Search Results

Return to Productions Archive Garrick Production The Curious Incident of the Dog in the Night-Time A touching and bleakly humorous tale, performed by The Garrick Ensemble, Ran Feb 3, 2025 - Feb 8, 2025 Age guidance 12+ Venue Main House Running time TBC Tickets Price Range £10.50 - £16.50 Description Written by Mark Haddon Adapted by Simon Stephens Directed by Joseph Meighan Christopher, fifteen years old, stands beside Mrs Shears’ dead dog. It has been speared with a garden fork, it is seven minutes after midnight, and Christopher is under suspicion. He records each fact in the book he is writing to solve the mystery of who murdered Wellington. He has an extraordinary brain and is exceptional at maths, but he is ill-equipped to interpret everyday life. He has never ventured alone beyond the end of his road, he detests being touched, and he distrusts strangers. But Christopher’s detective work, forbidden by his father, takes him on a frightening journey that turns his world upside-down. Simon Stephens’ adaptation of Mark Haddon’s bestselling, award-winning novel, The Curious Incident of the Dog in the Night-Time offers a richly theatrical exploration of this touching and bleakly humorous tale. This production is performed by THE GARRICK ENSEMBLE. The Garrick Ensemble is a company of 18 – 30 year old aspiring actors from Greater Manchester and Cheshire who perform one production each year as part of the Altrincham Garrick Playhouse Main House Season. The production will be directed by Artistic Director Joseph Meighan. The Garrick Ensemble aims to make theatre that is fresh, innovative and exciting. See the very best of local, up and coming talent before they move forward in the next stages of their careers in the Arts. Altrincham Garrick Playhouse are proud to be supporting I AM with this production. At I AM , we’re dedicated to supporting autistic individuals to thrive, connect, and achieve their full potential. Based in the heart of Manchester, we provide tailored programmes, inclusive activities, and vital resources that empower autistic children, young people, and adults, as well as their families. Together, we’re building a more understanding and inclusive community - because every voice matters. For more information visit: https://i-am-autism.org.uk Reviews FIVE STAR REVIEW - Paul Wilcox at North West End UK “Despite its apparently serious subject matter, ‘Curious Incident’ is a wonderfully positive and life affirming play that has been adapted beautifully by a strong cast, crew and creative team and topped with an excellent central performance.” Read the Full Review from North West End: CLICK HERE ANOTHER FIVE STARS - Rick Bowen at StageStruck “the storm of applause that swept through the auditorium and came seriously close to lifting the theatre’s roof off at the end.” Read the Full Review by Stage Struck: CLICK HERE Gallery Trailer Trigger Warning This production contains themes and depictions that may be distressing to some audience members, including descriptions of physical and emotional abuse, discussions of mental health and disability, and strong language. The production also features loud noises and some moments of sensory intensity, reflecting the content of the novel and autistic experience. Documents related to this Production View the Programme View the Advertising Poster Return to Productions Archive

Previous Next Val Lynch Trained at RADA, Val was a leading director at the Garrick, and she also performed on stage in the 1980s and 90s. Her acting debut was in Neil Simon's Last of the Red Hot Lovers ' in 1981 (with leading actor, Tony Mathews ). Other acting credits included Under Milk Wood , The Musical Comedy Murders of 1941 , and Alan Bennett's Simple Spies where she played HM The Queen brilliantly. Val also appeared in two Coarse Acting Plays, which were performed in the bar and studio to raise funds for the STAGE Appeal. Her straight face under all circumstances was hilarious, and apparently she never corpsed once. Her directing credits are impressive and long. Some highlights include Say Who You Are ( her directorial debut in 1983), Outside Edge , Bedroom Farce , Daisy Pulls it Off , The Heiress (for which she won GMDF Best Director in 1993), An Ideal Husband , The Winslow Boy , and Macbeth . Val played a full part in the social life of the Garrick, as well as being a member of both the PSCC and the Executive Committee and regularly helping out backstage. Back to In Memoriam page

Return to Productions Archive Garrick Production A Taste of Honey Altrincham Garrick STUDIO 2025/26 Season - A Series of Manc Plays Ran Sep 23, 2025 - Sep 28, 2025 Age guidance 12+ Venue STUDIO Theatre Running time TBC Tickets Price Range £13 - £15 Description Written by Shelagh Delaney Directed by Carole Carr Living in a filthy tenement bedsitter, 17-year-old Jo is deserted by her nagging peroxided mother, Helen, who is unaware that her daughter is pregnant by a black sailor. To soothe, clean and cook for Jo is Geoff, an effeminate art student, with whom she makes a temporary home. Bruised by insensitivity and rejection, the boy and girl find a very real comfort in each other. A stunning portrayal of the complex bond between a mother and daughter, who – despite their sharp bickering – are both holding on for that taste of honey. This iconic play is a sharply observed portrait of working-class life in Salford in the late 1950s. Age Guidance: 12 + Warning: this production contains themes of alcohol abuse, racism, domestic violence, sexual themes, teenage pregnancy, homophobia, sexism, and ableism. Reviews "...a flowing and real depiction of an iconic and important piece of theatre" Lou Kershaw - North West End UK Click HERE to read the full review Gallery Trailer Trigger Warning Warning: 12+ This production contains themes of alcohol abuse, racism, domestic violence, sexual themes, teenage pregnancy, homophobia, sexism, and ableism. Documents related to this Production View the Programme View the Advertising Poster Return to Productions Archive

Visiting Production The Eras Experience: Taylor Swift Tribute by Xenna Date range Tickets £23 - £28 Age guidance Kids and family of all ages are welcome. Audience ages vary from young people to adults. Venue Main House Trigger warning Find out more Book now Running time 1 hour 50 minutes (inc. 20 min interval) Group bookings Find out more Accessibility Find out more Step into the unparalleled world of Taylor Swift in this ENCHANTED tribute show featuring the incredible: Xenna as Taylor. A celebration of the iconic pop sensation's music, style, and unrivalled stage presence. Xenna embodies every essence of Taylor Swift, capturing her voice, signature looks, and magnetic charisma. Audiences will be transported through Taylor's world as they sing along to timeless classics from "Love Story," "Blank Space," and "Shake It Off," to “Fortnight” and “The Tortured Poets Department”. With dancers and replica costumes, showcasing Swift's distinctive looks. The show now spans all 12 eras, including songs from the latest Album - Opalite, Fate of Ophelia and The Life of a Showgirl . This new era adds glamour and storytelling sparkle to the set, celebrating every chapter of Taylor’s talents. Whether you're a die-hard Swiftie or simply love great music, this is the ultimate homage to one of the biggest stars in the world. Get ready to relive Taylor Swift's greatest hits in a show that's as close to the real thing as it gets! VIP Ticket Holders - Please Note that VIP Meet and Greet takes place 1 hour before the show, and ticket holders will meet Xenna, get the chance to questions, get a selfie and a free poster. Visiting 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

Return to Productions Archive Garrick Productions Caught Napping Ran Jan 1, 1960 - Jan 1, 1960 Age guidance Venue Running time Tickets Price Range Description Davenport, Claire Reviews Gallery Trailer Trigger Warning Documents related to this Production View the Programme View the Advertising Poster Return to Productions Archive

Previous Next Brian Moore Brian was introduced to the Garrick in 1965 by his then girlfriend, soon to be wife, Ann, who was auditioning for the pantomime The Wizard of Oz . By the time they left that evening, Brian had been cast as The Scarecrow and had become a fully paid-up member of the theatre. Brian went on to act in or be involved with dozens of plays and musicals over the next 50+ years. After his final show, when he was in his late 70s, he turned his hand to assisting many other areas of the theatre, including the bar and, with the help of others, running the Sunday Jazz lunches. Finally, after the refurbishment of the theatre, Brian took over the running of the confectionery kiosk. He introduced the selling of ice creams within the auditorium during the interval, making in his time many thousands of pounds for the Garrick. When not at the theatre, Brian could be found at the golf course enjoying the outdoor life. Brian was delighted to have been made an honorary Life Member of the Garrick theatre. Back to In Memoriam page

A copy of our Health and Safety Policy for Altrincham Garrick Playhouse Terms and Conditions T&C’s for Sale of Tickets GDPR Privacy Policy Health and Safety Policy Child Protection Policy For a copy of our Health and Safety Policy please click HERE Join our mailing list Subscribe

Return to Productions Archive Garrick Productions Dinner with the Family Ran Jan 1, 1960 - Jan 1, 1960 Age guidance Venue Running time Tickets Price Range Description Copestake, Jane G Reviews Gallery Trailer Trigger Warning Documents related to this Production View the Programme View the Advertising Poster Return to Productions Archive

The Altrincham Garrick Playhouse is the beating heart of the community. A 401-seat main auditorium and a 49-seat studio theatre, cinema, many visiting productions and the youth academy make the Garrick community creative social place for all to enjoy. About Us About the Theatre Altrincham Garrick Playhouse is the beating heart of the community. A theatre, cinema, youth academy and community creative social place for all to enjoy. About the Theatre History of the Garrick In Memoriam: Past Members of the Garrick Productions Archive The Garrick Theatre Established in 1914, The Altrincham Garrick Society aims to present Drama, Comedy, Musicals and Pantomime – and is happy to consider presenting other forms of the dramatic arts ! The Playhouse was built through membership donations in 1932 – its main auditorium seats 401 and is typically in use throughout September to July. A Garrick Academy of the Performing Arts runs term-time Saturday classes for children aged 5 to 18, as well as a week-long Summer School in August. The Society typically produces 13 main stage productions per year, including the Pantomime and the annual GAPA (Youth Academy) production. The Playhouse also hosts many shows from professional individuals and professional production companies. In addition, the Garrick Picturehouse comprises a large screen, which is used to show cinema films and “as-live” recordings of professionally-staged productions. Finally, the Studio is a 49-seat venue at the back of the building, in which more experimental and more intimate theatre is staged. The theatre is staffed and managed mainly by volunteers, with a small number of employees in specific areas (for example the Artistic Director and Operations Director, Box Office, Accounting, Maintenance and more). The theatre is a registered charity, so the management of the theatre finances and legal issues is governed by a Board of Trustees. Together this makes up the Garrick Theatre family. The Garrick Studio If you are looking for something more exciting to tickle your theatrical taste buds, why not throw caution to the wind and visit our smaller theatre: The Studio. The Studio is perfect for that feeling of being part of the action and where you can experience the intimacy of the story telling. Here you can get up close and personal with the actors as they wow you with their performances. We do not allow touching or the feeding of our actors, however, as some of them have been known to bite! The Studio has its own private entrance onto the car park and patrons have full use of the Garrick bar and all our facilities in the main building. It seats 49 comfortably and it is also accessible for wheelchairs. The Studio is where we stage productions that are not always suitable for our main stage (401 seats) and therefore our shows often fill up quickly. The Studio’s reputation has continued to grow over the years with its thought-provoking and exciting plays. We regularly experience sell-out shows. These productions can be challenging, deeply moving, hilarious or outrageous! You decide. Join our mailing list Subscribe

This page is part of the Booking Journey, for booking events and tickets at the Altrincham Garrick Playhouse. Your Basket 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

Return to Productions Archive Garrick Production The Girl on the Train A Suspense Thriller, based on the bestselling novel by Paula Hawkins. Ran Jan 15, 2024 - Jan 20, 2024 Age guidance 14+ Venue Main House Running time 2.5 hours (inc. 20 mins interval) Tickets Price Range £10 - £16 Description Based on the bestselling novel by Paula Hawkins and DreamWorks film. Rachel Watson longs for a different life. Her only escape is the perfect couple she watches through the train window every day, happy and in love. Or so it appears. When Rachel learns that the woman she’s been secretly watching has suddenly disappeared, she finds herself as a witness and even a suspect in a thrilling mystery in which she will face bigger revelations than she could ever have anticipated. Adapted from Paula Hawkins’ novel – an international phenomenon selling over twenty million copies worldwide, this gripping new play will keep you guessing until the final moment. Reviews https://number9reviews.blogspot.com/2024/01/amateur-theatre-review-girl-on-train.html https://northwestend.com/the-girl-on-the-train-altrincham-garrick-playhouse/ Gallery Trailer Trigger Warning This production contains some strong language and adult themes including domestic violence and alcohol abuse. Flashing and loud noises. Documents related to this Production View the Programme View the Advertising Poster Return to Productions Archive

Return to Productions Archive Garrick Production The Beauty Queen of Leenane The Irish Studio Season: A dark, comedic, thriller Ran Oct 1, 2024 - Oct 6, 2024 Age guidance 16+ Venue Altrincham Garrick Studio Running time TBC Tickets Price Range £12.50 - £14.50 Description Written by Martin McDonagh Directed by Mark Goggins “Sometimes I dream… of anything! Of anything. Other than this.” In the mountains of Connemara, County Galway, Maureen Folan – a plain, lonely woman, tied to her manipulative and ageing mother, Mag – comes alive at her first and possibly last prospect of a new life. But Mag has other ideas; and her interference sets in motion a train of events that leads inexorably towards the play’s breathtaking conclusion. The Beauty Queen of Leenane is one of playwright Martin McDonagh’s (Three Billboards Outside Ebbing, Missouri, The Lieutenant of Inishmore) finest achievements. Winner of four Tony Awards on Broadway and nominated for an Olivier Award, the play conjures up the unbearable tension and loneliness of an isolated existence. A dark, comedic, thriller. Reviews Gallery Trailer Trigger Warning This production includes scenes of violence, cruelty and strong language. The production also contains sexual references and themes of loneliness, abuse and mental health. Documents related to this Production View the Programme View the Advertising Poster Return to Productions Archive

Garrick Production QUIZ Date range Tickets £14 - £19 Age guidance 12+ Venue Main House Trigger warning Find out more Book now Running time TBC Group bookings Find out more Accessibility Find out more Every audience member will be given a voting device, putting you right at the heart of the story. You won’t just watch the drama unfold, you’ll help decide it. September 2001: the nation is gripped by a scandal that remains, to this day, a mystery. In an outrageously audacious heist, Charles Ingram, aka the Coughing Major, and his accomplices duped the world’s most popular TV quiz show, Who Wants to Be a Millionaire, out of £1,000,000. Or did they? And if they did cheat, how did they really do it? James Graham’s thrilling, entertaining and provocative comedy drama, asks you, the audience, to put fingers on keypads and answer the ultimate 50/50: guilty or not guilty? And, for your first question, is QUIZ … A) A play by acclaimed writer James Graham, performed by The Garrick Ensemble? B) A provocative re-examination of the conviction of Charles Ingram, 'the coughing Major', for cheating, following his appearance on Who Wants To Be A Millionaire? C) A hilarious celebration of the great tradition of the British quiz show? D) A razor-sharp analysis of the 21st century's dangerous new attitude to truth and lies? Answer: You decide. Nominated for two Olivier Awards including Best New Comedy, James Graham’s smash hit play, Quiz, transferred to London’s West End with sensational reviews in 2018, following a sold-out run at Chichester Festival Theatre. And in 2020, millions tuned in to see the three-part ITV adaptation starring Michael Sheen, Matthew Macfadyen and Sian Clifford. This production is performed by THE GARRICK ENSEMBLE. The Garrick Ensemble is a company of 18 – 30 year old aspiring actors from Greater Manchester and Cheshire who perform one production each year as part of the Altrincham Garrick Playhouse Main House Season. The Garrick Ensemble aims to make theatre that is fresh, innovative and exciting. See the very best of local, up and coming talent before they move forward in the next stages of their careers in the Arts. Written by James Graham Directed by Joseph Meighan (Artistic Director) Garrick Production Book Tickets Wed 15 Oct Last few left 00:00 Show more times Trailer Reviews 5 Stars from North West End U K “Entertaining, inventive and expertly staged, this production is a testament to the talent both on stage and behind the scenes at the Garrick. Verdict: A clever, interactive and utterly gripping night of theatre.” - Max Eden Read the full review HERE Stage Struck "Director Joe Meighan can add Quiz to a long list of theatrical triumphs at the Garrick." Read Rick Bowen's full review HERE 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

If you have an interest in theatre, want to tread the boards or work front or back stage then why not become a Garrick volunteer? Get Involved Volunteering Altrincham Garrick Playhouse is the beating heart of the community. A theatre, cinema, youth academy and community creative social place for all to enjoy. If you have an interest in theatre, want to tread the boards or work front or back stage then why not become a Garrick volunteer ? We are always looking for new talent (of any age) to work in all areas of the theatre – no experience is necessary as you will be given full training by our qualified staff. We promise you that the satisfaction of a job well done will really surprise you, and you will make many new friends. Register your Interest Simply fill in this form to register your interest in getting involved in the theatre. You can also ring us on 0161 928 1677 , or send an e-mail to admin@altrinchamgarrick.co.uk Name Email Telephone Tell us how you would like to get involved, and we'll respond as soon as possible Submit Thanks for registering your interest in getting involved. We aim to get back to you very soon. What else can I do to play my part? Even if you are not able to spend the time time helping the theatre in a more active way (maybe work and other commitments mean that your time is at a premium), there other simple ways you can help your Garrick. When you come and see a show, try to pick up a leaflet or A4 poster from the Box Office or in the Bar. You could display one in your local Library, office/place of work or even your local club or shop (please make sure you have permission to do so). If you have enjoyed a show, tell your friends/colleagues – please spread the word about your theatre! Find us on Social Media and tweet/post your thoughts. This kind of help, however small, can make a huge difference to the theatre. Thank you. Join our mailing list Subscribe

Garrick Cinema NATIONAL THEATRE LIVE: Hamlet Date range Tickets £18 - £20 Age guidance Venue Main House Trigger warning Find out more Book now Running time Group bookings Find out more Accessibility Find out more By William Shakespeare Directed by Robert Hastie Olivier Award-winner Hiran Abeysekera (Life of Pi) is Hamlet in this fearless, contemporary take on Shakespeare’s famous tragedy. Trapped between duty and doubt, surrounded by power and privilege, young Prince Hamlet dares to ask the ultimate question – you know the one. National Theatre Deputy Artistic Director, Robert Hastie (Standing at the Sky’s Edge, Operation Mincemeat) directs this sharp, stylish and darkly funny reimagining. Garrick Cinema 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

Return to Productions Archive Garrick Productions The Hollow Ran Jan 20, 2003 - Jan 25, 2003 Age guidance Venue Running time Tickets Price Range Description Weekend at "The Hollow", country retreat of Sir Henry and Lucy Angkatell. Murder is on the menu and when the much sought after Cristow is found dead everyone has a motive and everyone has had the opportunity. Who actually committed the murder is discovered by Inspector Colquhoun and Sergeant Penny to everyone's surprise and satisfaction. CAST Sarat Broughton as Henrietta Angkatell Geoff Hinde as Sir Henry Angkatell KCB Jane Marsh as Lady Angkatell Juliette Wilson as Midge Harvey Brian Stoner as Gudgeon Richard Frost as Edward Angkatell Lisa Barker as Doris Caroline Hickey as Gerda Cristow John Keen as John Cristow MD FRCP Nina Williamson as Veronica Craye Hugh Everett as Inspector Colquhoun Martin Creevy as Detective Sergeant Penny Reviews Gallery Trailer Trigger Warning Documents related to this Production View the Programme View the Advertising Poster Return to Productions Archive

The Altrincham Garrick Playhouse recognizes its duty of care under the Children and Young Persons Act 1963, the Child (Performances) Regulations 1968, the Protection of Children Act 1999 and the Criminal Justice and Court Services Act 2000. Child Protection Policy T&C’s for Sale of Tickets GDPR Privacy Policy Health and Safety Policy Child Protection Policy The Altrincham Garrick Playhouse recognizes its duty of care under the Children and Young Persons Act 1963, the Child (Performances) Regulations 1968, the Protection of Children Act 1999 and the Criminal Justice and Court Services Act 2000.The society recognizes that abuse can take many forms, whether it be physical abuse, emotional abuse, sexual abuse or neglect. The society is committed to practice which protects children from harm. All members of the society accept and recognize their responsibilities to develop awareness of the issues which cause children harm. The society believes that: The welfare of the child is paramount; All children, whatever their age, culture, disability, gender, language, racial origin, religious beliefs and/or sexual identity have the right to protection from abuse; All suspicions and allegations of abuse should be taken seriously and responded to swiftly and appropriately; All members and employees of the society should be clear on how to respond appropriately. The society will ensure that: All children will be treated equally and with respect and dignity; The welfare of each child will always be put first; A balanced relationship based on mutual trust will be built which empowers the children to share in the decision making process; Enthusiastic and constructive feedback will be given rather than negative criticism Bullying will not be accepted or condoned; All adult members of the society provide a positive role model for dealing with other people; Action will be taken to stop any inappropriate verbal or physical behaviour; It will keep up-to-date with health & safety legislation; It will keep informed of changes in legislation and policies for the protection of children; It will undertake relevant development and training; It will hold a register of every child involved with the society and will retain a contact name and number close at hand in case of emergencies. The society has child protection procedures which accompany this policy. This policy should also be read in conjunction with the society’s Theatre Handbook and Health & Safety Policy. The society has a dedicated Child Protection Officer, who is in charge of ensuring that the Child Protection policy and procedures are adhered to. This policy will be regularly monitored by the Executive Committee of the society and will be subject to annual review. Child Protection Procedures Responsibilities of the Society At the outset of any production involving children the society will: Undertake a risk assessment and monitor risk throughout the production process; Identify at the outset the person with designated responsibility for child protection; Engage in effective recruitment of chaperones and other individuals with responsibility for children, including appropriate vetting (if necessary in consultation with the local education authority); Ensure that children are supervised at all times; Know how to get in touch with the local authority social services, in case it needs to report a concern. Parents The society believes it to be important that there is a partnership between parents and the society. Parents/guardians are encouraged to be involved in the activities of the society and to share responsibility for the care of children. All parents will be given a copy the society's Child Protection Policy and procedures .All parents/guardians have the responsibility to collect (or arrange collection of) their children after rehearsals or performances. It is NOT the responsibility of the society to take children home. Unsupervised Contact The society will attempt to ensure that no adult has unsupervised contact with children. If possible there will always be two adults in the room when working with children. If unsupervised contact is unavoidable, steps will be taken to minimize risk. For example, work will be carried out in a public area or in a designated room with a door open. If it is predicted that an individual is likely to require unsupervised contact with children, he or she may be required to obtain a criminal record disclosure. Physical Contact All adults will maintain a safe and appropriate distance from children. Adults will only touch children when it is absolutely necessary in relation to the particular activity. Adults will seek the consent of the child prior to any physical contact and the purpose of the contact shall be made clear. Managing sensitive information The society has a policy and procedures for the taking, using and storage of photographs or images of children. Permission will be sought from the parents/guardians for use of photographic material featuring children for promotional or other purposes. The society’s web-based materials and activities will be carefully monitored for inappropriate use. The society will ensure confidentiality in order to protect the rights of its members, including the safe handling, storage and disposal of any sensitive information such as criminal record disclosures. Suspicion of abuse If you see or suspect abuse of a child while in the care of the society, please make this known to the person with responsibility for child protection. If you suspect that the person with responsibility for child protection is the source of the problem, you should make your concerns known to the Chairman. Please make a note for your own records of what you witnessed as well as your response, in case there is follow-up in which you are involved. If a serious allegation is made against any member of the society, chaperone, venue staff etc., that individual will be suspended immediately until the investigation is concluded. The individual will be excluded from the theatre; rehearsal rooms etc. and will not have any unsupervised contact with any other children in the production. Disclosure of abuse If a child confides in you that abuse has taken place: Remain calm and in control but do not delay taking action. Listen carefully to what has been said. Allow the child to tell you at their own pace and ask questions only for clarification. Don’t ask questions that suggest a particular answer. Don’t promise to keep it a secret. Use the first opportunity you have to share the information with the person with responsibility for child protection. Make it clear to the child that you will need to share this information with others. Make it clear that you will only tell the people who need to know and who should be able to help. Reassure the child that they did the right thing in telling someone. Tell the child what you are going to do next. Speak immediately to the person with responsibility for child protection. It is that person’s responsibility to liaise with the relevant authorities, usually social services or the police. As soon as possible after the disclosing conversation, make a note of what was said, using the child’s own words. Note the date, time, any names that were involved or mentioned, and who you gave the information to. Make sure you sign and date your record. Recording In all situations, including those in which the cause of concern arises from a disclosure made in confidence, the details of an allegation or reported incident will be recorded, regardless of whether or not the concerns have been shared with a statutory child protection agency. An accurate note shall be made of the date and time of the incident or disclosure, the parties involved, what was said or done and by whom, any action taken to investigate the matter, any further action taken e.g. suspension of an individual, where relevant the reasons why the matter was not referred to a statutory agency, and the name of the persons reporting and to whom it was reported. The record will be stored securely and shared only with those who need to know about the incident or allegation. Rights & Confidentiality If a complaint is made against a member of the society he or she will be made aware of their rights under the society's disciplinary procedures. No matter how you may feel about the accusation, both the alleged abuser and the child who is thought to have been abused have the right to confidentiality under the Data Protection Act 1998. Remember also that any possible criminal investigation could be compromised through inappropriate information being released. In criminal law the Crown or other prosecuting authority has to prove guilt and the defendant is presumed innocent until proven guilty. Accidents To avoid accidents, chaperones and children will be advised of ‘house rules’ regarding health and safety and will be notified of areas that are out of bounds. Children will be advised of the clothing and footwear appropriate to the work that will be undertaken. If a child is injured while in the care of the society, a designated first-aider should administer first aid and the injury will be recorded in the society’s accident book. This record will be counter-signed by the person with responsibility for child protection. If a child joins the production with an obvious physical injury a record of this will be made in the accident book. This record will be counter-signed by the person with responsibility for child protection. Criminal Record Disclosures If the society believes it in is in its best interests to obtain criminal record disclosures for chaperones or other personnel it will inform the individual of the necessary procedures and the level of disclosure required. An Enhanced disclosure will be required. The society will have a written code of practice for the handling of disclosure information and aim to prevent misuse. Chaperones Chaperones will be appointed by the society/appointed persons for the care of children during the production process. By law the chaperone is acting in loco parentis and should exercise the care which a good parent/guardian might be reasonably expected to give to a child. The maximum number of children in the chaperone’s care shall not exceed 12. Potential chaperones may be required to supply photographic proof of identity and two references from individuals with knowledge of their previous work with children, unless already well known to the society. They may also be asked to sign a declaration stating that there is no reason why they would be considered unsuitable to work with children. Chaperones will be made aware of the society’s Child Protection Policy and Procedures. Where chaperones are not satisfied with the conditions for the children, they should bring this to the attention of the director/stage manager. If changes cannot be made satisfactorily the chaperone should consider not allowing the child to continue. If a chaperone considers that a child is unwell or too tired to continue, the chaperone must inform the director/stage manager and not allow the child to continue. No child of compulsory school age is permitted to do anything which may endanger life or limb. This could include working on wires or heavy lifting. Chaperones should tell the director/stage manager to cease using children in this way, and should contact the local authority. During performances, chaperones will be responsible for meeting children at the stage door and signing them into the building. Children will be kept together at all times except when using separate dressing rooms. Chaperones will be aware of where the children are at all times. Children are not to leave the theatre unsupervised by chaperones unless in the company of their parents/guardians. Children will be adequately supervised while going to and from the toilets. Children will not be allowed to enter the adult dressing rooms. Chaperones should be aware of the safety arrangements and first aid procedures in the venue, and will ensure that children in their care do not place themselves and others in danger. Chaperones should ensure that any accidents are reported to and recorded by the society. Chaperones should examine accident books each day. If an accident has occurred, the producer is not allowed to use that child until a medically qualified opinion has been obtained (not just the word of the parent or child). Chaperones should have written arrangements for children after performances. If someone different is to collect the child, a telephone call should be made to the parent/guardian to confirm the arrangements. Children should be signed out when leaving and a record made of the person collecting. If a parent has not collected the child, it is the duty of the chaperone to stay with that child or make arrangements to take them home. This policy is applicable to and focuses on, children of compulsory school age and below. A child is required to attend school unless they are over the age of 16 on 31st of August, or until the last Friday in June after their 16th birthday. Join our mailing list Subscribe

Return to Productions Archive Garrick Productions The Shawshank Redemption Ran Sep 14, 2023 - Sep 23, 2023 Age guidance 14+ Venue Running time Tickets Price Range Description “Remember, hope is a good thing, maybe the best of things… and no good thing ever dies”. Based on the novella “Rita Hayworth and Shawshank Redemption” by Stephen King, The Shawshank Redemption examines desperation, injustice, friendship and hope behind the claustrophobic bars of a maximum-security facility. Despite protests of his innocence, Andy Dufresne is handed a double life sentence for the brutal murder of his wife and her lover. Incarcerated at the notorious Shawshank facility, he quickly learns that no one can survive alone. Andy strikes up an unlikely friendship with the prison fixer Red, and things take a slight turn for the better. However, when Warden Stammas decides to bully Andy into subservience and exploit his talents for accountancy, a desperate plan is quietly hatched… The Shawshank Redemption was adapted for the stage by Owen O’Neill and Dave Johns. The production first debuted in Dublin in 2009. Recommended: 14+ Based on the novella “Rita Hayworth and Shawshank Redemption” by Stephen King and sexual assault, suicide, violence, gambling and smoking. Reviews Upon entering the Altrincham Garrick , I was immediately drawn into the chilling confines of the Shawshank Prison. The stage, impressively transformed for an amateur theatre, mirrors the grim atmosphere of a bleak, metallic prison block, further intensified by dim lighting. This ambiance, paired with the methodical procession of prisoners, sets an undeniable authentic tone. I definitely wouldn’t want to be there, and Director; Joseph Meighan has done an excellent job is creating this dirty world, where new inmates dare not step a foot out of line for fear of receiving brutal consequences. This rendition of “The Shawshank Redemption” offers a fresh perspective on Stephen King’s iconic narrative, a tale that resonates with themes of resilience and hope in the face of adversity. A lengthy stay in prison would destroy most individuals, but somehow these guys manage to cling onto hope when it seems like it’s long gone. While I was familiar with the story, this adaptation managed to breathe new life into the tale, making it feel both nostalgic and novel. The arrival of Andy Dufresne (Tom Broughton) at the Shawshank sets the cats amongst the pigeons. He is an intelligent, well-spoken, quiet man which some inmates feel threatened by. Broughton delivers a performance marked by determination and unwavering hope. His portrayal is beautifully complemented by Lewis Sewell’s empathetic and authentic delivery of Ellis ‘Red’ Redding. Their palpable chemistry is a testament to their individual talents and the visionary direction of Meighan. They have pushed theatrical boundaries for Am dram without alienating traditional audiences. The depth and nuance given to each character in the ensemble are evidence of this. Some of the other members of the cast did seem a bit nervous – quite understandable given it was opening night. After a while, they relaxed into their roles. I will admit though I never once felt intimidated by any of the prison guards, I feel like they could have brought those authority figures to life a bit more. The play’s deliberate pacing, which often leans towards the slower side, doesn’t ever really overwhelm or excite. There are a few scenes where the pacing does lift, most notably when Brooksie (Bill Platt) attempts to set himself on fire. While this was an amateur production done to a very high standard, there were elements that I think could have been better. In particular, I think the costumes could have been better – some of them looked a bit too modern to be from the 1950s/1960s, and the prisoner numbers on the inmates’ shirts didn’t look authentic. Overall, a great production. Those expecting a classic retelling of the movie may be slightly disappointed. However, it’s hard not to salute the hard work that has gone into this show. Reviewer: Brian Madden Reviewed: 14th September 2023 North West End UK Rating: 4 Stars out of 5 It never ceases to amaze me, just how resilient the human spirit can be, especially in the face of overwhelming odds and trapped in a system that’s designed to crush you. Rehabilitation is definitely a dirty word at this grim, Shawshank jail, where inmates serve their time in filthy conditions, trying to avoid the attentions of the sodomites, perpetually stalking the prison’s dark corridors for their next victim. But things change with the arrival of a prisoner called Andy Dufresne, a refined, intelligent and articulate man, incarcerated for a double murder he claims he didn’t commit. I hope the subject matter doesn’t deter people from buying tickets for the Garrick’s new curtain raiser because Stephen King’s absorbing and at times deeply moving jail tale is life-affirming stuff. You’ll also miss some powerful performances from, in particular, Tom Broughton as Dufresne and Lewis Sewell as his best friend Red. There’s a natural and easy chemistry between these two, a tribute to their own talent and a man who has for me, re-defined what amateur theatre is and should be about, Joe Meighan. For Meighan, the Garrick’s artistic director, there’s no such thing as forbidden theatrical territory, daring to be different, while not alienating theatregoers with more mainstream tastes. Steven Finney is outstanding as the seemingly pious Warden Stammers and Pete Brassington’s performance as head thug Bogs Drummond is his best on the Garrick stage to date. How churlish it would be for me not to mention Bill Platt as the prison librarian Brooksie, a librarian for whom books are his reason for living. Utterly compelling, this prison masterpiece. Do not miss. Star rating - 4/5. Rick Bowen stagestruck.info Altrincham Garrick have transformed their stage rather convincingly, into a dank, dark, grey, bare and metallic prison block inside the Shawshank Penitentiary in Maine, USA. This foreboding and sparse set, together with low-key lighting, a little haze, and no auditorium music is what greets us as we take our seats this evening. The prison guard walks the prisoners in and they file into their cells one by one. It's sombre, it's ritualistic, and it is scarily real. This is 'The Shawshank Redemption', a stage adaptation of the classic Stephen King novel and award-winning film that followed. However this was my first visit to 'The Shank' .I have never read the novel, nor have I seen the film. I was therefore watching this story unfold for the first time, and was always trying to second-guess the narrative; sometimes with more success than others. Directed by The Garrick's Artistic Director, Joseph Meighan, the play had moments of genius juxtaposed with moments of tedium. I was watching a play which was at times hard-hitting and realistic with the actors performing naturalistically, whilst at times we transcended this and were transported into the realms of theatrical and presentational acting. Perhaps this was deliberate, but I am not convinced that it worked. Admittedly, this was opening night, and so the actors might well have been a little more tentative than once the play beds in, but still, there were many long gaps and "thought" pauses, especially between scenes as the cast were tasked with bringing set items in and out. The pace was set right from the start as slow, and sadly, it never truly moved out of this the whole evening. Moments of genius (and pure theatricality) did pop up occasionally, and Brooksie's attempted suicide was one such highlight. Although I found the play dynamically rather pedestrian, the characters were clearly defined, the ennui and quotidian routine of the prison well observed, and the storyline clear and nicely signposted. Taking the lead role of Andy Dufresne in this brave and bold production (which pulls absolutely no punches!) is the quietly confident and continually hopeful Tom Broughton, whilst the narration and equally important role of Ellis 'Red' Redding was played by a sympathetic and believable Lewis Sewell. It is a large, all male, ensemble cast, and everyone on stage knew their roles well and how they fit into the play. They all had backstories, and all were fully-rounded characters which is in itself, a very important aspect of this production, and credit here to Meighan for bringing this to bear. The action of the play takes place over a twenty year period, and the audience is asked to use their suspension of disbelief in this regard, however, none of the cast age either physically or visually, which, perhaps would have been the cherry on the icing if they had. With a couple more performances for this play to 'bed in' and the actors to pick up on their cues, lifting the pace a little where needed, this will be a very compelling, forthright, and uncompromising piece of theatre. Reviewer - Matthew Dougall September 15, 2023 number9reviews.blogspot.com Gallery Trailer Trigger Warning Documents related to this Production View the Programme View the Advertising Poster Return to Productions Archive

The Altrincham Garrick Playhouse recognizes its duty of care under the Children and Young Persons Act 1963, the Child (Performances) Regulations 1968, the Protection of Children Act 1999 and the Criminal Justice and Court Services Act 2000. The Academy Altrincham Garrick Child Protection Policy 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 Altrincham Garrick Playhouse recognizes its duty of care under the Children and Young Persons Act 1963, the Child (Performances) Regulations 1968, the Protection of Children Act 1999 and the Criminal Justice and Court Services Act 2000.The society recognizes that abuse can take many forms, whether it be physical abuse, emotional abuse, sexual abuse or neglect. The society is committed to practice which protects children from harm. All members of the society accept and recognize their responsibilities to develop awareness of the issues which cause children harm. The society believes that: The welfare of the child is paramount; All children, whatever their age, culture, disability, gender, language, racial origin, religious beliefs and/or sexual identity have the right to protection from abuse; All suspicions and allegations of abuse should be taken seriously and responded to swiftly and appropriately; All members and employees of the society should be clear on how to respond appropriately. The society will ensure that: All children will be treated equally and with respect and dignity; The welfare of each child will always be put first; A balanced relationship based on mutual trust will be built which empowers the children to share in the decision making process; Enthusiastic and constructive feedback will be given rather than negative criticism Bullying will not be accepted or condoned; All adult members of the society provide a positive role model for dealing with other people; Action will be taken to stop any inappropriate verbal or physical behaviour; It will keep up-to-date with health & safety legislation; It will keep informed of changes in legislation and policies for the protection of children; It will undertake relevant development and training; It will hold a register of every child involved with the society and will retain a contact name and number close at hand in case of emergencies. The society has child protection procedures which accompany this policy. This policy should also be read in conjunction with the society’s Theatre Handbook and Health & Safety Policy. The society has a dedicated Child Protection Officer, who is in charge of ensuring that the Child Protection policy and procedures are adhered to. This policy will be regularly monitored by the Executive Committee of the society and will be subject to annual review. Child Protection Procedures Responsibilities of the Society At the outset of any production involving children the society will: Undertake a risk assessment and monitor risk throughout the production process; Identify at the outset the person with designated responsibility for child protection; Engage in effective recruitment of chaperones and other individuals with responsibility for children, including appropriate vetting (if necessary in consultation with the local education authority); Ensure that children are supervised at all times; Know how to get in touch with the local authority social services, in case it needs to report a concern. Parents The society believes it to be important that there is a partnership between parents and the society. Parents/guardians are encouraged to be involved in the activities of the society and to share responsibility for the care of children. All parents will be given a copy the society's Child Protection Policy and procedures .All parents/guardians have the responsibility to collect (or arrange collection of) their children after rehearsals or performances. It is NOT the responsibility of the society to take children home. Unsupervised Contact The society will attempt to ensure that no adult has unsupervised contact with children. If possible there will always be two adults in the room when working with children. If unsupervised contact is unavoidable, steps will be taken to minimize risk. For example, work will be carried out in a public area or in a designated room with a door open. If it is predicted that an individual is likely to require unsupervised contact with children, he or she may be required to obtain a criminal record disclosure. Physical Contact All adults will maintain a safe and appropriate distance from children. Adults will only touch children when it is absolutely necessary in relation to the particular activity. Adults will seek the consent of the child prior to any physical contact and the purpose of the contact shall be made clear. Managing sensitive information The society has a policy and procedures for the taking, using and storage of photographs or images of children. Permission will be sought from the parents/guardians for use of photographic material featuring children for promotional or other purposes. The society’s web-based materials and activities will be carefully monitored for inappropriate use. The society will ensure confidentiality in order to protect the rights of its members, including the safe handling, storage and disposal of any sensitive information such as criminal record disclosures. Suspicion of abuse If you see or suspect abuse of a child while in the care of the society, please make this known to the person with responsibility for child protection. If you suspect that the person with responsibility for child protection is the source of the problem, you should make your concerns known to the Chairman. Please make a note for your own records of what you witnessed as well as your response, in case there is follow-up in which you are involved. If a serious allegation is made against any member of the society, chaperone, venue staff etc., that individual will be suspended immediately until the investigation is concluded. The individual will be excluded from the theatre; rehearsal rooms etc. and will not have any unsupervised contact with any other children in the production. Disclosure of abuse If a child confides in you that abuse has taken place: Remain calm and in control but do not delay taking action. Listen carefully to what has been said. Allow the child to tell you at their own pace and ask questions only for clarification. Don’t ask questions that suggest a particular answer. Don’t promise to keep it a secret. Use the first opportunity you have to share the information with the person with responsibility for child protection. Make it clear to the child that you will need to share this information with others. Make it clear that you will only tell the people who need to know and who should be able to help. Reassure the child that they did the right thing in telling someone. Tell the child what you are going to do next. Speak immediately to the person with responsibility for child protection. It is that person’s responsibility to liaise with the relevant authorities, usually social services or the police. As soon as possible after the disclosing conversation, make a note of what was said, using the child’s own words. Note the date, time, any names that were involved or mentioned, and who you gave the information to. Make sure you sign and date your record. Recording In all situations, including those in which the cause of concern arises from a disclosure made in confidence, the details of an allegation or reported incident will be recorded, regardless of whether or not the concerns have been shared with a statutory child protection agency. An accurate note shall be made of the date and time of the incident or disclosure, the parties involved, what was said or done and by whom, any action taken to investigate the matter, any further action taken e.g. suspension of an individual, where relevant the reasons why the matter was not referred to a statutory agency, and the name of the persons reporting and to whom it was reported. The record will be stored securely and shared only with those who need to know about the incident or allegation. Rights & Confidentiality If a complaint is made against a member of the society he or she will be made aware of their rights under the society's disciplinary procedures. No matter how you may feel about the accusation, both the alleged abuser and the child who is thought to have been abused have the right to confidentiality under the Data Protection Act 1998. Remember also that any possible criminal investigation could be compromised through inappropriate information being released. In criminal law the Crown or other prosecuting authority has to prove guilt and the defendant is presumed innocent until proven guilty. Accidents To avoid accidents, chaperones and children will be advised of ‘house rules’ regarding health and safety and will be notified of areas that are out of bounds. Children will be advised of the clothing and footwear appropriate to the work that will be undertaken. If a child is injured while in the care of the society, a designated first-aider should administer first aid and the injury will be recorded in the society’s accident book. This record will be counter-signed by the person with responsibility for child protection. If a child joins the production with an obvious physical injury a record of this will be made in the accident book. This record will be counter-signed by the person with responsibility for child protection. Criminal Record Disclosures If the society believes it in is in its best interests to obtain criminal record disclosures for chaperones or other personnel it will inform the individual of the necessary procedures and the level of disclosure required. An Enhanced disclosure will be required. The society will have a written code of practice for the handling of disclosure information and aim to prevent misuse. Chaperones Chaperones will be appointed by the society/appointed persons for the care of children during the production process. By law the chaperone is acting in loco parentis and should exercise the care which a good parent/guardian might be reasonably expected to give to a child. The maximum number of children in the chaperone’s care shall not exceed 12. Potential chaperones may be required to supply photographic proof of identity and two references from individuals with knowledge of their previous work with children, unless already well known to the society. They may also be asked to sign a declaration stating that there is no reason why they would be considered unsuitable to work with children. Chaperones will be made aware of the society’s Child Protection Policy and Procedures. Where chaperones are not satisfied with the conditions for the children, they should bring this to the attention of the director/stage manager. If changes cannot be made satisfactorily the chaperone should consider not allowing the child to continue. If a chaperone considers that a child is unwell or too tired to continue, the chaperone must inform the director/stage manager and not allow the child to continue. No child of compulsory school age is permitted to do anything which may endanger life or limb. This could include working on wires or heavy lifting. Chaperones should tell the director/stage manager to cease using children in this way, and should contact the local authority. During performances, chaperones will be responsible for meeting children at the stage door and signing them into the building. Children will be kept together at all times except when using separate dressing rooms. Chaperones will be aware of where the children are at all times. Children are not to leave the theatre unsupervised by chaperones unless in the company of their parents/guardians. Children will be adequately supervised while going to and from the toilets. Children will not be allowed to enter the adult dressing rooms. Chaperones should be aware of the safety arrangements and first aid procedures in the venue, and will ensure that children in their care do not place themselves and others in danger. Chaperones should ensure that any accidents are reported to and recorded by the society. Chaperones should examine accident books each day. If an accident has occurred, the producer is not allowed to use that child until a medically qualified opinion has been obtained (not just the word of the parent or child). Chaperones should have written arrangements for children after performances. If someone different is to collect the child, a telephone call should be made to the parent/guardian to confirm the arrangements. Children should be signed out when leaving and a record made of the person collecting. If a parent has not collected the child, it is the duty of the chaperone to stay with that child or make arrangements to take them home. This policy is applicable to and focuses on, children of compulsory school age and below. A child is required to attend school unless they are over the age of 16 on 31st of August, or until the last Friday in June after their 16th birthday. Join our mailing list Subscribe

Previous Next David Gonet David was part of a highly-talented acting family (including Stella Gonet) and his sons Sean and Adam. He was a versatile actor who performed many times at the Garrick in the mid 2000's - he was equally comfortable with comedy, farce, musicals and serious plays. His credits on the mainstage included One Flew Over the Cuckoo's Nest , When We Are Married , La Cage Aux Folles , Little Shop of Horrors and Dick Barton, Special Agent . He also appeared in the panto Sleeping Beauty , as well as in the Studio theatre, and his relaxed, naturalistic style made him a pleasure to watch. Back to In Memoriam page

Return to Productions Archive Garrick Production The Widowing of Mrs Holroyd Ran Jan 2, 1920 - Jan 2, 1920 Age guidance Venue Running time Tickets Price Range Description By D H Lawrence CAST Bott, Miss Hill, Arthur P Matthews, Marion Thwaite Nixon, Beryl Nixon, Philip N Nixon, Walter S Owen, Gwen Pownall, Clarence Warburton, George A Warburton, Ida Winn, Rex Wilkinson, John Reviews Gallery Trailer Trigger Warning Documents related to this Production View the Programme View the Advertising Poster Return to Productions Archive

Return to Productions Archive Garrick Productions Under Milk Wood Ran Jan 1, 1958 - Jan 1, 1958 Age guidance Venue Running time Tickets Price Range Description Allman, William Blackhurst, Ernest Byren, Peter Carter, Felicity Carter, Harold Clarkson, Norma Davidson, Sally Fowler, Leslie Hughes, Edward D Jones, Sulaned Plant, Susan Yuille, Tom Reviews Gallery Trailer Trigger Warning Documents related to this Production View the Programme View the Advertising Poster Return to Productions Archive

Return to Productions Archive Garrick Productions Blackadder the Third Ran Nov 23, 2015 - Nov 28, 2015 Age guidance Venue Running time Tickets Price Range Description The hugely successful television comedy created by Richard Curtis and Ben Elton now comes to the stage in this award winning procession of well loved characters including Edmund Blackadder, Baldrick and the Prince Regent, Prince of Wales. Where once they had been lords and dukes we now find the latest of the dastardly dynasty of the Blackadders scraping a living as a butler to the stupidest man in England - the Prince Regent! Outrageous situations and exploits of the mean spirited Blackadder and his seemingly dim witted side kick, Baldrick also involve Dr Samuel Johnson, William Pitt the younger and various larger than life characters from the French Revolution. Don't miss this unique opportunity to recapture the wit, fun and completely over the top acting of one Britain's best loved comedies. CAST Edmund Blackadder, butler to the Prince, Mr Steven Finney Baldrick, a dogsbody, Mr Michael Gallagher Prince George, the Prince Regent, their master, Mr Hugh Everett Mrs Miggins, a coffee shoppe keeper, Miss Beverley Stuart-Cole Dr Samuel Johnson, noted for his big dictionary, Mr David Beddy Byron, a romantic junkie poet, Mr Steven Williamson Shelley, a romantic junkie poet, Mr Bob Miller Coleridge, a romantic junkie poet, Mr Leon McKenna Lord Topper, a fop, Mr Leon McKenna Lord Smedley, a fop, Mr Bob Miller Ambassador, a fearsome revolutionary, Mr Steven Williamson Miss Amy Hardwood, a mysterious northern beauty, Miss Beverley Stuart-Cole Mr Hardwood, her father, Mr Steven Williamson Sally Cheapside, a young lady of doubtful virtue, Miss Beverley Stuart -Cole The Duke of Cheapside, her father, Mr Leon McKenna The Duke of Wellington, a famous soldier, Mr David Beddy Cousin MacAdder, a homicidal maniac in a kilt, Mr Richard Finney King George III, a mad monarch, Mr Steven Williamson Director - Charlie Tomlinson Assistant Director - Val Watkinson Designer - Trevor McKie Stage Manager - Trevor McKie Assistant Stage Manager - Vishnu Maharaj Lighting & Sound - Mike North Reviews Messenger Review by RICK BOWEN Had he been there, I think Rowan Atkinson himself would have clapped and cheered Steven Finney to the rafters after his performance as Blackadder. For this is comedy acting at its finest, with Steven displaying flawless comedy timing that could easily be found on a professional stage. The cues, the tormented facial expressions, this performance, perfectly pitched, had echoes of Atkinson when he played the role on TV. We meet Blackadder in Georgian England and our hero is working as butler to Prince George, a man so dim you'd be forgiven for thinking he was the by product of two cousins getting married. There are some memorable scenes between Blackadder and this royal twit, expertly played by Hugh Everett in what is, for me, his best ever performance on the Altrincham Garrick stage. All the characters from the TV series are here and while it helps if you are a fan of the original, this production, bursting with laugh out loud funny moments, is sure to convert you. It always helps when you have Richard Curtis and Ben Elton writing the script – the lines are a gift for Finney and company. Charlie Tomlinson has always impressed me as an actor and he's equally good on the other side of the boards. Beverley Stuart Cole is great fun as pie shop owner Mrs Miggins and Blackadder just wouldn't be Blackadder without his sidekick Baldrick (Michael Gallagher), a simple soul in oh so many ways. For me, this is one of the best comedies the Garrick has ever done, a wall to wall triumph. Star Rating ★★★★★ Remotegoat Review · ‘Garrick has Cunning plan!’ JULIA TAYLOR The Garrick has never shirked from presenting stage versions of well-known TV series and, this time, they have come up with a cunning plan. It is their version of Blackadder the Third scripted by Richard Curtis and Ben Elton, which they perform fearlessly without copying the original characters too precisely but with input of their own which adds richness. They capture four episodes, all set in the Regency period. Our hero is employed as head butler to the idiotic Prince Regent so Baldrick is downgraded to become Black Adder's dogsbody. Steven Finney plays Blackadder with panache. With much wit and elastic facial expression, he manipulates his side kick Baldrick into carrying out his plans. Finney’s acting is so precise, you can almost read his thoughts as he attempts to solve one difficulty after another. These difficulties include Baldrick's burning of Dr Samuel Johnson's dictionary, Blackadder masquerading as the Scarlet Pimpernel, our hero's attempt to get the Prince Regent wed for money and the Duke of Wellington (David Beddy) challenging the Prince to a duel and ending up unknowingly fighting Black Adder. Michael Gallagher is a hoot as Baldrick who is as clumsy and thick as ever. Yet even he cannot compete in the gormless stakes against the foppish Prince Regent, played with appropriately restrained humour by Hugh Everett. Beverley Stuart-Cole romps merrily through the role of coffee shop keeper Mrs Miggins and other equally amusing female parts. It’s good to see Steven Williamson back on the main stage in four roles. His depiction of Amy Hardwood's working class dad is especially good. In this production, well directed by Charlie Tomlinson, the Garrick actors priceless humour, means the audience leave laughing and chatting happily about what they have seen. Star Rating ★★★★★ Review by Paul Downham for North West End For a number of years I have driven past the Altrincham Garrick Playhouse and said to myself time and time again I must pay a visit. I have heard nothing but superb reports about the productions staged here and tonight I finally got the chance to tick this one particular item off my theatrical bucket list. The theatre is as impressive as it is stunning with some of the friendliest front of house staff I have encountered in a long time. So my entertainment for the evening was Blackadder the Third, and it more than lived up to my expectations and more. Set on a simple stage (Trevor McKie) split between the Royal apartment and the servants’ quarters below, the show recreates 4 out of the 6 episodes from the third instalment of the Blackadder series. The first act saw ‘Ink and Incapability’ in which to increase his intellectual standing, the prince decides to become patron of Dr. Johnson's new dictionary, much to Blackadder’s disgust. However, Johnson is also planning to publish a novel written by Blackadder under a pseudonym, thus making him a millionaire. Matters are complicated, however, when Baldrick destroys the manuscript of the dictionary by burning it. Blackadder must devise a scheme to ensure that Johnson’s dictionary, and thus his novel, are published. This was followed by ‘Nob and Nobility’ where the Scarlet Pimpernel is the hero of the age. Blackadder, irritated by the new obsession with all things French, decides to cash in on the craze. Attempting to emulate the elusive Pimpernel, Blackadder accepts a bet to rescue a French nobleman and collect a handsome reward. His plans go awry, however, when he and Baldrick are captured and have to escape from the clutches of the French revolutionaries. The second half consisted of ‘Amy and Amiability’ where upon discovering that the prince has lost his money gambling, his faithful butler Blackadder attempts to marry Amy Hardwood, the daughter of a rich industrialist. Also starring her mum in the courtship, Blackadder eventually discovers that Amy’s father is also broke. We soon also discover that Amy is in fact The Shadow, a notorious highwayman. Finally ‘Duel and Duality’ this time the Prince runs into more trouble when he offends the Duke of Wellington with his nose, with only one way to save himself. Blackadder formulates a cunning plan to substitute his own Scottish cousin, MacAdder, to fight the Prince in the duel. When this plan falls through, however, Blackadder must swap places with the Prince and fight the duel himself. All four episodes were put together with a team of very talented performers and a production team with a degree of professionalism I have rarely seen on an amateur stage. Steven Finney playing Edmund Blackadder takes on a role that previously I couldn't have imagined anyone but Rowan Atkinson playing. His mannerisms were so well played out and costume convincing it was sometimes difficult to tell the two apart. Michael Gallagher as Baldrick brought many laughs with a cunning blend of slapstick comedy mixed with the disgusting habits viewers of the BBC TV series grew to love. His one point accurate comic timing and interaction with Finney was a joy to watch. The Prince played by Hugh Everett also put in a good turn as the royal fop. Complete with white make up and an equally white wig he portrayed the innocence of the character with skill and dexterity. The remaining cast members Steven Williamson, Beverly Stuart Cole, Richard Finney, David Beddy, Bob Miller and Leon McKenna all take on supporting roles changing from episode to episode with Cole hitting the spot with a number of stellar performances. Directed by Charlie Tomlinson, Blackadder is a triumph in every sense of the word. With the addition of accurate period costumes from the wardrobe team under the leadership of Mike Shaw you really feel that you have been transported to the Regency period. Gallery Trailer Trigger Warning Documents related to this Production View the Programme View the Advertising Poster Return to Productions Archive

Previous Next Freda Kilburn Freda was heavily involved in customer service at the Garrick in the 1980s and 90s. She ran the Coffee Bar, worked in the Kiosk and Bar, and was a regular member of the Front of House staff. She was also one of Mike Shaw's sewing team in Wardrobe, and helped with the many social activities at the theatre. Back to In Memoriam page

Previous Next David Mardon David's parents were heavily involved with the Garrick, so it was no surprise that he joined in as well. He was a long-standing member of the Front of House team and was FoH Manager in the 1980s. He also handled the Performing Rights Licenses for all music played in productions at the theatre. Outside the Garrick, David was a well-known church organist. Back to In Memoriam page

List of previous productions The Silver Box The first show that the Altrincham Garrick Society staged. Helvetica Light is an easy-to-read font, with tall and narrow letters, that works well on almost every site. 18 March 1914 Start date 21 March 1914 The Silver Box The first show that the Altrincham Garrick Society staged. Helvetica Light is an easy-to-read font, with tall and narrow letters, that works well on almost every site. 18 March 1914 Start date 21 March 1914 The Silver Box The first show that the Altrincham Garrick Society staged. Helvetica Light is an easy-to-read font, with tall and narrow letters, that works well on almost every site. 18 March 1914 Start date 21 March 1914 Read More

Return to Productions Archive Garrick Production The Drone The last production before the theatre closed during World War I. Ran Jan 1, 1916 - Jan 1, 1916 Age guidance Venue Running time Tickets Price Range Description By Rutherford Mann CAST Bonson, John P Higgs, Elsie Hutchinson, T D B Megson, Miss Margaret Nixon, Walter S Noble, Jack Noble, Miss May Warburton, George A Wilkinson, John Reviews Gallery Trailer Trigger Warning Documents related to this Production View the Programme View the Advertising Poster Return to Productions Archive

Return to Productions Archive Garrick Productions Camelot The first production on stage after the major Auditorium and Foyer refurbishment of 1999 Ran Oct 18, 1999 - Oct 23, 1999 Age guidance Venue Running time Tickets Price Range Description Directed By: Terry Chandler Music by Frederick Loewe Book & Lyrics by Alan Jay Lerner The Court of Camelot receives Guinevere as King Arthur's Queen. The fame of Arthur's Round Table brings the cream of Knighthood to Camelot and none is more renowned than Lancelot du Lac. Guinevere is attracted to Lancelot and is torn between her love for Arthur and her fascination for Lancelot. When their illicit love is revealed by Mordred they are sentenced to burn, but escape to France where Arthur finally forgives them. This breathtakingly glamorous musical will have costumes designed and made by our Wardrobe Master, Mike Shaw, will be under the direction of Terry Chandler and Mark Goggins will be our musical director. One not to be missed! Reviews Gallery Trailer Trigger Warning Documents related to this Production View the Programme View the Advertising Poster Return to Productions Archive

Visiting Production The Makings Of A Murderer - The Undercover Detective Date range Tickets £32 Age guidance 16+ Venue Main house Trigger warning Find out more Book now Running time TBC Group bookings Find out more Accessibility Find out more Join Peter Bleksley, a founding member of Scotland Yard’s undercover unit and former star of Channel 4’s Hunted, as he lifts the lid on the most dangerous and hidden aspects of murder investigations. From the gritty realities of infiltrating criminal gangs to his own terrifying experience of becoming the target of a murder plot, Peter shares the untold stories of the most high-stakes cases. For over a decade, Peter worked undercover, posing as everything from drug dealers to contract killers. His double life gave him access to the darkest corners of humanity, uncovering secrets that would save lives - but at the cost of his own safety. Forced into witness protection by an FBI -uncovered assassination plot, his career as a detective came to an abrupt end, leaving him with chilling memories of murderers and the justice system that hunts them. Prepare for an unforgettable evening of true crime as Peter Bleksley reveals the harrowing reality behind solving murders and battling the criminal underworld. This is crime-fighting as you’ve never seen it before. Visiting 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

Previous Next Chris Shepherd Chris was a journalist with the Oldham Evening Chronicle and worked and performed at the Oldham Coliseum. In 1982, the then Artistic Director, Chris Fogg, cast Chris as Norman Bates in the World Amateur Premiere of Psycho . This obviously created huge media interest, which resulted in audiences queueing round the block. From then, until his untimely death in 1987, Chris directed many plays at the Garrick including How the Other Half Loves by Alan Ayckbourn, 'The Killing of Sister George , The Prime of Miss Jean Brodie , Agatha Christie's Dial M for Murder and, most famously for all who saw it, Having a Ball by Alan Bleasedale which, by the end of its run, was a total sell-out with some ladies including the WI booking more than once! He also directed a massive version of The Tempest , set in the future on an isolated planet. He was also an accomplished musician, and played the piano in many Manchester hotels, bars and pubs. Back to In Memoriam page

Return to Productions Archive Garrick Production Unravelling the Ribbon The Studio 2023/2024 Season - A Series of All Female Plays. Ran Mar 19, 2024 - Mar 24, 2024 Age guidance 14+ Venue Studio Running time TBC Tickets Price Range £12 - £14 Description The touching - and frequently hilarious - story of three women whose lives are touched by breast cancer. Rose is thirty-four and lives on a farm with her husband and two children. She worries she may have married too young. Lola is fifty and wants to sell her home. Nobody ever calls and she has stopped opening her post. Lyndsey is eleven and her best friend has stopped sitting beside her in art class. When breast cancer touches their lives, everything starts to unravel - Rose's marriage falls apart, Lola gets arrested and Lyndsey hides a cooked ham in a thorn bush... A moving and powerful tale of friendship and survival. Reviews Gallery Trailer Trigger Warning This production contains some upsetting scenes Documents related to this Production View the Programme View the Advertising Poster Return to Productions Archive

Return to Productions Archive Garrick Production All the little Lights The Studio 2023/2024 Season - A Series of All Female Plays. Ran Apr 23, 2024 - Apr 28, 2024 Age guidance 14+ Venue Studio Running time TBC Tickets Price Range £12 - £14 Description “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. Reviews 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 **** Gallery Trailer Trigger Warning This production contains extremely strong adult language and talks about sexual exploitation and the abuse of minors. Documents related to this Production View the Programme View the Advertising Poster Return to Productions Archive

Return to Productions Archive Garrick Production Jumpers for Goalposts A hilarious and heart-warming comedy Ran May 9, 2022 - May 14, 2022 Age guidance Venue Running time Tickets Price Range Description A hilarious and heart-warming comedy about football, friendship and finding your way. “Barely Athletic” are part of a four-team five-a-side LGBTQ+ football league which Viv, their bullish head coach, is desperate to win. Or if they can’t win, at least they should try not to lose. Chucked out of the “Lesbian Rovers” for being too bossy, she desperately tries to instil some competitive spirit into the boys. Problem is, Beardy Geoff is copping off with the opposition, Danny is nursing a painful secret, Luke only joined because he fancies Danny, and Viv’s brother-in-law Joe is trying to cope with his grief after losing his wife. Together, they might just be able to claw back up from the bottom of the league… Tom Wells’ drama bears the hallmarks of his warm comedic style, which were displayed in his previous hit play “The Kitchen Sink”, and is a paean to the virtues of friendship and love. Jumpers for Goalposts premiered at Watford Palace Theatre in 2013, before touring the UK, including a run at the Bush Theatre, London. Warning: Strong language Altrincham Garrick Playhouse is proud to support the George House Trust. Since 1985, George House Trust has been inspiring people living with HIV to live healthy, confident lives by providing HIV support, advice and advocacy services. For more information email: talk@ght.org.uk Reviews Review by Rick Bowen at Stagestruck Jumpers For Goalposts will, on the evidence of Monday night’s performance, attract a different, younger audience. For far too many years Altrincham Garrick has been seen as a safe night out for older people and the appointment of artistic director Joseph Meighan, a dynamic and adventurous twenty something, is about to change that misguided perception. A quiet revolution is taking place on Barrington Road and it feels so exciting and exhilarating to be part of it. But this theatre is working hard to get the message across that the Garrick is a theatre for everybody. All power to their elbow, say I. Jumpers for Goalposts follow the misfortunes of Barely Athletic, a five-a-side team largely made up of gay men who struggle with the basics of the beautiful game. This doesn’t stop Viv, their straight talking coach with a very short fuse, encouraging her clueless charges to try to win the league in which they play. It’s certainly a league with a difference – one team plays in drag! The play takes place in the club’s dressing room, an ideal backdrop for writer Tom Wells to delve into the private lives of the players, including a burgeoning relationship between Danny and Luke. Danny carries a secret that he feels unable to share with the child like Luke, a lovable geek and a study in social awkwardness. Joe Meighan, who directs this engaging, absorbing and heart-warming comedy must have thought all his birthdays had come at once when Dan Ellis and Mason Lockwood turned up to audition for these roles. If anyone was ever born to play these parts it’s these two actors and Lockwood, who gets the funniest lines as Luke, displays a sense of comic timing that is simply second to none. Beverley Stuart-Cole is highly believable as Viv, Sebastian Farrell is also enjoyable as the team’s token straight man Joe, aka the keeper who couldn’t catch a cold and Lewis Sewell is perfect as the crackpot Beardy Geoff. Throughout the production the cast convinces the audience they’re watching a real football team, complete with the personality clashes you find in all organisations, sporting or otherwise. They say football is a game of two halves and that old adage can certainly be applied to Jumpers for Goalposts, with the best one liners saved for the second half. While this play contains some strong language it’s in context and gives the play a realistic feel. It’s sure to strike a chord with anyone whose set foot inside a sports club’s dressing room while not alienating those who haven’t. Great fun, with a dash of poignancy thrown in. Until May 14. Tickets are available from 0161 928 1677. Star rating **** In aid of The George House Trust. Gallery Trailer Trigger Warning Documents related to this Production View the Programme View the Advertising Poster Return to Productions Archive

This page is part of the Booking Journey, for booking events and tickets at the Altrincham Garrick Playhouse. Your Selection Your selection Basket Checkout The girl on the train 18 - 26 October 2023 Please select the performance Thu 19 Oct 14:00 PM Book Now 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

Return to Productions Archive Garrick Productions And Then There Were None Ran Jan 13, 2014 - Jan 18, 2014 Age guidance Venue Running time Tickets Price Range Description Adapted from one of the bestselling books of all time, Agatha Christie's classic, spine-chilling thriller sees a disparate group of people invited to a house party on a remote and inaccessible island. As dinner is served, the guests begin to realise that their host, the mysterious Mr Owen, is absent. After dinner, the guests hear an eerie voice accusing each of them in turn of murder, and it soon becomes apparent that they've not been invited for the jolly sojourn they had thought. Before long, the bodies are stacking up. Banish the January doldrums with a night of thrilling suspense. CAST Rogers - Brian Howlett Mrs Rogers - Margaret Kenyon Fred Narracott/Narrator - David Richardson Vera Claythorne - Kate Millington Phillip Lombard - Jonathan Black Anthony Marston - Stuart Bilson William Blore - Mark Edgar General MacKenzie - John Westbrook Emily Brent - Sandra Thomas Dr Armstrong - David Ades Sir Lawrence Wargrave - David Reynolds Prompt - John Chidgey ASM - Anne O'Reilly Reviews NODA Review by Kevin Proctor While many playwrights bring out the best in their characters, Christie is unafraid to mine the worst in hers. The story involves eight guests who have never met each other lured by a cryptic invitation to a deserted island and marooned, along with two house servants. A nursery rhyme suggestively embossed above ten little statuettes tells them how each of them will die. After a mysterious voice accuses each of the Guests having gotten away with murder the group begins dwindling one-by-one, but who has it in for this odd collection of individuals invited to spend a weekend mini-break on an exclusive remote island. Direction by Ros Greenwood enhances the plot and the personality of the play as well as the energy and chemistry of the cast. Ros had approached the piece as a revival rather than a re-enactment presenting the piece for a modern audience which translated really nicely and without any impede to the style and intended delivery of the text. Ros also took charge of designing the set, rather than sticking to the traditional three wall parlour set as instructed in the script, she'd gone for a more contemporary feel as she'd included the outdoors with her staging which created something a little more interesting given the setting and script refer to the island and the surrounds of the house, it created some attractive visuals and added to the eerie ambiance. From the modern approach to the staging, the piece didn't feel as dated as I'd have expected it to; it seemed more of a morality play than a whodunit romp and an examination of the nature of justice. It's very difficult to mention the performances without giving too much of the plot away to anyone who may not have seen or read the piece before but the cast is uniformly excellent and boasting some well-known Garrick faces. In particular David Reynolds is tremendous, playing Lawrence Wargrave with just the right mixture of pillar-of-the-community uprightness and subtle sadism. Kate Millington gave a strong delivery as the secretary who adds a touch of glamour to the gathering and Jonathan Black gave strength as the morally ambiguous Phillip Lombard, but, in all, the entire ensemble cast worked incredibly well as a team and bar the odd exception, no one really out shone anyone else which is commendable. I appreciate that the eerie chills approach is more in keeping with Dame Agatha, and we certainly got them in bucket loads but for the deaths, I like to see some gore, it's a thriller, right? Perhaps being a little more gruesome (wherever possible) would have been fun, but I appreciate that may just be my morbid side creeping to the surface. David Richardson as the Narrator/Fred Narracott certainly was mysterious and brought the perfect tone and haunting stare to his performance which was perfectly understated as it needed to be but quite discomfiting, lovely! It is enormous fun witnessing the ten little sailor boys getting their comeuppance. Old-fashioned hokum you may say, but by the end, this makeover mystery with a moral twist leaves you feeling that the Queen of Crime has, in her own understated way, gunned down an entire class of decadent Brits. Congratulations AG! Messenger Review by Rick Bowen When you think about it, it's perfectly logical who the baddie is in And Then There Were None. The character, whose identity I won't reveal, is just too calm and collected as the assembled party guests start falling like nine pins. As the other characters try to make sense of the macabre events, this cool customers disects them with the calm rationale of a forensic scientist. But Agatha Christie being Agatha Christie, she does throw in a red herring and I'm sure some members of the Altrincham Garrick audience will be fooled by her trickery. The production has been directed by Ros Greenwood who has designed a set that makes us feel just as trapped and claustrophobic as the poor souls marooned on the island. It conjurs the atmosphere of a funeral which is rather apt when you consider the fate awaiting most of the unfortunates lured to the coastal retreat. The suspense is largely maintained throughout and I particularly liked David Reynolds as Sir Lawrence Wargrave and Sandra Thomas as the horrendous Emily Brent, a good Christian woman who seems to have forgotten the compassionate part of Christianity. David Richardson also has quite a presence as the Narrator, with a singing voice that is as pleasurable as it is chilling. I'm not an Agatha Christie fan but this is an enjoyable night out, with moments of genuine shock and surprise that just might make certain audience members jump. Star Rating ★★★ Review by Julia Taylor of remotegoat Classic Whodunnit keeps you guessing The Garrick, in their centenary year, shine their spotlight on a writer who has been going almost as long as they have. She is Agatha Christie and they have chosen And Then There were None, previously known as Ten Little Indians and, before that, Ten Little N..s, to represent her work. It is set in Soldier Island in 1938 where a group of well-heeled guests have answered the invitation of Mr and Mrs U N Owen. It transpires that the eight arrivals and their two servants are all responsible for the deaths of others as one by one, they are seen off. At the same time, ten ornamental little sailor boys are individually despatched. The first to pop his clogs is the car mad Anthony Marston. Stuart Billson comes up with a realistic choking fit and dies. The next death, to servant Mrs Rogers (Margaret Kenyon), is far less dramatic. She apparently dies in her sleep. More dramatically, John Westbrook's General Mackenzie, who threatens Kate Millington's Vera. is stabbed in the back. And so it continues. Their chief suspect, Rogers, the butler, (Brian Howlett) is ruled out when he is mown down by an axe. I am particularly impressed with Kate Millington's portrayal of the glamorous Vera Claythorne especially since she is on stage most of the time. I also like David Reynolds as Sir Lawrence Wargrave. You look every inch a judge in those robes, David. Sandra Thomas does well, too, as the humourless Miss Brent. I am disappointed with the colourless set designed by Ros Greenwood who also directed. It leaves the large cast with nowhere to sit and often standing in an uncomfortable line. For that reason I was on the verge of giving the play three stars. That was before the final scene where the dead return as ghosts and the living, before they expire, reveal who the culprit is. A tribute to Ros's directing skills, this excellent scene upped my review to four stars. It's more like doing a puzzle than watching a play but equally enjoyable. Star Rating ★★★★ Gallery Trailer Trigger Warning Documents related to this Production View the Programme View the Advertising Poster Return to Productions Archive

Previous Next Ron Harvi Ron was Artistic Director at the Garrick from 1967-71, when he directed at least six shows each season as well as designing sets and working in the Sound box. He started his career at Manchester Polytechnic teaching speech and drama and, after his stint at the Garrick, he worked for Granada Television, appearing in shows and series such as Coronation Street (see photo). He also took part in several productions of Shakespeare plays for Birmingham Rep, and acted at the Manchester Library Theatre. Ron had a wonderful speaking voice and he was often heard on Book at Bedtime and Storytime on Radio 4. Back to In Memoriam page

Return to Productions Archive Garrick Productions The Merry Christmas Show Ran Dec 11, 1999 Age guidance Venue Running time Tickets Price Range Description We have no other information about this event beyond it being a one-night event on the 11th of December 1999. If you can provide any more information, please contact us. Reviews Gallery Trailer Trigger Warning Documents related to this Production View the Programme View the Advertising Poster Return to Productions Archive

Return to Productions Archive Garrick Productions To See Ourselves Ran Jan 1, 1934 - Jan 1, 1934 Age guidance Venue Running time Tickets Price Range Description Matthews, Walter R Pennington, Muriel Robinson, Dorothy A Ross, Dora Wrigley, Kenneth Reviews Gallery Trailer Trigger Warning Documents related to this Production View the Programme View the Advertising Poster Return to Productions Archive

Altrincham Garrick Playhouse is committed to protecting personal information. This Privacy Policy relates to our use of any personal information we collect. Terms and Conditions T&C’s for Sale of Tickets GDPR Privacy Policy Health and Safety Policy Child Protection Policy The Altrincham Garrick Playhouse Privacy Policy Altrincham Garrick Playhouse is committed to protecting personal information. This Privacy Policy relates to our use of any personal information we collect. Our Privacy Policy relates broadly to these groups of people: Audience : the people who attend our shows, visiting shows and events and/or have requested information about the theatre Friends : people who pay a subscription to the Altrincham Garrick Society Supporters : people who are support the activities of the Society in a particular way. This involvement may include, but is not limited to: scenery construction; costumes; properties; make-up and hair; publicity; front of house; backstage; administration; website; design; technical; directing; sponsorship; donations; consultants; those giving specialist advice to the Altrincham Garrick. Staff : those employed by Altrincham Garrick Suppliers : organisations and businesses that provide goods or services to the theatre Committees : Board of Trustees, Volunteers’ Committees, Play Selection and Casting Committee GAPA Members : members of Garrick Academy of Performing Arts and their parents/guardians/carers The personal information we collect from you Audience : Our email database contains your name and email address. Our box office contains your name, address, email address and telephone numbers so we can contact you with information relating to Altrincham Garrick only. We may hold details on previous bookings, group bookings and any preferences you may share with us. Friends : Our database contains your name, address, phone number/s, email address and data on your subscription preferences. We also hold information on dates joined, renewals and details on payments and your subscription. If you have chosen to pay by standing order or joined our 200 club we will hold those details for processing purposes only. Supporters : We collect basic information such as name, address, telephone number, email address, quotes, emails. Staff : We hold details of your name, address, phone number email address, National Insurance, tax details, payslips and employment history. Suppliers : We collect basic information such as name, address, telephone number, email address, quotes, emails. Committees : We collect basic information such as name, address, telephone number, email address, quotes, emails. For the Board of Trustees, information is also held at Companies House and with the Charity Commission, in line with legal requirements. GAPA Members : We hold basic information such as name, address, telephone number, email address. How we use information and data Audience : We will send you regular bulletins via email with news about the theatre and our shows and other shows and events that appear at the theatre. There is an ‘unsubscribe’ option on every email. We will perform some basic interrogation of our email statistics, such as open-rates and click-through rates via various software. Friends, group bookers and ticket holders may receive limited further information by post and email from time to time. We may contact you by telephone if there is problem with tickets or changes to a performance you are booked to attend. We will not share your information with any third parties without your consent. Friends : We will use your information to send you newsletters, letters or emails to give you details of General Meetings, shows, rehearsals, production meetings, casting, news from meetings and general events that are likely to be of interest to you. Your name, and possibly photograph and biography may appear in newsletters or show programmes, website or other publicity relating to a production you are involved in. Your information may be shared with committee members, staff and heads of departments for use in ‘legitimate interest’ and in line with GDPR regulations. Please be aware that our show programmes, website and publicity are public documents and that our newsletters are shared with supporters of the theatre. We will not share your information with other third parties without your consent. Supporters : We will use your information as and when required to contact you for Garrick matters related to your involvement with us. We will not share your information with other third parties without your consent. Staff : We will use your information as and when required to contact you for Garrick matters related to your involvement with the Garrick and as your employer. We will not share your information with other third parties without your consent. Any personal data relating to your employment will be protected and limited to those involved to line management, Board of Trustees and for payroll purposes. Suppliers : We will use your information as and when required to contact you for Garrick matters related to your involvement with the Garrick. We will not share your information with other third parties without your consent. Committees : We will use your information as and when required to contact you for Garrick matters related to your involvement with the Garrick. We will not share your information with other third parties without your consent. GAPA Members : We will use your information as and when required to contact you for Garrick Academy of Performing Arts such as subscriptions, rehearsals, summer school, productions, ticket offers, newsletters, auditions, changes of dates, nominations. Under 18s will be contacted via their parents. We will not share your information with other third parties without your consent. Your name, and possibly photograph and biography may appear in newsletters or show programmes, website or other publicity relating to a production you are involved in. Your information may be shared with committee members, staff and heads of departments for use in ?legitimate interest? and in line with GDPR regulations. Please be aware that our show programmes, website and publicity are public documents and that our newsletters are shared with supporters of the theatre. We will not share your information with other third parties without your consent. How we use information held by our Box Office Systems The Box office at Altrincham Garrick process tickets and sales by telephone, by email, by post and in person. Processing tickets may display your name, address, email address and telephone number. For reporting purposes, we may interrogate data held in the box office to inform our business planning but personal data will not be shared with any third parties. We may hold your personal details in our records in case we need to contact you with further information if there is a change to performance details, for example. Tickets booked via the website are linked to Tickets.com. You can find details of their Privacy Policy here . Security We put in place reasonable security measures to protect against any unauthorised access or damage to, or disclosure or loss of, your information Your Rights Audience, Friends, Supporters, Staff, Committees and GAPA Please let us know if your information changes as it is important that the information we hold about you is accurate and up to date. You have the right to request a copy of all the information we hold about you in a Subject Access Request. To do this, simply write to us at the address below. We will take all reasonable steps to confirm your identity before providing you with details of any information we may hold about you. You can ask us to remove your information from our records at any time and cease any further communication. You can do this by writing to the address below. Friends, Supporters, Committees and GAPA We will keep your information indefinitely after you remain an active Friend, Supporter, sit on a Committee or are a member of GAPA. We keep your information because you may resume your connection with and take part again in our activities. However, you can ask us to remove your information from our records at any time and we will do so and stop sending you any further communications. You can do this by writing to the address below. Changes to our Privacy Policy We may amend this Privacy Policy from time to time; for example, to keep it up to date or to comply with legal requirements. If there will be any significant changes made to the use of your information in a manner different from that stated, we will seek your permission first. How to Contact Us For any questions or concerns relating to this Privacy Policy or our data protection practices, or to make a Subject Access Request, please contact us in one of these ways: By email admin@altrinchamgarrick.co.uk By post Operations Director Altrincham Garrick Theatre Barrington Road Altrincham WA14 1HZ This page was updated on 8 September 2022 by HFE. Join our mailing list Subscribe

Previous Next Maureen Casket The Garrick has had very few members as supportive as Maureen and her husband Maurice. She was an absolute firebrand with so much energy that she could make you tired just watching her. She was a talented actor and director, known in theatres both professionally and amateur throughout the region as an enthusiastic supporter of performing arts. In her latter years she contributed to the Garrick mainly as a member of the Play Selection and Casting Committee and as a director of plays but, when she took to the Garrick stage every now and then, everyone was reminded of her exceptional talent as an actor. Back to In Memoriam page

Return to Productions Archive Garrick Production The Tragedy of Nan (1921) Ran Jan 3, 1921 - Jan 3, 1921 Age guidance Venue Running time Tickets Price Range Description By John Masefield CAST Blackburn, Lydia Bonson, John P Brierley, Norman Calderbank, Arthur Fullerton, Enid Heywood, Ewart Landon, W Eric Nixon, Beryl Nixon, Walter S Noble, Jack Redford, Alice Wilkinson, John Gee, Mary H Reviews Gallery Trailer Trigger Warning Documents related to this Production View the Programme View the Advertising Poster Return to Productions Archive

Visiting Production EMILIO SANTORO AS ELVIS Date range Tickets £32 Age guidance Venue Main house Trigger warning Find out more Book now Running time 2 hours, including an interval Group bookings Find out more Accessibility Find out more Crowned ‘2024 Ultimate Elvis Tribute Artist World Champion’ by Elvis Presley Enterprises at Graceland, Emilio Santoro returns to the Altrincham Garrick with his award-winning ELVIS PRESLEY show. Performing with his authentic 50’s live band, The Creoles, Emilio celebrates Elvis’ younger years in spectacular style, taking you back in time to when Elvis changed the world and music forever! Put on your ‘Blue Suede Shoes’ and get ‘All Shook Up’ for the greatest Rock ‘n’ Roll hits of all time including Jailhouse Rock, Devil in Disguise, Can’t Help Falling in Love, Hound Dog, Suspicious Minds & many more. Don’t miss this chance to see the official Number One Elvis Tribute Artist in the world! Visiting 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

Previous Next Pamela Knox Pam was a true Garrick stalwart, being a tireless supporter of the theatre, working primarily in the Props Department and also looking after the archives for many, many years. Her lasting legacy for the theatre was writing and producing in 1993 the published history of the theatre The Flame Still Burns, the story of Altrincham Garrick . Back to In Memoriam page

Previous Next Brian Tickle Brian played many varied roles in several productions at the Garrick; most people reckoned that comedy was one of his strengths. From Nip in Fur Coat and No Knickers via Godfrey in Dad's Army to Jim Trott in The Vicar of Dibley , his comic timing and stage presence invariably stole the show. Brian also served on the Executive Committee. Back to In Memoriam page

Previous Next Barbara Fraser Barbara is best known at the Garrick for her role as Bookkeeper in the 1980s and 90s, when she kept a tight grip on the budgets and expenditure of Department Heads. It was not unusual to receive a late-night phone call asking for an explanation why a particular purchase had been made. Her fun side came out in her regular performances in the Old Time Music Halls in the 1970s and 80s (see photo), and she occasionally took small roles in plays. Barbara also took a full part in social activities and worked in the coffee bar. Back to In Memoriam page

Return to Productions Archive Garrick Production Kindertransport Altrincham Garrick STUDIO 2025/26 Season - A Series of Manc Plays Ran Jan 20, 2026 - Jan 27, 2026 Age guidance 12+ Venue STUDIO Theatre Running time TBC Tickets Price Range £13 - £15 Description Written by Diane Samuels Directed by Celia Bonner Between 1939 until the outbreak of World War II, nearly 10,000 Jewish children were taken from their families in Nazi-occupied Germany and sent to live with foster families in Britain. Diane Samuels’ seminal play, Kindertransport , imagines the fate of one such child. Nine-year-old Eva is taken from her home in Germany and sent to Manchester to live with the Miller family. At first, she clashes with her foster mother, Lil, but slowly a bond of trust forms between them. After she learns that her parents have failed to escape Germany, the Millers become her family, and a new identity begins to form. After the war is over, she changes her name to Evelyn and acquires British citizenship. Over thirty years later, her now grown-up daughter, Faith stumbles across some old letters in their attic and Evelyn is forced to confront her traumatic past… Samuels deftly weaves together Evelyn’s past and present as she explores the devastating impact of the Holocaust on three generations. Now widely considered a modern classic, Kindertransport has been read and studied all over the world. Age Guidance: 12+ PLEASE NOTE - The performance on Sunday 25th January starts at the earlier time of 7pm to allow for a post show Q&A session with the Holocaust Centre North. Reviews Gallery Trailer Trigger Warning This production contains themes of child separation, racism, anti-Semitism, War, the Holocaust and the Nazi-regime, and trauma. Documents related to this Production View the Programme View the Advertising Poster Return to Productions Archive

Garrick Production Disney's FROZEN Date range Tickets £18 - £20 Age guidance Recommended 6+ Strictly No Under 4's Venue Main House Trigger warning Find out more Book now Running time TBC Group bookings Find out more Accessibility Find out more For the first time in forever, experience the musical phenomenon that has taken the world by snowstorm at Altrincham Garrick Playhouse! In the beautiful mountainous kingdom of Arendelle, Princesses Anna and Elsa grow up sheltered inside their castle, isolated from the world and increasingly distant from each other. When Elsa is crowned queen, the magical powers she’s desperately tried to conceal from her sister take control, and she flees into the mountains. As a ferocious winter descends on Arendelle, Anna sets off on an epic journey to find Elsa and bring her home – with the help of hardworking ice harvester Kristoff, his loyal reindeer Sven, and a happy-go-lucky snowman named Olaf. Based on the Academy Award-winning animated feature film, Disney’s Frozen includes all the film’s beloved songs by Kristen Anderson-Lopez and Robert Lopez, along with new music written exclusively for the stage. Full of magic, humour, and a stunning music, Frozen is a powerful tale of sisterhood, acceptance, and finding the real meaning of true love. Directed by Joseph Meighan 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

Previous Next George Kilburn George worked with Sale Nomads before joining the Garrick as Head of Lighting, for some seasons in the 1980s and 90s. He trained several lighting technicians and built up an proficient team. He also worked as stage crew, and was a member of the Executive Committee. George's hobby outside the Garrick was as an accomplished builder of model ships. Back to In Memoriam page

Previous Next Audrey Hughes Audrey was a wonderful character actress, often taking on the roles of strong, powerful women. She joined the Garrick in the early 1980s, and quickly became a regular onstage. Probably her most memorable roles were as Emma Hornett (the role made famous by Peggy Mount) in Sailor Beware, and working with her best friend at the theatre, Stella Fogg , as the two murderous old ladies in Arsenic and Old Lace . Audrey also took a full part in the social life of the Garrick and appeared in many Music Halls on the Mainstage and cabarets in the Bar. Back to In Memoriam page

We pay tribute and honour our friends at the theatre who are no longer with us. About Us Productions Archive Altrincham Garrick Playhouse is the beating heart of the community. A theatre, cinema, youth academy and community creative social place for all to enjoy. About the Theatre History of the Garrick In Memoriam: Past Members of the Garrick Productions Archive Productions Archive Note: this section is still being transferred from the old web-site and being re-vamped. This is unlikely to be completed before Easter 2025. This section provides an (incomplete) list of the Productions at the Garrick since the first one in 1914. Please contact webmaster@altrinchamgarrick.co.uk if you have any comments or additions. The Early Years : 1914 to the Second World War The Silver Box The first show that the Altrincham Garrick Society staged. Find Out More Start Date 18 March 1914 End Date 21 March 1914 The Tragedy of Nan Find Out More Start Date 1 January 1915 End Date 1 January 1915 The East Window Find Out More Start Date 2 January 1915 End Date 2 January 1915 The Magic Circle Find Out More Start Date 3 January 1915 End Date 3 January 1915 The Quest Find Out More Start Date 4 January 1915 End Date 4 January 1915 The Drone The last production before the theatre closed during World War I. Find Out More Start Date 1 January 1916 End Date 1 January 1916 Rutherford and Son The first production after the end of World War I Find Out More Start Date 1 January 1919 End Date 1 January 1919 The Will and The Way Find Out More Start Date 1 January 1920 End Date 1 January 1920 The Widowing of Mrs Holroyd Find Out More Start Date 2 January 1920 End Date 2 January 1920 David Ballard Find Out More Start Date 3 January 1920 End Date 3 January 1920 If Four Walls Told Find Out More Start Date 4 January 1920 End Date 4 January 1920 The White-Headed Boy Find Out More Start Date 1 January 1921 End Date 1 January 1921 She Stoops to Conquer Find Out More Start Date 2 January 1921 End Date 2 January 1921 The Tragedy of Nan (1921) Find Out More Start Date 3 January 1921 End Date 3 January 1921 The Silver Box (1921) Find Out More Start Date 4 January 1921 End Date 4 January 1921 The Devil's Disciple Find Out More Start Date 5 January 1921 End Date 5 January 1921 Recent Years: 2021-Present Join our mailing list Subscribe