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< Back To See Ourselves ˂ Previous Production Next Production ˃ 1 January 1934 to 1 January 1934 Matthews, Walter R Pennington, Muriel Robinson, Dorothy A Ross, Dora Wrigley, Kenneth

< Back All the little Lights ˂ Previous Production Next Production ˃ 23 April 2024 to 28 April 2024 “I know you want what everyone else wants. A family. A home. But you’ll never have it. Cos of what’s inside you.” In a world where nobody wants you, what would you do to survive? Joanne and Lisa were like sisters. Then Lisa left. Now they're back together for one last birthday party by the railway tracks. But can they salvage their friendship, or will ghosts from the past haunt them forever? Poignant, moving and darkly funny, All the Little Lights is the searing story of young girls slipping through the cracks in society, desperately searching for friendship, family and themselves. Rick Bowen from StageStruck - 4 Stars THE first thing I have to say about this play, the emotional equivalent of being hit by a train, is don’t be fooled by its cosy sounding title, with images of suburban cosiness. It couldn’t be further from the truth in Jane Upton’s remarkable piece of writing that’s both funny and painfully evocative. Joanne and Lisa, who had an almost sisterly bond until they separated, ache for a better life even though the spectre of sexual exxploitation lurks in the background and threatens to crush their dreams. Amy, described as being like a baby by the formidable and feisty Joanne is simply looking for somewhere to belong.. As the three girls there’s an unsettling authenticity to their performances with Georgina Brame, Natalia Leaper and Isabel Stuart-Cole deserving a far bigger audience than the one that trickled into the Lauriston on opening night. While Upton’s play is a very difficult watch in places, theatre is at its best when it gives a voice to the voiceless and humanises issues like child abuse. Director Meg Brassington, so, so funny in the lead role in the Garrick’s production of the Vicar of Dibley, proves she’s equally at home with the serious stuff and I also liked her very convincing litter strewn set which formed the girls’ hillside sanctuary. It was a brave decision for the Garrick to stage such a challenging play which deserves to do very brisk business at its box office. Star rating **** All Lights 2.jpeg All Lights 9.jpeg All Lights 10.jpeg All Lights 12.jpeg All Lights 14.jpeg All Lights 15.jpeg All Lights 5.jpeg All Lights 16.jpeg All Lights 8.jpeg All Lights 13.jpeg All Lights 1.jpeg All Lights 6.jpeg

Previous Next Christine Sammon (née Adams) Christine was a wonderful singer and talented actress. When she joined the Garrick in the early 1990s, she was already well known on the local amateur operatic circuit. Throughout the nineties she took a leading part in many Garrick musicals, before her sad and untimely passing. She was also involved in two highly successful and enjoyable Playathons - The Boyfriend and Irene . These were plays put on with only 48 hours notice, to raise funds for the STAGE Appeal. The secret play was announced at 7.30pm on a Friday night and the entire Garrick family was involved in presenting the full-length production at 7.30pm on the Sunday night with full staging, sound and lighting, costume, musical arrangements and choreography with all books down. The greasy spoon in the bar was kept open throughout the entire weekend. A Playathon was a testing - yet ultimately rewarding - challenge, and Christine was an enthusiastic participant. Back to In Memoriam page

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Previous Next Rita Howard Rita was a fine dramatic actress who joined the Garrick in the 1960's, but she also occasionally played comedy roles such as Madame Arcati in Blithe Spirit . With her strong and powerful personality, she later became actively involved in the day-to-day running of the theatre, serving on the Executive Committee for many years. She was also a leading member of the Play Selection and Casting Committee. Rita's overall contribution to the continued success of the Garrick cannot be underestimated. Back to In Memoriam page

< Back When The Rain Stops Falling ˂ Previous Production Next Production ˃ 2 March 2020 to 7 March 2020 Alice Springs in the year 2039. A fish falls from the sky and lands at the feet of Gabriel York. It still smells of the sea... That is how this compelling family saga begins. A play that transports us back and forth in time from one generation to another, from 1959 to 2039, from London to Australia. A series of interconnected stories woven together as four generations of fathers and sons, their mothers, lovers and wives confront their mysteries of the past in order to understand their future; revealing how patterns of betrayal, love and abandonment are passed on, until finally, well into the future, as the desert is inundated with rain, one young man finds the courage to defy the legacy. From the same pen as last season's beautifully poignant and critically acclaimed 'Things I Know To Be True', Andrew Bovell's play is epic in its scope yet at the same time extraordinarily intimate. CAST Gabriel York - Mark Butt Elizabeth Law - Ros Greenwood Gabrielle York (Younger) - Alex Edge Joe Ryan - Richard Sails Gabrielle York (Older) - Beverley Stuart-Cole Elizabeth Law (Younger) - Parissa Zamanpour. Gabriel Law - Joseph Meighan Henry Law - John Joyce-O’Keeffe Andrew Price - James London Review by Paul Wilcox for North West End “They fuck you up, your mum and dad. They may not mean to, but they do. They fill you with the faults they had. And add some extra, just for you.” The lines of Philip Larkin’s immortal ‘This be the Verse’ were running on a loop in my head as I left Altrincham Garrick, following the opening night of ‘When the Rain Stops Falling’ by Australian dramatist Andrew Bovell. I knew nothing of the play, and I had only taken on the review at the last minute, convinced to attend by the opportunity to see local Director Joseph Meighan in a rare acting role. Two hours later, I’d seen my best production so far of 2020 and the theatre had once again astounded me with its ability to surprise and provoke. Set over an eighty year time span between 1959 to 2039, Bovell has chronicled the lives of four generations of one family from London to Australia, as they struggle to cope with the mistakes they make as people and parents and come to terms with their past and its effect on their life choices. He chooses Alice Springs in 2039 as his jumping off point, Gabriel York (Mark Butt, who also directs) waits for a visit from his estranged son Andrew (James London) and with his blistering opening monologue sets the tone and language for what is to follow. A circular, non-linear narrative is employed to explore the relationships between his grand parents Henry Law (John Joyce-O’Keefe) and Elizabeth (Parissa Zamanpour & Ros Greenwood); their son Gabriel Law (Joseph Meighan) and his blossoming romance with Gabrielle York ( Alex Edge & Beverley Stuart-Cole) and her subsequent meeting and life with Joe Ryan (Richard Sails). If this sounds confusing, it is purposefully so, with three variations of the same name (Gabriel) employed for separate characters and a continuously shifting time line, this is play that rewards total concentration. As we bounce between Eighties London and modern Australia, past secrets about the characters slowly begin to emerge and it is only at the very end that the completed narrative is brought to a darkly satisfying conclusion and full understanding is reached by the audience. The theme of repetition of past mistakes is starkly underlined in the language used by Bovell in the play. Scenarios and dialogue are constantly repeated down the years to emphasise the inherited similarities through the family, creating a claustrophobic atmosphere that suited the secretive family dynamic. Fathers do not fare well here, always leaving by accident or design, with only stepfather Ryan coming out with any credit for his paternal instincts. This is a great play for actors with nearly every role having strong monologues and emotional depth to mine. The company did not let down the material, with uniformly excellent performances from a very experienced cast. Meighan and Edge developed the love story with beautiful sincerity, made more poignant by already knowing the fate of Gabriel; Stuart-Cole portrayed Alzheimer’s with convincing confusion and rage and Joyce-O’Keefe gave pathos and depth to a character who ostensibly lacked sympathy. As Director, Mark Butt chose to place an interval in the middle of the two hour run, where non existed in the original staging. Judging by audience reaction, this was a smart move as everyone around me expounded their own interpretations and explanations of the convoluted plot over a swift G&T. In a similar vein, the family tree projected onto the back cloth aided understanding of the relationships between the characters greatly.Certain elements of the piece felt overwritten, most notably the referencing of 18th century philosophy and a concentration on past cataclysmic weather events which were part of a wider motif around climate change. Whilst there was a tenuous link between this theme and the central plot, in this production it felt superfluous to the family drama which was what excited and intrigued. Overall, a complex emotional and nuanced piece of writing by Bovell, beautifully executed by an experienced cast. Get to the Garrick before Saturday, this is one of the highlights of an excellent season and deserves to be seen. Star Rating: ★★★★ Director Mark Butt has nailed this production. Everything from his stark stage design, to the contemporary soundtrack and the brilliant direction of his cast was just wonderful and transported you to a professional theatre with the Garrick’s ‘high-end amateur’ quality. If I had to pick fault, it may be that the first half is slightly too long, but that’s in the writing not the direction. With a projected backdrop of a family tree (with lots of Gabrielle and Gabriel) before the play began and during the interval, the audience automatically attempted unpicking the who’s who of this story and it became harder the more they jumped back and forward in time but by the second half, the lightbulb moment finally happened and it was fascinating to watch unfold. The cast of eight had a hefty script to negotiate, which was full of monologues and duologues but never ceased to captivate the audience. From Gabriel York’s opening monologue (Mark Butt) with the dramatic rain falling in the backdrop to the letters of Henry Law (John Joyce-O’Keefe), atop Uluru (Ayer’s Rock), this was just a beautiful insight into the characters’ psyche. The female protagonists who played mirrored roles of older/younger versions of the characters were also beautifully portrayed with pathos. The innocence of young Gabrielle York (Alex Edge), juxtaposed with her older self (Beverly Stuart-Cole) was tragically brilliant and the contrast in the two Elizabeth Law roles was stunningly perceptive and authentic in her discovery of the truth. But it was in the relationship between Gabrielle York (Edge) and Gabriel Law (Joseph Meighan), where I felt the story really gripped me and brought everything together. These two performers had a wonderful rapport with one another and even tackled Australian and British accents with ease and believability, something which can become jarring in an amateur production but felt so natural and real in this case. The cast of this production didn’t put a foot wrong, which is not only testament to their director but the repertoire of experience the performers brought to this Garrick production. These are mostly trained actors from drama schools from Mountview to the Arden Centre, as well as other cast members with many years of experience performing at the Garrick Theatre and across the country and you feel this quality when you watch this production as you sense a stage presence from all cast members which only normally exists in professional productions. It’s hard to choose a favourite character or performance but a particular standout moment for me was in the choreography of the opening scenes. Choreography by Clara Darcy, gave this production a slick and contemporary feel and the simple stage movement produced an authenticity reminiscent of modern Dance-Theatre, without any of the pretension. In particular, the eating of the fish soup in unison and the stage exits, created a uniformity that reminded me of companies such as DV8 and Frantic Assembly. This was one of the strongest productions I have seen in a while at the Garrick: brilliant casting of a wonderful script with superb production quality. It had me gripped from start to finish. This is one not to be missed Utterly Compelling Drama Review by Johanna Hassouna-Smith for Number9reviews ‘The theatre is the only place where the past, the present and the future can be revealed at the same moment’ (Mark Butt, Director of When The Rain Stops Falling.) This couldn’t be truer of a production, than this. Spanning four generations from London 1959 to Australia 2039, this story interweaves a series of episodes and vignettes of families, whose connection is revealed through a gripping, enigmatic story line in which harrowing family secrets emerge from the past. From the same pen as last season’s ‘Things I Know To Be True’, this poignant production brings you into a world where hidden truths break apart relationships. Review by Rick Bowen for Stagestruck The phrase “family strife” takes on a whole new meaning while watching Andrew Bovell’s intense and absorbing play and it’s title couldn’t be more apt, with a large swathe of our country still under water thanks to man made climate change. Bovell paints a futuristic vision of Australia 2039, which is when and where the play begins, and it’s a vision straight out of our worst nightmares. It’s a future in which fish - yes, fish - are on the verge of going the way of the dinosaur. Gabriel York - played by Mark Butt - is about to have lunch with his estranged son. Down on his luck, Gabriel doesn’t know what to give him until an event takes place that has all the hallmarks of divine intervention. Mark, who directs this ambitious and largely laughter free piece, plays the part with just the right amount of authenticity and directs it with a boldness and a confidence that can only be admired. This is pretty meaty stuff and the action takes us on a touching and sometimes tearful time travelling journey. While some of the script is so brilliant it’s sure to make budding writers turn green with envy, there are occasions when Bovell tries a little too hard to be deep and profound. When The Rain Stops Falling is also drama for grown ups, with the story tackling the difficult subject of child abuse briefly but vividly and without a hint of sensationalism. The music provides a haunting and atmospheric backdrop to what unfolds on stage. I am not singling out other performances as this production is a major triumph for the Garrick’s gifted ensemble even if I left the theatre feeling like I’d been hit by a 10 ton truck. Star rating - 3.5 out of 5

< Back The Strange Case of Mr Jekyll and Mr Hyde ˂ Previous Production Next Production ˃ 1 January 1960 to 1 January 1960 Clancy, Patrick Hamblin, Phyllis Porter, Kathryn Ruddick, Maurice

< Back The Addams Family: Young@Part - A GAPA Academy Performance ˂ Previous Production Next Production ˃ 17 March 2025 to 23 March 2025 The Garrick Academy of Performing Arts presents The Addams Family - Young@Part This GAPA production is being performed by our Youth Academy of children aged between 5 - 18 years. Celebrate the wackiness in every family with this epic, hilarious Broadway musical! Wednesday Addams, the ultimate princess of darkness, has grown up and fallen in love with a sweet, smart young man from a respectable family whom her parents have never met. She confides in her father and begs him not to tell her mother. Now, Gomez Addams must do something he’s never done before– keep a secret from his beloved wife, Morticia. Everything will change for the whole family on the fateful night they host a dinner for Wednesday’s “normal” boyfriend and his parents. Monday 17th March 2025 at 7.30pm - GROUP 3 & 6 (Performers aged 14 - 18 years) Tuesday 18th March 2025 at 7.30pm- GROUP 2 & 5 (Performers aged 11 - 14) Wednesday 19th March 2025 at 7.30pm- GROUP 3 & 6 (Performers aged 14 - 18 years) Thursday 20th March 2025 at 7.30pm - GROUP 2 & 5 (Performers aged 11 - 14) Friday 21st March 2025 at 7.30pm - GROUP 3 & 6 (Performers aged 14 - 18 years) Saturday 22nd March 2025 at 2.30pm - GROUP 1, 4, 7 (Performers aged 5 - 11 years) Saturday 22nd March 2025 at 7.30pm - GROUP 2 & 5 (Performers aged 11 - 14 years) Sunday 23rd March 2025 at 2.30pm - GROUP 1, 4, 7 (Performers aged 5 - 11 years)

Garrick Production RELAXED PERFORMANCE of Goldilocks & The Three Bears Date range Tickets £15 - £19 Age guidance 3+ Venue Main House Trigger warning Find out more Book now Running time Group bookings Find out more Accessibility Find out more WHAT IS A RELAXED PERFORMANCE? If you are a parent, guardian, or work with people with learning or sensory disabilities – such as those on the autism spectrum – you’ll know how difficult it can sometimes be for them to attend regular theatre performances; loud noises, lighting effects and large crowds can make stage shows overwhelming. At Altrincham Garrick Playhouse, we believe that everyone should be able to experience the magic and wonder of live theatre, and our Relaxed Performance of Goldilocks and the Three Bears will provide the same fantastical Pantomime but with an atmosphere and attitude in the auditorium that makes everyone feel comfortable and safe. WHAT TO EXPECT FROM OUR RELAXED PERFORMANCE: At a Relaxed Performed, you are free to: - Come and go from the auditorium as you wish, even during the show - Express yourself as loudly as you like, or with physical movement, without judgement - Access the Theatre and auditorium early. You’ll also notice that we will reduce the sound and lighting to lessen sensory overload, and no pyrotechnics or loud bangs will appear in the performance. Garrick Production Book Tickets Wed 15 Oct Last few left 00:00 Show more times Trailer Reviews Gallery Friends of the Garrick Become a Friend of the Garrick! You can buy discounted tickets and support your local theatre. Become a Friend Now Join our mailing list Subscribe

Rent Our Theatre Stage Props — Stage Props for Film, Theatre and Television - All Types of Stage Prop Weaponry Available. Garrick Hire Prop Swords, Knives and Miscellaneous The Garrick offers a range of bladed weapons and related miscellaneous items for hire About the Armoury Prop Gun & Rifle Hire Prop Swords, Knives & Miscellaneous Hire prop swords, fake knifes and daggers directly from us, here at The Garrick in Altrincham. We have a large collection suitable for film/movies, TV and all kinds of theatrical performances, from pantomimes to whodunnits and dramas. All of our stage swords and other pointed weapons are stored at a secure location in Altrincham. Note that these are not for fancy dress parties, stag dos or other party events – we do not have a licence to rent out to the general public. There are strict rules and regulation surrounding the hire and carrying of these items. We also have a number of interesting related items for hire that you may require to sit alongside the prop swords and prop guns hire. These items don’t fit neatly into the other sections, so we have separated them out below. Please take a look at the photos below, then contact us and give us an idea of the type of production you are engaged with. We will be happy to advise on which type of weapon(s) you need, and can then give you a quotation and timescale for rental. Alternatively, if you know exactly what you require then please include the reference numbers from the photo. Please fill in our online form , ring us on 0161 928 1677 or send us an e-mail, to hire@altrinchamgarrick.co.uk . Hire Form Prop Swords From prop pirate cutlasses suitable for pantomimes, such as those seen in Peter Pan above, to classic replica gladiator, claymore, classic long swords, epees and Samurai swords (as seen in movies such as like Kill Bill), we have a large collection for hire. Prop Knives & Daggers We have a large collection of prop knifes, stilettoes and daggers including retractable knife props (with retractable blades), suitable for stage, screen and television. There are knives from almost every era, including prop machetes, flick knifes and kirpans. Miscellaneous Items to Hire Other weapons include prop duelling pistols, fake Uzi , prop hand grenades & mortar bomb, Note that items 1& 2 are no longer available. Accessories include prop truncheons, western gun holsters, prop handcuffs, cowboy belts and shoulder holsters. Hire Form Join our mailing list Subscribe

The Garrick Academy of Performing Arts runs classes for ages 5 to 18 and is the place to be if you love acting, singing or dancing. The Academy About GAPA & How to Join? Altrincham Garrick Playhouse is the beating heart of the community. A theatre, cinema, youth academy and community creative social place for all to enjoy. The Garrick Academy of Performing Arts, or GAPA as it is now affectionately known, continues to go from strength-to-strength. Formed in 2003 by Peter Birch and Dean Sumner, it has developed from 60 students to more than twice that number today. GAPA now has 3 teaching staff, 3 senior assistants – all of whom have been professionally trained in various disciplines within the performing arts. Additionally we have trainee junior assistants, who have been brought up through the GAPA ranks, all working with our students to develop their drama knowledge and gain experience. GAPA currently runs: SATURDAY CLASSES SCHOOL HOLIDAY COURSES SPEECH AND DRAMA Through all our courses and weekly classes we provide, train and develop the performance skills of our students and give them a theatre grounding; should they wish to just enjoy the fun of performing or should they eventually work professionally within the business. We focus on performance, inclusion and fun, and we ensure the students are constantly working towards the presentation of their work. Our annual productions see students preparing for a full-length show which, depending upon the production chosen, may be performed on the Garrick main stage or the more intimate Lauriston Studio, if the show or play is more suited. We look forward to seeing you at the next GAPA production, when you can watch our next generation of performing talent. Joining GAPA To join GAPA’s Saturday groups please contact our box office on 0161 928 1677 or email boxoffice@altrinchamgarrick.co.uk Join our mailing list Subscribe

This page is used to allow you to select your seats for this event at the Altrincham Garrick Playhouse Your Selection Your selection Basket Checkout Friends of the Garrick Become a Friend of the Garrick! You can buy discounted tickets and support your local theatre. Become a Friend Now Join our mailing list Subscribe