We Are Worthing

A year since the first lockdown was announced in the UK we gave you the chance to say Thank You to your pandemic hero by nominating them to be part of our #WeAreWorthing project that captured the faces and stories of the people that shaped our last year.

We asked our community to submit photographs of the people who have impacted their lives during the pandemic, along with a short description of why the person matters to them or made a difference to the community. These images the formed an outdoor exhibition filling the windows of the iconic seafront Pavilion Theatre and celebrating the amazing people that make up our community and their stories during lockdown.

The last year has been incredibly challenging for everyone and this was a chance to show your appreciation to someone who had impacted your life. It could be a key worker whose dedication and hard work protecting, providing, caring and keeping the country going amazed you. A parent who has survived the challenges of homeschooling, a friend whose weekly Zoom calls kept you sane, the neighbour who dropped off banana bread, or your grandmother who has been making masks. Someone who has volunteered delivering necessities, helping with vaccinations or providing support to those who need it.

Your Heroes

Please click on the hero below to see their story.

Meet Izzy Singleton: Worthing Museum Curatorial Intern

Worthing Museum and Art Gallery’s intern, Izzy Singleton, has been working hard to help everything run smoothly at the museum. Recently she has been working to fill some prominent space in our display. We caught up with Izzy to find out about her role and what she’s been up to.

About Izzy

Izzy is Worthing Museum’s Curatorial Intern who started here in September 2023. As a University of Brighton undergraduate, Izzy was offered a place on a Masters programme in Museum Curation and Collections. “I did my professional placement [at Worthing Museum], and now I work here!” Originally from North Wales, Izzy grew up with an Archaeologist father, giving her a life-long love of history. Her combined love for art, archaeology and history led Izzy towards working in museum and academic historical spaces.

Izzy’s role as the Curatorial Intern is varied. She assists with the museum admin (which involves a lot of spreadsheets!) but she also assists with physical installations of work, and cataloguing and recording information about pieces in the museum collection. Izzy puts her academic skills to good use by doing research on the collection and for exhibitions.

Bianca, the Patroness of Heavenly Harmony

Recently, a prominent space in the museum became vacant when William Holman Hunt’s 1869 painting Bianca, the Patroness of Heavenly Harmony went on loan to Fondazione Cassa Dei Risparmi Di Forli for their Pre-Raphaelite Modern Renaissance exhibition. This exhibition looks at the huge historical and cultural impact of Italian art, specifically on the Pre-Raphaelites.

Holman Hunt is a renowned artist who was one of the founding members of the Pre-Raphaelite brotherhood. Izzy was tasked with finding work in the collection to fill the gap. “Originally, I looked at pieces that were of a similar size to Bianca, because it’s a large space that you see as soon as you come up the stairs. But then I started looking at pieces that attracted me through theme or colour.”

Dorothy Primrose as Ophelia

The first piece that stood out to Izzy was Dorothy Primrose as Ophelia (1937), by Stephen Makepeace Weins. Weins moved to Worthing in the 1920s, where he likely saw a production of Hamlet at the Connaught around 1937 starring the painting's sitter. “That painting captured me.” says Izzy “There’s something about her expression. It’s interesting as a depiction of Ophelia, because a lot of them will show her just before her death or just after, and it’s always very dramatic. This one shows more of a sombre, sweet and sincere moment. You don’t see that depiction of Ophelia a lot.” Weins’ painting led Izzy to think of filling Bianca’s space with other work on a theatrical theme, to reflect WTM’s wider cultural output.

Thomas J.Serle as Hamlet

Another piece Izzy has chosen for the space is Thomas J.Serle as Hamlet (19th century). Izzy’s research led to identifying the sitter as Thomas Searle, a playwright, dramatic author and an actor. Searle lived in Worthing in the 19th century. The artist of this piece is unknown, but it was owned by Mr W.F. Fuller. He was the manager of Henty’s Bank on Chapel Street and was a friend of Thomas Searle. One of Izzy’s favourite historical quirks is when costuming is influenced by the era in which it's designed. In this piece Searle’s costume is reminiscent of 19th century menswear but with an Elizabethan or Jacobean twist.

Lady Hamilton as a Bacchante

The final piece in the space is Lady Hamilton as a Bacchante. Again, the artist is unknown but it is a copy of a Joshua Reynolds painting of the same name. “When artists were training in the past, they would copy established work for practice” says Izzy. Emma Hamilton is best known as the mistress of Lord Horatio Nelson, but Izzy is keen to highlight how there was so much more to her, “She was such an interesting person!” she says. Hamilton was famed for her beauty, her boisterous personality and flamboyant nature, “and she was able to make a living out of that - a lifestyle.” The painting captures one of Hamilton’s ‘attitudes’ where she would perform poses from classical imagery in front of an audience, usually semi-naked or partially topless. The Bacchantes form the chorus in the Euripides play The Bacchae, the frenzied and intoxicated female followers of Dionysus.

Worthing Museum Collections

Izzy says that her time at Worthing Museum has taught her about the breadth of small collections. “This is something I was sort of aware of, but being able to explore the collection here - the amount of things that are unique and interesting… I just want people to see how cool it is.” Worthing Museum may be a small local history museum, but it houses one of the largest collections of everyday historical clothing in the UK. The dress collection is one of Izzy’s favourite aspects of the museum and influenced her placement project. She focused on re-cataloguing women’s purses in the collection.

Izzy's display of women's purses from the dress collection

“The amount of things I found inside them! Coins and business cards, things people didn’t know were in there when they donated them. I found a 10 shilling note!” She is fascinated by the minutiae of everyday life. We often disregard and overlook commonplace, everyday items. But they are important items when investigating the changing social landscapes of the past. “It’s my favourite thing about history,” Izzy says, “the everyday-ness of people. People being people for thousands of years. We still do the same things that people were doing hundreds, or thousands of years ago. The dress collection really sums that up.”

Curiosities and Curation

Izzy is making the most of her time with the museum team. She has a fondness for many other parts of the museum. We asked about her favourite work, and her top picks from our last exhibition, Open 23.

Pictured above: Worthing Museum Archaeology (left); A Sylvanian Family of Bears at Worthing Museum (top right); 'Headlouse' by Roger Edwards (middle bottom); 'Simone' by Kitty Oakley (bottom right).

The Archaeology Section

Probably inspired by her childhood running around fields with her father, Izzy loves our archaeology collection. “They have some really cool and unique pieces that are very interesting.”

Sylvanian Families

We have a wonderful collection of toys at Worthing Museum. Toys are another great example of our collection reflecting the everyday social history of the local area. “I used to have them when I was a kid. It’s that human-focus and the nostalgia for me. They’re just a small toy that people would normally overlook but they’re still important.”

Open 23

‘Headlouse’, Roger Edwards (Alabaster stone)

“I really like the stone he’s made out of. He’s a bit creepy, he's a bit funky and I really like the colour! I keep calling him ‘him’ - he can be any gender he wants to be! That’s my favourite 3D piece.

‘Simone’, Kitty Oakley (Handmade Screen-print)

"This is my favourite 2D piece. She looks like Jojo, our PhD student, and also I just like her face. It’s very 1920s. I love the colour of it and the style of it."

Worthing Museum & Women Artists

To finish we asked what Izzy would programme if she could curate her own exhibition. “I have so many ideas!” she said. She reflected on the research she did for our current exhibition As We See It Now celebrating the centennial of the Society of Sussex Painters. The society was formed by a host of all-male artists in 1924. Often, she found herself ruminating on a tagline from a Guerrilla Girls campaign about the underrepresentation of women artists in galleries. It stated: ‘Less than 4% of artists in the Modern Art Sections are women, but 76% of the nudes are female.’

Anonymous 'Guerilla Girls' activists at the V&A. Photo credit Eric Huybrechts

Her research has shown her how much work in our collection is by women artists. That would be the starting point for her dream exhibition here at Worthing Museum. “There are some really cool pieces in the collection by women, showing women in ways that you don’t often see when the majority of work is by men. I’d pull all this stuff out of the art store and put it on display.”

You can see Izzy’s selected purses from the dress collection in the Museum now. You can also visit our free exhibitions, As We See it Now, and more, during Museum opening hours.

Visit the Museum

‘Tess’ by Ockham’s Razor: What’s it all about?

Contemporary circus company Ockham’s Razor are back in Worthing this May with their incredible new production, Tess. Based on Thomas Hardy’s Tess of the D’Urbervilles this is sure to be a visually spectacular and emotionally raw production. Read on to find out more about Hardy, his novel and this striking production.

Who was Thomas Hardy?

Thomas Hardy was born in Dorset in 1840. He was a Victorian novelist and poet who wrote realistic fiction. Hardy’s rural, working-class background made him feel out of place in London society, where he had been awarded a place at King's College London to study architecture. His feelings of social inferiority led him to become interested in social reform movements and inspired his writing.

Hardy’s writing style was heavily influenced by Romanticism, a cultural movement which examined the interplay between society, modernity and nature. His emotive descriptions of landscapes and scenery are charged with enough energy to feel like characters themselves within the narrative.

Hardy’s novels, including Tess of the D'Urbervilles, are connected by their setting in the semi-fictional county of Wessex, which was based on the rural region of the south west where he grew up. Often detailing the plight of rural communities in the face of harsh Victorian values, Hardy’s work critiques conventions of class, religion and education.

His novels follow tragic characters who are often gripped by intense emotional passions. They struggle against their social circumstances as fate, chance and choice dictate their path.

What is Tess of the D’Urbervilles about?

The novel follows a young country girl, Tess Derbyfield, who is led down a tragic path. Tess’ innocence and beauty are often taken advantage of, or weaponised against her. The novel’s full title is Tess of the d'Urbervilles: A Pure Woman Faithfully Presented. With this Hardy was indicating to his Victorian readers that Tess, in her tragic situation, is not at fault. Tess’ actions throughout the novel are driven by her pure nature, faith and morality. She always acts with good intentions, trying to make things better. However, the circumstances that are thrust upon her, the actions of others, and her inability to escape social expectations cause her downfall.

In the beginning of the novel Tess, the eldest daughter of an impoverished drunk, tries to improve her family’s situation for the sake of her younger siblings. However, this decision leads to disastrous personal consequences. Throughout the novel Tess finds herself battling extreme bouts of guilt for the social harm she causes her loved ones. Tess is both influenced and mistreated by men she places trust in and, within the rigid confines of strict Victorian social values, she is punished for doing so. Her subsequent choices lead to repeated falls from grace. Although she is worn down by pressure and poverty Tess always makes choices in the name of saving her siblings, even eventually accepting her own dreadful fate.

What’s the significance?

When Hardy first published Tess of the d'Urbervilles in 1891 many thought of it as vulgar. Within the novel Hardy critiques religious influences on social values, particularly those pertaining to sex and the treatment of women. The first section, The Maiden, ends by strongly implying that Tess is sexually assaulted. The next section, Maiden No More, reveals that Tess has given birth to a baby. It is thought that Hardy chose to be intentionally ambiguous in his description of Tess’ sexual encounter. Doing so implies that, whether Tess consented to sex or not, her subsequent mistreatment and label as a ‘fallen woman’ is unjustified.

The concept that women shouldn’t be held to a different set of social expectations and morals to men had been gaining prominence since the 18th century. Hardy’s depiction of Tess as a victim of societal values means the novel remains an important portrayal of life for women in a society not built for them. These issues still exist for women all over the world today. Therefore, Tess of the d'Urbervilles is as relevant now as it was in 1891.

About Ockham’s Razor

Formed in 2004, Ockham's Razor makes visually arresting work through their innovative combination of circus and physical theatre. They use the form of circus to express recognisable emotional conflict and relatable stories on stage. The company’s name derives from a problem-solving principle by medieval philosopher William Occam. It boils down to the idea that the simplest solution is usually the best one. It is called Occam’s Razor as this principle shaves off unnecessary input and factors. The company employs this approach to inform their creative process.

https://youtu.be/e86-U6-GUf4?feature=shared

Tess weaves together acrobatics, aerial, physical theatre, spoken word and an inventive, evocative set to conjure Hardy’s world. A spokesperson for the company said “The classic novel still has extraordinary relevance for contemporary audiences as it explores questions of privilege, class, poverty, agency, female desire and solidarity. It is the first time we have worked from a novel and it’s thrilling to weave together Hardy’s words with our physical storytelling to tell this gut-wrenching story about the strength to endure.”

★★★★
“full of joy, wonder and delight, a highly original interpretation.”

The Guardian

★★★★
“ingenious, an inspired adaptation”

The Stage

Tess is on at the Pavilion Theatre 16th-18th May. The production is suitable for ages 12+.

Book Now

HAF Easter 2024

We’re delighted to be delivering free workshops and activities in Worthing as part of West Sussex County Council’s Holiday Activities and Food (HAF) scheme.

These activities are open to children aged 7 – 11 who receive benefits-related free school meals (FSM) and have a HAF ID number. If you have lost your HAF ID, please contact your child/children’s school or email HAF@westsussex.gov.uk. or all HAF activities, you’ll drop children off with our team and collect them at the end of the session. Our staff are DBS checked and we have approved safeguarding procedures in place. Please feel free to contact our community engagement team for more information: community@wtm.uk.

You can book a place for your child on the Council’s website here. Please note that you will need to create an account to access this information, and can register here.

These free spaces are limited, and booking is subject to availability.

Activity 1 & 2

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Kung Fu Panda 4
Activity 1 & 2

Imagination unleashed: Storyboarding and Movie Magic!

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Embark on a creative journey with Worthing Theatres and Museums for a day of imaginative fun at our Storyboarding Superheroes event! Specifically tailored for 7-11-year-olds, this exciting day will redefine the way young minds perceive storytelling. Join us for an engaging morning at Worthing Theatres and Museum, where participants will delve into the fascinating world of storytelling through storyboarding.

Under expert guidance, kids will explore the visual roadmap of storytelling found in films, shows, books, and games. No master artist skills are required as they express their unique ideas through pictures or words, bringing superheroes to life in a captivating storyboard session. This hands-on experience will unleash their creativity and provide a deeper understanding of how the things they enjoy are crafted.

After a morning of creativity, recharge with a delicious hot lunch, preparing for an action-packed afternoon. The Storyboarding Extravaganza continues with a public screening of Kung Fu Panda 4, promising an adrenaline-filled cinematic experience for all participants.

Don’t miss out on this unique opportunity for your child to engage in a day of creativity, imagination, and storytelling. Join us at Worthing Theatres and Museums for a day that promises to be both educational and incredibly fun!

LOCATION

Drop Off: Worthing Museum and Art Gallery, Chapel Rd, Worthing BN11 1HP

Pick Up: Connaught Theatre, Union Pl, Worthing BN11 1LG

DATE

09/04/24 & 10/04/24 (please note these will be relaxed film showings)

Book your child’s place on the Council website via the link below. Let the storytelling adventure begin!

Book now
Book now

Activity 3

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Kids Workshop Masks
Activity 3

Dance and Mask Symphony: A Creative Journey of Expression

Embark on a day of exploration and creativity with Worthing Theatres and Museums at our ‘Dance and Mask Symphony’ workshop, tailored for children seeking a unique and expressive experience! Join us for a morning filled with energetic dance as participants learn expressive routines that bring movement and joy to life.

After a delightful hot lunch to refuel, the afternoon unfolds with a captivating mask-making session, placing imagination at the forefront. This hands-on activity allows children to craft imaginative masks, embracing creativity, self-expression, and the joy of collaborative performance.

Our holistic workshop aims to foster a sense of pride and accomplishment in each participant, encouraging them to proudly share their dance routine and creatively crafted masks with their families at home. It’s a day dedicated to the celebration of creativity, self-expression, and the joy of artistic collaboration.

LOCATION

Drop Off: Worthing Assembly Hall, Stoke Abbott Rd, Worthing BN11 1HQ
Pick Up: Worthing Museum and Art Gallery, Chapel Rd, Worthing BN11 1HP

DATE

11/04/24

Don’t miss this opportunity for your child to dive into a day of exploration, dance, and artistic creation. Secure your child’s place on the Council website via the link below. Let the Dance and Mask Symphony begin!

Book now
Book now

Activity 4

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Kids Workshop
Activity 4

A Magical Play in a Day Drama Workshop

Embark on an enchanted day of drama with Worthing Theatres and Museums in our magical ‘Play in a Day Adventure’ workshop! Join us for a day of exploration, creation, and performance that promises to ignite young minds with the magic of live theatre.

In the morning session, participants will dive into the enchanting world of theatre, exploring various dramatic elements, improvisation, and storytelling techniques. Guided by experienced facilitators, this workshop is designed to spark creativity and instil a love for the captivating world of live performance.

Take a well-deserved break at lunch, where participants can enjoy a hot and healthy meal to recharge for an afternoon filled with more performance skills and the excitement of the ‘Play in a Day’ experience. The afternoon session unfolds with collaborative play, as participants delve into creativity, culminating in the grand finale showcase that celebrates the day’s magical theatrical journey.

LOCATION

Drop Off: Worthing Assembly Hall, Stoke Abbott Rd, Worthing BN11 1HQ
Pick Up: Worthing Assembly Hall, Stoke Abbott Rd, Worthing BN11 1HQ

DATE

12/04/24

Join us for a day of exploration, creation, and performance in our magical ‘Play in a Day Adventure.’ Secure your child’s place on the Council website via the link below. Let the enchanting theatrical journey begin!

Book now
Book now

OPEN23 Stories: Winning Work

The OPEN23 exhibition celebrates both professional and amateur work from artists across Sussex. We are delighted to share and to celebrate the award winning work from this year’s selection.

About OPEN23

As a biennial exhibition, OPEN23 comes two years after the huge success of WTM’s OPEN21. The exhibition features around 200 pieces across two galleries and includes a huge range of work with diverse and contrasting styles, and a variety of different mediums including 3D sculpture and photography, alongside work in acrylic, oil, pencil and pen.

Work that is submitted to the exhibition is carefully selected by hand-picked art representatives and professionals from the local community. Some selected work is then given further consideration and put forward to win prizes.

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I was excited to be seeing so many wonderful paintings and 3D pieces. And I was not disappointed. The breadth of media styles and subject matter was just amazing

Rita Garner, Guest Selector

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Selectors' Shortlist

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How are OPEN23 winners selected?

Our winners are chosen by a team of special guest selectors. We hold a selection day when our team can see the work in the space, then consider and discuss the winning pieces. We have several prize categories, including our Worthing Museum Prize which is chosen by the museum curatorial team. All prize winners receive a certificate of merit and vouchers for Lawrence Art Supplies in Hove.

It was wonderful to see such a rich variety of work, covering a wide range of techniques, subject matter and styles

Yemisi Mokuolu, Guest Selector

Overall Winners

The Open 23 Selectors

Nadia Chalk

Nadia Chalk is an artist, illustrator, designer, educator and mentor. She studied fashion illustration at Epsom School of Art and Design. Nadia enjoys inspiring and teaching children and adults to experiment with numerous materials, giving them the opportunity to fall in love with creative thoughts and processes. She specialises in portraiture and sculptural pieces made with found materials inspired by the coast.

Yemisi Mokuolu

Yemisi Mokuolu is the CEO & Founder of Hatch Ideas and Hatch Africa. She is an experienced Creative Business Consultant, Independent Producer, Project Developer and Project Manager with a demonstrated history of developing social and cultural change projects. Yemisi is skilled in Concept Development, Project Management, Partnership Building and Brokering, Research, Market Insight, Market Entry and Fundraising. She operates across the Creative and Cultural industries; Entrepreneurship, Innovation, Music, Craft, Festivals, Film, Theatre and Event Management. With an expertise to drive initiatives making an impact for Africa.

The whole project really excites me, as it’s an opportunity for emerging and established artists from across sussex to come together and raise the profile of their work

Yemisi Mokuolu

Rita Garner

Rita Garner is the Cabinet Lead for Culture and Leisure at Worthing Borough Council and an active member of the wider Worthing Community. She has attended most, if not all of the exhibitions and events at Worthing Museum over the last few years and has a unique perspective on the Worthing community and cultural events in the area.

Curators' Choice Winners

Selection Stewards' Choice

Worthing Museum Prize

Worthing Museum and Art Gallery would like to thank everyone who submitted work to OPEN23. WTM would like to share a huge congratulations with our winners and exhibiting artists. We are proud to be supporting artists from across the county to exhibit their work and display their immense talents.

Be sure to catch OPEN23 before it closes on Sunday April 14th.

Visit Museum

Worthing Gang Show 2024

The Worthing Gang Show is back at the Pavilion this Easter. Gee, It’s a Wonderful Life from Worthing Scouts and Guides is bigger and better than ever in 2024. We’re taking a look at the history of the Worthing Gang Show and having a chat with Mark Scott, Deputy District Commissioner for Worthing Scouts.

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What is the Gang Show?

The Gang Show is a revue-style variety show from local Guide and Scout groups of all ages. Worthing Cubs, Brownies, Scouts, Guides, Explorers and Rangers have been entertaining the community for over 50 years. The performances include musical acts, dance, comedy, sketches, drama and more. Not only does a Gang Show entertain the local community, but it also acts as a learning opportunity. The young people involved can develop performance skills and experience stage production.

History of the Gang Show

The format for the Gang Show was created by a British actor and life-long Scouting member, Ralph Reader. The first Gang Show, The Gang’s All Here, opened at the Scala Theatre in London in 1932. The show did not originally have a name, but during a rehearsal break Reader recalled asking a performer if the cast were ready to begin, to which the response was "Aye, aye Skip, the gang's all here”.

Throughout the 1930s the Gang Show grew in popularity in the UK. Reader was recruited to conduct undercover work for the Royal Air Force at the breakout of WWII, under the guise of running RAF Gang Show concert parties to boost morale. Reader continued to produce RAF Gang Shows throughout the war, which entertained an estimated 350,000 servicemen. Since the 1950s the Gang Show has spread globally to a number of countries where the Scouting movement is found. Completely run by volunteers the shows often help raise money for local causes or the Scouting troops themselves.

The Red Scarf

Original Gang Show cast members wanted a memento of their achievement and a red scarf with an embroidered gold ‘GS’ in Reader’s handwriting was designed. Now, the red scarf has become a symbol of the best of Scout Shows worldwide. For example, in the UK the red scarf is awarded to Gang Shows that have reached a level of excellence. Venue, production values, and performance are taken into account and the shows are reassessed every 5 years to maintain standards. Receiving a red scarf represents hard work, commitment and pride. Worthing Gang Show was awarded a red scarf by Ralf Reader himself in 1971 and has held it ever since.

Worthing Gang Show

1967 marked the Diamond Jubilee of the Scouting movement. Worthing Scouts and Guides performed the town’s first official Gang Show Gee, It’s a Wonderful Life at the Pavilion Theatre in that same year. The Gang Shows continued annually at the Pavilion until its temporary closure for refurbishment in 1979. At this point, the Gang Show was moved to the Connaught, requiring a longer run due to the theatres’ differing capacities.

In 2007 the Worthing Gang Show was in its 40th year, coinciding with 100 years of Scouting, and 75 years since the first London Gang Show. Some of the original Worthing cast joined the show for special performances.

In more recent years the Gang Show has returned to the Pavilion. 2024’s Gang Show is set to be bigger and better than ever, with nearly 100 young people taking part. We caught up with Mark Scott, District Commissioner and Producer to talk about this year’s show and his experiences of the Worthing Gang Show.

Q&A with Mark Scott, Worthing Scouts Deputy District Commissioner

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The Gang Show has been a staple of the Worthing Scouts & Guides calendar for over 50 years. What can people expect from ‘Gee, It’s A Wonderful Life’ in 2024?

This year’s Gang have been working hard. We have Musical numbers about Space, Paris, Rock & Roll and the Junior Gang are doing some Roald Dahl inspired numbers. All well known songs plus the lesser known Ralph Reader! Some excellent front of curtain sketches. Two numbers include British Sign Language and Makaton sign language. A challenge for the Gang given to them by Kara and Lucy. For my generation there’s even some 80’s thrown in!

You put on the Gang Show every two years. Is it the same show each time? What, if anything, changes each time?

Each year we start from scratch! Only 3 songs ever repeat; Crest of a Wave, Gee, its’ a Wonderful Life and the National Anthem. They are always in the Finale of the Show. We are already thinking now about content for 2026 as we finish off setting 2024.

What ages are the performers and how do they prepare for the performances?

Performers will be from 7 years old with the oldest cast member being 19 years old. The Senior Gang have rehearsed nearly every Sunday since the start of September. The Junior Gang have been rehearsing on Sunday mornings since November. It is a true commitment from all of them which is amazing.

How much creative input into the production do the young people have?

We are always after ideas from the Gang, however mad they are. We take it from there and it just grows. The main contemporary dance number for this show was set by Kara [the director] but with input from all the dancers involved at the rehearsals.

Worthing Gang Show has held a Red Scarf since 1971. What makes it worthy of this accolade?

The Worthing Gang Show has always been of a high standard and we take pride in maintaining that standard set by our predecessors. Numbers are polished until we are happy with the performance standard. There are guidelines issued by The Scout Association on Gang Shows and we pride ourselves in making sure we follow them closely.

What do you enjoy most about putting on the Gang Show?

For all the adults involved it is all about the young people. You get to show week and the buzz backstage is amazing. You just feel the cast lift, the tabs open and then bang, they’re off. Feeling that buzz and seeing all the smiling faces is worth it. They are having a great time! It’s what we are here for.

You’ve been involved in The Gang Show since 1983 when you were a Cub yourself! What is your favourite memory from over the years?

It’s more than a memory. You make Friends for life! Once you are in the Gang you make friendships that are eternal. Ex-Gang members are distributed all over the country and farther afield. As a family we drove up to see the Derby Gang Show a few weeks ago as a friend is now the Choreographer of “Flying High”. Well worth the visit to see another Gang Show and to meet up with Lucy [Junior Gang Producer & Senior Gang Assistant Dir/Choreographer].

The Gang Show in 1951 helped raise funds for the 1st Worthing Scout HQ - what else has the Gang Show helped fund over the years?

We now like to support local Charities that could use some extra visibility and also get the chance to do some fundraising. This year’s chosen charity is Sight Support Worthing and the charity for 2022 was Andy’s Angels. Both are close to me for personal reasons.

You can see Gee, It’s a Wonderful Life at the Pavilion Theatre April 10th-13th.

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Women’s History Month 2024: Women of Worthing

This Women’s History Month we’re taking a look at some of Worthing’s history that has been shaped by women. Often strong and outspoken, usually politically minded, they provide a snapshot of life for women on the south coast over the last 200 years or so. Whether they were active participants in the community, or just passing through, there have been some incredible figures of Women’s History right here in Worthing.

Pioneering Women in Worthing

Ellen Chapman

First Female Mayor of Worthing

Ellen Chapman was a suffragist and local politician in Worthing who was a great advocate for the poor. In 1910 she became the first woman to run for election to Worthing Borough Council. Subsequently, Chapman was one of the first female councillors in England. She became the first female Mayor of Worthing in 1920, something that she would have done six years earlier but, unfortunately, the all-male Mayoral selection committee decided at the last minute that “it would be inadvisable to have a woman mayor while the country is in a state of war”.

Marian Frost & Ethel Gerard

First Curators of Worthing Museum

Marian Frost (seated, centre) was the first curator of Worthing Museum and Gallery. She played a huge role in persuading philanthropist Andrew Carnegie (of Carnegie Hall fame) to give funds for a new library and museum for Worthing in 1908.

She was described as a "remarkable and formidable woman" who took over the role of head curator in 1919. In 1929 she wrote "An Early History of Worthing". Ethel Gerard (far left, standing) became head curator after Marian's death in 1935. Ethel published papers on early Sussex maps and Worthing history as early as 1915. During WWII Ethel was involved in moving much of the museum's collections to a bunker near Findon. Come along to Worthing Museum now to find out more about the role of women in Worthing’s social history.

Women & Worthing on Screen

Wish You Were Here (1987)

David Leland’s coming-of-age comedy/drama follows the story of Lynda, an outspoken and bawdy girl in a post-war seaside town. Played by Emily Lloyd, Lynda’s experiences are loosely based on the early life of famed hostess and madam, Cynthia Payne. It was filmed around Worthing, Brighton and Bognor Regis. Giving the film high praise, critic Roger Ebert described the film as: "a comedy with an angry undertone, a story of a free-spirited girl who holds a grudge against a time when such girls were a threat to society, to the interlocking forces of sexism and convention that conspired to break their spirits".

Wicked Little Letters (2024)

Based on an unbelievable true story, this new film stars Olivia Coleman, Jessie Buckley, and Anjana Vasan. Set in 1920s Littlehampton the film follows the events of a local scandal that reached national interest. Residents of the town started receiving letters full of vulgar and hilarious profanities and try to uncover the sender’s identity. Filming took place around Sussex including in Worthing in 2023. It is currently doing very well in the UK box office charts!

You can see Wicked Little Letters now at the Connaught Cinema.

Legendary Women visiting Worthing

Worthing’s legacy as a destination for rest and serenity has seen it become home, albeit temporarily, to a handful of legendary British women. They are connected to each other by their critiques and commentary on the social position of women in their time through their words and actions.

Jane Austen

In 1805 Austen holidayed in Worthing, a time when the small seaside town was first developing into a leisure resort. She undoubtedly observed the social impact of these changes on the town’s residents. It is strongly believed that Worthing is the inspiration for her unfinished novel Sanditon. She died before finishing the novel, which was set in a fictional seaside town on the brink of change.

Mary Shelley

In 1825 Mary Shelley and her son inherited Castle Goring from her late husband, romantic poet Percy Shelley. It was supposed to be the ancestral home of the Shelley family. However, due to Percy’s untimely and tragic death this never happened. Mary Shelley never lived at Castle Goring and sold it in 1845. Later in life she lived with her son and daughter-in-law at Field Place in Worthing. Shelley is recognised as a socially radical figure in women’s history, and fans laud her as a pioneer in science fiction writing.

Emily Davison

Davison was a militant Suffragette who is remembered for her activism and her dramatic death. At the Epsom Derby in 1913 she was struck by the King’s horse after running onto the race course. Although the purpose of her actions are ultimately unknown, it is thought that she aimed to pin suffragette flags to the horse and did not intend to be harmed. Davison taught at a private school in Worthing between 1896-1898.

Free and cheap family activities in Worthing

Keeping kids entertained at weekends and holidays can be exhausting - and takes a hefty toll on the bank balance. Luckily, there is a great range of cheap family activities here in Worthing, for kids of all ages. To help you out when you need it most, we’ve put together a list of activities to do with your family all year round. Most of these are free activities, or only cost around £5 per person, ensuring the whole family can enjoy some fun days out in Worthing.

Outdoor activities in Worthing

DIY craft activities on Worthing Beach

Getting crafty doesn’t have to break the bank and Worthing's pebble beaches are perfect for being creative! Use driftwood, pebbles and seaweed to create beach art, or bring chalks to the beach and decorate interesting stones. If you don’t have your own chalks at home, the naturally chalky Sussex geology means there’s always chalk pebbles lying around to use. And if crafts aren’t your style, you can just enjoy a day at the beach! Build wobbly pebble castles, dig holes, beach comb for shells and sea glass, or just splash about in the water.

Ages: 2+

Cost: FREE!

Scenic Walks and local history at Highdown Gardens

Highdown Gardens started as a horticultural experiment to see what plants could grow and thrive in the area’s chalky soil. Now, over a century later it’s a beautiful park for visitors to explore. With plenty of space to play, and some accessible paths for buggies and mobility aids, everyone can enjoy the leafy gardens in any season. The Highdown team also provides free seasonal ‘discovery’ trail maps for children to learn and explore whilst having fun running around.

Ages: All

Cost: FREE!

More Info

Things to do on rainy days in Worthing

See a film at the Connaught Cinema

WTM’s wonderful independent cinema doesn’t just screen the latest releases at affordable prices, but also cult classics and family favourites alike. Every Saturday morning at 10:15am you can catch Saturday Morning Pictures (SMP), which are screenings with cheaper tickets and a more relaxed environment, aimed at families. Here, films will play with subtitles where available. Meanwhile, in many of our regular screenings the Connaught gives you a rare chance to take your kids to see your favourite childhood film on the big screen! With SMP tickets starting at £3.50 the Connaught is a cheap (and weatherproof) activity for all the family.

Ages: See film ratings

Cost: from £3.50 (SMP), £5.50 general

More Info

Visit Worthing Museum & Art Gallery

One of Tripadvisor’s top 3 things to do in Worthing, Worthing Museum is renowned for its incredible historical costume collection and local archaeology. It also boasts a wonderful collection of toys from the 18th and 19th century. Kids can learn about historical toys through engaging displays and explore the rest of the museum at their own pace. The museum hosts occasional children’s workshops at weekends, school holidays and in half term - but tickets sell out fast so be sure to join the WTM mailing list to be the first to find out.

Ages: All

Cost: FREE (workshop prices vary)

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Activities for Babies and Toddlers in Worthing

Get imaginative at Toybox cafe

The Toybox Cafe is a play cafe where children can play, explore and learn independently - but in full view of their grownups. The adults can sit and have a nice hot drink, a well priced bite to eat, and a natter, knowing their smalls are safe and happy. Toybox holds community at its heart, hosting seasonal events and birthday parties throughout the year, and is well loved by local families.

Ages: 0-6

Cost: Babies under 5m: FREE to play | Crawlers/6-11m: £3 | Walkers/1-6yo: £5

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Sensory fun at Worthing Pier & Neptune’s Arcade

LadBaby, aka Mark and Roxanne Hoyle’s game-changing book ‘Parenting for £1’ has brilliant cost saving tips for new parents. One idea for a day out is taking small kids and toddlers to arcades, like Neptune’s Arcade on Worthing Pier. The sensory experience of the bright lights, buttons, levers, wheels and sounds will keep little ones occupied for ages without you needing to spend any money on the games if you don’t want to - although any older children may disagree!

Ages: 0-6

Cost: FREE! (if you want it to be)

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Day trips from Worthing

See the planes at Brighton City Airport

It’s well known that as soon as children can see well enough they are fascinated with ‘things that go’. Brighton City Airport (still lovingly referred to by locals as Shoreham Airport) is a great way to see a variety of planes and helicopters take off and land, as well as all the other vehicles needed on the tarmac. There are places to view outside for free, or you can enjoy some delicious food at the Hummingbird Restaurant, which overlooks the runway. If you want a bit more from your experience, tours of the airport and a visit to the museum can be booked online for a reasonable price.

Ages: all

Cost: FREE / £3 child & £5 adult for tours and museum visits

Dogs welcome

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Pop over to Ferring Country Centre

Not just any Garden Centre, Ferring Country Centre provides an amazing and affordable day out for the whole family. This local, independent charity provides training and work experience for people with learning disabilities in their garden centre, cafe, and at Dales Farm. With space to run around and both indoor and outdoor play areas, children can meet ponies, goats, pigs, chickens and all kinds of other farm animals. There is also a soft play for younger children, and a lovely garden centre for green-fingered family members of any age.

Ages: all

Dales Farm: £5 per person. Under 2s go free,

Soft play: £1.50 per child

Dogs on leads welcome

More Info

There is so much for families to do in Worthing without breaking the bank! We hope you'll enjoy getting out and about all year round. And if you fancy something different you can always check out what's on at WTM now.

Looking back: HAF at WTM in 2023

During the school holidays of 2023 we delivered free workshops and activities for children in Worthing as part of HAF.

HAF is the Holiday Activities and Food Scheme. For the last few years, we have taken part in HAF under West Sussex County Council. The scheme supports children aged 7 – 11 who receive benefits-related free school meals. During the workshops and activities, children receive free and healthy food.

We’re already looking forward to our programme of activities for the Easter, Summer and Winter holidays in 2024, but we wanted to reflect on our work in 2023.

Worthing HAF

Since 2021 WTM has been providing free activities and food for children in Worthing through HAF. We utilise our various cultural spaces to develop interesting and unique activities that appeal to a wide range of children. One of our aims is to ensure these activities are accessible to children with special educational needs and disabilities.

We play games and deliver creative craft workshops in the Museum, watch films at the Connaught Cinema, and see wonderful children’s theatre at the Pavilion. The children also enjoy nutritious and seasonal meals to refuel between activities!

“Thank you for your efforts and putting on such fab, unique holiday activities that some children won’t have otherwise done or had access to. Invaluable.”

Parent Feedback

What is HAF?

The school holidays can be a challenging time for many families. HAF was developed by the Department for Education to give extra support to children aged 7-11 who receive benefits-related free school meals. Parents can sign their children up to the scheme and children can choose what HAF activities to attend.

The overall aim of HAF is to help children eat healthily, be active, and take part in enriching activities over the holidays. It supports their development, their socialising skills and their wellbeing in general.

We all hear about children being hungry but when you see it first-hand how much these children are enjoying and needing this hot meal you really remember why you are doing it. One child asked genuinely if they could take a
meal home for their Mum… this brought a tear to my eye.

WTM Chaperone

WTM HAF Activities in 2023

In 2023 we ran HAF programmes through the Easter, Summer and Winter holidays. During these holidays, children took part in different main activities each day, seeing films and theatre shows, as well as smaller activities throughout. They had nutritious lunches and also participated in physical or craft workshops.

At Easter, the children enjoyed a screening of Mummies at the cinema, and a production of Tales from Acorn Wood, based on the stories by Julia Donaldson & Axel Scheffler. This was followed by a lunch from Proto Restaurant Group and a dance workshop at the Museum.

In the Summer, the children made beards, moustaches and wild hairstyles from recycled materials, before enjoying Spymonkey’s summer show Hairy. The children also enjoyed physical theatre workshops in the Museum, learning new stage skills and being active. WTM also joined the Sid Youth HAF Summer event in Homefield Park, running an origami and craft stall.

Then, in the winter holidays, the children made festive crafts at the Museum in the mornings. After lunch, they were taken to either the Connaught Cinema to enjoy the smash hit film Wonka, or delight in the festive fun of Sleeping Beauty: The Pantomime.

Other activities during WTM HAF

Show and Tell about what they made in craft time.
Museum tours and treasure hunts.
Extra curricular activities, such as word searches relating to the theme of the day.
Healthy Eating Group discussing healthy and unhealthy eating.
Walking in between venues.
Having a prep talk for the children about the movies, shows and the panto - so they were aware of what to expect.

Looking Forward

We can’t wait to deliver more great HAF experiences in 2024 to support our community and inspire local children. Watch this space to find out more about our plans this year!

More information about West Sussex County Council's HAF scheme can be found here. To participate in HAF, children must be signed up for the scheme and have a HAF ID number. WTM’s free spaces are limited, and booking is subject to availability.

WTM would like to thank West Sussex County Council for their generous funding that enabled us to deliver these sessions, and sessions in 2024.

OPEN 23 Stories: Michael Harbour

Since November 2023, Worthing Theatres and Museum’s biennial OPEN exhibition has been showcasing work from artists across Sussex. With a fantastic mix of professional and amateur work the exhibition features over 160 pieces across two galleries located within Worthing Museum.

The exhibition happens to feature work from one of WTM’s own: our new head of Buildings & Sustainability, Michael Harbour. Having interviewed for the role just one week before he submitted his work to the exhibition, it is a great opportunity to celebrate one of our team's talents outside of their role. We caught up with Michael to talk about his work and the exhibition.

About Michael Harbour

Michael is a self-taught painter who has been honing his natural talent over the last two years. With no formal training, he started out as a painter and calligrapher at the age of 17 “But I couldn’t make enough money!" He said, "So I developed a completely alternative career, which I ended 2-3 years ago in early retirement. One of the promises I made to myself was to use the time to paint properly." He worked intensely on his practice until joining us at WTM in the Autumn. “But my intention is to carry on somehow,” he added, “I absolutely love doing it.”

Michael has two pieces featured in OPEN 23, entitled Early Thames and Forgotten Place. “I chose these pieces, which are variations on a similar theme, but done in a different way.” he said. Using recycled materials and oils, Michael has created contrasting landscapes that both present dream-like, abstract memories of water. This quality is intentional and driven by his process:

“I nearly always work from a photo, but it’s also informed by lived experience. I’ve lived in Worthing and Richmond, so I’ve been by the sea a lot, and by the Thames nearly every day, so the vision of these places is always there. There’s lots and lots of pictures in my head but to capture something specific I like to take a photograph and then use what’s in my head to embellish the photograph, I suppose… my paintings are more from feeling and experience.”

When asked how he knows a piece is finished he joked, “My wife says I perpetually overdo it!” before adding, “Her liking is to do something a bit more speedy and unfinished, but I like to feel that it’s completely finished. It is difficult to know when to stop and you can overdo it. Maybe a piece is never finished to the artist.”

The Pieces

Early Thames

“This piece is a view of the Thames in Surrey, and it’s looking down one of my favourite passages of the river, from Richmond Bridge down into Ham. I’ve always loved that [view] - it’s along a tow path. So, I decided one day to take a photo and create a vision of what this means to me. It’s supposed to be like a collaboration of the weather and the landscape, and how it all works together, blending into a view.”

Close up images of Early Thames

Early Thames captures a moody yet calm morning along the river. The muddy tones and painterly texture give the impression of the piece being saturated and impacted by the elements. “The texture is always made from a filler as a background, nothing elaborate, which I paint over and it just gives it that extra depth.”

Where possible Michael uses recycled materials in his practice:

“A lot of the paintings I do use recycled materials. So [Early Thames] is actually an old estate agent sign board. I found it in the street - you can see the serrations. And the frame I made myself from scrap wood I found in a skip. Every single piece I make is either salvaged or recycled from somewhere, which gives it an added attraction: something from nothing, you know?... [Forgotten Place] has a recycled frame. Where I used to live, people would clear out loads of good stuff with their rubbish, so I would take the dog out for a walk and be on the lookout for things that seemed like good medium!”

Forgotten Place

“This piece is a little bit more difficult to explain, but in the most simplistic terms it’s like you’re standing in the sea and getting a cross-section of the sky, the sea, and what’s below the surface. Like an underwater camera cutting through. It’s my interpretation of what I would see in the murky depths.”

Forgotten Place evokes the turbulent and dynamic movement of the sea. Thick, impasto textures fly in different directions within one crashing space. It is a visceral expression of the sea that will feel familiar to Worthing locals: “As we know the weather here can often be windy and tempestuous, which I hoped to capture. The sea is equally as turbulent beneath as it is above. The sea is an echo of the weather, and the weather is an echo of the sea, simultaneously. In the middle they combine to meet at the horizon. The horizon is deliberately blended and isn’t flat.”

Close up images of Forgotten Place

Inspirations

When asked about the scenes that Michael paints he stated that all of his pieces either depict Worthing or the Thames in Richmond, places where Michael has lived. Apart from his physical proximity to these watery locations, Michael says it is the nature of water itself that inspires him:

“The thing that I have tried to live up to, for about 20 years now, is the practice of zen. Zen uses water all the time to explain non-duality throughout life. Water being something like 90% of people and the earth and everything else, it is absolutely fundamental to life and how we live. So water is something I always like to use, hence the rivers and the sea, and how that water interacts with the weather and landscapes.”

Michael says he admires the work of lots of renowned artists, but states that Turner is the artist he admires most. Michael says “Some of the pieces I’ve done were based on how he was painting.”

Inspriations: J.M.W. Turner's Norham Castle, Sunrise, 1845, oil on canvas, Tate Britain

WTM and Open 23

Michael submitted his work to OPEN 23 before he took on his role in the charity, “It was all very coincidental.” He said, “About a week before I submitted these pieces I had my interview here. So they happened at the same time. I think I started the day before the pieces were selected!” He is glad to be part of an exhibition that showcases such wonderful talent from across the county. “There’s lots of really lovely pieces, as everyone can see, and the winners are magnificent. But the one that I like - and it’s probably because it’s similar to my own work - is Sky Blush: Water Rush by Rob Corfield. The colours and textures - it feels like the sea.”

Michael Harbour will be exhibiting 25 other pieces of his work on display and for sale in his exhibition Timeless Tides at Worthing's Colonnade Gallery, 2nd-7th April. You can find out more about his work on his website, or follow him on social media (Instagram, Twitter)

OPEN 23 is a free exhibition at Worthing Museum and Gallery, open Wednesday - Sunday until April 14th. See Museum opening times for more information.

Hugs and Hecklers: We talk Exclusively! with Patrick Monahan

Here in Worthing, we love Patrick Monahan! From his “hilarious” performance in our panto to his regular stand-up shows, he’s a firm favourite with the community!

Patrick is back in Worthing with his sell-out tour, Exclusively! We caught up with him to find out more.

Patrick Monahan in Sleeping Beauty: The Pantomime, Worthing 2023

Hey Patrick, for people who haven't come across you before, tell us about yourself and your style of comedy.

My style is modern comedy, it's very observational, it's about what's going on in my life and, hopefully, relatable to most people as well. It is seen as alternative and modern, it's not offensive or anything that crosses a line. It's just great fun!

In my show I talk about where I'm at in my life, what I've been up to, and talk about my life growing up, as well as what’s going on in the world. And because I tour every year, I always do a brand-new show.

When I tour, my audience will range in age from 14 to 84, you know? So there's something there for everyone. I like to get the audience involved as well - I don’t have a support act, because in the first half, I have a quick chat with the audience. And because I always tour to the same places, like Worthing, I know the whole audience! It's almost like they're an extended family. I literally know people by name, which makes it fun as well.

That sounds like a special experience for the audience too.

Yeah! Normally people don't want to book the front row for standup, or the first two rows are always a bit sparse. But in Worthing? Everyone tries to book the first rows first, and then sit near the front because they want to get involved.

Given that you do a new show every year, what can people expect from Exclusively!

I chat with the audience, and also do a bit on what’s been on in the news - I'll take the mick out of things in a fun way. And then the second half of it is talking about family life, relationships, things like that. Sometimes I'll compare things to previous decades, like the 80s and 90s. I think everyone enjoys comparisons like that, even young people who weren't around then, they love the nostalgia of those decades. So there is literally something for everyone. Everyone can relate to it because it’s about the things we all go through. And that’s why I try to do a new show each year because then when someone comes again they can talk about previous shows too.

It’s a lovely method, because it gives your whole career a narrative, and people can join an ongoing conversation, year after year.

Yeah, exactly, and we all feel part of it, feel part of the journey!

You were obviously a fan favourite in Sleeping Beauty: the Pantomime, and you had such a broad appeal, like you said, from grandparents to children. What do you think it is about you or your comedic ability in general that makes you so popular?

It's maybe because I don’t tailor it or water it down for anybody. I think kids, and grandparents too, love it when you treat them the same.

I think sometimes comics might panic; they spot a 10 or 12-year-old kid in the audience and panic. But I’m like, ”So what?” you still do your show. If there's something that you think will offend a kid there's a good chance it would probably offend older people too! And there’s no point being offensive anyway. Or if they're not offensive, sometimes people panic because they think different generations aren’t gonna get it. And then that’s underselling the audience, and you're underselling yourself. So just do your show and make it funny.

Kids in the audience of Worthing panto, 2019

But I feel, whenever you get a kid in the audience, the kids will heckle better than I hope could ever do! Kids don't hold back. They could just sit there and have a bottle of pop and then scream out stuff that you couldn’t even come up with in six months of trying! That's why I love doing Panto each year. These kids clearly won't have seen me before because they're only six or seven years old, it might be their first ever panto. So you've got that excitement of someone seeing a show like this for the first time. And you don’t get that when it's stand-up; it's still never gonna be the same as having an audience of kids who've never been to a theatre.

I remember seeing some of the kids come in for Sleeping Beauty, and they’re running around - for them, it’s like they're going to Magaluf for the first time! They're getting so excited. And then imagine that in a theatre but times it by 600! That energy's crazy. They just get to go and enjoy it and get lost in it. They don’t worry about how things work, they just want to scream and go “oh my God, he's flying now!” You wouldn't change that for the world.

Have you got a favourite anecdote or interaction you've had throughout your career?

Yeah I've got loads! From both panto and stand-up. Panto is special because the kids will just shout loads of things. In Sleeping Beauty there was the bit where I say “I'm gonna put a curse on the baby, and if she touches the rose she’ll die” and this kid shouts “It doesn’t matter they can have another baby in nine months!” Doesn’t miss a beat - not even seconds - they shouted it while I was still saying my line! And I’m like, how do they even think like that!

Then in stand-up, and I’ve had this in Worthing actually because I go round to the same places I see the same people. I've had it where people come to their first show as friends, and I’ll do a joke where I’m teasing and asking if they’re together. And then the next time they’re dating, then the next time they’re engaged or married! I think that’s happened a lot and it’s special. It’s one of the things I love - you couldn’t manufacture that!

Every review we had for Sleeping Beauty mentioned your performance and how much they enjoyed the Evil Underlord. You’ve also done panto with us before as Captain Hook in Peter Pan. What is it that you enjoy about being the villain?

It’s that you can really break that 4th wall. You can’t do that so much with the other characters. As the baddie you can actually take the mick out of people and they know it’s all just fun because you’re the bad guy. It gives you the freedom to really go for it! In my comedy and in my day-to-day life, I’m positive and it’s all very nice. My friends or people who see my show were all like “The baddie? You?” But you’re able to break character and have so much fun. I was worried that it would be quite a serious role - especially with Captain Hook. But then actually doing it, I realised being bad is built for being funny.

The amount of heckling when I’m coming out and trying to be scary was amazing. You’d get kids shouting “You’re not scary!” And you have so much fun with them. At one point I was told that I had to stop getting the kids to cheer for me so much at the end! But that’s why I love kids; they don’t think like us - they think it’s great fun to hijack the play!

Thinking about how you’re such a lovable person on stage - you hold the world record for the longest hug! How did that come about?

It was really a natural thing actually - When you’ve been doing stand-up for a while people notice things about what you do and say. I sort of got branded as a hugger! It was just one of those things I did - hug the other people on stage, hug and high-five the audience, and then at the end of the show, people would stay for a hug or say thanks very much, and I didn’t realise but I’m just very huggy!

My friend, and comedian promoter, Bob Slater, told me the world record was 24 hours and we both reckoned I could beat that! So we said we’d do it for 24 hours and 1 minute in Edinburgh at the Fringe. So, after my show I always thank everyone for coming, and people hang about for hugs and a chat. In the middle of the festival before the Sunday everyone had off, Bob came along as I was thanking everyone, and came up and we started the hug.

The rule was once we were joined, as long as we didn’t break apart completely it’s valid, but we could open up and let others in for the hug. So it started at 8pm that night and would go through to Sunday night. I even did Late and Live at like 3am while we were hugging! You could only do something like that in Edinburgh.

It was hard at first because it’s just constant for 24 hours. You don’t think about the body heat coming off each other and the strain of holding someone that long! But once you break through the midpoint, it starts to go so fast. Before we knew it there were only a couple of hours left.

At 7:45pm on Sunday, we turned up at the venue to finish - we had some press and the Guinness World Record Judge there - but there was also a queue of people! People had heard through word of mouth and wanted to come and see us break apart. We then chatted on stage for another hour about what it had been like, doing some jokes, and doing a Q&A with the audience. Next thing we know it’s like 9:30pm, and we’ve done well over 25 hours! And so then the press and the judges were like “Come on - let’s do this!” So we went way past the last time, but we hold the record!

We’re very glad that you keep coming back to Worthing and we can’t wait to have you back for Exclusively! in February and June.

You know, Worthing is part of it now. It’s such a nice place. That whole South Coast is just ridiculous, it's beautiful! You get such a great vibe. It’s calm and warm and it’s just a lovely pace of life. I think I’d like to retire there when I’m old - just perform in Worthing for my final swansong. Just wheel me out for it!

I’ll definitely be back! I love that there’s such great support in Worthing. The fact we’ve been able to add an extra show in Worthing - that’s the audience, that just shows how great they are.

Thank you, Patrick!

Patrick is back in Worthing with his sell-out show next week on February 17th. Don’t worry if you didn’t get tickets, as he’ll be back June 27th! Find out more and book your tickets below! You can find out more about Patrick's tour on his website.

Book Now!

Give Patrick a follow @PatrickJMonahan on instagram, twitter, facebook and tiktok!

What’s On In Worthing February 2024: the best live theatre, dance, music, comedy and talks

This month we have a fabulous showcase of live theatre, dance, music, comedy and talks. Take a look at what’s on in Worthing, February 2024!

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Fashion & Film in the 1930s with Amber Butchart

Discover how fashion in films from the 1930s influenced the world with Dress Historian, Amber Butchart. In this illustrated talk Amber Butchart will explore the fashion scene in three cities at a pivotal point in the 1930s, when Hollywood costume began to exert its influence on the fashions of Paris and London.

There’s also the opportunity to attend a very special pre-talk event at the museum with Amber, and a screening of the 1939 film The Women, as part of this event.

From £10.00 | Age guidance: All

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WSO: Jeneba Kanneh-Mason

Worthing Symphony Orchestra

Worthing Symphony Orchestra returns for another exceptional concert with Soloist Jeneba Kanneh-Mason.

One of the hugely talented Kanneh-Mason family, Jeneba Kanneh-Mason returns to play what is arguably Mozart’s most popular Piano Concerto (No. 23) with its intensely beautiful F# minor slow movement and outer movements that glow with a sense of contentment and seemingly endless lyricism.

From £10.00 | Age guidance: All

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Cracking

SDJ Productions

First featuring on BBC Radio 4, Cracking is a funny and absurd new play by “the great Welsh storyteller” (Lyn Gardner): Shôn Dale-Jones. When rioters overrun government buildings in the USA and Brazil, Shôn’s 83 year old mother becomes unnerved - so he goes back home to the Isle of Anglesey to visit her.

After a trip to the local supermarket, in the spirit of fun, Shôn cracks an egg on her forehead. A neighbour witnessing this egg-cracking tells people in town what he’s seen. Not everyone feels comfortable with a grown-up son cracking an egg on his elderly mother’s forehead.

From £14.50 | Age guidance: 14+

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Buffy Revamped

Seventy minutes. Seven seasons. One Spike.

Buffy Revamped is coming to Worthing following its award-winning Edinburgh Fringe premiere in 2022 and two sold-out national tours.

This fast-paced gem brings you the entire 144 episodes of the hit 90s TV show, Buffy the Vampire Slayer, as told through the eyes of the one person who knows it inside out… Spike.

From £23.00 | Age guidance: 14+

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WPO: Nordic Adventures

Worthing Philharmonic Orchestra

Venture off on a mythical journey through the Scandinavian landscape.

Experience epic sounds evoking legends of old, folk melodies and peasant dances brimming with life, as Worthing Philharmonic Orchestra take you on "A Hero's Journey in Music". At the centre of the programme, Preston Yeo (WPO Leader) performs the ever-popular Sibelius Violin Concerto.

From £3.00 | Age guidance: All

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Comedy Club 4 Kids

Exactly as the name suggest! Experience the best stand-ups, sketch acts and cabaret stars… but without the rude bits!

Since 2005, Comedy Club 4 Kids has established itself as the nation's favourite family-friendly stand-up show. It’s just like a normal comedy club, but it's on in the day and kids are allowed in, meaning there is a higher-than-usual chance of the entire audience claiming to be called Bob.

From £11.00 | Age guidance: 6+

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Royal Marines Band in Concert

The Band of His Majesty's Royal Marines Portsmouth

Join The Band of His Majesty’s Royal Marines Portsmouth as they return to the Worthing Assembly Hall for a dazzling evening of music.

The versatility and talent of these world-class musicians will be clear for all to see, with an evening featuring music for everyone from solos, marches, overtures and film music and not forgetting our much celebrated Corps of Drums.

From £23.50 | Age guidance: All

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Patrick Monahan: Exclusively!

WTM pantomime star and world-class comedian Patrick Monahan returns to Worthing with a brand new stand-up comedy show!

Everybody’s favourite comedian, lovable Patrick Monahan, blends a high-energy comedy style with hilarious and engaging topical and observational material. Known for working a room, Patrick is adored by all audiences with whom he makes an effortless connection.

From £16.00 | Age guidance: 14+

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Lîla Dance - Fault Lines

A stunning new dance show from the fantastic Lîla Dance, Fault Lines blends stunning dance with immersive digital imagery, evocative writing, and cinematic music.

As our planet’s voice gets louder, are we ready to listen?

Fault Lines pulls at the tension in our relationship with nature. Our constant pursuit of progress increasing the speed of life has left us out of sync with the natural world.

From £10.00 | Age guidance: 12+

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Fairport Convention

Legendary folk band Fairport Convention return to Worthing for an incredible night of music!

Fairport Convention has been entertaining music lovers for over half a century, having formed in 1967. During that time, the band that launched British folk rock has seen many changes, but one thing has remained the same - Fairport’s passion for performance.

From £30.00 | Age guidance: All

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Carol Klein: Making the Garden at RHS Hampton Court

Hear all about Carol Klein's incredible career as a gardening expert in this fascinating talk!

Step into the captivating world of gardening with the renowned Carol Klein, a familiar face from her regular stint on TV. Her genuine, down-to-earth approach has endeared her to the hearts of the British public.

From £28.50 | Age guidance: All

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Oh What A Night!

The ultimate celebration of Frankie Valli & The Four Seasons!

Oh What A Night! takes you back in time on a musical journey through the incredible career of Frankie Valli & The Four Seasons. The cast includes West End performers Nick Corre and Alex Jordan-Mills, Ian Curran and Jonathan Eio. They bring their amazing on-stage portrayal of the characters and their music.

From £26.00 | Age guidance: All

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The Big Jive All-Dayer

The Jive Aces

The UK’s No.1 swinging’ band, The Jive Aces, bring you another 11 hours of non-stop jumping!

The Big Jive All-Dayer is back with its strongest lineup ever for a full day (and night) of hot swing, rockin’ rhythm & blues and rock ’n’ roll with a hint of western hillbilly thrown in for good measure!

From £30.00 | Age guidance: Under 16's must be accompanied by an adult 18+

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Little Bulb: Four Seasons

A theatrical love letter to nature for children and their families.

Join our intrepid team of magical gardeners as they tend to the marvellous menagerie of flora and fauna at every stage of nature’s miraculous journey. Four Seasons is a celebration of the wonder and weirdness of nature and our place within it, all set to an exciting score of seasonally inspired tracks including, of course, Vivaldi’s iconic piece.

From £12.50 | Age guidance: For 3-7 year olds & their grown ups

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Worthing Sings Live!

West Sussex Music

Come and join this free celebration of local secondary schools, coming together for an inspirational massed singing concert following their day of workshops.

FREE | Age guidance: All

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Aidan Goatley - Looking For Edith

Matt's Comedy Club

Matt's Comedy Club favourite returns with a brand new heartwarming yet hilarious show!

Aged 18, comedian Aidan Goatley woke up with his first tattoo which prominently displayed the name ‘Edith’ and he has no idea why. Who was Edith?

After 34 years, Aidan thinks he’s found the answer in a story that involves self-harm, survival and rather surprisingly, too many Jason Statham films.

From £12.00 | Age guidance: 12+

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WTM also has a great range of workshops and satellite theatre performances on offer. Explore what’s on, and join us this spring for exciting arts and heritage events.

What's On

Sooty returns to Worthing: Looking back on 75 years of magic

This spring Sooty, Sweep and Soo are back in Worthing for Sooty’s 75th birthday extravaganza!

Sooty is officially the longest-running children’s TV program in the world! This cheeky yellow and black bear has been enchanting children and adults alike with his antics for 75 years. His skills as a magician have also seen him become the only non-human member of the magic circle! To wish Sooty a happy birthday we’re looking back on his incredible career and his many visits to Worthing over the last 75 years.

The History of Sooty

Who created Sooty?

Sooty began life in Blackpool in 1948, when an engineer named Harry Corbett purchased a little yellow hand puppet to entertain his children on holiday. Just four years later, Corbett and ‘Teddy’ went on to win a BBC talent competition, and became regular guests on children’s television. Now a TV star, Corbett redesigned Teddy’s appearance to stand out more in black and white. He apparently darkened the bear’s ears, eyes and nose with soot, thus renaming him Sooty.

Sooty on TV

After the duo got their own children’s TV show in 1955 they gradually introduced more puppet friends for Sooty, adding a new dynamic. Sooty remained the mute leader of the gang, who would perform magic tricks and squirt people with his water pistol. Sweep, a clumsy and innocent dog who communicates with squeaks was introduced in 1957. Then Soo came along in 1964, a sensible and caring panda who is the only one of the trio to speak.

Taking the British entertainment world by storm, Sooty became a household name - once even feeling cheeky enough to squirt Prince Philip with his water pistol during a royal visit! Sooty’s brand branched out into licensed games, instruments and magic sets, as well as replica puppets for children to enjoy at home. In 1976 Corbett and Sooty were both honoured with an OBE for services to children's entertainment.

Sooty’s Presenters

Corbett passed the franchise to his son Matthew in 1975 but continued working with Sooty for the rest of his life. Matthew carried Sooty’s legacy for over 20 years, relaunching The Sooty Show with more of a sit-com structure. He also devised new touring stage shows that brought Sooty closer to his audiences. In 1999 Matthew Corbett handed care of Sooty and his friends over to Richard Cadell, a skilled magician. Cadell has continued to develop the franchise and entertain families all over the UK ever since. Cadell and Sooty make regular guest appearances on TV, and in 2017 Sooty was officially inducted into the magic circle! When he’s not on tour or TV you can now find Sooty in Sooty Land, at Crealy Theme Park and Resort in Devon.

Sooty through the years with Harry, Matthew and Richard

Where is Sooty now?

It has been 25 years since Richard Cadell took on the role of Sooty’s handler. When asked about his time with Sooty, Cadell said: “Well, it only seems like five minutes ago, that’s for sure. It’s never felt like work. In fact, it’s hard to believe that for the last two and a half decades, I’ve made a living having pies put in my face and talking to myself!“

Sooty's Impact

WTM’s resident film expert, James Tully is a life-long Sooty fan and shared his memories of Sooty:

“Sooty was the first theatre show I ever went to. I remember being absolutely mesmerised, I was at the front and Sooty squirted me with a water pistol.

"Once when I was out with my grandparents we came across a film crew making Sooty near Ditchling, they always hid behind things so you couldn't see Sooty was a puppet. When they finished filming I got to say hello to them all, and to Matthew Corbett. It’s one of my all-time fave celeb meetings.

I had my own Sooty, who is very well loved now, he was so real to me. Once when I was angry I threw my Sooty puppet across the room and he hit the wall. Then I was upset that I had hurt Sooty so I cried and apologised to him for a long time. Sooty is the best.”

James with his original Sooty, and a newer one

A recent survey by SKY revealed that Sooty and Sweep are still the nation’s favourite childhood TV characters. Reflecting on why Sooty and his friends have remained so popular, Cadell said “Well, firstly it’s a teddy bear and most children know and love teddy bears before they can speak… Everybody has had, or knows somebody that has a Sooty or Sweep puppet at home. And everyone can pretty much do the show behind their own settee! It’s also one of the very few shows that hasn’t changed and therefore when grandparents switch the television on for their children to watch, they know and recognise the same old things and they remember and love it all the more for that.”

Sooty in Worthing

You can book to see Sooty's 75th Birthday Extravaganza now!

We are honoured that Sooty, Sweep and Soo have been visiting Worthing on their tours for decades. The Sooty Show regular, Connie Creighton would present Sooty and perform here alongside Spencer K. Gibbins who would often tour as host in Matthew Corbett's place. Our Pavilion theatre hosted The House that Sooty Built in 1998, which was part of Matthew Corbett last tour as Sooty’s handler. We also hosted Richard Cadell’s first tour in Sooty’s Magic Factory in 2000! To look back on Sooty's visits to Worthing, we dug through our archive to find Sooty’s most memorable visits to Worthing.

Sooty on the cover of Worthing Theatres' brochure, 2000

Sooty on the cover of Worthing Theatres' brochure, 2002

Sooty Colouring Activities

Get ready for Sooty's Birthday Spectacular by colouring in these magical worksheets and colouring book. Click the images below to download a worksheet today.

Colouring In Contest

Send us a photo of your coloured in creations for a chance to win 4x tickets to The Sooty Show at Worthing Pavilion on Saturday 02 March 2024!

Check our contest T's&C's below for more info.

To be in with a chance of winning 4x tickets to The Sooty Show (Worthing Pavilion, 02/03/24), share a picture of your coloured-in work with us by Monday 26 February.
Email an image of your work, with your name, to Marketing@wtm.uk with the subject line "Sooty Colouring Contest". Please include the full name and phone number of your parent/guardian, to help arrange collection of the tickets on the day of the show from our Box Office.
Seats will be allocated by our Box Office team - we cannot guarantee specific seating but can take accessibility requirements into account when allocating your seats. Please include accessibility requests in your email.
By submitting your work you agree to them being featured on WTM's marketing channels, including social media.

Join us this March to celebrate Sooty's 75th birthday with an incredible extravaganza.

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Connaught Cinema: Terrence Malick Season

Terrence Malick is considered to be one cinema's finest auteurs as well as its biggest enigma. We're celebrating his first five films - individual masterpieces that study of the minutia of life within extraordinary circumstances.

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Fiercely private, Malick rarely grants interviews, leaving his work to speak for itself. His first films are among the favourites of our film programmer, James. As James celebrates his 10th year at the Connaught he is marking it with this season of iconic films and hopes that you'll join him!

https://youtu.be/Tx5sueWjk7E

The Films

Badlands (15)

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Sun 4th Feb | Tue 6th Feb

Martin Sheen and Sissy Spacek star as violent young lovers in this neo-noir crime drama. An impressionable teenage girl, from a dead-end town, and her older greaser boyfriend embark on a killing spree in the South Dakota Badlands.

Days of Heaven (12A)

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Thur 29th Feb | Sat 2nd Mar

Richard Gere stars as a hot-tempered farm laborer, Bill, in this tense romantic drama. Bill convinces the woman he loves to marry their rich, but apparently dying boss, so that they can have a claim to his fortune.

The Thin Red Line (15)

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Sun 9th Mar | Wed 13th Mar

This adaptation of James Jones' autobiographical 1962 novel, focuses on the conflict at Guadalcanal during the WWII. Seen from the viewpoint of soldiers the cast includes George Clooney, John Travolta, Sean Penn, Woody Harrelson, John Cusack and more.

The New World (12A)

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Sun 17th Mar | Wed 20th Mar

This romantic adventure covers the English exploration of Virginia, and the changing world of Pocahontas. Using a mix of history and foundational myths, Colin Farrell and Christian Bale star as Pocahonats' two English lovers.

The Tree of Life (12A)

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Sun 24th Mar | Thur 28th Mar

Bradd Pitt, Jessica Chastain, and Sean Penn star in this visual mosaic exploring the life of a family in Waco, Texas in 1956. Following the eldest son through the innocence of childhood to his disillusioned adult years, he seeks answers to the meaning of life while questioning the existence of faith.

Macbeth: the legacy, superstition and fame of Shakespeare’s beloved tragedy

Macbeth is one of Shakespeare’s best known plays and its popularity has stood the test of time. Its enduring fame comes down to the play’s supernatural legacy; its rich, captivating dialogue; and the maniacal character arcs of Macbeth and Lady Macbeth.

English Touring Theatre (ETT) are bringing their bold new production of Macbeth to the Connaught in March, so we took a deep-dive into this twisted tragedy - to find out more about why Macbeth remains one of Shakespeare’s best loved tragedies, and how it got its ‘cursed’ reputation.

About 'Macbeth'

"Things bad begun make strong themselves by ill."

Macbeth was recently voted Shakespeare’s second best play - just behind Hamlet in the top spot. Its plot deals with the toxic, psychological effects of greed through the rise and fall of the respected, but power hungry war hero, Macbeth, and his wife. The play presents the pursuit of power as (quite literally) cut-throat and it examines how a lethal mix of dishonesty and ambition can unravel relationships, and corrupt even the most revered of people.

King James (seated right) supervising the torture of witches, Scotland, 1591

It is believed that Shakespeare wrote Macbeth in 1606, about a year after Guy Fawkes and the Gunpowder Plot was thwarted by King James 1st. King James, also known as James 6th of Scotland, was fascinated with the supernatural world, especially witchcraft, and how it related to morality and virtue.

Macbeth is seen as Shakespeare’s tribute to his relationship with the King, through his use of witches, prophecies, and many of the play’s characters being based on real Scottish historical figures.

Shakespeare places Macbeth’s depravity in direct opposition to the brave moral convictions of Banquo, whose son will inherit the throne; therefore positioning King James as the successor to a heroic and morally superior lineage.

Why is 'Macbeth' so popular?

"I have bought

Golden opinions from all sorts of people."

Mike Noble & Laura Elsworthy as Macbeth & Lady Macbeth in ETT's 'Macbeth' 2023

Macbeth’s popularity may be due to its universal appeal. It follows a recognisable story of greed, betrayal and guilt that transcends time, place, and sociopolitical contexts. In his wake, Macbeth leaves a trail of bodies to cover up treachery after bloody treachery, giving him a unique role in Shakespeare’s work as both hero and villain.

The relationship between Macbeth and Lady Macbeth is an intriguing watch for audiences, who see this apparently devoted couple descend into madness and abuse. It is hard to look away from the inevitable doom of such domineering characters.

Another potential factor to Macbeth’s popularity is that it is often used in schools to introduce children to Shakespeare’s tragedies. It is one of Shakespeare’s shorter plays, and its themes are straightforward and easy to comprehend, which suits younger audiences. The play’s dark plot is absorbing and engaging for audiences of all ages who may be experiencing Shakespeare for the first time.

WTM’s Press Officer, Idgie, visited the Pavilion Theatre with her primary school to see a production of Macbeth by touring company, Shakespeare 4 Kidz, in 2000. She says:

"Being introduced to theatre and Shakespeare as a child inspired me to follow a career in the arts. I have an MA in Text and Performance from RADA and I have used my own creative practice to work in community engagement for several arts charities. Seeing Macbeth at the Pavilion was one of many formative experiences of the theatre that led me down this path - it’s led me right back to the Pavilion, in fact, as it's now my office!"

Idgie in a school play set in medieval Scotland, 2000

Why is 'The Scottish Play' unlucky?

"By the pricking of my thumbs,

Something wicked this way comes."

Macbeth’s reputation as a cursed play began almost immediately. It is thought that Macbeth became cursed by a real coven of witches, who were furious that Shakespeare had used actual incantations for the Weird Sisters’ prophecies.

The curse, according to theatrical superstition, is that speaking the name of the play inside a theatre, other than when called for in the script, will cause a disaster. Theatre professionals choose to call Macbeth by other names, such as ‘The Scottish Play’, and have various rituals for undoing the curse should it be evoked — usually involving spitting! It is also thought that Macbeth’s popularity plays into its reputation as an unlucky show, where a company will mount a production of Macbeth when facing financial difficulties, knowing it will find an audience.

Archival production shot from 'Macbeth', The Connaught, 1973

Falls off and on stage, injuries, accidents with props, technical failures, and financial trouble are common in the theatre. However, several notable productions of Macbeth have been marred by more extreme mishaps, such as theatres burning down, and even deaths, which has strengthened the play’s supernatural reputation.

Of course, the curse’s very existence means people may be more inclined to notice when an accident occurs in a production of Macbeth versus in any other play! Yet, it seems that the curse prevails: many noticed that Chris Rock spoke the name of the play at the 2022 Oscars, when he mentioned Denzel Washington’s performance in The Tragedy of Macbeth, shortly before receiving an unexpected slap to the face from Will Smith.

'Macbeth' Now

"All hail Macbeth, that shalt be King hereafter"

Ian McKellen & Judi Dench in 'Macbeth', 1976

Despite its uncanny reputation, playing the roles of Macbeth and Lady Macbeth is still a career goal for many actors, thanks to the characters’ complex power dynamics and the poetic text. Modern iterations of the play lend themselves well to exploring urgent socio-political themes.

Macbeth has had many adaptations over the centuries. Two of the stand-out stage productions both originated in Shakespeare’s birth-place, Stratford-upon-Avon, home of the Royal Shakespeare Company. In 1955, John Gielgud directed Laurence Olivier and his real-life wife, Vivien Leigh, as the Macbeths. Then, in 1976, Trevor Nunn directed Ian McKellen in the title role, playing against Judi Dench as Lady Macbeth. Both are critically considered to be definitive productions.

Other notable versions of Macbeth include Punchdrunk’s immersive promenade spectacle, Sleep No More; an animated TV film from 1992, featuring the vocal talents of Brian Cox and Zoë Wanamker; and Akira Kurosawa’s iconic film adaptation Throne of Blood (1957).

ETT’s new production is no different, presenting a visceral and truly modern version of this classic piece. A co-production with Northern Stage, Shakespeare North Playhouse and Théâtres de la Ville de Luxembourg, ETT’s Macbeth asks why the Scottish Play has haunted our fears and nightmares for centuries, and what lesson is it still urgently trying to communicate to us?

Richard Twyman, Artistic Director and CEO, and Sophie Scull, Executive Producer of ETT said, “Macbeth is a story that has seeped into our national consciousness… We hope that audiences the length and breadth of the country will find something both familiar and provocative in the story and society that unfolds on stage”

Given its mysterious legacy and lasting popularity, Macbeth deserves its position among Shakespeare's most beloved plays. If you haven’t experienced it for yourself, or want to revisit this masterpiece, why not “Screw your courage to the sticking place.” and book to see ETT’s Macbeth today.

ETT’s Macbeth will be on at the Connaught 5th-8th March 2024.

Book Here

Warm Welcome Spaces at the Connaught now open!

More timely than expected with today's snowfall, Fraser’s Bar at the Connaught Theatre opens as a warm space on Mondays.

For the second year in a row WTM are proud to be taking part in the Warm Welcome Spaces project, with support from Adur and Worthing Council.

The ongoing cost-of-living crisis means that millions of people across the UK are facing homelessness, energy poverty, or are unable to heat their homes.

We’ve joined a network of community organisations, libraries, businesses and other groups across the UK who have opened their doors to provide a warm and welcoming space to go to this winter.

Since 1st December 2023 Worthing Museum has been open as a Warm Space, providing a welcoming environment with free wifi, as well as the museum's excellent range of free displays and exhibitions for all ages. On Thursdays the Museum has offered free hot drinks, baked goods, and activity packs, as well as being joined by representatives from local support groups and charities. They are on hand to provide advice, support, and raise awareness.

Now, in Frasers bar at the Connaught on Mondays, visitors can find the same hot drinks, baked goods, support and activities, alongside a range of board games and a kindness rack of free warm clothes to take away. We have also donated free cinema tickets for Monday evenings and Saturday morning pictures. These are distributed through partnerships with local charities and advice giving community organisations who directly support those in need.

Locations, Times & Provisions

Fraser's Bar at the Connaught

Mondays until 11th March

3pm-8pm

Hot drinks & baked goods
Activity packs
Board Games
Kindness Rack warm clothes
Support group & charity representatives

Worthing Museum

Thursdays until 15th February

10am-8pm

Hot drinks & baked goods
Activity packs
Support group & charity representatives

The museum is free and open as a welcoming space to everyone on the following days & times:

Mondays & Wednesdays 10am – 5pm

Fridays & Saturdays 10am – 5pm

Sundays 11am – 3pm

If you have any further questions regarding our warm spaces project please see our page about it, or contact community@wtm.uk or you can visit the Adur & Worthing council website.

Explore the past, present, and future with our next season of contemporary performance

Here at WTM we’re all about contemporary dance, theatre and circus and have some amazing pieces coming up this year!

Kicking off 2024 we have a handful of mesmirising contemporary adaptations of literary icons, Alice in Wonderland and Tess of the D'Urbervilles. On top of that, we will have a whole range of evocative dance and circus pieces that contemplate our cultural past, present and future.

So take a look at all the exceptional pieces we have in early 2024!

ALiCE

Jasmin Vardimon Company

Book Here

Tues 16th Jan, 7:30pm, Connaught Theatre

Following the internationally acclaimed success of her adaptation of Pinocchio, award-winning choreographer Jasmin Vardimon’s newest creation is a re-imagining of the groundbreaking classic, Alice in Wonderland and promises a sensory feast of arresting images, powerful performers and striking kinetic scenery.

From £24.50 | Age guidance: 12+

Fault Lines

Lîla Dance

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Sat 17th Feb | 7:30pm | Connaught Theatre

Lîla Dance's piece blends stunning dance with immersive digital imagery, evocative writing, and cinematic music. Fault Lines pulls at the tension in our relationship with nature. When it feels like we are racing towards an unknown future, how can the enormity of climate change be made personal?

From £17.50 | Age guidance: 12+

RPM

Gorilla Circus

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Wed 3rd April | 7:30pm | Pavilion Theatre

Set on a large custom-built treadmill, RPM features a diverse cast of acrobatic tumblers, roller skaters and dancers. It seeks to question our perception of our colonial legacy on todays society and suggest untold links between modern-day problems, conflicts, and our country’s colonial past.

£16.50

https://youtu.be/LAs0s-iJdEM

Lore

James Wilton Dance

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Tues 30th April | 7:30pm | Connaught Theatre

Get ready for a folklore-inspired journey into a pagan world of gods, demons and humans, all embodied through otherworldly athleticism. Lore is about connection to nature, making you feel the energy that flows from the ground, through our bodies and back into the earth.

£19.50 | Age guidance: 11+

TESS

Ockham's Razor

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16th - 18th May | 7pm | Pavilion Theatre

This new dance/circus performance is based on the novel Tess of the D’Urbervilles by Thomas Hardy. The classic novel still has extraordinary relevance for contemporary audiences as it explores questions of privilege, class, poverty, agency, female desire and solidarity.

From £19.00 | Age guidance: 12+ (adult themes)

https://vimeo.com/878310993

WTM has even more to offer from comedy and music, to workshops and talks. Explore what’s on, and join us this spring for exciting arts and heritage events.

What's On

What’s on for kids: Spring 2024

It's a new year, which means a new batch of fantastic theatre shows and workshops for kids!

This spring promises a brilliant mix of returning old favourites, like The Sooty Show and Fireman Sam LIVE, as well as new, inspiring work to entertain your little ones. On top of that, we have some wonderful creative workshops to keep them occupied in the school holidays!

So take a look at everything we have to offer your family this Spring.

Theatre

Comedy Club 4 Kids

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Thurs 15th Feb | 2:30pm | Pavilion Atrium

Comedy Club 4 Kids gets the best stand-ups, sketch acts and cabaret stars from the international circuit to do their thing for an audience of children and their families… but without the rude bits!

£11 | Age guidance: 6+

"A highlight for children in recent years, giving them a taste of some of the biggest names in comedy... with the fun, rowdy feel of a real comedy club" - The Guardian

Four Seasons

Little Bulb Theatre

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Sun 25th Feb | 11am & 2pm | Pavilion Atrium

Four Seasons is a theatrical love letter to nature. Expect enchanting and innovative theatre featuring puppetry, physical theatre and clowning fun

£12.50 | Age guidance: 3-7

The Sooty Show

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Sat 2nd Mar | 11am & 2pm | Pavilion Theatre

Celebrating 75 amazing years in show business, Sooty, Sweep and Soo are planning an exceptional birthday party and you’re all invited. However, in true Sooty style, nothing goes to plan!

£20 | Age guidance: 12+

Choogh Choogh

Beeja

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Sat 30th March | 11am & 1:15pm | Pavilion Atrium

All aboard for a delightful train journey through India! Experience the sights, sounds and smells evoked through South Asian dance, music and theatre; and meet some amazing characters along the way.

£9 | Age guidance: 2-7

Fireman Sam LIVE

The Great Camping Adventure

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Sat 6th April | 12pm & 6:30pm | Pavilion Theatre

The family event of the season - witness Fireman Sam in action as he bravely strives to save the day!

£19 | Age guidance: 3+

YolanDa's Band Jam

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Sat 25th May | 2:30pm | Pavilion Theatre

Come and enjoy a live version of the acclaimed CBeebies TV show! Dubbed “Jools Holland for kids”, YolanDa’s Band Jam encourages children to discover the joys of music through dancing, singing and playing!

£19 | Age guidance: 3+

Workshops

At Worthing Museum

Soap Carving

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Wed 14th Feb | 11am-12:30pm

£5.50 | Age guidance: 7-11

Textile Creations

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Sat 7th Feb | 11am-12:30pm

£15 | Age guidance: 7+

Matchbox Crafts

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Wed 3rd April | 11am-12:30pm

£5.50 | Age guidance: 7-11

Creative Creatures

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Thurs 4th April | 11am-12:30pm

£5.50 | Age guidance: 7-11

Making History (Vikings)

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Thurs 11th April | 11am-12:30pm

£5.50 | Age guidance: 7-11

Making Bracelets

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Wed 29th May | 11am-12:30pm

£5.50 | Age guidance: 7-11

WTM has even more to offer audiences of all ages. Explore what's on, and join us this spring for exciting arts and heritage events.

What's On

Connaught Cinema: Top 10 films of 2023

To finish off the year, we're joined by WTM's resident Film & Cinema expert, James Tully. He's here to give us the rundown of this year's Connaught Cinema Top 10 films, as voted for by WTM staff.

Connaught Cinema: Staff Top 10 Films

by James Tully

As we approach the end of the year, there’s a tendency to collectively assess the previous twelve months and see what we’ve achieved. End of year lists have been a thing for magazines and TV shows for many years now and we’ve been running our staff Top 10 films of the year since 2014. So, this marks our tenth year of collating this information and celebrating the best films we saw.

Winners from the last Ten Years

2014 – The Grand Budapest Hotel

2015 – Mad Max: Fury Road

2016 - Anthropoid

2017 - Dunkirk

2018 – Three Billboards Outside Ebbing, Missouri

2019 – The Favourite

2020 - 1917

2021 – No Time to Die

2022 – Top Gun: Maverick

Real Movie Lovers

Our staff team is a real mix of people, with volunteers from across our live venues and the Museum. What they all have in common is a passion for arts, and that they are all local to Worthing and the surrounding areas. The thing I love about our top lists of the year is that there is no ego involved. This is a list voted for by real people who watch movies. Sometimes our staff will watch movies over and over and over again!

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Due to the quirk of being voted for by a real team of people the list is very eclectic, which I love, featuring a mix of arthouse movies and blockbusters. It almost always includes a movie that most critics wouldn't touch with a bargepole! I can’t say I’m on board with all the choices here – in fact there’s a couple on here I actively dislike, but that’s democracy!

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2 The Top 10: Highlights

Our list is topped by Barbie, a film which I really enjoyed and was delighted to see get the success it deserves. It doesn’t feature in my personal Top 10 but hey-ho! I was also glad to see EO pop into the list, a small budget foreign language film about a donkey. A few of our team were lucky enough to see The Boy and The Heron at festivals and those votes saw it sneak in to the list, last minute. I suspect if it was released earlier it would have been higher.

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At the Connaught Cinema we love discussing movies so get on over to our facebook page and let us know your favourites. We’re always interested to hear what our customers have been enjoying.

We would like to thank our wonderful supporters, volunteers and community for another special year at the Connaught Cinema. If you are interested in volunteering at WTM, please email volunteer@wtm.uk

Find out what's on at the Connaught Cinema now.

What's On

Fit for the Future: the Assembly Hall turns 90!

The Assembly Hall turns 90 in 2024 and over the decades it has remained a well-loved space, playing host to big names and big bands.

The Assembly Hall is iconic, but we are well aware that some of its facilities are in desperate need of updating. That’s why we’ve started our Fit for The Future fundraiser - to ensure the Assembly Hall can keep functioning for another 90 years!

What will the money do?

The Fit for the Future campaign aims to update and improve the Assembly Hall’s facilities for everyone. We will do this by:

Updating the seating in the Assembly Hall
Improving our audiences’ experience in the space
Ensuring the venue is fit for purpose and can be enjoyed by future generations.

Accessibility and comfort are priorities across our venues; we have already started improving accessibility in the Connaught and the Pavillion. Here, hearing assistance induction loops are available, or infrared over-ear headphones can be used by those who need audio descriptions in the cinema.

Worthing Symphony Orchestra in the Assembly Hall

The Assembly Hall through the decades

At 90 years old, Assembly Hall is actually one of the youngest venues run by WTM! Built in 1934 in contemporary modernist and art deco styles, Assembly Hall is our largest venue, and has played an important role in Worthing’s cultural offer for nearly a century.

Assembly Hall is renowned as one of the best acoustically equipped concert halls in the UK. It has hosted incredible musical acts, such as David Bowie, The Who, ELO, Status Quo, Black Sabbath, Genesis, and Motörhead. Now, you'll find a wide range of music and big-name comedy events on its stage.

It is also home to Worthing Symphony Orchestra, West Sussex’s only professional orchestra who rehearse in the space weekly.

Thanks to its acoustic prowess, Assembly Hall also houses the largest Wurlitzer organ in Europe, which lives beneath the stage and is played during regular concerts by leading organists. Information about upcoming performances from WSO and the Wurlitzer can be found here.

Vera Lynn performing alongside the Wurlitzer

How you can help

You can donate to our Fit for the Future campaign online, following the button below. If you would like to donate another way, please call the box office on 01903 206206.

Donate Here

If you would like to speak to us further about our plans for Assembly Hall, please contact our Development Team. We are committed to improving our venues across the charity, and we thank you for supporting us in this way.

Coming soon: Watch this space to find out more about our collaboration with The Sand Project on redecorating the main Assembly Hall dressing room!

Heartwarming and hilarious! The reviews are in for Sleeping Beauty: The Pantomime

Following a wonderful Press Night on December 7th this year's DREAM of a pantomime has been described as our best one yet!

We're half way through the run of Sleeping Beauty: The Pantomime. This show is not to be missed, so read on to find out what reviewers and audiences think - and get your tickets while you can!

https://www.youtube.com/watch?v=XUXb6sPV-BU

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Young Reviewers

This year we were pleased to invite a group of Young Reviewers to see the panto. These young people are passionate about theatre, and were able to come and experience a real press night. Tasked with writing a review of the show, here's what they had to say:

Lily

This irreverent production is everything you want in a panto – the pantomime dame (Ross Muir), well loved songs, laughter, ‘oh no it isn’t’ banter and amazing costumes and set – all with a Guinness world record breaking juggler (Jay Rawlings) thrown in for good measure.

Is evil Underlord Patrick Monohan (or Underpants as he becomes known) the most entertaining pantomime villain ever? Yes!! His mischievous villainy awaits those who sit in the front row at their peril.

This is the first leading role for Marcavia McCarthy as Princess Ariana (Sleeping Beauty) and by the standard of this show, she is sure to have a bright future. Celebrity Michael Auger is inspired casting as Michael the Gardener. A Prince Charming for our times (waking the princess with a rose rather than a kiss), Michael’s clean good looks are the subject of gentle teasing throughout the show, culminating in a hilarious take-off of the Diet Coke Break ad to the tune of ‘I just want to make love to you’.

But it is Katie Pritchard, as fairy Amethyst, who steals the show with her incredible singing – what a voice!

In my opinion, if you are looking for an outing with the family this Christmas holiday, this is the show to see!

Young Reviewer

Wonderful performance filled with amazing songs and talented performers. A magical retelling of Sleeping Beauty for the whole family with a set that transports you back (and forth) in time and lighting and special effects to match.
Muddles never ceased to entertain with his skillful juggling acts and the Evil Underlord is one evil dude (also a great rapper)! The audience engagement made the performance the awesome experience that it was and so did the amazing singing voice of Amethyst the fairy (her spells weren’t too bad either).
Sleeping Beauty really fit the part and lit up the stage with her beauty and talent, as did her mother, Dorothia.
The jokes were current and hilarious with references the whole family could understand. There was high visibility of the stage from all seats in the house and no audience member was safe from the jokes of the Evil Underlord. The dances blew us away, some even terrified us too, and my 12 year old said it was the best pantomime he’d ever been to.
If you are looking for a traditional pantomime or a truly a great night out with the family, Sleeping Beauty is worth going to Worthing for.

Young Reviewer

I must admit that I do not like pantomimes much, they are too loud, and I would usually just go and watch a normal show. Because of this I had exceptionally low expectations walking into this performance, but I did enjoy it very much and it is the best pantomime performance that I have ever seen and was extremely entertaining.

I would recommend this pantomime to any child or adult. One of my favourite parts of this pantomime was the interactions with the audience- and I think that the actor who portrayed this the best was the Evil Underlord as he improvised jokes with the audience as well for example, “Pringles” and bringing members of the audience up on to the stage which enhanced the experience as a member of the audience.

Some of my favorite lines in the play were “Stop eating pringles,” “I always thought that you two would make a good couple” and “Oh that boy.” I also enjoyed some of the directors’ choices to add a comedy asset to the play for example: the Barbie scene, Eminem, the Tardis sound playing when we leapt one hundred years into the future and other modern themes added into the performance.

My favorite character was Muddles: as not only did he have and excellent personality as a character, but the actor plays him very well and stayed in character the entire time; he also had a lot of stage skills for example: he could balance lots of items on his chin and juggle lots of items as well.

One thing that I must note that I found impressive is the side characters (non-named characters) is the time in which they had gotten changed as they would go from scene to scene changing extremely fast- not just clothes but sometimes accessories as well for example: the wigs that were used for the kens in the barbie scene.

My favorite backdrop (by far) was the beginning one with just the fairy on stage but with the story she is telling and the curtain where you can see through when light is shined on it, this was a nice choice on the directors behalf as it shows the story going on behind but using the cloth: implies the idea that it is not in real time but rather in the past. I enjoyed the costume designing for this show as most of the characters did not change costume at all however, for the characters that did change costumes they kept the same characteristics for example for the queen of the play she would have over the top sparkly colorful clothes on with a pink wig for Barbie and though this outfit was only seen on stage for about two minutes all of her other outfits were over the top just like that one.

One of the things that I think could have been improved on in this performance was the length of it (Not to be extended) I did not mind the overall length of the show, however, I felt that even though every joke that was said was funny, some of them went on for too long and stopped being funny and that was the only thing that I thought could have been improved on.

Another thing that I just loved about this pantomime was the lighting as when some of the music battles came on the light colour would change depending on who was singing and when the bad guys snuck up on the good guys the lights would go red and darker.

In conclusion, this performance was executed well and was fun to watch with great actors, modern adaptations, lighting, costumes, and an overall high-quality performance.

Local Reviews

Dad la Soul, Fatherhood & Family News

"The fantastic Patrick Monahan as the Evil Underlord, whose ability to work the audience, adlib, and storm the venue like a force of nature, is an utter joy to behold"

"In an ever-changing world, this is pure escapism. It is distinctly daft, distinctly British, and most definitely a Christmas tradition that should never be allowed to die.

RachaelJess, local family & lifestyle blog

"The entire cast was fantastic, there was a small ensemble this year with several of them making this their Pantomime debut, but you never would have guessed and although a small group their presence filled the stage."

"As always, the Panto was full of fun and laughter and lots of audience participation"

Latest TV, William Ranieri

"It gave you a lighthearted, well choreographed romp through many styles of theatre with a sly and not so subtle wink. Everyone in the family or your cynical friendship group will come out feeling happier"

"...if you're looking for a heartwarming night out, I would definitely recommend this show."

Mummy's Waisted, local family & lifestyle blog

"Ross Muir returns as Queen Dorothea, a restrained but still endearing dame. Jay Rawlings... really stuns with amazing juggling and balance tricks. He’s born to perform and was a great addition to the cast."

"With a great set of pipes and natural comedic talent, Katie [Pritchard] is great in every scene and really brings the whole story together."

"Hilarious from the start, Patrick [Monahan] is a superb pantomime villain with bags of energy and quick witted ad-lib. There’s plenty of audience participation involved when Patrick is around, but all very light hearted (and completely side-splitting!)"

UK Theatre Web ★★★★

"Sleeping Beauty at the Pavilion theatre is a festive delight... the show is filled with fun and frolics from this talented group of entertainers."

"Jay Rawlings as Muddles the Jester is a delight to watch. His juggling skills and other circus talents are extremely impressive and his tricks with props kept us mesmerised."

"Ross Muir as Queen Dorothia is a wonderful Dame. He has a Kenneth Williams air about him and delivers his lines with a delightful edge, especially his more risqué ones, and there were a few of those."

"Michael the gardener (Michael Auger) is a natural leading man who plays up well to the lines about his good looks. He also has an excellent singing voice and some lovely subtle dialogue which matches his squeeky clean image."

"Marcavia McCarthy is lovely as Princess Ariana and her singing and dancing talents are put to good use in this part."

"It blends traditional elements of Pantomime we all love with modern jokes and delivers it all extremely well. I would recommend going to see this lovely show to put you in a great mood during the festive season."

A huge thank you to our reviewers, guests, and community who have come to see Sleeping Beauty: The Pantomime. Tickets are selling fast so don't miss out!

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This year's pantomime has been generously sponsored by Bennett Griffin, Lancing Prep Worthing, Bird and Blend, and Reflections Nursery and Forest School.

Panto-Big-Image

“That’s not Pantomime…” Oh yes it is! The Evolution of Pantomime with Paul Holman

Pantomime is a cornerstone of the festive period and has been so for centuries. Always interactive and endlessly silly, pantomime can be relied upon for a warming, festive experience, complete with gorgeous costumes and sets. But what is it about panto that has stood the test of time?

To find out, we had a discussion with Paul Holman, the founder of Paul Holman Associates (PHA), one of the country’s leading pantomime producers. WTM have collaborated with PHA on our pantomimes for many years and we wanted to know more about where Paul's love for panto came from, and where he sees the artform going.

Paul Holman gets ‘the bug’

Paul began his career as a producer around the age of 13, hiring a local 200 seat hall and producing a revue show. He says, “Someone once asked me, ‘What would have happened if nobody had turned up?’ and I just said, ‘Oh, I never thought about that - I just assumed we’d be full!’” And he was right! Paul unknowingly took a risk but it paid off. Thus began his life-long profession - fuelled by the boldness of youth and a seemingly innate understanding of what people want to see.

He’d caught the ‘theatre bug’ when he was much younger, when a variety of performers from the Lowestoft Hippodrome would park their trailers and caravans in the backyard of his Grandmother’s pub. They once hosted an act involving a lion, which kept baby Paul up all night with its roaring.

Surrounded by performers, with parents who worked all hours at the pub, Paul would keep himself out of trouble by going to see the shows at his local theatres, including the pantomimes: “We had an act in our backyard... They took me down [to the theatre], and I stood in the wings for the first 20 minutes of Jack and The Beanstalk, and I think I got a bit too near the stage so they yanked me off! But I would have been about 9 and I can remember that show - and I could sing all the songs, and I can remember all of the artists in it.”

He knows he was lucky to have grown up in an environment like this, it's given him a knowledge of the theatre world beyond his years, yet feels first hand. There’s an unerring confidence about Paul, that is naturally downplayed with humour. He’s tenacious, a bit cheeky, and clearly passionate about what he does. He’s a natural raconteur, with an impressive memory for shows he’s seen and produced. He has done it all, and has a star-studded anecdote for any occasion. But on top of his deep knowledge of performance history, and his expert levels of what makes a pantomime, Paul is resolutely committed to allowing panto to evolve as an artform.

The Evolution of Pantomime

Paul reflected on how panto has evolved and changed over the span of his career: “A lot of the old actors tell me I’m not doing traditional pantomime. But any time that happens, I bring it back to the question, ‘What do you mean by traditional?’” It’s a good point to raise - traditions of any kind tend to be shaped and remoulded over time to fit modern life and expectations. Evolution is essential in entertainment to keep audiences engaged and so, even panto traditions can change.

Radio Host and Commedian, Tony Brandon in 'Cinderella', Connaught Theatre, 1977

He presents a potted history of how pantomime has changed over the last 150 years, saying that each new transformation in pantomime was met with resistance. He begins with the Victorians introducing Music Hall performers to panto in the late 19th century, before jumping to the use of pop stars and Palladium variety acts from the 1950s and 1960s onwards. Then, the last 40 years has seen the rise of TV personalities such as Gladiators, soap stars, presenters, and reality TV contestants.

Paul points out that the type of acts seen in panto always moves with the times, and always faces an initial backlash, before becoming the standard of their time: “People say, ‘That’s not pantomime’ and it goes on and on… We’ve been there before, we’ve seen it before.”

As Paul says, pantomime evolving is nothing new. Longstanding pantomime tropes include audience participation, gender swapped characters, animal sidekicks, and of course, music. These have emerged from an amalgamation of several European performance traditions, such as the folkloric frivolity of the Middle Ages’ Mummers plays, and the slapstick comedy and clowning of commedia dell'arte.

It is an artform that has grown, almost organically, from a collection of different performance styles, which may explain why it is well adapted to continuously change to fit modern entertainment values. Changes to pantomime traditions are directly related to developments in entertainment as a whole.

Paul recognises that traditions in art have to be approached with a sense of fluidity: “It has to evolve otherwise you might as well pack up and go home.”

He has an instinct for what people will enjoy, whether or not it’s classed as traditional panto. “But what is tradition?” He posits, “I actually don’t really know! I think it's what people saw, or what they remember, from when they were a child.”

Panto Now

This year, WTM is presenting its dreamiest panto yet - Sleeping Beauty: The Pantomime, featuring a stellar cast of singers, dancers and comedians. WTM have adapted the Sleeping Beauty story to have the princess woken from her sleep by a magic rose, instead of a kiss, to reflect modern sensibilities on presenting consensual relationships. PHA allows each of their productions to be tailored to venues in this way, ensuring a collaborative creative process in developing its pantomimes. “We do a different show, because you asked to do it differently. People might ask ‘Why have you got a gardener in Sleeping Beauty’, and I’d just say, ‘Why not?’” Paul’s focus is more on ensuring audiences have a good time:

“We’re making entertainment. My prime objective in pantomime is that it has to be funny. If people don’t have a good laugh then they haven’t enjoyed the show.”

Along with the laughs, Sleeping Beauty: The Pantomime is packed full of spectacle with incredible circus skills, dance, puppetry and, of course, a bit of theatre magic!

Paul’s successes come from his commitment to producing fun and entertaining pantomimes. His aim of keeping his pantomimes relevant is therefore a testament to his deep understanding of the ever-evolving industry he has “lived and breathed” for most of his life. WTM looks forward to many more years of working with PHA on our wonderful pantomimes.

Sleeping Beauty: the Pantomime is running until 1st January 2024.

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https://youtu.be/XUXb6sPV-BU?feature=shared

WTM's pantomime has been made possible by our generous sponsors Bennett Griffin, Lancing Prep Worthing, Bird and Blend, and Reflections Nursery and Forest School.

Tickbox: Lubna Kerr on her one-woman show

This December we are welcoming actress and comedian, Lubna Kerr, to the Connaught Studio with her semi-autobiographical one-woman show, Tickbox.

A pharmacist by trade, Lubna Kerr balances her work for the NHS with her burgeoning career as a comedian, writer and performer. Through Tickbox, Lubna explores the racial inequality and prejudice faced by her successful, middle-class parents in their migration from Pakistan to Scotland. It may sound hard-hitting, but Lubna is here to celebrate their story, and share their enduring legacy.

We caught up with Lubna to find out more about Tickbox, and her journey of creating this personal and heartfelt piece.

Hi Lubna, tell us about Tickbox, and what brought you to create the piece at this time?

Tickbox is a semi-autobiographical story about my parents journey from a middle-class life in Pakistan, when my father got a scholarship to do a PhD in chemistry from Strathclyde University. He got my mum to come and live in Govan, Glasgow, which is not middle-class. So it tells the story of what it was like, in terms of racism, discrimination and injustices that they faced. I feel younger people of colour don’t understand – don’t realise that they are not the first [generation] to experience this? And their grandparents have been through it all before.

The inspiration is really my parents because, without giving it away, they both left legacies, and you hear about them in the play. Fantastic legacies, that you don’t hear about Pakistani people, because unfortunately the media often paints Pakistani people in a very bad way. And I think that’s really really unfair.

So I wanted to keep my parents’ memory alive, I wanted to share their legacy, I wanted to paint a good, honest story about Pakistani life – and about Pakistani people who have changed people’s lives.

And the other reason [I developed this show] was because I am an actress, and as an older female of colour I have struggled to get parts. I came into the arts much later in life – I’ve only been an actress for the last 13 years, so I’m not in with the people who went to RADA, LAMDA, who’ve known each other from the start. It’s like coming into an established group of friends, and you’re like “Hi! Hello! Pick me! I’m an actress!” they’re like “Who the hell are you?”… You’ve got to earn your stripes. Like a plumber would only have to do 4 years training? but I’ve got to do- I don’t know how many years before they might look at me and say “Aye, she’s not actually that bad, you know!” So I love being on stage and I love performing and if people won’t pick me, I will write my own stuff and tour it.

…If you wanted a short answer you haven’t got one!

It’s an incredibly personal piece, and yet also about the people around you - Have your family seen the show? What do they make of it?

Yes, my family have seen the show, and they love it. They love it.

My sister’s comment was “Why am I not in it?!”

My children have seen it as well. I have 3 children – I don’t know what it is about children but they just want their parents to be normal! But it doesn’t matter, I’m doing it anyway!

What do you hope people take away from the piece?

I want them to take away that actually underneath our colour, we’re all the same. We have the same joys and needs and sadness. We have more in common than we have differences… And the fact that I’m a fantastic actress!

As an NHS worker and a performer, have you ever had a strange moment when your two careers collided?

I work in a hospital environment, and I run clinics for people with diabetes, and they like to try and connect with me on facebook, and I don’t do that because they’re my patients! I can’t do that! They’ll say “Dr Lubna, I connected with you and you did not accept!” And they’ll be at the appointment and I’m like, “We’re here to talk about your diabetes!”

If you could go back and talk to young Lubna, who was going through the things you went through, what would you tell her?

I would tell her to stick to what she believes in and not be scared to put her head above the parapet – it might get rocked from side to side, but inside you’ll know you’re on the right path. I am a person who has always put her head above the parapet. Because I always feel like I need to do the right thing. Sometimes it’s sticking up for me, sometimes sticking up for others, sometimes sticking up for a cause. And your cause might not be en vogue, you might be sticking up for an underdog – but I’m Scottish, we’re always underdogs, especially in football!

I’d want to say: “stick at it believe in yourself, know that you’re doing the right thing, follow your gut because you’ll never go in the wrong direction if you do what you feel is the right thing.”

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Sum up Tickbox in 3 words

Entertaining, Funny, Reflective

We can’t wait to have you here in Worthing!

It would be great to have a good turnout – of all backgrounds, because the play is for everybody. Doesn’t matter what colour, what background you are – it’s funny, entertaining and reflective! This show resonates with everybody. I’ve had audiences who were all white, I’ve had audiences who were 90% people of colour, I’ve had 50/50 – I’ve had all ratios, and they’ve all loved it!

Oh, what I would like is a Netflix special! Netflix people if you’re reading this come and see the show!

Thank you, Lubna!

Lubna will soon produce a Tickbox book that expands on her parents’ story. She says “If there’s a benefactor that wants to help me get started that would be much appreciated!”

She will also be working on a sequel piece, Chatterbox, exploring the labels that we are assigned through our lives.

Tickbox is on in the Connaught Studio, December 5th at 7pm. The performance will be followed by a Q&A with Lubna.

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HAF Christmas 2023

We’re delighted to be delivering free workshops and activities in Worthing as part of West Sussex County Council’s Holiday Activities and Food (HAF) scheme.

You can book a place for your child on the Council’s website here. Please note that you will need to create an account to access this information, and can register here.

These free spaces are limited, and booking is subject to availability.

Activity 1

HAF Wonka
Activity 1

Enchanting 'Wonka' Film and Creative festive crafting session

Join us at Worthing Theatres and Museums for a magical day of free holiday fun this Christmas. In the morning you can enjoy a creative craft workshop at Worthing Museum, where you will make festive crafts and discover the joy of the season. We’ll also connect you with free community resources available year-round to keep the creativity flowing.

After crafting, there will be a chance to have a delicious hot lunch to fuel up for an exciting afternoon.

Then, you will be able to immerse yourselves in the enchanting world of ‘Wonka’ at the Connaught Cinema, a brand-new family film for the holidays. It’s a day filled with imagination and cinematic wonder, creating unforgettable moments for everyone.

This event is our way of making special memories for the community, celebrating creativity, fun, and laughter. We can’t wait to welcome you to these festive celebrations!

The screening will be open to the general public.

LOCATION

Worthing Museum and Art Gallery, Chapel Rd, Worthing BN11 1HP

DATE

18/12/23 & 21/12/23

Book your place on the Council website via the link below.

Book now
Book now

Activity 2

HAF PANTO
Activity 2

A magical Pantomime performance and Creative festive crafting session

Join us at Worthing Theatres and Museums for a magical day of free holiday fun this Christmas. In the morning, you can enjoy a creative craft workshop at Worthing Museum, making festive crafts and discovering the joy of the season. We’ll also connect you with free community resources available year-round to keep your creativity flowing.

After crafting, relish a delicious hot lunch to prepare for an exciting afternoon.

Then, immerse yourselves in the enchanting world of Worthing’s dreamiest panto at the Pavilion Theatre with Sleeping Beauty: Step into a fairy-tale world of magical castles and an enchanted sleep that only the smell from a rose can break. With stunning sets, mesmerising music, and plenty of laughter, it’s the perfect festive treat for everyone.

This event is our way of making special memories for the community, celebrating creativity, fun, and laughter. We can’t wait to welcome you to these festive celebrations.

The performance will be open to the general public.

LOCATION

Worthing Museum and Art Gallery, Chapel Rd, Worthing BN11 1HP

DATE

19/12/23 (please note this will be a relaxed performance) & 22/12/23

Book your place on the Council website via the link below.

Book now
Book now

It’s Panto Season! Meet the cast of WTM’s Sleeping Beauty: The Pantomime

There’s only a few more sleeps until our latest panto is in full swing here at WTM - and we are excited to present our dreamiest show yet, Sleeping Beauty: The Pantomime.

To get everyone in the panto spirit, we’ve caught up with three of our stars (Oh, yes we did!) to find out more about them and what they love most about panto!

Michael Auger

Michael, The Royal Gardener

As part of vocal group 'Collabro', Michael Auger, won the eighth series of Britain’s Got Talent with the largest majority vote in the show’s history. Collabro went on to be the world's number one Musical Theatre Boyband, releasing five studio albums and touring the UK, Asia, Canada and the US.

Michael plays our dashing hero, Micahel the Royal Gardener.

Hi Michael! Tell us about your character and what you like about him.

I play Michael the Royal Gardener, who is friends with the princess. I like the way he remains humble and always looks out for his friends and colleagues.

What do you do to prepare for your role - do you have any pre-show rituals?

I am singing quite a lot of songs in this pantomime so I will need to make sure my vocal cords are warm before each show. I do this by performing lots of vocal warm up techniques and also I like to jog on the spot to stay warm at the same time!

There will be a lot of Collabro fans in the audience, what song are you most excited to perform for them?

I’m really looking forward to singing ‘Kiss From A Rose’ originally by Seal. I’ve never sung it before so it’s special for this pantomime – and very fitting as the royal gardener as I wake Sleeping Beauty with an enchanted rose.

What do you enjoy most about panto season?

I absolutely love the bond created with the rest of the cast and crew in panto. There are multiple shows a day and it’s an intense rehearsal schedule so you become like family pretty quickly! Also it’s at Christmas time so seeing all the audience in Christmas spirit, joining in and getting excited adds to our fun on stage!

If you could grow real magic plants what would you plant and what would it do?

I would plant a LEGO tree. I’m imagining you plant individual bricks and then hanging off the branches are boxes of LEGO.

What message do you think this panto will leave audiences with?

I’m hopeful audiences will find the show uplifting – and with a message that love and friendship conquers all.

Thank you, Michael.

After Sleeping Beauty: The Pantomime, you can see Micahel Auger on satge with COLLABRO one final time to celebrate 10 years since winning Britains Got Talent, Birmingham Symphony Hall, Friday 7th June 2024.

Marcavia McCarthy

Princess Ariana

Marcavia is an outstanding singer, dancer and actor. She recently graduated from University of Chichester’s reknowned Musical Theatre BA ‘Triple Threat’ programme.

Marcavia is returning to the coastal county for this starring role as the panto's titular princess!

Hi Marcavia! Tell us about yourself.

Hi, my name is Marcavia McCarthy, I grew up in South East London and am a recent graduate from the University of Chichester; having studied Musical Theatre I am an absolute lover of all things arts, imagination and storytelling.

We are so excited to have you here with us - tell us about your time training in Sussex!

I absolutely loved my time training in Sussex, uni has been some of the best three years of my life, having both gained valuable skills, life experience, and great memories that I will remember forever.

The character of Sleeping Beauty is well known - what’s your Sleeping Beauty like?

This take on the Sleeping Beauty will have all the same elegance and sophistication as the well known princess, but will also be a lot more feisty, determined and courageous.

If you were asleep for 100 years what would be the first thing you’d do when you woke up?

I think if I were asleep for 100 years and had woken up, the first thing I would probably do is wash my face and brush my teeth out of habit and then watch the news and try to catch up on what I had missed over the past 100 years.

What do you think children will most enjoy when they see this show?

I think that children will most enjoy seeing the wonderful and vibrant range of characters in this year’s panto, as well as all the funny shenanigans that they get up to.

What are you looking forward to with this show?

With this year’s panto I am most looking forward to being able to do what I love, that being performing and storytelling, and being able to share this with the audience. But, most importantly, I’m looking forward to being in the glittery and magical world of this year’s panto.

Thank you, Marcavia!

You can follow Marcavia on instagram: @m_ezra_

Katie Pritchard

Fairy Amethyst

Katie is an award-winning comedian, musician, West End & TV actor and artist. Gilded with glitz and shimmering with sparkle, the hilarious Katie will be waving her magic wand as she returns to Worthing Panto for the fourth consecutive year.

Katie is playing the Amethyst Fairy, bringing in her own unique, award-winning style to the role.

Hi Katie! Tell us about yourself and your role.

Hello! I am Katie Pritchard and I am a tiny idiot who likes to prance around onstage and have loads of fun. And this year I will be playing the role of Fairy Amethyst in Sleeping Beauty. She is a magical fairy who tries to help – “tries” being the operative word here! The costume is fab and the cast is sublime, so I think I’m going to have loads of fun this year being back at Worthing Pavilion Theatre!

What do you like most about your character, Fairy Amethyst?

I love that Fairy Amethyst doesn’t take herself too seriously! She’s magical, sure, but she’s also up for a laugh!

If you had a real magic wand what would be the first thing you’d do with it?

Magic myself a portable step ladder that can walk next to me and be available if I need to reach things down from top shelves at home or in the supermarkets, or in shoe shops where they always put the smallest shoes at the top?! Make it make sense!

This is your fourth panto here at WTM and we are thrilled to have you back! What do you enjoy most about being part of the WTM panto?

I love that all the lovely crew and theatre staff and audiences make me feel like I’m at home! It can be hard being away from home at Christmas, but having great people around makes it a whole bunch easier! I also love that people on twitter/x still message me about ‘The Eggs Go Into The Cake’ song – makes me laugh every time! Weeeeeeee MIX IT IN WE FOLD IT IN WE BAKE IT IN THE BAKING TIN!!!

And also – THOSE VIEWS! Oh my word, the views from the theatre over the beach and pier are simply sublime! Every sunrise and sunset here takes my breath away.

Is there a particular element of this production that you’re most excited about?

I can’t wait to see what they do with the set! Worthing pantos always look so beautiful! And the props that the students from Northbrook College make are incredible – we’re always in the rehearsal rooms discussing our favourite props!

What do you think families will enjoy most about this show

I think there’s something for everyone in this show – great songs, hilarious characters, lovely cast members, and a great front of house team to make you feel right at home! All the characters are very fun and there’ll be loads of chances for joining in, and booing and cheering! And I can’t wait to be back!

Thank you, Katie!

After Sleeping Beauty: The Pantomime, you can find Katie hosting the brilliantly bonkers Broadway Bingo in January. You can find Katie on all the socials: @katiepritchards

Sleeping Beauty: The Pantomime is at the Pavilion Theatre from Friday 1st December 2023 - Monday 1st January 2024. Tickets on sale now.

https://youtu.be/XUXb6sPV-BU?feature=shared

100% Project: Volunteering at WTM

We are very pleased to present our volunteer, Nina, who has contributed this post as part of her experience of the marketing team for the 100% Project. Thank you, Nina!

Hi, I am Nina! I am one of the 100% Project participants and I have enjoyed volunteering at WTM over the past few months.

The 100% Project is a WTM work experience initiative, providing a program of opportunities within 100 volunteer hours. Across 5 departments of WTM, it aims to gives participants a great taste of how an organization runs day-to-day.

Championing WTM's vision and mission of 'providing accessible pathways to experience creativity', and promoting a culture of inclusivity, the project aims to increase accessibility into the arts industry. It gives participants great insight and first-hand experience into operations across various departments including: Customer Experience, Marketing, Event Programming, Museum and Heritage, Technical and Facilities, and HR and Finance.

What's the project for?

You might think of a work experience scheme as something that only appeals to young people, school-leavers or older people looking to fill their time; however, the 100% Project is open to anyone aged 18 and over and welcomes applicants returning to the workforce or looking for a change of career.

For me, feeling like I was on the wrong side of 40, and with a demanding job and young family, I hadn't considered volunteering before. When I found myself on a mid-career break - where I wanted to seize the opportunity to recharge, reassess and reflect on my career and life goals and values - I unexpectedly found myself with some welcome time on my hands.

That's when I saw the call out for 100% volunteers, and grabbed the chance to upskill myself in all that's involved in working in an arts organization, as this had always been an area of personal interest.

Volunteering during this time of reflection and change has given me the opportunity to develop new skills, as well as meet and feel part of a very talented team of people. It has helped me recognize my existing skills and knowledge, and has improved my confidence and self-esteem by giving me the chance to positively contribute my own expertise and skills.

Sounds like your cup of tea?

If you think volunteering might be for you, find out more about the 100% Project HERE.

WTM are currently looking for volunteers to assist with their upcoming events, such as the very popular Sleeping Beauty: The Pantomime, as well as with their films & live screenings at the Connaught Cinema and Museum front desk & shop. WTM and are holding a volunteer recruitment event on Monday 13th November.

Anyone wanting to join should fill out the volunteer application form, please click HERE.

Don't worry, if you haven't done anything like this before, volunteers receive full training. You also get volunteer benefits, so don't be shy, give it a try! Like me, you might find you get loads out of it, and also feel just as good about what you are putting in.

Celebrating our trustees – Trustees’ Week 2023

We're celebrating Trustees Week this year, running from 6th to 10th November, to acknowledge the hard work, expertise, and dedication our Trustees provide to the charity.

Worthing Theatres & Museum became an independent charity in 2019, having previously been part of Worthing Borough Council. We couldn’t have known what 2020 had in store for us, but the Covid-19 pandemic was a changeable and unpredictable time for any charity - let alone one that had just formed. Thankfully, we have a fantastic board of committed trustees to guide us to help us grow as a charity.

A board should represent a range of skills, experiences, and voices to help charities tackle the varying challenges they face. A trustee needs a passion for the charity's industry or its aims, a drive to support the organisation, and the confidence to give advice and an informed opinion.

We caught up with some of our trustees to find out more about what they do to help our charity.

Yemisi Mokuolu

Board Member

Yemisi Mokuolu is an award winning independent producer and creative business developer with over 17 years experience. She is the co-founder of Five Cowries, the biggest arts education charity in Nigeria.

Yemisi moved to Worthing from Brighton a couple of years ago, drawn in by the arts culture in the area. Yemisi has been a member of the WTM board since the summer of 2023 and brings with her a wealth of knowledge in the arts industry and creative business development. Her expertise in industry best practice provides an essential voice on our board, ensuring our charity's creative integrety.

Hi Yemisi, tell us a little bit about yourself!

I am an independent producer, cultural developer, and also a creative business developer. I deliver training programmes, workshops, mentoring and 1:1 support for creative culture and social entrepreneurs – to develop their businesses and their projects.

I produce a lot of arts festivals to raise the profile and broaden the imagination of African arts and culture. Currently I’m working on a five day rave in Ghana, which is a great platform for musicians with alternative sounds from Africa to be seen on a global platform. I have recently been commissioned by Brighton and Hove council to create a piece exploring Brighton and Hove’s relationship with the transatlantic slave trade, which will be launched in November.

How did you come across WTM?

They found me! I had recently moved to Worthing – because it is a wonderful place that I wanted to live in, and also a place that I wanted my daughter to grow up in, in terms of safety, opportunities, and the cultural feeling I got when I was here. I went to quite a few different things, I saw Othello, which was amazing, I saw a lot of the experimental dance pieces. I was asked to join the Worthing Arts Forum, because I am very good at strategically developing culture in the community. When I was there Amanda heard me talking about what I thought we could do and invited me to lunch. I thought she just wanted to talk to me as a consultant, but then she said “Would you like to be a trustee?”

At first I felt like I wasn’t grand enough to be a trustee! I’d been a trustee for various smaller charities, but I really wanted to be part of this. I saw the vision and I really wanted to be able to create something for the changing community – something that pushed arts and creativity – and it really fitted into what I wanted for myself as a creative producer.

Because of the business development that I do, I realised that I have a lot of the operational skills that I could lend to the business. I was very humbled and I accepted the role as a professional, and as a resident.

What does being a trustee mean to you

It means a duty of care to the remit of the charity, making sure that the charity is being supported to the best of its ability. It’s having an extra pair of kind ears and eyes – and sometimes muscle – to be able to support the charity and help it stay sustainable. It means making sure the staff are well cared for, so that we can achieve our mandate.

I think it’s a role that’s very supportive, nurturing, and full of wisdom. We’re creating space for people to take risks in a safe way. We’re championing and cheerleading the charity staff. A trustee can help the charity reach its remit – so whether the aim is to be more diverse, or to be efficient operationally, we can help with that. We can share our expertise in terms of best practice.

Where do you go for support - what guides you in your role?

I’ve got loads of friends who are CEOs and trustees, so I go to them. They’re professionally 12-15 years ahead of me and have always served me very well – they’re trustees of some of the biggest arts charities.

I also have relationships with incredible lawyers and other kinds of professionals who have always given me their ear, as sort of mentors for this, that and the other! I’ve got a great network that I’ve grown over the years through developing my own creative practice.

Then obviously the community – I listen to the community a lot and then I’m able to translate that within the board meetings. I am really quite active in terms of sounding out the community – especially if there’s any issues. I’ve been on boards for 12 years now, so I am well practised at being able to sort out if there is an issue. I have my network I can reach out to, but in terms of making sure WTM is really hitting those high notes for their beneficiaries, I do a lot of listening.

What’s it like on the WTM board?

There is a really strong level of professionalism. Everyone is very accomplished, but not overzealous, and they are solid in their own profession. It’s actually quite rare. Some people like to be on boards for the status, but these people are more unexpected board members – they’re hard working people who come from all kinds of professions – accountants, shopkeepers – meat and potatoes kinds of people, really really good. We also have the experts within the arts field, and they’re very successful but also entrepreneurial and tenacious.

One of the things that I like is that there is a great level of respect in terms of how one conducts the conversation, and a respect for the agenda. There’s lots of space for counter discussion and understanding. There’s a good process. It feels like a relaxed and non-judgemental space. It’s very comfortable… it’s a very generous and well-meaning space.

What excites you about WTM and its future?

It could be one of the jewels of England’s cultural offer – it really could!

What excites me is the mindset of all the staff – they want to be excellent and they want to serve the community. There’s no resistance to doing something really fabulous. It’s about being the custodians of Worthing’s culture, making something the people of Worthing are proud of. There’s an opportunity to really show the UK, show the world, the central role the arts plays supporting the community.

A lot of people can feel disenfranchised by big arts institutions, as they’re part of this ‘old network’. But the openness of the board to make this work – everyone is humble, they’re hard working, they’re excited, they’re enthused, they’re modern, they’re working class – what you want is people who are open minded and balanced by their experiences. We forget that less than 3% of the country is made up of people of colour, so you won’t get that many brown people, but we have people who have a diverse group within their own networks. The reason I’m excited is because WTM has realistic but high ambitions, and they’re dedicated and open minded enough as a team to make it happen.

Any advice for new trustees?

Go and do some training! Ask if you can shadow a board, at least for a year. Observe their practices and confidentiality. When I was 22 I joined a board specifically for that. Get training so you really understand the legalities and implications of the responsibilities. Then do your research: once you find a charity that you want to support, make sure it is one you really believe in, because it is a minimum of 3-4 years commitment!

Also, get your CV together and know what you can bring to the table. For me, it’s as much about giving as it is receiving, so when I go onto a board I am very clear on my knowledge gaps and the areas where I want to learn.

And make it your dream! Find projects that fulfil your higher purpose. Know what you can learn from them, and what you can give to them. That will keep you going for 4 years. A lot of stuff is going to happen in that time. Being a trustee is a legal imperative. You have to put the work in, and the work is being present and caring. I feel like much can be achieved if we’re not worried about who wears the crown.

Thank you, Yemisi!

Andy Sparsis

Trading Subsidiary Chair

Andy Sparsis is the founder of Proto Restaurant Group and has been a proud member of the Worthing business community for over 15 years.

Andy moved to Worthing from Brighton around 2003 with his family. He is a local entrepreneur and business owner who is committed to the town’s development and growth of its cultural offer for the community and tourists. As well as sitting as a trustee on our main board, Andy is the chair of our Trading Subsidiary board. They oversee the daily operations and costs of our charity from how much we pay our staff to how much beer costs in our bars. His expertise as a hospitality entrepreneur provides invaluable insight for our customer experience and front of house teams.

Hi Andy! Tell us a bit about yourself!

I moved to Worthing 20 years ago and opened The Fish Factory. We’ve integrated into the community, our kids go to school here. Worthing is a family town, so we’ve tried to use our business to help the local economy and involve ourselves with many local organisations. We help out where we can!

I think it’s really important that businesses have a voice in the community as well because everyone needs to have their input and everyone is involved in the growth of a town. We’re just like a big family! You have to be active to make sure things improve in a town. Worthing is a growing town, it’s changing – always. It’s always moving and always morphing into something else – and that’s great because the population changes and grows as well.

What made you decide to be a trustee of WTM?

WTM is a really important part of Worthing’s cultural offer. I think of it sometimes like a shop window for other people looking at Worthing; WTM provides the culture, the depth of quality, the standards. It sets the bar of what we should deliver. We’re elevating the stature of the town and I’ve always been proud to be a part of that.

I’m a trustee on a few organisations, and they’re great and everyone wants to help. But what I found was that the Trustees at WTM are all really impressive people. The people that work here are also groundbreaking – everyone who works here does so because it’s their passion, and that really benefits the town. WTM grabs these talented people and attracts people that are aspirational. To be involved in that is a massive learning curve for me – and I love learning. I feel like I get so much more out of them than they get out of me!

What does it mean to you?

From a business point of view, I feel I bring a business or corporate structure to WTM that is vital for arts institutions. That gives a different perspective, another option, and that protects WTM financially. But on a personal level, I feel great about being here because we haven’t even started with what we are going to achieve! I want to be part of that. It’s an exciting time to be involved. I don’t even know where we’re going to end up – but I believe in five, ten, years’ time we will be an arts organisation that is looked upon from the rest of the UK as an example for everything that can be achieved!

What guides and supports you in your role as trustee?

I’m fortunate that I sit on multiple trustee boards, which gives me a unique view – because I’m on about five! So I get to learn from all of those people. Where any trustee wants support is in understanding the organisation. At some organisations the trustees are like gods and what they say goes. At WTM the trustees are almost like google search; you can ask questions and we’ll give advice and you can take it or leave it.

So what’s really important for trustees is to understand each organisation they sit for, to understand the boundaries. They have to be involved at the right level for an organisation, and should be given guidelines on what is expected of them. It allows trustees to understand what they’re there for and how they can make a difference.

How does your role on the Trading Subsidiary differ from your role as a normal trustee?

The WTM trustee board is there to protect employees and keep the business safe. They make sure that the CEO and the people in the organisation’s structure are all doing their jobs. The subsidiary is like the engine room – the nuts and bolts of the organisation. It’s the day to day running. We’re there to make sure the business keeps running. It’s like being a general manager, while the other board is the boss.

It’s hard work on the trading board – you can tread on toes a lot more as you have to ask questions and want all the minutiae of what is going on – and sometimes we don’t understand something, because the staff are the ones who know why some things work and why others don’t. It’s a fantastic simbiosis of figuring things out together. It’s an interesting challenge.

How would you describe WTM’s board of trustees?

It’s so broad – the cross of cultural expertise and skills is vast! I think of it like it would be impossible to get these people in the same room under any other circumstances because they’re so different – they wouldn’t just meet in a pub! It just wouldn’t happen, it’s like the start of the perfect joke!

We have Helen Persson-Swain, who is remarkable, and is the foremost voice, internationally, in her field of fashion. You have Andrew Comben, who runs the Brighton Festival, the biggest arts festival in England. You’ve got Simon Parsonage who is from Chichester theatre and has knowledge like you wouldn’t believe! And you’ve got us who give the business background.

The different skills are so vast but the people are understated too – they don’t go on about it but when you read what they do it’s astounding. Having just one of them would be great, but you’ve got all of them! I have to hand it to Amanda for finding them because she sought these people out and put them together.

How have you seen WTM change through the process of leaving the council and going through the pandemic?

When Amanda took over there was an immediate change in all the shows and the programme. WTM hit the ground running, which is so important for a new organisation, and it had a vision for what the charity wanted to achieve. It had just started to grow, but then literally got stamped on by covid. It’s like we haven’t had a chance yet because of covid, but the difference in quality is already there – it’s the difference between going to bingo and going to the tate gallery. It really is that different.

People are proud of the theatres, they’re proud of what they achieve and what they look like. WTM is part of the town, it’s part of the people, it’s spoken about more, and it brings more people in. WTM is actually a tourist attraction in itself now. That’s a big financial benefit for the town as a whole.

Originally, Worthing was an affluent fishing village that was so wealthy it became a bit gentrified and they wanted things like theatres and piers and it was aspirational. So that’s why people started to want to come here. We’ve come back to that, to putting Worthing on the map. Culture means something different to everyone, but WTM covers so many different facets of culture that there’s something for everyone. We’re just starting to grow in this way, just starting to show how much culture is here, within us.

Do you have any advice for a new trustee?

The best thing a new trustee can do is sit there and ask “can you explain that to me please?” if they don’t understand. They have to be brave and ask questions. They will become better trustees much quicker if they ask.

They should also feel confident that their experience, expertise and knowledge is valuable, no matter what industry they’re from. But they just need to be careful with how they deliver knowledge, even if they know it is valuable and helpful. They should put the team first and make them understand it will help, and how it will help. A trustee is providing information that may help the team make a decision, but at the end of the day it’s their decision. Trustees must understand they’re not in charge of anything

So ask questions when you don’t know, and be careful with how you share your advice so that it is motivational.

Thank you, Andy!

All answers have been edited for length and clarity.

If you would like to support the charity, you can donate, join our membership scheme, or visit our fantastic live events and exhibitions.

Ukrainian Culture Day at Worthing Museum

On Saturday November 25th, Worthing Museum will come alive with the vibrancy of Ukraine, celebrating the nation’s music, customs, traditions and crafts. The Museum team has prepared an exciting programme of events for all ages. There will be something for everyone, and it is all FREE to attend!

Ukrainian Culture Day, Saturday 25th November 10:30am - 4:30pm

Event Info

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Ukrainian Culture Day - A real taste of Ukriane

Ukrainian Culture Day will feature performances of Ukrainian traditional carols, as well as workshops and talks. Get your family ready for Christmas the Ukrainian way, creating angel decorations and trying your hand at candle making. Throughout the day you will hear about Ukrainian traditions, and you will have a chance to chat with the featured artists about their life and work.

You will also be invited to enjoy a fantastic display of Ukrainian folk dance, and take the opportunity to watch the documentary, ‘Borsch. The Secret Ingredient’, about Ukraine’s world-famous dish. This film is known to make audiences feel very hungry, so traditional Ukrainian snacks will be provided with tea and coffee!

Celebrating Worthing's Ukrainian Community

This Ukrainian Culture Day event has been planned in conjunction with our Museum exhibition, Ukrainian Renaissance: Art, Culture & History, celebrating the diverse creativity of Ukrainian refugees in West Sussex. The group of artists, with differing styles, mediums and backgrounds, represents the best Ukraine has to offer. The exhibition will celebrate Ukrainine's rich and diverse cultural contribution to European culture over more than a thousand years of history.

About the exhibition

This exhibition and event has been organised by Worthing Museum, with help of Worthing Ukrainian Friends’ Network, and the generous support from Worthing Lions.

Please note that there is no advance booking for the event workshops. There are limited spaces for each workshop, and attendees can secure their slot upon arrival at the Museum front desk.

Ukrainian Culture Day is open at Worthing Museum Saturday 25th November 10:30am - 4:30pm

What does a WTM membership mean to you?

This autumn we launched our new and improved membership scheme, which allows our community of friends and neighbours to access discounts and priority bookings, whilst also supporting our delivery of great cultural experiences.

For just £30 a year, members enjoy priority booking on live events at our venues. They also receive discounts on these events, cinema screenings, workshops, and lectures and talks in the Museum. They get a 10% discount on refreshments and snacks in all our kiosks and bars, and on items in the Museum shop, ensuring they can fully enjoy their visit to any one of our venues. Members also receive regular newsletters with updates about what’s on, a seasonal programme delivered to their home, and more!

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"WTM are pleased to launch our new Priority Membership scheme offering enhanced benefits to every member. Our growing body of fantastic members play a vital role in enabling us to offer more people in our community the opportunity to enjoy our work and get involved; whether that be free outdoor performances to over 4,000 people every year, or ensuring inclusive and accessible facilities across all our venues. We look forward to welcoming many more new members to the scheme over the coming months."

The Membership Team

We relaunched our membership scheme this year to streamline our offer, improve the membership experience, and make a bigger impact on our community. To mark the launch of the new scheme, we caught up with one of our members, Fiona, to find out what her WTM Membership means to her.

Fiona’s answers have been edited for length and clarity.

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How long have you been a member, and what made you join the WTM membership scheme?

I think I’ve been a member since the original scheme started. I joined because of the discounts and offers available, especially as I am on a very limited budget. It also made me feel more connected to WTM as a local theatre and arts venue at the heart of the local community.

As the programme has expanded and diversified, membership has allowed me to take a ‘punt’ and see things I wouldn’t have, had I been paying full price. It’s given me the opportunity to discover new and exciting creative acts and producers. I’ve experienced art forms such as dance, which I know nothing about, and have seen some visually absorbing and very enjoyable productions that I wouldn’t have gone to see otherwise.

What have been your favourite events or productions that you have seen as a member

I see a lot, so it’s hard to pinpoint favourites!

I am always first in the queue to book the Exhibition on Screen films and NTLive, which I wouldn’t see anywhere else. My first show after the pandemic lockdowns were finally lifted was Robert Plant at the Pavilion and he didn’t disappoint. I also had a brilliant time at An Evening Without Kate Bush.

What does being a member mean to you?

A connection to my local arts community – I am greeted by my name, or recognised as a regular, when I go in to book. I am treated as if I am part of the WTM community.

If you could sum up WTM in 3 words what would they be?

It offers a: diverse cultural experience

Have you made any friends with other members, or encouraged anyone you know to become a member?

I go on my own, but I tell others about what I have seen, or am going to see, so I actively promote WTM that way, and highlight what it offers.

What can people expect from their memberships?

I use my membership as a way to support WTM.

I enjoy the two Preview evenings a year, although we haven’t had one this Autumn, and I was once invited as a member to a show’s opening night, which included a free drink, which made the evening more of an event and special.

Thank you Fiona!

Fiona also shared some excellent feedback and suggestions for more ways we can improve our memberships, which were shared directly with our Membership team. We are always glad to have feedback on how we can improve our services and connections with the community.

You can sign up for a membership online, or ask for more information at any of our Box Offices and the Museum front desk.

Faith Healer: What’s it all about?

London Classic Theatre presents Faith Healer by Brian Friel this autumn, a significant play in 20th century theatre. Read on to find out more about the play and its celebrated writer.

What’s it about?

Brian Friel’s Faith Healer (1979) is constructed through a series of four monologues that weave together an unreliable, rashomon-style, narrative about the life and death of the charismatic Frank Hardy (Paul Carroll), apparently gifted in his ability to perform healing miracles. The monologues are delivered by Hardy himself, his wife Grace (Gina Costigan), his manager, Teddy (Jonathan Ashley), and finally Hardy again. The monologues explore the turbulent lives of the characters, their own difficulties in understanding and believing in Frank’s gift, and their deaths.

About the play, actor Paul Carroll says, “Some dark and hard truths emerge from their storytelling that leads us to a thrilling conclusion.” Throughout the play it becomes clear that the narratives from each character don’t add up, leaving the ‘truth’ purposefully ambiguous. It is an examination of perspectives that leaves space for the audience to question everything they are told and led to believe. The play has been named one of the 40 best plays of all time.

Who was Brian Friel?

In his lifetime, Biran Friel was considered to be one the greatest living English-language dramatists, and was respectfully referred to as the “Irish Chekhov''. His early work centred around contemporary Irish political issues, but he later turned his hand to focus on more intimate dramas that explored family dynamics and Irish history. “He knows people,” says Carroll, “He clocks their quirks and idiosyncrasies and transfers those perfectly to the page and to the stage. His characterisations are just superb. He has a certain way with words that makes them sound beautiful together and makes it so easy for an actor to speak them. Nothing, ever, feels wrong.”

Along with Aristocrats (1979) and Translations (1980), Faith Healer was one of three plays, produced in quick succession, that defined Friel’s career as a playwright who would incorporate avant-garde techniques into his work, whilst exploring personal, relatable narratives.

Many of Friel’s plays, including parts of Faith Healer, were set in or referred to the fictional town of Ballybeg. Using a recurring setting in different historical periods was a device that allowed Friel to explore the impact of socio-political developments on a rural Irish community over time.

About London Classic Theatre

London Classic Theatre aims to produce challenging, accessible drama for audiences in London and around the UK. Based in Whyteleafe, Surrey the company is run by Artistic Director Michael Cabot and Producer Kathryn Cabot, who have overseen its development into one of the UK’s leading touring companies. They work with, and frequently draw from, an exceptional core company of actors and designers as well as welcoming new talent. The cornerstone of their work is a commitment to excellence on stage.

Faith Healer by Brian Friel is at the Connaught Theatre for one night only on Friday 17th November from 7:30pm

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Celebrating Powell and Pressburger at the Connaught Cinema

Michael Powell and Emeric Pressburger were two of the UK’s most influential filmmakers. Their creative partnership in the 40s produced some of the most stylistically ambitious, subversive and thematically rich films ever made. These films have inspired generations of filmmakers from Martin Scorsese, Wes Anderson, Greta Gerwig, Dario Argento and Spike Lee, to name a few. This season, as curated by the BFI in conjunction with the Film Audience Network, aims to introduce, or reintroduce, viewers to the creative powerhouses that helped transform British cinema.

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The films include David Niven in A Matter of Life and Death, Deborah Kerr in Black Narcissus, and the masterpiece The Red Shoes. We are delighted to welcome Sight and Sound’s Pamela Hutchinson to this screening, author of the BFI Classic book on The Red Shoes, to offer insight into the film.

As an additional treat we are also screening Michael Powells Peeping Tom, made after the Pressburger partnership in 1963. This classic thriller is celebrating it's 60th Anniversary with a 4K reissue.

The Films

Peeping Tom (15)

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Sunday 19th November | 2:45pm

A young photographer and obsessive amateur filmmaker prowls Fitzrovia with his 16mm camera, in search of women to film. A frank exploration of voyeurism and violence, Michael Powell’s extraordinary film is the story of a psychopathic

cameraman - his childhood traumas, sexual crises, and murderous revenge as an adult. By forcing the audience to share Mark’s murderous point of view, Powell makes viewers complicit in the unsettling acts.

A Matter of Life and Death (U)

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Sunday 3rd December | 12.30pm

David Niven and Kim Hunter star in this visually splendid romantic fantasy. Returning to England from a bombing run in May 1945, a British wartime aviator who cheats death must argue for his life before a celestial court, hoping to prolong his fledgling romance with an American girl.

Black Narcissus (PG)

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Sunday 10th December | 3pm

Stunning photography in this drama starring Deborah Kerr. A group of nuns struggle to establish a convent in the Himalayas, while isolation, extreme weather, altitude, and culture clashes all conspire to drive the well-intentioned missionaries mad.

The Red Shoes (U)
+ Q&A with Pamela Hutchinson

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Sunday 17th December | 2pm

Under the authoritarian rule of charismatic ballet impressario Boris Lermontov, his proteges realise the full promise of their talents, but at a price - utter devotion to their art and complete loyalty to Lermontov

himself. Young ballerina Victoria Page is torn between the man she loves and her pursuit to become a top dancer.

Sight and Sound’s Pamela Hutchinson will be participating in a Q&A after the screening to offer insight into the film and discuss it’s impact on filmmaking. Pamela is the author of the BFI Classic book on The Red Shoes.

Compelling and powerful contemporary theatre this season

A vital part of the work we do at Worthing Theatres and Museum is to bring new and exciting work into our community, and present pieces that push the concept of theatre and performance into exciting new territory. Performance can be a tool for exploring concepts about life - big and small. Using the magic of stagecraft, transportative soundscapes, and modern expressions of tradition and culture, we aim to programme contemporary performance that is relevant and accessible to all audiences.

We kicked off this season with an incredible adaptation of Franz Kafka’s Metamorphosis from physical theatre company, Frantic Assembly, and written by poet Lemn Sissay OBE. This show used physicality and themes of austerity to take another look at Kafka’s work and how it resonates with society since the Covid-19 pandemic. You can read more about the production here.

Contemporary theatre and performance is such a vast genre, meaning there’s always something for everyone and much of the contemporary work we programme is suitable for families and young people too. We’re excited to help young and new theatre goers discover artforms and ignite new interests.

This season we have some wonderful contemporary work lined up, so take a look and see what sparks your interest!

The Four Seasons

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James Wilton Dance presents Vivaldi’s seminal piece, The Four Seasons featuring the company's signature blend of capoeira, acrobatics, martial arts and classical dance, alongside stunning stage and costume designs.

In this new work, the company relates each of the four seasons to four stages of the universe. The choreography is abstract, but honestly human, creating a kaleidoscopic visual feast for audiences that is not to be missed.

Thursday 19th October | 7:30 pm | from £19

Suitable for all ages. Recommended for ages 11+

Pathways

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From Srishti Dance comes this triple bill of classical dance, performed by a new generation of British-South Asian dancers. Pathways will showcase Bharatanatyam dance, which is characterised by strong lines, geometry, symmetry, as well as highly expressive mime.

Through exquisite movements, powerful rhythm and striking ensemble work, dancers will present two works choreographed by award-winning choreographer and Srishti’s Artistic Director Nina Rajarani MBE, and one by inimitable guest choreographer Mavin Khoo.

Tuesday 14th November | 7:30 pm | from £13.50

Suitable for all ages

Tickbox

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An engaging and witty semi-autobiographical one-woman show performed by Lubna Kerr, the Scottish daughter of Pakistani immigrants. Lubna is an actress and comedian of stage and screen, who premiered Tickbox at the Edinburgh Fringe in 2021.

Combining theatre, humour and storytelling, Lubna shares the journey of her family arriving in Glasgow from a very comfortable life in Pakistan and dealing with discrimination.

Tuesday 5th December | 7:30pm | from £13.50

Suitable for ages 10+

ALiCE

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Brought to life by award-winning choreographer Jasmin Vardimon MBE, ALiCE tells the story of a woman, or perhaps a child, unsure of her identity and where she is going. Escaping or exploring, discovering the powers within her changing body. The world around her is different, curious, and compelling – at times absolutely bonkers. This re-imagining of the groundbreaking classic Alice in Wonderland promises a sensory feast of arresting images, powerful performers and striking kinetic scenery.

Tuesday 16th January | 7:30 pm | from £24.50

Suitable for ages 7+ (contains some adult themes)

Worthing Theatres and Museum has multiple venues around the town. Please see the individual show information for venue details. To find out what else is on this season, visit our Whats On page.

Interweaving Spaces: Black History Month 2023

Interweaving Spaces is an immersive, multi-media installation, created by artist and activist Gil Mualem-Doron, which was originally commissioned by Sussex Wildlife Trust. The exhibition highlights current discourse around climate change and marine conservation to create an underwater landscape that both reimagines history, and calls for action to prevent future environmental disasters.

The installation will host a series of workshops and events throughout October as part of our Black History Month celebrations. This includes dance workshops from acclaimed Brighton-based artist Lya Abdou Issa (aka Blkdiamondance).

We caught up with Gil and Lya to discuss the installation, how it ties into Black History Month, and what they hope visitors will gain from the experience.

About Gil

Dr Gil Mualem-Doron is an artist and activist, “I never studied art as such, so my art really came from activism and the inspiration to combine art and activism - or to use artistic tools in activism”. Gil has been inspired by activist movements that incorporate community partnership, celebration, and shared joy to reclaim public spaces. In his own work, Gil has worked to disrupt traditional ‘white cube’ art spaces with loud, joyful expressions of culture and heritage.

It was through The New Union Flag Project at Peckham Platform that Gil became interested in using textiles as cultural reference points in his work: “I started to look at textile traditions and textile design as a form of identity performance”.

This project drew national acclaim and formed the strong foundations on which Interweaving Spaces has been built. His passion to practise art and activism lies comfortably beside his desire to draw parallels between global environmental and cultural issues.

About Lya

Lya Blkdiamondance is a dancer, choreographer and dance teacher whose students come to her to experience music, movement and community. Her motto is ‘Dance Like Everybody is Watching’ and she has founded a group under the same name that delivers street dance training on the Hove Seafront, encouraging participants to reclaim space, to feel safe and beautiful through expressive dance. “My work aims to make people feel seen and celebrated in public spaces.” Following the Black Lives Matter movement Lya wanted to use dance and movement to challenge all forms of discrimination and the ‘invisibility’ experienced by marginalised groups in dance:

“Whether I’m teaching or dancing on my own, my purpose is to spread joy and happiness, [to] create positive associations and diverse representations… I want to inspire change and encourage others in the process.”

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Biodiversity and Cultural Diversity

Sussex Wildlife Trust and Sussex Kelp Recovery Project, are working to restore the kelp forests that were once abundant around the Sussex coast.

Worthing Museum Archive image: Worthing Seafront c. 1910

Long-time Worthing residents will remember the shoreline swamped with thick kelp that would wash up after rough seas. This Kelp would then be taken by local farmers to fertilise their fields. Aggressive fishing tactics throughout the 20th century destroyed the seabed vegetation and the diverse marine life it supported.

Gil has utilised textiles, lighting and sound to replicate a kelp forest. The textile pieces are printed with traditional designs from the regions of the world where kelp is commonly found, from Scottish tartan designs to Native American designs from California. The designs literally weave these multiple cultures together, highlighting that, although geographically distant, they are connected by the sea and their natural wildlife: “when you go to swim in the sea you are connected to other people from a different part of the globe… the seas always connect you.” The piece uses textiles to explore the story of human intervention and destruction of marine life, along with audio and visual collages to explore a reimagined history, mythology, and highlight issues on climate change and the effects of global warming.

Black History Month

Interweaving Spaces is running at the museum throughout Black History Month this October. This year’s theme is Celebrating / Saluting our Sisters and Matriarchs of Movements. It aims to recognise and applaud the invaluable contributions of black women to British society, inspire future generations, and empower them. For Lya this means “celebrating and exploring themes such as resilience, self-care and wellbeing, underscoring the strength and determination of black women throughout history.”

For Gil, Lya’s dance brings an urgent quality to the installation, “It’s immediate and powerful. The dance echoes body movement that comes from the language of protest.” Lya’s piece is an embodied expression of an underwater environment that gradually becomes more affected by climate change: “The symbolism of water was one of the reasons why I decided to create this dance… I have always been connected to the sea… Us women, us sisters are intrinsically linked to water like building a community through connection and empowerment”

Lya’s piece and the workshop, which incorporate street dance, afro-fusion and improvisation, are set against a soundtrack that weaves together audio from Extinction Rebellion protests, and a spoken word poem, Code Red! Code Red!, which is a resampled version of the speech delivered by Mia Mottley, the Prime Minister of Barbados at COP26.

Gil wanted to use Mottley’s speech as “It was really inspirational, really strong, also talked about diversity, talked about climate change and its effects of global warming on the global south.” He says that finding strong political voices who are fighting climate change are becoming more difficult to find: “there are overturns of environmental commitments... and we see links with how an extreme right wing political stance is really harming the environment.”

If there was one takeaway the artists hope people will gain from the installations and workshops this October, it is that visitors and participants feel empowered to engage in protecting their local environment. Lya states that her movement piece aims to connect audiences with the resilience of nature, despite climatic distress. It is an intrinsic message within her piece, where she is “Going through all the emotions that the planet is going through and putting it into dance.” Gil says “This exhibition is a warning sign... A call for action, so I hope people come out more aware, more empowered and take some stance.”

Interweaving Spaces is on at the Museum until November 5th during normal opening hours.

Worthing Museum

Rave at the Museum

Join Lya for free dance workshops

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Black History Month

Join us for a performance and guided tour

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Autumn Half Term at WTM

This autumn and half term we have a great selection of shows and workshops for families with children. We love creating a programme that can appeal to both our youngest audience members and their grownups! Check out the fantastic things on offer to occupy your kids this holiday!

Many Hands: Light Work

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Although falling just before half term, get some family time in early with this spectacular circus theatre performance from Many Hands!

You'll be amazed by this thrilling adventure, featuring jaw-dropping acrobatics and physical feats. Light Work is full of heart-pumping action that will keep you on the edge of your seat and is an experience the whole family will never forget.

Friday 13th October | 7:00 PM | from £12.50

Suitable for all ages

Comedy Club 4 Kids

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Since 2005, the Comedy Club 4 Kids has been getting the best stand-ups and sketch acts from the international circuit to do their thing for an audience of children and their families… but without the rude bits!

It's just like a normal comedy club, but it's on in the day, kids are allowed in, and thus there is a higher than usual chance of heckles like "why is that your face!?"

Thursday 26th October | 2:30pm | from £11.00

Reccomended for ages 6+

The Museum of Marvellous Things

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Meet sensible, serious Norbert Norris and wild, wonderful Tilly T. Pott, as they give you a sneak peek inside their amazing museum and ask YOU to fill it with MAGIC!

So…come on in, let the MAGIC BEGIN!

With giant puppets, magical effects, interactive storytelling, show-stopping costumes, LIVE original music and a chance to make your special puppet, this is a fun-filled family show based on the picture book by Kristina Stephenson.

Saturday 28th October | 11:30am & 2pm | from £13.50

Recommended for ages 3-8 years.

Totem Box Art

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Have a go at making your own totem box with children's book illustrator, Helen Hancocks, whose exhibition is currently in the Norwood gallery. This is a kids art workshop making totem box art, heads/body/legs.

Friday 27th October | 11:00 am | from £7.50

Suitable for ages 7-11 years

Splash Test Dummmies

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Coming in just after half term, The Splash Test Dummies are off on an exciting adventure of oceanic proportions! With a brilliant array of catch-your-breath stunt work, dazzling acrobatics, dexterous juggling and side-splitting, slapstick comedy, the Dummies are ready to roll out their beach towels and spring into an exciting hour of circus-filled hilarity for the whole family.

Thursday 9th November | 4:30 pm | from £13.50

Recommended for ages 5+

Thrills and Chills with Horror-Fest 23!

Here at the Connaught Cinema we're all suckers for classic horror. Every year we dip into the archives to show some of our favourite scary movies on the Big Screen!

This year we've gone bigger than ever before with six films playing to please gore-hounds. We're showing a full range from supernatural chills, slasher nasties, classic horror, and Oscar winners - with films originating from the UK, Japan and the USA. Whether it’s your first time seeing these or they are already firm favourites with you, this season gives you an amazing opportunity to see them looking their best on the big screen.

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This year our lineup includes the original slasher Friday the 13th, Alfred Hitchcock’s The Birds, William Friedkin’s The Exorcist, Jack Nicholson in Stanley Kubrick’s The Shining and legendary Japanese chiller Ring.

We are also delighted to be offering an extremely rare opportunity to see Ghost Watch at the cinema - a BBC production from 1992 starring Michael Parkinson; this was a spoof live broadcast that fooled the nation and sparked a wave of controversy. We will be welcoming production designer Richard Drew to the Connaught for a Q&A after the screening to find out how they pulled off this daring and controversial television experience.

In addition to the films we will be hosting a horror-themed edition of our ever popular Film Quiz! We hope there’s something for everyone to send a good chill down your spine this Halloween.

The Films

Friday the 13th (15)

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Fri 13 Oct, 8.30pm

It may be unlucky for some - certainly the charaters - but not for you! Enjoy something that only comes around once or twice a decade and watch Friday the 13th on Friday 13th October!

It's one that started an epic franchise - and features an early performance from Kevin Bacon. The film was hugely shocking at the time, which led to it being a massive success. You know the story: something about some kids at a camp, blah blah blah, they mostly get murdered etc etc.

Ghost Watch (12A) + Q&A with Richard Drew

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Thu 26 Oct, 8pm

This legendary TV show was unleashed in 1992 and swiftly banned by the BBC. Initially promoted as a live broadcast investigating ghosts, the hosts of the ‘show’ soon get dragged into a chilling ghost story.

Viewers at home were convinced the film was real and parents complained that the film had scared their children so much that they couldn’t sleep. The media furore that followed saw the film banned and never repeated.

We are incredibly excited to welcome production designer Richard Drew to this screening. Richard will be joining us for a Q&A about the making of the film, the public reations at the time and its enduring legacy in British culture.

The Birds (15)

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Fri 27 Oct, 5.40pm

We don't need to tell anyone living on the South Coast that they should be afraid of Seagulls, but Alfred Hitchcock delivers a classic horror with the terrifying premise of our feathered friends turning against us.

Starring Tippi Hedren and Rod Taylor, the film is celebrating it’s 60th Anniversary. You can also catch The Birds (or maybe they'll catch you!) as part of our Silver Screen programme at 11am on Monday 30th October.

The Exorcist (18)

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Fri 27 Oct, 8.15pm

After the recent passing of director William Friedkin and the film marking it’s 50th birthday this year, it seemed fitting to screen ‘The Scariest Movie Ever Made’™. This story of possession and cruelty is still as shocking as in 1973, mostly because it all feels so real.

The Exorcist is another reknowned horror film that was banned across the UK, and around the world. It wasn't until the 1990s, when censroship laws began to relax, that it became more widly accessible, being shown on television in the UK for the first time in 2001. Ellen Burstyn plays a mother who enlists the help of a priest to help rid her daughter of demons.

The Shining (15)

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Sat 28 Oct, 5.30pm

Based on the book by Stephen King with an all-time classic, unhinged performance by Jack Nicholson. Stanley Kubrick’s film has stood the test of time and is considered one of his best.

With it’s story of ghosts, telepathy, hauntings and historical murders, it’s a fantastical blend of all the things that make horror such a great genre. The Shining will be playing in the extended cut.

Ring (15)

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Sat 28 Oct, 8.30pm

Hideo Nakata’s RING propelled 'J-horror' onto the international scene with a bang in 1998. Its central premise is so relatable that it can scare anyone - If you watch a cursed videotape, you will get a phone call and be dead 7 days later.

As the cursed tape makes it’s way around school pupils, a reporter and her ex-husband investigate the source of the tape to try and stop the deaths. An absolutely creepy ghost story to finish off the season.

Connaught Cinema Halloween Film Quiz!

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Tue 31 Oct, 7pm

Our hugely popular film quiz returns for some gore-filled spooky fun. Show off your scary movie knowledge and win prizes. Tickets must be booked in advance as it always sells out.

Absurdity and austerity in Frantic Assembly’s ‘Metamorphosis’

A new adaptation of Franz Kafka’s Metamorphosis is coming to Worthing via an exciting collaboration between poet and writer, Lemn Sissay OBE, and physical theatre company, Frantic Assembly. This mix of creative powerhouses, whose work is linked by a desire to express real, raw human struggles through their art, is sure to be an unmissable event.

“This is a meeting of minds, ready to play and explore and find out what we can bring to this iconic title.”

Scott Graham, Director & Artistic Director of Frantic Assembly

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Who was Franz Kafka?

Kafka’s work is best known for his use of surreal and often nightmarish situations set against unfeeling and sterile environments. His characters often face impossible and complicated scenarios, yet seem to strive against their circumstances in the hope of improving their situations. Dying in relative obscurity in 1924, Kafka has gone on to be regarded as one of the most visionary writers of the 20th century, and the term ‘Kafkaesque’ has transcended the literary realm to refer to film media, and even real-life situations, that deal in the incomprehensible and strange.

What is Metamorphosis all about?

One morning travelling salesman, Gregor Samsa, wakes to find he has transformed into an enormous insect. Up until now, Gregor has acted as the sole provider for his family, quietly and diligently working to improve their lives. His sudden metamorphosis upends his life, and that of his family, who grow increasingly hostile and neglectful towards him. There have been many interpretations and adaptations of Metamorphosis over the last century, but Kafka was insistent that in the publishing of his work there should be no illustrations of Gregor in his transformed state, opening his text up for audiences to make interpretations for themselves, giving the surreal events a universal edge.

What’s the significance?

Whilst Gregor’s situation is one of fantasy, Director Scott Graham points to its parallels in society today, specifically the family’s financial struggles saying “This is about modern living, and an economic system which invites you into debt and then squeezes you.” One turn of events can drastically change the course of our lives: an accident, a loss of work, a change in personal circumstances, can bring down the safety nets around our lives, sometimes irrevocably. Whilst people don’t turn into huge bugs, sudden changes to our ability to be part of a society that demands our participation and contribution can leave us feeling outcast, invalidated and facing hostility. Gregor’s sudden transition from breadwinner to burden acts as a reminder of the fragility of our lives within a system that was not built to favour us.

Lemn Sissay’s new adaptation of Metamorphosis sits aside Frantic Assembly’s Othello as the second production in their Iconic strand of work. Iconic sees the company take on titles that bring with them so much history and baggage, love and opinion and create vital, thrilling contemporary theatre. Sissay’s past work has often reflected on his childhood experiences of being rejected by those charged with his care, drawing a parallel between the writer and the protagonist. But Sissay stresses that this adaptation is more about how a whole family deals with challenging circumstances: “This is about austerity and how a family can turn against one of their own. And I would put it to you that the majority of families have done that.” Sissay highlights that Metamorphosis explores social isolation and financial hardship - issues more people have faced since the Covid-19 pandemic: “[the pandemic] made us all experience a little of what Gregor experiences when he’s locked in his bedroom.”

Metamorphosis will be an inherently visceral production about the limitations of the body and mind, imagination and aspiration. All of this, coupled with the fluidity and lyricism of Lemn Sissay’s adaptation, promises an exciting and dynamic show.

Metamorphosis

Tuesday 3 October to Saturday 7 October March 2023

Connaught Theatre, Union Place, Worthing, West Sussex, BN11 1LG

Tickets: From £15

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Rehearsal and Production photography: Adi Detemo

Opportunity for Young Performers with Ockham’s Razor

Ockham’s Razor & WTM are looking for young performers to take part in their new outdoor show, Public.

Participants should have experience or interest in circus, dance, parkour, martial arts or movement. You will take part in a free workshop learning a movement sequence, led by one of their artistic directors, and the piece created will become part of the performance of Public at Spin Out - acting as a youth stage invasion!

We are looking for performers aged 13-20 for the following sessions:

Friday 18th August

3pm – 6pm (workshop)

6:30pm – 7:30pm (tech run with Ockham's Razor)

Saturday 19th August

11:30am & 1:30pm (performances)

Call time: 10:30am.

Rehearsals will take place in Worthing's Assembly Hall with performances at Montague Place.

Places are limited to a maximum of 30 and will be allocated on a first come, first served basis. Please contact carina@turtlekeyarts.org.uk for more information or to reserve your place. Don’t miss out on this great opportunity!

Book tickets and find out more about the free performance of Public here. PLUS see our full line-up of free outdoor arts for Spin Out here.

OPEN23 Submissions now open!

Worthing Theatres and Museum have announced that submissions are now open for their biennial WTM OPEN Exhibition which will run in Worthing Museum this winter. The OPEN23 will offer artists from across Sussex the exciting opportunity to exhibit their work within a distinguished gallery space. Submissions are open now and close on Friday 27 October 2023 at 5pm. Work can be submitted online at www.wtm.uk/open23.

Submitting work to this exhibition is open to anyone who lives or works in East or West Sussex, and amateur or professional artists of all ages are welcome to submit up to three pieces. The final exhibition will then be formed of work selected by a panel of external guest judges.

The OPEN23 Exhibition will run in Worthing Museum’s Main and Norwood Galleries from Saturday 2 December 2023, with a launch event taking place on Thursday 30th November 2023, 6-8pm.

Emma Walder, WTM Fine Art Curator, ‘Once again we're preparing ourselves for a busy OPEN23, and looking forward to the influx of local creativity with anticipation. I love working on the open exhibitions - it's an opportunity to meet local artists and participants, as well connect with artists and communities from neighbouring towns which often means welcoming many new faces. Diversity, creativity and community spirit threads through the whole 'open' exhibition process, and the selected exhibition is always an unknown vision until the very last minute. I'm really looking forward to it.’

The OPEN23 comes two years after the huge success of WTM’s OPEN21 which featured over 160 pieces across two galleries and included a huge range of work with diverse and contrasting styles, and a variety of different mediums including 3D sculpture and photography, alongside work in acrylic, oil, pencil and pen.

WTM will be accepting submissions from Monday 17 July 2023 to Friday 27 October 2023, 5pm. Find out more about the OPEN23 at www.wtm.uk/open23.

Submissions are open from Monday 17 July - Friday 27 October 2023, 5pm.

Find out more about the OPEN23 at www.wtm.uk/open23.

HAF Summer 2023

We’re delighted to be delivering free workshops and activities in Worthing as part of West Sussex County Council’s Holiday Activities and Food (HAF) scheme.

You can book a place for your child on the Council’s website here. Please note that you will need to create an account to access this information, and can register here.

These free spaces are limited, and booking is subject to availability.

Activity 1

HAF Hairy
Activity 1

Spymonkey's Hairy & Theatre Workshop

We’ll begin our day at the Pavilion Atrium with a lovely, nutritious lunch provided by the Proto Restaurant Group, followed by a theatre-based workshop. This workshop will be focused on FUN and is open to all abilities. We’ll play movement-based games, learn new stage skills and take part in a short performance at the end of the session.

After the workshop, we’ll sit down together in the Pavilion Theatre to watch Hairy: the first theatre show created especially for young people by Spymonkey who are the UK’s most hair-larious comedy theatre company.

Slapstick-meets-rock-band-meets-punk-clown-mayhem, Hairy is laugh-out-loud comedy theatre for children. There will be screams of laughter. Slippery shampoo. Falling over. Trying to stand up again. Falling over some more. And some great songs too. One thing is for sure: it’s going to get HAIRY!

This performance is open to the general public.

LOCATION

Pavilion Atrium, Marine Parade, Worthing BN11 3PX

DATE

24/08/23

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Book now

Activity 2

HAF Hairy
Activity 2

Spymonkey's Hairy and Craft Workshop

Meet us at Worthing Museum for a morning of crafty fun; we’ll create beards, moustaches and all sorts of wild hairstyles out of recycled materials.This workshop is inspired by Spymonkey’s stage show, Hairy, so we’ll be celebrating hair in all its glorious forms while being creative and learning new craft skills.

We’ll then dress up in our finest follicle designs and walk down to the Pavilion Atrium where we’ll enjoy a lovely, nutritious lunch provided by the Proto Restaurant Group, before watching a performance of Hairy together in the Pavilion Theatre.

Hairy is the first show created especially for young people by Spymonkey; the UK’s most hair-larious comedy theatre company. Slapstick-meets-rock-band-meets-punk-clown-mayhem, this is laugh-out-loud comedy theatre for children. There will be screams of laughter. Slippery shampoo. Falling over. Trying to stand up again. Falling over some more. And some great songs too. One thing is for sure: it’s going to get HAIRY!

This performance is open to the general public.

LOCATION

Worthing Museum and Art Galley, Chapel Rd, Worthing BN11 1HP3PX

DATE

25/08/23

Book now
Book now

Amelia Armande The Power of Stories

Artist and stroyteller Amelia Armande is one of the artists featured in the Out of the Artist exhibition on display in Worthing Museum's Studio Gallery (Saturday 27th May - Sunday 10th September 2023). Amelia will be perfroming storytelling sets every other Sunday from 18th June to 10th September at 1:30pm in the Studio Gallery.

Read on to find out more about Amelia's work and what to expect from these fun, conversational and inspirational stories!

You are part of the Out of the Artist exhibition currently on display in Worthing Museum. What inspired you to be part of the exhibition?

I worked with Keira, the organiser, on ‘Pride in Worthing’, a display of LGBTQ+ artists at Colonnade House a few years ago. It was such an uplifting and empowering thing to collaborate with other queer artists and showcase our work, so when Keira put the call out that she was looking for artists for the first ever LGBTQ+ gallery exhibition at the Museum Gallery, I knew I had to be a part of it.

How would you describe your artwork?

Colourful, cartoony, and mythological! These works started as a series of watercolours that were companions to one of my storytelling shows, each one representing one of the stories I could share with the audience. But I’ve given them a revamp and a snazzy digital recolour that I feel makes them really pop. It’s so lovely to see them all together on the wall.

You are going to be performing a series of storytelling sets. What should audiences expect from one of your storytelling sets?

My storytelling is fun, conversational, sometimes poetic, and always full of energy and joy. I’m not reading from a book - this is storytelling in the traditional sense. I have them all stored in my head, and they come out fresh and unique for each audience. And I just love to do it, I bounce around the room!

Amelia Armande telling a story and pointing dramatically to their right

What inspires your stories?

My project as a storyteller for the last two years has been finding LGBTQ+ myths and folklore. We know a lot of these stories featuring and celebrating queer characters have been lost to us. Racism and colonialism has done untold damage to many cultures that had wider understandings of sexuality and gender, and some of the famous men who categorised European folk and fairy tales into written collections actually mention that they deliberately left out tales that contained ‘sexually deviant’ themes as they called them. But the queer stories that have survived are being reclaimed, restored and celebrated across the world, and I want people like me, who have often felt like traditional storytelling doesn’t have space for them, to hear stories that feature queer heroes, queer deities, and queer community.

How did you become involved in professional storytelling?

I was introduced to storytelling for grown ups by watching Abbie Simmonds of the former Brighton Storytellers. I had trained as an actor, so I was quite used to standing up and pretending to be someone else, but I was blown away by the power of telling a simple story entirely as yourself. I became a regular at the club, learning from all the different tellers I saw, and eventually I bagged a slot to perform and told the happiest version of Orpheus and Eurydice you’ve ever heard - and people liked what I did! So I kept going from there, performing where I could and building my repertoire. Now I’m one of the founders of the local storytelling club in Shoreham, the Ropetackle Storytellers, and I’m mentoring other storytellers as part of the Step Up Commission for the Get A Word in Edgeways Spoken Word Festival, which is very exciting!

Amelia Armande mid storytelling perfomance using expressive hand gestures

What would you say to someone interested in getting involved in storytelling?

Go and listen to storytelling wherever you can. There are local clubs dotted around, people tour their shows, and since the pandemic there is a rich culture of online storytelling, meaning you can tune in to some of the greatest tellers in the world and hear them live without having to travel halfway across the world! Listen to how different people tell, find out what stories speak to you - and then just have a go telling the ones you like for your friends and family, or in open mic spots at storytelling clubs. Storytelling can be a big, formal thing, but it can also be really cosy and intimate and conversational, and that’s a great place to start.

Where else can people see your work?

You can follow me on Instagram (@theydyamelia) where I regularly post about my performance and creative work. You’ll be able to hear me at Queer Spirit Festival in August this year, and Get A Word in Edgeways in October. And book a ticket to the next Ropetackle Storytellers evening! I’m always there.

Amelia Armande will be performing storytelling sets at 1:30pm in the Studio Gallery on 18th June, 2nd July, 16th July, 30th July, 13th August, 27th August and 10th September 2023. There is no need to book tickets just pop in and enjoy these unique performances.

Find out more about the Out of the Artist exhbition, which runs in the Studio Gallery from Saturday 27th May 2023 to Sunday 10th September 2023 here.

Q&A with composer Laura Bowler

Your normal composing practice is quite far from the sound world of Wagner; what is it that made you want to do this project and how is your composing practice feeding into this in a way that is augmenting Wagner?

I love the process of arranging. This isn’t arranging, but it’s a creative kind of deconstruction and reconstruction, and that process is really fascinating for me because it’s all about colour and texture. It’s not necessarily about the fundamental pieces because they’ve already been given to us by Wagner; it’s about how we can reframe that. I think it’s something we should be doing more with older work, not just in the way that OperaUpClose does with opera, but in other work as well.
Also, the context of The Flying Dutchman fascinates me plus the opportunity to work with Glyn Maxwell (librettist) on this retelling. I’m a hugely political composer and so the opportunity to visit a work that may not necessarily have been seen through that lens before and finding a new perspective is really exciting.
On a more personal level I’ve always been fascinated by different composers’ depictions of the sea. As someone who sails a lot, it’s something that’s very important to me and I’m intrigued by the way different composers orchestrate the sea and represent it. The opportunity to take Wagner’s work and reframe it in the way that we’re doing is really exciting but also deeply challenging – and I love a challenge.

What are the instruments you’ve decided on using for The Flying Dutchman, and what was your decision-making process?
The line-up that I’ve landed upon is flute with doubling, so bass flute, piccolo and alto flute; clarinet with doublings on bass clarinet; horn; percussion; accordion; violin; cello and double bass. What’s interesting, especially if you know Wagner’s scores well, is that there’s only one brass instrument in there, when brass is a fundamental feature of many of Wagner’s scores.
One of the main reasons for this is balance. In that size ensemble, if we had more than one brass instrument, it’s likely that the way the brass could be used would be limited, whereas the horn is a wonderful bridging instrument between brass and woodwind, and it blends really well. Originally, I wasn’t going to include the flute because I wanted to have more brass or something that could blend in a different way with the horn, like the soprano saxophone.
The original version is all below the flute’s register, but we had a flute in the R&D (research and development), so I had to do something with it. I found incorporating the flute as a colour and texture in the score really helped to create the atmosphere of this man at sea. So I decided to keep it in.
One of the other instruments that’s important to talk about is the accordion. The two predominant reasons for including the accordion are: firstly it’s a hugely dexterous instrument; it can blend with anything, it has a multitude of different sound qualities and it has a huge range. It can fill a lot of the space that might feel lost for the singers – it’s a really good grounding. Secondly the accordion is often associated with folk music, sea shanties and on old ships quite often they had an accordion, so it creates that sense of storytelling in the ensemble. As they are part of the story on stage, I thought the accordion would be a useful visual, not just as a sound based instrument.

The Flying Dutchman is at the Pavilion Theatre, Friday 7 & Saturday 8 July 2023, tickets are on sale now. Book here or by calling the WTM Box Office on 01903 206206.

Meet The Flying Dutchman Cast and Creative Team

OperaUpClose are bringing a new perspective to the world of classical music, innovating and offering a contemporary perspective on much loved classics. They create small scale intimate performances that highlight the power of musicla storytelling and allow audiences to see and feel music like never before.

OperaUpClose have brought together an exceptional creative team and cast to produce The Flying Dutchman. The team have worked on productions with the BBC Symphony Orchestra, Glydbourne, the London Philharmonic Orchestra and many more.

The Flying Dutchman is at the Pavilion Theatre, Friday 7 & Saturday 8 July 2023, tickets are on sale now. Book here or by calling the WTM Box Office on 01903 206206.

https://www.youtube.com/watch?v=wvbPNZ_0dBQ

The Creative Team

Laura Bowler – Composer

Laura Bowler, described as “a triple threat composer-performer provocatrice” (The Arts Desk) is a composer, vocalist and Artistic Director specialising in theatre, multidisciplinary work and opera. She has been commissioned across the globe by ensembles and orchestras including the BBC Symphony Orchestra, ROH2, Opera Holland Park, The Opera Group, Manchester Camerata, London Philharmonic Orchestra and more.

Glyn Maxwell – Writer

Glyn is a prolific and celebrated writer of poetry, plays, novels and libretti. He has won several awards for his poetry, including the Somerset Maugham Prize, the E. M. Forster Prize from the American Academy of Arts and Letters and the Geoffrey Faber Memorial Prize. His work has been shortlisted for the Costa, Forward and T. S. Eliot Prizes.

Watch award winning poet, novelist and librettist Glyn Maxwell's interview with Artistic Director Robin Norton-Hale. He discusses his process and his ongoing relationship with Wagner's mythical masterpiece, The Flying Dutchman.

https://www.youtube.com/watch?v=YzN_fkCHFkg

Lucy Bradley – Director

As Director, credits include: Blank Canvas (OperaUpClose); Belongings (Glyndebourne); The Finding (Mahogany Opera Group); Recital 1 (British Museum and Gemäldagalerie, Berlin); Found and Lost (Corinthia Hotel); Tycho's Dream and Into the Harbour (Glyndebourne Education); Street Scene (Revival Director for The Opera Group); The Last Pearly (Rich Mix); The Wind in the Willows and Grimm Tales (ALRA).

Tim Burke - Music Director

British conductor Tim Burke was born in Kingston in 1982. He learned violin and piano from an early age, sang as a Choral Scholar at HM Chapel Royal, Hampton Court Palace, and trained as a repetiteur at Guildhall School of Music and Drama, and studied at the National Opera Studio. He went on to join the Jette Parker Young Artists Programme at the Royal Opera House, Covent Garden, before working as Chorus Master at Opera North. He has conducted for Scottish Opera, Welsh National Opera, Opera North, English Touring Opera and Streetwise Opera amongst many others.

The Cast

Philippa Boyle

A Sea of Symphony, Royal Philharmoinc Orchestra

Tosca, King's Head Theatre

Glyndebourne Festival Opera

Agrippina, English Touring Opera

Ortlindedie Walküre, London Opera Company

Timothy Dawkins

La Traviata Royal Opera, House Covent Garden

La Traviata GrangePark Opera

Arabella Glyndebourne Festival

Don Giovanni Queens Hall Edinburgh, ETO

Carolyn Holt

The Rape of Lucretia, Royal Opera House

Peter Grimes, Royal Opera House

The Turn of the Screw, Grassington Opera

Paul Putins

La bohème, ENO

Le nozze di Figaro Scottish Opera

Madama Butterfly, Royal Albert Hall

La traviata Birmingham Opera Company

The Flying Dutchman is at the Pavilion Theatre, Friday 7 & Satruday 8 July 2023, tickets are on sale now. Book here or by calling the WTM Box Office on 01903 206206.

Spin Out ’23 Volunteering Opportunities

Volunteer with us this summer! We are looking for a team of volunteers to support our Spin Out '23 outdoor summer festival.

Spin Out '23 runs on selected Saturdays from 17th June to the 9th September. WTM are looking for a team of volunteers to support in data collection and marketing at the events.

If you would like to be involved please email volunteer@wtm.uk with the subject line Spin Out and we will be in contact.

More about the role

In this role you will be essential in supporting WTM to collect data on the audiences attending outdoor events. You will be surveying members of the public and inputting the answers they provide into a tablet, you may also be asked to support with other tasks related to the events on the day.

This is a wonderful opportunity for anyone who would like to gain experience working in a public facing role at events, learn more about data collection, work as part of a team and support a local Arts and Heritage charity.

You must be 16+ and no previous experience is necessary, you will be given additional training on data collection and provided with all equipment required.

Spin Out events will be taking place on 17th June, 22nd & 29th July, 5th, 12th & 19th August, and 9th September, we ask that you are able to commit to at least 3 of these events.

More about Spin Out '23

Spin Out '23 runs on selected Saturdays from 17th June to the 9th September 2023 and features a range of mesmerising open-air performances from the best, and most exciting performers of theatre, circus, street arts, music and dance.

Including stunning aerial circus with Graviety and Levity's Why?, hilarious hijinx from Dizzy O'Dare and Kevin Tickle's Dogs, amazing acrobatics in Okham's Razor's Public, as so much more!

Spin Out is so much fun to attend and run it's wonderful seeing the joy on so many faces and being part of bring free outdoor events to Worthing!

If you would like to be involved please email volunteer@wtm.uk with the subject line Spin Out and we will be in contact.

Theatre Tokens: what are they and how can you use them?

Worthing Theatres are excited to announce we now accept Theatre Tokens.

Theatre Tokens gift cards can be used in more than 280 venues nationwide, including all of our venues with live theatre at WTM.

You may have seen the recent Love Your Local Theatre campaign on Monday 27^th March 2023, which saw an offer of free £25 Theatre Vouchers claimed with the purchase of any National Lottery game or scratchcard.

The campaign was made possible by The National Lottery, who provided funding of £1million to allow Theatre Tokens to offer Lottery players to claim their free £25. Unlike the Theatre Tokens, the Love Your Local Theatre vouchers must be redeemed within three weeks. You can see our upcoming shows here.

The Theatre Tokens have no expiry date, making them the perfect gift for any theatre lovers in your life. These can be redeemed against most of our live shows*.

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*Please note, Theatre Tokens cannot be used against any of the shows we act as ticket agents for, or companies that are hiring out our venues. The events hired by companies can be identified by the H symbol on the event listing on our website.

To purchase Theatre Tokens, head to their website here.

To book shows using Theatre Tokens or Love Your Local Theatre vouchers, please call our Box Office on 01903 206206.

100% Project offers work experience across WTM

We are thrilled to announce the 100% Project a new work experience programme that will give you a taste for how an arts organisation runs, from event programming to customer experience, marketing, technical delivery and administration.

The programme offers 100 hours of work experience across the organisation and is divided in 5 modules: The Customer Experience, Marketing and Event Programming, Museum and Heritage, Technical and Facilities and Finance and HR. Each module requires 20 hours of work experience to complete, find out more about the modules here.

The aim of this programme is to break down barriers of access to work in the arts industry by giving those with little or no experience the chance to gain an insight into the different opportunities or career pathways available.

This programme is suitable for anyone aged 18 and over, the programme is flexible and can be condensed or completed over the span of 12 months to fit in with college or other commitments. There is no upper age limit, and we welcome applicants who may be considering a change of career or are looking to return to the workforce.

Application closing date is Monday 8th May 2023.

Head of Customer Experience Rachel Madden-Ward says:

‘The 100% project is a perfect opportunity for those who LOVE theatre but are not sure what career path is right for them. Spending time in different departments across the organisation really opens your eyes to the variety of skills and knowledge, some of which the candidate may already hold that can be transferred.

My own career started off performing on stage and over time I have worked in several areas including; Front of House, Box office, Duty Manager, Stage management, Stage door keeper and even dabbled in a bit of sound and lighting. Now working as Head of Customer Experience I can see that the skills I learnt along the way have been invaluable experience which led me to the job I do now. The 100% offers just that- a taster of what jobs are available and alternative avenues for those wanting to work in the arts.’

'This programme gives adults, young people and anyone wanting to access a career in the arts (that may feel there are barriers or just want a fun and supportive way to gain the experience they need) an opportunity to gain experience in different areas of the business. I'm excited to see how this programme and its participants develop as I know from personal experience how valuable workplace experience can be to helping you achieve your career goals.'

HR, Business and Training Manager Rachel Simmons says:

We have divided the programme into 5 modules, each module requires 20 hours of work experience to complete.

Module 1: The Customer Experience
In this module you will get the opportunity to work with our Customer Experience teams to complete work and shadow team members working Front of House, on the Bar and in the Box Office.

Module 2: Marketing and Event Programming
In this module you will work with the marketing, programming and hires teams to learn what it takes to book and market events and get stuck into some of the day to day tasks involved.

Module 3: Museum and Heritage
In this module you will get to work with our Museum team to get a taste for the visitor welcome and shop, as well as collection management, exhibition and display.

Module 4: Technical and Facilities
In this module you will work with our Technical and Buildings teams to shadow the different technical roles involved in events, learn about and complete health and safety and maintenance tasks.

Module 5: Finance and HR
In this module you will work with and shadow our Finance and Human Resources teams and learn what it takes to run a charity including day to day administration and accounting, paying artistes, managing a workforce and the structure and governance of a charity.

Applications for The 100% Project close on Monday 8 May 2023. To find out more about The 100% Project and all WTM's jobs, volunteering and work experience opportunities visit www.wtm.uk/joinourteam.

HAF Easter 2023

We’re delighted to be delivering free workshops and activities in Worthing as part of West Sussex County Council’s Holiday Activities and Food (HAF) scheme.

You can book a place for your child on the Council’s website here. Please note that you will need to create an account to access this information, and can register here.

These free spaces are limited, and booking is subject to availability.

Activity 1

HAF-Mummies
Activity 1

Mummies Cinema Screening & Dance Workshop

We’re screening the brand-new animated feature film, Mummies in the Connaught Cinema. The film follows three mummies as they end up in modern-day London; they’re searching for a precious ring belonging to the Royal Family, stolen by the ambitious archaeologist Lord Carnaby. Wacky and hilarious fun ensues.

Watch the trailer

Following the screening, we’ll have lunch provided by the Proto Restaurant Group. We will then take part in a dance workshop including playing active games, and learning an easy routine which will be performed at the end of the session. This will be led by a fantastic teacher from Stagecoach Performing Arts.

LOCATION

Worthing Museum and Art Galley, Chapel Rd, Worthing BN11 1HP3PX
Connaught Cinema, Union Place, Worthing BN11 1LG

DATE

03/04/23

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Activity 2

HAF-Mummies
Activity 2

Mummies (Subtitled & Autism Friendly) Cinema Screening & Dance Workshop

Watch the trailer

NB. This screening will be subtitled and is autism friendly.

LOCATION

Worthing Museum and Art Galley, Chapel Rd, Worthing BN11 1HP3PX
Connaught Cinema, Union Place, Worthing BN11 1LG

DATE

04/04/23

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Unbroken: Nikki Rummer Q&A

Unbroken is coming to Worthing next month, and we’re so excited for you all to experience it.

Physical theatre and circus artist Nikki Rummer’s debut solo performance tells a personal story of acceptance, love, loss and rage.

One bittersweet Christmas, three generations of the Rummer family are summoned home for one last gathering. Told through the eyes of a daughter, Unbroken weaves fragments of memories into the body of one performer as a dark, previously buried secret finds its way to the surface.

Combining her talent for storytelling and her unique movement language inspired by her acrobatics, gymnastics and capoeira practice, Nikki tells a very personal story with universal resonance.

Tell us a little about you. How did you get into performing?

I first started gymnastics when I was five. My mum wanted me to go because I had been trying to do handstands against the wall of our sitting room. I absolutely loved my gymnastics classes. I felt like I had found my home. This was in the town where I was born, Kent, Washington – near Seattle in the USA.

Performing was the next logical step, but it took me 30 years to figure that out. I was working in an office, at a charity, in the fundraising department, when I was offered a contract for a touring production with the British company Square Peg. I’ve been performing and creating ever since.

What would you say is your style or genre?

I am excited by movement that is unexpected, which feels raw somehow and honest, where you can see the person peeking out from it. There’s a perfectionist in me that wants to have textbook technique for everything from a backflip to a plie, but if I’m honest I am more drawn to the performers who share something human in their movement. I think this also allows emotion to be shared, and where story-telling and movement come together.

What is your show, Unbroken, about?

The show starts with a family gathering, of my family, at Christmas in 2001. What begins as a routine family get-together soon reveals itself as a gathering around a dying man and a space in which secrets are laid bare. It’s a story of acceptance, loss, rage and love.

Who did you collaborate with to make the show and why?

The narrative of the story was structured with and by Ben Duke, director of Lost Dog Dance. He is an amazing artist, with a unique and instinctual talent for creating narrative using both words and movement. I also worked with dramaturg, Jim Manganello, to hone and polish all aspects of the show. The choreography was made in close collaboration with Steph McMann, who brings an incredible practice in finding the exceptional in the everyday way of moving as well as discovering the odd, the explosive, the curious. She is a master of stillness and her stillness is packed with personality. The choreography was also created with Temitope Ajose-Cutting, who helped me to feel ok about being big and brash and loud. My sound designer, Alberto Ruiz-Soler, was present in the studio to create a whole world with sound, to experiment and to show me that sound could be so much more than a series of tracks to dance to.

Can you say more about the music you’ve used in the work?

Much of the sound was created from the skilful hands and mind of Alberto Ruiz-Soler.

What do you enjoy most about performing Unbroken?

I enjoy filling a stage with my family. It’s not every day that we get to have an audience to our tales of family drama. It’s a pleasure to use humour in this piece, to feel the audience respond, and to dance myself into exhaustion by the end.

Is there anything I need to know before coming to see the show?

This is a show that delicately balances the brutal themes of domestic and sexual abuse with the love and care of a family that wants to come to terms with its past.

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Gordon Buchanan: Q&A

MBE wildlife filmmaker and presenter Gordon Buchanan is coming to Worthing to celebrate his life’s work.

After a sell-out tour last year, Gordon Buchanan is back. As one of the most prominent wildlife filmmakers today, Gordon’s journey is a remarkable one. He will be taking a look back over his incredible 30 year career both behind and in front of the camera. This is a rare opportunity to discover what has driven his career and what his favourite wildlife encounters have been.

Tell us a bit about your childhood - how did it prepare you for a career in wildlife film making?

I grew up on the Isle of Mull, which is a very wild part of Scotland, and I think that drove my passion for being outside, and close to nature. School didn’t do it for me: academically I wasn’t really present - all I wanted was to be outside, and the classroom was torture. I was a daydreamer, and I always knew I was never going to work in an office. I’d see the scallop divers, and I’d think: that’s a really good way to spend your working life.

I grew up in the late seventies and eighties, and David Attenborough’s documentaries were big on the telly - and I devoured them. Attenborough is tremendous: his career has lasted so long, he’s such an important voice, and he has so much respect, right across the globe. I thought my admiration for him could go no higher - but then I met him, and it soared even more.

How did you get into making nature films as your career?

I was right in at the deep end with making wildlife films. I was 17, and working in a restaurant on Mull at weekends and evenings to earn a bit of money - and the husband of the owner was a cameraman. He was going to Sierra Leone for 18 months to make a film about the animals in the Gola rainforest, and he asked me if I wanted to come along as his assistant. I knew nothing about what it involved, and I had no idea really what I was getting into - but I knew it was the sort of life I wanted, and I never wavered from that belief. So having never been abroad - never even been on a plane - there I was a month after leaving school, setting off for a year and a half on the other side of the world.

But if getting there was serendipity, and while it was definitely the best break I ever had, those 18 months were tough going. I was so young, and being so far from home was hard. But I knew it was the way forward, I knew it was an incredible opportunity - and I knew I’d be able to build on it and move into the life I’d love.

How has wildlife filmmaking changed over the years you’ve been doing it?

Right now I’m on my way to Brazil for a conservation series - we’ll be filming jaguars. Big cats are the pinnacle for me - watching them hunt is utterly fascinating. The technology has changed hugely over the three decades since I started out - it’s always been about showing viewers the parts of nature we’ve never been able to see before, and technology allows us to do that more and more. But the other huge change across the years has been the increased realisation about how vulnerable and fragile these areas of the world where I’m filming actually are. Thirty years ago we didn’t know - the world was a lot bigger then, and we simply didn’t realise the impact human beings were having on wildlife. Now we understand that so much better, and I’m acutely aware of it in every way, from my own carbon footprint to questions around changes that need to be made by governments across the globe, if we’re going to stop the damage. Right now we’re losing animals before we even knew their species existed - that’s a tragedy.

Given all that, how optimistic are you about the future

Despite the immense difficulties I do have hope for the future. I spent time at COP26, in my home city of Glasgow, and I was really moved by how children and young people are making their voices heard. At the moment it’s the suits who are making the decisions - but soon it will be the turn of the new generation, and they’re going to understand the climate emergency in a very different way, which I think will make for real change. My growing-up years were the eighties, when we were all in awe of the US and consumption - it was all about big cars and having stuff. But the mentality has changed, and tomorrow’s decision-makers are being formed by that.

How does it feel being somewhere really remote when you’re making a film

Sometimes it’s me completely on my own - and when you’re trying to witness something that requires great sensitivity, that’s the best way to do it. But usually I’m working in a team of four - the camera operator, sound operator and director. We tend to be a pretty tight bunch, because you’re relying heavily on one another, especially when you’re in a dangerous situation.

How did Animals with Cameras come about - and are the animals ok with it?

We knew Animals with Cameras was a great idea a long time ago - but the technology had to get there. And it’s so good that it has, because it’s one of those programmes that really captures the imagination, and also it’s about genuinely seeing animal behaviour without human interference. We’re very careful about making sure the camera-carrying animals aren’t upset - we have very strict rules about the weight they can carry. If they weren’t comfortable with it they wouldn’t behave naturally, and that wouldn’t work from the point of view of the programme either.

https://www.youtube.com/watch?v=c3gP-hLFBsU&t=3s

There must be a lot of contenders for this - but could you share a few career highlights?

A few years ago I was working with arctic wolves on Ellesmere Island in Canada; it’s really remote, there are no people there. I got to meet a pack of wolves who had no preconceptions whatsoever about humans. What I realised is that wolves have been vilified for centuries by humans - but they’ve been totally misrepresented. They’re actually highly intelligent animals, and I felt honoured to spend time with them.

Another incredible moment for me was seeing polar bear cubs emerge into the world for the first time. They’d been in their winter den, under the snow, for the first four months of their lives, and I was there to see them coming out into the daylight, seeing what was outside, exploring it with a sense of wonder. I remember thinking about the lives they had ahead: it’s incredibly tough to find food, to live the way they do. And yet it’s the life they’re equipped to live.

Another amazing time was the two years I spent living in Brazil, travelling up the Amazon by boat. I remember the incredible sense of awe at being in the last great wilderness on the planet; that memory has stayed with me, and it always will.

Do you ever find yourself in danger? What sort of scary situations have you been in?

I’ve been chased by bears, tigers and elephants - but not all at the same time. And let me tell you: that’s when you discover how fast you really can run.

Gordon Buchanan will be coming to our Assembly Hall on Friday 31st March at 7:30pm.

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Conservation treatment of the Saxon grave goods from Highdown Hill – Part 2

Carola Del Mese, metal conservator

I have been invited to conserve some objects from Worthing Museum archaeology gallery, and in the last post I went through the objects, explaining what they are, where they were found and how old they are. In this post we will be taking a much closer look, as part of the conservation process called ‘assessment’.

In previous posts we discussed the objects chosen for conservation and the assessment process. Here I will be talking through the conservation treatment of some of those objects and a little about the reasoning behind those decisions from a conservation point of view.

Removal of degraded wax from a Roman military buckle

In a previous post we discussed a Roman military buckle with animal head decorations. The remains of a degraded wax coating were turning areas of the surface white, encouraging corrosion and obscuring details, so it was decided to remove this and apply a new coating. As the object was in stable condition with no active corrosion or fragile elements, the old wax could be softened by submerging in acetone, and mechanically removed.
It is important to check for remains of any organic elements, for instance remains of leather in this belt plate, as leather remains would be damaged if any liquid were applied, making further research difficult. However, in this case there were no organic remains, so the object was submerged in a acetone in a sealed container and after an hour I gently brushed the surface with a bristle brush to remove the softened wax.
Front and back of the dog buckle before wax removal

Front of the dog buckle before wax removal

Back of the dog buckle before wax removal

magnified detail with yellowed wax deposits

Dog buckle after treatment

Dog buckle after treatment

Brushing removed most of the wax, however there were some detailed areas where wax build-up remained and I worked under the microscope carefully using a pin-vice and sharp thorn, eventually revealing more of the features. Even though the surface of the object is stable, it can still be damaged so great care is exercised when using sharp tools. Once the surface of the object was free from wax, I coated it with the same 10% Paraloid B48 and acetone solution as the other objects.

Revealing the details on a decorative mount

Finally, this small, Roman decorative mount had developed a coating of powdery green corrosion which was obscuring the decorative details. The front of the object appeared be ‘tinned’ to look silvery, and I could see that the tinning still survived under the green corrosion. Cleaning with swabs dipped in IMS removed some loose powder but not much, so I decided to use a chemical treatment to remove more of the corrosion and reveal some of the details.

Square Roman mount before and after corrosion removal

Square Roman mount before and after corrosion removal

I made a solution of 5% formic acid in de-ionised water and gently tested a small area of the surface using a swab, carefully monitoring the results. As a swab became green I changed it for a fresh one and gradually the surface was revealed. In some areas, removal of the green revealed cuprite underneath (a smooth, brown corrosion layer) and some of this was removed by the swabs and by gently rubbing with a wooden tool, which eventually revealed the tinned surface. If I felt that the cuprite was too adhered to be safely removed, then I stopped. Finally, I felt that as much had been removed as safely possible, and I cleaned the object thoroughly with IMS.

The assessment and conservation of these objects, safeguarding them for future generations, was made possible by a grant from the South East Museums Development Fund, and Arts Council England.

Images: Carola Del Mese and Worthing Museum

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Conservation Overview

Henry V: Q&A with Oliver Johnstone

Civil unrest, trouble with Europe, the death of a monarch… Experience Shakespeare’s unnervingly relevant Henry V in a production that offers a different perspective on England’s fifteenth-century hero.

Henry, the young and newly crowned king, is impatient to assert control over the people of England. Having received a humiliating gift from overseas, his bruised ego leads him to double down on a military invasion abroad in a bid to expand his green and pleasant land. But at what devastating cost?

Witness Henry’s bombastic pursuit of power, throwing into question what it really means to be English.

We spoke to Oliver Johnstone, who plays the lead role in this production of Henry V.

How are you feeling about your upcoming run at Worthing?

I’m really looking forward to it. I’ve never performed at the Connaught but heard great things from friends who have. And it’s always nice to be beside the sea.

Tell us a bit about the themes of the play and what you hope to share with the audience.

Henry V is Shakespeare’s iconic war play. So it’s about power, masculinity, nationalism and violence.

I hope that we’re taking one of Shakespeare’s big hits and reframing slightly it to present a truly fresh and bold interpretation. It’s a story about a new King, an invasion and a war within Europe. So it feels almost painfully relevant to be bringing Henry V into the 21st century.

What’s your character like?

Our version of Henry is not the flag-waving warrior that many people may be used to. In rehearsals we explored the idea that he’s a man who has power thrust onto him, unsure of his own abilities to lead, perhaps suffering from a kind of impostor syndrome and living in the shadow of his father. Over the course of the play you see how he battles not only the French, but himself as well. It’s quite a journey for him. He’s flawed, determined and ruthless.

How do you prepare for each show?

As you can imagine, there’s a fair bit of violence and ugliness in the play. So before the show the cast meet onstage to check in and remind ourselves that we actually all like each other get along very well in real life. And then we go through the fights and warm up a bit.

What’s your favourite bit?

There’s a dance in it. I like that bit.

And your least favourite?!

There’s a scene I’m in towards the end of the play which is deeply uncomfortable. But I won’t spoil it.

What does Henry V mean to you on both a personal level and a professional one?

Well Henry is not a part I thought I would get the chance to play! So it’s still a bit of a surprise but I’m finding the challenge of playing such a complex character very rewarding. Particularly in a production which feels like it offers a completely new take on Shakespeare’s iconic “hero”. And I’ve loved collaborating with such a talented, funny and supportive team.

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Conservation treatment of the Saxon grave goods from Highdown Hill – Part 1

Carola Del Mese, metal conservator

What is a condition assessment?

In these last two posts I will be showing conservation of the historic grave goods from Highdown Hill. In previous posts we discussed the objects chosen for conservation and the assessment process. Here I will be talking through the conservation treatment of some of those objects and a little about the reasoning behind those decisions from a conservation point of view.

To treat or not to treat?

No conservation treatment should risk any unnecessary change or damage to the objects, and the assessment showed that none of the objects were actively corroding, meaning that very little intervention was necessary. All the objects are kept in environmentally controlled display cases, so light and humidity are at optimum levels to avoid degradation. We compared the objects’ current conditions with accession photographs taken in the 1980s and photos taken in the early 20th century, immediately after excavation. This showed us that all the visible damage had happened in the years between excavation and accession to the museum, confirming that the museum environment is very stable and minimal intervention was needed.

Excavation images compared with accession images, showing damage which occurred prior to accession.

During assessment, we discovered that most of the objects had been coated with either wax or lacquer while in private hands, and that these coatings had degraded. When this happens, the coating is no longer providing protection, and could cause the surface to become discoloured and patchy, where some areas are exposed to the environment and can oxidise, and some areas are protected. Most of the objects simply needed a surface clean and removal of the old coating, then re-application of a new, conservation coating.

Stabilising a Bronze Age ring

In the Bronze Age case, this copper alloy ring which is part of the Stump Bottom Hoard had developed a pale green surface. This is a type of very slow corrosion, and is generally stable, we see this clearly in the green corrosion which develops on copper objects, commonly referred to as Verdigris. If an object has a protective coating such as a lacquer, it is protected from corroding, however over time the coating will degrade and the copper will generally develop brown, then green layers. The other copper alloy objects from the hoard were either dark brown or dark green and stable, suggesting that they had a protective coating, while the ring did not.

Copper alloy ring before consolidation

Copper alloy ring after consolidation

The ring’s surface was fragile and needed consolidation to avoid disintegration. I first slowly dripped IMS (industrial methylated spirits – a solvent) onto the area I wanted to treat, following it quickly with drops of a solution of 5% Paraloid B72 (a conservation adhesive) in IMS, then repeating this with the next area. The first drops of pure IMS were to wet the porous internal matrix of the object, helping to carry the consolidant into the object. I used IMS as opposed to acetone as it evaporates more slowly, allowing the consolidant to travel further into the powdery areas before curing. This treatment darkened the surface slightly, but the object is now more stable than before.

Surface cleaning the Sussex loops

The Sussex loops were showing remains of a waxy coating in places, while some areas were dusty, with remnants of soil from the original excavation, and some pale green corrosion spots. Surface dirt is a risk to the object as it can attract dust, then moisture, possibly micro-organisms and encourage corrosion. No loose corrosion was visible, so the corrosion spots were not active. The surface was mainly dark green and stable, but could be easily scratched, and so surface cleaning would need to be gentle.

Sussex loop before surface cleaning.

Cotton wool swabs after cleaning. Left: water, right: acetone.

Sussex loop after treatment.

A closer look also reveals some interesting manufacturing details. Some of the angles have been deliberately flattened, to stop the metal bulging out when the loop was created, and to make the interior of the loop smoother. There is also a deliberately hammered-in (‘chased’) line running along the entire length of one of the sides. It appears to have been smoothed or sanded away as if the maker changed their mind about this decoration.

Anatomy of a Saxon belt buckle

This heavy belt buckle showed some interesting features during assessment. I initially assumed the white metal was pewter or lead which appeared to have been cast around an iron core. Repairs had been cast onto the buckle with a slightly yellower alloy, and there were obvious filing marks on the surface - whether this had been done in antiquity or post excavation was unknown. We could also see that a lacquer layer had degraded and become cloudy, therefore needed removal and re-application.

Saxon belt buckle

Iron core of the belt buckle showing as brown area

Close up of iron core and yellow metal used as a repair

Cracked lacquer seen under magnification

This object was one of a selection taken to West Dean College for elemental analysis, and by using XRF (X-ray fluorescence), we discovered that the white metal was actually leaded bronze. Bronze is usually an alloy of Copper and tin, however the buckle also contained around 4% lead, which with the 6% tin, had sufficiently changed the colour of the metal to appear silvery. The addition of lead would also have enabled easier casting and cold working of the metal. Acetone swabs removed the old coating, and for protection I applied a new coat of 10% Paraloid B48 in acetone.

In part two of this post I will go through conservation treatments undertaken on two more of the objects from Highdown Hill.

The assessment and conservation of these objects, safeguarding them for future generations, was made possible by a grant from the South East Museums Development Fund, and Arts Council England.

By cross referencing the archival images of these brooches, we can see how much they have degraded since their excavation. The square brooch with the chased details was once intact, and was broken and repaired before its donation to the museum. The round brooch has suffered some loss between the original images and those taken in the 1980’s. By examining that area under magnification, I discovered that it is fragile and cracked, suggesting that I could use a conservation glue to strengthen the area.

Images: Carola Del Mese and Worthing Museum

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Conservation Overview

Standing Perilously on the Edge: Q&A

“Are we at a tipping point?”

This is the question posed by artist Madeleine De Angelis and photographer Lorenzo Ali who explore the effects of modern life and humanity on the planet. In this mixed media exhibition, they provoke discussion and stimulate audience awareness, considering the impact of industry, fashion, population and mental health and ask what the future looks like?

Madeleine had an extensive career in the fashion and textile industry, whilst Lorenzo’s experience was in advertising and marketing prior to becoming a freelance photographer. Together they bring a combined show of photography and mixed media.

Madeleine told us all about the exhibition and its development.

Tell us a bit about the exhibition

The exhibition hopes to address some of the environmental issues currently facing the planet.

What has the development of this piece looked like?

The development of our work takes its inspiration mostly from the local Sussex countryside and coast to develop a connection between us and global issues. The concept was something we’d been exploring through our work for some time. It’s a subject we’re passionate about.

What are the main themes of the installation?

Through our collective imagery we are highlighting the intensity and growing pressures humanity is facing in areas of mental health, industry, pollution, fast fashion, coastal erosion and climate change. We don’t want it to be all doom and gloom and also suggest there is hope for the future if we adapt now.

What do you hope visitors will take away from it?

We hope that visitors can connect with our work in a more sympathetic way rather than feel it’s a message that’s over used. Hopefully they will go on to continue the discussion regarding our planet and look towards a more positive future.

How have your respective backgrounds helped to contribute to this project?

We have both worked in industries that have given us an insight into some of the issues facing us now. Madeleine had a long career in fashion, design and manufacturing for some big well-known brands. Lorenzo spent more than 20 years in marketing and media with household international companies. During that time we became increasingly concerned at the significant impact industry and consumerism has on our planet.

What’s your favourite bit?

The concept and how we use the metaphor of the local cliffs to address global issues of “standing perilously on the edge”

Anything else of significance you’d like to add?

The premise of the exhibition is how we approach important environmental issues in an artistic, abstract yet inclusive manner.

Imagining Otherwise: Q&A

Witness the extraordinary interactive dance performance Imagining Otherwise from renowned choreographer Yael Flexer and digital artist Nic Sandiland.

The performance reflects on our experiences of parallel time zones, places and lives; exploring the idea of multiple stories and possibilities.

Immersive digital floor projections shaped and changed by the dancers’ movements evoke shifting organic landscapes interwoven with spoken text by writer Wendy Houstoun and music by composer James Keane. Interactive imagery, akin to live charcoal drawing, highlights notions of migration, transience, mark-making and erasure.

Imagining Otherwise raises images and themes of current pertinent issues such as migration, surveillance, identity, climate change and our impact on the environment. What marks do we get to leave behind? What do we do with the impact we make on the world?

We spoke to digital artist Nic Sandiland to find out what we can expect to see from the performance.

How are you feeling about your upcoming performance at WTM?

Very excited to be presenting work in our neighbouring Worthing! It’s great to work with such a supportive team bringing new work to the area.

Tell us a bit about the show. What does it mean to you to bring this to life?

The show is inspired by ideas of geography and where we, as people, end up in the world. It’s also a reflection on the choices we opt for in life.

What has the production and development of this performance looked like?

We did start a long time ago during the pandemic, which made things very difficult to rehearse. The 2m social distance seemed to echo themes of our modern lifestyle being separated by distance but co-existing in time.

What’s your favourite part?

There are lots, but I think the more poignant duets towards the end of the piece still move me. I also enjoy the raw energy of the dancers as they create the projected traces whilst whizzing around the stage.

What was the hardest?!

Well, mainly trying to get the tech to adapt to the conditions of each venue. It’s quite a time-consuming set up which requires specific lighting for the interactivity.

What do you hope to share with the audience?

A sense of wonder and excitement, and also to reflect on our strange lives which are half in the digital world and half in the physical.

Is there anything else of significance you’d like to share?

I think the venue is fabulous! We’ve been wanting to realise the piece as a more installation performance for quite some time. Having access to the Pavilion Theatre’s huge auditorium will really add to the spectacle.

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Taking a closer look – conservation assessment

Carola Del Mese, metal conservator

What is a condition assessment?

The aim of assessment is to closely examine the object, to learn as much as possible about it, which helps to decide the most appropriate conservation treatment – if any. The information is then entered into a condition report which can be referred to by any future conservator, researcher or curator, creating a detailed record of the object.

What will we discover during assessment?

Close examination can help us to understand the manufacturing process, the materials, any vulnerable areas, previous repairs, active corrosion or degraded coatings. This information will help to build a fuller picture of the object and potential issues leading to treatment options. In the case of archaeological objects, assessment may also shed light on the technologies, trade links and communities who used the object.

How do we assess objects?

Assessment can include cross referencing previous treatments, material analysis (what it is made of), considering future environmental conditions (where it will be stored or placed and how it may be displayed or used), any ethical considerations (in the case of religious or objects from certain cultures) and crucially, the condition of the object itself - is the object actively corroding or deteriorating in any way, and does it need intervention?

Conservators use a variety of analytical methods to assess objects, depending on the information needed and the resources available. These might include visual and microscopic examination, X-ray imaging, UV light and more scientific methods used in conservation laboratories.

Here at Worthing Museum, I have used photographs from the archives, close visual examination, and a small digital microscope camera which can be plugged into a laptop. The close-up images provided by the microscope have revealed some interesting information!

What did we see?

Sussex loops

The beautiful Sussex loops from the Bronze Age display are approximately 3500 years old, and in incredible condition considering this. On first glance they appear to be stable although there is some surface corrosion, and by carefully handling them, they appear to be structurally sound. However, when I used the microscope, I could see some worrying hairline cracks, telling us that the metal is losing its metallic qualities and becoming brittle. This means that the object is vulnerable and handling it could risk further damage, so this information will be recorded in the report.

Metal Conservation - Taking a closer look

Ferrule

A ferrule is the metal band which holds the hairs onto the tip of the brush, and this one is Roman. The handle no longer exists, but by looking through the microscope into the gap, we can see in detail, the remains of coarse hair - probably hogs hair – previously undocumented, from around 1500 years ago!

Quoit brooches

The detail on these brooches comes alive when seen under magnification, showing that the wavy lines are made of lots of smaller, straight lines. This means that the technique used was 'chasing’, where a small tool punch is hammered on to the metal surface repeatedly, to create decorative lines and indentations. It’s fascinating that this ancient method is still commonly used today by metal craftspeople.

Metal Conservation - Taking a closer look

Quoit 1 (close-up of detail square brooch)

Quoit 2 (archival image)

Quoit 3 (recent image

quoit 4 (archive images)

Quoit 5 cracked area

Belt slide

This item is of specific interest to the museum, as research suggests it is unique. It has very fine detail on the front, and horse or dragons' heads inlayed with silver at the top and bottom. An image of the object immediately after excavation shows it in perfect condition, however, some of the detail has since been lost. Examination under the microscope shows a strange, melted texture, unlike regular corrosion and without the powdery residue expected on actively corroding metal.

Metal Conservation - Taking a closer look

Belt slide 1 (archival image)

Belt slide 2 (recent image)

Belt slide 3 (microscope view)

By comparing the original images with the ones from the 1980s, we can see that the damage occurred before its donation to the museum, and the object still looks exactly the same 40 years later! This also shows us that the environmental conditions in the display case are excellent for preserving the objects.

In my next blog post we will be looking at the treatments I carried out on some of these objects as a result of the assessment, and the decisions behind them.

Images: Carola Del Mese and Worthing Museum

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Conservation Overview

Mapping Gender: in conversation with Anders Duckworth

By Carly Pepperell

Maps carve borders through landscapes. Clothes are maps for the body. Both are arbitrary constructs, omnipresent in our society, and have a real impact on people.

Choreographer and performing artist Anders Duckworth is bringing Mapping Gender to Worthing in February. This multisensory exhibition of dance, image, scent, sound and research is an invitation to explore how, as a society, we draw borders and create boundaries to both carve up geographical space with maps, and divide people with gender.

Mapping Gender has been created in collaboration with sound artist Kat Austen, dramaturg Emma Frankland (who previously performed in Worthing with their production of Hearty), nine interdisciplinary artists, and a group of trans and non-binary volunteers. The show includes selections from a series of recorded interviews with non-binary people discussing their personal experiences. By drawing together people who exist on the margins and the ‘in-between’ spaces, Mapping Gender opens up new possibilities and provides an opportunity to rediscover the place and complexities we find in gender.

WTM's Carly Pepperell sat down with Anders to talk about everything from the creative development of Mapping Gender to what we can expect to see in the show.

Anders sat across from me, poised and elegant but relaxed and happy, armed with a fresh coffee and flapjack. They explained the process of the production, from first thought to final piece.

“Most of my work is quite convoluted in the way that my process takes me on a journey, and I try not to see the end result. The way I work is like I’m exploring the work itself, which will generate the material that I’m then going to shape and turn into a piece of dance or an exhibit. It can take lots of different forms. But with this piece I had quite a distinctive image – and I do work with images all the time – and I think the quite surprising thing is that this time the image remained. It came to me as more of a shell of an idea, and I’ve just spent the last two and a half years really researching it and trying to figure out what drew me to that image.”

The evolution of dress

The image in question was an 18^th century mantua dress that Anders had seen at the Victoria and Albert Museum, where they were struck by the ridiculousness of it and the contradictions that it held.

“It’s a piece of clothing that speaks about power and gender, and those are in conflict sometimes. This piece of clothing spoke to this period in time where we had the beginnings of the British Colonial Empire with the East India Company, and the dress spoke to that kind of relationship of growth and expansion, as well as trade and the desire to present wealth.

“In terms of gender, it’s a highly gendered object; it was really framing the idea of femininity as static and non-moving. So there was this kind of interesting dualism going on, in that its showing its power and domination over the physical space that it takes up, but the person inside is actually quite trapped and reliant on the people around them to work and function in the world. That was my kind of starting point, and I always wanted to connect it to my non-binary experience.

“Seeing the dress invoked a real physical response, which was a mixture between fascination and horror, obsession and love. It was a cocktail of different things. It was such a beautiful dress, but thinking about the people who made the dress and what it represents… there’s so many layers. That particular dress is also interesting because the silk itself was manufactured in France, and at the time there was a ban on imports to England of French silk, so it was somehow smuggled into the UK, and the whole politics of the Spitalfields silk weavers is really interesting. Behind every piece of clothing there’s so many stories, and that’s why it’s really exciting to perform in a museum space which has such an extensive collection of costume.”

Research, collaboration and development

At this point, Anders spoke openly about the progression into collaboration, and the reasons why their collaborators were important and relevant. As Anders is talking, it’s impossible not to listen. Their calculated responses to each question is carefully thought out, ensuring each answer is honest and genuine, making their answers feel almost poetic.

“I guess it was at this point that I started to move in multiple directions. Right at the beginning, I brought on sound artist Kat Austen. She worked with the materiality of landscape and environment, and I was really interested in looking at borders and boundaries in landscapes and how that related to the borders we draw across the body. And of course, the border of gender – the binary notion of gender – was something I wanted to dissect with that metaphor of landscape. There’s a whole history of artists looking to nature and landscapes as metaphors for the body. The thing Kat brought to the work was the sense of environmental costs and implications of nation borders.

“The sounds used in the show come from soil and water samples taken from contested borders, so there’s that kind of thinking about ‘what’s the actual material of those border zones?’ I interviewed someone trained in environmental geography, who gave me the following line that we used in the piece: nature doesn’t have borders, the existing physical borders are imposed by us, and they’re a construct in our heads; the soil and the earth doesn’t know or care what’s happening to it.”

Anders also enlisted the abilities of artist Emma Frankland, who recently performed Hearty at Worthing Theatres.

“I brought on Emma as the dramaturg to really be my outside eye, but also think about how the work is reading and to really probe some of the questions that the work presents. Emma was also there as a support; having a fellow trans person there and being the person who is outside being your mirror and allowing you to see your work was really fantastic. Emma held the space, and when we were heading towards the premiere and there was that crunch point where I was having to step more into that performance role, having that person there to be supportive and think about the care aspect that’s involved in creating work like this was wonderful.”

Exploring perspectives

We had a bit of a break from the interview, and took to discussing the significance of clothing and style, and the conscious decisions we make to display our intent when we dress for the day. I felt that style was a conscious choice, but Anders helped me realise it’s also an unconscious entity.

“I think style is conscious and unconscious, because both actually speak to the power of clothes. With the show, I always wanted to dissect that, and there’s a dismantling of the dress and a notion of borders within the performance. A big part of my process was interviewing non-binary people. We started it in the pandemic; it was a time when a lot of people felt isolated, especially people in the LGBTQ+ community because they weren’t seeing people where they would normally meet in person. We did these interviews – which was a paid position – after we reached out online for people to get in touch. It was amazing. In the end, we were able to interview 12 people, and they came from all over. We had someone from Texas, a refugee from the Middle East, someone from China…

“It was really just wonderful to speak to people with very different perspectives about what it is to be non-binary and how they saw themselves. I was really keen to do that because I know that my voice isn’t the voice for every non-binary person, and I don’t want the show to be a voice for every non-binary person. We took snippets from the interviews which appear in the work, and what they do is provide context but also support me and hold me in the space. Because it’s a solo, it can feel quite sort of isolating, so somehow having those people with me felt really important. I only really understood later on in the process how important that was.

“Honestly I think being a non-binary neuro diverse person as an artist really makes so much sense. Ideas are coming from lots of different places; it takes time to kind of pin those down or arrange those in a way that kind of makes sense. I think spatially, it kind of comes together and makes sense to me, although my thoughts can be very sprawling. It’s very messy. Kat Austen and I would have weekly meetings about the work, and she’s based in South Korea now, so we were working with long distance collaboration and we spent a lot of sessions talking through the ideas. Having Emma come on board to detangle and re-tangle – there was a kind of messiness – which I think is representative of the work. It does physically have this feeling of building, destroying, and rebuilding.”

Translating emotion into art

Following on from the care aspect of creating work like this, Anders spoke candidly about the significance of the emotional vulnerability that’s present.

“My work is always very personal, but this one took it to the next level. I was really talking about my specific gender identity, and although the person people are seeing on stage is me, it also isn’t me. There are moments where I’m channelling other people, which in a way was really comforting to acknowledge trans history.

“The work is internal. It’s happening inside my body, which is why I’m so drawn to dance as one of my art forms. It’s so connected to the body, but also the mind, and it’s important to understand how those are blurred. I’m a very neuro-diverse person, and I think that’s what drives a lot of my need to make work like this.

“One of the questions we asked in the interview was: ‘if you could describe your gender identity as a landscape, what would it look like?’ and it was just very fascinating and beautiful to hear so many interpretations. There were ones that I connected with, and ones that I didn’t, but that didn’t really matter; it’s an internal sense. Because we live in this world which functions around a binary gender system, we don’t really have those conversations around what the landscape and nuances of your gender is. The conversations that are in the public realm around trans and non-binary issues are so reductive. They happen on the terms set by the binary system, so everything is compared to that.

“Something that I wanted to explore was the nuance and sense of excitement that someone might feel when they are discovering new places. I talk a lot about trans landscapes, because the planet is not static. We have tectonic plates moving, land masses shifting, erosions from glaciers; the fabric of the earth is constantly shifting. It’s quite philosophical, that change is actually the one constant.”

Invigorating the senses

We had a brief break, talking about the weather, fashion, and Anders’ perfume, which filled the room with a fresh but woody smell. They explained where they got it from, a French store in London, where the perfumer creates the perfume for you with fresh ingredients while you wait. This led us nicely into the next part of our conversation, which was all about the scent aspect of the performance.

“One of the things that excites me about using smell is that you don’t go to the theatre expecting to smell something. It’s a sense that audience members are less used to employing, so there’s a sense of the unknown. What smell does really well is it allows the possibility of time travel and spatial geographical travel; it’s so linked with our memory. It can really take us to different places, which is what I really wanted for the audiences to experience, particularly looking at smells from the 18^th century, with the heavy perfumes. Smell is such a subjective thing, everyone receives it in a different way, and it really excites me.”

Dissecting borders and exploring landscapes

In terms of what Anders feels would be important on what the audience should take away from the performance, it depends on who the audience are.

“I think it depends who’s coming to the show. I would love trans and non-binary people to connect with the sense of frustration and angst but to leave with a sense of inner peace. I’d also like people to be intrigued by this relationship between borders, and for it to maybe open up a way in which people can question the way we put a focus on borders, whether it’s state borders or borders in gender, and just probe those questions about why they are needed.

“I don’t feel like my work particularly says that borders are not useful; I think when they’re a matter of bodily autonomy, to make your own border is really important. Also there’s ways of creating zones or spaces which exist but they’re also open and invite people to come in. There’s different ways that borders can happen, and I think with this piece I’m allowing those borders, but I’m also looking at those really concrete and violent borders, and what happens when people fall between the border zone, and what is it to exist in that space.”

Conserving ancient objects at Worthing Museum

Conserving ancient objects 1 — Image 1: A Selection of toiletry items from Highdown Hill

Thanks to a grant from South East Museums Development and the Arts Council, I was able to return to
Worthing Museum in January 2023 to conserve some of the metalwork items from the archaeology
collection. In this first blog we will have a look at the chosen objects, in the second blog we will have a
closer look at the objects from a conservation angle, and in the third blog I'll be showing you the
treatments and discussing the reasoning behind them.
James Sainsbury – Curator of Archaeology – picked out some beautiful and rare pieces from the
displays, read on to discover more about them.........
The Bronze Age display case is full of fascinating objects recovered from the local area, showing us a
glimpse of life from 2000BC to 700BC. I had previously treated the beautiful bronze flat-axe from this
display but this time we noticed that two 'copper cakes' could benefit from a surface clean.

Conserving ancient objects 2 — Image 2: Copper cakes and Bronze Age ring

Copper cakes are essentially ingots of copper, in a rounded 'bun' shape, and would have been produced by a foundry to store, trade and transport processed metal. The cakes are in great condition considering
their age, but we wanted to investigate the surface more closely. This hoard - the Forty Acres Brickfield Hoard was discovered by Brooklands Park in 1877, which would have been an inlet of the sea 3000 years ago, suggesting they were brought in by sea, and a selection is on display in the museum.

We also noticed a copper alloy ring from the Stump Bottom Hoard (c 1400 BC.) looking decidedly different from the others. The pale green powdery coating looked fragile and would need to be investigated further.

Next we looked at the Highdown Hill display case, which has some fascinating objects dating from the late Bronze Age to Anglo-Saxon times, but the objects we chose were late Roman and early Anglo-Saxon (350-600 AD).

The Saxons came from the area we call Germany, in the 4th century AD bringing with them a distinct cultural aesthetic. In 1892 a cemetery was discovered on the summit of the hill, containing Anglo-Saxon inhumation and cremation burials. There were over 100 graves in total, containing beautiful objects
including weapons, jewellery and belt buckles, which are now on display at Worthing Museum.

Conserving ancient objects 3 — Image 3: A selection of belt buckles and a gold plated belt slide from Highdown Hill

Three very different belt buckles were chosen, one heavy, plain buckle made of white metal, the second made of a copper alloy, with intricate cast details and garnet settings and the last, named a Dog buckle, is heavy with the heads of two dogs decorating the front. Other objects relating to belts were a belt mount and a belt slide. The mount is a small, flat, tapered plate, rounded at one end which would have sandwiched a thin leather strap in between its two parts.

The belt slide was a small, detailed square belt slide, gold plated with silver inlay on stylised dragons' heads, shaped to accommodate a leather belt. During the years since it’s' excavation, some of the detail had been lost, and dark patches had developed on the surface, needing further investigation. We also picked out a small, square metal mount with silver leaf on the front and detailed decoration.

This was also probably mounted on leather, and green corrosion had begun to obscure the decoration.

The Highdown hoard includes several brooches and James chose three 'quoit brooches' and a disc brooch with detailed decoration on the front. Quoit brooches worked a bit like a buckle, gathering fabric and securing it in place, as buttons had not yet been invented! These brooches were made with copper
or bronze, and one was coated in pewter, to look like silver.

Conserving ancient objects 5 — Image 5: A selection of toilet-sets, tweezers and a brush ferrule from Highdown Hill.

Three bronze Roman 'toilet-sets' and three pairs of tweezers were put aside for a check-over, as the
surfaces were showing light green corrosion. A toilet-set is a collection of small tools for personal
hygiene, threaded onto a ring. They often include several tools such as an ear scoop, toothpick, and other useful appliances. These personal objects are very recognisable and have hardly changed since Roman times. They were commonly placed in burials all over the world, showing that people then, were
just as concerned about appearance as we are now.

Conserving ancient objects 6 — Image 6: A bronze Faun's Head, wire bangles and a seal ring.

Included with the personal items was an object labelled 'Bronze tube', which is actually a ferrule – the metal band which holds bristles onto the end of a brush - I had to investigate further, and we will discover more about in the next blog post. Also with the Roman selection, was a small bronze head, labelled as 'Faun's Head'. We do not know what this was originally used for, but it might have been part of a small Roman statuette, which was ‘beheaded’ sometime before burial at Highdown.

It is always advisable to regularly check fragile items, so we picked out two delicate bronze wire bangles and part of a seal (or intaglio) ring. One bangle is much smaller than the other, and may have belonged to a child, and the surfaces were showing some pale green patches.

Conserving ancient objects 7 — Image 7: Two Sussex loops and a bronze age ring from the Stump Bottom hoard.

Finally, we went back to the Bronze Age case and had a closer look at two objects called Sussex – or Brighton – Loops. They are expertly worked and beautifully shaped from thick bronze rods, bent in half to form a loop at one end. The rod is then shaped into a circle, and the ends of the rod are curled back onto the loop. They appear to be arm ornaments but we do not know their function for certain. Only 39 of these have been discovered, all apart from two were discovered in Sussex, and their scarcity makes it tempting to believe that they were all created in the same workshop. A close look at them showed that some recent corrosion had developed, and we felt it was important to assess the condition of these rare and beautiful objects, and to halt any further damage.

In my next post I will be discussing what to look for when assessing an object, the tools we can use to find out more about the objects, and why research into the objects is important when deciding on a conservation path.

Metal Conservation Logos

Conservation Overview

Henry V: what’s it all about?

The unnervingly relevant story of Henry V is heading to Worthing Theatres and Museum this spring with a new and unique perspective on England’s fifteenth-century hero.

What happens?

Set in England in the early fifteenth century, this play follows the dramatic rise to power of Henry V. The political situation in England is dire; King Henry IV has died, and his young son Henry V has assumed the throne.

Tensions rise higher as Henry must live down his wild adolescence spent with thieves and drunks in the seedy side of London in order to gain the respect and trust of the English people.

On a very technical interpretation of land laws, Henry lays claim to French land. The French Dauphin sends Henry an insulting gift as a result, and Henry retaliates by invading France with the support of his noblemen.

The decision to invade France trickles down to affect the common people Henry rules over, including his old acquaintances Bardolph, Nim, and Pistol, whom he rejected upon his rise to power. They are part-time criminals, and the opposite end of the social spectrum from Henry. As they prepare for war, they reflect on the death of Henry’s close friend Falstaff.

After Henry learns of a conspiracy against his life, he orders the trio of traitors to be executed, one of whom was a former friend of his. Against the odds, the English successfully battle their way across the country. After conquering the town of Harfleur, Henry gives a motivating speech which leads his soldiers to victory. During the English’s advance, Bardolph and Nim are caught looting, and subsequently hanged.

The pinnacle of the war happens at the infamous Battle of Agincourt, where the English were outnumbered five to one. On the eve of the battle, Henry disguises himself as a commoner and speaks earnestly with many of the soldiers in his camp, learning all about them and what they think of the battle they’re involved in. Later on, he processes his responsibilities as a king.

In the morning, Henry gives an inspiring speech to his soldiers, who ultimately win the battle, leading to the French surrendering. Henry marries Catherine, the daughter of the French king, and his son will be the King of France, uniting France and England.

What’s the significance?

The story of Henry V’s reign is a significant one, and highlights his determination to gain a successful foreign policy. His war in France is notorious, coming just two years after his coronation. After years of military campaigns and treaty negotiations, Henry V was recognised as regent and heir apparent to the French throne, though he died just two years later.

Modern analyses of Henry’s reign vary from praise on his bravery and military genius to criticism of his cruel temperament and lack of focus on domestic affairs. Despite this, his military pursuits during the Hundred Years’ War created a strong sense of English nationalism and set the stage for Britain’s rise to global dominance.

Headlong’s production of Henry V highlights the civil unrest and trouble with Europe during this time, exploring Henry’s bombastic pursuit of power and questioning what it really means to be English.

The parallels between society now and five hundred years ago are prominent, and the execution of this play brings into question the ethics and morals of everything from love to war. To experience a slice of history and literature in this way is a privilege; you may find your ways of thinking totally changed by the time you exit the theatre.

BOOK TICKETS

Henry V: Interview with Artistic Director Holly Race Roughan

When Headlong’s Artistic Director Holly Race Roughan first read Henry V last year, her reaction to Shakespeare’s much-loved history play was that something more dark and complex lay at its core.

Luckily, the production she’s directed is anything but dull: a lean, chilling, gripping interpretation of the play, it arrives in Worthing on Tuesday 28^th February 2023.

Race Roughan is the Artistic Director of Headlong theatre company, who tour new plays and fresh stagings of classics around the country. But the suggestion that she sink her teeth into Henry V came from Shakespeare’s Globe in London, where the resulting co-production has just enjoyed a critically acclaimed run at their indoor Sam Wanamaker Playhouse, winning rave reviews.

“I was interested in whiteness and nationalism, and I had another play entirely in mind,” admits Race Roughan. But the more she looked at Henry V, the more obvious it became that it had plenty to say about not only whiteness and nationalism, but also imperialism, immigration, Brexit, Royalism, and our country’s status as an international power (or not).

The story of Henry V leading British troops to a stunning, unlikely victory over the French, the play has often been subject to critical interpretations, from Nicholas Hytner’s Iraq war-era 2003 version to a bleak recent production at the Donmar starring Kit Harrington. Yet it is older, more triumphantly nationalistic outings that still loom largest in many audiences’ minds: the Laurence Olivier and Kenneth Branagh films, for instance, taken as stirring portraits of national pride.

“Henry V has been used and co-opted, through various points in history, as a piece of nationalist propaganda,” says Race Roughan. Reading it, she felt like she had “unearthed an origins story of the creation of Englishness. I felt like this story needs to be held accountable for its contribution to the ideology of Englishness, with all its toxicity.”

Not that she’s committed an act of vandalism on a classic. “I don’t think Shakespeare wrote a piece of propaganda; I also don’t think he wrote a searing criticism. I think he’s written something very smartly ambiguous. And what me and the team set out to do was to turn the dial up on the bit of the play that is often turned down.”

Running at just two hours long, this is a pared-back and pitch-black Henry V, a psychological thriller where the human cost of an expansionist war, conducted to burnish the male ego, is laid bare. Audiences have been so surprised by the play’s brutality that Race Roughan has even been asked if she wrote certain lines. “No no no, Henry really does threaten to rape the women and murder the babies, that’s in the play! It’s just quite often cut out, or done in a way that doesn’t land.”

Rather than a noble hero, their Henry is a dangerously capricious leader: one minute, full of anxious self-doubt; the next, spurred by a near-psychotic temper into cruel practical jokes and merciless vengeance. And Oliver Johnstone is sensational in the part: he has a watchable charisma, both vulnerable and terrifying.

This Henry has the self-questioning interiority of a Hamlet – his famous “once more unto the breach” speech is delivered inwards, as if trying to spur himself to action rather than his troops. Yet he also possesses the manipulative zeal of a Richard III: not a statesmanlike king, but one of Shakespeare’s arch villains.

“I had a strong sense that I wanted an unreliable, maniacal, Richard III [style] Henry. And Oli got us there, but via a really long journey – in the first half, [he’s a] fragile, vulnerable bullied child who suddenly finds he’s got to rule the county,” says Race Roughan. Rather than open the play with Shakespeare’s soaring prologue, Race Roughan and dramaturg Cordelia Lynn have inserted a scene from Shakespeare’s earlier play, Henry IV part ii. In it, we see Henry V bullied by his father – even as he is dying. This provided Johnstone with the psychological key to unlock the character.

The play also closes in an unconventional way: with a brief final scene that is indeed completely new, and which brings the play sharply into contemporary Britain and the hostile environment. No spoilers here – but this coda helps highlight how Race Roughan sees the play as being about “the origins of empire”, something she wanted to dig into at the moment.

“We are living in a time of post-Empire: crumbling economy, and crumbling British might. How interesting to do a play that is all about the might of England, that has been used to get people riled up in the name of Englishness, at a point where it feels like our country is in decline on the world stage.”

And Henry V continued to feel eerily more relevant as they worked on it. Literally as they were auditioning actors, ‘the queue’ – of mourners wanting to pay respects to Queen Elizabeth II – formed along the south bank, outside the Globe theatre. “I went into it thinking about nationalism and Brexit and Empire, and in the middle of it, the Queen of England died,” says Race Roughan, still a little incredulously. “We put a scene at the beginning which is all about the death of a monarch – and that suddenly felt really visceral.”

The production, which opened in December, also makes heavy use of the national anthem: the first time in 70 years when the lyrics would be the same for the play’s monarch as for our actual monarch. “The anthem was just so in the air in a way that it hadn’t been three months earlier,” acknowledges Race Roughan.

Even so, making Shakespeare feel vital for contemporary audiences was a challenge for her – Henry V is the first Shakespeare play she’s directed. But anyone who has ever felt baffled by the bard will find her attitude refreshingly honest: “At one point, I was like I might as well be directing in French… fundamentally I don’t understand what you’re saying to each other. It felt like pushing a boulder up a hill made out of treacle!”

But the result of this was that it became incredibly important to Race Roughan that the production be crisp and comprehensible. “A lot of our rehearsal process went into making it crystal clear. There’s a thing around access there for me: how do I make sure that someone with a PhD or someone who just happens to want a night at the theatre is following the same story?”

She approached the text in the same way as she would a brand new play: making cuts and changes where needed for both clarity and pace. “It’s short, and it’s punchy.”

And Race Roughan is excited now that the production is having a new lease of life on tour. The Sam Wanamaker Playhouse is lit only by candles; she’s looking forward to the “electric version” of their Henry V. “It will remain a psychological production, but I think it will intensify it.”

Race Roughan always loves seeing how Headlong’s work changes as it tours across the country. “A production is 50 per cent what you rehearse, and 50 per cent the audience. So if the audience changes, that’s a significantly different production. I’m interested to see if people will laugh or be moved in different places – to see what we will learn about this play by being in Leeds, Northampton and Worthing.”

Henry V will be on from Tuesday 28th February at the Connaught Theatre.

Book tickets here

Upcycled Fashion: Q&A with Kate Strachan

Kate Strachan is coming to Worthing Museum to teach a course in Upcycled Fashion.

Her workshops aim to inspire and educate people on reusing old garments to create new ones. In recent years, upcycling has been a huge surge towards a life of sustainability for many people, whether in the form of giving a new lease to old clothes or transforming charity shop buys to make something new.

Whether you’re interested in creating a whole new wardrobe or just want to resize some old items, Kate Strachan is here to show you how to do it.

Tell us a bit about the workshop

This course is suitable for both beginners and regular sewers. I’ll help students with initial ideas to design and plan their sewing project, provide tuition in basic machine and hand sewing techniques, support with re-design, re-construction or adapting fit of garments and ideas for decorative repairs and embellishments. They can use fabric from one item to make another, create a personally-fitted garment from a fabulous vintage find, or simply turn some favourite old trousers into a beach bag!

What inspired you to begin teaching people?

Initially by being taught by inspiring tutors myself; also both my parents were art teachers and I saw how much they benefited from interacting with students. Being an artist can be quite a solitary activity so teaching is a way I can connect with and be inspired by other creative people. Plus, I’m passionate about making creativity accessible and possible!

How long have you been doing it?

I’ve been teaching or running workshops alongside my art practice for over 20 years, ranging from residencies in Sussex primary schools, Samesky Community Arts, Phoenix Art Space and Northbrook College.

What are the benefits of upcycling?

Buying less and upcycling garments from your existing wardrobe, and finding a way of repurposing something you love but don’t fit or wear anymore. Using beautiful vintage fabrics again, as well as finding lovely garments that don’t fit in a charity shop and knowing you can make it into something that does!

What do you hope your audience will take away from the workshop?

Something lovely to wear or use, plus increased confidence in their own creative ideas and ability.

What is your favourite part about upcycling?

Playing a small part in saving the planet from a mountain of textile waste!

To create something unique/wearable/usable that otherwise may have gone to landfill and repurposing a loved old garment that doesn’t fit or work anymore into a new cherished item.

This workshop includes two-hour, weekly sessions over four consecutive weeks:
Sat 11th Feb, 2-4pm
Sat 18th Feb, 2-4pm
Sat 25th Feb, 2-4pm
Sat 4th Mar, 2-4pm.

BOOK NOW

A Century of Swing: Q&A

We’re so excited to be hosting Down for the Count for “one hellova celebration of vintage music” (TimeOut London) as they celebrate A Century of Swing.

We spoke to Mike Paul-Smith, Musical Director, Pianist, and Band Manager of Down for the Count, about their upcoming show at our Pavilion Theatre.

How are you feeling about your upcoming performance at Worthing?

We're really excited to be performing in Worthing - it'll be our first theatre show in the town and it's always a huge pleasure to perform in new places.

We have recently performed in Brighton and Eastbourne and are gaining more and more fans on the South Coast and we can't wait to perform for everyone in January; a bit of live music is the perfect way to shake off those January blues!

Tell us a bit about the show and what you hope to share with the audience.

Our show features some of the most popular swing music of all time. It’s music that just about anyone can enjoy. The energy behind the music is infectious and our musicians are some of the UK's top jazz musicians, so it's a chance to really hear the music be played as it should be.

We also talk about the history of the music. Swing music has a fascinating and, at times, troubling history and an important part of our show is telling the audience a few stories about where the music came from.

Above all, we hope that the audience leave uplifted having enjoyed some fabulous live music, and that they will be able to share in the joy we feel when performing it.

How do you prepare for each performance?

We're on the road so much that on each performance day we arrive at the theatre a few hours before the show to set up and then we'll talk about what songs we're going to play that night. We try and make it different each night, so that each show is fresh and different.

Sometimes we might have an idea of a new song to perform on the drive up to the venue so we'll try that out during the sound check and possibly perform it in the show that night. We then love the hour before the show when sound check has finished, and we grab a bite to eat, have a chat and catch up in the green room, and then get ready to perform!

What has the production and development of this show looked like?

A Century of Swing has been evolving over the past two or three years; we've been touring different shows around the country and finding out what audiences really love.

It's also constantly developing and no two shows are ever the same - sometimes we'll change the set list from night to night to keep things fresh and interesting for the band, and for any audience members that might be coming back to see us again.

BOOK YOUR TICKETS HERE

WTM are excited to announce our partnership with SAND

WTM are excited to announce our partnership with SAND

Worthing Theatres and Museum worked closely with The SAND Project in renovating one of our dressing rooms in the Pavilion Theatre.

About SAND

“What started as a small community enterprise project has grown into a college, cafe, creative hub and many small enterprises promoting the skills of our individual trainees.

"Our trainees learn to become entrepreneurial and prepared to earn money for themselves. We lead by example. Our trainees are not charitable causes and we believe they are highly capable and add huge economic value to the community and businesses. Our aim is to send this message to local industry.

"We are devoted to promoting greater opportunity and life choices for those with learning or life challenges.”

Lottie Coburn, head of SAND Design at The SAND Project, told us about the work the team do: “The SAND Project prides itself on creating reputable businesses and innovative enterprises as a means of training and showcasing the work of our trainees.

“At SAND Design, we have been very busy re-designing and decorating rooms in the building, such as the classrooms, common room and cafes (Sand Bay and Sand Hub), which will be ready to open in January from Tuesday to Thursday. We have also had the privilege of redesigning and redecorating the star dressing room at the Pavilion Theatre!

About the project

Lottie told us about the development and process of the project at our Pavilion Theatre.

“Once we received the brief for the Pavilion, we started with some research. What made a desirable and practical dressing room - a space where actors could relax, get ready in comfort for their performance and be inspired? What did a dressing room need? What do actors require?

“Before we even visited the site, we had some ideas in mind as well as the brief; both enabled us to make some informed decisions quite quickly. As part of our research, we also visited some local buildings built in the same era as the Pavilion Theatre.

“We decided to go with an Art Deco theme so as to be sympathetic to the building's history, and because this design aesthetic lends itself to luxury and opulence. The trainees worked hard on their design for several weeks before presenting to the clients at the Pavilion. The clients were thrilled with the design and we got the green light straight away.

“Within a week, we started the renovation. It took us two weeks, working in the mornings to complete the design. The trainees have been involved in all elements of decorating including the carpentry. The final result is stunning and hits the brief in a spectacular way!”

What’s next for The SAND Project?

Going forward, we will complete the Bay Cafe renovation and then begin the renovation of an AirBnB flat at Sand Bay on Thorn Road.

We are a business and we are open to being hired. If you would like a Sand Design please get in touch lottie.coburn@thesandproject.co.uk

HAF Christmas 2022

WTM are extremely proud and excited to announce that we're a HAF Provider this winter! We'll be delivering free workshops and activities in Worthing, as part of West Sussex County Council's Holiday Activities and Food (HAF) project.

Ukrainian refugees and FSM students, aged 7 - 11, will be joining us for all sorts of festive fun - including Panto, Matilda the Musical and Craft Workshops! #HAF2022

'We're so pleased to be offering our inaugural HAF Activities this winter. Providing an accessible creative outlet for young people is an important part of what we do, especially now, and we want to ensure that fun is at the top of the agenda! I have no doubt that the brilliant WTM staff will rise to that challenge and help create lots of lovely memories.'

Jo Dorey, WTM Projects & Community Engagement Coordinator

The activities are as follows:

Creative Seasonal Craft Workshop: Stars, Spirals And Angels
Monday 19 December 2022, 10am - 2pm
Worthing Museum, Chapel Road, Worthing BN11 1HP
Jack and The Beanstalk: The Pantomime and Dance Workshop
Tuesday 20 December 2022, 1pm - 5pm
Pavilion Theatre, Marine Parade, Worthing BN11 3PX
Matilda The Musical (Movie) and Dance Workshop
Wednesday 21 December 2022, 9:30pm - 1:30pm
Connaught Theatre, Union Place, Worthing BN11 1LG
Creative Seasonal Craft Workshop: Reindeers, Mini Wreaths And Garlands
Thursday 22 December 2022, 10am - 2pm
Worthing Museum, Chapel Road, Worthing Central, Worthing BN11 1HP

PLEASE NOTE: the Panto and Cinema sessions are full and cannot be booked. If you are interested in the Craft Session on Thursday, this can be booked through the link.

WTM will provide all the necessary equipment and support, and these activities are open to all skill levels.

Othello: Q&A

We are so excited to be hosting Frantic Assembly for their run of Othello this week.

Frantic Assembly takes Shakespeare’s muscular and beautiful text, combines its own bruising physicality, and presents an Othello firmly rooted in a volatile 21st century. Directed by Frantic Assembly’s artistic director and co-founder Scott Graham and designed by Laura Hopkins, this is a world of broken glass and broken promises, of poisonous manipulation and explosive violence. Othello’s passionate affair with Desdemona becomes the catalyst for jealousy, betrayal, revenge and the darkest intents.

We spoke to Kirsty Stuart, who will be playing Emilia.

How are you feeling about the upcoming run at WTM?

Really excited! I've never been to Worthing before and it's always lovely to visit the sea....even in November! The building and theatre space look amazing.

Tell us a bit about the show. What does it mean to bring Shakespeare’s work into the 21st Century?

As a performer and as an audience member, I love a modern re-telling of a classical play. Using text that was written hundreds of years ago, and marrying them with the modern world, makes the themes all the more powerful.

What has the production and development of this performance looked like?

We rehearsed in London for four weeks before heading to Leicester to open the show. This is the third outing of Othello so the majority of the production was already in place and as performers our job was to learn a show that already existed. Having said that, Scott (director) always gave space for new ideas and conversations about movement and character, so it's never felt like we were copying a previous production. The set has also been adapted since the last outing so there was fresh ideas that came with that too.

What’s your favourite part of the show?

That's such a difficult question!

There is a moment at the end of the play where the set does something completely unexpected and the effect is totally cinematic and heart-breaking. I can't say too much without giving it away! But when I first saw it with lights and sound in Leicester my jaw hit the floor.

For my character, Emilia, I love the scene between her and Desdemona. Just the two of them alone - a moment of quiet before the storm.

What was the hardest?!

During rehearsals we did an hour and a half of boot camp every morning to get us physically ready for the tour. Cardio, strength and ball games. Hard work.... but probably never been fitter in my life! We warm up every day on tour and that early hard work definitely paid off.

What do you hope to share with the audience?

Frantic Assembly have such a unique and thrilling way of telling a story. I hope that our audiences in Worthing will leave Othello feeling inspired and excited by live theatre!

What does Othello mean to you on both a personal level, and a professional one?

I have loved working with Frantic, and the company of actors get on so well it's like a family. Being away from home on tour, it has been invaluable to feel safe and supported at every step.

I have never been in a show that has been so massively attended and so positively received. It is a privilege to step on stage every performance to tell this story.

Othello is directed by Scott Graham, designed by Laura Hopkins, with lighting design by Natasha Chivers, sound design by Gareth Fry, music by Hybrid and casting by Will Burton CDG.

Othello will be held at the Connaught Theatre from Tuesday 29 November – Friday 2 December 2022 at various times. Tickets are available from £12.50

WTM Partnership with South East Dance

Brighton Screendance Festival is in association with CINECITY The Brighton Film Festival, University of Brighton, and Worthing Theatres.

The festival is presented by South East Dance, launched in their 25^th anniversary year as a brand-new celebration of dance on film. Set over four days, the festival will explore the past, present, and future of dance on screen, showcasing its inventive and experimental mix of movement, choreography, and the moving image.

Transparent is being screened by Worthing Theatres at the Connaught Cinema, and promises to be a cinematic evening of contemporary dance. Created by dancer and choreographer Siobhan Davies in collaboration with David Hinton and Hugo Glendinning, Transparent is a show that explores the reflections of Siobhan as she unravels the complex processes that underpin a life’s work in the dance industry. This dazzling autobiographical collage of influences from animals and art to photography and psychology explores Siobhan’s 50 years as a leading contemporary dance artist.

Following the performance will be a live-streamed Q&A followed by Acts of Memory, a 45 minute compilation of short films curated by Claudia Kappenberg. These films will explore different choreographic and cinematic approaches to remembering the past and bringing it into a dialogue with the present.

Transparent will be screened at the Connaught Cinema on Friday 18th November at 7pm. You can book your tickets HERE.

“I can dance something yesterday and I can only dance it today in the knowledge of the experience I’ve had between yesterday and today. I am a body. I don’t have one. The word "body” just isn’t enough. It doesn’t encompass the all of us”

Siobhan Davies

Cath James, Artistic Director of South East Dance said:

“I have long held the hope of having a screendance festival in Brighton. South East Dance began as a screendance agency in 1997 and we have supported the development of dance for film as an artform ever since.

“With the popularity of dance on social media, screendance - meaning dance specifically choreographed for the screen – feels as relevant as ever. Brighton Screendance Festival will look at the past, present and future of screendance through a diverse programme, including films for young audiences - a first for a screendance festival in the UK.

“With the opening of The Dance Space, a place where, from the ballet-barre to the silver screen, dance can be experienced in all its forms, it feels right to return to our roots and launch Brighton Screendance Festival. Alongside curators Claudia Kappenberg and Charles Linehan, we very much hope you will join us for this special celebration of screendance.”

Brighton Screendance Festival will run from Wednesday 16^th November to Saturday 19^th November 2022.

Introducing The Bianca Project Exhibition

Worthing Museum and Gallery are proud to be exhibiting work by participants of The Big Eyed Ears in partnership with Ferring Country Centre. The work is inspired by the painting of Bianca, The Patroness of Heavenly Harmony by William Holman Hunt, which is one of the gems of the fine art collection at Worthing Museum.

The Bianca Project Exhibition was opened with a performance on Saturday 15^th October, facilitated by Jo Telling (Superstar Arts co-founder) and drama specialist Nicola Davin. The group behind the exhibition explored issues around perception, communication, trust, and vulnerability between the learning disabled and non-learning disabled communities. Through this project, learning disabled people are provided with the opportunity to communicate their thoughts and feelings to their local and wider community. The exhibition itself offers previously unexplored perspectives of the famous portrait of Bianca.

“The performance and exhibition succeeded in being through-provoking, moving, and also uplifting. It definitely gave me an insight into a world I know too little about.”

Audience member

The opening performance over the weekend was held against the backdrop of The Bianca Project exhibition, and saw the group exploring themes of perception, consent, and empowerment. The accompanying artwork illustrated the progress of the project with participation reflections and understanding of the issues involved.

The overall project including both the exhibition and the performance was created with the intention of improving confidence and empowering people with learning disability during interactions with the general public.

The opening performance was a delightfully emotional display of empowerment, solidarity, and progression. The intimate setting enabled the performance to be both immersive and interactive, with the audience playing a significant part in the storyline.

Worthing Museum will be running the performance again on Saturday 10^th December, so for those of you who missed the original performance, you have the fantastic chance to see it soon.

The exhibition will be at the museum until 29^th January 2023.

WTM x Met College: creating props for Panto

WTM have worked extensively with students at the Met College, who have made a number of props ready for this year's Jack and the Beanstalk: The Pantomime.

We spoke to WTM's Matt Pike, Head of Technical, Production and Buildings, who gave us an insight into the project.

Tell us about the project with the Met College students

In early January, I set the Met College students to make a number of props and set items for the Winter Panto, Jack and the Beanstalk.

The items were:

The Beanstalk
Golden Goose puppet
Golden eggs
Harp
Treasure mounds
Giant plates, cups and cutlery
The axe to chop the beanstalk
Magic bean that lights up

This all went through a design stage with a few follow-up meetings to decide on the look and finishes. The most important thing is that everything has to be able to withstand 56 shows, and so that it can be used in the future.

What did the process of the collaboration look like?

I had a few client meetings with the, and they kept me up to date with the progress of the project via zoom calls and email, including images of the designs and progress during the making progress to make sure it was what was required.

How did you find working with the Met College students?

Working with the MET students was great, very professional and as you would expect a props maker and team to work to the specification given to them by the client.

They have done a great job and I look forward to setting the project for next year’s panto.

Buy tickets here

Spin Out: behind the scenes with Frock

We are so excited that SPIN OUT Festival is returning this summer for more performances around our wonderful town.

SPIN OUT is our annual season of open-air performances from the most exciting performers of theatre, circus, music, and dance. All of the shows are completely free to the public, offering both residents and visitors the chance to engage with and enjoy thrilling innovative outdoor performances.

Closing this year's season is the fantastic Frock, an uplifting dance riot that celebrates individuality and difference in the most punk way.

Frock will be on at 12:30pm and 2pm on Saturday 10 September, at Pavilion Promenade.

Six striking dancers collide in an uplifting dance riot set to a brand new art rock soundtrack by Hannah Miller and Oli Austin of Moulettes. In this quirky new dance piece, watch playful observations of the yesteryears explode into a ‘punkish’ celebration of individuality and difference.

Artistic Director Lucy Bennett from dance company Stopgap Dance shared the development of this piece with us:

How are you feeling about the upcoming performance at Worthing’s Spin Out Festival?

We are counting the days, both Jannick (performer in Frock) and myself (choreographer) grew up in Worthing! We met in Belgium after someone commented on my ‘I love BRIGHTON’ bag, I stated I came from Worthing and Jannick piped up – “so do I”. Frock was an idea that grew from my memories of my grandparents who lived in Shoreham by Sea; I think the work will look really at home on the Worthing Seafront and Seaside Architecture.

Tell us a bit about the show. Where did the idea come from? What can we expect?

Frock is an outdoor dance show with six dancers, disabled and non-disabled. It is set to an original soundtrack by Moulettes. The idea grew from my recollections and childlike musings around the gender roles my grandparents presented. The production starts gently with a nostalgic feel and moves quite quickly to a high energy and physically upbeat dance riot! Expect frocks, suits, shifting dance sequences, dance partnering, unison movement, tea and a celebration of love, relationships and fluidity.

What has the development of this piece looked like?

We have been touring Frock for a couple of years now, but we had to take a break during the pandemic. We are always tightening the work and layering the characters. We began with a lot of observation of vintage footage of men and women, we also observed our families and each other. We worked on the tempo, pace and physicality of the two groups we have in the production: Suits and Skirts. We then worked on a West Side Story Style dance off, evolving material. The standing dancers spent time translating movement from Nadenh, Stopgap’s phenomenal wheelchair dancer – so that the unison between different bodies is refined and articulated. We developed duets that transitioned between different relationships, and we played with a fun, quick and exuberant musical theatre style finale with teacups!

What’s your favourite part of the performance?

I enjoy the absorbing song Elastic Band by the Moulettes, the bass throbs and the dancers pace the space as duets between different people are revealed.

Anything else you want to share or feel is significant?

It feels great to be finally performing in Worthing after so many years!

SPIN OUT is an entirely free festival, but it’s always worth booking tickets to secure your place in the audience. You don’t want to miss out! Click the name of the performance to book your tickets.

While SPIN OUT is free for you to enjoy, you can support us in other ways, from becoming a member to one-off donations. Click here to see how you can support your local arts charity, and keep the quality art and culture alive.

Introducing WTM associate artists A&E Comedy

We are so excited to announce A&E COMEDY as our new associate artists.

The award-winning comedy double act, Abigail Dooley and Emma Edwards, both studied Scriptwriting for Film and Television at the University of Sussex. They have gone on to write a number of scripts for television and film, and are now here with their new show WITCH HUNT.

Tell us a bit about A&E Comedy, for those who may not know you yet!

We make visual, funny, surreal shows full of ridiculous characters, fantastical costumes, extreme wigs and deliciously dark humour. Our shows hold a mirror to the word and reflect it in all its messy, complicated glory. Our first show Enter The Dragons won the Broadway Baby Bobby for Best Show at Brighton Fringe. Witch Hunt landed a second Bobby nomination and won the Infallibles Award for Excellence.

"These two women are unafraid, unabashed, completely hilarious and very, very silly to boot.” *****

Broadway Baby

What can we expect to see from the show?

WITCH HUNT weaves a cautionary fairy tale for our time. We celebrate the wisdom of the witch, unpack the notion of predator and conjure a world of coven-ready weird sisters. Using buffoon, puppetry and magic and armed with a Wiccan sense of humour, we ask “can we use witchcraft to take down the patriarchy?" Yes we can!

Witch Hunt

What has the development of the show looked like?

As writer/performers we constantly update our shows to reflect current events. Witch Hunt originally developed from the #MeToo movement and adoption of the term Witch Hunt by Trump. The show originally, directed by Cal McCrystal and Bryony Kimmings as dramaturg, opened at Brighton and Edinburgh Fringe 2018. We were about to embark on a National tour in 2019, when lockdown struck. In this remounted production we will look through the lens of the last two years, Tory sleaze, Roe v Wade and the fact that the world is on fire. Expect plenty of new material!

How do you feel about working with WTM?

We are really thrilled to be working with WTM. Worthing has such an array of fantastic spaces and a growing reputation for excellent, inspired programming. WTM has been very supportive to us, hosting rehearsal space for Witch Hunt and the development of our new show next year. This feels full circle for Emma who went to the Saturday drama club at the Connaught as a child and Art College in Union Place.

Keep up to date with A&E Comedy

Website: aandecomedy.co.uk

Twitter: @ae_comedy

Instagram: @comedy_ae

BOOK NOW

Teddy Climas and Big Ted return to Sussex

There are some toys that are so special, it’s hard not to personify them. Teddy Climas is one of these. With over one hundred years on the earth, Teddy Climas’ story is a good one, and it starts and ends in Sussex.

The early years

Teddy Climas is a 1909 Steiff bear, complete with the humpback, ear button, and long arms that are recognisable as a Steiff creation. He was gifted to Mrs Elizabeth Bennett when she was around three years old in the early 20^th Century. He was the one thing she had taken from her home in London during the Blitz as she ran for shelter, and he stayed with her throughout her life.

Joining a new family

In 1977-1978, when Mrs Bennett was in her late 70s, she came across an advert placed in the local paper asking “where are the teddy bears?” The ad was placed in a bid to rehome old teddy bears. The authors of the advert were the Neher family, who had travelled from Canada to spend the academic year in Brighton. Mrs Bennett answered the advert, expressing concern for Teddy Climas’ future as her daughter didn’t want him. A meeting was organised between the Neher family and Mrs Bennet, after which she approved the Nehers as the new guardians of her beloved bear.

In the same year, the Nehers bought Big Ted in Hove. Big Ted is thought to be a Chad Valley bear, created circa 1920, and he has been with Teddy Climas ever since. The two joined the Neher family on their travels back to the USA and Canada, and have been together ever since.

Coming home

This year in 2022, Teddy Climas and Big Ted began their journey back home to Sussex. They are here in Worthing Museum for their next chapter, and we’re excited for you all to meet them.

Spin Out: behind the scenes with Lucky Pigeon

We are so excited that SPIN OUT Festival is returning this summer for more performances around our wonderful town.

The penultimate performance of the season is Lucky Pigeon, a playful show involving acrobatics, aerials, and pigeons.

Lucky Pigeon will be on at 2pm and 5pm on Saturday 3 September, at Pavilion Promenade.

A young businessman struggles with the demands of city life.

After losing his job, he takes his frustrations out on a group of city pigeons. Karma gets him and the young man finds himself turned into a pigeon! Through the transformation he learns about the playful world of a misunderstood animal.

Join the Lucky Pigeons and see them perform daring aerials, acrobatic feats and be part of their soulful story.

We caught up with Producer Toffy Paulweber from Brainfools to find out what we can expect:

How are you feeling about the upcoming performance at Worthing’s Spin Out Festival?

Our Lucky Pigeons performers feel very excited for the upcoming SPIN OUT festival! It will be our first time presenting the show in Worthing and we literally cannot wait. The full cast have been training hard for this show; it’s going to be amazing.

Tell us a bit about the show. Where did the idea come from?

The show started by looking at themes of homelessness. As the majority of the cast are based in London, homelessness is something we witness every day. As ideas bounced around the room, we all agreed that homeless people are often ignored and/or mistreated. We linked this to city animals like pigeons, who are just doves in disguise. Why one is considered beautiful, and the other dirty and disgusting?

What has the development of this piece looked like?

Take a packed suitcase, an open mind set, and a wonky looking circus structure… oh and put on some pigeon costumes! We have a very collaborative approach within our collective. Each performer has a second role, to ensure smooth sailing. For example, Finn is our creative brain (director), and Toffy our skilled organiser (producer).

What’s your favourite part of the performance?

Our favourite part of the show is of course the deep meaning married with silly circus. We love working together and I feel like that’s what moves people when they come to see our show. And, of course, the amazing pigeon puppets by Holly Miller!

Anything else you want to share or feel is significant?

It’s our ambition to act as a catalyst for global change. We may feel like a bunch of small ants in this giant forest but if many tiny ants move in the same direction we can move mountains. That’s what we want to achieve through circus tell our story and get people to shift their perspective.

Panto cast announcement: Darren, Ross, and Brian

Darren Clewlow-Smith, Ross Muir, and Brian Blessed are joining the cast of Jack and the Beanstalk: The Pantomime this year!

About Darren

Darren has a number of accolades to boast, from numerous TV stints to a wide variety of theatre credits.

Originally from Stoke-on-Trent, Darren graduated from The Birmingham School Of Speech Training & Dramatic Art before starting his journey in acting. He is primarily known as Milos in Heartbeat, and other TV work includes The Bill, Crossroads, Albion Market, The Chronicles of Narnia, Grange Hill, Brookside, and Blue Peter, as well as appearing in several television adverts.

Darren’s theatre credits include Dracula, Look Back in Anger, As You Like It, King Lear, and Joseph And The Amazing Technicolor Dreamcoat, to name a few.

His work includes Malcolm in Burning Midnight and Vanderberg in Wall on the Fly.

About Ross

Ross is an independent actor, theatre producer, venue programmer, and drama teacher based in the South East.

He describes his passion as “live theatre that really engages its audiences. I love good stories that resonate with timeless, universal themes about the human condition which are told with energy, humour, and most of all love.”

“When I leave the theatre I want to be uplifted, inspired and moved. I am dedicated to the craft of acting and enjoy sharing these stories through the special bond created between an actor and a live audience and strive in making that experience unique and unforgettable.”

Ross also has his own theatre company Conn Artists.

About Brian

From mountain climbing expeditions to music, theatre to television, film to space training, Brian’s huge arsenal of experience translates well in productions. In perhaps the most fitting casting of all, Brian will be voicing the Giant, thanks to his immediately recognisable and distinctive voice.

Brian’s incredible life spans an amazing 85 years, and in that time his accolades have been adding up. His theatre career has seen him feature in everything from Cats to Hamlet, Peter Pan to Chitty Chitty Bang Bang. His television and film appearances include Flash Gordon, Tom Jones, Doctor Who, and The Three Musketeers.

About the Panto

Jack and the Beanstalk: The Pantomime runs at the Pavilion Theatre from Thursday 1 December 2022 to Monday 2 January 2023. Tickets are available from £10. For more information or to book your tickets visit www.wtm.uk or call the WTM Box Office on 01903 206 206.

Golden Week runs from Thursday 1 December to Thursday 8 December 2021, with all tickets priced £10-£18.

Keep an eye out for our cast announcements on our website and social media channels!

Panto cast announcement: Katie Pritchard

Award-winning comedian and West End actor Katie Pritchard is bringing her bubbly personality to Jack and the Beanstalk!

About Katie

Katie Pritchard is a woman of many talents. From her award-winning comedy to her all-girl rock ‘n’ roll band The Daisy Chains, Katie has done it all.

She’s been in both West End productions and on the television, she’s a writer and artist, and has created podcasts while appearing on others. She has illustrated books, created short films, produced a clothing line, and so much more. Her skills are incomparable.

In her own words, Katie is “a stupid idiot who likes to prance around, often with props, costumes, and musical instruments for fun. I have also run four marathons and one triathlon.”

About the Panto

Golden Week runs from Thursday 1 December to Thursday 8 December 2021, with all tickets priced £10-£18.

Keep an eye out for our cast announcements on our website and social media channels!

Panto cast announcement: Dave Benson Phillips

We’re so excited that Dave Benson Phillips is bringing his infamous family entertainment charm to Jack and the Beanstalk: The Pantomime.

About Dave

Dave Benson Phillips is revered for his many career roles: presenter, entertainer, broadcaster, musician, performer, prolific writer and doer of to-do lists. His career started in 1981, at the famous Polka Children’s Theatre in Wimbledon, where he worked as a Theatre Usher. He was bitten by the performing bug and duly set out to learn the art of entertaining children. He appeared in various magic and music shows, and even helped out with the creation of props and costumes. He was eager to learn all there was to know about show business, and set himself the task of doing so.

Over the years, Dave worked his way from ‘song and dance man’ at holiday parks to his own show at the BBC, the phenomenally popular, BAFTA-nominated Get Your Own Back. He then went on to present ITV’s Wake Up In The Wild Room. He has also presented numerous other series including CITV’s Petswap, Nickelodeon’s Nick JNR, BBC Education’s Go For It, as well as Disney’s Bitesize and Playhouse Disney.

Pantomimes have featured heavily in Dave’s career, with his appearances winning him rave reviews and full houses. Despite his hectic schedule, Dave has always found time for children with special needs, amongst whom his Makaton sign language video is extremely popular. He also donates many hours to charity work both nationally and internationally. Dave was inducted into Britain’s only Children’s Walk of Fame, as voted for by the nation’s children. His plaque can be seen at Drusilla’s Park, Sussex.

2007 was a very special year for Dave, as he got to celebrate 25 years of entertaining children! Dave performed some very special shows nationwide as a way of saying ‘thank you’ to the public for letting him do his favourite job for so long.

Since then, Dave has appeared on a number of TV shows, voiced several characters, toured the nation, performed in pantomimes, created a broadcasting unit from his bedroom during the Coronavirus pandemic, and made shows for Channels 4 and 5, and BBC Local and National TV and radio.

On top of his notoriety as a children’s presenter, Dave also DJs at clubs, events and universities around the UK. His eclectic mix of party tunes, pop hits, TV themes and rare tracks from the 50s through to the present have won him fans across the country. They lovingly refer to him as ‘Rave Benson Phillips’, or ‘the Godfather of Cheese’!

Dave is also a part-time wrestler. He participates in as many fights as his schedule will allow.

About the Panto

Golden Week runs from Thursday 1 December to Thursday 8 December 2021, with all tickets priced £10-£18.

Keep an eye out for our cast announcements on our website and social media channels!

Join our team as a Distribution and Engagement Volunteer!

Do you love theatre, archaeology or films? Do you want to support your local Arts and Heritage charity?

Well join our team as a local Distribution and Engagement Volunteer and help us spread the word about our fantastic programme of events, exhibitions and films!

We need your help to get our brochures and print out into your community. Our aim is to establish long-term links with businesses, shops, and groups in your area who would be willing to display our brochures, posters or flyers, either on their notice boards, in windows or on counters or reception desks etc.

As a Distribution and Engagement Volunteer you would just need to collect a small quantity of brochures or flyers from us on a monthly or bi-monthly basis and take them out to your local businesses, cafes, community centres, libraries and anywhere you can think of local to you.

We would love to hear from you if you would like to be involved! We are specifically looking for volunteers who are living, working or can distribute print in Shoreham, Lancing, Goring-By-Sea, Ferring, East Preston, Angmering, Littlehampton, Bognor and surrounding areas.

What a Local Distribution and Engagement volunteer will do:

Regularly distribute information and flyers to local shops and businesses in your area.
Build links with outreach groups e.g. libraries, local cafés, community centres, lunch clubs, exercise classes
Establish and maintain on-going connections with the above.

Personal qualities most suited to this role:

Enthusiasm
Reliability
Enjoy meeting new people and sharing information
Ability to carry and distribute printed materials such as leaflets, posters etc.

Benefits

Free tickets to selected shows and films (once a month)
Invitations to exclusive events including press evenings and private views

How much time is involved?

This is flexible! As a distribution volunteer you would just need to collect a small quantity of brochures or flyers from us on a monthly of bi-monthly basis and distribute them in your local area.

If you would like to be involved please email marketing@wtm.uk.

Panto cast announcement: Mark Read

We’re so excited to announce that boyband heartthrob Mark Read will joining us for this year’s panto, bringing his infamous charisma to Worthing.

About Mark

Singer-songwriter Mark achieved global success with 90s boyband A1, releasing five studio albums and a string of UK and international Top Five hits, reaching the coveted Number One spot with ‘Same Old Brand New You’ and their cover of A-ha’s classic ‘Take On Me’. Their critical and popular acclaim led to numerous awards including MTV, Smash Hits, Disney Channel, and the prestigious Brit award for Best Newcomer.

The band split in 2002 after four years of chart-topping success but joined forces once again (this time as a three-piece with Mark, Ben and Christian) in 2014 for ITV’s hugely popular documentary series The Big Reunion. The candid programme gave fans an insight into the highs and lows of the group’s history culminating in a major UK arena tour and a renewed surge of appetite from their loyal fan base. In 2018, A1 announced that original member Paul would be reuniting with the band for the first time in 15 years for a huge 20^th anniversary tour. Their first UK concert date of the tour at London’s O2 Academy Islington sold out in a breath-taking four minutes.

Away from the band, accomplished musician and songwriter Mark has written for international artistes including Michael Bolton, Boyzone, The Hollies, John Barrowman and Charlotte Church. Mark has also established himself as a confident musical theatre performer. In recent years he has enjoyed successful runs of hit shows Guys and Dolls, Rent and Spoonful of Sherman, Corny Collins in feel-good favourite, Hairspray, alongside astrologer Russell Grant as Edna, as well as the playing Prince Charming in Worthing’s Cinderella in 2019.

About the Panto

Golden Week runs from Thursday 1 December to Thursday 8 December 2021, with all tickets priced £10-£18.

Keep an eye out for our cast announcements on our website and social media channels!

Panto cast announcement: Flavia Cacace-Mistry

We’re so excited to announce that Flavia Cacace-Mistry will joining us for this year’s panto.

Flavia will be starring as the Fairy in Jack and the Beanstalk: The Pantomime, bringing some Strictly sparkle and a whole lot of personality to the role! This fairy will be like none you have ever seen before. Flavia’s fairy is a wellie-wearing, chicken-keeping, tango-dancing delight, and we can’t wait for you to meet her.

About the character

Working with Paul Holman Associates, WTM have cast Strictly dancers in our pantomime for the past five years, loving the unique skill they bring to the stage. This year, we decided to make the role more bespoke.

Having followed Flavia and her husband Jimi’s journey on their Instagram (@ourlifeatthebarn), we fell in love with their adoration of ‘the ladies’, their small flock of chickens. We wanted to incorporate this, thus our wellie-wielding fairy was born!

We found a local theatrical prop-maker, Mya Workshop, to create six chicken puppets, of which Lauren Pilbeam did a fabulous job. We have fallen in love with our new mascots, which you can expect to pop up in the most unexpected places during the panto!

About Flavia

Flavia is one of the nation’s favourite dancers and personalities, from her Glitterball-winning exploits on BBC One’s Strictly Come Dancing to her formidable dance partnership with Vincent Simone. Over the course of eight years, the duo have sold out multiple nationwide shows, had three West End runs, and have picked up several award nominations, including ‘Best Family Entertainment’ at the Olivier Awards. They have also performed at The Royal Variety Show and The BBC Proms. The dance couple have had a very successful career competing internationally in Ballroom & Latin Ten Dance, winning numerous titles.

Flavia has appeared and performed on numerous TV shows over the years including Strictly Come Dancing, Royal Variety Show at London Palladium, Sunday Night at the London Palladium, Ant & Dec Saturday Night Takeaway, The Generation Game, BBC Children in Need, The Magicians, Surprise Surprise, Mel and Sue, The Paul O’Grady Show, Celebrity Portrait of the Year Show and BBC Breakfast amongst others.

More recently, Flavia has set up her dance school ‘Dance With Flavia’ and fulfilled a lifelong dream of moving to the countryside and living on a small holding with her husband Jimi Mistry and their two dogs. You can follow their journey @ourlifeatthebarn on Instagram and FB.

About the Panto

Golden Week runs from Thursday 1 December to Thursday 8 December 2021, with all tickets priced £10-£18.

Keep an eye out for our cast announcements on our website and social media channels!

Black Umfolosi: Q&A with Thomeki Dube

Black Umfolosi is bringing Zimbabwean culture and tradition to the stage in Worthing with a beauty and enthusiasm that is unrivalled.

Their performances are energy driven, infectious, and completely engaging, mixing a great gentleness of spirit and song with an exuberance in dance. Their harmonies mixed with intricate rhythms, clicking and clapping are highlighted during their brilliantly choreographed shows with a full range of movements from subtle to vibrant stomping and leaping! Their famous Gumboot Dances showcase the traditional styles and rituals of the South African mining regions and are a particular crowd pleaser.

“It was the best of all the festival, they have an incredible way to sing, to dance, a beautiful presence on the stage. Their simplicity, naturalness and cheerfulness was for us, at the end of the festival a beautiful present.” Milan Festival

We caught up with Thomeki Dube who heads the group to find out all about their performance.

How are you feeling about the upcoming performance at Worthing?

We are so much looking forward to the performance at Worthing. It is great that we have been invited there. We love the British audiences; they are supportive and appreciative to the good form of Art. Black Umfolosi will not disappoint.

Tell us a bit about the inspiration behind this piece.

Our inspiration is derived from our culture and iMbube Music, which is a beautiful form of singing in four-part harmony. It is a crystal clear form of music that one cannot resist. We feel very lucky to come from a rich cultural background, which influences us mightily.

What has the development of this performance looked like?

The development has yielded the most beautiful results; with the ladies, our music is sweeter and more appealing than ever before. Their great talent is visible throughout the show where they lead some solo singing and duet in some instances. The show is spectacular.

What can we expect from the show?

You can expect a real treat: spine-tingling voices interwoven with beautiful movements and in nice African costuming. Also, a miner’s dance called the Gumboot Dance at the very end of the second half of the show. Expect a singalong on one or two of the songs!

What is the aim of Black Umfolosi?

We hope to bring joy to our audience. Our songs range from love to social events, and include environmental songs that touch on climate change and advise people to take extra care on Mother Earth.

How important is it for you to bring your culture and tradition to Worthing?

It is very important for us to share our experiences with Worthing, particularly our journey in music as Zimbabweans. Those that have never been to Zimbabwe will, from this performance, know more about who we are, our heritage, and the geographical look of our country.

What are you most looking forward to?

We are most looking forward to taking the audience on a musical journey with Black Umfolosi through our performance. They will clap hands, laugh, listen, and feel great and refreshed from watching the band perform.

Do you have a favourite part of the performance? Can you tell us what it is?

The show is arranged in such a way that it is enjoyable all the way through. It involves lots of energy. I will say that whoever attends will not regret it, but would want to see Black Umfolosi again. Our new album called Washabalala’ Umhlaba is wonderful, and has done so well in European charts, with two of the songs entering the Top 20 in the Czech Republic. This will be our first trip outside Africa after the COVID-19 pandemic travel restrictions.

What has been your favourite Black Umfolosi performance of all time?

My most favourite performance was in Victoria Canada in 1994, during The Commonwealth Games, where we performed before a crowd of 65,00 people, and followed with a Gala performance for Her Royal Majesty Queen Elizabeth II.

Thomkei Dube meeting the Queen

Spin Out: behind the scenes with The Lost Colour

We are so excited that SPIN OUT Festival is returning this summer for more performances around our wonderful town.

The fifth performance is The Lost Colour, where we join Malcolm on his quest to find the pinky-est pink in the world followed by a puppet-making workshop.

The Lost Colour will be on at 11:30 am and 1:30am on Saturday 6 August, at Pavilion Promenade.

Join Malcolm Brushell, a professional painter and amateur alchemist, on his quest to find the pinky-est pink paint on the planet! Through cracking rocks, mashing every conceivable vegetable, and even bottling and fermenting his own cow’s wee, he has created every colour imaginable. Through stunning puppetry and an energy fuelled performance all on top of a van, join this race to create the most potent pigmented pink paint out there.

Following the 1:30pm performance of The Lost Colour, you can pop along to their puppet-making workshop, where each participant will cut, stick, and paint their way to creating their very own puppet. The focus of this workshop is to encourage all types of creativity where there are no wrong answers.

How are you feeling about the upcoming performance at Worthing’s Spin Out Festival?

This is our first time at Worthing’s Spin Out Festival and we are really excited to be part of such a great line up. We can’t wait to get outside and perform to a great crowd.

Tell us a bit about the show. Where did the idea come from? What can we expect?

The story of the show was inspired from a real life feud between artist Stuart Semple and Anish Kapoor and the copyright of VantaBlack, the then blackest black material. From this we did a lot of research into the ways colours are made and wrote The Lost Colour where our artist Malcolm Brushell goes on a journey to create the pink-y-est pink (which Semple has released and features in the show!). Malcolm’s journey is mad, fast-paced, and action-packed, and it all happens on top of The Puppet Van. It’s a really fun story with lots of twists and turns, and a highland cow that takes down a helicopter!

What has the development of this piece looked like?

We first developed the story in Oct 2021 and it has been touring ever since. It’s the first show we have created for our Puppet Van and it has been really fun and challenging to create a show that happens 2m in the air on top of the van. We always love a show with lots of really different puppets and surprises so the creation of the piece has been a collaborative gradual process with lots of different artists and people involved, including the band Fishclaw who made a unique soundtrack for the piece.

What’s your favourite part of the performance?

We love the puppets of course, this being on The Puppet Van. There is a giant beetle, a highland cow and everything changes scale and we see Malcolm as a table top puppet. It’s really exciting to watch the set change as the story progresses and our audience is swept along with the puppets leading the action.

Anything else you want to share or feel is significant?

Join us for the puppet making workshop! This is always really fun and allows you to be creative with no real constrictions. It’s going to be a fantastic day out.

Spin Out: behind the scenes with Phileas Fogg

We are so excited that SPIN OUT Festival is returning this summer for more performances around our wonderful town.

The fourth performance in the SPIN OUT schedule involves an explorer and a hot air balloon. Phileas Fogg: Day 79 is coming to Worthing!

Phileas Fogg: Day 79 will be on at 12pm, 1pm and 3pm on Saturday 30 July, at South Street Square.

Join Phileas Fogg and his valet Passepartout as they attempt to circumnavigate the world in just 80 days. The year is 1872 and it’s day 79 of the journey. Our intrepid adventurers are just hours away from crossing the finish line, if they can just coerce their hot air balloons to go in the right direction they stand to win a grand prize.

From the makers of Baba Yaga’s House, The Giant Balloon Show and The Tiny Travelling Tightwire Show comes a hilarious roam-about fusing modern technology and the classic adventure novel by Jules Verne.

https://www.youtube.com/watch?v=cKUN4tAi2SM

Alana Jones of Dizzy O'Dare told us more:

How are you feeling about the upcoming performance at Worthing’s Spin Out Festival?

Dizzy O’Dare love bringing their shows to Worthing; the audiences are always so welcoming, up for some fun and really engaged with the work.

Tell us a bit about the show. What can we expect?

Phileas Fogg: Day 79 sees Phileas Fogg and Passpartout on the last leg of their journey- just dropping into Worthing to see what Spin Out Festival is all about! Will they make it to the finish line in London by Day 80???

What has the development of this piece looked like?

The piece was funded by Arts Council England with support from Spare Parts Festival and Just So Festival in 2018.

What’s your favourite part of the performance?

Dizzy O’Dare is all about the interaction with our audiences, whether the show is a static larger scale spectacle or small intimate walkabout, we seek moments of interaction and rapport with every audience we come into contact with, spreading joy, laughter and wonder..

Spin Out: behind the scenes with WILD

We are so excited that SPIN OUT Festival is returning this summer for more performances around our wonderful town.

Brought to you from Motionhouse, WILD is the third performance of Spin Out; a daring dance-circus production that explores our disconnect with the natural environment.

WILD will be on at 2pm and 4:45pm on Saturday 23 July, at Montague Place.

What is it to be wild?

WILD, the daring dance-circus production from Motionhouse, explores our disconnect with the natural environment. In our modern lives, is the wild still shaping our behaviour?

WILD creates an urban forest in the everyday of the city. Using the powerful physicality distinctive to Motionhouse, performers use dynamic choreography, acrobatic movement and hand-to-hand partnering to move through a forest of tall poles, which forms the striking set for WILD. From the top of the pole, life in the canopy looks down onto the forest floor – a dangerous world of unknown meetings.

We caught up with Junior Cunningham, Rehearsal Director of Motionhouse, to see what it’s all about:

How are you feeling about the upcoming performance at Worthing’s Spin Out Festival?

We are very excited to be performing at Worthing’s Spin Out Festival. We had a fantastic reaction to our latest theatre production Nobody at Worthing Theatres and we’re excited to return and share our outdoor work WILD with audiences too.

Tell us a bit about the show. Where did the idea come from?

WILD explores our disconnect with the natural environment and asks if, in our increasingly urban lives, the wild is still shaping our behaviour?

Our Artistic Director Kevin Finnan was very interested in the relationship between humans and the natural world. He wanted to look at how so much of who we are as humans has come from us being wild creatures and ask the question: as our connection with nature disappears in the modern world, is this changing us as a species? He also wanted to explore the idea of how we value wildness, and if it’s possible to do this if we’ve lost touch with it.

This is why the action takes place in a forest of tall poles which the dancers move through when performing using our signature dance-circus style.

What did the development of this piece look like?

Kevin works collaboratively with the dancers to create the choreography and movement vocabulary as he develops each new work. He sets creative tasks and allocates time for the dancers to explore ideas on the set, in order to tease out the possibilities that this offers in terms of being an ‘apparatus’ for the movement to take place on. This process for WILD began at the end of 2018 when the dancers worked on a period of Research and Development on the prototype set for WILD before creating the show on the set in 2019, keeping a strong storyline to the show alongside the circus tricks that we are known for.

What’s your favourite part of the performance?

I don’t really have a favourite part, but I love one particular moment which always make the audience laugh without fail. You’ll have to come and see the show to find out which one it is! There are loads of other things to enjoy too – some fantastic choreography, daring acrobatics and some really moving moments.

Anything else you want to share or feel is significant?

We do hope loads of people will come out to watch WILD. It’s suitable for all ages, so bring the whole family.

Spin Out: behind the scenes with The Grimm Sisters

We are so excited that SPIN OUT Festival is returning this summer for more performances around our wonderful town.

The second performance of the season is The Grimm Sisters, a fairytale journey with music, singing, and comedy.

The Grimm Sisters will be on at 11:30pm and 1pm on Saturday 16 July, at Pavilion Promenade.

You know the Brothers Grimm? The famous storytellers…or story stealers more like! Their sisters were the true brains behind the books, but thanks to a treacherous father, a nasty curse and a great big dollop of bad luck, you’ve probably never heard of them.

The Grimm Sisters are here to set the record straight. Join them on the journey as they tell their twisted tales with a marvellous mix of live music, singing and comedy. Dive headfirst into their weird world of poisonous parents, courageous quests & a magical frog called Jeremy (Jeremy is not to be trusted).

Keep your mind sharp and your guts gory, because in the blink of an eyelash, you might find yourself within the story…

Alice Higginson-Clarke, Co-Artistic Director, told us all about the upcoming performance:

How are you feeling about the upcoming performance at Worthing’s Spin Out Festival?

We’re really looking forward to coming to Worthing for the first time. The Grimm Sisters, Mitzi & Brunhilda, are terrified of birds so it will be hilarious to see how they cope with all the seagulls!

Tell us a bit about the show. Where did the idea come from? What can we expect?

We wanted to make a storytelling show with lots of short stories, so the Brothers Grimm came to mind… but as a female-led company, our shows usually flip the narrative on traditionally male stories. In these traditional tales, women often are placed in certain roles such as the evil stepmother, the princess or the wife and rarely have power or agency in the story.

So we decided to invent Brunhilda & Mitzi (fictional sisters) who are determined to share their very own tales, each of which has a leading female character who saves the day.

The ‘Ugly Sisters’ are a classic duo that everyone knows, so The Grimm Sisters is our spin on a more loveable double-act who have travelled the world together for over 200 years (due to an unfortunate curse), but they’re making the best of it by telling their tales to whoever they meet along the way.

What has the development of this piece looked like?

We made this show last year, when the whole country was still dealing with pandemic restrictions. We knew if we wanted to get back to performing live theatre, the best way would be outdoors! It’s our first outdoor show (after making 6 indoor shows since 2013) so we consulted with other experienced outdoor theatre experts in the making of it. We’re so glad to still be touring The Grimm Sisters in 2022 as it’s so nice to be outdoors in the summer months, instead of inside a dark theatre.

As a piece of family theatre, we’re passionate about making it enjoyable for everyone (adults included!). Our aim was always to make the storytelling clear enough for younger audiences but layered and engaging for adults too. We hope the stories, comedy & music transcend age and connect with everyone in the audience.

What’s your favourite part of the performance?

My favourite thing about The Grimm Sisters is that every show is different – you will never do the same show twice. Every story has elements of audience interaction so it’s completely dependent on what the audience suggests. It really keeps us on our toes as performers & makes it a really fun challenge. The audience even gets the opportunity to create their own story which the sisters must improvise on the spot. From many of the shows we’ve done, that’s often everyone’s favourite bit – audience & performers alike!

Anything else you want to share or feel is significant?

Saturday 16 July will be a super Saturday! We have two casts who tour The Grimm Sisters: a team in the South East and one in the South West. This allows The Grimm Sisters to be on the promenade in Worthing, and at the very same time, in some Cornish woods near Bodmin! Magic!

Stories of Pride

Ahead of Worthing Pride 2022, and following the success of our Pride Storytelling Workshop last month, we wanted to share the fantastic and uplifting results with you all.

The workshop’s aim was to help develop people’s creative voice by writing a story about their personal pride journeys. International touring artist and tutor Charmaine Childs led the workshop, which allowed the members to improve their storytelling skills in a supportive group environment. WTM are proud to support, uplift and share local LGBTQIA+ stories.

About the workshop

Charmaine’s workshop was split into two sections: the first half of the day focused on writing a piece about one’s personal sense of pride, whether this was an event, a memory, or something that makes them feel powerful; the second half of the day looked at the skills of micro-storytelling, and how best to express oneself using a minimal amount of words.

About Charmaine

Charmaine Childs is a circus Strong Lady who produces joyful shows about strength and connection. She tours international arts festivals and develops bespoke storytelling and writing workshops. With her creative support, and by sharing ideas within a safe space, you’ll be encouraged to explore your identity and celebrate it through storytelling.

About the work

You can read the work below, and you can also see the work represented in our venues - pieces of work from these sessions will be displayed as digital installations at WTM Venues over Worthing Pride 2022. WTM is thrilled to share local queer stories and is committed to supporting LGBTQIA+ artists.

LGBTQ+ Community of Worthing

WTM is also excited to introduce the LGBTQ+ Community of Worthing; a local non-profit group, inclusive of all members and allies of the LGBTQ+ community. They're committed to creating a safe Queer space in Worthing and the surrounding areas, and reguarly host social events where likeminded people can spend time together and learn something new. The Pride Storytelling Workshop was one of these events.

Stories of Pride

Spin Out: behind the scenes with Jham!

We are so excited that SPIN OUT Festival is returning this summer for more performances around our wonderful town.

The season kicks off with Jham!, an upbeat and energetic performance comprised of traditional dancing.

Jham! will be on at 12:30pm and 2pm on Saturday 9 July, at Montague Place.

Jham! is brought to you by Artistic Director of Srishti, Nina Rajarani MBE, an award-winning choreographer of classical Indian dance with 30 years’ experience as a dance-maker. She fuels traditions of Bharatanatyam and Kathak with contemporary artistic practice and ideas.

Nina’s latest production is an upbeat, playful, and energetic musical collaboration between dancers and musicians that uses creative improvisation – or “jamming” – to initiate a rhythmic interplay between classical and modern forms of music and dance.

Jham! has a distinctly contemporary feel, with four musicians – including a beatboxer, a saxophonist and a traditional Karnatik vocalist – performing alongside four Kathak and Bharatanatyam dancers.

We spoke to Nina to find out more:

How are you feeling about the upcoming performance at Worthing’s Spin Out Festival?

Really excited! We haven’t performed in Worthing before, so it is a new opening for the company for which we are really grateful.

Tell us a bit about the show. Where did the idea come from? What can we expect?

I first made this piece in 2013 for touring to indoor venues. ‘Jham’ is a percussive syllable used in Indian classical dance and music and because the word reminds me of ‘jam’ I created a piece in which the musicians and dancers were ‘jamming’ together, so there was already an air of spontaneity with the way the artists interacted with each other, even within the formal atmosphere of an indoor theatre. I could immediately see the potential for it to become a piece that would drop some of its formality and would go one step further to be interactive with the audience.

What has the development of this piece looked like?

This piece allows the performers to interact with their audience as part of the performance, building up a rapport with them. Outdoor touring is so much fun because of its informal set up, and because the barrier between the performers and the audience is minimised. The development of this piece has created a performance that everyone enjoys performing as the artists can really take ownership of their role.

What’s your favourite part of the performance?

Definitely all the improvised sections of the piece. There is something new every time I watch the piece, and each performer’s character comes through. The surprise element never fails to put a smile on my face. It is such a happy piece.

Anything else you want to share or feel is significant?

This piece is an amalgamation of different cultures and artforms, bringing together 2 classical dance forms (Kathak from North India and Bharatanatyam from South India), a funky beatboxer and classical Indian vocalist, tabla and mridangam which are percussion instruments from the north and south respectively, as well as a classical flute and a jazzy saxaphone. There is something for everyone.

WTM Stories: solar panels on the Assembly Hall roof

We’re very excited about the recently installed solar panels on our Assembly Hall roof.

96 new solar panels have been installed to the Assembly Hall to further support Worthing’s aim of becoming a carbon-neutral Council by 2030.

The panels will produce enough electricity each year to power the average equivalent used by almost 11 individual households. The electricity that is created by these panels will be used in the events building, with any excess used in the Town Hall. This will reduce the amount of electricity imported from the grid.

This step towards a greener future aligns with WTM's values in achieving sustainability and reducing climate change, thus reducing the impact of climate change on our town and charity.

WTM Stories: incredible feedback following the performance of Hearty

After hosting the lovely Emma Frankland for her performance of Hearty in May, we’ve received wonderful feedback from both her producer and the audience. This feedback makes everything we do worthwhile and gives us something to be proud of!

From Lee Smith, the independent producer of Hearty, we received ‘A Hearty Thank You!’:

“Thanks so much for presenting Emma Frankland's Hearty at the weekend; we felt really well looked after by you all.

“We were so pleased with the promotion of the show; the engagement of community groups; all the tech, front of house and box office support; and the engagement in the post-show discussion. We're so thrilled to have the support of Worthing Theatres as our local venue and look forward to hopefully working with you more in the future!”

LGBT+ Youth Support Worker Ryan, from Allsorts Youth Project, said:

“A lot of the young people we brought hadn't been to a solo piece before, so it was quite a new experience for them (definitely a good one!). It brought a lot of our young people from different areas together, which was nice, so they got a chance to bond; But they also really enjoyed being in a community space with other LGBT+ people, particularly trans people, which outside of Allsorts, many of them hadn't had before and they said attending the event was worth it even just for that.

“So thank you to you and all the staff at WTM and to Emma for bringing it all together and running the post show talk as well! And just creating a LGBT+ inclusive space for the young people to be themselves and feel comfortable in themselves; it was a really great experience!”

Celebrate Saxon Day at Worthing Museum

We’re delighted to be hosting Weorod for a Saxon Day on Saturday 25^th June at Worthing Museum and Gallery! This event will be completely free for visitors, as part of our mission to make history and education accessible for everyone.

What can we expect?

There will be a range of weapons and armour on display, including shields, seaxes, spears, axes, swords, helmets, chain mail and more. This display will be made up of museum quality replicas based on real finds from the medieval period.

You can also expect timed presentations which will have an educational bias. These presentations will include set pieces and demonstrations, including re-enactments of battles and burials.

The living history display will feature around four to six different activities and crafts being shown in the gallery spaces, which could include anything from bone working to braid weaving, pottery to chain mail manufacture, and leechcraft to leatherwork.

Throughout the living history displays, the team will be on hand to answer questions, explain the processes, and show close-ups of the methods.

The event will run from 10am until 4:30pm.

Who are Weorod?

Weorod are a group of historical re-enactors who are dedicated to shedding light on the Dark Ages by providing living history displays and re-enactments of the Early Medieval period.

They take pride in ensuring their costume and kit accurately represent their chosen time period, which falls within the fifth to seventh centuries (425-680). Where possible, Weorod focus their research on the archaeology of the local area, with most of their replica items being based on finds from Southern Hampshire, West Sussex, Southern Wiltshire, and parts of Surrey.

“We enjoy specialising within our geographical area, and find that at most of our shows our visitors are far more inspired by evidence from their own area than by a more generic approach. It is necessary to bring in items from elsewhere, but this can work really well in terms of enabling visitors to make comparisons in regional fashions and traditions - offering a vibrant and diverse approach to local history.”

Introducing Curfew: a performance based on the reality experienced by local people

What would you do if men had a curfew? Dance through the streets? Sleep in a park? Simply walk home without being afraid?

Calico’s production of Curfew encapsulates the real stories of real people in Worthing, and explores how different society would look in alternate circumstances. While a curfew is not the answer, Calico are exploring the difference this imaginary scenario would make.

Curfew will be performed on Saturday 25 June at 6pm and 8pm at the Pavilion Promenade.

What’s it about?

Curfew blends dance, theatre, film projection and voice recordings, to bring to life the sad, frightening, funny, and hopeful experiences of women, trans and non-binary people in public spaces at night.

Join Calico on a journey across the Worthing promenade, as they create a world where women can feel completely free and safe, even just for one night. A curfew is not the solution, but there is a problem. Join the conversation.

What can I expect?

Curfew is about reclaiming the conversation around sexual assault and harassment. The performance is choreographed to a score of verbatim voice recordings from women, trans and non-binary people to whom Calico Theatre asked the question: ‘what would you do if men had a curfew?’

It stages uplifting, playful and thought-provoking responses.

Curfew both highlights the sad reality of the symbolic curfew invisibly imposed on women, trans and non-binary people and, importantly, celebrates all of the weird and wonderful things we could be doing if gendered violence was not a threat.

Can I get involved?

Following the performances, Calico Theatre will be hosting post-show discussions in the Pavilion Atrium, exploring the themes of the show in an inclusive community space. Join the conversations at 6:30pm and 8:30pm.

If you want to offer your thoughts about feelings about a 7pm curfew for men, you can fill in the anonymous form here.

This special Worthing performance was developed with contributions from local organisations Turning Tides and Safe in Sussex. Participants from both groups lent their thoughts as voice recordings to the show, and gave valuable input into the project by sharing their lived experience.

https://www.youtube.com/watch?v=AoTdIuW8fYY

Jitney – In Rehearsals

WTM are thrilled to be welcoming the acclaimed Headlong to Worthing this July with their new production of August Wilson's Jitney. Jitney will play at the Connaught Theatre from Tuesday 19 - Saturday 23 July, tickets are available here.

The show will run at The Old Vic before touring to Worthing and offering you the opportunity to see the very best in British theatre right in the heart of Worthing.

Set in a cab office in 1970s Pittsburgh Jitney follows the lives of unlicensed taxicab or ‘jitney’ drivers as they try to navigate their own personal lives and how they are going to save their station and their community. Poetic, emotional and nuanced the show explores the conflict of personalities, ages and experience in an exceptional character driven production.

Find out more in the video below, as Director Tinuke Craig discusses the production from the rehearsal room at Leeds playhouse in October 2021.

https://www.youtube.com/watch?v=MlRGRVur8uY

Jitney is at the Connaught Theatre from Tuesday 19 - Saturday 23 July 2022. You can book tickets via the Box Office on 01903 206206 or click here.

Tinuke Craig: from Sussex student to dazzling director of Jitney

As you may have heard, we’re hosting Headlong’s acclaimed production of Jitney next month, and we cannot wait.

Coming to Worthing from the Old Vic, Jitney is a ground-breaking modern classic that explores the fragile bond between eight men as they live, love, and work in a racially-segregated, post-Vietnam America.

Excitingly for all of us here in Worthing, Jitney’s director Tinuke Craig is on the list of famous alumni from our very own University of Sussex. Ahead of her return to the county, we caught up with her lecturer from her university days, Senior Lecturer in Drama and English Dr William McEvoy.

Tinuke Craig in rehearsals 2 — Photos by Manual Harlan

Tinuke Craig in rehearsals 3

How does it feel to see such success from one of your previous students at the University of Sussex?

I feel really proud of all the students I have taught at Sussex because we have such a community and form such a close bond on the Drama degrees. Tinu has worked really hard ever since she left Sussex and I’m over the moon at her success.

How do you think her studies at the university have helped to shape the development of her career?

Tinu had achieved a lot even before coming to Sussex, including being a young writer at the Royal Court. Our degree gives students critical skills, a broad range of theatre and performance work to study, and supports them as practitioners. Tinu recently gave a workshop at the university on Shakespeare, and I hope some of her critical acumen was honed during her studies here.

What was Tinuke like to teach?!

She was a highly intelligent, attentive, gracious student, critically probing but always generous. Her peers adored her.

What is it like to know Tinuke is coming back to Sussex as director of such an acclaimed production?

I have followed Tinu’s career since graduation and she has worked at so many great venues and organisations, but this production, which has just been to the Old Vic, is a real high point. I think she’s going to be one of the country’s leading directors. I love the focus in her work on Black playwrights and the way she celebrates Blackness in her career.

What is the significance of this?

She is an inspiration to our students and shows how great a career you can build with talent, energy and hard work.

Tell us a bit about Tinu – can you see her personality reflected in her work, for example?

She is incredibly generous, self-deprecating, kind and thoughtful, a really sensitive, perceptive, glowing intellect combined with such warmth of character. As you can tell, I am a fan. She’s directed classics, contemporary theatre, work from all over the globe: what a CV!

Is there anything else you’d like to add or tell us about?

I have this great memory of Tinu knitting in what seemed like a bored, distracted way in one of our first-year theory seminars and I was about to pull her up for her inattentiveness when she suddenly chimed in with a brilliant observation totally responsive to the intricate debate around her. It was a learning moment for me as a relatively new lecturer about how people listen and learn in different ways.

Tinuke Craig Jitney Director — Photo by Manual Harlan

Fair Cop Unleashed: Q&A with Alfie Moore

Cop-turned-comedian Alfie Moore, star of his hit BBC Radio 4 comedy series It's a Fair Cop, is bringing his latest stand-up tour show Fair Cop Unleashed to Worthing.

The show, based on real-life events, invites the audience to relive his thrilling ups and downs of the night a mysterious clown came to town and more than one life ended up in the balance. Alfie concedes: ‘it was the most frightened I have ever been in my police career and at the time no laughing matter’ – but this show certainly is!

The story highlights the constant personal danger of being a police officer but also the outrageously funny things that they experience. We caught up with Alfie ahead of his visit to Worthing to find out all about his upcoming performance.

Alfie Moore Worthing

How are you feeling about your upcoming performance here at Worthing?

I’m a fan of the sea and have never been to Worthing in my life and so I’m very excited.

What can we expect (without giving too much away)?!

I love real-life events and this is the true story of when a mysterious clown appeared in Grimsby leading to some seat of the pants life-changing and life-affirming results.

What do you think is your favourite part of your show?

Difficult to say as the show has different rhythms. It starts off very laid back with lots of audience interaction and this content will vary from room to room. Then as the story kicks in it will slowly build to an exciting finish.

Cop to comedian is quite a change! What brought on this career transition?

Totally unplanned and I guess you’d call it a mid-life crisis. In my 40’s and as the result of ‘a dare’ I ended up performing in a new act stand-up competition. I had no writing or performance background but it just felt very natural from the get go and the dream began.

What do you love about touring?

It’s fabulous seeing different places. I wasn’t very well travelled before I started stand-up but now I’ve taken my shows all over the UK and abroad.

And what do you hate?!

There’s nothing to hate really. Okay sometimes long drives can be tiring but I’ve had proper jobs and they’re quite tiring too and not nearly as much fun. What is it they say ‘if you do a job you love then you never have to work a day in your life’?

How do you prep for your shows?

Once a show is bedded in then the only preparation is the odd tweak. The rest is a little research on the place you’re going to and some travel planning in order to ensure you arrive nice and fresh. An early sound check, relax in the green room and then the traditional half-time snack. Usually mixed nuts, mini-cheddars or the occasional sausage roll – showbiz eh 😊

What do you feel is the highlight of your comedic career?

There’s a few really. Having a successful BBC Radio 4 show makes me feel very proud. In turn that exposure has allowed me to tour which is a joy and was always me goal. It’s also really nice to have my comedy work supported by the policing organisation as a whole. The bosses ask me to get involved with official events and individual officers will always take the trouble to attend tour shows.

What’s next for Alfie Moore?

In the short term Radio 4 has commissioned Series 7 of It’s A Fair Cop which I’m busy writing now and I’ll be performing live versions of at this years iconic Edinburgh Fringe Festival in August. I will continue to tour with Fair Cop Unleashed until Spring 2023 when I’ll be launching a brand new show. After that who knows but I’m as keen as ever to keep creating new work and so I’ll be out there somewhere.

Anything else you want to share?

Just to thank the good people of Worthing and beyond who are taking the trouble to support the show. It’s very much appreciated and I’m sure we will have a very fun evening.

Alfie Moore will be at Worthing's Pavilion Atrium on Wednesday 29th June at 7:30pm. You can book your tickets HERE.

WTM Stories: fantastic feedback for Kintsugi Women

The Kintsugi Women exhibition is the result of a collaboration between local charities and services supporting people experiencing homelessness across West Sussex. Female service users were invited to highlight things they value about themselves, or something difficult they have learned through their experiences.

“Your thoughts, emotions and talents have had a long-lasting effect on me. Thank you for sharing part of yourselves with us all.”

“People experiencing homelessness are broken in so many ways, nobody chooses to be on the streets, especially women. ‘Kintsugi’ is an ancient Japanese craft of fixing broken pottery with extracts of gold. It is also known as the art of ‘precious scars’… What breaks us makes us stronger. This exhibition tells of our precious scars.” Jules, project leader

Within its first two weeks on display, Kintsugi Women has received an overwhelming response, with the public praising both the artistic creation of the display and what it stands for.

“This exhibition is totally amazing. It moved me to tears, every single piece is so personal and impactful.”

Kintsugi Women exhibition feedback

Emma Walder, Senior Curator, said: 'We've received a lot of comments about the Kintsugi Women exhibition, many visitors have found it thought provoking and moving. It's so important, as a museum, to offer a creative voice to people who are usually overlooked, and help raise awareness of issues that are so prominent in our society. The exhibition captures a snapshot of how people, who have experienced homelessness and abuse, really feel. It's sobering to imagine how many others are in this situation now, or facing it as their imminent reality.'

“More power to the wonderful charities that do what they can to eradicate all UK homelessness, especially amongst women.”

Kintsugi Women is on at Worthing Museum and Gallery until Sunday 25th September during Museum opening times. Entrance is free.

WTM Stories: flowers fit for a Queen

Volunteers and staff at Worthing Theatres and Museum have planted some flora in anticipation of the Queen’s Platinum Jubilee this week.

Buildings and Facilities Manager Chris Studley-Gray was part of the group’s initiative to create something beautiful for the Jubilee.

The stone troughs either side of the Assembly Hall entrance have been filled with a weeping cherry tree each, surrounded by alternating Fuchsias and Chrysanthemums.

We can’t wait to see how they’ll grow! Thank you to Chris and the rest of the team for creating such a beautiful display.

Assembly Hall weeping cherry tree

Invisible People Worthing: Q&A with Henny Beaumont

How are you feeling about your upcoming exhibition?

I’m really excited and pleased to have the opportunity to show my work for British Institute of Learning Disabilities (BILD), and Respond UK, a charity providing psychotherapy for people with learning disabilities.

I’m delighted to offer a platform to local artists with learning disabilities, Superstar Arts and Rocket Artists Brighton.

What was the process of the development of your idea for Invisible People? For example, has it been in the works for a while? Has your vision been clear from the start?

The idea for the show was born out of my experience as a parent of young person with Down’s Syndrome, and my work as artist in residence at BILD and Respond UK.

As a parent I am acutely aware of how difficult it is to get people to recognise and value my daughter. People don’t tend to see her for the wonderful, lovely, funny, serious person she is; they see her disability.

It’s hard for people to see the isolation that comes from having a learning disability. Lack of personal independence, lack of friends, lack of real paid jobs.

Just five per cent of adults with learning disabilities are employed. It’s outrageously low. Beth’s college has a 65 per cent rate of employment after college – it shows what can be done.

I’ve often felt my concerns for my daughter are invisible and not taken seriously, and I’ve wanted to do something about it.

One way of doing this is exhibiting Beth’s work. She draws all the time and I love her work; it’s full of colour and joy.

Beth's drawing of an orangutan

I want people to see and appreciate my daughter’s difference and her abilities – like any other mum.

From experience I know this is how a lot other parents, relatives, anyone that is close to someone with a learning disability feels.

So I’m showing the work by other artists too with learning disabilities. I want to give them the chance to be seen and appreciated, and be part of a creative community.

I was commissioned by BILD and Respond UK to create a set of images to highlight the trauma experienced by people with learning disabilities and autistic people.

We worked as a group: experts in the legal system, the care system, care commissioning, health, education and people with lived experience. We discussed how people with learning disabilities and Autistic people are affected by trauma. My role as artist in residence was to observe and then illustrate the concepts considered.

In the process of working out my drawings I’d sent the illustrations to the group, creating another layer of thought and dialogue.

Sometimes comments came back like ‘I don’t think blue works’, and at other times it was a detailed analysis of the text and imagery.

Invisible People Worthing

I was drawn to this work on both a professional and personal level. As an artist, I’m interested in the ways in which art can effect change, and as a mother to a young adult with Down’s Syndrome, I have first-hand experience of her trauma and I am acutely aware that systems to help people with learning disabilities must change.

In the seminars there was always someone who told their experience of trauma. These stories had the most impact on my understanding. Some were so painful they were difficult to hear, like the experiences of a man who’d been through a horrific time at the hands of the care system. He’d experienced extreme bullying, loneliness, and total social isolation. Without sensitive care, people with learning disabilities and autistic people are often traumatised by the systems that are set up to help them.

I realised that the exhibition needed to have the same involvement as the discussion groups of people with lived experience. I invited Superstar Arts in Worthing and Rocket Artists from Brighton to collaborate.

We held workshops and created images to print with ceramicist Brigit Connolly. Rocket Artists and Superstar Arts were invited to submit work for prints. I wanted the exhibition to mean something to local people and by involving local groups I hope to bring the community together.

Invisible People Hackney projection

In terms of representing how marginalised groups experience trauma, what is your overarching goal for the perception of this exhibition?

I would like sensitivity shown to people with learning disabilities and an understanding that some people behave in unexpected ways that might be due to trauma. We need to have compassion and understanding.

What impact has your personal experience with trauma had on the production of this exhibition?

I know what it is like to be traumatised by procedures that are not fully understood and how it can make you behave erratically.

My daughter was in the ICU for six weeks. It was a very scary time for all her family and terrifying for Beth because of her limited understanding of what was going on. It required a huge amount of patience love and constant communication to get through it.

What does the Invisible People exhibition mean to you on both a personal and professional level?

It’s very emotional for all the reasons I have described. I’m really grateful to Worthing Museum and Gallery who have been so open and enthusiastic about supporting this project. It makes me feel positive about the future. I’m very excited to share the work and hope everyone will enjoy it. I asked my daughter how she felt and she said: ‘Maybe people might like my work. That makes me happy.’

I think that’s probably about right for me too.

Invisible People Worthing

Kintsugi Women Exhibition

Kintsugi: the Japanese art of repairing ceramics and pottery with a special lacquer mixed with gold. This tradition method of fixing broken things is built on the idea of embracing flaws and imperfections. In doing so, you can create something stronger and more beautiful than before. Each break and repair is entirely unique.

Using this as a metaphor for the emotional healing we go through teaches us an important lesson; in the process of repairing things, we create something more beautiful and resilient. Kintsugi treats damage and repair as part of the history of an object, rather than something to hide.

The Kintsugi Women exhibition is the result of a collaboration between local charities and services supporting people experiencing homelessness across West Sussex. Female service users were invited to highlight things they value about themselves, or something difficult they have learned through their experiences.

“People experiencing homelessness are broken in so many ways, nobody chooses to be on the streets, especially women. ‘Kintsugi’ is an ancient Japanese craft of fixing broken pottery with extracts of gold. It is also known as the art of ‘precious scars’… What breaks us makes us stronger. This exhibition tells of our precious scars.” Jules, project leader

Their experiences and expressions have been captured in a chosen art form with gold running through their creations to symbolise the philosophy of kintsugi. Much like the physical act of repairing ceramics with gold lacquer to highlight their uniqueness and beauty, these women’s creations have been embellished with gold to symbolise their newfound strength and individuality as a result of their experiences.

Sam Otway from Safe in Sussex, a charity offering support for victims of domestic abuse in the county, said: “The main aim is to try and raise some awareness of the services that both of our respective charities provide: Safe in Sussex as a domestic abuse charity providing refuge and education, and Turning Tides as a homelessness charity. They are very much interlinked as all the clients that come into our refuge are homeless, and many of Turning Tides clients will have experienced or been exposed to domestic abuse at some point in their lives, so we are very much a partnership.

“We also want stakeholders and decision makers to see what some of these women endure, and for visitors to understand the reality of homelessness and domestic abuse in the local area.

“There are so many significant pieces and so many stories but for me the house "From Hell House to Happy Home" really showcases how someone can have a home yet still be homeless. This was created by an amazing mother and daughter duo who suffered years of the most horrific abuse at the hands of their husband/father in their own 'home'. Housing placed them into a B&B where they shared a bed for 3 months after they had bravely escaped. They then came to us, and we found them a safe place to stay where they had their own bedrooms and were able to begin their journey of trauma recovery. They have shown amazing courage and strength through fixing themselves back together and discovering themselves and their unique qualities for the first time - truly amazing women!”

Kintsugi Women is on at Worthing Museum and Gallery until Sunday 25th September during Museum opening times. Entrance is free.

Showstopper: the Olivier award-winning musical coming to Worthing!

An evening of spontaneous musical comedy at its absolutely finest is heading to Worthing direct from the West End.

With 12 years as an Edinburgh Fringe must-see phenomenon, a BBC Radio 4 series, a critically acclaimed West End run, and an Olivier Award to their name, the Showstoppers have been delighting audiences all over with their ingenious blend of comedy, musical theatre, and improvisation.

No two performances are ever the same, due to the Showstopper’s unique creation of a new musical comedy at each show. Audience suggestions are transformed on the spot into an all-singing, all-dancing production. Whether you fancy seeing Mamma Mia on the moon or Sweeney Todd under the sea, you suggest it and the Showstoppers will create it!

Ahead of their performance at Worthing’s Pavilion Theatre, we spoke to the team to find out exactly how their improvised musical works, what we can expect, and what their favourite musicals are!

https://www.youtube.com/watch?v=lLya07C6zMM

★★★★★ ‘So polished, it defies belief.’ Daily Telegraph
★★★★ ‘If this is what improv can do, you wonder why anyone bothers writing anything down.’ The Times
★★★★★ ‘Achingly funny… Worth seeing again and again.’ Time Out Critics’ Choice

Showstopper! - The Improvised Musical is being performed at the Pavilion Theatre on Friday 10 June 2022. Tickets are available from £16.50.

How WTM are celebrating the Queen’s Platinum Jubilee

This year marks the 70^th anniversary of Queen Elizabeth II’s accession to the throne, and we’ve got a number of things lined up for celebrating the Queen's Jubilee. While the official celebrations will take place across the long weekend of 2-5 June, WTM have organised events across all their venues spanning the course of a month.

Firstly, we’ve got our double film screening of Elizabeth: A Portrait in Parts

Elizabeth: A Portrait in Parts

When is it? Monday 23 May 2022 at 11:00am and 6:15pm

Where is it? Connaught Cinema

How much is it? Tickets are from £4

What can we expect? This documentary chronicles the reign of the Queen with extraordinary archival footage. From the director of Notting Hill and The Duke comes a nostalgic, uplifting, and modern chronicle of the extraordinary 70-year reign of Her Majesty the Queen, the longest-living and longest-reigning British monarch, and longest-serving female head of state in history.

Next up is our Family Workshop: Jubilee Crowns

WTM Crown making workshop

When is it? Friday 3^rd June 2022 at 10:30am

Where is it? Worthing Museum and Gallery

How much is it? Tickets are from £7.50

What can we expect? On the Queen’s Platinum Jubilee, you have the chance to join WTM’s creative workshop making royal jubilee crowns to join in with the celebrations! All glittering materials are provided and there will be expert help on hand to create spectacular crowns fit for young kings and queens!

For the lovers of classic film, we’re showing the favourite film of the Queen herself: Flash Gordon

When is it? Friday 3^rd June 2022 at 8:30pm

Where is it? Connaught Cinema

How much is it? Tickets from £5

What can we expect? American footballer Flash Gordon is thrust into the journey of a lifetime: joined with Dale Arden and Dr. Hans Zarkov, the three earthbound space travellers will soon become the first humans to encounter alien life, and try to stop the tyrannical alien warlord Emperor Ming the Merciless from destroying the Earth.

Up next, our much-anticipated performance of The Queen’s Knickers

When is it? Sunday 26^th June 2022 at 11:00am and 2:00pm

Where is it? Pavilion Theatre

How much is it? Tickets from £12

What can we expect? This new musical adaptation of the children’s book is guaranteed to provide fresh fun for all the family. It’s a busy year for the Queen – she has lots of important events to attend. But disaster has struck the palace as Her Majesty’s knickers have been nicked – call the royal guard! Meanwhile, a little girl is wondering what knickers Her Majesty will choose to wear on a school visit! Will they be her ‘at home’ knickers – adorned with corgis – or her ‘garden party’ knickers, or perhaps her woolly Balmoral ones…? This production promises a regal children’s musical full of songs, silliness and a corgi or two!

Finally, we have workshop for lovers of arts and crafts: Regal Ribbons

When is it? Sunday 3^rd July at 11:00am

Where is it? Worthing Museum and Gallery

How much is it? From £45

What can we expect? Join us for some ribbon folding fun to create a sculptural ribbon cockade, rosette or origami trim that will take your outfit from the ordinary to extraordinary. All materials will be provided. This session is suitable for all abilities, only simple hand stitching will be required. The workshop is taught by our West Sussex milliner, Isabella Josie.

Jitney: Q&A with Director Tinuke Craig

Tinuke Craig’s acclaimed production of August Wilson’s Jitney is coming to Worthing this summer, following a month-long run at The Old Vic.

A Headlong, Leeds Playhouse and The Old Vic co-production, this show comes from an exceptional degree of talent. It will open at London’s historic Old Vic before a regional tour to Worthing’s Connaught Theatre on Tuesday 19 - Saturday 23 July 2022.

Jitney is a ground-breaking modern classic from August Wilson, one of America’s greatest writers. It explores the fragile bond between eight men as they live, love and work in a racially segregated, post-Vietnam America. Their stories are brought to the stage by much-lauded Director, Tinuke Craig, whose past work includes The Colour Purple, Vassa, I Call My Brothers and even Cinderella, the pantomime at the Lyric Hammersmith Theatre.

WTM is pleased to bring such commended work to the local Worthing community, presenting the best of London’s theatre to West Sussex.

"This remarkable play, the first written of August Wilson’s Pittsburgh Cycle, hasn’t been seen in London for over 20 years but remains as relevant as ever. It is a play I’ve loved for many years which explores the themes of love, loss and community through the lens of the Black experience. It’s a dream come true to be able to direct it." - Director Tinuke Craig

Joining the cast is Nnabiko Ejimofor as Shealy, Solomon Israel as Youngblood, Dayo Koleosho as Philmore and Sule Rimi as Turbo. They join the previously announced Geoff Aymer as Doub, Leanne Henlon as Rena, Wil Johnson as Becker, Leemore Marrett Jr. as Booster, and Tony Marshall as Fielding. Lindon Alexander, Lincoln Conway, Blair Gyabaah and Yolanda Ovide are the understudies.

August Wilson's Jitney

Tinuke Craig, currently in rehearsals for the performance at Leeds Playhouse, spoke about the challenges and joys of sharing the award-winning classic with modern audiences.

Tell us a bit about the themes of the play

Ultimately, it’s a love story about community and the strengths a community can have – particularly if it’s marginalised; how you are stronger together and how you can strive to change your circumstances with help from other people. People power, I guess. ‘It’s also about misconnections, particularly between a father and son. A big part of the pattern of the show is things almost working out but not quite making it. This leads to very vulnerable moments between men – sadly still a rarity on the stage. It feels quite exciting to see their inner sanctum – the jitney office – where they can be themselves and express themselves. This is especially important when the outside world is so harsh; where they have all the traits of poverty and racism keeping them in a position from which they can’t ascend.

There’s also a sense of impending doom that’s going to get them eventually, but they’re safe as long as they stick together.

UK theatregoers might not be as familiar with August Wilson as their US counterparts. Can you tell us a bit about him and his significance as one of America’s most important playwrights?

He’s one of the great American dramatists, up there with Arthur Miller and Tennessee Williams. He has a theatre named after him on Broadway and all his plays won a Pulitzer Prize for Drama, so he’s a huge deal.

One of the things he did that was most impressive was that he wrote ten plays over the course of his career called The Pittsburgh Cycle, of which Jitney is one. Each of the plays is set in a different decade in the same area, famously including Ma Rainey’s Black Bottom and Fences. Jitney is set in the 70s but, interestingly, it was the first one he wrote because he didn’t write them in order.

What’s exciting about the cycle is that each play works beautifully on its own, but they also do this amazing thing where they call and respond to each other. So, you get characters in Jitney who later turn up in Two Trains Running. It’s a whole rich world – a tapestry – built by a masterful playwright. He’s a documentarian of the black experience in America in that way.

He’s an exciting, warm writer, full of music, full of rhythm and poetry – a very exciting voice.

August Wilson's Jitney

Why aren’t we as aware of his work as we should be?

Black artists often fall into a place where they get marginalised and treated as niche or ‘special interest’. He fell victim to that, as a lot of black artists did at the time he was writing. His work is also not on the curriculum here, we don’t have the same access to the work, so it’s not put on very much – and so the cycle continues. It wouldn’t happen with someone like Miller. ‘But it feels like a sea-change is happening, that more Wilson productions making it to the stage. It feels like there may be a resurgence coming, and that is very exciting.’

Jitney is firmly anchored in the 1970s. How is it relevant in 2021?

It’s a play about gentrification; about a place that historically belongs to a marginalised community that’s being taken over by a more affluent community. The people who originally lived there are being displaced, which, sadly, still feels quite relevant.

There’s also something interesting about spending time with men – especially black men – in a piece that isn’t specifically about the black experience, which seems important at the moment when we’re considering how we consume media around blackness.

August Wilson's Jitney

How have you tackled recreating the 1970s without it becoming a pastiche?

It’s partly about rooting it firmly in its location. It’s a workplace drama so we can root them in activity and practice and behaviour – the truth of that transcends what everyone is wearing. We’ve created a world that has the trappings of the Seventies in the colour palette and the shape and the line, but it’s not necessarily a wholesale Seventies that’s been lovingly created on stage.

The costumes are really practical and subtle. We’re not seeing these guys on a night out, so we’re not going full Soul Train. It’s about what’s practical for them to do their work and what would have been available to them at the time.

You also have to take account of how old everyone is. If someone is in their sixties, they might dress like someone more from the Fifties. You also have to think about how old the office is. If it’s been there for 18 years, it’s not going to look like a Seventies’ workplace.

If you create a world that feels truthful, it shouldn’t feel too pastiche.

You have eight men and one woman in the cast. How have you ensured that the female character has equal weight and isn’t there just as a foil for the men?

It’s been important to me to think about the representation of women in plays and on stage and, particularly, about black women – and how rare that is, for a start.

This play is, in effect, about men. For me, when our female character comes on stage we really have to understand what her relationship is to the space. Does she own the space? Does she feel comfortable in it? If not, how can we make that feel about the story and not the actor.

We spent as much time with Leanne (Leanne Henlon, who plays Rena) as we spent with everybody talking about their character. When we did our character work, we did it all together. Everyone was given equal weighting regardless of the size of their character.

We also made a point to openly acknowledge the fact that there’s only one woman in the cast, which is a shame – not that I’m giving notes to August Wilson! Lots of women are mentioned but, like a great many plays of the time, it’s about men and one woman who just turns up. For me, it became about ensuring her character was whole and as real, multidimensional and multi-faceted as possible, so she didn’t feel two-dimensional when set against all these very complicated men we spend most of the time with.

It also felt important to me to have an intimacy advisor around. The men in this particular company are delightful and lovely but, just in terms of best practice, when you have a lone woman in a cast it feels really important to have someone watch over our work.

If you try to do a fight scene without a fight coordinator, it won’t be as good. And it’s the same with an intimacy director – they help to make the scene better and more believable.

What conversations do you hope the play will prompt?

There are points in the show where characters have an argument and it’s not entirely clear who you ought to side with. It will be interesting to hear audiences grapple with that afterwards. Are you Team Becker or Team Booster; are you Team Youngblood or Team Rena?

The wonderful thing about Wilson’s writing is that it’s never that simple. You can see how each of them has arrived at the conclusions they have. You’re not sure who’s right or who’s wrong. That sort of stuff will ignite some conversations afterwards.

There’s also the wider aspect of thinking about the history of the black experience in America. And, even though it’s very specifically set in America, it’s as relevant to people here in the UK. These things echo all over the world.

Jitney is at the Connaught Theatre Tuesday 19 - Saturday 23 July 2022. Click here to book your tickets.

Hearty: Q&A with Emma Frankland

Award-winning live performance and theatre artist Emma Frankland is returning to her homeland of West Sussex with her performance of Hearty.

Hearty is the fifth and final solo show in Emma’s None of Us is Yet a Robot project, which is a series of performances she has created in response to her gender transition and the politics surrounding transgender identity over the past seven years.

In this show, Emma tackles the ongoing media fascination with transgender lives, and interrogates the controversial bio-technology of HRT.

This politically-charged recital sees Emma bearing wings of sharp knives and shooting fireballs into the air, while weaving stories of trans ancestry through her performance. Connecting the cycles of the fetishisation, violence, and erasure that transgender people have experienced for centuries, Hearty is raw, messy, and authentic.

“[Hearty is] a ferocious cry for the safety of trans women. Brands don’t lead revolutions, people like Emma Frankland do.” The Guardian

How has your experience as a transwoman helped to shape the dynamic of Hearty?

It’s quite hard to answer because it’s not really possible to separate Hearty from my identity as a transwoman. Initially the project came about from a desire to reach out and connect with cisgender women who also use Hormone Replacement Therapy (HRT) and that was the impetus; a way of bridging the gap between transwomen and ciswomen where there can sometimes be animosity.

I think as I got deeper into the project, I realised that what I was really interested in was the stories of other transgender people around the world who I was meeting with and connecting with, and so the focus became about all of our stories and the ways in which they need to be archived.

Tell us about your previous use of transformative materials to create your visual imagery. Was this largely for the metaphor, or was there more to it?

In a previous show I used salt and clay and things, and the reasons for those materials was that they come from the landscape where I’m from, from Cornwall. It feels really important that the work I make is really rooted in the place that I’m from, and I think that for Hearty, the material that is really used the most is fire, which obviously is a very universal thing that lots of people have connections to.

How has the reception been to Hearty so far, and how has this impacted each performance in the tour?

The reception has been amazing. Hearty has been critically acclaimed as it’s toured around and we’ve always had really amazing responses from both the trans community that experience it and also from cisgender people who have come and seen it.

I think that it’s interesting how it’s maybe changed from before COVID and post-COVID; Hearty is set in an apocalyptic world and I think that people are able to connect to that idea of ‘there’s an apocalypse, there’s a change and a threat to our ways of life’ more now than previously.

Your work has had an excitingly significant impact on society. What does this experience mean for you both personally and professionally?

I’m very flattered that you think my work has had a significant impact on society. I think it’s very important for me personally that the art I make has an impact. I guess I sometimes frame it as ‘what is the duty of care of an artist?’ I like the idea that we have a responsibility, and maybe that responsibility of an artist is to tell the truth, to speak about our experience as we experience it, and so through being very personal we can hopefully find ways to connect with other people.

I’ve felt that it’s been my responsibility as a trans person – going through these perhaps difficult times in the UK lately – to speak honestly and openly about that. Maybe that’s where the impact comes from. I think as well it’s important for trans people to see ourselves reflected on stage and in ways that we are not used to. I think that that’s something that is particularly significant about the work I make; it’s very unapologetic and bold and that’s not necessarily a sphere that trans people get to be framed in.

What does it mean to you to be able to perform Hearty in your local area?

It’s really amazing to be performing in my local area. I’m excited to see friendly faces in the crowd but also to be able to connect with more trans people and with more people in West Sussex. It feels like a really beautiful way to start my engagement with Worthing Theatres.

Hearty is on at the Pavilion Theatre on Saturday 21 May 2022 at 8:00pm. Tickets are on sale from £13.50, which you can purchase here.

WTM Youth Ambassador Trustee

We are thrilled to be recruiting a Youth Ambassador Trustee to join our Board of Trustees. You’ll be joining an engaged and experienced Board of Trustees, and will be asked to share your skills, perspective and experience in order to support the charitable aims of the business.

Find our more about the role and see the full Youth Ambassador Trustee role an information pack here.

Worthing Theatres and Museum is a unique arts and heritage charity with a large portfolio of distinct venues. WTM is an ambitious organisation that presents a vibrant, diverse and entertaining programme of performances, (theatre, contemporary circus, dance, comedy, music, family theatre, talks) events, film, exhibitions and workshops. We manage a museum collection of national significance (costume, archaeology, fine art, toys), present an annual outdoor summer festival and collaborate with leading UK producing and touring companies. We engage with our local communities through a range of projects, partnerships and venue hires, using art and culture to create opportunities for the benefit of the wider community.

We are seeking candidates who share an enthusiasm for and commitment to bringing culture to all parts of the Worthing community. An ideal candidate will have a deep knowledge and understanding of Worthing and the lives and experiences of the young people in our community, which will be essential in carrying out this role effectively.

The successful candidate will have a strong awareness of current issues and debates around equality, diversity and inclusion, particularly in relation to young people. We are looking for someone who is confident in voicing ideas and opinions and not afraid to put new ideas forward.

The Youth Ambassador trustee will be key in setting up a youth advisory board (made up of young people aged 16-29 from the Worthing community), which they will then chair, as well as being a trustee on the main charity board. The youth advisory board will challenge WTM to ensure that we embody our vision and achieve our aim to:

“Provide aspirational opportunities for young people ensuring the creative voices of the future.”

Youth Ambassador Trustee role and information pack

The HR team will be accepting applications on behalf of the Board, to apply please send a covering letter outlining why you are interested along with a CV to: hradmin@wtm.uk

Deadline to apply: Sunday 8th May 2022

If you have any questions or want to know more about the role please email HR and your queries will be passed to the Board.

WMCS present Guys and Dolls in President Ruth Roberts’ Platinum Jubilee Year

Worthing Musical Comedy Society is a voluntary group that sets out to provide and promote affordable quality musical entertainment for the enjoyment and education of the general public and fulfilment of our members. WMCS was formed in 1935 and has been soldiering on ever since. Their latest musical performance, Guys and Dolls, will be at the Connaught Theatre from Tuesday 3 May 2022 till Saturday 7 May 2022 and is set to be a real showstopper!

When making plans to celebrate the Queen’s Platinum Jubilee year, Worthing Musical Comedy Society President, Ruth Roberts, realised that it was also 70 years since she first set foot on the Worthing Musical Comedy Stage. Board member and TV personality, Amy Hart, went to meet with Ruth and ask her to talk about her history with the society and musical theatre.

“As I sit in the lounge of WMCS president Ruth Roberts, looking at the walls adorned with family photographs, it’s amazing to think that Am Dram started it all. Ruth, 88, met her husband Roy when she was invited to join WMCS for their 1952 production of Sunny and celebrates her own Diamond Jubilee this year (I’ve always called her our Queen!) “I was terribly shy at the time” she recalls “and I was invited to do two solos in the show. I didn’t want to do it, but I did, which started a 70 year journey with the society.”

Since Ruth joined WMCS at the age of 18, things have changed a lot. “Rehearsals were every Monday and Friday and you never missed one, whether you were needed or not. Even when the local press, hospital and mayor's ball were on, you went to rehearsals, sped home, got changed and arrived late! It was a real hobby, everyone was there because they loved both performing and also the social side of things.”

WMCS has often been referred to as a family, back in the early days this was even more correct! “It really was one big family made of lots of local families. So many couples met at the society and went on to have children who would then appear in shows.” This is how it has been for the formidable Roberts family with both Ruth and Roy playing a multitude of parts both opposite each other (beginning with Mrs Molloy and Cornelius Hackle in Hello Dolly) as well as serving on the board, Roy as chairman and Ruth was wardrobe mistress for a number of years before they both became President. Later their children Andrew and Lisa plus daughter in law Tandy became active members of the society playing lead roles, serving on the committee, being chairman and also choreographing and directing. All 5 grandchildren have also been involved in the society!

The biggest contribution to the society the family have made was probably Roy, along with late society stalwart Andrew Taylor, securing their our very own premises. “We used to rehearse all over the place-basically wherever would have us. Church halls, leisure centres, anywhere, including in a function room nearby until we happened to book 42nd Street around the time they installed a new floor and they said we couldn’t tap on it! Roy started looking for premises shortly after that. When we secured “2a The Drive” as our new home, we were working towards our production of Barnum so, as the song goes, members of the public sponsored individual bricks “one brick at a time” so we could get the place finished!”

Some of the “Kodak moments” of the last 70 years include the BBC coming to film a documentary about the society’s production of “Charlie Girl” “We were all quite worried because we wouldn’t have any control over the edit but the programme was brilliant and was a fantastic experience.” Dancing the original Agnes De Mille choreography when the society performed Oklahoma for the first time. Doing two shows at “The Plaza” included 1967’s record breaking production of Camelot being seen by 10,050 people and taking a whopping, wait for it, £3,800!! “The only downside” says Ruth “was that the Plaza had no box office, so we had to man that ourselves as well as perform!”

With such a well equipped team now, self sufficiency is a thing of the past but Ruth remembers it well. “We altered our own costumes, did our own make up. We would cycle down to the theatre with our costumes over the handlebars as very few people had cars! Back then everyone got stuck in and helped. At one stage the society was running low on funds so every member was given £1 to make money with. People held coffee mornings, jumble sales and the society lived to see another day!”

Amateur theatre has changed a lot over the last 70 years, although the WMCS standards are much higher now, with a variety of different production teams “We used to have the same Director, although he was called a producer, and choreographer for many, many years, so you could predict who would probably be cast each time.” Some of the old customs have changed “whether or not we got a principal role, we would all do every show no matter how much chorus work there was available because we loved it! Not many people went off to university in those days so we never lost people at 18. Most of our reviews said there were too many people on stage!”

When there were very limited television options, local theatre was the hottest ticket in town. Ruth recalls “Tickets were so sought after, each member was limited to 4 tickets for the closing night of the run. When public booking opened people would queue down the stairs at the Pier to get the best seats.” Competition was a big factor back then though. Currently Worthing has two active societies, but this used to be a whopping 7 groups all producing two productions a year. “It was sad because it split the talent, split the audiences and everything was more competitive. More thought had to go in to show selection and it was all very top secret so someone else didn’t steal your idea!"

https://www.youtube.com/watch?v=iZ0Ej3cZ7r4

Ruth sums up the changes in her 70 years as “years ago, aside from the performing side, WMCS really was a social event, whereas now it has to be run like a business with such large sums of money involved [WMCS current budgets average at 70k], plus the fact there are so many other things for people to take part in!”

We are so lucky to have Ruth as she really is The Queen of WMCS!

As a postscript it appears that things go round in full circles, the dance teacher who trained Ruth leading to her first appearance with WMCS was Wendy Merson whose daughter, Mandy Chapman is now directing and choreographing their latest production of Guys and Dolls.

WMCS: Guys and Dolls is at the Connaught Theatre from Tuesday 3 May - Saturday 7 May. Book Tickets now at wtm.uk/events/wmcs-guys-and-dolls or call the Box Office on 01903 206206.

Q&A with Artist Stephanie Smart, creator of The Regency Wardrobe

At the end of 2019, Artist Stephanie Smart began a 15 month period as Artist-in-residence at The Regency Town House, Brighton & Hove. There, with the help of town house volunteers, she began to develop The Regency Wardrobe collection.

The Regency Wardrobe is centred around 11 life-sized outfits, complemented by 12 accessories, four wall-hangings and a jewellery box. Each garment produced is a work of paper textiles, created using only paper and thread; inspired by period and place, history and story.

The Regency Wardrobe Exhibition is on display from Sat 16 Apr - Sun 07 Aug 2022 within Worthing Museum. Read on to find out where the inspiration came from that created this fascinatingly intricate exhibition.

What led you to become an artist?

I’ve just never been anything else.

Where did your love for using paper as a medium for garment construction come from?

I first saw a paper kaftan that had been made for a Sultan, displayed in a museum in Istanbul. It was covered in Koranic script and geometry. It was very beautiful but had been made for him to wear, under armour, into battle, to remind him of his spiritual duty. I was fascinated by the juxtapositions implied by this. That is, that a fragile medium like paper might be worn over a fragile human body, under metal, on a battlefield. I was also interested in the idea that one might wear something normally ephemeral and internal, such as one’s spiritual faith, on the surface of ones clothes for others to see and read.

I’d just finished a postgraduate degree in cosmology and philosophy. I’m interested in the relationship between the microcosm of the human body and mind and the macrocosm that is the world. I’m interested in how these two relate. I started wondering what it would be like if more of our internal lives - our life stories, memories, thoughts - were written on the surface of our clothes. The shape of the kaftan also seemed to me reminiscent of a papery hospital gown, of the sort that we wear when our bodies are at their most vulnerable.

I had, up until that point been a glass artist, so I was used to working with fragility and translucency. At the time I didn’t have a studio space suitable for glass work so I started playing with paper at home and found that it has these same two characteristics. As is also true of glass, however, paper demonstrates unexpected strength if you work with it, rather than against it. And it has the capacity to be dense, opaque, so it has the ability to both reveal and conceal. Paper is a more readily available canvas than glass, it is easy to decorate. I like to draw and write and can do both of these with immediacy on its surface.

Paper allows me to easily collage. I have begun to see human beings as layered, collated, collaged works of art and I try to reflect this through making paper garments of a sort that a body might just have stepped out of.

What was the inspiration for this exhibition?

It was a residency in London that allowed me to first properly experiment with producing flat garments. However, it was my first 3-dimensional collection that saw me tying in with a local historical venue. Whilst artist in residence there I began also linking (via clothes once worn) with the real life stories of actual people. A visitor to the exhibition of that work suggested I might tie a project in with The Regency Town House, Hove. In the end I became artist in residence there and began to learn about the period. I worked with a number of the Town House’s team of volunteers, getting their help making elements of the final pieces and with the research. I approached Worthing Museum in order to see real garments from the Regency era. I then approached the Royal Pavilion and was granted special access to photograph some of the building’s internal decorative elements; these would eventually feature in the decoration on some of the garments. I went on to carry out extensive research into Regency era fashion and the national and social history of the time. With help I found details of real people from the period who I could link certain pieces to, the research venues increased in number as did the people involved, the project just grew and grew.

As well as being aesthetically stunning and intricate, is there a deeper meaning to your work that you’re aiming to express in this exhibition?

My ambition for every piece I make is that it be aesthetically beautiful, intellectually stimulating and technically ambitious. I believe in the art of looking, really looking at the world, until one is almost looking through it. I believe in the power of beauty to help raise the soul. I believe in the benefits to the human mind of intrigue and learning. I also believe in pushing the limits of materials, to see what they can do and what that can tell us.

Do you have a favourite garment within the collection?

I was pleased in the end with the two military uniforms. One is on a shorter more squat, mannequin, the other on a taller thinner form. I have no training in fashion or pattern cutting. I don’t know how to make a garment that anyone can actually wear. I see each garment as a sculpture and work on it accordingly. I make visits to see actual garments from the historical period I’m interested in but the material process of making any single piece is more about staring at images in the form of drawings or photographs, then working out how to reproduce the general shape of that garment by eye, whilst at the same time adapting it according to my own design. In this case I tried to make the naval jacket first, it can now be seen at the Royal Pavilion, but for ages I couldn’t get to grips with the shapes involved in its construction. At that stage I only had the shorter mannequin available. Finally I realised that it was the length of the lines of the real Regency frockcoat in the image before me that were sending me astray. In the photo it was being displayed on a taller, thinner mannequin and the proportions were different. So I got a tall, slim form and immediately the construction made sense and the jacket I was making just worked. The smaller mannequin is now beneath the red jacket on show at Worthing Museum. It is inspired by Napoleon Bonaparte and his actual body shape tied in with it nicely. But it’s the finishes I’m particularly pleased with, on the Napoleon inspired jacket the gold trim is made from greaseproof paper and embroidery thread, for example. Also I love the way the research came together and the links I was able to make to real male figures from the time.

On average, how long did each piece take to create?

Up until the end of last year I found that question impossible to answer. All I knew was that I had produced eleven mannequins, 12 accessories, 4 wall-hangings and a jewellery box in (a very concentrated) 2 and a half years, but I had had nearly all of these pieces in my mind from the start and had been working on different stages of all of them across that period. Last November the Royal Pavilion commissioned an extra piece, a Court dress. It is certainly the grandest piece in The Regency Wardrobe collection but every piece is time consuming in its own way. I began making that dress in mid November 2021 and finished it the day before I delivered in at the end of February 2022. So now I can say that the informal answer to the question of timing is that every piece will always take every moment I have available to me, because I have a tendency to keep on adding extra layers of detail. Officially I made that particular Court dress in 3.5 months. But I did have help from my volunteer team, they produced 90 platinum coloured stars for example, each one hand-made from the rolled paper technique called quilling. Without their help, if you include the research and the documenting of that research both of which are integral to what I do, then I believe this piece alone would have taken 5 months to produce.

Was there any part in the creation process of each garment that was particularly challenging to produce?

Absolutely every piece has gone through various stages of not working. Every piece has presented brand new challenges and given me new things to figure out. Having never made the exact piece I am working on before I am learning and developing new ideas and methods every time. Of course there are certain working practices I can regularly adapt but trying to mimic the look of a new combination of design and decorative elements from paper, of a sort that would normally be produced in fabric, means that every time, to a large degree, I am making it up as I go along.

What do you hope audiences will take away from seeing The Regency Wardrobe?

I hope they will have been visually uplifted, intellectually intrigued and materially challenged.

The Regency Wardrobe Exhibition is open to the public at Worthing Museum from Sat 16 Apr - Sun 7 Aug 2022 and is FREE for visitors to come and see. For more information click here.

Ian Waite and Vincent Simone answer all about their new show Act Two

Ballroom Boys Duo Ian Waite and Vincent Simone return for their new show - Act Two!

With beautiful costumes, gorgeous lighting and world class routines; including the Viennese Waltz, the Foxtrot, the Rhumba… and of course… another incredible Argentine Tango routine by the master! The boys will be joined by their stunning dance partners and a world class singer.

For an evening filled with glitz and glamour, Ian Waite and Vincent Simone....Act Two will be coming to the Pavilion Theatre on Thursday 9 June at 7:30pm. Read the following interview with former Strictly Come Dancing's professional dancers where they discuss their brilliant new show.

What can fans expect to see in your show?
Ian: A bit of everything really. Hollywood classics, Broadway musicals, a lot of hot Latin numbers.
Vincent: Passionate Argentine Tangos.
Ian: Definitely your Argentine Tangos!
Vincent: Yes, and an amazing singer with a voice of an angel. Plus, we have loads of comedy. You’re the biggest dancer on the planet and I’m the smallest. 5ft 2” plus VAT!

What do you love about doing this show together?
Vincent: Everything! We love working together. Everything, we are just a perfect match.
Ian: Vince is very creative, easy going, his choreography is on point. I just come along for the ride really!
Vincent: He presses play!
Ian: I press play a lot! (Laughing)

How did the touring partnership come about?
Ian: It was my idea.
Vincent: Yes.
Ian: And I thought of the name The Ballroom Boys. When I called Vincent he was in Spain, on holiday I think. I said what do you think about doing a tour and he really liked the idea, the concept was great and we would be the first Strictly all boys couple, haha. Yeah, it’s gone on from then.
Vincent: I jumped at the chance because it was a time when I had finished touring with Flavia and she wanted to have a break and this beautiful man came along and he rescued me. I was like a lost puppy!

How does Act Two differ from Act One?
Ian: I think we just put it on steroids, you know. We just kind of tried to make it bigger and better. More stairs, more curtains, more lights, more girls.
Vincent: More women!
Ian: Haha, more women! Yeah, just even more variety actually in this one, we have three comedy dances as well, don’t we?
Vincent: Yes, we do.

How far into the tour were you before lockdown stopped you in your tracks?
Vincent: We were teching at the theatre in Worcester.
Ian: We did our dress run and then we were closed down. We were about to do the show, ready to do the show, we had done our dress run and 544 days later we opened!!
Vincent: Yes, finally.

How easy has it been returning to live performance after lockdown? Did you have to spend a bit of time re-rehearsing the show or did you just go straight back into live performances in theatres?
Vincent: I didn’t think it was going to be this easy, but I felt almost like we never left. The day I got here, back to London from Spain, we started rehearsing and literally within an hour when we had a little break, I left the training room and it was so surreal. It’s like I never left.
Ian: You were still dancing in Spain quite a lot.
Vincent: I did dance a lot in Spain. I managed to dance and practise almost every day.

What do you love and dislike about touring?
Vincent: Our favourite part of touring is to see new places, new audiences, you never know what to expect. You have roughly the same reactions, but sometimes, especially when you go to places like
up North or to Scotland or Ireland, we get more of an explosion, a buzz from the audience.

How big a part has Strictly played in your popularity with live audiences?

Ian: I think it is one of the main factors really because they know us as characters from Strictly and they’ve continually supported us all our career. We have had tremendous support and there is a hunger for old-school Strictly, old-school classics. People love the Ballroom dancing, people love to go back in time and that’s what we try and do with our shows.

Ian Waite and Vincent Simone....Act Two is at the Pavilion Theatre on Thursday 9 June at 7:30pm. Book tickets now at wtm.uk/events/ian-waite-and-vincent-simone-act-two or call the Box Office on 01903 206206.

A Guest Blog From Jez Rose: Creating Extraordinary Futures

Coming to WTM is Jez Rose with his new show Jez Rose - Bolder, Braver, Stronger. In his highly engaging live lecture, Jez Rose provides a fascinating insight into human behaviour and why we do what we do, helping to see change as a natural opportunity to adapt and evolve.

He'll be at the Pavilion Theatre Atrium, Monday 21 March at 6:30pm. In this guest blog, Jez gives us a brief insight into how change benefits us but why we can be so resistant to do so. Read on to find out more.

"I’m writing a new book.

At the core of my work for the past 16 years has been an interest in why people do the things they do - and indeed why they sometimes don’t.

Our ability to change is a remarkable trait of our species, yet change doesn’t naturally sit comfortably for many of us and as such, people don’t readily change. It’s why we stay in relationships we know deep down aren’t right, and why we don’t set up that business we’ve always dreamt of, for example.

Change resistance exists for several reasons but I believe that at its heart is a threat to our identity: our lives are constructed of routines; comfort zones; boundaries, and those rhythms we have created. Each are important because they define us.

The balance and comfort we feel when we drink our favourite brand of drink from our preferred mug, followed by doing ‘this thing’ and then ‘that thing’; and driving a particular route to work; fulfilling our scheduled tasks, or regular social engagements, coupled with our hopes, dreams, aspirations, beliefs and opinions is what makes us: us.

Somewhat ironically, the idea of evolving or progressing is one that appeals to most of us much more than the idea of having to change. Change is something that inherently feels like it happens to us; whereas evolving feels like we’re in control, and something we can choose to do because we want to willingly go on that positive onward journey. The cornerstone of our response to change is whether or not we are willing and active participants of the change, or assessing and coping with it having been forced upon us.

What so often gets in our way, however, are our comfort zones. We get to choose how we respond because our comfort zones are defined by us. Admittedly they can be influenced and shaped by childhood events; parenting and life experiences, but they are not set in stone.

We don’t challenge our comfort zones because we rarely ask enough questions. The result is that we continue to only know what we know, and only ever live how we have: in short, we are often our greatest barrier to change. The more questions we ask, the more opportunities we’ll discover to check that we’re on the right path. The two I encourage most often are: “Why do I do it this way?”, and “How do I make it better?”.

The hardest question to answer is: “Who am I now?”. Who we were, as people, as teams and as organisations just two years ago is different to who we are now. We have all changed. Despite our resistance to change, we are constantly changing: who you were in your teens was not the same person you were in your twenties; and likewise, thirty two year old you is not, or will not, be the same as fifty two year old you. World circumstances have shown us all how readily we are able to adapt, evolve and habituate as our journey develops.

Periods of change almost always involve four key periods, and have a striking similarity to nature’s very own process of change. We enter the cycle at the behaviour change equivalent of autumn: a period of harvesting, repair and regeneration. It’s during the autumn season in nature that crops are harvested; gardeners cut back flowers and plants so the plant’s energy is focused on the roots to create a stronger and bigger plant for next year. We add fertiliser into the soil; dig it over to allow air and goodness in and gather our crops to prepare for winter.

For humans you can readily relate I’m sure to that period of purging unnecessary things when you think back to the end of a relationship, leaving a job or moving house: the glee of throwing out items of forgotten clothing your ex left, and pouring every last drop of that expensive aftershave down the sink. We strip things back as we repair and regenerate.

Following this we enter the equivalent of winter. A period of dormancy and bleakness when we often think nothing is happening. In nature there is in fact plenty happening below the soil, however, simultaneously there’s also nothing happening. Even nature knows that sometimes it’s important to rest; to press pause; to reset. Something we don’t do nearly enough of – and then wonder why we don’t manage. We, too, move from our period of repair to a period of dormancy.

In time we move into spring: that period of growth when things noticeably start to happen: we move on; ideas formulate; we adapt, evolve, and things we’ve put into place start to develop. We recover from pain; we find ourselves with more energy, or inspiration.

And of course, then (but not finally) we move into summer: a period of ultimate abundance, which, if you spend any time on social media, you’d think was possible to constantly stay living in. But it’s not. It simply isn’t possible for us to live in a period of abundance all the time. Just like nature, it is the natural rhythm of life; the natural rhythm of human behaviour that we move through four very different periods of change.

Knowing which part of the change cycle you are in at any one time is really important: you can plan for what you know is coming, but also be reassured of where you are – and why.

One thing I have observed, is that unlike nature’s seasons, which are relatively consistent and equal, certainly here in England anyway, human periods of change drastically alter depending on what it is that is changing. The time you spend in a period of dormancy may be long. It may be extremely quick. Your period of abundance may be short lived, or it may blossom for a wonderful longevity.

However, it is not possible to fight nature; nor is it, I believe, possible to alter the duration of the periods of change you must go through. Sometimes you just need to sit on your hands.

We are human: it is in many ways our greatest strength, but because we are only human, it is also one of our greatest weaknesses.

If we acknowledge our weaknesses, or areas of potential development; our ability to adapt, evolve, or think differently about something, we vicariously give ourselves permission to be human: to be vulnerable and authentic. That’s one thing the incredible technology we are surrounded by can’t offer. In fact, it relies on us being honest and authentic to get the very most out of it.

And if there’s one thing I’ve learnt that is incredibly important right now, the greatest gift you can offer someone, is your authentic self."

Jez Rose - Bolder, Braver, Stronger is at the Pavilion Theatre Atrium from Monday 21 March at 6:30pm. Book Tickets now at wtm.uk/events/jez-rose-bolder-braver-stronger or call the Box Office on 01903 206206.

WTM Supports Ukraine

Like many of you, we have been watching the situation in Ukraine unfold with horror and compassion. We are working with an organisation to act as a donation centre for much needed supplies which we will then transport to a central collection location in London before they are taken to the border in Poland.

We will be lighting the Connaught Theatre blue and yellow in solidarity with Ukraine and we will be hosting a screening of the new Ukrainian film OLGA, with all proceeds going to the Red Cross to support their aid programs. You can buy tickets to OLGA here.

We appreciate that there is a cost of living crisis here in the UK, but if you are able to donate any of the following it would be hugely appreciated. Our discussions with the charity have been hugely humbling and we are proud to be helping in our own small way.

ITEMS NEEDED ARE:

New thermal underwear and socks
New children's warm clothes
Wet wipes
Nappies
Dry food / canned food (all sealed and in date)
Pet food - unopened
Batteries

It's important to note that these items should be new, rather than an opportunity to clear a cupboard - we are sure those items could be donated elsewhere locally to help. These donations can be accepted at the Connaught Theatre on Union Place during the following hours between Fri 11 March & Wed 23 March.

Connaught Theatre Opening Hours:

Saturday and Sunday 10am - 8.30pm

Monday to Friday 12.30pm - 8.30pm

We are hugely grateful for all donations of the necessary items listed above and hope you can support our efforts to make any small difference to the people suffering in the current crisis.

Q&A with Adam Woodyatt and Laurie Brett for Looking Good Dead

Multi-million No.1 best-selling author Peter James returns to the Connaught Stage with the world premiere stage production of Looking Good Dead, starring award-winning actor and EastEnders' icons, Adam Woodyatt and star of stage and screen Laurie Brett.

The show is coming to the Connaught Theatre for several performances from Monday 4 April at 7:30pm. Read on to find out how the stars of this thrilling live theatre performance found bringing Peter James' murder mystery tale to life.

What can audiences expect when they come to see Looking Good Dead (no spoilers)?
Adam: It’s a really brilliant production. Peter James’ story is excellent, and the script has been adapted beautifully. It’s got thrills, fun, twists and turns and I am confident that people can have a lovely evening or afternoon out. Plus, you can get an ice cream in the interval!

Laurie: They’re going to be coming to see a murder mystery - it’s very Peter James. It's a story about a normal married couple who suffer the consequences after bringing an abandoned memory stick home. There’s going to be lots of laughs, gasps, and a brilliant twist. I can normally work out a twist at the end, and I can say that when I read the script for the first time, I did not see it coming! The outcome is very surprising.

Can you tell us a bit about who you play in the show? Can you relate to them in any
way?
Adam: I play Tom Bryce, he’s a businessman, husband, father, basically a very normal bloke. So he’s easy to relate to in many ways.

Laurie: Kellie is a very interesting character; on the surface she seems like a suburban housewife but she’s actually multi-layered. For me, she’s a woman who has some sadness in her, a real sense of unfulfillment – unfulfilled talents, unfulfilled dreams – and she has some secrets. She’s like a swan, that glides along, looking good, but she’s frantically paddling underneath. She has a lot of guilt and regrets, which for me is very interesting to play. I don’t really relate to her as I don’t have any regrets, and I wouldn’t put myself in the same position that she puts herself in.

You’ve previously worked together as a married couple on EastEnders (Ian and Jane
Beale), how does it differ working together this time around?
Adam: This time it’s on stage and not on TV. It’s great working with Laurie again, it’s very easy, comfortable. There is a familiarity that is just there.

Laurie: It’s no different at all. Adam and I had an instant chemistry way back in 2004, and whether it’s on stage or on screen, we’ve got a shorthand that you’ve either got or you haven’t, so we’re very lucky in that respect. We know each other so well, so it’s a great thing, getting to play with the characters and explore their dynamic. It’s no different to being on the telly, we just have to be slightly different technically. It’s an absolute joy.

What are your fondest memories from being together in Albert Square?
Adam: There were so many moments… the live ep, the tandem, the braying horse!!! And I’m looking forward to having more memorable moments.

Laurie: There’s so many, there’s too many to even think about. One that sticks out was on my eighth audition for the show (EastEnders). Out of the corner of my eye I could see this person’s head popping around the corner while I was filming a monologue to camera – it was Adam. After my audition he came up and introduced himself and escorted me out of the studio. When I actually joined the show, he just went, ‘I knew it would be you!’ From the minute we met we just couldn’t stop chatting, we really get on, and understand one another.

The previous Peter James plays have had some great star names from television and
you now join that list - what do you think attracts actors to his plays?
Adam: There have been some great names, and I actually know some of them they’re colleagues of mine! I’m really looking forward to being part of this show and I know Shane Ritchie had nothing but brilliant things to say about the Peter James productions he has beenpart of. Of course I spoke to him and asked what it was like!

Laurie: I’m not sure about everyone else, but the thing that attracted me to this play was working with Josh Andrews (the producer) again, and obviously Adam. The thought of working with Adam again, and the comfort that comes with it, was what made me want to do it.

Do you enjoy the novels of Peter James?
Adam: I have read Looking Good Dead and really enjoyed it, despite not being a massive reader. I’m hoping that the show will appeal to fans of Peter James’ novels and many more people as well. When I read the book, I was kept guessing the entire time, and I hope we can keep that excitement for audiences.

Laurie: I’ll be honest and admit that, until working on this production, I hadn’t actually read a Peter James novel, however I really enjoyed Looking Good Dead, so I’ll definitely be reading some more after this tour.

Peter has sold millions of books, which have been Number One on the Bestseller List 19 times, but why do you think the adaptation of his books to stage has been so successful?
Adam: The adaptations are always faithful to the book, but with a twist or a tiny change so that even someone who knows the book incredibly well isn’t one hundred percent certain what is going to happen, which adds a brilliant element of surprise and anticipation. Added to that, as well as the thrills there’s some good humour in the plays. I think there’s a lot to look forward to in Looking Good Dead.

Laurie: I think murder mystery and crime stories, such as Agatha Christie’s Poirot and Miss Marple, have long been a part of British culture, which makes stage productions in this genre greatly appealing to the British public and the Peter James plays are a very successful modern day version of that, which appeals to today’s audiences.

Why do you think audiences love to see a good thriller on stage?
Adam: I really enjoy a good thriller. I’m not one for horrors, but something that makes you jump a bit and gets your adrenaline going is great entertainment. If we can draw people in and make them believe everything and end with a sharp intake of breath, then I think we have done our job. It’s one of those chances to get a thrill in a safe space.

Laurie: I think people just love a good mystery, myself included, and we love to have a go at guessing ‘whodunit’.

You’ve appeared on both stage and screen, do you have a preference?
Adam: What has really appealed to me about being part of Looking Good Dead is getting that live reaction. EastEnders has had massive responses when we have done live episodes. Especially in 2015 for me. I loved it. I loved that feeling of immediacy and knowing that what happens in this moment is what the audience will see there and then. I love that buzz. I’ve done pantomimes over the years which are always a favourite thing for me to do, so the prospect of being able to go out and do a theatre tour is really exciting.

Laurie: I started performing on stage at the age of five as a dancer and I do love being on stage. Being able to see, hear and feel an audience is an electric experience. It’s very different to screen work, though, and requires a totally different technique and process. If I had to choose between the two, I would probably choose working on screen just because I love the subtlety and technique involved in working well behind a camera.

What’re you most looking forward to about taking the show on the road?
Adam: I’m so looking forward to getting to see some parts of the country that I have never visited before. I’m also looking forward to spending my daytimes with my bike and having a wander around the local areas. I’m also really looking forward to seeing the different theatres. I know that around the country there are some stunning and historic buildings everywhere. I’ve done the same job for 36 years so to have a chance to go and enjoy myself touring the country is so exciting for me.

Laurie: It’s a real joy getting the chance to work with Adam again, so performing with him every night is definitely a highlight. I feel very lucky to be on the stage again because the buzz of live theatre and that relationship that exists between actor and audience is really thrilling. I also love the fact that every show is always a little bit different.

What are your plans once the tour ends?
Adam: I’m going to help a friend out who has a pop up restaurant at Pub in the Park during the summer if I’ve not got any proper work on.

Laurie: I’m really looking forward to spending some more time with my daughter and there’s also another project that I might be involved in if all goes to plan, so I’m really excited about that. I also might finally take a holiday!

Looking Good Dead is at the Connaught Theatre from Monday 4 April at 7:30pm. Book Tickets now at wtm.uk/events/peter-james-looking-good-dead or call the Box Office on 01903 206206.

Superstar Arts performance Connection – Worthing Museum

Worthing Theatres and Museum are thrilled to have been able to work with Superstar Arts as part of Spin Out 2021 WTM. The Worthing based charity used the museum gallery spaces to perform their dance piece, Connection.

Superstar Arts choreographed the 20 minute musical promenade with WTM Spin Out performers, Kapow - Dance Circus Theatre. Since returning from shielding and lockdown, the Superstar Artists have been creatively exploring how the pandemic has made them feel and behave. Connection reflects the struggle that they and their families faced with changes to their daily lives and routines during the Covid pandemic.

Jo Telling, Creative Manager at Superstar Arts mentions that "It was an important piece for us that enabled the group to tell their story and express their feelings about their journey through the pandemic and what has remained important to them. A massive thank you to Vicki Wells from the museum and all the staff at Superstar for making this happen. Another big thanks to 'Kapow' dance and performance group for bringing another dimension to the piece."

https://www.youtube.com/watch?v=0woz21T2VOo

Founded in 2012, Superstar Arts is a charity delivering creative educational projects and workshops for young people and adults with learning disabilities in the Worthing area. They are committed to creating meaningful opportunities, delivering high quality innovative artistic experiences and enabling people with learning disabilities to explore social and emotional issues in a positive, creative way.

Nobody Q&A with Motionhouse’s Co-Founder and Artistic Director Kevin Finnan

Nobody is a fast-moving and highly physical dance-circus performance, exploring tension between our inner lives and how we make sense of the world around us. Motionhouse’s renowned dance-circus style combines with mesmerising choreography to tell this emotional and ultimately uplifting story, full of twists and turns. This awe-inspiring performance is coming to the Connaught Theatre on the 30th March at 7:30pm.

Talking to the Motionhouse's Co-Founder and Artist Director Kevin Finnan, we found out about the inspiration behind Nobody. Read on to find out more.

Where did the inspiration for the show come from?

I wanted to explore tension between our inner lives and how we make sense of the world around us. While we were in lockdown, I began to realise that there was a synergy between what we were all experiencing being confined to our own homes and what I wanted to express in Nobody.

I became more and more interested in the voices in our heads, and how these were coming to the foreground of many people’s consciousness as we spent time alone. I became very interested in my own experiences and the stories I was hearing about how lockdown was affecting many people mentally – how they were struggling to deal with their inner voice. This approach gained traction when I heard a psychiatrist on a BBC Radio 4 programme explaining that in fact the voices people hear in their heads when suffering from psychosis are their own inner voices – they just don’t recognise them as that. I began to read as much as I could on the subject, and this helped my ideas for the crow characters to develop and grow.

The group of crows in the show represents our inner voices – and our struggle to find ourselves and who we are. All of the cast play two characters – a human and a crow. This is the first ever Motionhouse show with an interval, and this has opened up a whole range of possibilities in terms of the narrative arc of Nobody. In the first act we witness how the crows affect the humans’ behaviour; we follow the journey of their struggle to find themselves as they deal with the voices in their heads, represented by the crows. Then act 2 reflects the great lesson that many of us have learned from this experience about the importance of being together and the strength we all get from that.

What has it been like bringing Nobody to life? Has there been any challenges?

When Covid hit in March 2020 I’d already started work on making Nobody, and our creation period came to an abrupt halt along with the rest of the world. In retrospect, this unexpected hiatus in the show’s reation has enriched it, completely changing the direction of the production, but at the time it was a daunting situation: how could I create a new production with no access to our dancers or the other collaborators – set designer, composers or filmmakers for the projections? We suddenly had no idea when the show would premiere and when theatres would reopen.

How do you go about building a narrative which is told by dance-circus storytelling?

It’s about extending what the human body can do. Our performers are all trained dancers and we add in circus skills when they begin training and working with us. Tricks are great but if there’s no context then that’s all there is. I always try to find a rationale behind them. You can say, ‘’Circus - wow! Beautiful...’’ But you also have to look at how you arrive at each moment. It’s what poets do with words. The language is always moving, so you have to hold to your intention. For us it’s more of a narrative where tricks are woven into the action.

The show features lots of digital projections and it also involves a shape-shifting set. What’s it been like incorporating that into the show?

When I’m making a new production, I work collaboratively with the dancers to create the choreography and movement vocabulary of the production, setting creative tasks, allocating time for them to ‘play’ on the set, in order to explore the possibilities that this offers in terms of being an ‘apparatus’ for the movement to take place on. When we returned to the studio to resume creation, this way of working allowed us as a group to release everything we had experienced during lockdown. All of the pent-up feelings of not being able to dance or be with others for such an extended period came out in the movement we were creating.

I think this means that in addition to the usual blend of dance and circus that audiences expect from Motionhouse, this show offers something completely new too. I feel like with Nobody we are breaking new ground, and that’s very exciting. We’re really embracing the relationship between dance, digital and circus in new ways; further developing our dance-circus language and taking our exploration of digital projections to new levels. In this show, we’re tracking moving objects with the projections, enabling us to bring the projections into the space.

How does Nobody relate to the present day?

Nobody is a reminder of the value of being with each other, and how that can help put the voices in our heads into a context where we can manage them. It’s about our relationship to who we think we are, and how important it is to take time to stop and assess. Ultimately, it’s about all of us and none of us. But I want it to speak to everybody.

What do you hope audiences will take home after seeing Nobody?

For me, the production means a lot – it represents new beginnings and a renewed sense of purpose as an artist. I want people to have an emotional journey as they watch Nobody and different people will take away different elements of the show and have their own personal responses to it.

Nobody is at the Connaught Studio on Wednesday 30 March at 7:30pm. Book Tickets now at wtm.uk/events/nobody or call the Box Office on 01903 206206.

Author Julia Donaldson talks Zog and the Flying Doctors

Best known for her popular rhyming stories for children, especially those illustrated by Axel Scheffler, Julia Donaldson is the multi award-winning author of some of the world's best loved children's books, most notably the modern classic The Gruffalo which has sold over 18 million copies worldwide.

Many of Julia and Axel’s books have made the journey from page to stage, and this year the bestselling Zog and the Flying Doctors joins them. A follow-up to Freckle Productions’ smash-hit adaptation of Zog, the origin story about the eponymous dragon, the sequel follows Zog and his Flying Doctor crew, Princess Pearl and Sir Gadabout, as they tend to a sunburnt mermaid, a unicorn with one too many horns and a lion with the flu.

Zog and the Flying Doctors flies into the Pavilion Theatre on Saturday 16 & Sunday 17 April 2022 as part of its World Premiere tour. Read on to find out more about the magical show.

Where did the idea for Zog come from?

"Well that one was quite unusual” Julia says, “in that the initial idea didn’t come from me. My editor said to me ‘it would be lovely to have a story about a dragon’, so I started thinking about it and the name ‘Madam Dragon’ came into my head, which I thought had a nice sound."

“And then I thought what could Madame Dragon do, who could she be? I came up with various ideas and a schoolteacher was one of them, so I took it from there. Originally it was going to be about a knight and a dragon, but it ended up being about a Princess and a dragon – the story came to me bit by bit."

“My husband Malcolm, who is a doctor, also had some input here. Because when I was planning the story, I knew that Zog would keep meeting the Princess, and originally I was going to have them play together and toast marshmallows. And Malcolm said that’s a bit soppy, couldn’t it be something with a bit more oomph? And then I came up with the doctor angle”.

Of course Zog is not the first animal to star in one of Julia’s stories. From a cat in Tabby McTat, to a fish in Tiddler, to the now-iconic Gruffalo, animals are often Julia’s most memorable creations. “It’s often used as a convention – like in Aesop’s Fables, where the animals aren’t really animals, they represent a quality or a characteristic. I also think it would be far more boring for the reader, if Mouse in The Gruffalo was just a small but clever person, or The Gruffalo itself was a big, scary but rather stupid person. Or in The Snail and the Whale, if the Whale was just a big person and the snail a little person – I think you need animals to represent the qualities”.

One facet of the enduring success of Julia’s stories is her partnership with illustrator Axel Scheffler who has brought so many of her characters to life.

So how does this collaboration work?

“It’s always through the editor”, Julia explains. “I never exchange a word with Axel about the pictures until my editor shows him the book – and then I have a nail-biting moment wondering if he likes it and wants to do it. Then he’ll do some character sketches which I’ll look at. Sometimes, after he’s created sketches for every picture, I’ll think ‘oh hang on, I’m going to change that little bit of text, because I like what he’s done with that’”.

Having had the characters in her head for so long, what’s it like if the illustrations are
different to what she imagined?

“I always say it’s like going on holiday - you’ve got an idea in your head of how it’s going to be, and then it’s always totally different. But once you’re there and enjoying it, you just forget what was in your head before. Also, I usually know when I’m writing something whether I want Axel to work on it – in which case I’ve got his style in my head as I’m working. It doesn’t influence the storyline, but it will influence how I picture the characters – so I’m usually not surprised when I see Axel’s interpretation.”

Many of Julia’s books have now been adapted for film or theatre where they are reimagined all over again. “For me, it’s like an extension of working with an illustrator. Handing it over to a theatre company or film company you know it’s going to change a bit; the end product will be a blend of my words and their artistic vision. And they do usually consult me and tell me what they’ve got in mind.”

The stage adaptations of Julia and Axel’s books, from Zog to Stick Man, are often a child’s first time experiencing live theatre, something Julia clearly takes pleasure in. “I remember going to see The Nutcracker when I was a child and I found the whole thing completely magical. I can still remember how I felt when the curtain went up. I suppose in a way it’s the same thing that a book gives you, in that while you’re reading or watching, you believe in a different reality. And if it’s a good show, parents love to see that their children – even very young ones – can just be transfixed by it.”

Zog and the Flying Doctors is at the Assembly Hall on Thursday 03 February 2022, 7:30pm. For more info go to wtm.uk/events/zog-and-the-flying-doctors or call the Box Office on 01903 206206.

Hidden People – Hikapee Interview

Hidden People, using aerial circus & creative technology performance, tells the story of a female architect who’s faced with the controversial task of building a hydroelectric dam in the Icelandic highlands. Under extreme pressure, she starts sensing a presence of something, or someone around her.

With the show coming to the Pavilion Theatre, Sat 12 March at 2pm & 7:30pm. We caught up with creators Hikapee, who are collaborating with Icelandic based company ‘Huldufugl', to discover what led them to create this extraordinary show.

Where did the inspiration for Hidden People come from?

Edd and Bryony (the founders of Hikapee) travelled to Iceland on holiday in the summer of 2017 and met up with Nanna and Owen (the founders of Huldufugl). On a hike up a remote mountain in the Icelandic highlands, they came across a sign telling a local folklore story, next to a point of interest. Nanna then explained some of the folklore surrounding Icelandic hidden people, the “huldufolk”, and modern attitudes towards these stories. This sparked an interest in telling a forward-thinking story that included these hidden people, and how we could show their presence on-stage when they shouldn’t really be visible.

How did the story come to be told through aerial circus and creative technology?

Hikapee specialises in telling narrative stories through the use of aerial circus so that was the starting point. For this modern take on the hidden people, they wanted to use forward-thinking technology and play with light and shadow, creating the illusion that the audience is seeing something, or someone, on stage when it’s just a trick of lighting. For example showing footsteps that would then disappear and not have a physical body connected to them. They decided to go with projections to achieve this effect, but also to represent the dynamic and colourful Icelandic landscape. Huldufugl specialises in combining physical theatre with creative technology, and seeing as the idea had come up in Iceland whilst visiting Huldufugl the two companies decided to join forces and collaborate with a co-production.

What has it been like producing the show? Have there been any challenges?

We have been very fortunate to receive funding and venue support for all three of our rehearsal stages from various sources, including Arts Council England, Nordic Culture Point, Nordisk Kulturfond, The Finnish Institute, Jacksons Lane Theatre, Out There Arts, 101 Outdoor Arts, The Point and Worthing Theatres. However there have been plenty of challenges, the main ones being the increased waiting times for funding decisions due to Covid, the pandemic itself and added complications affecting our international collaboration due to Brexit. The first R&D took place in December 2018 and March 2019, and was split between Iceland and the UK. The second R&D took place in September 2019 and January 2020 and was split between the UK and Finland. The final creation was supposed to take place in late 2020, but when the pandemic hit then we were unable to apply for the funding we needed as there was no funding available for a long period of time.

When Arts Council England opened up for smaller grants we applied, and succeeded, in getting a grant to support a spin-off short film project for VR. This way we could still keep creating and keep our minds focused on the project instead of having a 2 year hiatus. This spin-off project is a short animated piece for VR, made using aerial circus movement, captured with motion capture suits and supported by Target3D. We anticipate that we are able to tour the VR project along with the stage version once they are both fully realised. The final creation of the stage show is taking place from January to March 2022 in the UK, leading up to the premiere at Worthing Pavilion Theatre on 12 March.

At the time of writing - things are going smoothly, and we haven’t faced any major challenges during this final rehearsal process. There have been some minor illnesses but we are taking full precaution against Covid, such as all cast members taking lateral flow tests every other day. So far no-one has had to take a day off rehearsals! It is however stressful and challenging to plan rehearsals for an international production during such uncertain times. Our composer in Iceland sadly both got Covid and broke her arm on the same day so has been unable to join us in the UK for as much as we’d have liked.

All in all our timeframe is 2 years behind schedule, and in the meantime Brexit laws have been implemented, meaning that we now require a working visa for any non-UK nationalities involved in the project. That has both come with extra costs and extra production time that didn’t exist when we started this project. It was quite challenging to navigate what was needed to fulfil all requirements for a mid-scale theatre/circus performance. Fortunately we received funding from The Icelandic Embassy in London to cover some of these costs.

We are however extremely happy that we’ve been able to finalise the show after months of uncertainty, and we can’t wait to share the outcome with audience members in March!

The show explores the Icelandic folklore of the huldufolk (hidden people). Can
you go into more detail of what this folklore is and where it came from?

Hidden people are as real to most Icelanders as Santa Claus is to most British children, or ghosts to people of all ages. Hidden People seem to be more visible to children, but this belief lessens as they grow older. They are like a more evolved version of people, in that they look the same and dress the same, except advanced, around 50 years ahead of where we are today.

They can both be helpful or sinister, just like people, but also represent Icelandic nature as they live within rocks and mountains. In a way they have become a symbol for Icelandic nature, sort of like nature spirits, representing both its benevolent and dangerous sides. Weather in Iceland can be especially volatile, and change from glorious sunshine to freezing, and sometimes fatal, snowstorms in the span of only a few minutes. In a similar way, the stories of the hidden people can include anything from helping with childbirth to enticing people into certain death.

Stories of the hidden people have passed down generations to generations, dating back to the settlement of the country. There are two origin tales, both related to Christianity - Iceland adopted Christianity over Paganism in the year 1000.

In one of the origin stories Eve hides her dirty children from God that she had yet to give a bath, and God declares that “those who you hide from me shall also be hidden from men”. The children became invisible and retreated to the hills and rocks. In the other, the hidden people descend from spirits that were driven to earth and forced to live in the rocks and hills after they neither fought with the devil nor took his side when the devil revolted in heaven. In both stories it’s explained that the hidden people can only be seen when they choose to be seen themselves.

Most of the stories were written down in the 18th and 19th centuries and in them they mirror humans, except they are usually more beautiful, powerful, alluring and free from care whilst Icelanders at the time were often starving and struggling to survive. With time the hidden people have become stuck in this time in common view, they are still portrayed as living in turf houses and wearing 19th century national dress - whereas humans have moved on. If the stories had never been written down, then perhaps today the hidden people would be said to have better internet connection and faster, cleaner cars.

In this project, we really focused on the idea that in our modern times, our hidden people should be much more evolved than humans. That idea combined with them being representative of nature made us think, for example, that their imagined way of life could suggest solutions to the global climate crisis the world is currently facing.

What do you find is the most interesting aspect about the show?

The show is very interdisciplinary, using physical theatre mixed with aerial circus, acrobatics, contemporary dance and projection to tell a narrative story. We’re using circus artists to portray the hidden people, so they can glide and flow with ease around the stage, in contrast with the human characters that use bulkier equipment such as harnesses and climbing ropes to traverse our set, a 4 metre high and 10 metre wide wall. The wall represents both a dam that is being built in the Icelandic
highlands, as well as the mountainous landscape that the dam will flood when completed. Changes in scenery are then presented through projected visuals that help tell the story. We love mixing circus with theatre, so that we are able to tell a theatrical story that still contains some incredible circus skills to drive the story forward.

What do you hope audiences will take home after watching Hidden People?

We hope that our audience will have a new understanding of contemporary circus and how the unique feats of strength, agility and coordination can be used to tell stories in new ways. We hope that we inspire them in some way, whether that’s to have a discussion about our environmental impact in the world or to run away with the circus!

Hidden People is at the Pavilion Theatre on Saturday 12 March at 2pm & 7:30pm. Book Tickets now at wtm.uk/events/the-hidden-people or call the Box Office on 01903 206206.

Mary Rose Interview with Director Nick Young

The Conn Artists Theatre Company return to the Connaught Theatre with their mystical production Mary Rose. We got the chance to interview Director Nick Young to find out the inspiration behind the spellbinding play.

Can you tell us about Conn Artists and what they represent?

They are a creative, innovative powerhouse of new theatre in a reeling world! I’ve always
loved working with them and Ross especially, as we share the same language and ideals of making live theatre special, and each performance being unique.

What inspired you to create this production of Mary Rose?

I love the play, and like Ross, I love JM Barrie. I directed a conventional production at the
Connaught many years ago, and knew that it would be impossible to do similar in a touring
production that would visit so many different sizes and types of theatres. Barrie writes the
most imaginative and inspiring stage directions (if you are ever bored, look at his original
script of Peter Pan). To give this production that unique Conn Artists feel, we have
incorporated the stage directions into the script, along with live music and action, and
taking the audience along with us to share this most imaginative, amusing, thought-
provoking story about love, loss and going home.

What has it been like bringing the production of Mary Rose to life? Has there been any
challenges?

The challenge has been realising and brining to life a play which conventionally had changes of place and time, and making it all flow together. I think we have done that with the script and design, and now we are ready for the actors to arrive and make magic!

What do you think J.M. Barrie might make of the play?

He wrote the play just after World War I, where he had lost so many close companions. I
feel he was working out his grief along with his wonderful sense of humour and insight into character. I’ve always felt great affinity with Barrie, and just hope he would appreciate what we are doing with his masterpiece.

What do you hope audiences might take home after watching Mary Rose?

I hope they will feel uplifted and inspired by the journey the play takes them on. I know they will enjoy Barrie’s humour brought to the stage by our great actors, and empathise with all those who have ever loved and lost someone. The play moves beyond a mere five-sense reality, and suggests that audiences and actors question those eternal questions. Hopefully they will remember the music, and revel at experiencing things that are unique to live theatre.

Mary Rose is at the Connaught Studio on Thursday 03 and Friday 04 March 2022, 2:30pm & 7:30pm. Book Tickets now at wtm.uk/events/mary-rose or call the Box Office on 01903 206206.

Venue Closure – Red Weather Warning

Unfortunately due to the red weather warning in force from the Met Office and in the interest of the safety of our customers and staff all our venues are closed today -Friday 18 February. We apologise for any inconvenience this causes and we expect to be open as usual on Saturday, follow us on social media and check wtm.uk for updates.

If you had tickets for a show or film today

All scheduled events on Friday 18 February 2022 are cancelled so please stay at home. If you have tickets for today, the Box Office team will be in touch as soon as possible to refund or rearrange your booking, however there will be a delay to this while our venues are closed.

If you were due to collect an Open21 submission

If you were due to collect an Open21 submission or purchase from Worthing Museum and Gallery we will be in contact soon to arrange an alternative date and time.

You can still book tickets online for our amazing programme of upcoming live events, films, talks and workshops. You can see all our events here.

Mary Rose Interview with Actress Jenny Rowe

Coming soon to the Connaught Theatre is Conn Artists hauntingly beautiful play, Mary Rose. We spoke to Actress Jenny Rowe, who portrays Mrs Morland in this mystical production to find out more about her role in the play.

What’s it like to be a part of Conn Artists?

As a new performer to the group, it felt very easy to slot in, by which I mean it’s clear everyone’s passionate about getting the work done and producing something great, but also that there’s a strong sense of care and empathy for one another. Also, I’ve had a laugh with everyone so far and that’s one of the most important things to me as a performer – to feel relaxed when we’re working hard!

Can you tell us more about your role in Mary Rose?

I play Mrs Morland – the mother of Mary Rose. She’s a Victorian lady and very delightful. She has a great relationship with her husband, James, and they clearly love each other a lot, but there’s no mistaking that she’s the captain of the Morland’s ship, albeit steering with a subtle touch. She’s intuitive, passionate and desperate to protect her daughter.

I also play Mrs Otery, the housekeeper who, together with the character, Harry, sort of book-ends the play. To me, she’s a woman who’s trying to hold reality together, as if, to admit that there’s anything wrong would crack the fabric of the world somehow. She’s no nonsense, and feisty when she wants to be but there’s more to her than meets the eye.

What do you find most interesting about your character? How do they work within the dynamic of the show?

For Mrs Morland, it’s the balancing of everyday life and keeping a happy house, with the ever-present Mary Rose who – even when she’s not there – is all-pervasive. Incidentally, I would say the house is very much a character in this play too; I think Barrie makes that very clear in the stage directions.

How have you found bringing your character to life?

Rehearsals haven’t started yet, but I’ve chatted with Nick, the director, about Mrs Morland and currently, I’m watching a few shows set around the time, just to remind myself of the era and sensibilities - and making notes, lots of notes. But, the characters are very much there in the script so it’s in the reading and re-reading that I keep finding more and more clues to why the characters do what they do. I expect costume will help too, so I’m excited to see what Laura (Designer) comes up with.

What do you think J.M. Barrie might make of the play?

I think he’d be chuffed to bits that we still wanted to perform his work so long after his death, but maybe he’d be a little sad that it’s still so relevant to a 21st century audience. But, then, humanity is all about love and loss, it’s just in Barrie’s day it was the Great War and now it’s Covid-19, people being displaced from their countries, so many things.

What do you hope audiences might take home after watching Mary Rose?

I think it’s an incredibly moving play. The Morlands are so easy and happy in each other’s company and I really think it’s very funny in places. I hope audiences will be thinking about it long after we’ve moved on to the next venue.

Mary Rose is at the Connaught Studio on Thursday 03 and Friday 04 March 2022, 2:30pm & 7:30pm. Book Tickets now at wtm.uk/events/mary-rose or call the Box Office on 01903 206206.

Q&A with the team behind Sam & Zoe Vs Evermore

Sam & Zoe Vs Evermore is a hilarious new live performance, inspired by the world of Dungeons and Dragons, incorporates epic battle sequences, creative use of puppetry and audience game play. It has been devised and developed with young people and is presented in partnership with CALM (Campaign Against Living Miserably).

Coming to the Connaught Studio, Friday 25 March 2022 at 7:30pm. Read on to find out more from the makers of Sam & Zoe Vs Evermore at Cherwell Theatre Company.

Tell us a bit about Cherwell Theatre Company.
Tristan Jackson-Pate (Writer/Director): I’ve been lucky to be Artistic Director for Cherwell Theatre Company (or CTC as we’re usually known) since 2015, but we were established back in 2004 as a creative home for young people in North Oxfordshire. Essentially, we create a safe environment where young people can be themselves, make new friends and make theatre in collaboration with professional artists. Over the years we’ve made shows in a range of quirky site-specific venues from a decommissioned nuclear bunker to a castle- we even have plans to create a show in an open air swimming pool in 2022! Our patron is Sir Trevor Nunn, one of the many professionals who support us in the belief that CTC creates access for all, regardless of background.

And for this production you’ve partnered with Butterfingers?
Tristan Jackson-Pate: Yes, we’ve initiated a new game theatre collective, Butterfingers, with my co-writers and actors Jess Lloyd-Jones and Krage Brown.

Krage Brown (Actor/Writer): Having worked together previously and getting along so well the three of us really wanted to work on something new and fun together and thus Butterfingers was born! Sam & Zoe is our first co-written show together and one we’re all incredibly proud of.

Jess Lloyd-Jones (Actor/Writer): We came up with the name Butterfingers because we wanted our theatre to represent the idea that life can be beautifully messy and no one is perfect.

Your show ‘Sam & Zoe Vs Evermore’ comes to The Connaught Studio on Friday 25 March 2022 what’s it all about?
Jess Lloyd-Jones: In our play, Sam is depressed. His partner Zoe can’t reach him, so in a last ditch attempt to ‘save’ him, she designs a game for them to play with the help of a willing
audience.

Krage Brown: The show is sort of like a theatrical game of ‘Dungeons and Dragons’ and
incorporates interactive storytelling, physical theatre battles and puppetry.

So what sparked the idea for Sam & Zoe?
Tristan Jackson-Pate: The show was inspired by some of the young men we work with in
CTC’s youth theatre, who are passionate about DnD but experience social anxiety. They have helped to develop the idea, through an Arts Council funded research and development process,
which took place in March 2020, just before the lockdown commenced. Over a couple of weeks we brought together young people from CTC, students at Banbury College and Pegasus Theatre with
a professional creative team, a representative from CALM (Campaign Against Living Miserably) and an award winning game theatre Dramaturg, who developed approaches to give our audiences agency with us, allowing them to influence the outcome of the story.

Krage Brown: We are avid gamers – video and physical – so getting the opportunity to develop a story set partly within a fantasy world is something we were very keen to dive into! Mixing the two worlds – theatre and gaming just sounded like it’d be fun for anyone and everyone!

Jess Lloyd-Jones: Whenever I play fantasy games I always notice how the character I have created becomes really confident. During our R&D it was so wonderfully interesting seeing the young people become these proud & unapologetic characters also. I think sometimes it can be very challenging especially as a young person to always be open and creating these characters can sometimes really encourage us to talk more openly. I think that concept really drove the
further development of the show.

What is game theatre?
Krage Brown: Pretty much what you’d expect – merging physical or mental games within a stage show. A win-win combination!

Jess Lloyd-Jones: I’d say it’s about agency and participation. That point when the audience stops being a viewer and becomes a player. The audience can decide whether to become a Mage, Rogue or Barbarian and during the show will play interactive games alongside Sam & Zoe.

Tristan Jackson-Pate: Some of these are twists on well known ‘playground games’ like Grandmother’s footsteps, others require the casting of spells, or solving Tolkienesque riddles!

Tell us about the characters, Sam & Zoe.
Krage Brown: Sam is a fun, creative guy – he enjoys writing and drawing comics set within fantasy worlds inhabited by elves and orcs. Lately he’s been really struggling with his mental health and ability to talk about it with others.

Jess Lloyd-Jones: I would describe Zoe as a very lively, excitable and (slightly) controlling character, though she means well! The couple have been together for some time and she’s noticed Sam isn’t acting himself anymore and so immediately wants to ‘fix’ the problem by immersing him in the world he originally created. She also feels very comfortable playing an elf in the show. She believes she was one in a past life…

What kind of an experience can the audience expect to have?
Tristan Jackson-Pate: We keep the audience very involved throughout, but never in a
pressured way- it’s absolutely not about making anyone feel uncomfortable. The audience form a party of DnD adventurers alongside Sam & Zoe, so they might play supporting roles, help create practical effects and make suggestions to influence story outcomes. Our aim is to create a sense of warmth and community as we tell the story together, and Jess and Krage are so charming and hilarious as Sam & Zoe that they always bring everyone along with them!

Krage: Brown: We’ve partnered with the charity CALM (Campaign Against Living Miserably) for this production, to promote honest conversations around mental health. Each audience member will get a free comic book programme, which also signposts them to the charity’s mental health support services.

Who would enjoy this production?
Tristan Jackson-Pate: Of course, anyone with an interest in DnD, fantasy films and novels, but I’d say more broadly comedy fans- especially those who are looking to see something new
and exciting at the theatre.

Krage Brown: The show is aimed at ages 12+ so it’s pretty inclusive! I’d add that it’s also for anyone looking for a different night out – one that includes both watching some theatre but also joining in and being part of the fun.

Jess Lloyd-Jones: I think if you love Lord of the Rings & fantasy gaming this is the show for
you! I would love to say everyone should come but I’m realising that’s very greedy of me…

Sam & Zoe Vs Evermore is at the Connaught Studio on Friday 25 March 2022 at 7:30pm. Book Tickets now at wtm.uk/events/sam-zoe-vs-evermore or call the Box Office on 01903 206206.

Mary Rose Interview with Artistic Director, Producer & Actor Ross Muir

Mary Rose is a hauntingly beautiful play about lasting love. Originated by J.M Barrie, the creator of Peter Pan, it explores time, love and loss. Such enduring themes are given a fresh treatment which is trademark to Conn Artists Theatre Company; here to speak with us about their unique approach to reworking classics is Artistic Director, Producer and Actor Ross Muir.

Can you tell us about Conn Artists and what they represent?

Conn Artists was founded out of a passionate desire to produce great works of live theatre at the Connaught Theatre in Worthing from whence our company derives its name which essentially means “artists of the Connaught”. We then tour that work specifically to other regional theatres and arts centres. We strongly believe in giving Worthing and Sussex based artists an opportunity to create exciting work and encourage them to become stake-holders in their regional theatre as part of making a positive contribution to the health and wellbeing of our community as well as inspiring regional theatre audiences up and down the country. We pride ourselves on always making brave creative choices and we are deeply committed to producing the best quality shows we can. We have shared so many magical moments over the years with our audiences who really appreciate the love and dedication we put into making the theatre we produce.

What has it been like bringing the production of Mary Rose to life? Has there been any challenges?

It has been Conn Artists’ biggest challenge to date. Firstly, as Producer, I had to completely reschedule the original tour from spring 2021 to spring 2022 because of the pandemic; having lost some venues and gaining new venues in the process with lots of diary headaches! Also, as Artistic Director of Conn Artists, I chose to do this play back in 2018 without realising I was then going to lose my father in 2019 (the play’s central theme is about loss) or that the world would then become gripped by a pandemic (the play was written just after the Spanish Flu pandemic of 1918-20) or at the time having the slightest awareness or concern for the huge challenges it would present our Set Designer! We are touring it to such a diverse range of theatres and arts centres and the play spans a period of over 30 years; moving from a Sussex manor house which is seen at different times from being empty and for sale, back to its heyday and then to an island in the Outer Hebrides and back again! It has really stretched every member of the creative team in so many positive ways so far and will continue to be an amazing creative journey right up until the last night.

Can you tell us more about your role in Mary Rose?

As an actor in the production I get to double two very different roles. Mr Amy is a clergyman and friend to Mr and Mrs Morland who are Mary Rose’s parents. Mr Amy is a gentle soul first seen in his forties and then later on in his sixties but he and Mr Morland do have some funny scenes together bickering over the authenticity of prints that they collect...a shared hobby they enjoy! In contrast to Mr Amy I also play a young Scottish Ghillie.

How do they work within the dynamic of the show?

As I have Scottish ancestry I am really looking forward to playing Cameron with the soft accent of the Highlander. For me personally, the island scene in Act Two between Cameron, Mary Rose and Simon is one of the most brilliantly written scenes for the theatre that I have ever come across in any play. It is pure theatrical and eerie storytelling at its very best. Cameron tells us the local legend and superstition about the ‘Island that likes to be visited’ and of strange disappearances in the past. He is also an important character link in Act Three between the Outer Hebrides and Sussex when Mary Rose returns again after her second disappearance. As a classically trained actor who enjoys character parts I shall be in my element!

What do you think J.M. Barrie might make of the play?

J.M. Barrie is one of my favourite playwrights and I have been so keen to produce one of his plays for many years. He is always remembered for his masterpiece Peter Pan which tends to overshadow the rest of his work. He was a prolific novelist and playwright and some of his other plays, including Mary Rose, are absolutely outstanding like The Professor’s Love-Story, Quality Street, The Admirable Crichton and Dear Brutus; which have all made me laugh, cry and inspired much reflection. Barrie is so much deeper than a casual first glance might suggest and the quality of his work remains relevant and still has something to say; it just has to be reinterpreted by the next generation. I have the greatest respect for his work and I hope he would be proud of how we are reimagining and breathing new life into his wonderful play Mary Rose for which I am also writing new music to go alongside some of the traditional folk songs we are going to insert. We are finding ways to make his play accessible again to 21st Century audiences and, as Barrie came from Kirriemuir and I am a Muir, I like to think I have his blessing!

What do you hope audiences might take home after watching Mary Rose?

Mary Rose is a piece of theatre with absolute relevance and responds to the challenges that people are facing today. The play was first staged at London’s Haymarket Theatre in 1920, written after not only WWI but the Spanish Flu Pandemic of 1918-20, and is therefore an exploration of love, loss and hope that spans a time period of over 30 years.

Mary Rose doesn’t realise her life has past and she’s frozen in time; and almost as the opposite to Peter Pan, Barrie is not exploring the adventures of children who disappear off to Neverland; so much as the loss felt by those of us who have been left behind after they are gone.

I hope this production is magical and inspiring for our audiences as well as a gripping ghost story with some creepy moments! I also believe the play is cathartic and I hope by echoing our own unresolved losses the ghost of our heroine will become an instrument for healing.

Mary Rose is at the Connaught Studio on Thursday 03 and Friday 04 March 2022, 2:30pm & 7:30pm. Book Tickets now at wtm.uk/events/mary-rose or call the Box Office on 01903 206206.

Spymonkey Clown Creation School

We are thrilled to announce that in May 2022 Spymonkey will be offering their third intensive three-week Clown Creation School in partnership with Worthing Theatres and Museum and take place in the Pavilion Theatre Atrium, an intimate venue with incredible views of Worthing seafront.

The school is aimed at emerging and professional performers who would like to build on their clown and physical comedy work, and take it to the next level of production and performance. It will be led by Spymonkey artistic directors Aitor Basauri and Toby Park, associate practitioner Sophie Russel and producer Emily Coleman.

The course aims to build a strong ensemble dynamic, to encourage participants to go further and deeper into the work to explore new areas of comedic investigation, and to inspire and initiate new creative material and performing relationships that we hope will go on to flourish into the full glory of performance!

There will also be an opportunity to look at the basics of how to build a sustainable performing arts business, with sessions on fundraising, budgeting and tour booking led by our executive producer.

CEO Amanda O'Reilly says ‘WTM constantly endeavours to bring the best in arts and heritage to our community, creating shared experiences that entertain, educate and inspire. We are thrilled that this partnership allows us to bring a fantastic creative opportunity to Worthing. The course will offer emerging and professional performers the chance to learn from internationally renowned artists and develop their skills and inspire future work.’

This year Spymonkey have invited our friend and associate artist Sophie Russell to join us as guest tutor. Sophie has a long association with Spymonkey, having co-created and performed Spymonkey’s Christmas Carol, Mrs Hudson and Every Last Trick. She uniquely straddles the worlds of physical comedy, clown and contemporary theatre practice - she was most recently seen at Shakespeare’s Globe in the leading Shakespearean roles of Richard III, Malvolio in Twelfth Night and Bottom in Midsummer Nights Dream, and as part of the original cast of Emilia. Spymonkey have always found huge comedic inspiration in theatre, and in particular great acting. Shakespeare represents a rich source of theatre - not only for the beauty of his language but also universal human themes, enduring characters and situations that chime with every age. Great theatre calls for Great Actors. And in attempting that greatness spymonkey create really funny work. Sophie will explore how ‘serious’ actor training can lead us to be finer comedy performers.

The course is aimed at emerging and professional performers of intermediate and advanced levels of experience, 18+. Previous participation in a Spymonkey course will be an advantage but is not a requirement of the course.

Find out more about Spymonkey's three week Clown Creation School and book on there website: www.spymonkey.co.uk

Open21 Artists Q&A – Élodie Brooks

Currently on display within Worthing Museum is our Open21 Exhibition that offers all those within our community an exciting opportunity to exhibit their artwork within a distinguished gallery space.

Entries were open to amatuer and professional artists, of all ages, from across Sussex. Resulting in over 500 pieces being submitted. From these, 158 artworks were chosen by our panel of judges. Open21 includes a huge range of work with diverse and contrasting styles, using many different mediums; such as 3D sculpture and photography, alongside work in acrylic, oil, pencil and pen.

One submission chosen to be on display within exhibit was artist Élodie Brooks' painting the 'Raccoonalisa'.

We asked Élodie a series of questions to find out what inspired her to create her iconic Open21 submission!

Can you tell us more about the inspiration for your Open21 artwork?
I really love raccoons and I lost my raccoon teddy a while ago, so I wanted to paint one for
my bedroom.

What process, materials, techniques, etc. did you use to create your Open21 submission?
I did an outline in pencil on the canvas then I used acrylic paints for the picture, I used
different brushes for the fur to make it look fluffy. For the whiskers and the top of the ears I
used a white Posca pen and to make the eyes pop out, I did a little dab of white - I think it
makes it look more alive!

When people view this artwork, what do you want them to experience and think about? Is
there a connection between your message and the way you make art?
I want to people to look at it and to love raccoons as much as I do. I want them to think the
Raccoonalisa is looking at them.

What is your background? How did that inform your artwork?
I am 9 now, I was 8 when I did the painting and I really love art and drawing, with my friend
Ann (Ann Deickmann), who encouraged me to submit my work, as she was submitting hers too.

Are there specific subjects or themes you return to regularly within your art? If so, are they
evident in your Open21 piece or is this style new to your repertoire?
I love to draw and paint animals from the jungle and the forest. I am starting to learn how to
draw humans and I like the Manga style.

Who are your biggest artistic influences?
I learnt about the artist Henri Rousseau and his paintings are really cool.

The Open21 Exhibition is open to the public at the Worthing Museum in the Main Gallery and Norwood Landing until Sunday 13 Feb 2022 and is FREE for visitors to come and see.

Interview with Mojisola Elufowoju about Here’s What She Said To Me

Here's What She Said To Me follows Agbeke, Omotola and Aramide; African women connecting with each other over two continents, across time and space. Their history is spread between Nigeria and the UK, from the 60s to the present. Together they share their struggles, their joys, tragedies and broken dreams in order to find healing in the present.

This empowering and joyous live theatre production is coming to the Connaught Studio, Thu 10 February at 7:30pm. Read the following interview with Mojisola Elufowoju, Utopia's Artistic Director for Here's What She Said To Me to find out more.

What can audiences expect from Here’s What She Said to Me?

A family saga that begins in Ibadan, Nigeria, in 1957, three years before the nation’s independence. We see three actors travelling between Nigeria and the UK, through the next six decades and playing three women down the generations, switching fluidly from direct address to dialogue, from English to Yoruba, and incorporating dance, song and mime in thrilling ways and switching between a panoply of family members around them, from inspiring grandmothers and stern husbands to spirited daughters whose confidence and hope, as girls, is yet unbroken. Oladipo Agboluaje’s script captures the women’s romances, achievements and dashed hopes.

Where did the inspiration for Here’s What She Said to Me come from?

Here’s What She Said To Me is deeply rooted in true events. It was first born out of conversations between me (Mojisola Elufowoju – Utopia Artistic Director) and my daughter. We realised how little communication we would share around certain areas of our lives, that this selective silence was something I had in turn experienced with my own mother and that by not learning from one another’s challenges, mistakes and trauma we are unable to create new paths for the next generation. To break this silence, I went on to tell my story and that of the women in my family to playwright, Oladipo Agboluaje.

What has the rehearsal and creative process been like for Here’s What She Said to Me over the last year?

It’s been full of challenges. We take it one day at a time and we are always appreciative of the fact that It is a luxury to have the opportunity to make theatre in the current climate. With the uncertainty around the rising Covid cases, every day that actors and creatives make it into rehearsals with a negative test is a blessing and we continue to ride on the hope that we will get to create a piece of work we are proud of and that we have the opportunity to share with our audiences.

What do you think audiences will take away from Here’s What She Said to Me?

A heartfelt and humbling story brought to life on an almost bare stage. An experience of total theatre where music and movement become metabolised within the story.

What first drew you to becoming a theatre director and founding your own theatre company?

I’ve had a passion for theatre from a very young age. Having gone to drama school and performed in a few plays, I realised that I am not in favour of the limelight and most importantly, I don’t like learning lines, directing seems to be the next best option.

I set up Utopia Theatre in 2012. The vision for setting up the company came from the need to see representation on stage, and to see a different kind of work produced. It was a vision and commitment to see myself on stage. I began making work with some of the people I graduated with. This began a journey towards a series of partnerships and opportunities.

Last year Utopia Theatre launched a series of rehearsed readings of African plays online. how does it feel to be returning venues?

It feels great to be back in rehearsals and especially having this opportunity to take the show to venues outside of Sheffield. It is our biggest tour ever and we are very excited by the opportunity.

Here's What She Said To Me is at the Connaught Studio on Thursday 10 February 2022, 7:30pm. Book Tickets now at www.wtm.uk/heres-what-she-said-to-me or call the Box Office on 01903 206206.

Open21 Artists Q&A – Steve Carroll

Currently on display within Worthing Museum is our Open21 Exhibition that offers all those within our community an exciting opportunity to exhibit their artwork within a distinguished gallery space.

Out of all the artwork on display, 9 were shortlisted by our panel of judges. The overall winner of the Open21 Exhibition was artist Steve Carroll with his painting 'Mirkwood'.

In this Q&A, we asked Steve a series of questions about his Open21 submission, aiming to gain an insight into what inspired him to create Mirkwood.

Can you tell us more about the inspiration for your Open21 artwork?

The painting ‘Mirkwood’ was painted on the spot where the plantation intersects with Goring Gap. I love painting outside and capturing the mood of a place and an occasion. I exaggerated the colours just like Van Gogh or Gauguin would have done. I wasn’t too pleased with this painting, so the following day I went back and did another one, but decided I preferred the first one.

What process, materials, techniques, etc. did you use to create your Open21 submission?

I used oil paint on canvas. I usually start by drawing the composition out in ultramarine blue, then adding complimentary colours. I exaggerate colour so that if the forest floor has a reddy-brown hue I paint it strong red. Shadows are blue and the areas where the sunlight was entering the plantation, I paint yellow. I always start with a brush and often finish off areas with a palette knife. If I feel a part does not need over-working, like the tangled blue tree in the distance, then I leave it as the original sketchy painting.

When people view this artwork, what do you want them to experience and think about? Is there a connection between your message and the way you make art?

When I was at art college, one of my tutor’s said of my paintings that they worked best when I just ‘visually reacted’ to something. There is no message in this painting beyond the joy of nature and colour. I am just visually reacting.

What is your background? How did that inform your artwork?

My background is in graphic design, and I have created a lot of graphic images of Sussex, but I wanted to move back to painting – my first love. However, I do feel there is still a graphic element to the strong areas of colour in my paintings.

Are there specific subjects or themes you return to regularly within your art? If so, are they evident in your Open21 piece or is this style new to your repertoire?

With painting I try to work outdoors. People may think my work doesn’t look a whole lot like the scenes I paint, but I am informed by them. I cannot abstract elements from imagination as well as I can from nature. I find nature throws up such incredible invention.

Who are your biggest artistic influences?

My first influences were the Impressionists, but I soon became enthralled by the German Expressionists, especially the Die Brücke movement. I think my work is somewhere between Fauvism and Expressionism. I also love the British Neo-Romantic artists. If I was forced to name a favourite artist, it would be Graham Sutherland. One must remember that looking at and creating art are two entirely different processes. I like anything from Medieval altarpieces to conceptual art, but I am inspired to paint by a much narrower group of artists.

Where can people find you online?

My graphic work is on my website stevecarrollssussex.com I haven’t put up a website of paintings yet, but you can contact me on stevecarroll3@me.com

In response to his success, Steve said "It was a shock and an honour to be named overall winner at the Worthing Open21 Exhibition, especially because the standard of work exhibited was so high."

The Open21 Exhibition is open to the public at the Worthing Museum in the Main Gallery and Norwood Landing until Sunday 13 Feb 2022 and is FREE for visitors to come and see.

Interview with Rob Brydon

Actor, comedian, impressionist, presenter, singer and writer Rob Brydon talks us through his new show - A Night of Songs & Laughter. In previous shows Rob has displayed his fantastically funny stand-up and dazzling array of impersonations; but this time he'll be treating audiences to his superb singing, accompanied by a very talented 8-piece band. The show promises to be a very special night out!

Rob first broke through on TV with such excellent and original programmes as Marion and Geoff, Human Remains and The Keith Barret Show. He went on to gain a huge following from such widely adored comedies as Gavin and Stacey, Would I Lie to You and The Trip.

But for all his success on TV, Rob has been yearning for a return to his live roots. "Live comedy is such a buzz. People come just to see you. Sometimes you stand on stage thinking, 'Good God, these people have all gone to the trouble of paying a babysitter and chosen to come and watch my show.' That's a very special feeling."

Explaining in more depth, he goes "It feels very natural to me. Sometimes people say, 'I can't imagine getting up on stage and performing. It would be so terrifying.' But you don't choose that life – it's almost a calling, something you just have to do."

"I feel very comfortable on stage, and that grows over time. The more you get used to it, the more it becomes your norm. I like to entertain people and make them laugh. It's a real privilege. As with a lot of things, you appreciate that more as you get older. You stand there on stage and think, 'Wow, this is great!'"

Since appearing in a school production of Guys and Dolls, Rob has always loved singing. In 2009, alongside Ruth Jones, Robin Gibb, and Sir Tom Jones, he reached number one in the charts with the single Islands in the Stream, in aid of Comic Relief.

For all that, Rob is well aware that some people might still be taken aback by what they perceive as a change of tack with A Night of Songs & Laughter. "It will take some people by surprise. There are so many media outlets nowadays that some people might only know me from Gavin and Stacey or Would I Lie To You? Those people often say to me, 'I didn't know you could sing', and yet I have sung a lot. I hope this show is a very pleasant surprise for audiences."

A BAFTA nominated actor who has also starred in such acclaimed films as 24-Hour Party People and Blinded by the Light, Rob continues that, "At the end of the day, I'm there to entertain people. I recently went to see Jeff Goldblum play with his band. That was wonderful. That guy was just there to entertain people. He played his songs, but he did lots of other things as well, like film quizzes. The show followed no rulebook. I found that very liberating and quite instructive. It showed me that you don't have to follow the rules. You can make the show whatever you want it to be. So that's what I've done with A Night of Songs & Laughter'"

Rob, who trained at the Royal Welsh College of Music and Drama in Cardiff before moving to a job at BBC Wales, reveals that A Night of Songs & Laughter will recount his life story through a series of anecdotes and songs by such artists as Paul Simon, George and Ira Gershwin, Stephen Sondheim, Rodgers and Hammerstein, Bruce Springsteen and Tom Waits.

The performer, who possesses a beautifully rich singing voice, explains that, "I go back to my childhood. I was 16 and starting to get interested in girls, but I was always pining from afar. In my teens I lived in Porthcawl, a coastal town in Wales, and all the cool boys were surfers. I wasn't a surfer. I had a go once, but I hurt my knee."

In addition, "My musical taste was never considered cool. I never set much store by stuff being fashionable. I loved David Bowie and The Police, but also Shakin' Stevens and Cliff Richard, which not many boys of my age did. Well, not the ones sitting at the back of the bus!"

"I would see Neanderthals from my class with their arm around a girl at the school disco and think, 'How did he manage that? He can't string a sentence together and now it looks as if they're setting up home together'. I talk a lot about my bemusement that girls were going out with those boys. At the time, Joe Jackson's song, 'Is She Really Going Out with Him?' was a big hit, and I sing a bit of that by way of illustration."

Rob wraps up by expressing what he hopes audiences will take away from A Night of Songs & Laughter. "I hope people will come out happier than when they went in because they've had such a great time. I hope they will have forgotten about the world for two hours. Especially considering the last year we have all had.

"As a performer in the last few years, you can really feel that people just want to escape. It's tangible. People come up to you afterwards and say, 'I'm so glad you didn't talk about the state of the country or the current US President.' My show is an escape. It's a service. People want to go out and be entertained. In times of adversity, which you could definitely say we are in now, people want that more than ever."

Never more than a minute away from the next joke, Rob adds with a wry grin: "Of course, if the box office is still open, a percentage of the audience will be looking for a refund, I don't doubt that. I can only hope that the more forgiving among them will draw a line in the sand and put it behind them!"

A Night of Songs & Laughter is at the Assembly Hall on Thursday 03 February 2022, 7:30pm. For more info go to www.wtm.uk/RobBrydon or call the Box Office on 01903 206206.

Open21 Artists Q&A – Anne White

Currently on display within Worthing Museum is our Open21 Exhibition that offers all those within our community an exciting opportunity to exhibit their artwork within a distinguished gallery space.

Curious to know of the inspiration that went on behind these visually stunning pieces, we asked artist Anne White to delve deep into her Open21 submissions and allow us to understand where her 3 sculptural pieces come from.

Can you tell us more about the inspiration for your Open21 artwork?

The inspiration for the three works on show at the Open21 was a continuation of a theme I was researching during my fine art master’s degree at Chichester University. A body of work I titled, ‘In one end, out the other’. My work has always had a domestic aesthetic and during my studies I was inspired by an account in Bill Bryson’s book, ‘At Home – A Short History of Private Life’, that talked about chamber pots being stored in sideboards in dining rooms and kettles doubling as bedpans in bedrooms.

Inspired and fascinated by these objects, I started collecting blue and white enamelware which consisted of bowls and dishes used at one end of the body and urinals, potties, and bedpans, used at the other end. Whilst researching these opposing groups of objects, I found many similarities in form, colour, material, and surface that fascinated me. But by placing these objects together, the boundaries between these opposite groups created an uncomfortable abject feeling. The abject, as the philosopher Julie Kristeva suggests, is “both repellent and seductive”, it draws you in, you want to look but you also don’t. It is this abject feeling that I wanted to play with in this body of work.

Anne White - Untitled, (bedpan with jug)

What process, materials, techniques, etc. did you use to create your Open21 submission?

Two of my pieces in the exhibition titled ‘Untitled, (bedpan with jug)’ and ‘Jugs’, use a textiles techniques called Canadian smocking, that stitches the silk velvet from the back using a grid pattern, so that from the front of the fabric is gathered in repeated fold formations.

The third piece, titled ‘Swell’, although also stitched textiles, has more of a connection to pattern cutting, stitching repeated pieces together to create a concertina effect. One common theme that all three stitched textiles’ have, is that they all contract; they are all stitched so that they decrease and contract in size. This is a deliberate process used to connect the work to the human body, which also contracts and expands when we consume and expel food and drink.

When people view this artwork, what do you want them to experience and think about? Is
there a connection between your message and the way you make art?

I want to draw the viewer in, to entice and seduce the view to take a closer look. I use the ceramic vessels as a metaphor for the human body and hang the work in direct relation to specific heights of the body; as in the ‘jugs’ piece, which is meant to be hung at chest height. ‘Jugs’ consists of a pair of Spode cream jugs encased in stitched silk velvet. They hang empty, yet contained, showing only the inside, the stitched velvet also suggests something precious.

What is your background? How did that inform your artwork?

I work full time as a textile’s technician in the fine art department at Chichester University, where I also did my BA and MA degrees in Fine Art. I am also a daughter to an ageing parent, a mum of
two, a granny to two and a wife and I don’t have enough hours in the day to do everything I want to do, especially to make art! During the first lockdown, I took the opportunity to re visit many of the pieces that I started during my MA and never managed to finish, these are the pieces that I submitted into the Open21 exhibition.

Who are your biggest artistic influences?
I am influenced by a large range of artists in all kinds of mediums and regularly go to galleries and museums for inspiration. However, I have always loved Mona Hatoum, Louise Bourgeois, Susan McMurray and Do Hu Soh’s work, to name just a few, who all manage to combine the perfect mix of materials, process and meaning and produce work that allows the viewer to have a two-way
conversation.

Where can people find you online?
annewhiteartist.co.uk

The Open21 Exhibition is open to the public at the Worthing Museum in the Main Gallery and Norwood Landing until Sunday 13 Feb 2022 and is FREE for visitors to come and see.

WTM Pantomime Cast Releases Music Video for Charity

Current star of WTM’s Christmas pantomime Beauty and The Beast, Katie Pritchard has released a music video for the festive anthem, Wouldn't Be a Christmas Without Panto. This was created and filmed pre-Covid with the full cast of WTM’s 2019 production, Cinderella. Including castmates CBBC presenter, Naomi Wilkinson and member of international boyband A1, Mark Read. It’s now released to raise money for Great Ormond Street Hospital Children's Charity.

The story of how the song and video were created is a testament to the magic of this great Christmas tradition. Katie (Fairy Godmother), Naomi (Cinderella), Mark (Prince Charming) and the entire team behind WTM’s Cinderella all bonded throughout the production, with many backstage antics and shenanigans. It was on one such day they started to play around with the concept of a song all about their shared love of panto which became, as Katie puts it, ‘a fun idea that just got out of hand!’

https://youtu.be/13TbEWRHNbs

The three developed the idea between shows, with vocals recorded on VoiceNote backstage, or at Naomi’s digs in Worthing. In fact at this point, all recordings were jokingly titled Christmas No 1 - aiming for the stars, as they should! It was a totally organic process that began to snowball once Mark took the recording from their GarageBand mix and mastered it in his at-home studio. Katie even added saxophone to the track in her dressing room at our beloved Pavilion Theatre!

Next came the creation of the music video which Naomi storyboarded around the theatre, and everyone in the production got involved. There are plenty of familiar faces in the video; not just the stars of the show but WTM’s Technical team through to the Front of House staff. The whole experience of putting on a pantomime is extraordinary; as Katie says, ‘there’s always a trick involved’ - high-wires, pyrotechnics, the incredible costumes - so they wanted to pull back the curtain just enough on some of these fantastical elements, but not ruin the magic of panto.

After the show’s run, the cast remained firm friends but went their separate ways without releasing the video, and that’s when Covid-19 took full effect, writing off any chance of a Christmas pantomime in 2020. Katie, Naomi and Mark reflected on how much they missed the process, and how important it was to so many children. They wanted to do something to recognise the loss to families all over the country, and their music video was the answer. Releasing it and raising funds for a fantastic organisation: Great Ormond Street Hospital Children's Charity (GOSH).

The dedicated teams at GOSH deliver world-class care and work around the clock to find the treatments to ensure seriously ill children have the best chance of getting home to their families. For those children whose treatment needs continue over the festive season, they go above and beyond to bring the magic of Christmas to the wards. There are decorations, Christmas music fills the corridors and every child wakes up to presents at the end of their beds. Father Christmas himself even pays a visit!

By buying and streaming Wouldn't Be a Christmas Without Panto, you’ll help fund the hospital’s most urgent needs to help get seriously ill children one step closer to home. These include medical technology, pioneering research programmes and family support services that help children feel safe and calm during their treatment. Katie says the song itself is ‘just supposed to be fun and make you feel nice’, which everyone deserves to feel over the festive period.

Original song composed, produced & performed by Katie Pritchard, Mark Read & Naomi Wilkinson. Featuring the cast of Cinderella at the Worthing Pavillion Theatre. Watch the video for Wouldn't Be a Christmas Without Panto: youtu.be/13TbEWRHNbs Proceeds from the sales of this track will be donated to Great Ormond Street Hospital: www.gosh.org/

See Katie Pritchard as Crêpe Suzette in Beauty and The Beast: The Pantomime at the Pavilion Theatre, Worthing. Produced with Paul Holman Associates (PHA): wtm.uk/panto/

WTM Christmas Community Campaign

We are thrilled to be able to offer a total of 360 tickets for 90 local families to come along to a performance of Beauty and the Beast: The Pantomime. Families for which this would otherwise not have been possible can now experience an evening of fun and enjoyment together.

We would like to say a huge thank you to our sponsors who have made this possible:

'Egalite provide care and support to local people and are delighted to have the opportunity to make a difference to a family this Christmas' Debbie Clark, Egalite

'Lancing Prep Worthing is proud to support WTM. Our caring school community is happy to help sprinkle a little Christmas magic for families in our local area.' Heather Beeby, Head

“We are delighted to support WTM with its campaign to make this a happier Christmas for families in our town.” Matt Jacobs, Managing Director of Jacobs Steel

'South Downs Education Trust is pleased to sponsor the WTM Christmas Campaign 21. Two of our schools are based in the Worthing locality: Worthing High School and Clapham and Patching C of E Primary School and we are delighted to have this opportunity to support local families.' Karen Hayler

'Heavy Gretel is thrilled to support WTM in this brilliant initiative to help local families get together and enjoy pantomime! We have always been fans of theatre and going to the pantomime is such a brilliantly absurd form of performance! A uniquely British Christmas tradition - we hope that the local families who benefit from this initiative will enjoy it and most importantly have a good laugh!' Hanna Mawbey

“Greenfingers was pleased to be able to show our support for WTM and the Christmas Community Campaign.

This year more than any needs to end with some festive laughter which I’m sure the panto will certainly bring!” Rachel, Greenfingers Florist

“We are proud to be supporting WTM & their work within the community this Christmas. In what can be a tough time for many, we are committed to supporting the families of Worthing in any way we can this Christmas” Andy Apostolakis, Senior Branch Manager

“Pleased to support WTM in helping bring the fantastic experience of live theatre to all in the Worthing community” Ben Cheal, Managing Director

'Worthing Audi, supporting WTM and the local community.' Mark Dunn

“Shoreham Port, as a community Trust Port, is delighted to contribute to WTM’s fantastic Christmas initiative”

Worthing Theatres and Museum is a unique arts and heritage charity consisting of four theatres, a cinema, a museum and gallery all positioned within the heart of the town of Worthing in West Sussex. Find out more about how you can support WTM here.

Monstrous fun at the Pavilion Theatre this Christmas!

Beauty and the Beast: The Pantomime kicked off with a bang last week at the Pavilion Theatre! With spell-binding scenery, glittering costumes and dazzling special effects combined with plenty of audience participation and huge helpings of laughter.

Starring Strictly Come Dancing Robin Windsor as Gaston, Britain's Got Talent's Jai McDowall as the Beast, Emmerdale's Sapphire Elia as Belle and Panto veteran Andre Vincent as Dame Cheri Trifle. Also keep an eye out for returning favourites Dani Hardy, Ross Muir and Katie Pritchard, this year joined by on stage twin Josh Haberfield.

https://www.youtube.com/watch?v=yvOUazFAy_0

Reviews:

'A fun, loud, belly laughing show that did not disappoint' Rachel Jess

'...all of the performers are incredibly talented. We very much enjoyed our night at the pantomime and I would definitely recommend Beauty and the Beast in Worthing this Christmas.' Jennifer's Little World

'This production of Beauty and the Beast: the Pantomime is proving to be a truly magical event … for all ages. It manages to provide everything you’d hope for as the ultimate in complete entertainment...' Gill Ranson, Theatre South East

'The audience participation was brilliant, the cast got everybody moving, shouting and laughing!' Shannon Lane, Sussex Local

Beauty and the Beast: The Pantomime runs at the Pavilion Theatre from Friday 26 November 2021 – Sunday 2 January 2022. Tickets are available from £10. For more information or to book your tickets visit www.wtm.uk or call the WTM Box Office on 01903 206 206

Culture Recovery Fund Round 3

Worthing Theatres and Museum (WTM) are thrilled to announce that we've been awarded £98,000 as part of the Government’s Culture Recovery Fund third round, aimed at supporting cultural organisations as they continue to provide arts and heritage to local communities.

We're among 925 recipients to benefit from the latest round of awards from the Culture Recovery Fund. Indeed, more than £100 million has been awarded to hundreds of cultural organisations across the country in the latest round of support, the Culture Secretary announced today. It will support organisations from all corners of the sector as they deal with ongoing reopening challenges, ensuring they can thrive in better times ahead.

This grant will not only enable us to continue delivering on an exceptional programme, but will allow us to further build confidence in audiences for whom the pandemic is an ongoing barrier to experiencing live arts and heritage events. Investment will go into increasing WTM’s visibility and engagement in the local Worthing area, and developing our performance spaces to be as comfortable and welcoming as possible for our audiences.

WTM’s upcoming programme speaks to our drive to offer world-class live shows, cinema screenings and Museum projects, as well as special community-led arts and heritage projects, in Sussex. Examples include stellar theatre such as Peter James' Looking Good Dead, outstanding family shows like Zog and the Flying Doctors, as well as a triumphant return to Worthing from dance group, BalletBoyz, with many more to come. We're dedicated to creating a diverse and inclusive programme for Worthing and Sussex as a whole.

Over £1.2 billion has already been awarded from the unprecedented Culture Recovery Fund, supporting around 5,000 individual organisations and sites across the country ranging from local museums to West End theatres, grassroots music venues to festivals, and organisations in the cultural and heritage supply-chains.

Culture Secretary, Nadine Dorries said:

‘Culture is for everyone and should therefore be accessible to everyone, no matter who they are and where they’re from. Through unprecedented government financial support, the Culture Recovery Fund is supporting arts and cultural organisations so they can continue to bring culture to communities the length and breadth of the country, supporting jobs, boosting local economies and inspiring people.’

WTM CEO, Amanda O'Reilly said:

‘We are delighted to have received a grant from the Cultural Recovery Fund Round 3. The funding will allow us to continue our work to enable everyone to access arts and heritage by creating shared experiences that entertain, educate and inspire; ensuring our vision to enrich people’s lives through arts and heritage. Specifically the funding will support our work to communicate and engage with our community as we emerge from the pandemic and welcome audiences back into our venues. It will allow us to champion inclusivity, cultivate creativity and offer access to exceptional arts and heritage in the heart of Worthing; developing and showcasing a unique innovative programme that will surprise and delight our audiences.'

Darren Henley, Chief Executive, Arts Council England, said:

‘This continued investment from the Government on an unprecedented scale means our theatres, galleries, music venues, museums and arts centres can carry on playing their part in bringing visitors back to our high streets, helping to drive economic growth, boosting community pride and promoting good health. It’s a massive vote of confidence in the role our cultural organisations play in helping us all to lead happier lives.’

As a charitable organisation, WTM relies on the generosity and support of the community and their audiences. If you would like to find out more about how you can support WTM today, please visit www.wtm.uk/support

WTM celebrate their second anniversary as an independent charity

Worthing Theatres and Museum became an independent charity on 1st November 2019. Over the last two years we have continued to deliver our mission to enable everyone to access arts and heritage by creating shared experiences that entertain, educate and inspire. Bringing you an exceptional programme of events, exhibitions and films, as well as engaging community projects including Worthing Creates, the Digital Open20, Cutting Edge and We Are Worthing outdoor exhibition at the Pavilion Theatre.

CEO Amanda O’Reilly says ‘We want to take a moment to celebrate the work of the last two years and say thank you to our audiences for their continued support. Despite the challenging circumstances we are thrilled that our vision to enrich people’s lives through arts and heritage is still very much on track'.

As always we have endeavoured to ensure that everyone has opportunities to access Arts and Heritage and have been working even closer with our community to develop our programme and produce projects such as Worthing Creates, the Digital Open20 and We Are Worthing Community Heroes exhibition that celebrate our community and everything they do.

Over the last year we have opened our venues at every opportunity afforded by government legislation and have welcomed audiences to see incredible events, exhibitions and films; including Rhum and Clay’s War of the Worlds at the Connaught Theatre, Hercule Van Wolfwinkles Pet Portraits in our Garden Gallery and James Bond in the cinema to name but a few!

This year also saw the return of Spin Out, our annual programme of free outdoor events. Which offered new and existing audiences the chance to engage with exceptional dance and circus pieces; including work from renowned circus company Ockham’s Razor, Aca Theatre, Inverted Theatre and incredible choreographer Joseph Toonga among many others.

While at Worthing Museum the biennial Open exhibition returned in its physical format celebrating an outstanding selection of work from amatuer and professional artists, of all ages, from across Sussex. With 160 pieces across 2 galleries, WTM’s Open21 exhibition runs from Saturday 2 October 2021 – Sunday 30 January 2022.

Looking forward, we have lots of amazing films, exhibitions and events coming up over the next year, and cannot wait to welcome new and existing audiences to enjoy the best of Arts and Culture in the heart of Worthing. We continue to focus on the safety of our audiences and staff. Not only are we following all government guidance, but have gone further introducing additional procedures, such as regular venue cleaning and fogging, staggered start times and the installation of a state of the art ventilation system in the Connaught and Pavilion Theatres.’

As a charity WTM relies on the support of audiences to make our work possible enabling us to continue bringing you an exceptional programme of events, films and exhibitions in the heart of Worthing. You can support WTM today by:

Becoming a Member - By joining as a member you get exclusive access to priority booking, discounts and money can't buy experiences and are supporting WTM to bring the very best of arts and heritage to Worthing. Find out more about becoming a Member.

Making a donation -Your gift will bring amazing live events, exhibitions, films and so much more to the Worthing community. Help us continue to make memories in Worthing for years to come. Make a donation here.

Buying a ticket - you can see our full line-up of live events, films, exhibitions and workshops here.

Introducing… Hannah James & Toby Kuhn

WTM is always working to bring the brightest and best shows, and our folk programme is no different. We’ve got a cracking line-up over the next few months with genre stalwarts and unique trailblazers alike. Enter Hannah James & Toby Kuhn; a creative musical pairing who’ll be bringing their fresh take on folk to the Pavilion Theatre Atrium on Tuesday 2 November, 7:30pm. With one week to go, we thought that introductions might be in order…

The duo are an award-winning musician and dancer from the UK (James), and an acclaimed French cellist (Kuhn). They met by chance at Floating Castle festival in Slovenia in the summer of 2018. Kuhn was so moved by James’ set that he sought her out and asked if she needed a cellist accompanist. At first she wasn’t sure she did but, as they say, the rest is history! They joined forces and began to create together, both sharing a common approach to music-making and a real artistic chemistry.

https://youtu.be/Tgt1jKDy5bc

James is an award-winning folk musician, dancer and composer. Known for her work with groups Lady Maisery, Maddy Prior, Sam Sweeney, Seasick Steve and Songs of Separation (with Eliza Carthy and Karina Polwart and more), she is a central figure in the modern UK folk scene. Her style is rooted in the English Tradition but enriched by collaborations with artists all over Europe. Her signature is a striking blend of accordion, vocals and clog dancing, which is an incredibly special and rare form of percussive dance.

Kuhn is a post-classical musician with a taste for improvisation and folk music of all persuasions, which he cherry picks on his travels. Always on the lookout for new ways to play his instrument, his unorthodox approach has won admiration and acclaim from Japan to Canada, and makes him the ideal partner to James.

Together, their music is original and conversational. Their combination of accordion and cello creates a wide palette of sounds and textures which lift James’ pure voice and deeply honest songwriting. They shift between soft soulfulness to, in the very next breath, choppy and joyful interplay. This duo delivers a diverse, playful performance, and one which is rarely seen in Worthing, making it a must for fans of new music.

https://youtu.be/ZLZhTFvLKbI

Catch the pair’s special mix inventive rhythms and soulful arrangements on Tuesday 02 November, 7:30pm at the Pavilion Theatre Atrium: www.wtm.uk/events/hannah-james-toby-kuhn/

Panto returns to Worthing this Christmas!

Filled with magic and monstrous fun, this tale as old as time is the perfect festive treat.

Bigger and better than ever before, Panto returns to Worthing this Christmas with Beauty and the Beast: The Pantomime; at the Pavilion Theatre from Friday 26 November 2021 to Sunday 2 January 2022. Expect magic, sparkle and brilliant fun for family and friends alike.

Following the incredible success of 2019’s Cinderella: The Pantomime and 2020’s The Night Before Christmas, WTM and Paul Holman Associates have once again teamed up to bring you the marvel of pantomime. With a fantastic cast, laugh-out-loud comedy and all your favourite pantomime traditions, Beauty and the Beast promises to be Worthing’s most spectacular pantomime yet!

When a handsome Prince is transformed into a frightening Beast by an enchantress as punishment for his vanity, only true love will break the spell. Join Belle and her friends on this thrilling adventure as they discover that beauty is more than skin deep, and that we should always look beyond the surface to the heart that lies beneath.

With spellbinding scenery, glittering costumes and dazzling special effects - combined with plenty of traditional pantomime antics and audience participation - Beauty and the Beast is the family event of the season, and not to be missed! So head to the Pavilion Theatre to laugh and cheer, ‘boo’ the baddies and singalong to magnificent musical numbers. It’s a great night out for everyone and anyone who believes in the spirit of Christmas.

This year’s all-star cast features Britain’s Got Talent winner Jai McDowall starring as the Beast, alongside Emmerdale actress Sapphire Elia as Belle, and Strictly Come Dancing legend Robin Windsor in the role of Gaston. They will be joined by comedian and Panto veteran Andre Vincent in the role of Dame Cherie Trifle and Ross Muir as Professor Crackpot. Beauty and the Beast also sees the return of Cinderella favourite Katie Pritchard in the role of Crepe Suzette, joined by on-stage twin Josh Haberfield as Philippe Philoppe. Last but certainly not least, Pinocchio’s Dani Hardy returns to the Pavilion as the Enchantress.

https://www.youtube.com/watch?v=1-vFo973NFw

Beauty and the Beast: The Pantomime runs at the Pavilion Theatre from Friday 26 November 2021 - Sunday 2 January 2022. Tickets are available from £10. For more information or to book your tickets visit www.wtm.uk or call the WTM Box Office on 01903 206 206

Open21 Exhibition Celebrates Sussex Artists

We are thrilled that the WTM open has returned in its physical format! The exhibition runs from Saturday 2 October 2021 - Sunday 30 January 2022, in the Worthing Musuem’s Main Gallery and Norwood Landing.

With 160 pieces across 2 galleries, WTM’s Open21 showcases an outstanding selection of work from amatuer and professional artists, of all ages, from across Sussex. The exhibition includes a huge range of work with diverse and contrasting styles, and a variety of different mediums including 3D sculpture and photography, alongside work in acrylic, oil, pencil and pen. It’s this diversity that makes the exhibition entirely unique and a must visit in Worthing this winter.

Curator Emma Walder says ‘We were unsure what the response would be this year with all that has happened, as well as the change from using printed entry forms to online. So I was pleased to see that we had well over 500 entries this year, and the work delivered has been as varied and diverse as it always has. The communities’ creative spirit is still as strong as ever!’

‘The selection day was as tough as always with many difficult decisions to be made by the judges who were artist Anthony Bennett, Carola del Mese (who was recently working with us as a historical metal conservator), and Joe Cox, (Creative Hub Assistant at Colonnade House – Worthing’s creative hub).

158 pieces of work were selected which is more than any previous open exhibition, and out of those 9 pieces were shortlisted by the judges and we felt that a further 2 pieces should also be selected as Curator’s choice. So I would encourage everyone to come and see this exhibition and be inspired to join us next time and enter the Open23. Regardless of whether your work is selected, the spirit and creativity is what really keeps this event and exhibition thriving.'

The Open21 exhibition opened with a fantastic private view event on Friday 1 October, it was wonderful to welcome so many amatuer and professional artists from across Sussex into Worthing Museum and Gallery to celebrate this years brilliant submissions. Art Curator Emma Walder announced the Judge's Shortlist and Curator's choice winners, including overall winner Steve Carroll. The full shortlist can be seen here.

Click here to download the judge's shortlist

The Nature of Performance with Theatre Re

What are we looking for with a night at the theatre? To see something new, or be moved? Maybe just to have a laugh, or all of the above! Theatre can challenge our preconceptions and open us up to new ideas, and that’s exactly what Theatre Re are on a mission to achieve every time they come to the stage.

Theatre Re are a company who address sensitive but essential life experiences, and translate these through the lens of performance. As Guillaume Pigé (Artistic Director of Theatre Re) said in conversation with The Edinburgh Fringe, ‘I think theatre is a very good training ground for what happens or what can happen in life; as if it provided a large scale dress rehearsal for life’.

This ability is put to use in their new show BIRTH - a fantastically moving piece of physical theatre which follows the life journey of Sue, Katherine and Emily. These are three generations of women from the same family who throughout the show explore secrets and share fundamental life experiences. It’s a concert with live music, and a wordless visual piece of dance with magical elements of illusion. It also deals with the taboo subject of child loss.

While the show is not wholly about the experience of child loss, the topic sparked an interesting line of interrogation in the company’s creative process. They initially focused on secrets within families and discovered the world of psychogenealogy, which recognises the parallels between our own lives and those of our ancestors, and how traumas might be subconsciously passed down like memories. This led the company to study their own family trees and one thing their histories all had in common was pregnancy loss. Interestingly, the idea of losing a child was also something that consistently came up in their improvisation sessions without ever intentionally looking for it.

WTM audiences who saw Theatre Re’s fantastic production, The Nature of Forgetting will know that the company is rigorous when addressing a subject matter. Indeed, every time they start a new project, they collaborate with a wide range of theatre and non-theatre makers. While the previous show led them to investigate experiences of Dementia, BIRTH had a 16-month development period within which they collaborated with UCL Neuroscience Professor Kate Jeffery and Dr Graeme Forbes, lecturer in philosophy at the University of Kent. Both shared their views on the company’s original question: when does memory begin? These discussions fuelled their first steps towards creating the show.

The company also undertook extensive interviews and workshops by collaborating with Anyone Everymum (organisation supporting women and families in their journey through birth) and later Aching Arms (a nationwide baby loss charity run by a group of bereaved mothers). Both offered an insight into what it means to lose a life and ensured that the show was, as Pigé puts it, ‘a faithful representation of what some women and families go through without being patronising nor sentimental’.

While in the UK an estimated 1 in 4 pregnancies end in loss during pregnancy or birth, this is not the central thesis of the show. Instead, it’s used to help people ask questions of another’s experience; how this can ‘help develop people’s empathy for those who have experienced such a loss. It will also be important to see how the work can have a cathartic impact on audience members who have, and then how that might help them start a discussion about it’. This show is about where memory begins, life, family and what it is that you inherit from your parents and grandparents. For Theatre Re, performance most importantly offers an avenue to express shared life experiences and talk openly about them. Even challenging or taboo ones.

What will audiences come away feeling after a night of Theatre Re’s special brand of physical performance? Hopefully understanding the story of Emily’s family, and how the company has used everything they can to make it a heartbreaking, uplifting, at times humorous, and even life-affirming experience. Not only this but Pigé says, ‘I hope people come out of the theatre feeling uplifted and reminded about the beauty and extraordinary fragility of life’. We don’t think there’s much more one can ask of a night at the theatre.

Theatre Re’s BIRTH is at the Connaught Theatre on Friday 8 October 2021, 7:30pm. Tickets are available via www.wtm.uk/events/birth/

For more information on some of the subject matter explored in this article, support is available through www.achingarms.co.uk/

The Making of POWER

POWER combines autobiographical content about a circus strong lady, with the extraordinary stories of ‘ordinary’ people. Coming to the Connaught Studio on the 10 November 2021, we hear how Charmaine Childs created her remarkable solo circus-theatre performance.

I asked this question to as wide a range of people as I could find: “can you tell me about a time when you felt really powerful?” Everyone’s first response was that they ‘wouldn’t have a story like that...’ but with a little exploration, everyone had an incredible story to tell. People are amazing.

I share these stories through a combination of voice over + circus/dance physicality + verbal storytelling. The voices of people and recorded interviews are integrated throughout the soundtrack. Working with an incredible composer (Matt Eaton), I have been able to interact with their voices in various ways; such as weaving between direct address to the audience as I tell their stories. I also let the voice over tell the story while I respond with physical storytelling in circus choreography. As well as interacting with their voices in moments of conversation between the voice overs and I.

My aim is that the people who see the show will begin telling each other their own stories, of finding power and growing strength. I was determined to include, in the show, as wide a range of voices and stories as possible - to increase the chance for everyone in the audience to see their own experience reflected, in some way. When people were interviewed, telling their story was a way of reframing themselves as powerful - I want to give the audience that same glow.

In the small tour of 2020, this is precisely what happened! After shows, audiences were telling their own stories. They had laughed, been moved, thought deeply and when asked for feedback about how the show had made them feel, they used words like: hopeful, inspired, uplifted, seen and strong.

Beyond including their stories in the show, the process of interviewing people has shifted the way that I am using circus physicality to perform the work. I had expected stories about shining moments of triumph over an obstacle - of being invincible and in control. I had planned to make a show where I used perfectly executed feats-of-strength to illustrate stories of power... The research, however, told an inconveniently different story. No single story made it entirely clear, but by inviting perspectives of so many different people, it showed a pattern of feeling powerful when we accept that we are in the mess, then choose to keep going, to get up again, to adapt. It revealed the strength and resilience we build when we wobble.

I had to rethink the way I use circus skills in the show. Instead of performing feats-of-strength with ease, I developed a circus physicality that highlights paradox of power as both control and struggle. Circus tricks were reimagined to become storytelling tools rather than spectacle. I have worked with a theatre director, dance choreographers and circus director to enhance the physical storytelling - incorporating hand balance, acrobatic movement, juggling, balancing, manipulating objects, and dance. As a strong lady, this show asked that I show the strength in being vulnerable - and the connection that creates with the audience is very exciting!

POWER is being shown at the Connaught Studio on the 10 November 2021. Book tickets now at www.wtm.uk/power or call the Box Office on 01903 206206.

Interview with Ben Duke about Juliet & Romeo

Juliet & Romeo reveals the real story of Romeo and Juliet. It turns out they didn’t die in a tragic misunderstanding; they grew up and lived happily ever after. Well, they lived at least... With Lost Dog’s blend of dance, theatre and comedy, this duet takes on our cultural obsession with youth and our inevitable issues with longevity.

The show is coming to the Connaught Theatre this November. Read the following interview with Lost Dog’s Artistic Director, Ben Duke to find out more.

Is this the story of what might have happened had Romeo and Juliet lived?

Yes. When I watch Romeo and Juliet I am always hoping that their timings will be a little different and Juliet will wake up a few moments earlier. I know she never will but I can’t help hoping for it. The idea for this piece came from allowing myself to imagine that alternate version. In this work they’ve been together about 25 years.

Are they happy and how do they feel about each other?

At the point that this piece is set they are in something of a marital crisis. Basically, they love each other and sometimes they wish the other one were dead. The bloom of teenage romance has faded but it haunts them.

What inspired you to make it?

A feeling that we aren’t that honest about relationships in our culture and that too many stories focus on how relationships start rather than how they continue.

Had you seen stage/film versions of the original before you made your piece?

I have seen several versions. Baz Lurhman’s film version came out at a time when I was particularly impressionable and is lodged in my memory.

Describe their characters

Romeo is in the middle of a mid-life crisis and so his character is trying to re-shape itself. He is trying to let go of the passionate, over the top teenager he was and become a Man. But he doesn’t have any clear idea what that Man should look like so he is in limbo. Juliet is very attached to the extraordinary teenager she was and is finding the ordinariness of her current life a struggle.

Will the audience like them?

At times - if you had them round for dinner you would probably find them a little self-obsessed.

Tell us about casting and working with Solène

Solène is someone I first worked with when I made a piece called ’The Life and Times of Girl A' on Scottish Dance Theatre in 2010. She is a brilliant performer and someone I knew would be willing to spend time in the painful and ridiculous process that we went through.

And what do you hope audiences will take away with them after seeing the work?

A sense of realistic optimism about the state of their relationships - past, present or future.

Lost Dog’s Juliet & Romeo is at the Connaught Theatre on Friday 12 November 2021, 8pm. Tickets are available via www.wtm.uk/Juliet-Romeo

Q&A with Adrian Lukis

Adrian Lukis, who starred in the renowned BBC TV adaptation of Pride and Prejudice, returns to the role of Mr Wickham this autumn. Coming to the Connaught Theatre on Thursday 21 and Friday 22 of October, Adrian delves deep into answering questions on the making of Mr Wickham.

What inspired you to revisit the character of Mr Wickham, 25 years after playing him in the BBC adaptation of Pride and Prejudice?

When I turned 60 a few years ago, I started to wonder what it would be like for a man such as Wickham, who has been a rake and a ne’er-do-well, surviving on his looks and his wits, to have to deal with getting older. So I started to look at it with Catherine Curzon, who is an expert on the historical side of things, and read everything about Wickham and Pride and Prejudice I could get hold of. I found myself discovering how much I enjoyed the process of researching and writing. Once I started it just went like a storm.

The details we have about his life from the novel are rather sketchy. How did you go about filling in the blanks?

Firstly I looked at the way he is described. For example, Darcy says he has led a dissolute life in London, so I thought ‘well what really happened?’ I’ve also made up stories based on the historical facts, and imagined an entire life for him above and beyond the book. At one stage he enters a private club and gets into a punch up, but it’s based on a real place called Watier's in St James’s. I also wanted to explore things such as what he really thinks of Elizabeth Bennet, what he really thinks of Lydia. These questions were really interesting to me.

Seeing as he’s portrayed by Austen as such a rogue, did you feel it was important to fight his corner?

Absolutely. My premise was that people don’t tend to see themselves through a bad lens, and there are always two sides to a story. I could have written him like Flashman - an out-and-out bounder who just doesn’t care - but something I took very strongly from the book was that Wickham is plausibly a nice man. He is always described as being charming and amiable, rather than someone who’s constantly plotting and twirling his moustache. He admits he does some bad things, but turns it on the audience and asks ‘have you led a blameless life’? Also, he makes the point that life would be very dull without any rogues. I’d much rather spend an evening with him than with Darcy!

How do you think he would be thought of in today’s society?

It’s an interesting question. He would probably be labelled in contemporary terminology a bit of a ‘player’, and I think we all know men like that. But you have to view him in the context of his time. In Austen’s day, men who were not the first son had to set their cap at a wealthy heiress. That was a social pressure that we don’t really have today. So for a man with looks and charm like Wickham it made sense to try his luck with women, rather than going into the clergy. It would certainly be different today, although I think we are living through a very moral period, much more so than when I was growing up in the ‘70s. So perhaps he would still be considered a scoundrel.

Original Theatre Company filmed the production in an empty theatre during lockdown for a live stream. How did you find that experience?

It was certainly interesting, but it was inevitably a bit cold just being surrounded by cameras and technicians. There is no replacement for a live audience, being able to look at them and say, ‘you think you know my story but I’m going to tell you differently.’ I like to try and bring what I can of Wickham’s wit and charm to the table, and a lot of that has to do with looking the audience directly in the eye, which of course you can’t do in a live stream.

What are your memories of playing Wickham the first time round? Did you have any idea the BBC series would become such a phenomenon?

No idea at all, I don’t think any of us did. We knew it was a big production, and I thought the script was terrific, but we had no inkling of whether it would be a success. In that sense it was just another job. I remember writing to Colin Firth shortly after it came out, when he’d gone off to do some filming in South America, and saying words to the effect of ‘you have no idea what's going on back home, this series has gone through the roof and you’re famous.’ That being said a few weeks later we went for a pint together in London, and I thought we would get absolutely mobbed - Darcy and Wickham out together - but nobody recognised us!

Now it is finding a whole new generation of fans thanks to iPlayer and Netflix.

Yes, people seem to love it, even if they weren’t born when it first came out. And why wouldn’t they? It’s a really lovely adaptation of the most wonderful novel. Many people come up to me and tell me they still watch it with their family every year, which is great.

Was acting something you always wanted to do?

My father was in the Royal Marines and I was initially brought up in Australia, where I didn’t have much chance to try it out. But when I came to England in the 60s and was sent to public school, suddenly theatre was available to me and it was like being struck by a thunderbolt. I fell in love with it. My whole life soon became about being in school productions and when I was 17 I wrote my first play. At the time I thought I might be a playwright, so it’s nice I’m finally getting a chance to do it at 64!

You’ve clearly enjoyed the task of reimagining Wickham for the stage, but what do you think Jane Austen might make of it?

That depends on how you view her politics. She has been called all sorts of things, from a radical feminist to a staunch methodist. But I think it’s safer to assume she was something of a small ‘c’ conservative. So she probably would have disapproved of Wickham, and seen him as being a rather weak and vapid young man. But I hope if she was to see this production, she would say ‘good for you, you haven’t consigned him to the scrapheap and have found mitigating factors for his behaviour’.

Being Mr Wickham is at the Connaught Theatre on Thursday 21 and Friday 22 October 2021. Book tickets now via www.wtm.uk/BeingMrWickham or call the Box Office on 01903 206206.

Metal Conservation – The Edburton Hoard

Roman coins approx 10mm diameter

Investigative Conservation

In 2019 whilst studying metals conservation at West Dean college, Worthing’s Curator of Archaeology brought in a selection of 22 Roman coins found at an excavation on the South Downs. At this stage, not many objects had been excavated from the site, and it was thought that in ancient times inhabitants had deposited the coins at the site of a natural spring.

The site is mentioned in the Domesday Book as a Saxon settlement with watermills and light industry, however during Roman times it was already a busy and well populated area with villas, farms and villages.

A variety of Roman coins found at the Edburton excavation

Coins

The study of currency is called Numismatics, and coins are found by detectorists and archaeologists very frequently, especially on the sites of ancient settlements. By identifying the coins, we can gain a wider understanding of timeline, who the inhabitants and local rulers were, who they traded with, local wealth, crafts and production and other relevant information. So, the chance to clean these coins for identification on a newly excavated site was very exciting.

Cleaning the Coins

The coins ranged from very good condition to very corroded, and the aim when cleaning, is to retain any detail for identification. As discussed in a previous post, the detail might be on the original surface if there is one, or within the corrosion, and in this case I began by taking an X-ray to ascertain the stability of the coins. Once this was done I could see any hairline fractures or internal voids created by corrosion so I knew where to be careful when cleaning. I began by using a brush and scalpel under a microscope and taking pictures of any detail I revealed as I went along.

In Roman coins, one would typically expect copper, silver, tin, lead, maybe iron and some other trace elements. However due to some unusual corrosion I noticed, I decided to also carry out elemental analysis to determine what they were made of. For this I used a portable XRF machine, (X-ray fluorescence) which releases a burst of X-rays onto a chosen area of the object, and gives us a reading which identifies the elements – in this case metals – of which the object is made. I used a Bruker portable XRF machine - find out more about this in the links below.

Analysis of the coins

The readings from the coins showed that there was an unusually high percentage of Lead present in many of the coins. Lead is usually found in small amounts within cast metal objects, as it makes casting easier, however 5 of the 22 coins contained more than 50% lead, some as high as 80%. The other most common elements in the readings were Copper, Tin, Iron and Silver. All the coins showed some Iron reading, some as much as 11% which would have been a deliberate inclusion in the alloy, but some as low as 0.2% which we can assume may have been an incidental ingredient or residues from the burial environment.

It is always a good idea to research the objects you are treating, so before making assumptions I researched the possibility that Romans did mint coins made from lead. This revealed that lead tokens were issued during Roman times, however not as currency, and the detail on this set showed that they intended to imitate currency.

Analysis of Metal Casting Waste

As mentioned above, the settlement is an ongoing excavation and as more objects were discovered, I had the chance to analyse them. James gave me a bag of corroded metallic pieces, none of which were magnetic or showing red/brown rust, meaning that none were iron. Some of them were clearly identifiable as metal drips which would have been lost or discarded waste created during metal casting, and showing us that metalwork was taking place in the area. Other pieces were evidently metal, but with a surrounding corrosion of grey and white flakes, which I suspected were lead or tin, or an alloy of similar white metals. We can make an educated guess at the metal, but until it is analysed we cannot say for definite what it is, and this may affect the treatment procedure.

Again, I used the XRF machine to gain a reading on 3 of the pieces which showed that one larger piece was 95% tin, and others up to 95% lead or an alloy of lead and tin. Since then, objects which look like coin blanks have also been excavated from the site. We have not had an opportunity to analyse them but it is probable that they are made of Lead. Added to the unusual base metal of the ‘coins’ previously analysed, one theory is that the inhabitants were forging Roman coins. This wasn’t unusual in ancient times, and you can find out more from the links below.

In this case, some of the least visually interesting discoveries – corroded lumps - have given us some very interesting information, allowing us to piece together the activities which took place in the settlement, and demonstrating perfectly how collaboration between conservators, archaeologists and amateur enthusiasts benefits our further understanding of the past.

Tin piece, lead coin blanks, lead casting waste

Roman coins approx 10mm diameter

Before and after coin 39_chart of percent concentrations of elements present

A variety of Roman coins found at the Edburton excavation

The Edburton Hoard
Conservation Information

Know More

XRF Machine - XRF is an acronym for x-ray fluorescence, a process whereby electrons are displaced from their atomic orbital positions, releasing a burst of energy that is characteristic of a specific element. This release of energy is then registered by the detector in then XRF instrument, which in turn categorises the energies by element.

New September 21 – January 22 What’s On Guide!

We've released our new What's On Guide covering our packed programme from September 2021 - January 2022. You can read the digital version here or pick up a copy around Worthing or in the Connaught Cinema which will be reopening from Friday 17 September!

We have an exciting theatre programme over the next few months; including laughter-filled parody of the D.H. Lawrence novel Not: Lady Chatterley’s Lover (Fri 17 Sep), Theatre Re’s powerful, poignant and uplifting Birth (Fri 8 - Sat 9 Oct) and the Original Theatre Company’s Being Mr Wickham (Thu 21 - Fri 22 Oct) with sees the BBC’s Pride and Prejudice’s roguish Adrian Lukis reprise his role as George Wickham. If you are looking for a fun night out we have Red Fox Theatre’s Catch of the Day (Sat 30 Oct) in the Pavilion Atrium, a madcap mix of comedy, immersive theatre, music and improv, a great night out for friends and family! Finally, Blackeyed Theatre return to Worthing with The Strange Case of Dr Jekyll & Mr Hyde (Thu 4 - Sat 6 Nov), a thrilling adaption of the classic tale that immerses you in the myth and mystery of 19th century London.

Our renowned circus programme features the incredible Luminosa (Sun 3 Oct), a brand new circus cabaret for the 21st Century, produced by Jacksons Lane in collaboration with Lost in Translation. Expect cutting edge aerial dance, jaw-dropping juggling, tipsy hoop swirling, live music and laughter. You could bring the whole family along to Little Luminosa (Sun 3 Oct) or if you are looking for a little more naughtiness, bizarity and burlesque why not book for Luminosa Late (Sat 2 Oct). Celebrate the ways we can feel powerful with Strong Lady Productions latest show Power (Wed 10 Nov) that combines circus physicality, voice-over soundtrack and storytelling. It is optimistic, uplifting, funny, physical and at times moving.

The dance programme features the incredible contemporary Lost Dog Dance’s Juliet and Romeo (Fri 12 Nov), that blends dance, theatre, and comedy to tell you the ‘real’ story of Romeo and Juliet. Alternatively you can get in the festive spirit and enjoy The Russian National Ballet’s The Nutcracker (Sun 28 Nov) or Swan Lake (Sun 28 Nov).

If you looking for laughs we've got plenty on offer with a line-up of big name comedians and something for everyone to enjoy! Including Josh Widdicombe (Thu 16 Sep), Bridget Christie (Thu 7 Oct), Sindhu Vee (Thu 11 Nov) and Milton Jones (Fri 19 Nov), to name just a few. The talks programme this season gives you a chance to learn more about a variety of topics from history to serial killers and the natural world. Ben Fogle will be at the Assembly Hall sharing his Tales from the Wilderness (Wed 29 Sept), while Dr Richard Shepard’s ‘Unnatural Causes’ (Wed 13 Oct) explores some of the renowned forensic pathologists most fascinating cases and An Evening with Brian Blessed (Sat 23 Oct) sees one of Britain’s loudest stars return to Worthing to recount his incredible life story.

The music programme features fantastic original artists and great live tributes. The Rheingans Sisters (Wed 6 Oct) kick off our music programme in the Pavilion Atrium with playful visionary folk music that is wholly contemporary while drawing from the well of musical knowledge passed down through generations. The programme continues with Barbara Dickson (Sun 10 Oct), Hannah James and Toby Kuhn (Tue 2 Nov) and Maximum R’n’B with the Manfreds (Sat 16 Oct). If you are looking for a fun night out after a year at home why not get your friend together and enjoy some disco classics with Lost in Music (Thu 4 Nov), the feelgood Sensational 60s Experience (Sat 6 Nov) or ever popular That'll Be The Day Christmas Show (Thu 16 Dec).

Not forgetting Panto! Panto is back bigger and better than ever, with an extra handful of glitter just for good measure. Starring Strictly Come Dancing’s Robin Windsor, Britain’s Got Talent Winner Jai Mcdowall, and Emmerdale's Sapphire Elia, Beauty & The Beast: The Pantomime will be at the Pavilion Theatre from Friday 26 November 2021 to Sunday 2 January 2022. With spell-binding scenery, glittering costumes and dazzling special effects combined with plenty of traditional pantomime audience participation and huge helpings of laughter, Beauty and the Beast is the family pantomime not to be missed!

The museum has a diverse series of exhibitions alongside the permanent collections. The always popular Open Exhibition (Sat 2 Oct - Sun 30 Jan) features the work of amatuer and professional artists from across Sussex. While John Pull - Worthing's Hero Archaeologist (Sat 17 Jul - Fri 24 Dec) explores the life and discoveries of the renowned local archaeologist and William Hargood - Destiny at Trafalgar (Thu 16 Sep - Sun 30 Jan) highlights the fascinating life and history of a British naval officer during a tumultuous time in Britain’s history.

For more information on all WTM events or to book tickets visit www.wtm.uk or call the WTM Box Office on 01903 206206.

A New Adaptation of The Strange Case of Dr Jekyll & Mr Hyde

Find out more about Blackeyed Theatres thrilling new adaptation of The Strange Case of Dr Jekyll and Mr Hyde. The show is at the Connaught Theatre Thursday 4 – Saturday 6 November 2021. Tickets are available online or you can call the Box Office on 01903 206206.

Adaptation from novels is a popular method of creating new theatre. A new approach to a popular novel can allow those familiar with the work to enjoy it in a new medium and attract new audiences. Playwrights are able to add their own interpretation, shed new light on characters, often increasing the audience’s knowledge of minor characters and exploring existing themes in a new way. Adaptations will often modernise a classic tale, changing key details to appeal to new audiences, for instance setting the tale within a different era as many adaptations of Shakespeare’s work have successfully done.

Nick Lane’s decision to keep his Jekyll and Hyde in the late nineteenth century was a pragmatic one. “I felt that the 1890’s were perfect as the advent of neuroscience at that time fitted in with the medical and philanthropic angle I wanted to approach Dr Jekyll’s work from.”

Some of the key differences between Nick Lane’s adaptation and Stevenson’s original include the exploration of minor characters as well as looking into why and how Dr. Jekyll reaches the point at which he is prepared to transform into Hyde. The breakdown of the friendship between Jekyll and Lanyon is explored extensively within the play and the character of Lanyon developed into a far more complicated man than within Stevenson’s novel.

Another key addition comes in the character of Eleanor, who provides a spur for Jekyll, pushing him on in much the same way as Stevenson’s wife urged her husband to complete the novel. The complexity added by the fact that Eleanor is engaged to someone else when she meets Jekyll is what provides the play with its doomed romantic angle. The character of Eleanor allows the audience to see Jekyll as a man rather than purely a scientist. She is a witness to much of the detail of Jekyll and Hyde’s secret, which in the novel is only discovered following Hyde’s demise. Scenes such as Hyde burning the chequebook after murdering the MP Sir Danvers Carew are given an additional dimension by Eleanor’s presence. In the novel this goes unseen.

In addition, Eleanor delivers Jekyll’s research to Utterson following the doctor’s death. This is quite a departure from the abrupt ending of the novel, in which – since the doctor’s work is purely selfish – only Jekyll’s confession is delivered to the lawyer. Here the idea is that the story of Jekyll and Hyde may continue, if Utterson finds a medical student capable enough to use what Jekyll has uncovered in the right way. Further, the child that Hyde has given Eleanor is an added complication, touching on themes of nature versus nurture.

Nick Lane comments that “the themes and title of Jekyll and Hyde are perhaps far more enduring and well known than the story itself. It’s a great piece to adapt from because there is the freedom to be creative and include new ideas within a very successful and structured narrative which Stevenson has provided.”

There are parts of the play where the book is quoted directly (Enfield’s retelling of the story of the door is a good example). The non-chronological telling of the story is also seen within both the play (where characters recount past events) and the novel (where the story is revealed to Utterson in letters from Dr’s Lanyon and Jekyll after their deaths).

The Strange Case of Dr Jekyll & Mr Hyde it at the Connaught Theatre Thursday 4 – Saturday 6 November 2021. Tickets are available online or you can call the Box Office on 01903 206206.

Being Mr Wickham – Interview with Guy Unsworth and Libby Watson

This autumn we welcome the Original Theatre company to the Connaught Theatre with their new production Being Mr Wickham. Adrian Lukis, who starred in the renowned BBC TV adaptation of Pride and Prejudice, returns to the role of Mr Wickham and lifts the sheets on exactly what happened thirty years on from where we left him...

Find out more about the production from Director Guy Unsworth an designer Libby Watson in the video below.

https://www.youtube.com/watch?v=pBesmdsaDLM

Being Mr Wickham is at the Connaught Theatre on Thursday 21 and Friday 22 October 2021. Tickets are available now from www.wtm.uk/BeingMrWickham or call the Box Office on 01903 206206.

5 Reasons to see Not: Lady Chatterley’s Lover

This September Shoreham based Happy Idiot Productions are bringing their latest hilarious production to Worthing! Not: Lady Chatterley's Lover - a parody of Lady Chatterley's Lover by DH Lawrence is at the Connaught Theatre Friday 17 September 2022, with performances at 2:30pm & 7:30pm. Tickets are available online at www.wtm.uk/NotLadyChatterleysLover or you can call the Box Office on 01903 206206.

A chance to re-live the classic novel, but in a fresh and comedic way that will make you laugh out loud.

The show has had a successful, acclaimed run at The Edinburgh Fringe.

Fun for all the family! The show features different styles of comedy that will entertain mum, dad, children (16+) and the grandparents, all in the same night.

An excellent script developed with the help of established theatre companies, Directors and actors such as Told by An Idiot, New Old Friends, Groundlings, Simon Godwin (National Theatre) and Laurence Pears (The Play That Goes Wrong).

Classically trained actors that bring truth to each dramatic moment and perfectly timed shifts into comedy.

Not: Lady Chatterley's Lover - a parody of Lady Chatterley's Lover by DH Lawrence is at the Connaught Theatre Friday 17 September 2022, with performances at 2:30pm & 7:30pm. Tickets are available online at www.wtm.uk/NotLadyChatterleysLover or you can call the Box Office on 01903 206206.

‘Does the body rule the mind, or does the mind rule the body?’ – An interview with Jekyll & Hyde writer and director Nick Lane

Writer and director Nick Lane discusses Blackeyed Theatres latest production Jekyll & Hyde. Jekyll and Hyde it at the Connaught Theatre Thursday 4 - Saturday 6 November 2021. Tickets are available online or you can call the Box Office on 01903 206206.

Jekyll & Hyde

Tell us about your new production of The Strange Case of Dr Jekyll and Mr Hyde...
Well, it’s a small/mid-scale tour of an adaptation of Robert Louis Stevenson’s classic horror story but I’ve tried to put a twist on it. I was aware approaching the adaptation that people have certain preconceptions about the story, and I thought it might be fun to come up with something a bit different.

What inspired you to tackle this story?
I think the story itself, the original tale; it’s just brilliant. And after that, with the other adaptations that I’ve done, what’s always helped me to get into a story is finding a personal angle – in terms of Jekyll & Hyde, what intrigued me was looking at what the consequences would be if Jekyll was incredibly intelligent but physically weak, and Hyde was a really powerful man, albeit very cruel.

Some years ago I was in a car accident that permanently damaged my neck and back. I wondered, if someone offered me a potion that was guaranteed to make me feel the way I did before the accident, but with the side effect that I’d become ruthless and horrible – would I drink it? Would I make that trade? If I knew I could do it for a day then I suppose I might, but what if the feeling of being strong and healthy became an addiction?

It’s Pandora’s Box. You know the risks of something but would you do it? A butterfly wouldn’t want to become a caterpillar again because once it has wings it wants to fly. That’s the difference, as soon as you make Hyde the strong one, I wonder if he’d want to go back to being weak old Jekyll again. So it’s a question of “does the body rule the mind, or does the mind rule the body?”

What’s different about this production?
I suppose if you were to describe the original novel as a traditional horror story, this is an attempt to find a new way to scare the audience. It’s a small cast, so I’ve tried to ramp up the physicality, the claustrophobia and the menace. And ultimately I’d like the audience to go home with the questions facing Jekyll racing around in their minds.

How have you approached this adaptation?
Jekyll is a medical man, so I’ve gone down the route of looking at why Jekyll is exploring the ability to split the mind. In the book, Jekyll is just fascinated by his own nature; he wants to look at why good is good and evil is evil within him. What I wondered was, what if Jekyll was looking at splitting the mind to perhaps find a cure for schizophrenia or any other mental disorder? You have to remain true to the source material and in particular the spirit, themes and drive that the author of the source material wants to explore. Beyond that, I guess you look for opportunities within the text to explore other things, and I find that question of research versus morality fascinating.

You’ve been keen to set the book in the era it was originally written in. Was that a conscious decision or did you not want to make a modern adaptation?
I think the themes are strong enough to transcend any particular period so I thought it was natural to stay faithful to Stevenson’s vision. There is a slight shift – Stevenson wrote the book in the 1880s, but doesn’t specify what years of the 19th century the story covers. This play is set in the 1890s, simply because at that time a lot of interesting historical events which I felt I could draw on were taking place. That particular era was also regarded by many as the birth of modern neuroscience so I’ve placed Jekyll amongst genuine experts in that field, as if he too were a pioneer – albeit a very twisted one with results that were more than he bargained for.

You mentioned you were keen to look at the back-story. What challenges does this bring to you as a writer?
Initially it’s down to the research and ensuring the story you’ve made is consistent. The book edition of Jekyll and Hyde that I have is only 48 pages long, although the print is very small! The original idea is absolutely brilliant, and at the time must have been chilling, but for a modern audience who aren’t surprised by the revelation that Jekyll and Hyde are one and the same, you have to work that bit harder to find something that might shock. Finding a good back-story actually presented me with a great opportunity to embellish the original text and add something that I hope Stevenson would approve of.

Within this production Jekyll and Hyde we see a lot of multi rolling – (sixteen characters are played by a cast of four). What made you decide to tell the story theatrically with a cast of just four?
It’s been my practice, my stock in trade, and Blackeyed Theatre has a tradition of telling stories with smaller casts. With a story like this it works really well. In the book Jekyll and Hyde are described as two different people, but generally adaptations have the same actor playing them.

There are stories you can’t tell with a small cast. I was given the option of what I wanted to adapt knowing the cast would be this size, so you have to find ways to tell those stories. I thought it would be nice to look at this story from a medical and philanthropic angle and to use multi-roling to our advantage because Jekyll and Hyde is the original multirole.

As a director how do you approach multi-roling with your actors?
There are lots of techniques, but the secret, if there is one, is to cast the right people who you know have got that skill. This piece is interesting as two actors play the same character, so we’ll have fun looking at gestures and vocal tone and body language.

I come at it from the point of view that if the words are there and actors are talented enough, I would rather give actors opportunity to explore and discover themselves what different characters are and we can discuss it. That gives actors ownership, rather than arriving with my preconceived ideas of what character are and make the actors conform to the way I work.

I approach it the way I would with a ‘one actor, one character’ play, which is to empower actors enough to feel strong enough to come to their own conclusions.

How important to this adaptation is the character of Eleanor and where did you draw inspiration for her character from?
I think all the characters are important, they lend focus to the wider narrative which I have decided to craft on. The novel doesn’t have a character called Eleanor; the women in the novel seem very functional at best. Stevenson was writing for a man’s world, his novels are very male dominated. Yet one of the biggest inspirations and motivators for his work was his wife. She pushed him to create; she was his harshest critic, his fiercest editor and his most strident advocate. I think that that’s in part where I got Eleanor from. Her character serves as a catalyst. She gives him a reason to continue.

There’s also Annie who is a prostitute character, who is very important for her socio political positioning. Eleanor is an Irish immigrant, so she is from the working classes, like Annie. We meet Eleanor, but she is outside her own class so we can use her as our eyes onto that world. Annie is still within the working classes. So for Eleanor, Annie is an example of ‘there but for the grace of God’ – had Eleanor made different choices, this is where she could have ended up. In terms of giving context to who Eleanor is, it’s really important to have Annie there.

Victorian society was deeply entrenched with the class system and lines were recognisably drawn. To have a working class character enter into that world, gives the audience a sense of that division.

In what ways do you hope this adaptation will appeal to a modern audience?
There will be physical theatre, movement and dance. There’s a new score being written by Tristan Parkes, who is a fantastic composer. And then four fantastic actors.

The first adaptation for stage took place less than a year after publication and 131 years later, the novel is still inspiring theatrical performances. What is it about the story that lends itself well to theatrical staging?
It’s a book with a number of very strong themes and a gripping mystery. There is room to put different characters in there. It’s a fun story to create onstage, because you can explode it. You can add to it while staying true to Stevenson’s narrative. I’m interested in why people do the things they do and the greying of morality. I enjoy creating well-rounded characters. For example Lanyon, in order to give a scale of morality. Utterson is black and white, the law. Jekyll is the greying morality – very morally flexible, Hyde creates his own moral universe and does as he wants. Lanyon is heart and conscience. And Eleanor is drawn to Jekyll and Hyde because for a certain type of person, sometimes good, moral people like Lanyon can be perceived as dull.

Another thing I wanted to do was look at a different reason behind why Jekyll is so insistent on pursuing this particular line of research. I think that’s why the story has persevered. It gives writers scope and opportunity to play and explore with a really strong narrative core.

Jekyll and Hyde it at the Connaught Theatre Thursday 4 - Saturday 6 November 2021. Tickets are available online or you can call the Box Office on 01903 206206.

The Making of Juliet & Romeo

Lost Dog's Artistic Director Ben Duke tells us more about the creation of Juliet & Romeo. Juliet & Romeo is at the Connaught Theatre on Friday 12 November 2021, 8pm. Read Ben's thoughts on creating Juliet & Romeo below.

I first saw Romeo and Juliet when I was a teenager. It was an RSC production. I knew as the show began that in about two hours, they would be dead, so I was reluctant to care about them.

Aged 14 I was starting to understand that it was not advisable to care for too many people. Empathy is not a limitless resource. We have to choose who we invest our emotions in. Invest wisely I say. This cautious approach is a characteristic I have evidently passed on to my children. My daughter didn’t want a gerbil as a pet because she’d heard on the grapevine that they kept dying. She wanted a tortoise. Here was a creature that had every chance of outliving its six-year-old owner, and so it would be the tortoise rather than my daughter who had to deal with the grief.

Romeo and Juliet were the theatrical equivalent of gerbils - their death was predictable and imminent and so it seemed best - however cute they were - to just withhold my affection for them and sit it out.

But they were good those RSC actors - and Shakespeare knows what he’s doing – so I was sucked in – I cared – I unwillingly handed over emotional energy. As humans we are, with notable exceptions, predisposed to it.

We don’t want the people we care for to die. I didn’t want Romeo and Juliet to die. I have seen subsequent productions in which I had the opposite feeling because the two leads were so annoying but in this, my first production, I wanted life. And there were so many opportunities for them to live. If only Romeo had got the message that Juliet sent, if only Juliet had drunk a few milligrams less of sleeping potion and woken up 30 seconds earlier, if only Paris had been better at sword fighting and delayed Romeo’s entrance by a minute or two. If only, if only. As the audience we had to witness just how close they sailed to staying alive, and I found that almost unbearable.

So, this piece came from a long standing dislike of death and a dawning realisation that in my job I was perfectly placed to re-write this moment that had frustrated me for so long. I wanted Romeo and Juliet to live, and that was our starting point. Initially it was exhilarating, anything was possible, where would they go, how would they live? We were overwhelmed with the possibilities.

And then gradually things got harder. The problem with cheating death is that then you have to carry on living. According to the experts the chemical cocktail that we experience as romantic love only lasts for 3 years. During those three years there is a gradual fall from the ideal to the real. And Romeo and Juliet had a particularly long way to fall. I was interested in this second part of their relation- ship, the bit after romantic love that was intrinsically less dramatic, more mundane and more repetitive. If their early passion was in part fed by the intransigence of their warring families then what kind of relationship grows from the daily struggle to get a buggy up five flights of stairs?

The creative process somehow mirrored this fall into the ordinary. We began with a lightness and optimism which allowed us to play with Shakespeare’s story and to find the ridiculous in this supposed tragedy. We spent a great deal of time consuming as many versions of the story as we could find in particular Macmillan’s and Nureyev’s ballets and Zeffirelli’s and Lurhman’s films and allowed these multiple versions to confuse themselves in our brain. And then we got stuck. There was much sitting in silence watching the changing light outside and realising that another day had passed with little progress.

I love the uncertainty of the devising process, there is something alchemical about it. But it is frustrating. There is no score to refer to and no script to pick up, just a lot of what can best be described as drifting. It often feels like failing, but without quite knowing against which bench mark I’m failing. I’m constantly reaching for things that ‘work’ and I can only really judge that from some kind of shifting unreliable instinct. There is a great deal that ends up on the cutting room floor. For example, we spent a long time rehearsing a scene in which Romeo and Juliet get drunk with Shakespeare. We felt that this scene was somehow key to our understanding of their present situation, but it turned out to be a red herring, so we turned off the blaring music, stopped staggering around and felt a bit embarrassed. We created duets that had a physical logic but didn’t seem to say anything, so they also had to go. But as Geoffrey Rush’s character says in Shakespeare in Love ‘the natural condition of the theatre business is one of insurmountable obstacles on the road to imminent disaster,’ and I think, like most people involved in creating work, I am slightly addicted to that feeling of imminent disaster while also holding onto the belief that ‘It will all turn out well.’

You are probably reading this in that dead time before the show begins so you are not yet in a position to judge if it turns out well. And I wouldn’t want to lead you on that one. It’s shorter than the original I’ll say that much for it. I would also say, as a general rule, Lost Dog work has been getting better so if this is your first Lost Dog show you’ve chosen a good moment to discover our work and if you don’t like this show try coming back to us in a couple of years.

Lost Dog was formed in 2004 by myself and Raquel Meseguer. We were students at the London Contemporary Dance School. The name came from the idea of a mongrel. The mongrel is a dog who has lost track of its heritage. It is not a pure breed, or even a cross breed, it is its own thing, made up of bits of God knows what. We wanted to make mongrel work. It didn’t feel particularly cut- ting edge to us, actually it felt quite old fashioned because what we were interested in doing was using whatever we felt was right (and achievable within our limited skill set) to tell a story. The story was the thing. And still is.

It’s possible that life is in essence senseless and without meaning. That worries me. As you have seen from my denial of death, I am expert at hiding from uncomfortable truths, so I have found a career that allows me to give shape and meaning to life through the telling of stories. And what I accidentally discovered, although I’m sure I wasn’t the first, was that when stories are told communally they do an extraordinary thing: they allow us to get out of our heads, to let go of our superior intellect, and our irreconcilable views, and to drop into our emotional selves. It is an unfamiliar place, one in which I feel the nerve-wracking opportunity for connection and recognition. Being English I don’t want to make too much of this. I don’t want to hold hands or make eye contact or anything like that. In fact, I want to sit in the dark of the theatre pretending I’m by myself... but also knowing that I’m not. It is the potential for that shared experience that makes me want to go to the theatre.

From the beginning of Lost Dog, I was interested in creating this kind of experience. Whether the work is classified as dance or theatre doesn’t feel that important but inside the process, we spend many hours wrestling with these two intertwined ideas, marvelling at how close and how different they are, and convinced that the truth of the human condition sits somewhere between the two.

So here is Juliet & Romeo told in the technicolour of words and movement – a death defying, life-affirming, alchemical experiment in turning gerbils into tortoises and reshaping this iconic story of love and death into something far more ordinary.

Lost Dog's Juliet & Romeo is at the Connaught Theatre on Friday 12 November 2021, 8pm. Tickets are available via www.wtm.uk/Juliet-Romeo or you can call the Box Office on 01903 206206.

Being Mr Wickham – An insight from Adrian Lukis

"Mr. Wickham is blessed with such happy manners as may ensure his making friends - whether he may be equally capable of retaining them is less certain" Jane Austen on Mr Wickham

We are thrilled to welcome the Original Theatre Company to the Connaught Theatre this October with their new production Being Mr Wickham. The production sees' Adrian Lukis, who starred in the renowned BBC TV adaptation of Pride and Prejudice, reprise the role of Mr Wickham on the eve of his sixtieth birthday. Join us as he lifts the sheets on what exactly what happened thirty years on from where we left him…

An insight from Adrian Lukis on Being Mr Wickham

'I wrote the play when I turned 60 and I thought “oh God” as everything starts groaning, your knees, your feet. I’d had this idea of exploring something to do with Wickham, I’d written another show called An Evening with Jane Austen which was a collection of readings with music but I wanted to take it further and I had this light-bulb moment where I thought “what would George Wickham feel like when he got to 60?”. He was a cad, someone who relies on his looks, his charm and his personality to make his way in the world and he’s played those cards. Where would he have ended up? What happens to rakes when they can’t rake anymore? I discussed it with Catherine Curzon and weirdly she’d been having a similar thought and so we combined forces.' Adrian Lukis, April 2021

Find out more about this new productions perspective on Mr Wickham from the Original Theatre Company's team as they return to the rehearsal room in the video below.

https://www.youtube.com/watch?v=2Hthg58eZfs

Being Mr Wickham is at the Connaught Theatre on Thursday 21 and Friday 22 October 2021. Book tickets now via www.wtm.uk/BeingMrWickham or call the Box Office on 01903 206206.

Metal Conservation – The Sompting Hoard

Two axes from the same mould showing casting mistakes

This week’s objects….

This week, Curator of Archaeology James has brought out a very interesting and significant hoard from the late Bronze Age/early Iron Age. The Sompting hoard was discovered in 1946 in Sompting and includes 17 socketed axe heads, a cauldron, shield boss and fragments of other cauldrons. Axe hoards were not uncommon for this period, and it is not known exactly why they were buried, but there are many theories.

The Sompting Hoard

I will be assessing 13 of the axe heads to see what condition they are in, if they are stable and if they need any conservation treatment. These would have been manufactured around 700 – 600 BC (approximately 2500 years ago!) and they were cast in a copper alloy, although without analysis we cannot tell the exact composition. (See previous post on why we use the term copper alloy). We can, however, tell from the green corrosion covering the axes, that the base metal is copper, because this is typical of copper corrosion.

What we can tell from an initial assessment

An initial check tells me that the axe heads are still in good condition, with only surface corrosion affecting them. This comes in the form of a hard green crystal-like corrosion which is difficult to remove manually. Some of the axes have an underlying layer of black or brown corrosion which is also difficult to remove without damaging the objects. These are often the first corrosion products to form, being basic copper oxides, produced when the copper reacts with oxygen over a long period.

We can also see that some of the axes are sharpened, and have been used, and some have not. In fact we can see the scratches made by the person who sharpened the axes, 2500 years ago. All the axes have casting seams meaning they were mass produced from moulds. Casting seams are where the molten metal has seeped into the cracks along the sides of the mould – and some have evidently come from the same mould as they have the same surface pattern.

A closer look shows us that some of the axes are miscasts or ‘seconds’. One from a set of four identical ones, is missing a collar. Two others have holes in the sides which look to be badly cast rather than the result of corrosion. The details on a few of the axes are not very clear, this could be a result of corrosion, or again badly cast and not up to the founder’s standards.

To clean or not to clean

That is always the question a conservator needs to ask. The initial desire is to see a polished metal surface, however in this case that surface doesn’t exist, due to corrosion. A corrosion layer is made when the surface metal, and the elements in the burial environment react together, to form a new product - corrosion. Often, if you try to remove the green corrosion you may only reveal a layer of red corrosion underneath, which has eaten into the surface, destroying surface details. The further you try to remove these layers, the deeper you will dig below the original surface, destroying any chance of retaining original details.

With many archaeological metal objects there may not be much of the original metal left, and by removing all the corrosion you will simply end up with an unrecognisable lump of the core metal. If there are still details, they may be made of corrosion now, instead of original metal, and in the corrosion surface we can sometimes see details of wear or use, which would all be removed if the corrosion was removed.

There are chemical methods that conservators can use to remove copper corrosion, however in this case, the objects are stable and I will carefully use mechanical methods to bring out the surface details. I will also remove the compacted chalk on the surface, and again using my conservator super-powers, mechanically remove some of the areas of green corrosion which are obscuring the beautiful details.

Three of the sharpened axes

Sharpened axe blade

Axe head showing compacted chalk deposits

Socketed-axe from www.artefactual.co.uk

13 axes from the Sompting hoard

Two axes from the same mould showing casting mistakes

Know more

The Portable Antiquities Scheme website has a number of guides for finders, on simple treatments for metal objects. This guide lists do’s and dont’s, and also discusses the considerations and dangers of cleaning your object.

Other recently discovered similar hoards are the Havering Hoard on display at the Museum of London, and the Dorset hoard.

Conservation Information

Treatment in brief

I assessed the objects, some had developed loose corrosion which needs further investigation. They all needed soil removed, which is done very carefully - I prefer to remove as much as possible dry. My favourite tools for this are a soft brush, bamboo skewers, pin vice and a scalpel, going very gently in case there are details under the soil which aren’t initially evident. For any soil which couldn’t be easily removed I used a 50:50 solution of industrial methylated spirits (not the purple stuff!) and de-ionised water, swabbing the soil residues away.

I took great care with the enamelled brooches. The enamel had degraded in places and in one brooch the copper and enamel had corroded completely. Using my conservator super powers I made a conservation plan, beginning by gently removing the loose corrosion using a scalpel. For this stage I had to be careful not to remove any detail hidden in the corrosion, gently returning the surface to the level it would have originally been. None of the objects required consolidating or treating for bronze disease, so the final stage was to coat the completely dry objects in a conservation lacquer containing benzotriazole. BTA is a chemical which arrests and guards against corrosion in copper, protecting the object long term from the environmental causes of corrosion.

There were a couple of challenging pieces in this collection, which had been treated historically with olive oil. Unfortunately neither of those pieces can be effectively treated due to this, and I will be posting another blog soon, discussing the scientific basis for not coating archaeological metal in olive oil!

Conservation fact

Why use the term ‘copper alloy’?

An alloy is a mixture of metals. When combined they make substances with improved properties like strength or hardness - making them suitable for specific purposes.

Without analysing them, we don’t know the exact ratio of metals in an object, but we wouldn’t expect the same ratio of metals in modern bronze or brass in historic items.

We call metals with a copper base, ‘copper alloy.’ Bronze is generally known as an alloy of copper and tin, and brass is an alloy of copper and zinc. Brass didn’t come into general use until the Romans introduced it and very often when analysed, ancient copper alloy objects include additional elements such as antimony, lead and iron.

Conservation Overview

Metal Conservation at Worthing Museum

Carola Del Mese is a Post Graduate in the Conservation of Metalwork. She is spending two months at Worthing Museum where she'll assess, clean and conserve artefacts from the archaeology collection.

Corroded, encrusted and unrecognisable objects recovered during historic archaeological excavations - and left untouched for decades in the museum stores, will be delicately and professionally transformed into identifiable items that connect us directly to the people who made, wore and used them thousands of years ago.

“Sometimes it’s surprising how much a small object can reveal when put into context, and that is what I love about Worthing Museum - it has an amazing collection of objects, most of which we still use today, and show us that people hundreds or thousands of years ago were not very different from us.”

By analysing and treating these pieces, Carola aims to reveal not only the centuries old craftsmanship but the valuable scientific and historic information to help tell the stories behind these fascinating metal items - which she'll share in this weekly blog.

Metal Conservation Blog

Installation of Air System at the Connaught Theatre

The Connaught Theatre and Cinema are currently temporarily closed while a new air movement system and air purifiers are installed. Don't worry though! The venue will reopen from September with an amazing programme of films and live events.

The works are part of a refurbishment and development programme taking place across all the WTM venues over the last year. Including the redevelopment of the Museum's Costume Gallery, the refurbishment of the Pavilion Atrium floor and the creation of step free access to the Connaught Studio.

There have also been lots of improvements in the cinema! Including the two new screens for better image quality, new 4K laser projectors, a new active 3D system in the Connaught Studio, and new audio processors for improved sound – with both screens now capable of Dolby Digital 7.1 audio.

Worthing Theatres and Museum, Senior Cinema Technician, Simon Parker, said: 'The improvements were made mainly because we wanted to improve the customer experience... and we hope that these new improvements will help the audience to enjoy the cinema more.'

Read the Worthing Herald's interview with Simon here.

Interview with Daniel Rover Singer – A Perfect Likeness

Conn Artists Artistic Director Ross Muir interviews playwright Daniel Rover Singer (Reduced Shakespeare Company) in America, ahead of the Conn Artists UK premiere of A Perfect Likeness this July! Watch the video below to find out more about what inspired A Perfect Likeness and Daniel Rover Singer's love of English literary greats Lewis Carroll and Charles Dickens.

https://youtu.be/YyQ5ZsuuCH8

The play sees reclusive writer and photographer Charles Dodgson (AKA – Lewis Carroll) invite celebrity author Charles Dickens to his Oxford home to pose for a portrait. Dickens is so intrigued by the whimsical Alice’s Adventures in Wonderland that he accepts.

What ensues is a baring of two creative souls, the one private and fastidious, the other boisterous and irreverent. As Dodgson struggles to capture a “perfect likeness” of Dickens, Dickens craftily pries into Dodgson’s personal life to get a handle on one of the most curious men he has ever met. The result is a hilarious and revealing conversation between two quirky, fascinating, and completely different men.

The Connaught Theatre’s resident company Conn Artists return with this UK premiere for 2021, following on from their hit tours of Silas Marner and The Four Men.

A Perfect Likeness will be at the Connaught Theatre on Saturday 3 July 2021, 2:30pm & 7:30pm.

Book your tickets here or contact our Box Office at boxoffice@wtam.uk or on 01903 206206.

WTM’s biennial OPEN returns

We’re delighted to announce the return of the biennial WTM OPEN in its original ‘physical’ format. The WTM Open21 offers all those within our community an exciting opportunity to exhibit within a distinguished gallery space.

Submitting work to this exhibition is open to anyone who lives or works in East or West Sussex, and amateur or professional artists of all ages are welcome to submit up to three pieces.

Art Curator Emma Walder says 'The Open exhibitions we hold at the museum are much more than an exhibition. They're a real community event and celebration of the creative nature in everyone, because they are open to everyone who lives or works in the whole of Sussex. This year we hope it will be as successful as previous years, so in response to demand and comments we have given two gallery spaces over to the show so we can select a larger number of works. It's also a little earlier than usual with the opening event to take place on the 1st of October, (all being well). The deadline for details to be submitted is Friday 10th September so I'd like to encourage anyone who feels inspired to take part to do so. The final show is selected by three external judges and everyone who enters is invited to the opening event, which for me is the most enjoyable part of the exhibition. I'm really hoping to see our regular participants as well as some new entrants for this very special Open21.'

Find out more and enter

Key dates

After submitting the WTM OPEN21 e-form and making your payment you’ll need to make a note of the following dates and events:

Fri 10th Sept – Final day for online submission of WTM OPEN21 e-forms
Tues 14th and Wed 15th Sept – Artwork to be delivered to museum between 10am and 4pm (ensure all work is clearly labelled with the same name/title details submitted on this e-form)
Thurs 16th Sept – Selection Day
Tues 21st Sept – Results of selection available at www.wtm.uk
Thurs 23rd and Fri 24th Sept – Collection of unselected work between 10am and 4pm
Fri 1st Oct – Launch event 6-8pm, all submitting artists invited plus one guest
Sat 2nd Oct 2021 – Sun 30th Jan 2022 – Exhibition continues
Thurs 3rd and Fri 4th Feb 2022 – Collection of exhibited/sold work between 10am-4pm

In Their Shoes – Tales of Life During Lockdown

Like other museums and public buildings, the Museum and Gallery closed its doors in March 2020. Work on exhibitions and research was abruptly halted as curatorial staff were furloughed. As the pathway to reopening was announced work slowly resumed at the museum. To celebrate the reopening of the building and to welcome visitors back we have put together a programme of exciting new exhibitions - one year on - May 2021.

In Their Shoes is a celebration of our local community during the Covid pandemic. The combination of portraits, narrative accounts and a poignant soundscape, captures the experiences of 14 individuals and groups to tell their lockdown stories.

Professionals from the teaching and construction industries, key and front line workers; including refuse operatives, a supermarket cashier and Intensive Care nurses give accounts of not stopping - rather working in extreme and testing conditions during a time of international crisis. The pantomime Dame who wasn't able to perform, a chef who made meals for charity in the kitchen of a disused restaurant, school children and a clinically vulnerable person - unable to leave her home at all, recount the toll the pandemic has taken on them personally and professionally. Others tell of the joy of engaging with nature for their mental wellbeing, walking on the South Downs or swimming in the sea.

These stories have been brought together by local photographer Anja Poehlmann, sound artist Adam Moffatt-Seaman and WTM Engagement Officer, Vicki Wells, to capture this unique episode in our shared contemporary history.

The Exhibition

The Artists

Hannah Brackenbury Interview

We caught up with the wonderful Hannah Brackenbury to ask a few questions ahead of her show at the Pavilion Theatre on Tuesday 18 May 2021, WTM's re-opening night! Tickets are available here.

What should people expect from Victorious?

Victorious is an hour-long one-woman show - just me, my piano and guitar paying tribute to my hero, the late, great Victoria Wood. It’s a mix of poems, original songs and Victoria’s classics and it tells the story of how she influenced me as a performer and what she meant to me. There are a couple of poignant moments but overall it’s an uplifting and joyful tribute to an absolute genius who is sorely missed by so many.

Was Victoria Wood always an inspiration for you?

I grew up watching her on TV and my mum would always call me through to watch her, especially when she was playing the piano. I had music lessons from an early age so was always quite fascinated by other female musicians and performers on TV. I really loved French & Saunders and the Smack The Pony series too, which both featured musical comedy and song parodies.

How did you get into musical comedy?

I studied music all through college and university with the intention of becoming a ‘serious’ songwriter - I'd never really planned to be a performer, I just wanted to write songs for other people. But friends kept encouraging me to get up on stage at open mic nights and acoustic nights, and this became a regular thing. I would perform a set of my own songs, but then I would throw in a Victoria Wood song at the end and the reaction was always so huge! It was addictive. Then I discovered another musical comedy performer called Tim Minchin who made me think about writing my own comedy songs and from then I never really looked back! Once you’ve had that buzz from making an audience laugh it’s difficult to go back to being a ‘regular’ singer-songwriter again.

Are you excited to get back to performing live on stage?

Oh yes absolutely! I’ve only had one ‘live’ gig in the last 13 months so this will be my first one back in a long time!! I can’t wait. I’ve done a few online gigs over the last year but they are just not the same. It’s very difficult to perform comedy without a live audience to feed the energy from.

You’re based in Brighton, what are three things you think someone who’s never been to Brighton needs to try (in normal times!)?

I would say a barbecue on Brighton beach at sunset is probably one of my favourite activities. Nothing quite beats that atmosphere - but my pro-tip is to always take a cushion with you - those pebbles are tough on your bum after a while! I would also recommend a wander around the Pavilion and its gardens. If you’ve never seen that building before it’s pretty special, and there’s always a great busker or two to stop and listen to. Finally my other favourite activity is a bike ride along the Undercliff Walk all the way along to Saltdean and back. On a sunny day it’s a lovely way to get some exercise and sea air in your lungs!

The War of the Worlds Interview

About to embark on a national tour with their critically acclaimed production of The War of the Worlds, Rhum and Clay’s Matt Wells and Julian Spooner tell us to expect laughter, visual thrills and even modern technology in their retelling of the ultimate alien invasion story.

When HG Wells published his classic sci-fi novel back in 1898 it’s doubtful he would have imagined his work being performed on stage over a century later. And certainly not in a production that includes a podcast. Although I suppose he might have guessed at 'Podcast' being the collective modern name given to the strange alien beings of his story; the Extra Terrestrials that invaded leafy Surrey and saw humans as ‘edible ants’. But there you go. Fact, it would appear, is indeed often stranger than fiction.

And our fascination with the story shows no sign of abating. From a historic radio play to Jeff Lynne’s concept album of the 1970s, several movie versions and now even an ‘interactive experience’, Herbert Wells certainly wrote an enduring belter.

“We like to take source material and deconstruct it. We thought this wonderful sci-fi yarn, along with the extraordinary reaction to Welles’ radio broadcast, was a fascinating combination to use as an illustration of early fake news and we wanted to put our own spin on that,” Co-Artistic Director of Rhum and Clay Matt Wells explains.

Ah yes. The infamous radio play broadcast. For the uninitiated, this was the Orson Welles version that on airing in 1938 saw America panicking that there really had been an alien invasion in New Jersey.

“It’s almost a show about The War of the Worlds,” says Matt’s fellow Artistic Director Julian Spooner, picking up the baton.

"We use the broadcast to ask why we believe in stories, including of alien invasion, and take a through line to the run-up to the 2016 Presidential election in the United States."

A testament to the initial story, Matt and Julian (who also appear in the production) have created a show that has been so highly acclaimed that its forthcoming tour marks its third outing. Following on from a sold-out run at London’s New Diorama Theatre and being a smash-hit at the Edinburgh Festival, their The War of the Worlds homes in on the here and now’s climate of disinformation. Cleverly, it reinvents the story to the point of making it feel fresh and relevant, while retaining all the suspense and mystery of the original.

“We have confusion about what’s real and not real today,” observes Matt. “The truth feels like it’s a matter of perspective rather than fact. Our version is about that line between truth and fiction.

“We like to take big ideas and make them accessible, without diluting anything, and we love to tell a good story. Everyone loves an alien invasion, but creatively we’ve woven in a modern day narrative about a podcaster and there is a fizzing political current going through it.

“We also make very physical and very visual work. A lot of influences are closer to cinema, so it’s very immediate and vital. And there’s an award-winning sound score that runs through the whole thing. We hope that there’s something in there for everyone.”

The reviews from critics and feedback from theatregoers back him up on this, with both groups confirming that the show and its performers deliver ‘plenty of theatrical punches.’

“It’s very funny and entertaining and theatrical,” agrees Julian, “Very physical – we are known for our physical approach – but it really is multi-layered.”

Talking of physical, I suggest that with a busy tour mapped out it's just as well that their energy levels are zippy. They reply, politely, that I have it back to front; it is actually touring and new audiences that are their virtual pep pills.

“We love telling stories in a visual way and really surprising audiences, but we also love touring. Audiences in Brazil respond differently to audiences in Kazakhstan depending on what resonates with them. That really energises us,” says Matt.

This tour also marks a welcome milestone for the duo, as it sees Rhum and Clay’s work moving from small-scale to mid-scale theatres like Connaught Theatre Worthing as part of Brighton Festival.

“Being booked by bigger theatres has allowed us to develop the show’s production values. It’s lovely to keep adding different layers. That’s a real privilege,” Matt is clearly chuffed.

“And we have never been to many of the theatres on this tour schedule as a company before, so that is really exciting,” Matt adds.

Something else they were excited by was the appointment of playwright Isley Lynn to the project.

“Sci-fi is a very male dominated genre so we wanted to find a female writer to counteract that. She is a wonderful writer and has given the piece a unique perspective,” says Matthew.

“And when you’re doing a show about fake news and touching on this era of Donald Trump a female voice is incredibly important within that conversation,” adds Julian.

“She also brought a really beautiful human touch to the story and creates very believable characters. Not just intellectually stimulating and conceptually interesting, but something that really takes people on a ride and gets them to engage and believe in the characters.”

On the subject of believability, what do they reckon: did Wells pre-date fact; is there anything out there?

“I’ve absolutely no idea and I’m totally happy with that!” Matt laughs.

Julian ponders a while longer before saying: “On a mathematical level there has to be a life form of something, but I wouldn’t say that it was anything that resembles us.”

Little green men running amok in Deep Space aside, here on planet Earth it sounds like they’ve got a hit on their hands. To misquote ET, arguably the most famous alien of modern times, don’t phone home. Phone the box office instead.

Programmed in partnership with Brighton Festival The War of the Worlds is at the Pavilion Theatre Thursday 20 - Saturday 22 May 2021. Tickets are available here or you can call our Box Office on 01903 206206 (Tue-Thu 10am-2pm).

Culture Recovery Fund Round 2

We are excited to announce that we have received a grant from the Culture Recovery Fund: Second Round. This will support us over the next few months as we safely reopening all WTM venues from May, allowing local audiences to access and enjoy live Arts and Heritage together again in a safe and socially distanced environment. You can read our full Press Release below.

Worthing Theatres and Museum announce they have received a grant from the Second Round of Culture Recovery Fund

Worthing Theatres and Museum has been awarded £98,398 as part of the Government’s billion Culture Recovery Fund (CRF) second round aimed at supporting cultural organisations as they transition back to a viable and sustainable operating model during April-June 2021. WTM were among more than 2,700 recipients to benefit from the latest round of awards from the £1.57 billion Culture Recovery Fund.

The funding will support the safe reopening of WTM venues from May, allowing local audiences to access and enjoy live Arts and Heritage together again in a safe and socially distanced environment. Including a fantastic line-up of comedy, Rhum and Clay’s critically acclaimed The War of the Worlds, Proteus Theatre’s The Bloody Chamber and fun filled family theatre show Pinocchio.

Over £800 million in grants and loans has already been awarded to support almost 3,800 cinemas, performance venues, museums, heritage sites and other cultural organisations dealing with the immediate challenges of the coronavirus pandemic.

The second round of awards made today will help organisations to look ahead to the spring and summer and plan for reopening and recovery. After months of closures and cancellations to contain the virus and save lives, this funding will be a much-needed helping hand for organisations transitioning back to normal in the months ahead.

Culture Secretary, Oliver Dowden, said: “Our record breaking Culture Recovery Fund has already helped thousands of culture and heritage organisations across the country survive the biggest crisis they've ever faced. Now we’re staying by their side as they prepare to welcome the public back through their doors - helping our cultural gems plan for reopening and thrive in the better times ahead."

WTM CEO Amanda O'Reilly, has said: ‘We are delighted, and grateful, to have received a grant from Culture Recovery Fund Second Round. The last year has been extremely challenging. We have opened our venues for shows, events and exhibitions everytime government legislation allowed and it was safe to do so.

This essential funding will support WTM in getting back to doing more of what we do best, bringing high quality Arts and Heritage to Worthing, and aid in creating greater stability to weather the future, long-term financial impacts of the pandemic.

We continue to work hard towards ensuring WTM’s future so we can continue making memories together for years to come. We appreciate the support we have received from our community over the last year, and look forward to welcoming audiences back into all our venues this May.’

Sir Nicholas Serota, Chair, Arts Council England, said: “Investing in a thriving cultural sector at the heart of communities is a vital part of helping the whole country to recover from the pandemic. These grants will help to re-open theatres, concert halls, and museums and will give artists and companies the opportunity to begin making new work. We are grateful to the Government for this support and for recognising the paramount importance of culture to our sense of belonging and identity as individuals and as a society.”

The funding awarded today is from a £400 million pot which was held back last year to ensure the Culture Recovery Fund could continue to help organisations in need as the public health picture changed. The funding has been awarded by Arts Council England, as well as Historic England and National Lottery Heritage Fund and the British Film Institute.

As a charitable organisation WTM rely on the generosity and support of the community and their audiences. If you would like to find out more about how you can support WTM today please visit www.wtm.uk/donate.

For more information on events and to book tickets visit www.wtm.uk or call the WTM Box Office on 01903 206206.

We Are Worthing

We are Worthing

We want photos of your lockdown heroes! We will be creating a wonderful collage exhibition in the windows of the Pavilion Theatre and we need your help.

What is #WeAreWorthing ?

Say Thank You to your pandemic heroes by submitting an image of them to be part of the #WeAreWorthing project that will capture the faces and stories of the people that shaped our last year.

These images will then form an outdoor exhibition filling the windows of the iconic seafront Pavilion Theatre and celebrating the amazing people that make up our community and their stories during lockdown.

Nominate your hero

The last year has been incredibly challenging for everyone and affected us all differently. This is a chance to show your appreciation to someone who has impacted your life.

So grab a decent photo and nominate your friends, family, colleagues and anyone in the community who matters to you. We want to hear your stories.

How to submit your nomination

Step 1

Open the application form

Step 2

Tell us who you are nominating as your pandemic hero and write a short (30-50 word) description of why they're your hero

Step 3

Upload a high quality image of the person you are nominating

Application Form

Photo requirements

The photographs should be front facing and of one person only.

Nobody under the age of 18.

No computer or mobile screengrabs, they wont be big enough to print.

Images taken on a smart phone are great but be careful if you are transferring them from a phone to another device via email or message, and always choose the highest quality option (this is generally ‘actual size’). If below 1mb in size - it's probably too small!

Please make sure you have permission to submit the photograph.

James Tully

This is James, our Films and Campaigns Manager. Over the last year we’ve been working together letting all of your know what’s going on with WTM. He has a joke for every situation and an incredible selection of film recommendations. Thanks for making me smile over the last year James!

The deadline for submissions is Friday 30 April 2021 and selected submissions will be included in the exhibition at the Pavilion Theatre and online digital catalogue from late May.

https://youtu.be/31XhZLvk8VE?list=TLGGZOZI1UERu9UxMTA1MjAyMQ

Where will my photo be used?

It will form part of an online catalogue within our website.
We may use images and quotes for social media.
If selected, your entry will form part of an outdoor exhibition on the Pavilion Theatre and Atrium windows.
In submitting your image and text you are giving WTM permission to use these in the exhibition, on their website and social media, for full terms and conditions click here.

Theatres Trust: Theatres Reopening Fund

WTM receive a grant of £1,834 from the Theatres Trust: Theatres Reopening Fund.

We are thrilled to announce we have received a grant of £1,834 from the Theatres Trust: Theatres Reopening Fund.

This money will aid in preparations for reopening all venues later this year; it will further support the WTM staff team in working safely on and off site to create and curate work for our in-person and digital audiences; and allow the organisation to purchase additional equipment to ensure the safety of staff and audiences when we reopen!

You can read our full Press Release below.

Worthing Theatres and Museum has received a grant of £1,834 to aid in preparations for reopening all venues later this year. WTM have done everything possible with the resources available to ensure audiences still have access to arts and creativity during a time when it is needed more than ever. This funding will further support the WTM staff team in working safely on and off site to create and curate work for their in-person and digital audiences; and allow the organisation to purchase additional equipment to ensure the safety and confidence of their audiences as the venues reopen.

Last autumn Worthing Theatres and Museum successfully trialled the gradual reopening of all its venues. Including the reopening of Worthing Museum, a fantastic season of stand-up comedy, stunning Screen Arts line-up and a magical family Christmas show. Additional measures and safety procedures already introduced include socially distanced seating; PPE for all staff; ensuring hand sanitiser is available throughout their venues; clear signage displaying Covid-19 safety messaging; using electronic ticketing in place of paper tickets; one way systems and exits; and offering audiences the opportunity order refreshments through an app and that refreshments are delivered directly to their seats.

The support from the Theatres Reopening Fund, administered by the Theatres Trust, will allow WTM to further prepare for a full reopening funding additional equipment to keep our team and audiences safe and connected. Including Perspex screens to allow staff to work safely within the venues, an additional fogger and the necessary antibacterial spray solution that ensures we are able to reopen multiple venues, have multiple performances at a time and continue our rigorous cleaning and disinfecting procedures and LED screens used to display essential safety information and Covid-19 messaging in a variety of formats so that audiences can see and understand messaging.

CEO Amanda O’Reilly says ‘We are looking forward to reopening and welcoming our community back into the venues as soon as we are able to do so. The support of the Theatres Trust will aid in preparations for reopening, facilitating additional measures that will help ensure the safety of our audiences and the WTM team.’

As a charitable organisation WTM rely on the support of audiences and the community to develop our programme on stage and screen, in our museum, and within the community. If you would like to find out more about supporting WTM, you can at www.wtm.uk/support.

The Theatres Reopening Fund is administered by the Theatres Trust with the aim of supporting theatres with reopening following several months of closure. Helping cover costs such as building improvements and purchasing equipment that will support the theatre to be able to open viably and safely.

Theatres Trust Director Jon Morgan comments, ‘While not all theatres are able to open right now, Theatres Trust is pleased to be able to help more theatres to prepare for a time when they can welcome audiences back into their buildings, safe in the knowledge they are providing Covid-safe spaces for people to enjoy the live entertainment that has been so missed in 2020.’

For more information on how you can support WTM and the safety measures in place for reopening visit www.wtm.uk.

We are part of the Government Kickstart Scheme

We are excited to announce that we are part of the Government's Kickstart Scheme! We are thrilled to be working with our gateway organisation Brighton Dome & Brighton Festival (BDBF) in partnership with Future Creators.

We will have 12 posts across the organisation and will be announcing more details over the next few months. So keep an eye out on our website and social media!

You can read our full press release below

Worthing Theatres and Museum announce they are part of the Government Kickstart Scheme

Worthing Theatres and Museum (WTM) are excited to announce they are part of the Government Kickstart Scheme. Working with their gateway organisation Brighton Dome & Brighton Festival (BDBF) in partnership with Future Creators, a collective of local businesses, youth groups, arts and heritage organisations, WTM are thrilled to be able to provide multiple entry level roles across the organisation giving young people in our community the chance to gain experience working in the creative and cultural sector.

Announced in summer 2020 the £2bn government initiative is aimed at helping younger workers find employment during the pandemic. The Kickstart Scheme is a 6 month paid work placement with a local employer, funded by the Government, offering young people the chance to gain experience and develop their skills in the workplace.

WTM has been approved to recruit 12 Kickstart roles across the organisation including museum, creative teams, hands-on technical and customer facing, administrative and marketing later this year. All the Kickstart roles are entry-level so they are great starting points for young people at the beginning of their careers.

CEO Amanda O’Reilly says

‘As a charity, one of WTM’s main objectives is ‘the advancement of education, particularly but not exclusively, in relation to theatre, dramatic arts, and the preservation of important historical collections of decorative arts and clothing within a museum’. We want to ensure that the Kickstart programme is an opportunity to really meet this objective and provide young people in our community with the chance to learn and develop their skills while gaining practical paid experience in the workplace.’

To apply for WTM’s Kickstart roles you must be aged 18-24, currently claiming universal credit and at risk of long-term unemployment. The scheme is being run by the DWP, so your local Jobcentre will be able to run you through the specific criteria, help you find out whether or not you’re eligible and your work coach will be able to refer you to WTM.

Keep an eye out on WTM’s website and social media for further information on the roles available.

Details of the specific roles will be available at www.wtm.uk over the next few months.

Crowdfunding Campaign Exceeds All Expectations!

Our first crowdfunding campaign has exceeded all expectations and raised an incredible £17,164 for the charity. We want to say a huge Thank You to everyone who has supported the campaign, for all your donations and the kind and inspiring messages.

Worthing Theatres and Museum launch Crowdfunding Campaign

We are excited to announce the launch of our crowdfunding campaign as part of the national #SaveOurTheatres crowdfunding campaign  launched by the Theatres Trust to help prevent the permanent closure of UK theatres.

Digital Open 20

WTM’s bi-annual Open exhibition invites amateur and professional artists from Worthing and the wider Sussex community to submit a digital image of their work to the Museum, for the chance for their artwork to be displayed in the Studio Gallery space.

WTM Culture Recovery Fund Grant

We are thrilled to share the news that we have received a grant from the Government’s Cultural Recovery Fund.

Worthing Creates

We have created a pack full of amazing projects for you to try at home.

Over the last few months while our buildings were closed due to the COVID-19 emergency everyone at WTM has remained committed to engaging creatively with our community. The world needs the arts and creativity now more than ever!

One of the exciting projects we have been working on with the support of Arts Council England is Worthing Creates. The aim of the project has been to support our local community to explore new ways of self-expression through arts and heritage.

In conjunction with some amazing local artists, makers and creatives from Worthing and the surrounding area we have created a pack of creative projects for you to try at home. For most of the projects you don’t need any previous knowledge or specialist materials, so this is a fun opportunity to create a memory or learn a new skill.

Share your creations with us on social media @wtmworthing and #WorthingCreates.

Download pack here

Worthing Creates

Create something amazing now!

You could create your own hand-sewn memories from fabric scraps you find around the house or make a sock puppet inspired by WTMs Beauty and the Beast Panto. Learn a new art form such as paper quilling, or discover everyday letterforms and relax with some mindful colouring. You can even learn how to get stage ready with vocal warm-ups and tap dance skills to learn at home. Not forgetting the chance to spot the yellow pug!

WTM have said ‘We hope these ideas spark your creativity, ignite a new interest or support you on your own creative pathway!’

The local artists involved are Anna Twinham-Cauchi, Michelle Dawson, Mark Wheatley, hello DODO, Ross Muir, Stephanie Smart, Lee Payne and Storm Minitries. All are artists, makers and creatives based in Worthing and the surrounding area, so you may already recognise their work!

Worthing Creates

The project was made possible with support from the Arts Council England. Which also supported WTM in offering outdoor performances from Tribe and The Giant Balloon Show in August and creating an outdoor exhibition at the Pavilion Theatre.

So if you are looking for something fun to do this weekend why not download the pack and try out one or all of the innovative and creative projects from the comfort of your own home.

Worthing Creates

Download pack here

WTM Black Lives Matter and Anti Racism Statement

Worthing Theatres and Museum stands with and supports the Black Lives Matter movement. To our teams, our peers, our audiences and our supporters, we are with you.

Worthing in Lockdown

This exhibition shares the work of Siobhan a Sussex based photographer, who runs 16 Beasley St Photography. Siobhan has captured her view of Worthing during the Covid-19 lockdown.

I’ve lived in Worthing for 20 years and it’s never looked quite like this before. During the day, I work as a mental health advocate, my evenings and weekends are usually taken up with music photography, shooting gigs and festivals locally and across the UK. I also edit Breaking Glass Magazine, an online publication focused on music, photography and the arts.
With no gigs or festivals to shoot, I’ve spent some time in lockdown taking photos around my local area, capturing some familiar places that feel a little surreal without the usual people and noise surrounding them. It’s far removed from my normal subject matter but it’s been a bonus to see what’s on my doorstep in a different light.

Siobhan

If you would like to see more of Siobhan's work pop over to her website or follow here on Instagram and Twitter!

Our Space, Your Ideas

WTM’s year-round programme of arts and heritage events and activities is delivered across our four theatres and museum, in the very heart of Worthing.

Assembly Hall transformed into PPE distribution centre during Covid-19

As part of our efforts to support our community during the covid crisis, the Assembly Hall is being used to make and distribute PPE plastic visors to frontline healthcare workers in Sussex.

Emily Jolley A Walk Round Cissbury Ring

Emily Jolley is a painter and watercolour teacher based in Brighton. Her work was part of the A Walk Round Cissbury Ring exhibition, which also featured work from Tania Rutland, Jane Fox, Jenny Staff and Anna Twinam-Cauchi and was exhibited in our Studio Gallery in 2019.

The A Walk Around Cissbury exhibition brought together five artists, Emily Jolley, Tania Rutland, Jane Fox, Jenny Staff and Anna Twinam-Cauchi, with the common practice of working in the local Downland landscape. Having discovered that they had all been working, walking and visiting similar area on the South Downs over the past few years, through conversations and chance meetings.

All the artists were drawn to Cissbury Ring for different reasons: Research into historical sight of significance, looking for the human shaping of a land that has been farmed for centuries, walking, collecting and thinking.

Their conversations have prompted collective visits to the site together and the sharing of their different interests and interpretations of the site. The exchanges allowed the artists to develop their works and encouraged the decision to creative a collective exhibition.

This digital exhibition shows you Emily's works that were part of the A Walk Around Cissbury exhibition.

Emily has said about the works

"My large watercolours for this show explore what I see when walking on Cissbury and my desire to convey the scale and space. I started using natural materials such as grass, feathers to capture the scratchiness of the scrub land through marks. On Cissbury you seem never to be alone, there is always someone on these tracks which are well worn through time. The views from these paths have changed but the one thing that stays a constant is the space and distance, as a painter these are what I enjoy expressing through layers and marks."

Take a look at more of Emily's work why not pop over to her website or follow her on Instagram!

Website: www.emily-jolley.uk

Instagram: emilysbirdgallery

Being able to engage with the arts and creativity is more important than ever during challenging times. We are doing everything we can to keep bringing you access to exhibitions like this - as well as other digital content - until we are able to reopen and welcome you back in.

The Ladies Paradise

This digital exhibition brings you The Ladies' Paradise exhibition that would have been on display in our Norwood Gallery. WTM are committed to providing the community and our customers with the opportunity to continue engaging with arts and heritage during the Covid crisis. Although we were incredibly sad to have to close our venues we are looking forward to welcoming you all back as soon as possible, in the mean time we are creating digital content such as this that we hope you'll enjoy!

Edwardian fashion viewed through the illustrations of artist Ida Pritchard (1889-1948)

This selection of fashion drawings are the work of Ida Pritchard, who was employed as a fashion illustrator by the London department store Peter Robinson’s of Oxford Street, c.1906-1914. The archive of her drawings was donated to Worthing Museum and Art Gallery by her family in 1993. Despite not receiving any further artistic training after leaving school, Ida worked for years as a commercial artist, producing images for advertisements which appeared in fashionable publications such as The Queen and The Ladies’ Field.

They provide a valuable glimpse into the working life of a female commercial artist in the period just before the First World War, which was the heyday of the West End department store. Ida’s drawings skilfully capture the exaggerated characteristics of the feminine ideal of the 1900s and early 1910s, from the dramatically corseted “S” bend silhouette to the high-waist, tubular Empire line that replaced the hourglass style. The opulence of the Edwardian era, the layers of lace, feathers and furs are delicately modelled in a largely monochrome palette. Displayed alongside the fashion plates is a selection of dress from the museum collection, c.1900-1914, including pieces from Peter Robinson and other London department stores.

Objects of Desire: The Edwardian Department Store

The beginning of the century saw the flowering of the major London department stores, which were at the forefront of fashion retail for the rising middle classes in the early 1900s. Like many department stores, Peter Robinson’s had begun as a modest draper’s shop in the 1830s and expanded to become “Black Peter Robinson’s” mourning warehouse, capitalising on the Victorian cult of grief. Their arch rival, Jay’s Mourning House of Regent Street, followed a similar business trajectory from retailer of mourning essentials to a fashionable emporium of numerous departments. The enterprise expanded rapidly in the late Victorian consumer boom and by the 1890s Peter Robinson’s was a large and prosperous business, with premises on Oxford St, Regent St, Great Portland St and Argyll St. A new, purpose-built flagship store was completed on Oxford Circus in 1912, which still stands, occupied today by Topshop.

The department store was the first retail environment designed specifically to entice women consumers. During the Victorian period there were few public spaces which a respectable woman could use unchaperoned or without the company of a husband or male relative. Modern department stores such as John Lewis and Selfridge’s made use of new building technologies such as cast iron and plate glass to create open, galleried, spaces and large, inviting windows filled with innovative displays, including fashionably dressed mannequins. Customers were encouraged to browse, to try items on, and to relax in refreshment rooms. Shopping was viewed as a leisure activity, and the new department store a place to see and to be seen.

Ida Pritchard - The Ladies Paradise

Department stores offered a vast array of haberdashery goods and a comprehensive dressmaking services, however they were also at the vanguard of ready-to-wear fashion production. Throughout the Victorian period clothing was made to measure, specifically for the individual, but as the nineteenth century progressed, technological innovation moved the garment industry gradually towards mass-production. Items such as mantles and capes, accessories such as gloves and hats, were among the first types of clothing to be available ready-made, and retailed in luxurious surroundings. Department stores in this period all had large dressmaking departments with seamstresses producing outfits to order. Peter Robinson pioneered ready-made costumes with an open seam at the back so that clothes could be purchased mail-order and adjusted to fit at home.

Peter Robinson was among the first fashion retailers to advertise in the press, taking out advertisements in the Illustrated London News for mantles and waterproofs as early as the 1860s. The second half of the nineteenth century saw an explosion in print culture and many new periodicals were aimed specifically at a female audience, featuring columns of style and etiquette advice, and as, print technologies developed, engraved fashion plates.

By the early twentieth century, when Ida Pritchard produced these drawings, the company were producing beautifully illustrated full-page advertisements. Ida and her colleagues sketched from live models. Frequently the subjects modelled in the large shop windows, wearing the latest fashions, while the illustrators sat in the windows and sketched them, a clever publicity stunt drawing large crowds on the busy pavements outside.

Adverts featuring ready-made blouses, petticoats and camisoles appeared in publications such as The Ladies’ Field and The Queen, which were aimed at the aspirational middle class female consumer. The advertising pages of such magazines reveal a cornucopia of products aimed this audience, from clothing to cosmetics, to foodstuffs, patent medicines and household gadgets. In this way, a whole new world of consumer delights could be experienced by the fashionable Edwardian female.

The two figure studies show an evolution both in the artists drawing style and the fashions of the pre-war period. In these drawings, Ida uses ink sketches to create a more youthful, modern female ideal than the types depicted in her pre-1910 fashion studies.

Ida Pritchard - The Ladies Paradise

Below are five studies of female models wearing hats and stoles, by Ida Prtichard c. 1900-1910. All Gouache and watercolour on cardstock.

Curating The Ladies’ Paradise: A Hidden History

This exhibition was curated by Jo Lance, a PhD researcher in 20th Century Dress History with the University of Brighton. Jo came across the archive of Ida Pritchard’s fashion drawings while volunteering at Worthing Museum and Art Gallery. Jo was intrigued by the drawings, especially as it seemed unusual for a young woman to have had a career as a fashion illustrator in the period before the First World War.

Little is known about female graphic artists working in this industry in this era. We know that Ida Pritchard was raised and educated in London and that she worked as a commercial illustrator for Peter Robinson department store for several years before she left work upon marriage in 1914, as was customary for the time. We do not know, however, how common her career path was for women during that period.

Traditionally, histories of early 20th Century fashion illustration have focused on avant-garde artists such as Paul Iribe and Georges Lepape. Such accounts focus on elite fashion and do not include the many artists who, like Ida, worked in the rapidly expanding advertising and magazine industry in the early decades of the 20th Century. This exhibition was therefore an opportunity to show the work of one of those unknown artists.

Items from the dress history collection, many from department stores, have been selected to complement the drawings, and to present in three-dimensions the types of clothing that Ida Pritchard illustrated. She had an amazing eye for detail and her work cleverly captures the sumptuous textures and stylised, staged femininity of the Edwardian period.

Ida Pritchard - The Ladies Paradise

Cutting Edge

WTM are seeking potential donations of high street clothing, accessories, footwear, hats and bags from the 1980s, 1990s and 2000s to join the museum’s nationally recognised costume collection!

WTM Colouring Competition

This competition has now closed, but colouring is still lots of fun so why not had a go if you’re bored! We always love to see anything you create so send it to us on social media or to marketing@wtam.uk!

A Strange and Familiar Sea

As you will all be aware, following the government announcement on Friday 20 March 2020 we have had to temporarily close our venues until further notice. Consequently we are doing everything we can to continue to connect you, our physical and digital audiences, with culture in different formats!

Mandy Williams, A Strange and Familiar Sea is our first digital exhibition! The exhibition would have been on display for you to view in our Studio Gallery, however as the buildings are closed with are offering you the chance to view the amazing photography and videos here.

Mandy Williams is a photographer and artist who works on long-form landscape series concerned with the psychology of place and how the marks of time and human presence affect the environment.

A Strange and Familiar Sea is a photography exhibition by Mandy Williams that brings together work from three photographic series about the sea to the resort town of Worthing.

Filmed on a very stormy day in February here is our interview with Mandy about the exhibition.

https://youtu.be/DWCMuQdvMLI?list=TLGGUAX-wS-DqQ4xMDAyMjAyMQ

In Beyond Land the photographs take place at the street, a causeway that reveals itself at low tide. Started a month after the referendum result with its emphasis on Britain as an island nation, geographically and psychologically separate from Europe, the photographs show a collective march to the water’s edge. The line of people following disappearing paths out to sea not only documents our innate connection to water but can also be seen as a metaphor for the times.

Beyond Land 5 - Mandy Williams

Beyond Land 7 - Mandy Williams

Beyond Land 10 - Mandy Williams

Beyond Land 20 - Mandy Williams

Sea Level and Frame were shot in Worthing where she lived as a teenager and focus on the beach shelters along the promenade. In Sea Level the photographs are taken at high tide, when the shelters are empty. Their windows are weathered and scratched by the wind. The view of the sea through this prism produces images that are quite abstract - the sea and the markings on the glass have equal importance in the finished photograph.

Frame captures people as they walk by the shelters, their bodies barely discernible as they pass the central arms of the cross frame or are swept along by the wind. The textures of the environment at that moment are imprinted on the figure. Frame is exhibited as 12 captures.

Finally, a new work, Trace, (created especially for the exhibition), provides an impression of the sea printed onto three translucent acrylic squares of different sea-coloured hues, allowing the viewer to experience the waves through the windows in a more tactile and sensory way.

Sea Level 28 - Mandy Williams

Sea Level 25 - Mandy Williams

Sea Level 3 - Mandy Williams

Sea Level 2 - Mandy Williams

Frame Panel - Mandy Williams

Trace Installation - Mandy Williams

https://vimeo.com/380531273

A Strange and Familiar Sea is Mandy's 4th solo exhibition in the UK. Recent group exhibitions include the 209 Women exhibition at Open Eye Gallery, Liverpool (2019), Women Photographers Today, Gallery Valid Foto, Barcelona (2019) and Royal Academy Summer Exhibition (2019). She received the Photography prize at the Royal West of England Academy in 2014, 3rd place in the International Photographer of the Year Award 2017 in Landscapes: Seascapes, and work from Sea Level was shortlisted for the 2018 Hariban Award, and an Awardee in the Julia Margaret Cameron Awards 2018.

Contact information

Mandy Williams

Photographer

07817 397 747

https://mandywilliams.com

With support from Metro Imaging Ltd

WTM Spotlight – Circus on the South Coast

WTM have been actively programming contemporary circus for the last five years, launching the Summer of Circus in 2016, such was the success of the season that we now actively programme contemporary circus throughout the year. We talked to Amanda O’Reilly about the journey with circus so far…

WTM Spotlight – Costume Collection

Acknowledged as the largest costume collection of everyday wear in the UK, WTM took time out to talk to Gerry Connolly, Head of Museum and Collections in 2020 about this incredible ensemble of unique items.

WTM – A New Chapter

We are thrilled to be part of a wonderful new chapter for Worthing Theatres and Museum (WTM) now as an independent charity.

Walk a Mile Tour

As part of the In Their Shoes exhibition we encourage you to join our circular tour Walk a Mile to further the experience of the work.

Navigate your way past each WTM venue, take a moment to reflect and enjoy a journey via key imagery from the exhibition and, as you reach the Pavilion Theatre, a community curated portrait gallery made entirely of the faces of the #weqreworthing nominated heroes..

The route is wheelchair accessible, exactly one mile in length and dependent on pace should take approximately thirty minutes.

The exhibition, walking tour and outdoor portrait gallery are all free to explore.

Please consider making a donation to WTM so we can continue providing creative experiences for our community.

Listen while you Walk a Mile

Listen to experiences from the In Their Shoes exhibition participants and hear their stories, the impact the last year has had and the ways in which they navigated that time.