wicktheatre > Archive > Performances > Don’t Look Now

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Don’t Look Now

The Barn Theatre, Southwick Community Centre.

September 29, 30 – October 1 & 2, 2010.

Don’t Look Now

by Daphne du Maurier adapted by Nell Leyshon

“Audience so shocked – forgot to clap”
– Shoreham Herald –


Directed by
Bob Ryder


Guy Steddon – John

Hazel Starns – Laura

Gill Medway – Sister

Diane Robinson – Blind Sister

Tony Brownings – Hotel Clerk

Ray Hopper – Street Musician

David Creedon – Policeman

Other parts played by members of the Cast.
With special appearances by; Lauren Hodge & Rebecca Hodge


Production Crew

Stage Manager – Martin Oakley

Deputy Stage Manager – Hem Cleveland

Lighting – Mike Medway

Sound Design – Richard Ratcliffe

Sound operation – Allegra Duffy

Props – Margaret Davy

Props – Sue Whittaker

Wardrobe – Cherry Briggs

Wardrobe – Maggi Pierce

Set – Dave Collis

Set – Sue Chaplin

Set – David Comber

Set – Martin Oakley

Set – Margaret Davy

Set – Sheila Neesham

Backstage Team – Howard Neal

Backstage Team – Gary Ruell

Poster Design – Judith Berrill

Publicity – Rosemary Bouchy

Publicity – Lucien Bouchy

Publicity – Rosemary Brown

Production Photos – Lucien Bouchy

Front of House – Betty Dawes


Programme Note #1: Don’t Look Now

BR wrote: “Don’t Look Now first appeared in 1970 as a short story by Daphne du Maurier. It then became widely known in a fine film version by Nicholas Roeg, released in 1973 – alongside another British cinema classic, The Wicker Man. Both films quickly gained quite a cult following, which has continued for nearly 40 years.

The stage play by Neil Leyshon is only three years old. It had a successful run at the Sheffield Lyceum in 2007, then in London at the Lyric Hammersmith. The adaptation, which is far more closely based on Daphne du Maurier’s original text, opens up many interesting possibilities in the live theatre.

The drama plays on the themes of loss and vulnerability, as experienced by the central couple. But it is driven forward by the themes of destiny and fate. How far do we foresee something happening, or even will it to happen – or is it fated to happen anyway, which ever way we turn? Perhaps the journey through the play should remind us of The Wicker Man: as events unfold and become more bizarre, is there only one inevitable path to its ending?”