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The
Pocket Dream. Comedy.
Elly Brewer and Sandi Toksvig The Henry Irving Strolling Players (HISP)
Memorial Theatre are to present a production of A
Midsummer Night's Dream but when the majority of the
cast walk out and the house manager can't refund the
audience's money (because it's riding on a dog) desperate
measures need to be taken by the stage manager and anyone
else she can find to step into the breach! ' ... the
audience laughed like mad ... and were happy to help in the
gags impressed on them from the stage. It's like a
springtime pantomime.' Financial Times Popcorn.
Play. Ben Elton Set in the Beverly Hills home of
Tarantino-style, Oscar-winning, movie director Bruce
Delamitri, Popcorn is a satirical comedy thriller that took
the West End by storm. Notorious killers Wayne and Scout
interrupt Bruce and Brooke Daniels (nude model and actress)
intending to use Bruce's 'art' as justification for murder.
Events are disrupted with the arrival of Karl (Bruce's
producer) and Farrah Delamitri (Bruce's soon-to-be-ex-wife)
with spoilt daughter, Velvet. But Wayne means to succeed -
whatever the cost. The
Pope and the Witch.
Play. Dario Fo. Edited by Franca Rame. Translated by Ed
Emery The Vatican is the target of this fast and furious satire. The Pope is to give his first world televised press conference but is suffering from acute paranoia and nervous paralysis. Enter Elisa, the 'witch' of the title, who alone seems to have the power to cure the Pope. Visiting her drug clinic he is so impressed that he issues a papal encyclical with startling global results. Portrait
of Murder. Drama.
Robert Bloomfield Eliot and his mistress tried to kill
Eliot's wife Paula but succeeded only in giving her amnesia.
Paula's personality seems changed; now she is charming and
considerate. Paula is once again involved in another
accident and reverts back to being as unpleasant as she used
to be. Are there two Paulas? Gradually a cunning masquerade
unfolds. Portraits.
Play. William Douglas Home Augustus John's ability as a portrait
artist won him the admiration of fellow artists, public
recognition and the Order of Merit. This play presents
various points in this Bohemian artist's turbulent life from
1944-1961 through a reconstruction f sittings with three of
his subjects. 'This charming, literate ... and often
touching study of the man who invented Bohemianism ...
splendid dialogue from William Douglas Home ... one of the
best plays to hit the West End in some time.' Time
Out The
Positive Hour. Play.
April de Angelis Miranda is a social worker, with no shortage of problems herself. Her best friend, Emma, is a failed artist having a mid-life crisis; her partner, Roger, is a frustrated academic, desperately trying to finish his book on Hegel. Personal problems are exacerbated by work and, especially, Miranda's relationship with Paula, an unemployed single mother who takes up prostitution to survive. Funny and disturbing, The Positive Hour brings issues of gender and sexuality into a new, modern context. Post
Horn Gallop. Farce.
Derek Benfield A sequel to Wild Goose Chase. In
the ancestral home the nerve-shattered Chester is again
menaced by his old enemies Capone and Wedgwood. In the
flower beds Lord Elrood lurks with his shotgun ready to
repel attacks by the butcher's boy, the postman and other
desperate characters. Through the ancestral living-room
wander Maggie and Bert, come for two-and-sixpence-worth of
gawp and suitably awe struck by the goings-on of the
country-house set. The
Potting Shed. Play.
Graham Greene James Callifer, long estranged from his family, returns home to his dying father. He learns there that as a boy he had hanged himself in the potting shed, but had been cut down and 'resurrected'. It transpires his father had lost his agnosticism and as a result James's mother had disowned her son - who was a living proof that a 'miracle' had occurred in his past. The
Power of the Dog.
Play. Ellen Dryden Vivien, an English teacher, is about to become headmistress of another school, thus leaving Lisa, her difficult but bright protegée, stranded without her inspiration. When Lisa takes violent action to express her unhappiness, Vivien is shocked out of her usual detached emotional state into an understanding of the consequences of her actions, which have affected all her relationships, including that with her crippled mother.
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