wicktheatre > Archive > Performances > Lady Windermere’s Fan

Lady Windermere’s Fan

The Barn Theatre, Southwick Community Centre

February 8, 9, 10, 11 & 12 1972

Lady Windermere’s Fan

by Oscar Wilde

Directed by
Nikki Le Roy

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“Stern test, but Wick earn good marks”
– Shoreham Herald –


Hilary Wiltshire – Lady Windermere

Nikki Le Roy – Parker

Barrie Bowen – Lord Darlington

Frances Moulton – The Duchess of Berwick

Barbara Moulton – Lady Agatha Carlisle

Ralph Dawes – Lord Windermere

Michael Donkin – Mr. Dumby

Miranda Bowen – Lady Plymdale

Mary Payne – Lady Stutfield

Elizabeth Tucker – Lady Jedburgh

Stephen Moulton – Mr. Hopper

Douglas Tucker – Lord Augustus Lorton

Anthony Deasey – Mr. Cecil Graham

Jean Porter – Mrs. Erlynne

Joy Talmage – Rosalie


Production Crew

Technical DirectorGeorge Laye

Stage ManagerJack Bingham

Production SecretaryAudrey Laye

Assist. Stage ManagerEthel Barrs

LightingFrank Hurrell

Sound EffectsDavid Wiltshire

CostumesPat Moss

WardrobePat Mendum

WardrobeCarol Brand

PropertiesFrances Thorne

PropertiesMargaret Davy

Hair StylistJanet Leaney

Settings & DecorRichard Porter

Settings & DecorJohn Davidson

DesignNikki Le Roy

Production PhotographsJohn Elliott

Front of HousePaul Carpenter


Programme Note #1: Lady Windermere’s Fan

NLeR wrote: “‘What is a cynic Lord Darlington?’ ‘One who knows the price of everything and the value of nothing’.
A Quotation from the play you are about to see. Such command of English puts Oscar Wilde amongst the English Classics. In 1892 Oscar Wilde had his first stage success with Lady Windermere’s Fan. The most popular of his plays came later The Importance of Being Ernest and is indeed the most brilliant of his plays.
Lady Windermere’s Fan is contrived in plot and couched in mixed language – sometimes sentimental to an overbearing degree – sometimes brilliantly witty. It is probably the most typical of the period in which it is written and should be – must be – observed as such.
The characters float across the stage veiled in Victorian prudery – biting and smug like lilies with poisoned stamens; Have we improved? – certainly we do not look like lilies of the field any more – but what of the rest? ”

Programme Note #2: Lady Windermere’s Fan

“Our last production My Three Angels was a great popular and financial success. The result of good team work and a lovely robust set by George Laye which stood up to the assault of the three smiling convicts without a tremor. This new workshop of ours really is paying off! We’re about to invest in some more trucking platforms and by the time Salad Days arrives on the stage you’ll be positively dazzled by mobile pianos, flying saucers and revolving stars!

But to return to the reminiscences which have formed our programme theme this season. Raymond Hopper arrived well and truly in 1957 with Happiest Days as the erudite Hopcroft Minor and has proved since, on many occasions, that there really isn’t any limit to his range: from Carnoustie in Sailor Beware [1959] to John Proctor in The Crucible [1967] and Billy in The Poker Session [1968]. He has an impressive record in festival-winning plays – Tea and Sympathy, The Glass Menagerie, and Shafers’ The Public Eye. Enough!! I’ll spare Ray’s blushes.

Another fine Wick actor in the early 60’s was Adrian Hedges who I’m told still shines on as a bright start over Sittingbourne. From 1956 to 1963 Adrian rarely missed a play. He was a personality and we remember particularly The Heiress [1959] and As Long As They’re Happy [1961]. It would be unfair to talk of the improving standards of our plays in the early 60’s without mentioning Betty and Ian Elliott. Betty for her superb comedy timing – Aunt Edie for instance in Sailor Beware and Watch it Sailor – or Sleeping Partner [1960] which incidentally was Ralph Dawes’ first production for the Wick. Ian meanwhile was the organiser who as Chairman and later as Secretary put us on the right management track – and still found time to make a hit as Mr. Bolfry [1963] and the The Queen and the Welshman [1965] and the father in Semi-Detached [1966]. We also ventured into the tricky filed of sophisticated revue under Ian’s direction in 1963 but In Fra Dig and Noc Turne rather unsettled our audiences and we have not returned to that jousting ground.

I did promise to tell you something about Barrie Bowen but seeing that Salad Days are his days I’ll reserve the story of the ‘Flight of the Pale Blue Pyjamas’ till our May meeting with Julian Slade.”