wicktheatre > Archive > Performances > Don’t Look Now

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

Directed by
Bob Ryder

2010 BHAC Full Length Drama Competition
– Chairman’s Award : Rosemary and Lucien Bouchy [recently retired publicity officers] – for Most Conscientious Attendance at Adjudications

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


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 ManagerMartin Oakley

Deputy Stage ManagerHem Cleveland

LightingMike Medway

Sound DesignRichard Ratcliffe

Sound operationAllegra Drury

PropsMargaret Davy

PropsSue Whittaker

WardrobeCherry Briggs

WardrobeMargaret Pierce

SetDavid Collis

SetSue Chaplin

SetDavid Comber

SetMartin Oakley

SetMargaret Davy

SetSheila Neesham

Backstage TeamHoward Neal

Backstage TeamGary Ruell

Poster DesignJudith Berrill

PublicityRosemary Bouchy

PublicityLucien Bouchy

PublicityRosemary Brown

Production PhotosLucien Bouchy

Front of HouseBetty 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?”