wicktheatre > Archive > Performances > Caught in the Net

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Caught in the Net

The Barn Theatre, Southwick Community Centre.

March 28, 29, 30 & 31, 2012.


Caught in the Net

by Ray Cooney

 

2391203_caught-in-the-net_playbill

Directed by
John Garland

Cast

Bob Ryder – John Smith  [a Taxi Driver]

Gill Medway – Barbara Smith  [Wife]

Judith Berrill – Mary Smith  [Wife]

Ben Cassan – Gavin Smith  [Son]

Claire Harding – Vicki Smith  [Daughter]

Mark Best – Stanley Gardner  [The Lodger]

H. Reeves – Stanley’s Dad

 

Production Crew

Assistant to Director – Zoey Attree

Stage Manager – Martin Oakley

Assistant Stage Manager – Zoey Attree

Deputy Stage Manager – Hem Cleveland

Lighting Design – Jordan Harvey

Lighting Operator – Andrew Cleveland

Sound Operator – Jack Hudson

Properties – Margaret Davy

Properties – Sue Whittaker

Wardrobe – Cherry Briggs

Wardrobe – Maggi Pierce

Wardrobe – Zoey Attree

Set Construction & Painting – Sue Chaplin

Set Construction & Painting – Dave Collis

Set Construction & Painting – David Comber

Set Construction & Painting – Margaret Davy

Set Construction & Painting – Carl Gray

Set Construction & Painting – Sheila Neesham

Set Construction & Painting – Martin Oakley

Poster Design – Judith Berrill

Publicity – Anna Quick

Publicity – Rosemary Brown

Front of House – Betty Dawes

 

Programme Note #1: Caught in the Net

JG wrote: “In December 1994, Wick Theatre Company presented Run For Your Wife, considered by many to be Ray Cooney’s greatest play. I never saw the show, having not joined the company until a few months later (and sadly there is no review yet registered in our archive), but those who did see it tell me it was a wonderful production. Consequently, when we discovered that there was a sequel set 18 years later, we decided it would be ideal for our 2012 season.

Having directed Not Now Darling 4 years ago. I am surprised (but very happy) to be once more at the helm of a farce – I always thought of my self as a director of ‘serious’ plays, but thus is my fourth consecutive comedy. For those who know their Cooney there will be no surprises in the basis of the plot, but the cleverness of the writing never ceases to amaze me. This is also an incredible amount of physical comedy, and indeed I believe it to be an overall better play than the original.

I am very grateful to the cast for the many hours they have spent rehearsing in cold rooms, and to my backstage team, especially Zoey Attree who has been a most helpful assistant, for all they have done to produce what I hope will be a worthy sequel to the 1994 production.

 


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