By the Service Players

Erin Art Centre

Dec 2025

Review by Mike Trout

‘In the bleak mid winter’ , familiar words as we begin singing Carols in the build up to Christmas and the Festive Season. Mid Dec 25 and it certainly was bleak, dark and dank and not conducive to thinking of an evening out. However, I was keen to look for some entertainment and it was clear that there were one or two pantomimes being performed – Oh yes there were!!!

I noticed that the Service Players were putting on a three night run of ‘Christmas Carol’ . This familiar story, originally written by Charles Dickens, has been presented in all aspects of entertainment, theatre, film, cartoon and radio plays. However I noticed that the Service Players  were doing something rather different in as much it was to be a radio play but presented on stage as a play.

I thought that it it could be an interesting presentation of the familiar story and I have to say that I was not disappointed. The stage was set in the recording area of a radio studio. The cast were in the studio creating activity in the background such as having a nip of whiskey or looking through their scripts. Each character coming forward to the microphones  as required , to take their part.

The venue was the Erin Arts Centre and the auditorium was a sell out on each of the three evenings. Those of you that know the venue will realise that their is no actual stage as such. The seating is tiered with the front row being at the same level, and very close to  the actors. Perfect for the intimate atmosphere created by this rendition. One could very much feel being involved with Scrooge and his visiting ghosts.

Presented as a radio play meant that it could be performed in a very fast and slick manor ( in the best meaning of the word slick). This was because there were no costume changes and many of the actors took on several character parts. This meant very quick exchanges, adding the the excitement of the occasion.

The presentation was enhanced because the setting was in an American Commercial Radio Station and all the usual jingles and adverts kicked in from time to time. There was no interval but, as good as a break, the main advert was for a Fruit Cake. The whole cast joined in a humorous song promoting this cake and some of the wording was saucy and fruity, adding to the fun. A brilliant addition was that during the song some of the cast came round the audience offering pieces of fruit cake – it was delicious and a wonderful additional touch to the atmosphere of the evening.

The whole cast should be praised for their performance and they pulled off a very different, brilliantly entertaining evening which was enjoyed by a very appreciative audience. The leading characters were admirably played by Toby Smith, Geoff Collier, Gemma Varnom, Kim Quine, Tom Cain and Marc Tyley. Each giving excellent performances and portraying several characters.

The supporting roles were also magnificently portrayed by Rae Carine, Sarah Radcliffe, Linda Mann, Lindsay Quayle and Bob Whitcher. Sadly Kelly Firth, a regular member of the Service Players cast,  was unable to perform at the last moment and many thanks to Bob for standing in for her at very short notice.

Bob also deserves a mention for his role providing sound effects from doors slamming, bells ringing and all sorts of ghostly noises. Julie Brew gave a wonderful accompaniment on the piano and Mike Lean looked after the lighting of the production.

Well done to all concerned, a brilliant performance , very entertaining and finally, a big thank you to Lisa Smith for Directing another very success Service Players presentation.

Review of Treasure Island

Hello Little People

Port St Mary

Review by Vanessa Montgomery Williams

We were so glad to make the pilgrimage from Ramsey for Hello Little People’s Alternative Panto in Port St Mary. After enjoying Dick Whittington and the Manx Cat in 2023, we knew that with Treasure Island we were in for another lively, family‑friendly adventure – full of music, magic, and local jokes to keep the parents entertained too.

Hello Little People have been creating wonderful, inclusive events for some time now, and their Go Wild Festival at Milntown in the summer was spectacular (more please!). The alternative panto is a much more manageable outing for families whose children find the Gaiety’s offering too long, loud, or overwhelming. At just over an hour plus a short interval, it’s the perfect length. The Town Hall setting is informal, with cushions at the front, freedom to move around, and plenty of seats for cuddles with parents if needed.

With Treasure Island, they reimagined the classic tale with magical twists and a relaxed, welcoming atmosphere. Alongside the familiar Jim Hawkins and Long John Silver were colourful new additions: Jim’s Mum, Maisie the magic mermaid, and Squawk the talking parrot. The subplot of a struggling ice cream shop felt timely given the current challenges in the hospitality industry, but was delivered with humour and joy. Children delighted in shouting the traditional “He’s behind you!” as the story unfolded.

Hello Little People once again succeeded in turning a well‑known tale into something vibrant, inclusive, and imaginative. Thanks to Michelle Jamieson and Chloe Shimmin – still can’t believe what they can pull off with just the two of them – and we can’t wait to see what they have planned for 2026.

Review of The 39 Steps, adapted by Patrick Barlow

Parker & Snell Company

Gaiety Theatre 27^th-29^th November 2025

Reviewed by: Sarah Lockyer

This Olivier and Tony Award-winning 2005 adaptation of the novel by John Buchan is a parody of Alfred’s Hitchcock’s 1935 film. The play’s concept calls for the entirety of the spy story to be performed by a cast of only four, giving the tale a wonderfully comic twist.

The story sees the hero, Richard Hannay, a disaffected London gent, getting drawn into a deadly international conspiracy while attending a West End show, where he meets a mysterious woman. When she is murdered in his apartment, he has to flee to Scotland, evading the police and the gang that killed her. His final encounter with the mastermind behind the espionage takes place back in the same London theatre, with his new-found love interest by his side.

The Gaiety is the perfect venue for the play, with use made of the boxes and aisles, especially in the final scene set in Palladium. The mood is established by a wonderfully evocative score of 1930s music which also pays tribute to the silent film era. Costumes are spot on, from Hannay’s tweeds to a Scottish crofter’s smock, and a plethora of wigs and hats provides plenty of visual gags. Staging is deliberately sparse and theatrical, with plenty of fun involving curtains and bits of furniture that are dragged in to use as everything from a steam train to the Forth Bridge. Running jokes include a lamppost that has to be pulled on and off stage several times in one scene, and a door that is wheeled around as characters go in and out of houses. Shadow puppetry showing Hannay racing across the moors pursued by policemen and aeroplanes is ingenious and hilarious, and the famous chase scene on the top of a train is created simply by characters hopping across trunks and flapping their coats to simulate the wind.

It is the acting that makes this production such a tour de force. Richard Hannay is portrayed expertly by Carl Parker, whose manner, accent and bearing make for the perfect, if often perplexed, hero. He does have the luxury of playing just the one character, while Lisa Kreisky creates his three romantic interests marvellously, shifting from femme fatale to Highland lass to platinum blonde with aplomb. The other dozens of characters, male and female, fall to the two ‘clowns’: Ben Hynes and Dave Shaw. Quick changes of hats, coats and accents—often within the same scene— bring to life, among others, a cockney milkman, a Scotland Yard detective, a music hall emcee, a Bond-style villain, bumbling policemen and virtually unintelligible Scottish hotel owners. Their comic timing is superb, and their energy remarkable!

The audience were clearly captivated by the whole experience and laughed throughout this comic whirlwind of a production. It was certainly a thoroughly entertaining show.

Studio Theatre at Ballakermeen, 7^th November 2025.
Reviewed by Anthony Lawler on behalf of the Manx Amateur Drama Federation

Introduction

Sponsored by the IOM Arts Council, ‘Remember Me to All at Home’ is a tribute to the fallen of both World Wars. With two award winning plays ‘The Perfect Gentleman’ by Sharon Walker and ‘Shelter’ by Jenny Derbyshire, (both of whom are Isle of Man residents) and performances from the Isle of Man Arts Council Choir. Both plays are set in World War I and World War II, respectively, and were performed by their original cast.

Production Overview

The production opened with a selection of songs from the first world war period, sung by the fantastic Isle of Man Arts Council Choir led by conductor Mandy Griffin and accompanied by John Riley the audience were encouraged to sing along, which set the atmosphere ready for the first performance, A Perfect Gentleman. Written by Sharon Walker, this play takes you on a thought provoking and emotional journey of one young soldier’s experience during the first world war. The play was inspired from the letters written home of Lt Cyril Gordon Walker MC to his family.

There was a short interval followed by a return of the choir who gave us songs from the second world war period, which led into the second play of the evening, Shelter. Written by Jenny Derbyshire, this was another thought-provoking piece of work set in an Anderson Shelter where a husband and wife, Will and Mary face the realities of war and relive the horrors of the past. While not a true story this play is based on two very real people and from where the title of the evening stemmed from, a letter from Will Derbyshire written in 1940 in which he pens “remember me to all at home”

Performance Highlights

Let’s start with The Perfect Gentleman – Three Actors took to the stage to perform this play and while I will not spoil the plot or how the performance was presented, I will say that all three were outstanding bringing not only their characters to life but, through their performances, brought us, the audience, into the world of Lt Walker and what he endured during his time at the front.

Shelter – This play sets a very different tone, with only two actors on stage who take us on another emotional journey of loss, love and hope. Again, with a powerful script and amazing acting you are transported into this very real story of a husband and wife who are trying to make sense of what is happening to them while trying to reconcile the past. The chemistry between the two actors is fantastic to see as they bring this story to life.

Direction & Technical Elements

Both plays used minimal staging and set, however, what was used was perfect. It transported you into the living room of a family reading letters from their loved one at war. And in the case of Shelter, into that Anderson shelter where the story unfolded. There really was no need for a dramatic set or fancy costumes, the acting and the scripts were enough.

Audience & Atmosphere

With a full house, the atmosphere was tangible. Ballakermeen Theatre Studio was made for these intimate performances and these two plays brought everyone there on an emotional journey from start to finish. I must admit I had a tear in my eye at one point and on more than one occasion the hairs were standing up on the back of my neck.

Final Thoughts

What an amazing night’s entertainment, thought provoking, emotional, and so very worth watching. If you get the chance to see any of these two plays either together or separately then do so. You will not be disappointed.

As part of their 75th anniversary celebrations Manx Amateur Drama Federation (MADF) is delighted to announce its ‘Mastering Shakespeare’ initiative.

This initiative will promote a wider participation in and enjoyment of classic theatre across the Island. The purpose of the ‘Mastering Shakespeare’ initiative is to bring to life Shakespeare’s work and inspire the next generation of theatre creatives to sustain the legacy of theatre on the Island. We are delighted to be able to do this through the support of IOM Arts Council and their ‘Extraordinary Events’ funding.

The initiative is curated by Shakespeare practitioner Edward Bennett (biography) and will be run through a series of workshops in February 2025. These sessions are open to all GCSE and A level English Literature students and will cover:

• Ability to explore complex characters and universal themes such as jealousy, friendship and consequences.
• Ability to recognise the enduring relevance of Shakespearean themes in their own lives and contemporary society.
• Fostering critical thinking to draw connections between past and present.

MADF are also staging a production of ‘A Midsummer Night’s Dream’ in September 2025 at Government House and to support those wishing to be involved in the production an additional weekend workshop will be held, open to all, to focus on character development.

Following these workshops attendees will be encouraged to participate in ‘A Midsummer Night’s Dream’ – this will be open to anyone in any creative aspect both onstage or behind the scenes.

Edward will continue to support the cast through the summer of 2025 with regards to character development and the production team in the creative aspects of the play. This will be delivered through a series of 4 weekend visits, building on the initial workshops and aid cast members’ understanding of the text. Engaging an external, professional practitioner brings a fresh perspective to performing theatre in the Island – all will benefit from his extensive experience. These visits will build on the foundations laid in the February workshops.

Edward has been recommended to MADF by the Royal Shakespeare Company. He has worked extensively with Creative Counties West Sussex (Board Member) and the Chichester Festival. He is also an experienced actor appearing in several seasons at the Royal Shakespeare Theatre and a range of Film and Television work.

Edward’s supporting practitioners are Phoebe Hyder and Luke Osbourne who work with him at the Chichester Festival.

Anyone interested in participating in the workshop must submit their audition form by 22nd February. Don’t miss out on this fantastic opportunity!

The Full Length Plays awards:

The F.M. Cubbon Trophy – Best Play: The Father performed by White Cobra

The Dick Craine Cup – 1st Runner Up: Lilies of the Land performed by White Cobra

The Vanda Lambert Award – Best Female Performance: Victoria Miles as Margie in Lilies on the Land

Nominations:
Victoria Miles as Margie in Lilies on the Land
Kate Bilingham as Anne in The Father
Kim Arkle as Laura in The Father

The S. E. Benn Award – Best Male Performance: Ian Spiby as Andre in The Father

Nominations:
Ian Spiby as Andre in The Father
Richard Jordan as Pierre in The Father
Joseph Maclean as O’Brien in 1984

The Raven Players Award – Best Producer/Director: Martin Borley-Cox for The Father

The Jackie Banner Award for Comedy: Lilies on the Land performed by White Cobra

The Michael J. Lees Award for Drama: The Father performed by White Cobra

Youth Awards:

Cyril Spencer Trophy – Best Play – Youth (Under 20) Category:
Viral performed by Platform Theatre School

John Bowring Trophy – Best Director in Youth Festival: Leandra Lawler for Viral

Olga Gray Award – Best Youth Actress: Eve Puzzar for Viral
Nominations:
Mia Quine for Two
Eve Puzzar, Seren Kirkpatrick, Scarlet Brophy for Viral

One Act Adult Plays Awards:

Northern Arts Rose Bowl –  Best Festival Play:
Victoria Station performed by Parodos Theatre Company

Service Players Trophy – Best Play Runner Up:
Dumb Waiter performed by Service Players

Caine Family Trophy – Best Director: Sharon Walker for Dumb Waiter

Jean C Webb Award – Best Actress: Jude Dicken for Two
Nominations:
Danny Berry for Escaped Alone
Jude Dicken for Two

Mark Clift Trophy – Best Actor: Geoff Pugh for Victoria Station
Nominations:
Geoff Pugh and Lorcan O’Mahony for Victoria Station
Jack Verity for Two
Tom Cain and Toby Smith for Babysitting Calvin

Nadine Talbot Award – Best Dramatic Moment:
Victoria Station – “I have a POB”
Nominations:
Cat phobia speech in Escaped Alone
Cracking the bottle in Two
The instructions during the Dumb Waiter

Daphne Clark Memorial Trophy – Best Comedic Moment in Festival:
The can of beer moment from Babysitting Calvin
Nominations:
Fred &Alice and Mrs Eiger from Two
Bob and the mirror from Babysitting Calvin
The suit jacket from Babysitting Calvin
The can of beer moment from Babysitting Calvin

Festival Awards:

Sure Mobile Award – Best use of Sound & Lighting in Festival: 1984
Nominations:
1984
The Father
Viral

The David Sugden Memorial Trophy for Set Conception, Design and Construction: Dumb Waiter
Nominations:
The Father
1984
Lilies on the Land
Dumb Waiter

The J & B Green Award for Costume and Makeup: Lilies on the Land
Nominations:
Viral
Lilies on the Land
Babysitting Calvin
Dumb Waiter

The Olga Gray Adjudicator’s Award – Outstanding Contribution:
The slapstick double act Bob and Calvin – Babysitting Calvin

Last night we enjoyed the second of our Full Length Plays, The Father by Florian Zeller performed by White Cobra.

Well this one made us think! Close to the bone as they say. Chris made the comment that the subject of Dementia is “A conversation we all need to have with ourselves.”

Following on from Caryl Churchill and Harold Pinter. It makes no sense! Both to the afflicted and their families. Logic goes out of the door! The elements sympathetically portrayed in the play: time shifts, false memories, abuse (real or imagined), forgetfulness, misplacing and hiding of possessions, fear and eventual obliteration of the person we know and love. It’s not all doom and gloom, however, there was humour and compassion.

A brave choice professionally executed by White Cobra. Thank you for a taste of theatre to mirror life!

– Ron Beswick

Tonight we have our next two One Act plays:

Rushen Players present Two by Jim Cartwright
A real time, one scene snapshot of life in a local pub one weekend evening. The action revolves around the landlord and landlady, who run the pub,and different pairs of people who are customers. It moves back and forth, spotlighting the different relationships,
coming back to the landlord and landlady each time. Most of the characters are portrayed by the two actors on stage.

Interval

Platform Theatre School present Viral by Maria McConville
In this ensemble-driven drama featuring an all-female cast, five high school girls recount a cruel locker room bullying incident that is initially cloaked in secrecy, but ultimately goes viral online. What happens next forces the students to question their respective roles in the events that unfolded in that fateful day.

Last night we enjoyed the first of our Full Length Plays, Lilies on the Land by Lion’s Part performed by White Cobra.

We went from English tea in the garden on Saturday to full blown life on the farm.
I hope they didn’t use Victoria Station’s cab company to get to Sussex or maybe it was the Driver who dumped their cases in the mud? This was a beautiful series of scenes in the lives of the Land Army Girls presenting the fun, fear and hopes of these famous but often forgotten young girls.

We laughed at the detailed description of the hardships of no flush toilets, the sh*** of the farmyards and the creation of new life on the farm. We moved to the music in the Saturday Night dances, felt sadness for the fleeting relationships with the nearby aircrew. Lovely singing and those boxes moved deftly like a 3D game of Tetris.

Thank you White Cobra for an entertaining and
thought provoking evening.

– Ron Beswick

Tonight White Cobra presents The Father by Florian Zeller.

Seen through the eyes of a man with dementia,
The Father exposes the emotional toll it has on him and his family. Moving and at times heart-breaking, Andre’s story will be recognised by all too many families. Blistering honest but ultimately uplifting, it’s a story of our times.
Recently an Oscar and BAFTA winning film starring Anthony Hopkins and Olivia Coleman,
this production includes the founders and stalwarts of White Cobra and original music by Martin Heath.

NB. The subject matter of this play could be upsetting

Last night we enjoyed two one act plays.

Escaped Alone by Caryl Churchill performed by Rushen Players.

Terrible rage, terrible rage, terrible rage, terrible rage! These four ladies had a few problems didn’t they!

We opened to a pleasant garden scene with 4 chairs and three ladies entering, plus a tea service on the table. Pleasant ladies’ chat we thought. Mrs. Jeffries enters stage left, obviously not invited but sort of welcomed. The ‘chat’ evolved into some disturbing stuff and these 3 ladies certainly had problems. Psychological issues, was it murder or self defence and a cat psychosis? Would you want these guys as neighbours? Then there was Mrs. Jeffries with her apocalyptic view of a catastrophic world. Where will it end? Well certainly without any drop of tea!

Typical Caryl Churchill, Chris Baglin explained, you’re not supposed to ‘understand’ the script,
make of it what you will.

A great piece of theatre to open our Festival, thank you Rushen Players.

Victoria Station by Harold Pinter performed by Parodos Theatre Company.

How about Mr. Pinter’s friendly, customer service focussed cab company? What a spooky pair they were. I felt sorry for the poor guy left at Victoria Station. Did he ever get to see his grandmother? He should have booked an Uber.

Great characterisation of the Controller and Driver. You could feel the Controller’s frustration building and building. The spaced out attitude of the Driver was comic in the beginning, but what really happens to the POB female asleep on the back seat? Is it love or something sinister, we will never know. And that’s exactly what Mr. Pinter planned. It’s all in YOUR mind.

A gripping presentation and food for thought,
well done Parodos Theatre.

– Ron Beswick

See you all tonight for White Cobra’s Lilies on the Land by Lion’s Part.

Lilies of the Land is an extraordinary piece of theatre telling the story of Britain’s Women’s Land Army of World War Two. Based on hundreds of actual letters from original Land Girls, the play focuses on four very different women who all come together during Britain’s darkest hour determined to ‘do their bit’ for King and Country.