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Here’s a little more information on the forthcoming 2014/2015 season at Chads Theatre.

 

On the main stage.

 

Ladies’ Day by Amanda Whittington

September 6 to 13 2014

Directed by Maureen Casket

During the redevelopment of Ascot in 2005 the famous ‘Royal Ascot’ meeting was relocated to York. Ladies’ Day is the story of four fish factory workers from Hull – Pearl, Shelley, Linda and Jan. Pearl is leaving to spend more time with her husband – not retiring, as she is keen to point out – and on the spur of the moment she decides to celebrate with an all-girls outing to Ladies’ Day at York. After years of fish-filleting the pals are ready for a spot of filly-fancying, but is Royal Ascot ready for them? The going will be good for this popular comedy. An odds-on winner.

 

Veronica’s Room by Ira Levin

October 18 to 25 2014

Directed by TBC

In Ira Levin’s play Veronica’s Room, a young woman, out on a date with a man she has just met, is stopped by an elderly couple and asked to do an unusual favour for them. Are these kindly, soft-spoken people the gentle, caring folk they seem to be, or is something sinister going on? Since the playwright is world-famous for Deathtrap, his Broadway thriller, as well as for the hit movie Rosemary’s Baby, you can bet your bottom dollar there’s dirt under the carpet, not to mention skeletons in the closet – in Veronica’s Room. Nothing is ever quite as it seems to be and you’ll be on the edge of your seat as the heart-stopping story unfolds. Take this as your invitation to enter the strange bygone world within Veronica’s room. A chiller-thriller.

 

Charles Dickens’ A Christmas Carol adapted for the stage by Neal Radice

December 6 to 13 2014

Directed by TBC

“Marley was dead: to begin with.” – the instantly recognisable opening line of A Christmas Carol. In 1843 Charles Dickens wrote a little ghost story for Christmas that completely rejuvenated the Christmas traditions of 19th century England. The story is now one of the most widely-known tales ever written. A Christmas Carol contains the very essence of the Christmas spirit and this retelling of Ebenezer Scrooge’s salvation is one of the most faithful stage adaptations you will find. This is pure Dickens from start to finish. Scrooge, Marley, Bob Cratchit, the Ghosts of Christmases Past, Present and Future – and, of course, Tiny Tim are all here to get your Christmas celebrations off to a perfect start. With pre-show carols in the lobby and mulled wine from the bar we guarantee you’ll go home in the best of Christmas spirits. A Dickens of a great show for the whole family.

 

No Sex Please, We’re British by Anthony Marriott and Alistair Foot

January 24 to 31 2015

Directed by Robert Aldridge

No Sex Please, We’re British has become a classic amongst farces. The plot surrounds an assistant bank manager, Peter Hunter, who lives in a flat above the bank with his new bride Frances. When Frances innocently sends an order off in the mail for some Scandinavian glassware, what comes back are saucy magazines….and they keep on coming. The couple, along with the bank’s frantic chief cashier Brian Runnicles, must decide what to do with the veritable floods of magazines, photographs, books, films and eventually girls that threaten to engulf their lives. The matter is considerably complicated by the presence of Peter’s mother, his boss and a visiting bank inspector – not to mention a police superintendent. January will suddenly brighten up when you book your tickets for this laugh-a-minute show. Have a New Year laugh on us.

 

A Letter of Resignation by Hugh Whitemore

March 7 to 14 2015

Directed by A N Other

It is 1963 and Harold Macmillan has received A Letter of Resignation from the Secretary of State for War, John Profumo. The names of Profumo, Stephen Ward, Eugene Ivanov, Christine Keeler and Mandy Rice-Davies are now indelibly etched into the English psyche. It is against this background that Hugh Whitemore lays bare the pressures on the shoulders of Prime Minister Harold Macmillan. Not only does Macmillan have to deal with the Profumo scandal but he has to face up to infidelity somewhat closer to home. His wife, Lady Dorothy, was have a long running affair with Bob Boothby but it was a day and age when even the News of the World didn’t report such goings-on. By the author of last year’s phenomenally successful Breaking the Code, this is a drama that will keep you riveted to your seats. You’ve never had it so good.

 

Broken Glass by Arthur Miller

May production – dates to be confirmed.

Directed by Mary Wright

Kristallnacht refers to the Night of Broken Glass, a pogrom against Jews throughout Nazi Germany and parts of Austria on 9–10 November 1938, carried out by brownshirts and non-Jewish civilians. German authorities looked on without intervening. The name Kristallnacht comes from the shards of Broken Glass that littered the streets after Jewish-owned stores, buildings and synagogues had their windows smashed. Arthur Miller’s 1994 play is set at the time of Kristallnacht. Phillip and Sylvia Gellburg are a Jewish married couple living in New York in the last days of November 1938. Phillip works at a Wall Street bank, where he works on foreclosing. Sylvia suddenly becomes partially paralysed from the waist down after reading about the events of Kristallnacht in a newspaper. Is her condition psychosomatic? Dr. Harry Hyman gradually unravels Sylvia’s problems. Miller at his best.

 

Studio Productions

 

Betrayal by Harold Pinter

November 12 to 15 2014

Directed by Nigel Westbrook

Betrayal is perhaps one of the least unforgiveable events that can happen to anyone. And yet betrayal of a spouse is a story as old as life itself. In Harold Pinter’s acclaimed 1978 play we first meet Emma and Jerry a couple of years after the end of their five-year affair. Pinter then takes us back, scene by scene, to the very beginning of the affair. Along the way we are given insights into the relationship between Emma and her husband Robert and between Robert and his (so he thought) best friend Jerry. Betrayal is often described as Pinter’s most ‘accessible’ play and as Roger Ebert observed, in his review of the 1983 film, based on Pinter’s own screenplay, “The Betrayal structure strips away all artifice. It shows, heartlessly, that the very capacity for love itself is sometimes based on betraying not only other loved ones, but even ourselves.” Absorbing drama.

 

TBA

February 18 to 21 2015

 

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