July 2020

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IMPORTANT MESSAGE

As we all know, the Oast Theatre is closed until further notice. Until toldotherwise, we are unable to offer any programme of any sort and cannotdeliver the benefit that membership normally offers. Given thesecircumstances, it seemed unreasonable to ask you to pay your annualsubscription.

Therefore, and after much discussion between the Box Office, the Treasurerand the Chairman, the Oast has chosen to suspend membership paymentsbetween August, 2020 and August 2021. You will be pleased to know thatthis suspension will not damage the financial integrity of our theatre.Ordinary membership, Associate membership and Season Tickets are alldiscontinued until August 2021. This does NOT mean that, suddenly, weare without your support. What it means is that you remain on our databasebut no yearly fee is required. You will continue to receive Oast Notes.These will, eventually, tell you when we can re-open and how we willoperate given the rules in place at the time. However, this is for the future,for other Oast Notes. The Committee is planning for the future but there islittle point in giving precise details as the future is so uncertain. What isimportant is that you will be invited, via Oast Notes, to be part of any futureplans, in whatever capacity you wish.

Those who pay for membership via Standing Order or Direct Debit are freeto cancel or see their payment as a much-appreciated donation. Anyone whowishes to give any money to the Oast is very welcome to do so and suchgenerosity will be much appreciated.

As you know these are difficult decisions to make. They were not madelightly. The Oast wanted a system that is as straightforward and as easy toadminister as possible.

I hope that you agree that what has been outlined above meets these needswithout in any way harming us now or in the future.

Phil PorterChairman

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100 CLUB – MAY RESULTS(DRAWN IN LOCKDOWN!)

£25.00 Mrs J Round£10.00 Mrs S Barfield£10.00 Mrs L Moore£10.00 Mrs C Gahan£10.00 Mr & Mrs P Harvey

Have YOU thought about joining?You can join at any time!But why not make it NOW?It only costs £13.00 per year!It helps to raise money for your Theatre!Prizes every month!

Be IN for a chance to WIN!

Ring Rita Carpenter on 01732 358282 or email on100club@oasttheatre.com

For available numbers contact Rita.

Rita Carpenter

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WARDROBE NOTES

Before you read these articles please read the following.

Gavin has given me permission to include this – Ed.

Dear Annie

I don’t know if you’ve heard but Jean has been taken very ill and is sadlyreceiving palliative care at the Hospice in the Weald. I have seen her everyday and she is comfortable and in her usual good spirits, despite everything.

She was very keen for me to ensure that her ‘From the Wardrobe’ columnin the Oast Notes was completed and had me fetch her research from home.She was planning to include some lesser known facts and some of her toptips in the July and August editions.

I have transcribed them and wondered if you could include them in the nexttwo newsletters.Please feel free to add anything.

Many thanks.Gavin Bruce

Jean died in the evening of Tuesday, 9th June.

During these difficult times we are unlikely to be able to get together toshare our memories of Jean and how she has affected the Oast lives of somany of us for a very long time.

I am therefore proposing that, instead of our usual obituary notice writtenby one member, I will ask all of you who knew her well to share yourmemories in the next edition of Oast Notes. Depending on how many ofyou write in it will possibly be an edition dedicated to the memories of Jean.PLEASE LET ME HAVE YOUR NOTES BY 6TH JULY.

Ed

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FROM THE OAST WARDROBE

JEAN’S FUN COSTUME FACTS.

DID YOU KNOW? ...

It’s unlucky to use fresh flowers on stage because the perfume canaffect some actors, they wilt quickly under theatre lights (theflowers, not the actors – although I don’t know) and dropped petalscan be a slip hazard!

It was only after 1908 that the bottom button of men’s waistcoatswas left undone, popularised by the rather large Edward VII.

Prior to 1960 women’s dresses had to go over the head.

Gentlemen should always lift their coat tails before sitting down soyou don’t sit on whatever you keep in your tail pocket (not a mobile‘phone gents!)

The saying ‘Mad as a Hatter’ came about from the use of mercurywhen blocking or shaping hats.

Men’s trousers didn’t have creases before 1900.

Green is supposed to be unlucky on stage. In the Victorian era thegreen dye they used on costumes reacted with limelight and couldgive off a poisonous vapour.

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JEAN’S TOP TIPS

Don’t use safety pins as they tear costumes and catch the lights.

Put badly creased velvet in a tumble dryer with a damp cloth.

Make sure men don’t put tights on back to front – seam at the back!

For a quick change from day to evening wear, cut an old shirt down theback and add Velcro. Sew a waistcoat and bow tie to the shirt.

Ladies, remember to put your shoes on before lacing your corset!

As a wardrobe mistress, it you’ve got a quick change to deal with, don’tdelay as you never know how many pages the actors on stage mightmiss out!

Use Fuller’s Earth to make hired costumes look old or dusty.

To make a costume look really sick, mix cornflakes, Weetabix, soapflakes and flour into a paste and spread it on.

Can’t find the right buttons? Use nail varnish to match the colour.

Spray feather boas with hairspray to stop them shedding.

Use an old stocking over your hair to flatten it before putting on a wig.

Make cuff links by joining two buttons with elastic. The actor won’teven need to undo them.

Men, remember XYZ before you go on stage. (Examine your zip!)

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CHICHESTER

Have you been wondering about Chichester this summer? A fewweeks ago Carol was doing all the usual things – sorting out dates,booking seats, arranging a coach, and all that; then the show wascancelled and everything stopped. Since then she and David havebeen trying to extract a refund for the tickets we had paid for.

Now the theatre informs us that they are, in effect, forgetting about2020 and postponing the entire season to 2021. They have offeredus the same seats at the same price for the same (or equivalent) date;this seemed a good option to go for and the offer has been accepted.So, at about this time next year we hope that all the details will beannounced and bookings invited.

There’s not much more we can tell you at the moment, but if youhave any queries, please contact Valerie, 01892 723459,vm.armstrong@tiscali.co.uk

The Sociable Committee

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THE SUMMER LUNCH THAT NEVER WAS….

About now we would normally be inviting you to the SummerLunch and tempting you with the delicious goodies on offer. Youwill not be surprised to hear that, like so many things, it will nothappen this year. So sad, but in the circumstances … We just hopethat everything will be different in 2021 and we’ll be able to meetfor food, friendship and maybe a frolic or two, to mark the end of areally successful season. Here’s to it.

Your Sociable Committee

A LITTLE DITTY

The other day upon the stairI met a man who wasn’t there.He wasn’t there again today.I wish that man would go away!

The end.

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GOODBYE, THANK YOU & HELLO, THANK YOU

After years of dedicated service Brian Perryman has made the decision toresign from the Box Office team and as Membership Secretary. Both rolesare very time-consuming and, at times, difficult. The Oast thanks Brian forthe considerable effort and time he has spent in both capacities. Wesincerely hope that he will continue to support us in whatever ways he can.Paul Simons has replaced Brian as Membership Secretary. We extend awarm welcome to him and thank him, for taking over at short notice.

Mike Metcalf has kindly agreed to be our new Treasurer. At the moment heand David Keith are working to ensure a smooth transition. It is intendedthat Mike will become the Treasurer after the AGM in December 2020,subject to following agreed protocols. We thank Mike for agreeing to takeon this important role.

Phil PorterChairman

BAR BARGAINS!

I will say this only once (okay, write it). As the theatre is closed for theforeseeable future, the decision has been made to sell the bar stock (not thewine) at bargain prices. The prices are £1.00 for beers, 50p for cokes/mixersand premium apple juices somewhere in between.

The sale will be on WEDNESDAY,1ST JULY from 10.30am to 12.30pm.Selling will be from the small side door (Hilden Manor side), payment bycard only and please bring your own strong bag or box.

The 2- metre distance rule will apply and please ensure that arrival times arestaggered. Do not gather in groups to talk. We do not want to contraveneany of the rules that are in place.

Any further information from Judy Beer on 01732 353646 orjudybeer@icloud.com.

Judy Beer

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ANSWERS TO LAST MONTH’S QUIZZES

Shakespeare Plays

1. Utilise okay (4) As you Like It

2. Casual juries (2) Julius Caesar

3. Joined emulator (3) Romeo and Juliet

4. Graded minimum hamsters (4) A Midsummer Night’s Dream

5. The silent water (3) The Winter’s Tale

6. Scan our oil (1) Coriolanus

7. Link Gear (2) King Lear

8. Tempt these (2) The Tempest

9. Actor annoyed a plant (3) Antony and Cleopatra

10. Crisp eel (1) Pericles

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ANSWERS TO LAST MONTH’S QUIZZES cont.

London Places

1. Monarch is angry. Perhaps the train islate? (5,5)

Kings Cross

2. Is this prison in an empty road? (8) Holloway

3. Curved structure of beautiful stone (6,4) Marble Arch

4. Capital Organ (6,3) London Eye

5. Egyptian Queen’s provocation (10,6) Cleopatra’sNeedle

6. Naval battle between equal sides (9,6) Trafalgar Square

7. Domiciles for Owls (6,2,10) Houses ofParliament

8. Does elderly photographer plead notguilty here? (3,6)

Old Bailey

9. Was observed in frothed omelette (3,4) The Dome

10. Wait to see the flowers, we hear (3,7) Kew Gardens

Thank you Jo & Steve Pierce

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AND NOW ANOTHER QUIZ, THIS TIMECOURTESY OF ME – Ed

Another Shakespeare one. Answers next month or if you cannot waitthat long, dust off your old Complete Works, or Google it!

THE FIRST LINES OF PLAYS BY SHAKESPEARE

1. “Boatswain! Here Master; what cheer?”

2. “Now, fair Hippolyta, our nuptial hour draws on a pace;”

3. “I thought the King had more affected the Duke of Albany thanCornwall”

4. “Who’s there?

5. “Tush, never tell me: I take it much unkindly”

6. “Nay, but this dotage of our General’s o’er flows the measure”

7. “Two households, both alike in dignity”

8. “If music be the food of love, play on”

9. “Sir Hugh, persuade me not”

10. “Now is the winter of our discontent”

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FIRST PLAY AND BEYOND

I found myself round the back of the school bike shed with the lovelyJulia …. but perhaps we should draw a veil over that, which is alongthe lines of what Julia said to me at the time actually … However, Idigress …

The first play I saw at the Oast was ‘Court in the Act’ in around 2001.I was somewhat surprised to see an actress I knew from London removemuch of her clothing on stage. I thought then that this was the place forme.

My first play as an actor at the Oast was ‘Lord Arthur Saville’s Crime’in 2002 where I played a mad German scientist. I have been playingthe same role ever since with minor variations. I recall Ken Smith whowas in the play pouring vodka from a hip flask into cans of diet coke inthe dressing room during the run. Shirley Browning was also in the playand I shall always be grateful for her kindness to me in my first playthere, kindness wisely not often extended to casting me in herproductions.

I feel fortunate to have been involved in good productions of greatwriters like Shakespeare, Beckett, Pinter, Bennett, Orton, Coward andRattigan, but also fine plays such as ‘Inherit the Wind’, ‘Journey’s End’‘Harvey’ and ‘Moonlight & Magnolias’.

I was struck recently by the words of the fine writer Barney Norris whoobserved ‘one of the most beautiful things about theatre, and perhapsthe most poignant, is the way it disappears. There’s an air of mourningabout the best work as a result of this: almost as soon as you’ve seen it,it will go. Great performances seem to be imbued by the knowledge ofthis fleeting quality, made to burn brighter by their mayfly nature.’

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MY FIRST PLAY AND BEYOND contd.

Stuff I’ve been in:-

2002 – ‘Lord Arthur Saville’s Crime’

2003 – “A Midsummer Night’s Dream’ – ‘Slaughterhouse’ – ‘The BeautyQueen of Leenane’

2004 – ‘Star Quality’ – ‘A Pocketful of Hops’

2005 – ‘Dolly West’s Kitchen’ – ‘End of the Food Chain’ – ‘The Caretaker’

2006 – ‘East Lynne’

2008 – ‘Bolt from the Blue’ – ‘Inherit the Wind’

2009 – ‘Arsenic and Old Lace’ – ‘Waiting for Godot’ – ‘Journey’s End’

2010 – ‘Habeas Corpus’ – ‘The Three Musketeers’

2011 – ‘On Golden Pond’ – ‘Tonight at 8.30’

2012 – ‘Entertaining Angels’ – ‘Silhouette’

2013 – ‘Harvey’ – ‘Flare Path’

2014 – ‘Blithe Spirit’ – ‘Double Double’

2015 – ‘Underground’ – ‘The Secret Lives of Henry & Alice’ – ‘Seeing theLights’

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MY FIRST PLAY AND BEYOND contd.

2016 – ‘Moonlight & Magnolias’ – ‘ London Wall’

2017 – ‘What the Butler saw’

2019 – ‘Mind Game’

2020 – ‘All Our Children’ (let’s hope we get to complete this run soon…)

Cheers

Nick

Nick Smith

MY FIRST PLAY

I remember vividly watching from the wings of our local panto as oneof the cast held a ‘Grecian column’ quite literally above his head to stopthe whole set from falling down. At the same time the prompt, speakingvery loudly, did a duet with the actor in an “I’ll say it, you repeat it”situation and I thought “I’m sure I can do better than this”!

A while later The Oast held an open afternoon where the public couldgo along, look around and see if they were interested in membership. Iwent and was handed a ‘tick box’ form to show areas I would beinterested in. Thinking I daren’t put acting I ticked every other box andhanded it to a very friendly man who I later learned was the lovely lateGeorge Kirk. He looked at the form, chuckled and told me, “you’ll regretthat!”

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MY FIRST PLAY contd.

That afternoon was a Sunday and the following Tuesday I had a ‘phonecall asking me if I’d be interested in doing props. Absolutely! In thosedays props was a really exciting job. You just went with a list up intowhat is now Ken’s Place and rummaged. I spent ages trying on helmets,gas masks (no! I’m not still wearing it) and had enormous fun. The playI forget but the leading lady was Janet Thompson and she rang meshortly after the run asking if I’d like a part in the play she was directing.When I asked if she wanted me to come to the audition she replied, andI quote, “Oh no love, it’s a very silly play and you’re a very silly person,you’ll be fine!”

I went to the first rehearsal in the Janet Young room and I was terrified.Janet hadn’t even told me the name of the play, the character, nothing.There were loads of people there and a man called Chris came andintroduced me, gave me a script and started chatting. I was idly readingthe script which was ‘Cold Comfort Farm’ and asked Chris who wasplaying Flora Poste? He didn’t know but just as I was saying she mustbe mad, Janet breezed in and called out “Hi everyone, this is Maggie,she’s going to play Flora”. I nearly died!

If you haven’t seen the play, there are very few scenes which don’tinvolve Flora so it really was a baptism of fire. It was a lovely part butshe was supposed to be 20 I think, and, as I was in my early 40s, wemade it 22! My best friend was played by the lovely Lizzie Goodallwho remains my friend to this day. My love interest was Ian Burns buthis part was as narrator so we didn’t get together on stage. This was myfirst attempt at ‘real acting’ and I was greatly encouraged by the lateKen Jones and his wife Margaret.

On the Thursday night performance there was a dreadful storm andwater was leaking on to the stage. I heard my cue, entered, and wasgreeted by (I’m sorry my memory for names is atrocious) a lady

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MY FIRST PLAY contd.

wielding a mop and bucket and explaining about a leak ad lib. I wascompletely thrown. My first thought was that I’d come in during the wrongscene but I soon cottoned on and all was fine.

Flora Poste was very glam! I had three or four costume changes and theywere all beautiful and I have to say that since then I haven’t had one partwhich involved lovely clothes!

In the bar one night Jean Bruce asked me if I could tap dance and, if not,would I like to learn? I’ll try anything once and although I was really badat it, was given the part as Maxine in ‘Stepping Out’

There have been many parts I’d liked to have auditioned for over the yearswhich my involvement in my local group has prevented but I’ve enjoyed myinvolvement in every play over the years either as props, prompt or actorand hope my ‘career’ isn’t over.

The dedication to The Oast shows through in these ‘closed down’ editionsof Oast Notes and in The Roundel Players. Let’s hope it’s not too longbefore the curtain rises and the bar opens again!

P.S. I wanted to tell you this because it’s made me laugh for weeks. I knowLizzie Goodall won’t mind my telling and those of you who know her willbe able to ‘hear’ her saying it. During a ‘phone conversation at the start oflockdown:

Me I’m getting fed up playing Scrabble now.

Lizzie Oh yes I play quite a lot too.

Me But the computer uses THE most ridiculous words it makes mecross.

Lizzie Oh no darling, I don’t play on the computer, I have a conventionalboard but I move my chair round!!

Maggie Weaver

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AND MINE TOO

I only remember a tiny bit of the first play I was in. It was in thelocal infant school. The cast consisted of eight 6-7 year olds, all ingypsy costumes, sitting cross-legged round an ‘open’ fire on whicha large saucepan perched precariously.

The play began with a bang – the saucepan slid off the fire androlled across the stage. It was rescued by a teacher and we startedonce more.

The opening speeches of one line each began. Number One gypsywhispered her line. “Louder, dear” hissed the teacher. NumberTwo did well, but sucked her thumb immediately after the lastword. Three and Four were spot on. Number Five was me! I hadto get up as I started my line – that meant I had to think of two thingsat once – getting up and speaking. I got up but forgot to speak – theteacher gave me a cue and I was away. I said the words beautifullyand all the gypsies were staring at me. Suddenly Number Sixshouted “She’s said my line” and burst into tears and kicked the potover and ran off the stage!

Pamela Murphy

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FROM THE CHAIRMAN, MAY 2020

What could be easier than doing drama with five-year olds? After all,all one needs is an imagination and endless patience. Unfortunately,while I know where we are going, thirty children have thirty ideas as towhere I and they should go. It is though, according to Robert LouisStevenson, better to travel than to arrive.

So, picture this. I am sitting cross-legged on the hall floor of an infantschool in Newcastle-under-Lyme. Facing me are thirty rather excitablefive-year olds. The headmistress wants these children to experience thejoys of an active vocabulary. This seems to involve exploring thepossibilities inherent in opposites: hot/cold, soft/sharp and so on. Thegroup will go on a day trip to Blackpool with as many opposites aspossible thrown in. Our sandwiches are large and small, the seats onthe coach are front and back, wide and narrow. We drive to Blackpool:fast/slow, cautious/outrageous. We walk on the beach: the sand issoft/hard, wet/dry, warm/cool. And so it goes on – funfairs, ice creams,roller coasters: a whole universe of pleasure crammed into minutes. Wereturn home. As each child gets off the bus, nearly all, with heart-wrenching sincerity, say: “Thank you for taking me to Blackpool”.Remember, we have been absolutely nowhere except in our minds. Itis certainly better to travel than arrive.

One infant school gave me a very formal introduction at their assembly.Three hundred pupils replied, with the devastating slowness only aninfant chorus can achieve and in that peculiar sing-song so special tosuch schools: “Good mooring Mr Porter…” and so on to include nearlyeverybody in the hall. Eventually, about forty children are mine. It isMay but for some reason lost in time, we do drama based on Winter. Itis so successful that, on a hot May morning, forty childrenenthusiastically build snowmen at break in the playground. Also onshow is the fantastic awareness and ability of most of these pupils.

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FROM THE CHAIRMAN, MAY 2020 contd.

Some though are bemused by the experience. A girl stands alone in theHall, unable to respond without the help of her teachers. I see her evennow, surrounded by loneliness and confusion.

Another school, another experience. Again I have forgotten the topic,but somewhere along the line the group had dug a large hole. I forgotabout it. Just as the session was ending a boy comes over to me andsays that we haven’t filled in the hole. He and I immediately do so.

I then moved into Junior schools. Here the drama was more demandingand worked on over several weeks. So I sank the Titanic, launched theLynmouth Lifeboat – an epic story if ever there was one, and helpedScrooge reform. I also set sail for the New World but Columbusprobably had an easier voyage than I did. For some reason I became anIrish sea captain. I’m not good at accents and as I was about to embarkon this epic voyage I asked a group, forty strong, if any one of themwould care to join me. It was the wrong thing to say. For the next hourforty nine-year olds were woven into a storyline that was tenuous to saythe least.

The amazing thing is that everybody enjoyed what we did. The schoolsasked me back many times. It was all endlessly inventive and uplifting.Above all, I entered the world of the young, some say I’ve never left it,and a very strange world it is.

All this happened when I was the teacher advisor for Drama for NorthStaffordshire, during the 1980s.

Phil Porter

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MY FIRST PLAY WAS…

“Alice in Wonderland” at Junior school, no hope of playing blonde,straight-haired Alice as I was dark, short-haired and curly. I seem toremember playing a daisy – not very memorable.

However, I was lucky enough to go to a Secondary school that was verykeen on drama in all its aspects, pageants, concerts and plays. One ofmy performances was as a woodland elf in ‘As You Like It’ completewith green tunic and wellie boots. I know that there are no woodlandelves in ‘As You Like It’ – but never mind about that! I must mentionthat the girl playing Rosalind was none other than Eileen Atkins. I havealways been rather proud to have been on the stage with such a fineactress – if only as a woodland elf.

Following on from that was an Elizabethan pageant to celebrate thecoronation. I was wearing a beautiful blue dress, still remembered verywell to this day. There were not such a lot of beautiful dresses aroundin those days.

Late teens and early twenties saw a lot of am/dram around NorthLondon with a wide variety of plays – all seem a bit quaint now, ‘DearOctopus’ ‘This Happy Breed’ and even ‘Little Women’. We didattempt a bit of Thornton Wilder, but I can’t remember what!

I still love the theatre and am very grateful to my school for giving melong-lasting enthusiasm for all things theatrical.

Here is to the Oast opening soon, and how lucky we are in Tonbridgeto have such a theatre.

Barbara Davison

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MORE OF LEE’S MEMORIES

When George and I joined Tonbridge Theatre & Arts Club back in 1966 itwas already an amalgamation of two groups. The Tonbridge AmateurDramatic Society which had started in 1922 and Tonbridge Little Theatrewhich was using the stable behind The Mitre pub as its base. In many waysthese were two very different clubs.

When it was formed TADS was largely a touring company. They performedin village halls and hospitals. The scenery and props were taken to theperformances by truck and most of the cast would cycle to the venue. Threetimes a year they would perform a more ambitious production at DowgateHall in Tonbridge.

Tonbridge Little Theatre, later known as The Mitre Club, was formed by aHousemaster at Tonbridge School, Vibart Ridgeway. He was joined byRobert Sutton who was a teacher at the school. They prided themselves onproducing experimental and Avant Garde shows. The gardens of Ferox Hallwere used for productions in the summer, these taking place under the cedartree there. There were also productions on stage at The Mitre. As the stagemeasured 11ft. by 12ft. no wonder conditions were described as cramped!

Both clubs closed during WW2 and it was in 1946 that they amalgamatedto become Tonbridge Theatre Club, the ‘Arts’ was added later at theinstigation of local artist Martin Hardie. The club flourished, annuallyproducing ten shows with two of the productions at Big School, Tonbridge.It was there where George first trod the boards in “Haul for the Shore”. JaneCooper only too keen to have a new male lead in her production. So theclub was well established when we joined. It was friendly, fun and verywelcoming. There was still a very strong connection to Tonbridge School.I have a vivid memory at one Christmas Party when there was a spacehopper race by members in fancy dress costume. There would be charades,games, much laughter and fun. There were other Christmas parties withGeorge and Janet Young and Jane and Leslie Cooper. There were playreadings in members’ houses. There was an open house policy. We were asmall club and this made us a tight knit community which helped formstrong friendships and made TTAC a very special organisation.

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This strong bond was needed in 1970 when members were aware that thetenancy of the stable was to end and with some urgency they started lookingfor alternative accommodation. There were 250 members, £350.00 in thebank and the prospect of no theatre. This was a real challenge for allinvolved. Would we continue to exist and if so, where? The future did notlook good

Lee Kirk

BASIL BARNES

The following notice was received on Facebook from Basil’s daughterSarah.

‘My Dad, Basil Barnes, passed away on Monday, 1st June.

He was an active volunteer and member of the Oast from the time we movedto Tonbridge in 1982, and took all of the official photographs for the Youthand Main productions for nearly eighteen years.

The Oast became a big part of our lives through which we made manyfriends.

He retired to Hailsham in East Sussex in 2001, together with my Mum,Eileen.

He kept many of those photographs and I’m sure several members still havecopies in their photo albums today.

He passed away on 1st June 2020, just 16 days before his 90th birthday.

Sarah.’

OFFICERSChairman PHIL PORTER 01732 835460

chair@oasttheatre.com

Honorary Treasurer DAVID KEITH 01732 458876treasurer@oasttheatre.com

Honorary Secretary ELIZABETH PORTLOCK 01732 300551secretary@oasttheatre.com

Membership Secretary PAUL SIMONSmembership@oasttheatre.com

Editor ANNIE YOUNG 01732 352084editor@oasttheatre.com

Hirings and Rehearsals LYN PORTER 01732 835460Bookings hire@oasttheatre.com

Premises Manager PHIL PORTER 01732 835460

Publicity MAGGIE HOILES 01622 813573marketing@oasttheatre.com

Security Manager DEREK ROSE 01732 358845security@oasttheatre.com

Wardrobe JO PIERCE 01892 528166Representative wardrobe@oasttheatre.com

Youth Theatre JASON LOWERyouth@oasttheatre.com