Opening this Week – Tickets selling fast!!

Two Amazing Shows running 4th -20th July!

Tickets are on sale now! (Click Here)

This July, Garden Suburb Theatre will be returning to one of our favourite venues – the Little Wood Open Air Theatre, NW11 6QS (entrances from Denman Drive, Oakwood Road and Addison Way), for our annual set of summer performances.
But this time there’s a big difference: we’ll be putting on not one but TWO shows, so there’ll be plenty of opportunity to experience some top-notch outdoors amateur theatre.

A pair of talented casts will be getting their teeth into The Merchant of Venice by William Shakespeare, directed by Diana Bromley, and Our Country’s Good by Timberlake Wertenbaker, directed by Kayne McCutcheon. These two very different plays will be running in rep, with nine performances each between 4th and 20th July – and as an added extra, if you book to see both shows we’ll be running a Buy One Get One Half Price deal which will give you great value for money as well as the chance to see two moving, exciting and engrossing pieces of theatre.

The Merchant of Venice probably needs no introduction – this Shakespeare classic explores the universal and always relevant themes of justice, intolerance and law, alongside a number of romantic subplots. We’re really looking forward to bringing this well-known text and characters like Portia and Shylock to life in a new, exciting way. Anyone who has seen one of Garden Suburb Theatre’s previous Shakespeare productions (like Measure for Measure last year) will be aware of just how well his plays work in the Little Wood Open Air space, so this is one not to be missed.

Our Country’s Good, by female playwright Timberlake Wertenbaker, tells the amazing true story of the first penal colony in Australia, focusing on a group of convicts who put on a play under the guidance of Second Lieutenant Ralph Clark. With a variety of colourful characters based on real people, actors playing multiple roles, and a brilliant mixture of comedy and tragedy, this dramatic and insightful play shines a light on the power of theatre to combat prejudice and bring people together.

Tickets are on sale now! (Click Here)


Our Country’s Good:

Friday 5 July, Sunday 7 July (matinee), Tuesday 9 July, Friday 12 July, Saturday 13 July (matinee & evening), Wednesday 17 July, Friday 19 July, Saturday 20 July (evening).

The Merchant of Venice:

Thursday 4 July, Saturday 6 July (matinee & evening), Wednesday 10 July, Thursday 11 July, Sunday 14 July (matinee), Tuesday 16 July, Thursday 18 July, Saturday 20 July (matinee).


Single show: £12/£10 concessions
Both shows: £18/£15 concessions (Buy one get one half price!)
Groups of 10: Single show £100, both shows £150.
Families: Single show £40, both shows £60.

Tickets are on sale now! (Click Here)

Meet the Our Country’s Good Characters

Scroll down for more info on the fascinating characters of Our Country’s Good (often based on real people) and the clever actors playing more than one at a time!

Audition: My Mother Said I Never Should

Director: Gabi Maddocks

Assistant Director: Sarah Overall

Audition Information:

Sunday 7th July 2019: Free Church Hall, Northway, London NW11 7BN

4.30 – 6.30pm Children / Young Adults

7.00 – 9.00 Adults

Please note some children may be asked to stay for the first part of the adult audition.

If you want to audition but are not available on 7th July, then we may be able to see you on Monday 1st July instead. Please contact Gabi using the address below.

Performance Information:

Performances: Thursday 17th to Saturday 19th October at 7.30pm and Sunday 20th October at 4pm

Venue: Upstairs at The Gatehouse, Highgate N6

Rehearsal Information:

Rehearsals for this play will be Tuesday and Thursday evenings and Sunday afternoons. We may also call some rehearsals on Monday evenings, if necessary. They will take place at the Free Church Hall. Rehearsals will start in September, but we hope to schedule a few workshops/read throughs in July/August.

About the play:

This warm-hearted, humorous and heart-rending play is about the relationships between mothers and daughters. It investigates themes of childhood, growing up, and keeping secrets. The play explores the lives and relationships of four generations of women, and looks at society’s changing expectations of women through the twentieth century.


Young Doris: age 5-9

Young Margaret: age 7-10

Young Jackie: age 8-12

Young Rosie / Rosie (same actor): 10-15

Jackie: 20s to 30s

Margaret: 40s to 50s

Doris: 60s to 80s


This is not a children’s show. It is an adult play with adult themes such as teenage pregnancy and death. Children’s scenes contain topics such as playing at pretending to have babies and talking about ‘the curse’. If you have any concerns then please read a script before the audition to make sure you would be happy for your child to take part in the show. They will be well looked after but it may not be a suitable play for every child. 

Audition pieces can be downloaded below:
All children (1)
All children (2)
Rosie and young Jackie
Doris and young Margaret
Doris and young Jackie
Margaret and Jackie
Margaret and Doris
Jackie and Rosie

If you have any questions please contact Gabi on

Summer shows – Casting announcement

The Merchant of Venice 

(director Diana Bromley)

Duke of Venice – John Colmans

Prince of Morocco – Blue Beazley

Prince of Aragon – Geoff Prutton

Antonio (the Merchant) – Stephen Lanigan-O’keeffe

Bassanio – Edwin Coutts

Gratiano – Richard Tinworth

Solanio – Edward Smith

Salaria – Juliette Kulikovs

Lorenzo – Anthony Gretton

Shylock – Amos Witztum

Tubal – Blue Beazley

Launcelot Gobbo – Geoff Prutton

Old Gobbo – John Colmans

Portia – Naomi Smallwood

Nerissa – Rebecca Hill

Jessica – Alice Golton

Balthazar/Stephano – Milo McCarthy

Our Country’s Good 

(director Kayne McCutcheon, assistant director Michael Reffold)

Wisehammer/Phillip – Steve Chapman

Ralph – Warren Lustig

Mary/Rev Johnson – Jess Taylor

Sideway/Collins – Clare Janew

Dabby/Meg/Faddy – Anna Rolfe

Harry/Arscott/Campbell – Mark Overall

Ketch/Ross – Alice Gill-Carey

Caesar/Johnston – Gideon Benari

Duckling/Tench – Libby Curley

Liz/Dawes – Emily Hill

Casting announcement

For Jeeves and the Song of Songs and Audience…

Jeeves and the Song of Songs

Revd “Beefy” Bingham                       Colin Gregory

Mr Cholly                                            Edward Smith

Miss Dolly                                            Sue Miller

Bertie Wooster                                    Edwin Coutts

Lady Worplesdon, Aunty Agatha        Diana Bromley

Jeeves                                                  Gerry Zierler

Tuppy Glossop                                    Anthony Gretton

The Hon Miss Cora Bellinger              Clare Janew

Mrs Travers, Aunt Dahlia                    Francine Ross

Angela Travers                                    Abi Tallack-Cain


Joan                                                     Ashley Collins

Helena                                                 Saria Babiker

Amanda                                               Nina Meinzer

Quentin                                               Doug Hopping

Bobbie                                                 Trudi Dane

Charles                                                Rusty Ashman

Merrill                                                 Malcolm Stern

Lee                                                      Milo McCarthy

Keith                                                    Colin Gregory

Reginald                                              Toby Moore

Eileen                                                  Rosie Fiore-Burt

Usherette                                            Jemma Vernon

Wendy                                                 Jesse Musker

Jeeves & the Song of Songs

by P G Wodehouse, adapted for the stage by Francis Beckett

Performances: Thursday 11th to Saturday 13th April at the King Alfred’s Phoenix Theatre, Golders Green, NW11 7HY

Tuppy Glossop has dropped Bertie Wooster’s cousin Angela to pursue a romance with an operatic diva. Ordered by his Aunt Dahlia to break them up, Bertie somehow finds himself singing at an East End concert. A brand-new adaptation of the P G Wodehouse story.

Buy tickets:

Getting ready for Peter Pan #1: One Fearsome Crocodile

One fearsome crocodile, ready to eat Captain Hook! Our brilliant puppet creators have been hard at work making the crocodile (who they have named Colin) as well as Nana, the Darling children’s dog, and Tinkerbell. But we don’t want to spoil the surprise, book now to come and see them in action.
Wednesday 20 February – Sunday 24 February,
King Alfred Phoenix Theatre, North End Rd London NW11 7HY
Tickets from £10

King Alfred Phoenix Theatre

Set in the Idyllic grounds of Anna Pavlova’s Estate, five minutes walk from Golders Green Station, the King Alfred Phoenix is a multi-purpose space offering flexible facilities for theatre, conferences, workshops and rehearsal space.

The theatre was originally built in the sixties as part of the New College of Speech and Drama and has seen performances from such luminaries as Sir Ralph Richardson, Dame Peggy Ashcroft, Peter Sellers and Dame Helen Mirren. Now fully refurbished with state of the art lighting, sound and audio-visual equipment, the Phoenix is all set to move into the future and continue to produce, startling, innovative and dynamic work.

Peter Pan – casting notice

Peter Pan: Tilak Patel
Wendy: Jessica Taylor
Nana: Tim Solomons
Liza: Judith Lord
Tinker Bell: Emily Hill
John: Rebecca Hill
Michael: Sara Ashlea
Hook: Andy Farrer
Smee: Tim Solomons
Starkey: Sarah Boden
Mr Darling: Alan Gelfer
Mrs Darling: Jemma Vernon
Tiger Lily: Ebony Aboagye

Lost Boys

Lucas Farrer
Dougal Farrer
Olivia Gearson
Adam Norris
Jonah Maddocks
Maya Woolf


Juliet Blain
Sebastian Blain
Ana Gearson
Mark Gelfer
Rebecca Grossman
Lucas Howard
Elizabeth Jones
Nina Meinzer
Max Mendelle
Sue Miller
Amelie Millhoff
Anouk Millhoff
Toby Norris
Sasha Patel
Jacob Pleass
Amelia Radnedge
Lauren Shaw
Jacob Simon

Membership from only £1.25 a week!

10 great reasons to join NOW!!!

  1. You get to take part in up to 5 full productions a year, front or backstage.
  2. You get experience of working in a variety of venues, from a small studio theatre to a large proscenium theatre and, in the summer, in the Little Wood open air arena.
  3. Our shows have won many awards, but that’s not the only reason we produce them; we also like to let new people have a chance to try out and acquire skills.
  4. With over 200 members, it’s a great way to meet a bunch of friendly people with no ‘luvvy’ pretensions.
  5. You get a free ticket to every show we perform – worth about £55 a year (beats the West End prices!)
  6. We are a charity – every penny we make goes back into the society for our events and productions.
  7. You get free attendance to rehearsed and unrehearsed play readings, allowing you to hear shows you may not experience anywhere else.
  8. Kids and teenagers get to perform in the February show, and of course, help us out backstage with productions.
  9. We have showcased many new authors’ work in our schedules, including some plays by members.
  10. We hold regular social events and to keep you in touch with what’s happening, you will receive regular newsletters and email news bulletins.

There are four categories of membership of the Garden Suburb Theatre:

Active: This costs £60 and allows you take part in all activities including acting and directing and entitles you to a free ticket for each production.You will also receive our regular newsletter.

Concession: This costs £40 and gives you all the benefits of full membership with a reduction in cost for senior citizens, young people 12-18, full-time students and unwaged people.

Friend: This costs £35 and entitles you to a free ticket for each production (giving a saving over normal ticket prices over the year) and to attend social events. You will also receive our regular newsletter.

Family: Costs £120 all has all the benefits of full membership for a family of one or two adults and all children under 18.


Measure for Measure – Sardines review

Measure for Measure
William Shakespeare
society/company: Garden Suburb Theatre (directory)
performance date: 06 May 2018
venue: Little Oak Wood Open Air Theatre NW11
reviewer/s: Caroline Jenner (Sardines review)

Measure for Measure is a notoriously hard play to both perform and direct, not least because uncut it easily stretches to three hours in its entirety and that is a good half hour longer than it needs to be. The lady sitting next to me at this production by Garden Suburb Theatre would almost certainly agree, as she fell asleep after the first five minutes and intermittently opened her eyes, to then settle back into a comfortable slumber. Well to be fair it was a very warm, muggy Friday night and Measure for Measure has a very complicated plot, but some judicious pruning might not have gone amiss.

A play full of strong moral arguments, Measure for Measure allows the characters to throw ideas back and forth about the role of justice: whether a ruler should follow the letter of the law or accept compromise, and perhaps most importantly whether a rapist should be forgiven. Although the slightly lighthearted sub plots add an element of humour, they also force the director to span a strange miscellany of ideas and attitudes, making Measure for Measure first and foremost a problem play.

Initially with this production there was the need to accommodate over 20 actors within the play and ensure that the audience recognises and understands who they are and their relationship with each other. The ensemble nature of the staging by director Colin Gregory, with most of the company on stage the whole time, is a brilliant way to help the audience remember who is who. Additionally, he also manages to find an excellent equilibrium between the serious and comic elements, which can often seem quite incongruous if not carefully balanced.

Amos Witztum’s, Duke Vincentio, is clearly a man on a journey of self discovery, wavering between firm and self-assured with Isabella and Claudio, yet filled with doubts and a sense of concerned responsibility, when considering the way he has allowed Vienna to fall into such bad habits. Witztum manages to keep the Duke believable, despite the fact that he plays fast and loose with his subjects emotions. Keeping the truth that her brother is still alive from the woman he allegedy loves, is perhaps the ultimate example of unscrupulous ‘fake news’ making us wonder why Escalus says ‘he is a man of all temperance’. He takes over the drama halfway through, leaving behind him a sea of confusion, despite all this he still remains likeable.

Isabella is of course the woman who would rather her brother died than give up her chastity – perhaps the most famous line in the play “More than our brother is our chastity,” is some how rather appalling in this day and age, where sexual relations are two a penny and virginity is held cheap. However, like with so many Isabella’s I still find it hard to believe not only that she would change so dramatically and accept the hand of the Duke in marriage, but that someone so virtuous and devout herself would find it possible to talk herself into acquitting Angelo, however much she tries to justify his behaviour as pure – it is an overly simplified response. Just one more problem that is difficult to unravel in this knotty play.

Mariana, played by Francine Ross, desperately clings on to the husband she has just acquired with an urgency borne from the feeling that he is about to be ripped away from her. Her appeal that he be forgiven remains slightly implausible. Far more believable is the woebegone Juliet, who trails behind a chained Claudio, looking suitably sorrowful. Claudio himself appears very little, but Anthony Gretton, gives a memorable performance as a man who moves from the shock of hearing Angelo’s demands to someone who is desperate to live and begs his sister to concede. Perhaps a more gradual change in tone would have been more realistic as I feel that Gretton moves from a stunned sadness to an aggressive desperation a little too quickly.

Michael Reffold makes a very believable Escalus. Omer Warman appears seriously resolute in his honourable agreeing to give the Friar a chance to put right the wrongs initiated by Angelo and Amelia Radnedge stands beautifully still holding a crown, which is never worn!

The bawdy moments are played up well to lighten the tone, particularly Edward Smith as Lucio, who is hilarious as the verbose fool, who stalks the disguised duke. His comically strong performance enhances the dramatic irony as we watch him dig himself deeper and deeper in trouble. It is good to see Lucio played less as a dandy and more as some one who always looks out for number one and takes every opportunity to hear the sound of his own voice.

However, all credit must go to Edwin Coutts, playing Angelo as an unemotional, frigid individual who becomes totally obsessed with covering up the evidence of his guilty lust for the chaste Isabella. Perhaps one of the most difficult of Shakespeare’s roles his despotic, stifled nature is clearly shown through this very confident performance. He manages to present an extremely credible vision of a man who seems to be losing his way, much to his own horror and chagrin.

The staging was unpretentious, but effective. I enjoyed the simple use of rods to create doorways and the pageantry of the Duke’s return to Vienna – although the procession does perhaps sadly add to the length of the play, as did the walking all the way around the circle of chairs to return to the requisite seat, and I was never quite sure if the painted flats really added anything to the play.

Frances Musker and Diana Darrer put together some fantastic costumes, although Isabella’s shoes stand out disappointingly beside the amazing footwear of the male members of the company, you will need to see the show to appreciate their authenticity.

Greater pace, particularly with line delivery in the comic scenes, and perhaps some careful cutting would make the performance a little more slick, however, overall this production has some excellent line delivery and the understanding of the Shakespeare was superb, making it easy to follow the plot and an enjoyable way to spend a summer’s evening.

Measure for Measure – cast announcement

Duke – Amos Witztum
Angelo – Edwin Coutts
Escalus – Michael Reffold
Claudio – Anthony Gretton
Isabella – Clare Janew
Juliet – Emily Hill
Lucio – Edward Smith
Provost – Omer Warman
Mariana – Francine Ross
Mistress Overdone – Paula Morris
Pompey – Geoff Prutton
Elbow – Sue Miller
Froth – Toby Davis
Abhorson – Stephen Chapman
Barnadine – Guillaume Doutreleau
Friar – Marilyn Greene
Nun – Rebecca Hill
1st Gent – Stephen Meehan
2nd Gent – Michael Meehan
Servant – Francine Ross
Messenger – Toby Davis
Justice – Stephen Chapman
Boy – Amelia Radnedge