Tickets start at £7.00 until 1st July
The Curzon Centre
by TERRY PRATCHETT
adapted by STEPHEN BRIGGS
All is not well in the Ankh-Morpork
A ghost stalks the dark corridors, leaving strange letters for the management and ... killing people. Granny Weatherwax and Nanny Ogg, two Lancre witches, investigate, and are soon involved in all kinds of skulduggery, mayhem and ear-splittingly loud singing.
Quirky and original characters, a labyrinthine plot and numerous witty one-liners make this a treat for Discworld fans and 'uninitiated' theatregoers alike.
We are collecting for the Alzheimers' Society throughout the production. Our Just Giving target is £500.00
Directed by Mark Oldknow
Produced by Tom McGrath
NODA REPORT (EXTRACTS)
I have read Terry Pratchett’s books and, in my opinion (and also in the view of my companion) this was very true to the book; the characters, many of whom appear in other Discworld novels, were all faithfully portrayed. This was very well directed and performed - as I have come to expect from you and The Young Theatre who just get better and better all the time.
The open stage with its shabby representation of the Ankh Morpork Opera House was excellent, cobwebs and all. Good attention to detail everywhere too. I loved the swaying chandelier and the first appearance of the Phantom in the box was very effective.
All the technical side was very well done and it was very evident that your team, under supervisor Ben Krebs with help I am sure from Producer Tom McGrath and Production manager Matt Shraga, Stage Manager Andrew Wroe with his deputy and assistants Matt Cowley, Dom Holland and Patrick Heys worked very well together. The few changes, such as the coach (very well represented) the ‘Gods’ and Bucket’s office were slickly and efficiently carried out by the Ankh Morpork Opera House Stage Manager and Crew. The projection of the letters, incidentally, worked very well indeed. Loved all the manic laughter.
Lighting, designed by Matt Hinde and operated by Ben Stubs, was effective at all times.
[Wardrobe] was very good indeed, I loved the little Corps de Ballet’s tutus. The costuming of the two members of the City Watch and Greebo in human form were superb. The excellent, all-round padding of the characters who needed it was well designed; so often padding does not extend to the back of the character but this was so effective that it made all those concerned look very believable.
Hair and make-up with Katie Vowles in charge was another very well executed area. The hair styles and wigs, observed my companion who specializes in every aspect of this particular theatre skill, were notably very good indeed as were the prosthetics you used.
So, in no particular order, to the very large cast. All of you were word perfect and kept in character at all times, very well done to everyone; I know that some of you are very young and you showed us what a talented group you are. Your sheer energy and enthusiasm came over at all times too whether you were playing a principal role or a very small ‘bit’ part. As Stephen Briggs says in his introduction in the script: “There are a lot of small parts …which nevertheless require good acting ability”. You are all equally important to the overall success of a production and I cannot praise your talents and abilities too highly.
Very well done to everyone on a really excellent performance.