The Barn Theatre, Southwick Community Centre

January 5, 6, 7, & 8 + mat 2022


by George Bernard Shaw

Directed by Mike Wells

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“What a joy to experience some real culture!”


Lauren Brakes – Miss Eynsford Hill

Maggie Pierce – Mrs Eynsford Hill

Geoff Goble, Sue Goble, Peter Joyce, Cherry Fraser – Bystanders

Julian Batstone – Freddie Eynsford Hill

Rose Hall-Smith – Eliza Doolittle

Nick Roughton – Colonel Pickering

James Doyle – Henry Higgins

Anna Quick – Mrs Pearce

John Pounder – Alfred Doolittle

Pam Luxton – Mrs Higgins

Sue Goble – Parlourmaid


Production Crew

Production ManagerCaroline Woodley

Stage ManagerPeter Joyce

Deputy Stage ManagerSuse Crosby

Lighting Design & OperationMartin Oakley

Lighting Design & OperationSuse Crosby

Sound DesignMike Wells

Sound DesignBob Ryder

Sound OperationDoffey Reid

WardrobeCaroline Woodley

WardrobeMaggi Pierce

WardrobeCherry Fraser

PropertiesDi Tidzer

Set Design, Construction & PaintingSue Chaplin

Set Design, Construction & PaintingDave Comber

Set Design, Construction & PaintingMargaret Davy

Set Design, Construction & PaintingNigel Goldfinch

Set Design, Construction & PaintingMike King

Set Design, Construction & PaintingSue Netley

Set Design, Construction & PaintingGary Walker

Poster, Flyer & Programme Cover Artwork & DesignJudith Berrill

Promotional FilmPhil Nair-Brown

Promotional Photography – PNB Photography

Dress Rehearsal Photography – Sam Taylor Photography

PublicityRosemary Bouchy

PublicitySuse Crosby


PublicityPeter Joyce

ProgrammeSuse Crosby

Programme Note #1: Pygmalion

MW wrote: ” Welcome to the New Year and Wick’s first production of 2022. Shaw’s Pygmalion was written 110 years ago but is still relevant today – the experiment undertaken by Phonetics professor Henry Higgins to transform a young woman by changing the way she speaks was an attempt at ‘levelling up’ and revealed the shallowness of class snobbery of the era.

But it is not as a play about social attitudes that has kept Pygmalion so popular with actors and audience for so long. The complex relationship between Higgins and Eliza and the insights about the human heart made this special in 1912 and continue to make it one of SHaw’s best dramas.

My thanks go to all the cast, backstage staff, workshop team, technical support. property and costume advosors and publicity team for their support and encouragement; and a special thanks to Caroline Woodley. We have enjoyed being part of a committed tram and hope yu enjoy the results of their hard worl.

Programme Note #2: Pygmalion

Shaw’s Obsession: George Bernard Shaw [who preferred Bernard] wrote the character of Eliza for Mrs. Patrick Campbell with whom he had a passionate yet unconummated legendary affair. There are many parallels between Pygmalion, the sculptor in Greek myth who fell in love with one of his statues which then came to life, and Shaw and his muse.

Somed of Eliza’s language was considered outrageous in 1914 and made the play a talking point. Mrs Patrick Campbell was considered to have risked her career in speaking the most controversial line: “Walk? Not bloody likely!” The use of the word ‘bloody’ was known as a ‘pygmalion’ for many years afterwards. BUt what has made it so regulalry performed ever since is its intriguing themes of language and class, men and women, and the evolving relationship between the creator and his creation: breaking free and becoming independent.