Category Archives: Easter Festival

Final words from our Adjudicator, Robert Meadows

It was an honour and a privilege to be the adjudicator for the 65th Isle of Man Easter Festival of Full Length Plays. What a week! And with such a range of theatre to feast upon! We had works from two leading contemporary Irish playwrights, a new adaptation of ‘Frankenstein’ married to an original take on the life of its creator, Mary Shelley, an ‘In Yer Face’ farce, an original play, one particularly touching monologue and a modern take on the wives of Henry VIII. The choices provoked lively discussions amongst members of the audience which is what one would hope for at any theatre festival.

We were treated to many stand-out performances as well as some outstanding examples of stage presentation and stagecraft throughout the week. The groups certainly did not make my life easy when it came to making those final decisions.

An additional delight when adjudicating on the Isle of Man comes in the form of seeing the work of the Young Actors. There were eight very worthy finalists who demonstrated their ability to present extracts from musical theatre as well as performing modern monologues. The standard of all was first class and, again, it was a nightmare to decide upon the winner.

A further pleasure was in meeting the Friends of the Festival as well as past and present committee members and officers throughout the week and at the Easter Monday luncheon.  

Finally the support given to the groups – as well as to me in my role as adjudicator – was first class. All involved went about the business of making the festival a success with a real sense of enjoyment as well as being totally committed.

It was a very memorable festival for me.  And not just for making my arrival for the last adjudication through the trap door of the stage! Congratulations and good wishes for the future.

  • Robert Meadows, GoDA

Garden Suburb Theatre’s exquisitely interpreted production

For the final night of the 2017 Easter Festival of Full Length Plays, Garden Suburb Theatre brought to us their interpretation of The Regina Monologues by Rebecca Russell and Jenny Wafer. This very clever play brings the lives of Henry VIII’s six wives to the modern day in separate but intertwined monologues. Catherine of Aragon is now Cathy (Rachel Berg); Anne Boleyn, Annie (Jemima Lane); Jane Seymour, Jane (Bryony Taylor); Anne of Cleves, Anna (Fiona White); Kathryn Howard, Katie (Freya Carroll) and Katherine Parr, Katherine (Trudi Dane). They tell of their lives married to this man including betrayal, affairs, miscarriage and childbirth through both comic and tragic speeches.

Garden Suburb Theatre produced a strong ensemble of players, all who really inhabited their roles and were line assured throughout. There were smooth movements in between monologues and there was a lovely stillness in the characters who weren’t talking. They managed to do the shifts from humour to darkness very effectively indeed.

Berg’s Cathy was exceptional, very believable throughout with great eye contact with the audience, good comic timing and lovely physicality. Berg really understood every line and brought out all of the humour and hurt in her speeches. Lane’s Annie had good attitude and characterisation, dramatic posture and fantastic comedic delivery in her lighter speeches. Taylor’s Jane was a strong performance with good facial expressions showing a very bright and joyful side coinciding against the opposing labour scene and the despair of the final speeches. White’s Anna had a memorable moment when she revealed her big secret as she had created mystery from the beginning. Carroll’s Katie was very powerful and heart-wrenching, she found all the nuances in the speeches effectively portraying the abuse of the character, and she drew in the audience immediately. Carroll had great facial expressions and a lovely tone of voice, which made for an innocent and touching performance. Dane’s Katherine had a strong presence on the stage with great diction. Dane found every ounce of humour in all her lines and held her moments effectively.

Garden Suburb Theatre’s production was crafted extremely well with the thought and feelings of each character totally understood and effectively portrayed. The emotional shifts were successfully handled provoking the correct response in the audience throughout the piece with a very effective balance between the light, comic moments and the dark, tragic lines. The movements and positions were all choreographed well and the final reactions to the ring at the end of the play were brilliantly depicted, each reaction matching the personalities of the characters.

There was a lovely, full set and Garden Suburb Theatre used all the breadth and width of the stage, dressing it with well thought through furnishings. They had a great costume concept, each of the players’ costumes reflected the character’s personalities. The lighting added another dimension to the production effectively segregating the spaces around the stage and there was a good use of spotlights to concentrate the audience’s focus.

Robert Meadows, last week’s adjudicator, had the following to say about the performance: I was impressed with how the production shaped our attitudes towards the six wives. We were encouraged to feel a variety of emotions as a result of the shaping of the action by the director and through the quality of performance work. Properties and costume were other strong features of this memorable final night play.

Garden Suburb Theatre’s production of The Regina Monologues was exquisitely interpreted with very effective portrayals of the six wives’ personalities and brilliant characterisation from all six performers. There was evidence of a very strong acting team all the way through the play and Garden Suburb Theatre’s performance was a powerful ending to our festival week.

  • Megan Rossiter, MADF Roving Reporter

Precision and elegant simplicity from University Players, Hamburg

On Thursday night MADF welcomed University Players, Hamburg to perform their interpretation of two one-act plays: Lift Not the Painted Veil by Julie Lerpiniere and Nigel Harvey, and Svenja Baumann’s adaptation of Frankenstein by Mary Shelley. University Players, Hamburg very cleverly brought the invention and story of Mary Shelley’s creature to life through a complex and challenging narrative.

The first half of the evening was dedicated to Lift Not the Painted Veil which tells the story of Mary Shelley’s life. The story is told from the perspective of an Old Mary Shelley (Jana Stűven) who is visited by her creature (Jasper Koch) wondering how he came about. She tells of her marriage to Percy Bysshe Shelley (Marc Borchert) and their parties with Jane Claremont (Gesa Penthin) and Lord Byron (Steven Montero) and how this lead to the invention of the creature in her world famous novel ‘Frankenstein’.

The second half was devoted to Frankenstein in which the University Players, Hamburg tell the story of Mary Shelley’s ‘Frankenstein’ through the creature’s perspective. The story follows the journey of Young Creature (Paul Kahre) showing his interactions with mankind and his creator Victor Frankenstein (Simon Deggim) and is narrated by the Old Creature (Jasper Koch).

The two one-act plays are explicitly linked by the Old Creature showing his creation, his journey through life and ultimately how he came to be the monster he is due to mankind’s prejudice.

University Players, Hamburg provided us with an exceptional acting team. Koch’s Old Creature was a particularly powerful performance with a strong delivery, great eye contact with the audience and excellent final speeches at the end of each play. Each team member had brilliant characterisation. Just to mention a few, Stűven’s Old Mary Shelley had great, believable facial reactions to the weeping young Mary Shelley. Penthin’s Justine had a powerful delivery of the innocence speech. Deggim successfully depicted Victor’s increasing disgust in the creature and his growing despair. Baumann’s Elisabeth had a touching moment before her death trying to reach out to the creature to make human contact and Kahre’s Young Creature very effectively portrayed the characters journey from curious and innocent to malicious and deviant. There was lovely mirroring and paralleled movements between Koch’s Old Creature and Kahre’s Young Creature.

All the actors worked very effectively together as a unit, this was evident in the choral work presented throughout which shaped the whole action from beginning to end. There was a good stillness in the chorus as to not detract from the central action and the players weaved in and out of the chorus with precision and an elegant simplicity. University Players, Hamburg showed a lot of different acting techniques in their performance: choral speaking, still frames, puppet movements, singing, dancing and physical theatre. There was a great use of the whole breadth and width of the stage, in particular in the drowning scene and the wedding scene which were both beautifully choreographed.

University Players, Hamburg had beautiful costumes, there was fine detail in all the concepts which had been deeply considered. There was also a clever touch of using the signifiers of the red cloths to symbolise death. The set was kept quite simple focusing on the use of key furnishings and lighting effects to distinguish between different spaces on stage. University Players, Hamburg had a very ambitious but extremely effective use of lighting and sound. The lighting was complex but subtle, there was a wonderful use of the spotlights on the chorus and the bright and coloured lights at the sides of the stage were used to set the mood. They certainly used all the technology of the theatre.

Adjudicator, Robert Meadows said the following about the performance: “This was a striking example of very good ensemble work. The company brought the story of Mary Shelley and her ‘Frankenstein’ to life using highly imaginative stagecraft throughout.

University Players, Hamburg performed an exquisitely shaped piece of theatre with each play engaging the audience fully in different ways. This was a riveting production of Mary Shelley’s life and work brought to life through exceptional acting, singing and dance movement.

  • Megan Rossiter, MADF Roving Reporter

Enjoyable comic farce from Wellington Theatre Company

Wellington Theatre Company presented the fabulously funny The Lying Kind by Anthony Neilson for the fifth night of the 2017 Easter Festival of Full-length Plays. Neilson’s black farce is very challenging and has been alluded to as pythonesque with its surreal tone mixed with its exaggerated comic characteristics.

The play begins with two gormless policemen, Gobbel (Matty Richardson) and Blunt (Dave Beddows), being tasked with informing an elderly couple, Garson (Ali Fear) and Balthasar (Ben Branson), of their daughter Carol’s death. Throughout the play the duo debate whether or not to deliver the unpalatable truth of Carol’s death leading to misunderstandings with a paedophile-hunting mother, Gronya (Laura Delves), Reverend Shady (Joseph Maclean) and a teenage neighbour, also coincidentally called Carol (Victoria Cooper). There are constant plot twists along the way, including a dead dog, insanity and heart attacks, which all make for a rather dark, but enjoyable comic farce.

Richardson’s Gobbel and Beddows’ Blunt worked excellently as a comic duo throughout the performance, both with great delivery and comic acting, as well as having authentic police costume. Richardson also had a brilliant ability to create humour out of physical actions, especially in the situation of stuffing the unconscious reverend into the cupboard. Delves’ Gronya had a solid presence on the stage with a strong posture and characterisation, but at times the intensity could have been lowered slightly. Fear and Branson playing the elderly couple were aged up well and both got a wonderful response from the audience with Branson’s comical shuffle and Fear’s humorous trolley sounds. Maclean’s Reverend also received a great reaction, specifically when his underwear was revealed. Young Carol, played by Cooper, had very effective and believable characterisation with some lovely, subtle comic moments.

There were many strong features as an acting team, they had quick and snappy pick up of cues which is a very important aspect of any comedy. Perhaps, the pace could have been quickened at times to heighten the comic impact. But all the team members worked well together and there were many good examples of physical and slapstick comedy.

The opening stage design was executed well with the front door showing distress to show the bad neighbourhood location and there was a lovely use of an on stage street lamp that added to the authenticity.

Adjudicator Robert Meadows said the following statement about the Wellington Theatre Company’s performance: “There were successful moments of slapstick humour and quick fire delivery of the writer’s gags. This was an ambitious choice of farce.

There was much to enjoy about Wellington Theatre Company’s production, the strong team effectively brought out all the absurd comedy of the play, really capturing the spirit of the writer’s work making for another successful and very entertaining night of the 2017 Easter Festival of Full-length Plays.

  • Megan Rossiter, MADF Roving Reporter

An imaginatively crafted and memorable moment of theatre from Legion Players

The Last Obit by Peter Tinniswood was performed by Manx company Legion Players as the fourth play in the 2017 Easter Festival of Plays. This is a very challenging one person, one act play which relies greatly on the balance of light and shade. Offsetting that of the plays morbidity and despair with the lighter comic lines dotted throughout, really brings Tinniswood’s black comedy to life.

The play follows the character of Millicent, played by Stephanie Gray, who after a lifetime’s work in the Obituary Department of the Morning Telegraph has been computerised and is preparing her final obituary. The question is: Whose obit will it be? As the play progresses Millicent tells of her many memories of friends, lovers and the famous before she makes that decision.

Gray’s Millicent was a phenomenal piece of acting as she completely engaged the audience all the way through, an extremely challenging thing to do in a one person play. She had great physicality, posture and clarity. Held silences well and really revelled in the eye contact with the audience. There was a great distinction between the characters’ voices employed for the different stories, Gray very believably portrayed the feel of being in different spaces and times when reenacting the memories. Her tone of voice effectively matched the content of speech successfully drawing in the audience into the character’s world. This was an obvious example of a strong performer.

The set was excellently thought out with every detail serving a purpose, everything was perfectly placed. Legion Players used the breadth of the stage and Stephanie Gray effectively filled it, using all the space available and with absolute purpose, every movement had motivation behind it, which showed brilliant work from the director Olga Gray. A lot of action occurred at the back of the stage, at times slightly hampering it, so perhaps the set could have been brought forward slightly to ensure all the action is fully appreciated. At times the lighter, more comic lines could have been accentuated to create more of a balance between the dark morbidity and the lighter humour but the actress and director clearly worked very effectively together.

There was great imaginative use of lighting effects in the production, specifically the triangles of projection on the back wall which were very striking. The pictures presented on the projector wonderfully matched the characters thoughts and signified when Millicent was telling another story, giving a sense of different times.

Robert Meadows, the adjudicator for this year’s Easter Festival had the following to say about Legion Players’ production: “Stephanie Gray’s performance as Millicent had searing intensity. The direction was imaginative and assured. The stage presentation was highly creative.

Overall, Legion Players’ production of The Last Obit was an honest interpretation that really accentuated the pain of Millicent. It was imaginatively crafted and it was obvious that we were in the company of stage technician who knows their craft. This work in combination with the director really made for a memorable moment of theatre.

  • Megan Rossiter, MADF Roving Reporter

Entertained by White Cobra Productions yet again

MADF welcomed White Cobra Productions to the stage to perform Dizzy Boo by Brian Wright. Wright’s play deals with the attitudes and interactions of a certain class; new money. The play consists of a fusion of styles to make for a very interesting production, comedy and detective drama with elements of the supernatural and serious undertones of marital abuse and illegal immigration.

Another really complex play to add to the Easter Festival of Full Length Plays 2017 line-up following the residents of the fictional housing estate, Saxons Mead. The play’s focus is that of the sale of Nick Brenner (Fraser Haines) and Donna Brenner’s (Kate Billingham) house to Jez Herbert (Richard Jordan) and Louise Herbert (Bernie Wood). Each couple host barbeques inviting the other and their neighbours Ben Toye (Rod Arkle) and Paddy Nolan-Toye (Kimberley Vaughan), where the central action occurs revealing the happenings of the residencies, including the visit of a mysterious stranger.

Haines’ womanizing Nick was a solid performance with great comedic timing and delivery. His transformation into the officer was brilliant with very successful characterisation for both roles. Billingham had excellent facial reactions and good eye contact with the audience throughout and again showed good acting techniques with the transformation between roles. There was a very strong performance by Jordan, specifically in his plumbing speech. Jordan lifted the play and had great physicality, really animating the stage during his story. Another interesting addition that introduced much enjoyment were the songs delivered by Arkle’s Ben and Vaughan’s Paddy, a very lovely soft touch to the production. Arkle also had a wonderful accent, characterisation and comedic delivery in his eccentric role as Professor McKee.

There was consistent naturalistic acting throughout, however at times the action was quite static so perhaps the team need to find motivation for more movement. Some actors completely ignored the stepping stones at the back of the stage which minimised the believability of the set and sometimes I felt as though the scene changes were a bit too long, with some actors moving hastily off stage before the lights went down. Overall, the team performed each of their roles brilliantly and the doubling was handled extremely well with each character having really memorable moments.

The costumes were all thought out well showing the passing of time and portraying each roles characteristics. That of the Professor was brilliantly executed depicting his unusual personality. Mr and Mrs Herbert were excellently contrasting in their first appearance on stage between that of the “Mario” plumber and the better dressed Louise.

Regarding the staging, there was an interesting and inventive use of lighting effects in the production, atmospheric lighting in the onstage lamp and fairy lights, the spotlight and the use of a torch in the night time. The set was detailed and intriguing, and while it possibly lacked the opportunity to define the change of scenes between the different neighbours gardens – it certainly gave the actors plenty of levels to work with which added interest.

Adjudicator, Robert Meadows said of the performance: “White Cobra Productions took a brave decision of staging a new play which combined elements of comedy, detective story and commentary on contemporary attitudes towards asylum seekers. The company clearly had talented performers and technicians.

White Cobra Productions delivered a well executed interpretation of Wright’s Dizzy Boo with strong, believable relationships at the centre of the action. It was a very effective performance of a new work that addresses contemporary issues in an interesting and enjoyable manner.

  • Megan Rossiter, MADF Roving Reporter

A thought-provoking and transfixing performance from Peterborough Mask Theatre

Last night Peterborough Mask Theatre Company brought to us an unsettling and richly dark performance of Martin McDonagh’s The Pillowman; a gruesome and deeply disturbing, but intelligent play dealing with child abuse, torture and murder. McDonagh brings the audience into a dystopian and menacing world contending with themes such as a writer’s responsibility for their work and its readership, unjust punishment and the effects of mental illness. Peterborough Mask Theatre Company portrayed these issues with great skill resulting in a heart-wrenching, albeit a blackly humorous and imaginative production of The Pillowman.

This very complex play begins with a writer, Katurian (Pete Unwin) being interrogated by two police officers, Tupolski (Phil Lewis) and Ariel (Matt Robertson). Katurian is being interrogated about a series of child murders that mirror his short stories, which he argues has nothing to do with him, but who unbeknownst to him seem to have something to do with his mentally disabled brother, Michal (Carl Perkins), who waits in the cell next door.

Unwin’s Katurian was completely captivating. The relationship between himself and his brother was very carefully developed, with the care for his brother clearly portrayed and the horror of his brother’s actions was very effectively and powerfully communicated to the audience. Unwin had great comedic timing and good clarity at times of quick pace, but even more eye contact during the brother’s revelation could have been favoured to further connect to the audience. He was a very strong lead and delivered his monstrous speeches extremely well and entranced the audience. Another brilliant performance was that of Perkins in his role as Michal. Perkins had great childlike characterisation, all his actions and behaviour were fully believable endearing himself to the audience. You felt a weird and unexpected warmth towards this character, truly sympathising with him when his brother was being mean, and this was down to Perkins’ clever portrayal with such an innocent confession, lovely, menacing laugh and a sing-song tone to his voice. Perkins really understood his character and the playwright’s humour delivering an outstanding supporting role. The two officers, Lewis and Robertson, worked brilliantly together both holding the upper hand well during the times of interrogation. Lewis had a consistently great physicality throughout, strong posture and tone of voice. Robertson’s Ariel really connected with the audience even in times of anger, especially in the revelation of his own abuse. At times he lacked motivation in his movement but delivered his speech about children with great passion.

Overall, the cast worked extremely well together. The physical encounters between Ariel and Katurian in the first scene were handled expertly, very believable and fantastically timed. At times the action needed to be more centrally located because the times with central focus were the obvious highlights of the performance. Good oppositions were created throughout and in the final scene there was very natural and comedic discourse and interactions between the three characters, especially that of Ariel and Tupolski with the snappy comedic timings and reactions. Peterborough Mask Theatre Company delivered a team of actors who really inhabited their roles and understood the lyricism of the writing, very cleverly crafted by director Helen McCay.

There was an inventive and imaginative use of lighting effects, specifically during the times of storytelling which were cleverly used to signify the change in worlds. This was supported by the garish costume of the parents followed by the great dance movements and haunting, atmospheric underscoring music. These details really brought the stories alive and accentuated Katurian’s strange world.

The adjudicator Robert Meadows said that “Peterborough Mask Theatre Company rose to the challenge of making this dark and unsettling play come to life through effective and engaging performances. They also understood how to bring out the grim humour. It was another strong night of theatre.

Peterborough Mask Theatre Company fully mesmerised the audience last night with their production of The Pillowman demonstrating a clear understanding of the playwright’s vision.  This made for a very thought-provoking and transfixing performance entirely emphasising the dark humour of the play.

  • Megan Rossiter, MADF Roving Reporter

A Night Alive in the theatre with Bejou Productions’ opening performance

For the opening night of the 2017 Easter Festival of Plays MADF welcomed back Bejou Productions to perform their production of The Night Alive by Conor McPherson. This play ultimately representing the hope people can inspire within one another during times of loneliness and despair. McPherson carefully balances the light and the dark, redemption and bleakness, which is portrayed through his use of black comedy and lighter humour throughout the play. The Night Alive has been described as a modern day Nativity play due to the battle between the good and evil represented through the contrast of charity and exploitation, and faith and despair.

The Night Alive follows the protagonist, Tommy (Richard Foster), a middle-aged man struck with searing loneliness since being estranged from his family a couple of years before and now living in a room of his Uncle Maurice’s (David Streames) house. The play spans over a few weeks starting with the night Tommy meets the damaged, and sometime prostitute, Aimee (Joanna Mitchell) who he rescues from a beating by her boyfriend. The play climaxes as Aimee’s boyfriend, Kenneth (Jeremy Battersby) comes looking for her and encounters Tommy’s ‘disabled’ and loveable sidekick Doc (Robb Stow).

Overall Bejou Productions delivered a powerful interpretation of McPherson’s The Night Alive and the adjudicator Robert Meadows rightfully described the production as a portrayal of the “redemptive power of companionship” performed by a “strong team of actors”.

Foster delivered Tommy’s comedic lines well, holding a good pace throughout and a great delivery in times of angst, especially during the interactions between Tommy and Doc where Foster nicely set up a harsh and soft opposition between the two. However, Foster needed to accentuate his character’s loneliness and neediness even more and from the very beginning. Mitchell had extremely convincing reactions portraying her character’s abuse, excellent character development showing the damage she had suffered in her life and brought a different interpretation to the character who is often played as someone in their late teens. Stow’s Doc was an endearing performance, a character who definitely won the audience over making the climax of the play even more powerful and hard hitting. Stow had great childlike actions and behaviour with an honest characterisation for a character described as being ‘always five to ten minutes behind’. Streames, playing the part of Uncle Maurice, had great comedic timing with a brilliant and humorous reaction to finding the turnips under the camp bed as well as a pleasant and funny reaction to Tommy’s lack of gratitude when Maurice decides to leave him the house. Battersby’s Kenneth overall created a good sense of danger and had a terrifying and menacing laugh. However, Battersby needs to watch his pace and clarity as at times he was unclear. Also, his exit from the last scene of act one could have perhaps been more powerful but the character’s death was played well. There was a great opposition created between Streames’ Doc and Battersby’s Kenneth during the hammer scene, a brilliant power dynamic was formed using different levels and rightfully built tension through the scene.

A small criticism about scene changes but at times the actors moved before the lights fully went down which could have disturbed the audience’s experience. All the costume was good, with Uncle Maurice showing whether or not he had left the house that day and with the others showing signs of keeping warm. Battersby had his hair greased back which the adjudicator thought added to the malevolence and was a nice touch. White’s direction was well thought out regarding the acting space on stage as there was good motivation for movements throughout the performance and a brilliant balance between dark and light humour, something which this play needs for an effective production.

The full set was beautifully designed with a good attention to detail, all the little decorations and accessories coming together each in their place with a purpose. There was a great use of sound effects, Maurice’s banging on the floor upstairs and the sound of birds outside. The music chosen had a good fusion of poignancy and hope keeping the audience involved in the action. The music added another dimension to the production. The lighting was atmospheric and there was a good use of onstage lamps, however at times you struggled to see the actors’ faces so this is something the team need to look into improving as this took away from the performance in some scenes. Overall, stage presentation was very effective.

Bejou Productions’ The Night Alive was a brilliant interpretation of McPherson’s play performed by a team with great comedic timing and discourse between characters. Bejou Productions delivered a powerful piece last night to open the Easter Festival of Plays.

  • Megan Rossiter, MADF Roving Reporter

Calling all budding 2017 Theatre Critics!

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– Are you a budding critic or journalist?

– Are you intending to study theatre at University?

– Are you available:
Wednesday 15th to Sunday 19tFebruary 2017 and/or
Saturday 15th April to Friday 21st April 2017?

The MADF organisers are looking for a keen young wordsmith to review the plays during the One Act Festival, Festival and Young Actor of Mann Final and write a daily blog post with help from the Online and Social Media Admin.

You will receive two tickets for the festivals so you can bring a parent or friend.

Benefits:

  • You will see many One Act Plays, Youth Performances, 7 full length plays and their adjudication by a GoDA accredited adjudicator – a great opportunity for anyone going on to study theatre at University.
  • Your posts will be featured on madf.im and publicised via the MADF Facebook and Twitter accounts and the newsletter sent to all subscribers.
  • You will get to meet many people who are interested in the theatre, so it’s a great networking opportunity.
  • Universities love to see extracurricular activities on applications, so this would be a great chance to get your writing in print and be a part of a long running Manx festival.

Please email onlineadmin@madf.im or facebook message to express interest by Friday 16th December 2016.

*If you can only come to some of the performances we would still be very interested in hearing from you!

Megan Rossiter on being the first official MADF reviewer

MADF presented Megan with a certificate and a Cross Fountain Pen, what every budding Theatre Critic needs!

As a whole I have thoroughly enjoyed this experience. It has been a great opportunity to develop my writing and to see so many excellent performances. It has been great fun and I would recommend it to anyone who is interested in drama or writing.

Seeing a wonderful play each night was brilliant and, as I hoped, has developed my knowledge of the theatre world. Mike Tilbury was an excellent adjudicator and I would just like to say a big well done to all the actors who performed this year in the Easter Festival as you have made my experience worthwhile, moving and entertaining.

Congratulations to the winners of the 2016 Easter Festival – White Cobra Productions with their production of Scaramouche Jones.

Thank you Vanessa and the rest of the MADF team for this wonderful opportunity.

  • Megan Rossiter, 2016 MADF Official Reviewer