The Tamer Tamed

The Tamer Tamed - Spring 2012
By John Fletcher

3rd April – 7th April 2012

The Tamer Tamed is the sequel to Shakespeare’s Taming of the Shrew – where the women get their revenge on the newly remarried Petruchio.

Written by John Fletcher, the Bard’s collaborator on Henry VIII, Two Noble Kinsman and (the lost) Cardenio, the play combines moments of high and low comedy with some powerful speeches in this timeless tale about the battle of the sexes and who really comes out on top.
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War of the Waleses

War of the Waleses - Spring 2012

By Sarah Heenan, Alan Maddrell and Andy Marchant (After William Shakespeare)

10th April – 14th April 2012

As part of the RSC’s Open Stages project, KDC Theatre explores placing a contemporary historical event into a Shakespearean style and structure in this original play.

It is the 1990s and a country already in turmoil finds itself in the middle of a media war as the future king and queen separate in this tale of political intrigue, a crisis of succession and the manipulation of the press.
RSC Open Stages 2011-2012
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The Tamer Tamed

The Tamer Tamed - Spring 2012
By John Fletcher

3rd April – 7th April 2012

The Tamer Tamed is the sequel to Shakespeare’s Taming of the Shrew – where the women get their revenge on the newly remarried Petruchio.

Written by John Fletcher, the Bard’s collaborator on Henry VIII, Two Noble Kinsman and (the lost) Cardenio, the play combines moments of high and low comedy with some powerful speeches in this timeless tale about the battle of the sexes and who really comes out on top.
Book Now

2011 Christmas Message from the KDC Chair

Fa-la-la-la-la what an amazing way for us to see off a year in the life of KDC Theatre! Three weeks of top quality plays full of pathos and drama and tension and tragedy, as well as a lot of laughs!

A great big thanks from the committee to you, our members for your support, but especially to Nick, Jane Eve and Vic and the casts and crews of Female Transport, Anna Karenina and Talking Heads for such hard work. It’s great to be able to find enthusiasm for such different pieces and I hope to continue it in our new Shakespeare influenced Spring Season of 2012, including a new play initiated by Jenny, the previous chair waaay back in the early days of 2011 (remember those??) Thanks also to Carrie and Tracie for organizing our Christmas shindig last week!

So for the teams of FT, AK and TH, here goes (deep breath)…

Thanks to… Nick Mouton, Jane-Eve Straughton, Victor Craven, Bernie Higgins, Helen Niland, Simon Mathis, Holly McFarlane, Niki Mylonas, Teresa Joyce, Donna Easton, Becky Borland, Nichola Woolley, Piers Burnell, Richard Williams, Tom King, James Steer, Tui McLean, William Baltyn, Robert Myles, Aruna Buchanan Brown, Sarah Peachey, Stephanie Urquhart, Christopher Warren, Govind Hodgson, Andrew Silverman, Anne Connell, Caitlin Homes, Miranda Moore, Ian Rocordon, FIVE GOLD RINGS, Robin Snowdon, Mauro Galluzzo, Alice Masson-Taylor, Charlie Golding, Colin Guthrie, Matilda James, Zoe Ashdown, Sean Croft, Matt Matravers, Thomas Mannings, Carrie Johnson, Matthew Partridge, David Crackles, Kate O’Brien, Isabel Eriksson, Agostina Califano, Andy Lee, Lucy Walker, Matt Hudson, Kiera Newmark, Marlies Kunnen, Holly Hyde-Smith, Lex Lake, Juliet Colbert, Paul Rissman, Daniel Gardner, Matthew Gibson, John Munro and a partridge in a pear tree…

Have a great holiday season folks, may the spirits you drink be warming, and may your hangovers be brief!!!

See you in 2012!

Andy Marchant
KDC Chair and former Christmas Elf

Talking Heads

Talking Heads - Winter Season 2011Talking Heads by Alan Bennett
6 DEC @ 7:30pm; A Chip in the Sugar & Her Big Chance, £8
7 DEC @ 7:30pm; A Lady of Letters & Bed Among the Lentils, £8
8 DEC @ 7:30pm; A Chip in the Sugar & Her Big Chance, £8
9 DEC @ 7:00pm; A Lady of Letters & Bed Among the Lentils, £8
10 DEC @ 2:00pm; All four, £12
10 DEC @ 7:00pm [SOLD OUT]; All four, £12

Production Photos

Cast credits:

Miss Ruddock in A Lady of Letters Anne Connell
Susan in Bed Among the Lentils Caitlin Homes
Lesley in Her Big Chance Miranda Moore
Graham in A Chip in the Sugar Ian Recordon

Production credits:

Director Victor Craven
Assistant Director Simon Mathis
Set Designer Victor Craven & Lucy Walker
Lighting Designer Matt Hudson
Stage Manager Kiera Newmark
Assistant Stage Managers Marlies Kunnen & Holly Hyde-Smith
Costume Supervisor Lex Lake
Costume Assistant Juliet Colbert
Composer Paul Rissmann
Violin Matthew Gardner
Cello Daniel Gardner
Double Bass Matthew Gibson
Production Photographer John Munro

Anna Karenina

Anna Karenina - Winter 2011

Anna Karenina by Helen Edmundson based on the novel by Leo Tolstoy
29 NOV – 1 DEC @ 7:30pm
2 DEC @ 7:00pm
3 DEC @ 2:30pm & 7:30pm£12/£8 Matinee and Cons
“…the dramatic economy of Jane-Eve Straughton’s direction…William Baltyn’s idealistic, fallible Levin, and Tui McLean’s magnetic, utterly convincing performance as Anna…a superb show…book your ticket now.”

Cast credits:

Anna Tui McLean
Dolly/Countess Vronsky/Ensemble Aruna Buchanan Brown
Princess Betsy/Agatha/Governess/Railway Widow/Nurse/Stiva’s Flusie/Ensemble Sarah Peachey
Kitty/Seriozha/Ensemble Stephanie Urquhart
Levin William Baltyn
Vronsky/Nikolai/Ensemble Robert Myles
Karenin/Priest/Ensemble Christopher Warren
Stiva/Petritsky/Ensemble Govind Hodgson
Muffled Figure/Bailiff/Ensemble Andrew Silverman

Production credits:

Director Jane-Eve Straughton
Assistant Director Helen Niland
Lighting Designer Thomas Mannings
Costume Supervisor Zoë Ashdown
Hair and Make-up Carrie Johnson
Sound Compilation Matthew Partridge
Sound Operator David Crackles
Stage Management Matthew Partridge & Kate O’Brien
Lighting Operators Isabel Eriksson & Agostina Califano
Lighting Technicians Isabel Eriksson, Agostina Califano & Andy Lee

Female Transport

Female Transport - Winter Season 2011

Female Transport by Steve Gooch
22 – 26 November 2011


Production Photos

Cast credits:

Captain Piers Burnell
Charlotte Holly McFarlane
Madge Niki Mylonas
Nance Teresa Joyce
Pitty Nichola Woolley
Sarah Becky Borland
Sarge Richard Williams
Surgeon James Steer
Tommy Tom King
Winnie Donna Easton

Production credits:

Director Nick Mouton
Assistant Director Bernie Higgins
Lighting Designer Robin Snowdon
Stage Manager Mauro Galluzzo
Assistant Stage Manager Alice Masson-Taylor
Lighting & Sound Operator Charlie Golding
Music Colin Guthrie & Matilda James
Costumes Zoë Ashdown & Nick Mouton
Stunt Co-ordinator Sean Croft
Photography Matt Matravers

Audition Notices – Winter 2011 Season

Anna Karenina

Anna Karenina by Helen Edmundson based on the novel by Leo Tolstoy

Landor Theatre
29th November to 3rd December 2011

Cast size/Characters (names and ages):

4-5 M/4-5 F (there is some scope for flexibility in how the different roles are combined; below is a suggestion)


Anna – 20s/30s
Princess Betsy, Agatha – age can be flexible
Dolly/Countess Vronsky/Stiva’s flusie – age can be flexible
Kitty/Seriozha – 20-30s (Kitty is 20s; Seriozha is a young boy – Anna’s son).
Governess, Railway Widow – age can be flexible


Konstantin Levin – 20s/30s/40s (age can be fairly flexible)
Vronsky/Nikolai – 20s/30s/40s
Karenin/Priest – 30s/40s (age can be fairly flexible, but probably a little older than Anna, Levin and Vronsky)
Stiva/Bailiff – 30s/40s
Muffled Figure 1/Petritsky – age can be flexible
Peasants/Muffled Figures/Aristocrats – Played by Members of the Company


Based on Leo Tolstoy’s story of an adulterous affair between the wife of a St Petersburg bureaucrat and a Cavalry officer, this stage version pares the plot down to its essentials. It focuses on the contrasting experiences of Anna, the doomed heroine, and Konstantin Levin, the questing male conscience of the piece. Anna, tormented by jealousy, ostracised by society and forcibly estranged from her son, is unable to live and love freely and throws herself under a train in her despair; Levin, troubled by his own sexual appetite and horrified by the prospect of death, eventually learns to accept the realities of life, helped by the example of his practical wife. In the play, Anna and Levin are constantly present – maintaining an abstract dialogue with each other as their parallel stories unfold. Events of the plot are juxtaposed and intertwine.


We need fearless performers who are in it for the long haul and willing to try and fail and try again.

The piece demands real “teamwork” and imagination from the ensemble; actors taking more than one role will need to play various “types” in terms of personality, status, and age. They will also “create” features of the setting – eg the railway stations, the racecourse, even the train which kills Anna.

Several characters kiss and there are some scenes of a sexual nature, so actors need to be prepared for physical intimacy, though there will be no nudity.

Equally alarmingly for some… There will be some dancing and singing involved! The dancing is limited – one ball scene with a waltz and one sequence which might better be described as “stylised movement”. The ensemble will also sing a folk song – which is intended to sound rough and ready!

We’re aiming for abstract and “suggestive” sets, props, and costumes – using a simple “contemporary” style – rather than period furniture, gowns and uniforms. The focus should be on the actors’ performances, and especially on the intense dialogue between Anna and Levin, so we’ll be avoiding “historical” clutter – though we’re hoping to find ingenious ways of alluding to the late 19th century setting of the novel.

Female Transport

Female Transportby Steve Gooch

Landor Theatre
22nd to 26th November 2011

Female Characters

Winnie – 30s. Strong leader
Madge – Late 30s+. Oldest member of the group. Mother figure.
Nance – 20s/30s. Fiery troublemaker.
Pitty – 18 – 20. Vulnerable.
Sarah – 20s. Approachable but has a bit of a bite to her.
Charlotte – 20s/30s. Strong willed.

Male Characters

Tommy – 18 – early 20s. Shy & naive.
Sarge – 30s+. Vile bully.
Surgeon – late 20s+. Intelligent & shallow.
Captain – 20s+. Selfish.


This stark drama is an account of six women convicted of petty crimes in 19th century London and sentenced to be transported to a life of hard labour in Britain’s overseas penal colony in Australia. During their six-month voyage they are kept in a cramped cell below deck where the women gradually learn certain truths about society and themselves.


This is a fantastic ensemble piece with strong character work. Actors can really get their teeth into the parts and help each other develop relationships on the stage.

There are some restrictions within the casting though as I’d be looking for actors and actresses with English regional accents. The way the play is written, and the period in which it is set, these are characters who pick up on all sorts of flaws and traits to mock and ridicule others. There is no mention about accents.

There will be some singing needed by the girls, but you won’t need to be pitch perfect! There are also some fight scenes and physically demanding scenarios. There will also be a bit of kissing – but not between the female characters!

The stage with be fairly sparse and most of the actress will have to be on stage for the length of the play. The costumes and props will be close to period but not too much so that audience is distracted from the acting.


For the music, I’m looking for someone who can help me create a tune from scratch but also record a variety of versions of the song ‘Botany Bay’.

Talking Heads

Talking Heads by Alan Bennett

Landor Theatre
6th to 10th December 2011

Alan Bennett’s Talking Heads offer a wonderful opportunity for four actors to take control of the stage, engage one to one with the audience and create some of the best loved characters written for the stage.

Bennett is a true master of the monologue and with his help you will have the audience laughing and crying, often at the same time!

The pieces are to be presented in repertory, with the first pair performed on Tuesday and Thursday, the second pair on Wednesday and Friday with a final marathon performance of all four on the Saturday evening.


F 3, M 1

Graham – A mild middle-aged man
Susan – An early middle-aged vicar’s wife
Irene Ruddock – An ordinary middle-aged woman
Lesley – In her early thirties

A Chip in the Sugar
Graham, a middle-aged bachelor, emotionally retarded and chronically dependent on his mother, finds life difficult enough at the best of times. When Mother meets an old flame and seems set to marry him, however, Graham’s old insecurities rear their ugly heads again. Fate, eventually, rescues Graham and he resumes his normal life of banal muddle under his mother’s amnesiac tyranny.

Bed Among the Lentils
Susan is a failure when it comes to jam-making and flower-arranging and isn’t at all sure about God; how unfortunate for her that she is married to Geoffrey, a popular and respected vicar who treats her in an intensely patronizing manner and expects her to conform to her role as vicar’s wife. A bleakly hilarious, dark and painful monologue, packed with insights and sparkling satire.

A Lady of Letters
Miss Ruddock writes letters — not, unfortunately, social communications filled with harmless news, but letters of complaint, comment and, occasionally, officious praise to various businesses and government departments. She complains about the lack of care she assumes the child living opposite is receiving and ends up in prison. There, ironically, Miss Ruddock finds freedom and is, for possibly the first time, happy.

Her Big Chance
Meet Lesley, an actress. She has just completed a video (‘targeted chiefly on West Germany’) in which she plays Travis, a career girl who enjoys life, spends a remarkable amount of time topless and shoots a man with a harpoon gun. She tells all, blind to the sinister undertones of her story as well as to her own self-delusions and gullibility.

Acting with KDC

Acting for KDC is open to anyone, irrespective of age and experience. Some of our members have had a formal dramatic training while others may never have been on stage before. Most often our members have acted at school or university before coming to London, starting work and finding that they aren’t performing any more and want to do something about it. That’s where we can help.

There are 6 performances for each play from Tuesday to Saturday night plus a matinee on Saturday afternoon.

Auditions take place on the Monday, Tuesday and Wednesday evenings after the Newcomers meeting.  Keep an eye on the Acting page for more details.  Directors will normally outline the content of their auditions at the Newcomers meeting, but typically we do not require audition pieces.  Auditions are free to attend.

Callbacks are held on the Saturday at the end of the audition week. The director will notify you if you are required for a callback, but if they loved you first time round that may not be necessary.


We have 3 rehearsal slots per week but obviously you may not be called for every night.  These are held at various central locations in London.

On Mondays and Wednesdays we rehearse from 7:00pm to 9:30pm and on Sundays we rehearse either from 1:00pm to 5:00pm or from 5:00pm to 9:00pm.