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s c l a a l k a e m o u a a n O o e h h i r v 9 y v l 9 e e f t l e n l i c a a o s a i c a o h m t e o o c a u m s T e i h h n i a i h h e o i i e a b l t e N D t s j t s F S 1 b e I t c f t c s s “ a T t B B 1 h s r b t o a y p h e a L A a w T V h P g t h e g c c t t directors foreword ...... d Dennis Potter is themes, albeit one highly unorthodox and sometimes offen - arguably the most sive to the political and moral establishment. e important creative figure in the history Central to Potter's quest for spiritual answers was his own of British television. personal affliction of psoriatic arthropathy: a painful combina - n From 1965 until his tion of psoriasis enflaming the skin and arthritis crippling the death in 1994, he joints which he had suffered from since the age of 26 and constructed a personal which had necessitated his withdrawal from the public worlds n oeuvre of such of politics and current affairs into the more private realm of life remarkable character as a television playwright. This inwardness was also manifest - and consistency that it

i ed in Potter's famous non-naturalistic style: his determination will probably never be s to challenge the dominant British television drama tradition of equalled in the medium. The most prolific yet also "dreary" naturalism, through an alternative emphasis on inner, most controversial of television playwrights, he psychological reality. He successfully customised a whole

remains the undisputed figurehead of that pecu - series of non-naturalistic devices--including flashback and liarly British phenomenon of writers who expend fantasy sequences; direct-to-camera address by characters; p much of their working lives and passions attempt - the use of adult actors to play children--all of which he ing to show that television can be just as powerful believed represented more truthfully "what goes on inside a vehicle for artistic expression as cinema or the - people's heads". o atre. In 1978, Potter showcased what became his most famous Born on 17 May 1935, Potter was raised in what technique when Bob Hoskins burst into song, miming to an t he later described as the "tight, enclosed, back - old 78 RPM recording in the BBC TV serial, Pennies from ward" world of the Forest of Dean; a remote rural Heaven. The international success of Pennies transformed idyll nestling between two rivers, the Severn and t Potter's career, leading to a lucrative spell as a Hollywood the Wye, on the aggressively English side of the screenwriter which included a disastrous movie remake of the border with Wales. The product of a remote God- serial in 1981. Throughout the 1980s and early 1990s, how - e fearing community, he attended chapel at least ever, Potter continued to produce original work for television, twice every Sunday and the vividness of its lan - though serials now rather than one-off plays: nowhere per - guage and metaphors formed a powerful influ - haps more decisively than with The Singing Detective (1986), r ence on his writing. in which his famous device of characters miming to popular song was used to punctuate a narrative as complex and lay - He came to prominence in 1965, when, after an ered as any work of serious literature; one that will undoubt - earlier career in journalism and politics, his first edly endure as Potter's monument to the creative possibilities four plays were all transmitted by the BBC within of the medium. . the space of a year, as part of The Wednesday . Play slot's ground-breaking policy of introducing The rapturous plaudits which greeted The Singing Detective . radical new writers to television. Of these, the in Britain and the United States may have elevated him to the . most successful were The Nigel Barton Plays - a rare status of genuine TV auteur but the period after 1986 . pair of semi - autobiographical dramas which

. was not an easy one for Potter. In 1989, after a falling out expertly dissected the effects of social class upon

. with his erstwhile producer Kenith Trodd, Potter decided to the psyche of its eponymous hero, winning . direct a television adaptation of his "feminist" novel,

. awards and helping to seal Potter`s reputation as Blackeyes. The result was a critical bloodbath in the United

. a major new playwright of passion and ideas. Kingdom, with the director accused of precisely the misogyny

. Only as the 1960s wore on and he continued to and sexploitation he claimed he had been trying to expose on

. write for The Wednesday Play and its successor screen. Nor was Lipstick on Your Collar (1993)--a six part

. Play for Today, did it gradually become clear that "drama with songs" set in the 1950s--the resounding popular

. underlying the broadly political attacks of his earli - success he had hoped for.

. er work was an older chapel sensibility: the per -

. sonality moulded by Biblical teaching and In February 1994, Potter was diagnosed with terminal cancer

. imagery, yet one now in desperate search of of the pancreas and died four months later but not before an

. answers in the face of acute spiritual crisis. extraordinary television interview in which he talked movingly

. about his imminent death, revealing his plans to complete two

. In 1969, Son of Man was transmitted; a Gospel final television serials to be uniquely co-produced by rival

. Play in which Potter audaciously created the national channels, BBC-1 and Channel Four. Defying the

. Messiah in his own image: a human, suffering medical odds, he succeeded in completing the works,

. Christ, racked by doubts over his own mission Karaoke and Cold Lazarus and in accordance with his wish -

. and plagued by the fear that he has been forsak - es, these were transmitted posthumously by both channels in

. en by God. With this and other titles that followed the spring of 1996. Though critical reaction in Britain was

. such as Angels Are So Few (1970), Where Adam somewhat mixed, the very fact of the joint production seemed . Stood (1976) and most controversially of all, to confirm Potter's creative legacy as the practitioner who, . Brimstone and Treacle--originally intended for above all others, aspired to raise television to an art form and . transmission in 1976 but banned by the BBC for whose pioneering non-naturalism had indeed been successful . eleven years on account of a scene where the in opening up its drama to the landscape of the mind. . Devil rapes a mentally handicapped girl-- it . became clear that Potter had discovered his true -John Cook vocation as a dramatist of religious or spiritual u

p For Upstairs at the Gatehouse

Theatre Manager ...... Sean Prior s Technical Manager...... Racky Plews Audio Consultant ...... Jon Raper

t Box Office: 020 8340 3488 Manager: 020 8340 3477 Facsimile: 020 8340 3466 a Theatre hygiene by Accantia Health &

i Beauty

r makers of Cidal Natural Handwash THE GATEHOUSE – A SHORT HISTORY Theatre First Aid by Beiersdorf UK Limited - Makers of s Of all the inns and pubs in Highgate, The Elastoplast Gatehouse is probably the oldest. Its nineteenth www.upstairsatthegatehouse.com century owners claimed that there had been a

licensed building on the site since 1337, although nothing can be proven as licensing by justices did a not commence until 1552 when there were five Ovation Theatres Limited inns licensed in Highgate although none of them Patrons were actually named. The earliest mention of The t Gatehouse, in the licensing records, is 1670 when an Edward Cutler made an application to the bor - Elizabeth Arundale & Gary Kemp ough of St. Pancras. David Jordan Lindy Mason James Benfield Atalanti Meyer One curious fact about The Gatehouse was that Roy Berger Ceridwen & Stephen t the borough boundary between Middlesex and Ouida & Keith Bradley Panke London ran through the building. When the hall Tony & Janine Burden Bernard Plews was used as a courtroom, a rope divided the ses - John Caird Mairin Prior h sions to make sure prisoners didn’t escape to Lindy & Mike Crowcroft Trudie & Gordon Sumner another authority’s area. The boundary problem Helen & Colin David Gill & Tom Taylor continued as the names changed, most recently e Les Dennis Hilary & Paul Terzeon with Camden and Haringey sharing the building. Geoffrey Durham Diana & John Uff In 1993 the border was moved a few feet to allow Sally & David Davidson Catherine Utley & Ian one licensing authority overall control and The Kate Fahy & Jonathan Simpson Gatehouse is now the most northerly pub in Pryce Michele & Clive Warshaw Camden. g Annie Gray Peter Wolff From its days next to the toll gate, through its use Miranda & Julian Halsby Susan Wolff Leila & Stephen Hodge Victoria Wood

a as a meeting house. The Gatehouse has had a chequered history. Byron, Cruikshank and Amanda Holden Dickens all used its services and the Highgate Angels

t Literary and Scientific Institution’s inaugural meet - ing took place in the pub on 16th January, 1839. At the turn of the last century, The Gatehouse was Judy & Tony Aljoe, Harley Atkinson & Robbie Hill, Rose &

e famous all over London for its “shilling ordinaries”, John Bardner, Mary & Michael Bayliss, Geraldine & David gigantic lunches which filled many a Victorian Bent, Angela Beveridge, Dinah & Martyn Bond, Frankie stomach. In 1905 the building was renovated in de Freitas, Judy & Gavin Doyle, Judy & Neil Durden-

h the mock Tudor style that remains today. Smith, Liz & Brian Freeman, Elaine & Ron Garrod, Olive & John Gatenby, Sheila & Bern Gillard, Shirley & Bob The auditorium that now houses the theatre was Glatter, John Goodman, Judith Goodman, Jane & o opened in 1895 as “a place suitable for Balls, Edmund Gordon, Andrea Grace, Sue & Derek Hall, Denis Cinderellas and Concerts” and its various uses Herbstein, Mary & Peter Holtby, Jim Ingram, Barbara & have included a Music Hall, a Cinema, Masonic Rob Lamont, Fiona & Robert Lindo, Barbara & Mac u Lodge and a venue for amateur dramatics. In the McDeson, Lucy & Gordon McDonald, T McNamara, sixties a jazz and folk club featured amongst oth - Carolyn & Andrew Mitchell, Linden & John Nicoll, Christina ers, the Crouch End All Stars and, on one famous & Brendan Nolan, Jeanne & Ron Ower, Janice & Steven s occasion, Paul Simon (of Simon and Garfunkel fame). Parnes, Bernard Plews, Isabel Raphael, Anne Riddell, Susanna & Peter Rook, Joyce & Jeffery Rose, Dennis Samuel, Patricia Schurmann, Margot & Michael Sheaf, e It took over a hundred years to turn the Highgate Hall (as it was called in 1895) into the Village’s John Skok, Barbara & Keith Smith, Miranda Steward, first theatrical auditorium. We hope the Victorian Jenny & Jeremy Thompson, Peter Thompson, Barbara & residents would have approved. Richard Trompeter, Patricia Walby, Stephanie & Justin Warshaw, Pauline Wearden, Catherine Wells, Lorraine & Officially London’s top theatre – we’re 445ft Jeremy Wells, Eliza & Charles Willink, Jennifer Winn, Fay above sea level! & Mike Woolf, John & Guy Woolf and Jenny Wright c Philip Buck Tim Crowther a Philip trained at the Bristol Old Vic Tim trained at Mountview s Theatre School. Academy of Theatre Arts. His Recent theatre credits stage creditis include national include tours of Picture of Dorian t Rumplestiltskin (Horla Gray and A Woman of No Theatre Company / Importance. He will also be

Wimbledon Studio); appearing in the forthcoming Sticks And Stones Broadway Studio Theatre production of A . (Reveal Theatre Company / Tour); Proteus, Clockwork Orange. Screen credits include Shades of . The Two G entlemen of Verona; Silvius, As Time (Veness Productions). . You Like It (Oxford Shakespeare Company); .

. Bad Blood (Ambassador Theatre Group /

. National Tour); Our Song (Wonderland Nina Hatchwell . Productions / Edinburgh Fringe); Beauty and

. the Beast (Tour); Rope, Doctor in the House,

. Nina trained at Italia Conti Boeing Boeing (CV Productions); The Hunting

. and went on to Webber of the Snark (Stephen Joseph Theatre). . Douglas from where she has Television, Film and Radio credits include The . recently graduated. At Webber

. Lost Decade-Little Kinsey (BBC) Romeo, Douglas her theatrical roles

. Romeo and Juliet (Theatre Tadwick); Shadow included Maggie, Hobson’s . of the Vampire (Saturn Productions) and vari - Choice; Beth, A Lie of the . ous corporate videos. Philip is a winner of the

. Mind; Lady Stuttfield/ Hester, A Cameron Mackintosh Prize for Music in

. Woman Of No Importance; Leonardo’s Wife, Blood Theatre and recently directed The Turn of the . Wedding. She has also performed with the ENO in Screw for the Edinburgh Fringe 2004. . Street Scene and Carmen at the Coliseum. Her TV . credits include Grange Hill and the recent Volkswagen . advert for the Berlin Cinema. She has just finished film - . ing Pieces with 24/30 cinema playing the part of Mary . Lucy Corbally

. and appeared in the short film A Perfect Evening with ‘A

. Before being cast in TAD Too Far Productions’ as Kate. . Vote! Vote! Vote! For . Nigel Barton, Lucy . Olaf Mathar

. made her profession -

. al London fringe

. debut as Ariel in Olaf graduated from

. Tossed! an adaptation University of Winchester in . of The Tempest she 2003 with a BA (hons)in . helped to devise following six months’ train - Drama Studies. His theatre . ing with the Pants on Fire Theatre Company credits include: The Queen . physical theatre project. She graduated in

. Who Would Be King; Room

. English Literature from Lancaster University 101; The Scheizerhousen

. where she was an active member of the Trio; Othellophobia; No

. acclaimed LU Theatre Group. Credits Man's Land; The Misanthrope; A Comedy of Errors; The

. include Candy Starr (One Flew Over the Hunting of the Snark; The Last Days of Don Juan. Film . Cuckoo’s Nest), Hermia (A Mid-Summer experience includes The Children (Feature); Getting . Night’s Dream), Lady Anne (Richard III), High With Leo (Feature); The Turned (Feature) . Cecily (Importance of Being Earnest), Sophie .

. (Hanif Kureishi’s Sleep With Me), Her film

. credits include Englebert & Buzzby II (Licked Heather Snaith . Productions) and Down to an Ace (Trixter

. Films).

. Heather studied performing arts

. for two years at The Henley

. College Oxfordshire before

. attending Rose Bruford . College. She graduated this . summer with a BA (hons) in . Actor-Musicianship. There, her . theatrical roles included .

. Helene, Sweet Charity ; Alithea, The Country

. Private Eye Wife; Nurse, Romeo and Juliet; Mother, Machinal; Date 6 March 1964 Celia, As You Like It; Varia, The Cherry Orchard. c finger in the pie Cast...... r 'Finger in the Pie' describes a philosophy of broad based arts practice covering everything Nigel Barton Philip Buck from fine art, web design, video and theatre. In e Anne Barton Nina Hatchwell the bun fight of contemporary culture we've got Jack Hay Tim Crowther our finger in the pie. d It might sound obvious but what one can learn Ensemble...... designing a website or editing a film can directly i apply to how one could direct for the stage. t Because we apply the lessons and experiences First Hunting Woman Lucy Corbally learned in one project to the next the quality of Second Hunting Woman Nina Hatchwell our work is increasing with every new step. In s First Hunting Man Olaf Mather addition, in a market as unpredictable as the arts, our wide skills’ base offers greater security for News Reader Heather Snaith the company as a whole. Lady Chairman Heather Snaith

. Lady Secretary Olaf Mather what we do

. Mrs Thompson Lucy Corbally

. Right now we’re focusing our energies on stage First Questioner Heather Snaith . practice. Here, devising and ensemble work have

. Second Questioner Lucy Corbally formed the cornerstones of our performance and

. Pedestriam Olaf Mather as such we have created and sustained a reputa - . Woman Heather Snaith tion for powerful and innovative stagecraft. Vote! . Vote! Vote! For Nigel Barton arrives as the latest . Mrs Phillips Lucy Corbally in a line of consistently fast paced and visually . Mrs Morris Olaf Mather dynamic productions adding caricature and satire . Mr Smith Heather Snaith to our repertoire. .

. Nurse Lucy Corbally Previously we have staged four pieces of profes - . Mr Harrison Olaf Mather sional theatre, with source material and devising . Toast Master Olaf Mather influences ranging from aboriginal creation myths . to Goncourt prize winning novels. In addition . Archibold Lake Heather Snaith we’ve organised two festivals, published a collec - . Nye Bevan Olaf Mather tion of short stories and a quarterly arts maga - . Sir Oswald Mosely Olaf Mather zine, established a web based Theatre Network .

. and designed the printed publicity for numerous

. organizations and events. Not bad for three years Crew...... work? Yet all the while the most important thing

. to us is the people that we work with. All collabo -

. Director / Designer: Alex Parsonage rations start with a conversation: so if you’re

. interested in what we do and want to get involved Choreographer: Veronique Spiteri . let’s talk.

. Producer: Nick Sherrard

. Tom Pullen . Production Overseer: Jayne Dickinson and the rest .

. Production Coordinator: Steph Hay

. Sales and Marketing: Steve Pretty . Lighting Design: Sara Audley things are about to get tasty! .

. Technical Operator: Chris Howcraft

. Costume design: Sophie Archer . Volunteers Coordinator: Lois Bright . .

. Thanks .

. Anthony Cleary, Every one Upstairs at the

. Gatehouse, Olly Aylott, Dan Akers and Russel Hope, Daniel McCabe and every - . one at Peter Qwen , Tom Perrin, Kit . Maude, Evih Efue, Jess Crisp and the . Jesuit language School in Highgat, T o . everyone at109 Harbington Road .

. Special Thanks to Dunn’s Bakery in . crouch end for all the pies. And . Absolute Print for printing the pro gram. . . This production is dedicated to the memory of . Brenda Parsonage (1943 - 2004) Sign me up! I want to become an:

Ambassador- FREE q Patron* q

e Join Now Friend- £15 q *see below i

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t I’d like to sponsor:

Programs £100 Patroq n Props q£150 Costume q£200

n Set q£250 i Cast expenses q£500 Venue hire q£1,500

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r * Please feel free to contact us to discuss other sponsorship oportunities.

e we can accept payment by cheque, postal order or over the internet using PayPal.

Please make cheques payable to Finger g in The Pie

Finger in The Pie n 30 Orpington Rd i London N21 3PG

Telephone: 07811 761360

F E-mail: [email protected]

Everyone needs a friend and here’s your chance to get in with one of the most exciting companies to come along in years.

For just £15 per year you can keep ahead of the rest and receive the following

l A quarterly company newsletter, making you the first in line for all upcoming events, emailed (watching those woodlands) or delivered to your door. l Invites to after show shindigs. l Two for one tickets to all our shows.

" l Competition entry to win tickets to our shows and entry into a twice-yearly prize draw to win a limited edition pie – baked to the Pie’s own secret reci-pie and made with our own fair fingers!