed some light on the whole matter. Glenn Robinson, who directed the play, could benefit from toning his performance down a little – James Stewart in Vertigo should spring to mind, rather than his occasionally cartoonish Daniel Corban – but as a last-minute stand-in he manages admirably.
Before I comment on individual performances, I would like to say something about the 4 ladies themselves. I thought you worked brilliantly together. Your obvious trust and enjoyment in each other’s company came across superbly, and you had a natural rapport, which made it really feel as if you knew these characters, and cared for them as people. It was also good to hear such clear diction, and different tones and infections, so each character was unique, but blended into a believable and cohesive quartet. Well done.
- PEARL (Joan Rogers)
- An experienced and obviously gifted actor, you have a real warmth and naturally expressive tone, which really brought this character to life. I liked your reactions to people saying you were retiring in the first scene and your revelations to Jan in Act 1 Scene 5, which were sincere, real and heartfelt.
- JAN (Louise Robinson)
- The over-caring mum who has a secret crush on the supervisor, you played this really well in the opening scene, and the constant ‘what did you have for your tea?’ lines were a delight throughout. Your reactions to being at Ascot were real and genuine, and, even if your bag wasn’t as full as it might have been, you were a real ‘mum’ providing sustenance to the other ladies… this was another strong performance, and the final scene with Joe and the girls back at the factory was a delight.
- LINDA (Andrea Peters)
- This was a superbly judged, natural and well-timed performance, with a real emotional kick, and loads of great humour. Your Tony Christie obsession was lovely, and the (supposed) lack of intelligence in the character wasn’t overdone or unkind. This was a real person, struggling with a real problem (her mother), and being slightly out of her depth in a fast-paced world. I loved your reactions throughout, and your down-to-earth and honest reactions to what was happening around you. Your scene with Patrick and obvious thrill at being ‘chatted up’ by him, was another delight. The whole build up to finding out about your mum was thoughtfully paced and sensitively explored, and this was one character you really wanted to see in a better place, and always happy. Well done on a memorable, genuinely funny, and beautifully touching performance of a lovely character.
- SHELLEY (Karen Ward)
- Another fine actor, you totally made this part your own, and dominated (in the right way) your scenes with your energy, forthright language, and expressive views. As a catalyst for some of the conflict in the play (buying champagne, goading Linda, pretending to be someone she isn’t to Jim), you made the most of all these moments, without overdoing it. In other words, Shelley was a real believable character despite her sometimes exaggerated and overblown behaviour. From the opening scene, you made your mark, and, as the play progressed – from insisting on the champagne, to flirting with Jim, to your obviously genuine affection for the other ladies – gave a full-on and honest performance. Shelley is obviously someone who uses her body to get what she wants and, again, you had the confidence and attitude to show this. Great stuff.
- JOE/PATRICK/KEVIN (Bill Rogers)
- A nice variety of roles to get your teeth (and accents) into, I thought you did really well to make each one different and memorable. Joe was solid and relaxed, seemingly a genuinely good and friendly guy; Patrick had the right attitude and accent, and you delivered the opening Act 2 speech, as well as your ‘triumphant win’ speech with good shifts in tone and pace… Kevin was a very nicely judged drunk, with a good appearance and great movement.
- FRED/JIM/BARRY (Glenn Robinson)
- Your appearance as the tout from the audience was unexpected, but memorable, and you made the most of this small role. Jim was a great role – a little bit smarmy and over-confident, but a smooth and assured tone of voice really captured the TV commentator, and you did wonders with the Tic-Tac scene.
- The Director (Ian Taylor)
- From the moment the strains of The Enemy’s ‘We’ll Live and Die In These Towns’ kicked in, I knew this was going to be a well thought out and carefully directed production, and I wasn’t wrong. The opening scene was a joy, as each character had their own set movement, and you really got the feeling of a monotonous and unrewarding factory line of fish filleting! Once the dialogue kicked in, it was obvious that a great deal of work had been done on characters, and each soon came into their own. It’s there in the writing, of course, each woman having her own voice, personality and quirks, but it was great to see the director and the actors had worked so hard – and to the good - in bringing individual tones, mannerisms, inflections, etc to the fore.
Posh frocks and fancy hats are the order of the day for Tyldesley Little Theatre’s latest production. The story centres around four friends who work in a fish plant in Hull, who find tickets to Royal Ascot at York. As the champagne flows and the horses keep winning, we start wondering how long their luck can hold out. Karen Ward is a hoot as the crass, fame-obsessed Shelley, whose heart of gold and misplaced pride almost lead to her ruin. In contrast, Andrea Peters plays quiet, downtrodden Tony Christie-loving Linda. Her performance was touching in its simplicity. Joan Rogers was marvellous as the older, wiser Pearl who is hiding a huge secret that inevitably spills out. And mothers everywhere could sympathise with Louise Robinson’s portrayal of Jan, the single mum who had dedicated her life to her daughter, and was at a loss now university meant she had her life back. Glenn Robinson sported an array of odd wigs and hats as Fred, the creepy racing commentator Jim and the mysterious Barry. As the villain of the piece, his portrayal of Jim turned the stomach a little bit - just as it should. Bill Rogers also took on three roles - his Irish jockey Patrick was probably the most likeable, but it was definitely the drunkard Kevin, who had lost his money, his wife and his sense of personal hygiene, that got the biggest cheer. Although parts of the plot might be somewhat predictable, you still can’t help being pulled along with the characters on their rollercoaster . . . and crossing your fingers for them on that last race.
This was an entertaining evening, lots of comedy, silly business and some good performances. Congratulations to all the cast and I assure you that all your hard work was fully appreciated by your audiences.
- King & Queen (Ian Hunter & Winnie Beatty)
- These characters were very much a twosome…played very straight.
- Princess Rose (Shelley Tickle)
- Well done Shelley you grew from 12 years of age to 18 without any difficulties. Your line delivery was very clear and well paced…your costumes were excellent and you should be proud of your achievement.
- Nurse Dottie Dettol (Ian Taylor)
- Well done Ian this was how a Dame should be played. Only slightly camp but very believable. You sometimes reminded me of John Inman with your slightly falsetto voice and your asides.
- Muddles (Alex Clarke)
- For a first pantomime this was a very good performance… ten out of 10 for learning those songs for the song sheet.
- Prince Alexander/Alexis (Michael Joseph)
- Michael played two princes and quite rightly tried to give each one their own character…movement around the stage was generally good.
- Fetch & Carrie (Denis Beardsworth & Hannah Speakes)
- Another two that should be played as a team; the straight man and the comic…comfortable in the schoolroom scene.
- Good Fairy Lilac (Joyce Elder)
- An excellent performance from this lovely actress. Her two costumes were perfect with everything from tiara, glitter handbag and shoes. Joyce has a very melodic singing voice and her scenes with Witch Hazel were ‘spot on’…you were delightful.
- Bad Witch Hazel (Ingrid Folkard-Evans)
- Another sterling performance from this award winning actress. Ingrid really commands the stage, she has excellent stage presence and awareness. She slips into the role of the villain with ease, but I am sure that she is really a very nice person.
- Pointy-Headed Knight (Lisa Taylor)
- The ‘He’s behind you’ business was fine with ‘Who’s afraid of the pointy headed knight’ replacing bad wolf.
- Rainbow Fairies (Roma Etherington, Jack Bigland, Lisa Taylor, Kaye Taylor)
- Their costumes and illuminated wings were humorous…’Oh it’s Magic’ was well performed by Fairy Lilac and the 4 Fairies.
It was our first panto of the season and you would struggle to find such an expertly put together amateur production as this. My nephew Liam, and I, declared this the best pantomime we had seen in ages and believe me 10-year-old Liam is an expert on matters of slapstick, jokes and sing-alongs. Lines were delivered without falter, songs sung with gusto and the audience responded with bags of enthusiasm.
This was Alan P Frayn’s adaptation of the famous fairy tale which tells of a beautiful princess who is cursed by an evil witch — played to perfection by Ingrid Folkard-Evans. Thankfully good Fairy Lilac (Joyce Elder) was on hand to ensure there could be a happy ending. Some of the most captivating moments came when Joyce and Ingrid faced each other and delivered — with beautiful singing voices — witty exchanges.
Ian Taylor was wonderful as the obligatory dame — this one was called Nurse Dottie Dettol — and when he picked a member of the audience to be the object of his affection it was pure comic genius.
The rainbow fairies were lovely and Shelley Tickle made a very pretty Princess Rose. Alex Clarke did his job perfectly and had the children cheering, shouting and singing in his role as Muddles, the palace handyman.
Sadly on the afternoon we went the theatre wasn’t full. Make sure you book your tickets and get down there. You won’t be disappointed.
‘Good Old Summertime’ is a comical tale of capers by the seaside which is well acted by the nine-strong cast. The action takes place over four days at the Bella Vista guest house. Battleaxe landlady Mrs Austin has recently taken over and is desperate to impress an inspector who is due to visit to get on the recommended accommodation list. Two couples, the Peppers and the Pearsons, who previously experienced her strict rules at her last guest house, arrive and are devastated to discover that she is in charge. But they decide to stay after she persuades them things will be different this time – with hilarious consequences.
Every member of the cast impressed but Winnie Beatty was particularly good as the domineering Mrs Austin. Kaye Taylor was hilarious as the maid, Florrie, and Alex Clarke, provided plenty of funny moments as Spanish waiter Mario. Ian Taylor played bumbling Henry Pepper to perfection, complimented by Louise Robinson who played his wife Daphne — a job well done. Ian Hunter delivered some brilliant lines as dry-humoured Wilf Pearson and Jenny Whur was good as Ethel Pearson. Rising star Hannah Bloor did well as Sally Pearson and Tony Thompson played a great Professor Smith. A lot of hard work and enthusiasm has clearly gone into the production.
The show runs until Saturday. I recommend you to go along and have a good laugh.
© 01/2026
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