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Recently Posted Shows

Billingshurst Dramatic Society

Billinghurst Dramatic Society

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Murdered to Death

Author: Peter Gordon

Murdered to Death


Venue: BILLINGSHURST: Women's Hall, High Street, Billingshurst, West Sussex RH14 9LQ

Box Office: wegottickets.com
£10.00 + £1.00 Booking fee = £11.00

17th, 18th and 19th February 2022 7:30pm

Our first full-length production for two years will take place in FEBRUARY 2022 with"Murdered to Death", to be produced by Will and Ted Gooda.
A spoof in the best Agatha Christie traditions, with an assembled cast of characters guaranteed to delight: Bunting the butler (Ralph Taubert), an English Colonel with the prerequisite stiff upper lip (Peter Burton), a shady French art dealer (Barry Syder) and his moll (Charlotte Mitchell), a bumbling local inspector (Trevor Bishop) and his sidekick (Ben Vallely) a well meaning local sleuth (Jane Brough) who seems to attract murder - they’re all here, and all caught up in the side-splitting antics which follow the mysterious death of the owner of a country manor house (Kathryn Attwood). But will the murderer be unmasked before everyone else has met their doom, or will audiences die laughing first?

Posted 27/01/2022

Recently Posted Off/Back Stage Requirements

The Quay Players

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Southwark, London

Life is a Cabaret

Musical Director Required

Life is a Cabaret

We need you!
The Quay Players are looking for a Musical Director to cover rehearsals and performances of our upcoming cabaret in February and March.
DM us for more details

Posted 27/01/2022

Recently Posted Auditions

Swan Theatre Company

Swan Theatre Company

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Russell Park Social Club, Beds

A Day in the Death of Joe Egg by Peter Nichols

A Day in the Death of Joe Egg by Peter Nichols

Read through: Tuesday, 1st February 2022 AT 19:30 at Russell Park Social Club
Auditions: Tuesday, 8 February 2022 AT 19:30 at Russell Park Social Club
Rehearsals: Generally Tuesday and Thursday evenings at The Place Bedford
Show dates: Tues 24th - 28th May

Synopsis: Married couple Bri and Sheila have a daughter named Josephine who was born with severe cerebral palsy. Although the wheelchair-bound Jo is unable to move or speak, Sheila insists there is some possibility her daughter could get better. Bri, who deals with his emotional suffering through vicious black humour, has no such hopes and grows increasingly preoccupied with horrific fantasies about ending the family's suffering once and for all.

Posted 27/01/2022


Recently Posted Articles

Banbury Cross Players

Banbury Cross Players

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It's OUT of ORDER but it's not broken!

Press Release Feb 2022

YOU KNOW SHOWTIME APPROACHES WHEN THE CALL GOES OUT FOR HELP WITH PAINTING THE SET. Peter Bloor's set design will soon be transformed into an on-stage reality as the build crew kick into action making Suite 648 in The Westminster Hotel come to life.

The cast have been bringing the characters to life and they'll have a grand "home" when Ray Cooney's brilliant farce Out of Order opens at The Mill Arts Centre, Banbury, on 16 February 2022.

These are just some of the press quotes about the play:
"Gleefully funny. " - Guardian
"Made me laugh more than any play I have seen in the West End this year." - Evening Standard
"A classic." - Today
"A triumph." - Financial Times
"Brilliant." - Observer
"A textbook model of pyramiding lunacy." - Variety
"Wildly funny." - Telegraph

Find out more on Ray Cooney's website.
We look forward to seeing you!

Banbury Cross Players

Banbury Cross Players

COMING UP on the Thursday sessions
• 27 Jan & 10 Feb are the first two Play Selection sessions of the season. Take part in and find out from Clare, Linda and Chrissie what plays they are pitching for the 2022 / 2023 season.
• 3 Feb - (Our very own) Liz Riley is putting on a workshop for anyone who thinks they might like to try their hand at Directing.

Follow the Calendar link on the BCP website for more details

Banbury Cross Players

FOLLOWING ON from the Agatha Christie's Spider's Web auditions, Liz Riley's is thrilled to announce her cast as follows:

Sir Rowland Delahaye – Adrian McGlynn
Hugo Birch – Roger Riley
Jeremy Warrender – Steve Ramsden
Clarissa Hailsham-Brown – Katy Roberts
Pippa Hailsham-Brown – Imogen Tredwell
Mildred Peake – Janice Lake
Elgin – Jeremy Turner
Oliver Costello – Simon Hook
Henry Hailsham-Brown – Philip Fine
Inspector Lord – Dave Smith
Constable Jones – Zac Lacey-Rousou

Congratulations all - we look forward to seeing you in May.

For those of you who missed out on the session with Steve Ramsden of Unexplored Films, there is an audio recording available - here

2021-2022 Season

Posted on 25/01/2022

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Recently Posted Scripts & Playwrights

Lucy Daniel Raby

Lucy Daniel Raby

Location: UK


Nickolai of the North

Nickolai of the North

Have you ever wondered who filled Santa’s stocking when he was a boy? Or why he carries out his Christmas mission every year? All is revealed in this two act Christmas play with music. A refreshing alternative to panto, it tells the magical story of Santa’s childhood. When villainess Magda destroys his home at the North Pole, young elf Nickolai is rescued by a flying reindeer. We follow his adventures as he grows up amongst humans, realizes he is different and returns to the North Pole to seek his destiny – and ultimately save the world’s children from Magda’s evil. Lucy has adapted the book and lyrics from her successful children’s book of the same name, with 16 sensational songs from established composer Geoff Tinniswood, including score, backing tracks and vocals. Containing traditional seasonal ingredients such as heroes, villains, witches, fairies, reindeer, wolves and goblins, ‘Nickolai’ is a sparkling family show that provides a fabulous opportunity for ensemble work.

Cast Size: 24 speaking characters with 9 leads and possible doubling.

Running Time: approximately 2 hours plus interval

Themes: family, childhood, destiny

Genre: Christmas family entertainment with music

Script, lyrics, sheet music, backing tracks and cast recordings available

The script has been published by Lazy Bee Scripts, and the full script is available for perusal here:




This collection of mini scripts contains 2 duologues, 2 monologues, and two mini plays with 7 and 4 roles respectively, plus prompts for discussion and suggestions for follow-on devising and improvisation activities. There’s a range of genre, styles and tones for all actors and each script is under 10 minutes running time. One mini play is designed specifically for Zoom and the others can easily be adapted for Zoom or for socially distanced performances. They have adult themes and there is some strong language but they are suitable for teenage and young adult drama students and provide fabulous original material for exams, festivals and performances in schools and youth theatres.


Recently Posted on the NoticeBoard

Spotlight Stage School

Spotlight Stage School


Spotlight Stage School

Young Male Vibrant Performer REQUIRED for Stage School Show

We have our annual show on the 18th and 19th February at the Bingley Arts Centre in Bingley, Bradford. this show will be a compilation variety show with various dance styles and music from various musicals.

My senior jazz class (all girls) are performing the classroom song 'And you don't even know it' from the Musical 'Everybody's talking about Jamie'.
As I have no boy students at the moment, I was hoping that a former pupil of ours who is currently working professional would play Jamie. Unfortunately, this former student is currently working abroad so sadly unable to commit and be involved.

We, therefore, need an enthusiastic, ideally experienced young male performer to step in as Jamie!!

The song can be, either, lip-synced or sung - just lots of stage presence, personality, enthusiasm and commitment required!!

The scene itself is pretty much finished and choreographed, and a number of rehearsals would be required obviously, with the following dates being final compulsory rehearsals and performances:

Full Show Run-Through - Sunday 13th February - from 3.00pm-6.00pm
Dress Rehearsal - Friday 18th February at 1.00pm-4.00pm

Friday 18th February - 7.15pm Show
Saturday 19th February - 2.15pm Show
Saturday 19th February - 7.15pm Show

This is not a PAID role, however, we would make sure that the individual involved is looked after with free show tickets and help towards expenses, as well as a small modest fee at the end!

If you feel you have any individuals interested or who would like to discuss things further, please email or ring ASAP.

Many thanks - Gill Robinson (Principal - Spotlight Stage School)
Tel: 07803 176593 or steve.ceasar@hotmail.co.uk

Posted on 25/01/2022

Recently Posted Group Details

Spotlight Stage School

Spotlight Stage School


Classes run at St Peters Church Hall, Allerton Road, Allerton, Bradford BD15 7QX

Spotlight Stage School was established in 1993 with forty pupils attending the first day! Numbers have now more than doubled and we presently have 100 pupils attending. We offer Ballet, Tap, Modern and Jazz classes throughout the week and on Saturdays. These classes develop the co-ordination, confidence, strength and flexibility of each child providing an all round excellent training in all dance subjects. Technical dance standards have soared over the last five years, with 100% pass rate in Ballet, Tap & Modern Examinations with the – with All pupils achieving High Merits and Distinctions. Dance examination work is taught through to intermediate Level in Modern,Tap and Ballet with the ISTD. The ISTD is one of the world leading Exam Boards and provides the correct training for dancers to a high standard. Grade 6 and Intermediate Examinations are equivalent to so many UCAS points for anyone going to University.

Contact via our website or social media

Recently Posted Suppliers & Services

Lislea Drama Festival


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County Armagh, Northern Ireland

Lislea Drama Festival is an annual event - 7 nights of drama

Contact: via our website or social media

Recently Posted Shows

CADS - Charlemont Dramatic Society

CADS - Charlemont Dramatic Society

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Last Tango in Little Grimley & Joining The Club

Author: David Tristram

Last Tango in Little Grimley & Joining The Club

West Midlands

Venue: Gayton Road Community Centre, West Bromwich B71 1QS

Box Office: thecads.weebly.com/box-office or 0121 357 4169
Tickets: £9.00

17th - 19th March 2022 7:30pm

Posted 08/01/2022

Recently Posted Events

Petersfield Dance Festival

Petersfield Dance Festival


The Studio @The Petersfield School, Cranford Road, Petersfield, Hampshire GU32 3LU

Petersfield Dance Festival 2022

Petersfield Dance Festival 2022

Festival Dates 16/17th July & 23rd-28th July 2022
Entries open January 1st 2022

Full member of the British & International Federation of Festivals & now an All England Qualifying Festival!

Posted 06/01/2022


Recently Posted CostumeSwap

Elaine Messham

Romford, Essex

Contact: Elaine.messham@btinternet.com

For Sale

I’m selling a complete shop of ex hire costumes

Adults Childrens and animals too many to list. Lots of Tudor, Victorian 70’s etc. if anybody is interested in anything in particular I’m happy to send photos.

Posted 03/01/2022

Latest Review

The Dragon of Wantley by John Frederick Lampe, libretto by Henry Carey, arranged by Lindsay Bramley

Richmond Opera, at Normansfield Theatre until 14th November

Reviewed by: Mark Aspen https://markaspen.com/author/markaspen/

Review date: 15 November 2021

Take a bawdy late mediaeval poem about a raging dragon and a drunken knight, rewrite as an early Georgian burlesque opera, mount in a beautifully bijou mid-Victorian theatre, for a 21st Century audience; then you know you are in for a now-for-something-completely-different experience.

Johann Friedrich Lampe was almost completely different. Born in Saxony in 1703, he was a virtuoso bassoonist, who came from Hanover with Handel to a successful music career as a composer in England. Although now known (almost) as a hymnist, he was commercially canny in his choice of opera subjects for a London audience. Pyramus and Thisbe, based on Shakespeare, and Columbine Courtesan, based on a another Ovid story, Cupid and Psyche, chimed with the challenge to then the endemic Italian opera seria, a challenge made popular by Handel. The antidote was opera buffa with English libretti and earthy subjects and a tendency to parody the established genre. Lampe’s biggest London hit was his 1737 premiere of his The Dragon of Wantley, a risqué comic opera, a spoof on the Italian opera conventions and a political satire aimed at the Prime Minister, Sir Robert Walpole; just what theatre-goers wanted in 1737 (and arguably in 2021). This was Augustan drama par excellence, but with superb baroque music. Moving from the Haymarket and then on to Covent Garden, the production was the biggest commercial success at the time, beating even the hugely popular The Beggar’s Opera, which is far better known today.

Richmond Opera has a soft spot for The Dragon of Wantley, although it calls it “bonkers”. In its previous incarnation as Isleworth Baroque, it produced the opera in 2012 and had intended to revive it in May 2020, but the bigger dragon of Covid19 intervened.

The charmingly petite museum theatre at Normansfield is ideal for staging baroque opera, and with its exquisitely scenery, beautifully reproduced from the Victorian originals (held in cold storage in the basement), it sets off The Dragon of Wantley in style.

In that perfect style, the overture launches us into the full energy of the baroque, three sections that hint at the three acts, martial grandeur giving way to an anxious allegro and closing with élan. The musical director, Lindsay Bramley conducts with an infectious enthusiasm. I am told that the orchestra of twenty pieces, which include a copy of a 1644 Amatti violin, plus harpsichord, has had some last minute substitutions (including the timpanist lost to the Welsh National Opera) but it sounds seamless. Bramley had broadened the parts for timpani and for the alto and tenor trombones and oboe, and has composed additional parts for baroque flutes and tenor recorder, giving a comprehensive richness to the score.

So what is The Dragon of Wantley about? Henry Carey, Lampe’s librettist, had drafted the idea before developing it with Lampe, starting from an old Lincolnshire folk ballad first written down in the 1600s, about a fearsome dragon “as big as the Trojan Horse”, and living on Wantley (now Wharncliffe) Crags in the Peak District. It devours everything and anything. Then the drunken womanising knight, Moore of Moore Hall, emboldened with the promise of favours from a beautiful young maiden, slays the monster by a peculiarly unusual method. He commissions a Sheffield steelmaker to make him a special suit of armour bristling with spikes. He then goes off, unarmed, and kills the dragon with a well-aimed kick at the only part of the dragon’s body not protected with scales, as the ballad puts it … in his “arse-gut”!

The opera opens with the dozen strong chorus (of which five remain off-stage) crying for all to “Fly! Fly!” The villagers generally are petrified of the dragon coming, and for good reason. Gubbins, one of the elders of the village, played with agitated consternation by character bass John Rolt, and his younger daughter Marianne recount how the dragon is scoffing all the children of the village and snacking on their animals. Soprano Claire Doran, as Marianne, has a lovely clarity of diction and certainly knows hold to hold a note.

However, two young ladies, Mauxalinda and Gubbins’ elder daughter Margery, separately hit upon the same cunning plan. A knight, Moore, who lives nearby at Moore Hall (which still exists near Deepcar) will do anything for a beautiful maiden. He is “fearless” when drunk. They are sure they can convince him to slay the dragon, as Margery says “like St George”.

The villagers are really buoyed up by this notion and decide to go to Moore Hall. They sing

“Triumph Valour, Triumph Beauty” to finish the first act, a chorus that Bramley has inserted from another of Lampe’s works, The Perfections of True Love.

Then we are off to Moore Hall, where we find Moore carousing with a selection of the local toffs, the company transmogrified with a selection of wigs and gowns. Costume designer Ezra Rose pitches the apparel of the characters just right, the strong colours but attenuated to speak the period (and match the sets); the styles are right, and there are added twists to underline the feel that this is a satire and a spoof. Little anachronisms are thrown in, 21st century spectacles and footwear, and a seemingly self-perpetuating half-litre of wine that Moore uses to constantly refill his guest tankards, getting them well tanked-up in more senses than one.

Moore is a vain, dissolute and bibulous, but likeable, rouge. George Priestly, who plays Moore is too slim to be a Falstaff and too young to be a Don Quixote, but his acting pulls in something of each. Priestly has a rounded baritone voice and active facial expressions, and he is clearly enjoying playing the roué. When his sodden companions leave, to be replaced by the visiting delegation of villagers (courtesy of some lightning changes in the wings), Moore’s other predilection kicks in, his lustful appetite for young ladies of all ages.

However, when Margery enters, calling him “gentle knight”, he is rapidly smitten and is soon on his knees, drooling. They dance a brief minuet, and the proposition to tackle the dragon is put to him. “Inspire me with kisses and ale” is what he asks and indeed he is rewarded with a kiss, more materteral than carnal I thought, although she does coyly flutter her fan.

Moore’s extravagant claims to dragon-slaying and his promises of devotion to Margery are overhead by Mauxalinda who has been eavesdropping. Mauxalinda, is furious with Moore, with some justification, as these promises have been made to her. She forcefully reminds Moore that they are betrothed. He all too easily wins her back and she is content with his renewed vows (but they have probably been there before). “Men are bewitching fellas”, purrs Mauxalinda.

Nevertheless, Act Three opens with Moore’s emboldened attentions to Margery, checking her heart for “palpitations” and her décolleté for “sensations”, after she has come to see him fight on the field of valour. However, Mauxalinda also arrives. Sparks fly. Margery is played by experienced baroque soprano Dawn Rolt, whose singing voice holds a pleasurable ringing sparkle. As Mauxalinda, Erin Holmes is a consummate actress (you can read the plot in her expressions) and a powerfully beautiful singer, working here at the lower end of the soprano register. They fire off of each other in the ensuing catfight. Fur flies, and it is certainly catty. One is reminded of Rossini’s Duetto buffo di due gatti (The Cat Duet), but in Lampe’s baroque musical structure, there is a remarkable syncopation, which underlines the spiteful snarling. Eventually though the fight gets out of hand and Mauxalinda pulls out a bodkin from her bodice to attack Margery. Moore intervenes and, rather unfairly, takes Margery’s side.

Moore though, has to get ready for battle. He eschews the spear offered by Gubbins in favour of Dutch courage, calling for “six quarts of ale and one of aqua vitae”. (I calculate that as 70 units, getting on for a month’s recommended maximum in one session: what a constitution!) But he has his bespoke tailored suit of armour, as spikey as a silvered conker shell.

When The Dragon finally appears, one feels almost sorry for the poor beast. After the big puff (so to speak) he has had, he seems rather put-upon, not quite the anthropophagous monster we were led to believe. And rather fetching in red and green. It is Lampe’s stroke of genius to score The Dragon for a countertenor (maybe originally a castrato). The effect is quite other-worldly. It recalls the Royal Opera’s The Firework Maker’s Daughter (the last opera in the Linbury Studio before its rebuilding) in which the elephant is played by a countertenor. Mark Fletcher is superb as The Dragon, the clarity of his voice having a hint of pathos, in spite of the black comedy. It is pity that his part is so small, it would have been great to hear more.

Moore does his muscle warm-ups (de rigueur one might think when fighting a dragon) and the baroque battle commences. After a struggle, the fatal blow in the fundament does it for The Dragon. The creatures dying words ( “… your toe”) hang in the air long after his demise.

Baroque opera lends its well to fantasy and by extension as here to burlesque. Director Louise Bakker has boldly let this form run. The text of the libretto demands it, as to some extent the music. Bakker has had a wide experience of directing opera, including on Christopher Luscombe’s team for his opera debut with The Grange Festival’s Falstaff, and it happily shows.

Lampe’s score has all the key brightness and scintillation of typical highly decorated baroque opera music. And where would the baroque be without its harpsichord continuo. Much credit is due to Michael Keen for the foil to Bramley’s orchestra in his tireless performance on the harpsichord.

After The Dragon’s demise, the denouement is fairly rapid. Mauxalinda graciously (or maybe wisely) steps back to allow Moore’s unrestrained affection to devolve upon Margery.

Another hallmark of baroque opera is the directness of the text in distinction to the ornamentation of the music. Think Handel’s Acis and Galatea (where there are many similarities in the plot). Moore, now remarkably quickly sobered-up, declares “My sweet honeysuckle, my joy and delight, I could kiss you all day and hug you all night!”

The villagers shout “Huzzah” … and so do we.

See the full review here https://markaspen.com/2021/11/15/dragon-wantley/

Richmond Opera have shared a number of photos on their Facebook page here if you are interested: https://www.facebook.com/RichmondOpera


Posted on 22/11/2021


Latest from our Advice Column
Click here for the complete Advice Column

Post 69
Recent Post from one of our readers - 18/11/2021
Name: Sheila Spatcher


From spatchersheila@gmail.com

I am looking for.my cousin Janice Parfitt. I know she used to be a member of a amateur group and she was a lead in quite a few productions.
If anyone knows her please could you ask her to contact me. I would appreciate it.

Peter's response:

Hi Sheila,

I'm afraid I don't have any knowledge of your cousin.

I will post your query in the #Advice section of www.dramagroups.com asking anyone who is able to help to contact you directly via your email address.

I wish you luck in your search and would be interested to hear if you are successful in tracking your relative down.

Best Wishes,


Would you like to comment on this? contact@dramagroups.com

Recently Posted Musicians Required, Music Services, Music Swap

Orpen Players

Orpen Players



Pianist/Keyboard Player Wanted

Rehearsals have started, and so has the fun but one thing that makes a good panto great is live music - we really need a pianist/keyboard player so if you can play or know someone who can then PLEASE get in touch.
If you have ever wanted to dip your toe into amateur dramatics then perhaps join our chorus for the panto- spaces are limited so let us know, young or not so young -age is not important and all you need is enthusiasm
In uncertain times very few things are guaranteed- but we GUARANTEE that if you join us you will have fun, meet a friendly bunch of people and give pleasure to hundreds at showtime.
Hope to see you soon.

Posted 21/10/2021

Recently Posted Performance & Rehearsal Space

Thundersley PCC

Benfleet Essex



Contact: 07763352857

Large church hall with excellent stage for hire. Flexible arrangements by negotiation.
Please call for further details. Robert Watersone email Treasurer@thundersley.org

Available: Sundays

Posted 15/10/2021


Recently Posted Publishers

Havescripts Blue Moon Plays


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Havescripts Blue Moon Plays is a play publisher and licensing service serving English speaking theatre groups around the world, from amateur and professional theatre companies to church, school, college, university drama classes and theatre studies departments. Plays and musicals are written by award-winning playwrights and authors. Plays range from ten minutes to two hours. Some hand-picked plays are awaiting a premier production.

Play categories include, elementary school, middle school. high school, college, university, professional, theatre for the soul, spoken word poetry, children's theatre, family theatre and senior theatre.

Some playwrights are available for Zoom talks with groups and schools

Recently Posted Sets & PropSwap

Stephen O'Carroll


Table and 6 chairs

Table and 6 chairs

Table and 6 chairs


Table and 6 chairs

We've a table and 6 chairs going free to a good home - just needs collecting - if any of the drama groups need a table and chairs for props?

Table in good condition. Chairs are useable (some bottom rungs have been attacked by the dog)

Our eircode is V94 V48R. My number is 0851531147.

Many thanks, Steve

Posted 31/08/2021

Recently Posted Script Swap details

Eileen Norton



I have a number of copies of well known plays, (in good condition) looking for a home. These include Noel Coward, ‘ Private Lives’ and Chekhov ‘ The Cherry Orchard’ and various others.

Do you know of any group that would like them? If so, please get in touch, my email is: elnorton49@gmail.com

Posted 03/05/2021

Recently Posted Theatrical Makeup

Make-Up Artist Work Experience Required


I’m Amanda. I’m currently doing make up artistry at West College Scotland. I am in my first year level 6.

I am looking for any work experience I could do. Anything at all would be great. Any local groups who need makeup artists for their productions do please get in touch.

Thank you


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