Welcome to Studio61.org.uk
We are Studio 61, an amateur theatre group based in west Wolverhampton, performing a wide range of drama and we welcome new members and new audiences.
Following our move to The Victory Hall in Lower Penn we are presented with some new challenges and opportunities in our stage sets. We perform a wide variety of drama, favouring ‘black box’ and ‘in the round’ presentation so if you are experienced in, or have a particular interest in, innovative set design and construction we should be excited to hear from you.
Tickets are now on sale for “All My Sons” by Arthur Miller. They are £8 each, including refreshments and can be purchased from the box office: 01902 651828.
On Friday 24th July Studio 61 will be participating in the Newhampton Arts Centre Drama Festival celebrating theatre in the local area. Jane Fosbrook will be directing a performance of the one-act play “But Yesterday” by Jimmie Chinn. There will be play readings on Friday 8th May and Friday 15th May at 7:30pm in The Victory Hall. Jane will be casting the play from these readings so it’s a great opportunity for any potential new members to get to know both the play and the company. Email Jane for more information on firstname.lastname@example.org.
A big thanks to everybody who came to the play readings and auditioned for our June production of “All My Sons” by Arthur Miller. You can view the cast on the production page.
- We’re very pleased to announce our 2015 season of plays!
- The Weir by Conor McPherson
- 19th-22nd February 2015 – Directed by Kevin Porter
- All My Sons by Arthur Miller
- 10th – 13th June 2015 – Directed by Sarah Carter
- The White Devil by John Webster
- 20th-22nd November 2015 – Directed by Suzanne Smith
2014 in Review
We started 2014 with a radio play of Jekyll and Hyde by Leonard H. Caddy. This adaption of the Robert Louis Stevenson short story “Strange Case of Dr Jekyll and Mr Hyde” was directed by Maggie Smith and transported our audience back to a 1935 radio broadcast studio featuring an array of radio actors, sound stagehands and, during one performance, a scene-stealing butterfly.
Embracing the summer, our June production featured seven of our actresses in four one-act seaside plays in Jean McConnell’s Deckchairs II directed by Martin Smith. The comedy plays introduced our audience to two factory-workers on a company trip to a nudist beach and two actresses verbally spar on the beach by the pier. The two dramas followed two sister’s bickering and playing cards on the beach by their manor house and a retired head teacher and a social worker discussing her prospects of her admittance to the retirement home. It was a very well received production, with particular praise extended to Patricia Boyd, who mastered challenging roles in two of the four plays.
We rounded off the year with our November production paying tribute to the centenary of the start of the First World War. Moving slightly towards the operatic, Ian Howarth directed Oh What a Lovely War by Jean Littlewood’s Theatre Workshop featuring all manner of singing and dancing. As a very ambitious project, this production included TV screens featuring pictures, videos and information about “The Great War”, a very large cast of pierrots and live music from Martin Fox and guest singers Ron Beardsmore and Leuan Parry Jones.
2013 in Review
We began 2013 with a February double bill of one act plays, A Man of Letters by Tim Firth and A Respectable Funeral by Jimmie Chinn. A duo of new directors for Studio 61 were found in Ray Manning and Sarah Carter and two small but strong casts told the stories of both sign-mounting, amateur crime writer Frank and three sisters, Joyce, Greta and Evadne, mourning the passing of their mother.
In June we performed the last of Alan Ayckbourn’s “The Norman Conquests” trilogy, Round and Round the Garden. Andy Alsop directed this cast of six in the story of Norman’s misguided attempt at a saucy weekend away with his sister-in-law, as seen from the garden.
And finally, in later November Richard Brinsley Sheridan’s The School for Scandal was dragged out of the 1700s and launched into the 21st Century, helmed by Jane Fosbrook. Gossip spread via BlackBerrys and the potential threat of Lady Teazle’s rumoured philandering airing on Twitter helped bring this classic restoration comedy right up to date.