The Crouch End Festival – Lights, Camera, Action, Sing – a silver screen musical

The Crouch End Players present

Lights, Camera, Action… Sing!

A whistle-stop, song-filled history of musicals on the silver screen.
From The Jazz Singer to Les Misérables, calling at all points in between. Let our assorted cast of characters take you on a musical journey from the sublime to the ridiculous. A comical and affectionate, ‘star’-studded revue. The show’s running time is about an hour, and there will time to stay on and enjoy hits from the musicals after the shows…
Written and directed by writer of last year’s sell-out Crouch End Folk & Fable Annie Windley

at Downstairs at the King’s Head, 2 Crouch End Hill N8 8AA
Sat 8 June 3-5pm

at Kiss The Sky, 18-20 Park Road N8 8TD
Sun 9 June 3-5pm (double feature with Grace & Agnes)
Sun 16 June 3.30-5pm

The Crouch End Festival – Once Upon a Story Time – stage play for children

A Storybook brought to life!

The Crouch End Players present:

Once Upon A Story Time!

Come and hear two classic children’s stories – Ludwig Bemelmans’ Madeline and In The Night Kitchen by Maurice Sendak – brought to life with unique imagery and narration by the Crouch End Players. Follow the adventures of two delightful characters: Little Madeline, who finds herself being rushed to a hospital in Paris to have her appendix taken out, and Mickey, who falls dreamily from his bed into ‘the night kitchen’, where the bakers are busy stirring, scraping, mixing and baking, so we can ‘all have cake in the morning’!
Recommended for ages 3-6 years.

at Hornsey Children’s Library, Haringey Park N8 9JA
Sat 8 June at 11am
Sat 15 June at 11am

and at
Pickled Pepper Books, 10 Middle Lane N8 8PL
Sun 9 June at 11am

North London Actors – April

NORTH LONDON ACTORS

North London Actors

April

Due to the Bank Holidays in April and May it was decided that instead of having a Circle Reading at the beginning of the month we would move it to the end. So our first event was the semi-staged rehearsed reading of ‘The Accrington Pals’ by Peter Whelan on Wednesday 17th April. Director Monty Holender provided the following info about the piece: “It is probably one of the best plays ever about the first world war. The title refers to the 700- strong Accrington battalion that marched jauntily off to war in the summer of 1914. Spanning the period up to the battle of the Somme in July 1916, it is as much about the women left behind and their growing sense of solidarity, as they overcome their fierce sense of deprivation, and band together to learn new skills. The strength of the play, is that it captures, in essence the spirit of ‘Oh what a lovely War’, as the men rejoice in military comradeship while the women fulfil their unrealised potential.

Though full of humour and tenderness, the play leads one to rage at the tragic waste of so much local pride and patriotism. That time was important in the way society was shaken up, both for the men who marched off to almost certain death so enthusiastically and naively, and for the women who in filling in the men in the workplace, got a first opportunity to develop their potential. The play was well attended and even though ours is a small space, with the actors’ skill and Michael Murray’s talent in getting battle sounds and music of the period, to say nothing of his narration, we were able to involve the audience in the drama, humour, toughness and tenderness of this fine play.”

One of the cast members was Victoria Oliver, who is new to the group. She had the following to say about her experience: “I was really looking forward to being a part of this rehearsed reading, and I really enjoyed the whole process. Rehearsals took place on Sunday 14th April at a members house in North London. As this was my first rehearsed reading-not only with NLA but ever! I really didn’t know what to expect. Everyone was so nice and friendly, I felt very comfortable about working within the group. Especially as we all had to adopt ‘Accrington’ accents. This was a very big challenge, but as the play is so fantastically well written, I felt that the accent came quite naturally through the text. Although, I have to confess mine was a dodgy Yorkshire accent I copied from my friend from Bradford.

However, as I was playing the loud and brash character of ‘Sarah’ I felt this fit quite well and wasn’t too much of a problem. The rehearsals were great fun, and we were very free to interpret our characters as we saw fit. With Monty guiding us all about context or subtext occasionally, and Michael pointing out accent issues or pronunciation problems. This meant I felt very free to explore my character and to let the text bring my character to life. At the rehearsal there was only time to run it once, but I was assured by other members that it would be alright on the night! We performed on the evening of 17th April to a full house bar 2 seats. This turn out was great and really helped fuel our performances. I was playing a comedy character, so the great turn out really helped me with my performance. The audience were extremely supportive and I felt like all the actors really upped their game. I enjoyed exploring a new accent, and being so free to play around with character interpretation and working with such a lovely and creative bunch of people. I really want to work with North London Actors again and hope they want me back!”

This month’s Circle Reading was De Monfort by Joanna Baillie and was led by Julia Eve. Julia came across Baillie when she was studying English Literature at University, and felt that she was a neglected playwright who fitted right in with the kind of plays that North London Actors produce. Joanna Baillie was a playwright and poet who lived during the Romantic period, at a time when English Theatre was heavy influenced by the Gothic and Melodrama. Baillie wanted to write plays that showed how people really react when consumed by emotion. She wrote a series of plays called ‘Plays on the Passions’ in which she wrote a comedy and tragedy on the passions of hate, ambition, love and fear. De Monfort was her tragedy on hate and her most famous play. She takes a character and renders it as a spectacle. She wanted to exhibit people on stage how they at in their closet.

Her plays are heavy on characterisation and bare on plot. She wanted to revolutionize theatre, believing that it could be used more effectively to affect people’s lives and her discourse presented her theories of drama. She is considered a powerful force in English Literature but she was allowed to slip into obscurity. Possibly because she was a woman who wrote plays in a time that was defined by the great male poets Keats, Wordsworth, Byron, Coleridge, Shelley and Blake. And she was fascinated by the Gothic which is a genre that was considered populist and second-rate. The reading was well-attended and everyone seemed to enjoy themselves. There were lots of good speeches to be read and all the men got the chance to read De Monfort and all the women read Jane De Monfort. The language of the play was rich, but even though it was in verse people remarked on how easy it was to read. This being said we did feel that although the play reads well and has some great characters, it wouldn’t work as well on stage, as not a lot happens in the plot, which could be less entertaining for an audience.

Further details of North London Actors can be found at http://www.northlondonactors.co.uk or in our Facebook group (search for North London Actors). If you are interested in joining us please email membership@northlondonactors.co.uk for details.

The best way to see what we do is come along to one of our events. May’s events are: a Circle Reading of ‘Billy Liar’ by Keith Waterhouse on Monday 13th May at 7.30pm and a performance of ‘The New Woman’ by Sydney Grundy on Wednesday 29th May at 7.30pm. All events are held at The Oak and Pastor, 86 Junction Road, N19 5QZ (Nearest tube Archway. 10 minutes from Upper Holloway Overground. Bus 134 or 390, Pemberton Gardens bus stop. Parking in the area free after 6.30 pm.)

Off The Wall Plays – North London play publisher

North London Play Publisher – Off The Wall Plays

Off  The Wall plays was launched in 2010 in South Africa and was originally created because a gap in the play writing market was seen. They opened up a second office in the UK in late 2012, which is based in North London. There are many talented playwrights out there who struggle to get their work published, especially if it hasn’t been staged before. Off The Wall Plays aims to put the work of up and coming writers out there. In turn they publish and sell plays online. Their main focus is the very strong amdram and community theatre market worldwide. Plays are sold in both an electronic format as well as a hard copy and prices are both in dollars and pounds,  They have playwrights from all over the world –  the USA, Canada, Australia, South Africa and Ireland to name but a few.

They have a wide selection of plays available  – comedies, dramas, one act plays,full length plays and award winning plays that have won at festivals around the world. They also accept scripts at any time. Visit their website and facebook pages, or find them on twitter.

Lord Arthur Savile’s Crime

A Comedy adapted from an Oscar Wilde Story  by Constance Cox

Poor Arthur Savile is about to be married to lovely fiance Sybil, when a palm reader reveals that he is about to commit murder! Cue a succession of hilarious attempts – with the assistance of faithful butler, Baines to get the inevitable job done before the impending nuptuals. With a cast of Wildean characters, and a line in wit to please old Oscar himself, look forward to a laughter filled evening out at the theatre.

Venue: The Moravian Church Hall Crouch End

Dates: Wednesday 22nd – Saturday 25th May

Tickets on sale now at wegottickets.com and for cash sales from  Of Special Interest 46 Park Road, Crouch End.

Wednesday: Opening night special offer  £6, all other nights £8

See our Facebook page

The Ruby Darlings (and friends)

THE RUBY DARLINGS AT THE SILVER BULLET IN FINSBURY PARK

What the shitballs!

THE RUBY DARLINGS, a fun filled and wicked Cabaret act, are performing on  FRIDAY 19th APRIL IN LONDON TOWN. Well – Finsbury Park at the Silver Bullet to be precise!  Let them caress your thighs, tickle your sides and whisper dirty truths in your gorgeous ears. Don’t miss it!

Like us on Facebook!

Yellow Face – Fabulous Opening Production at Park Theatre

Special Relationship Productions in Association with Park Theatre
present the UK premiere of:

YELLOW FACE

‘Yellow Face ‘ – at Park Theatre, Finsbury Park

“…The beauty of Yellow Face is
anything but skin deep.”

The Guardian

Written by David Henry Hwang
Directed by Alex Sims
At Park Theatre: Park90
21 May – 16 June

Special Relationship Productions in association with Park Theatre present the UK
premiere of Yellow Face by Tony Award-winning playwright David Henry Hwang, directed by
Alex Sims starring David Yip and Kevin Shen, produced by Lucy Fenton. The play opens on
21 May and will run for 4 weeks in Park Theatre’s state-of-the-art Park90 space. Press Night
is 23 May 19.45. There will also be a Pre-Matinee Q&A on 25 May with David Henry Hwang
12:00-13.30pm in Park 200.
A fast-paced and timely comedy-drama, this Obie Award-winning, Pulitzer Prize finalist play
is a response to the 1990s Broadway protests which followed the controversial casting of
Welsh actor Jonathan Pryce in the lead Eurasian role in Cameron Mackintosh’s hit transfer of
Miss Saigon.
In Yellow Face, art imitates life to great and amusing effect in a play which tackles the issues
of identity and race whilst still managing to be hilarious. David Henry Hwang casts himself as
the main protagonist, ‘DHH’. After becoming the ‘public face of the opposition’ in the Miss
Saigon debacle, DHH later becomes embroiled in his own casting drama when he mistakenly
chooses a Caucasian actor (Marcus), for the lead Asian role of his own play, Face Value.
Commenting on the forthcoming premiere of Yellow face at Park Theatre, David Henry Hwang
says:
“I couldn’t be more excited about the upcoming UK premiere of Yellow Face at Park
Theatre. Particularly in light of recent casting controversies regarding East Asian actors,
I hope the play will give us a chance to laugh together, as we explore the complicated
question of what it means to ‘play’ another race — onstage, as well as in life. I’m also
looking forward to reconnecting with British audiences, more than 20 years after M.
Butterfly” David Henry Hwang
(For full biog please see Editors notes)

David Yip plays DHH’s father, ‘HYH’. David is well known for creating the role of Detective
Sergeant John Ho in the series, The Chinese Detective for the BBC in the early eighties.
During his career he has worked extensively across theatre and film. Plays include The Bomb
(Tricycle) Fit and Proper (RSC/ Soho Theatre) Turandot (Hampstead Theatre) and The King
and I (Royal Albert Hall). Films include Indiana Jones Temple of Doom, A View to Kill and
Entrapment. He is currently working on a theatre project, Gold Mountain, with the Unity Theatre
in Liverpool and Les Deux Mondes in Montreal. David’s thoughts on the importance of Yellow
Face:
“In a time when we’ve seen what has happened with the RSC controversy and when
casting of East Asians is at an all time low, it is marvelous that this production of Yellow
Face has come along. It gives fantastic parts to people and it also gives a very clear
message of what should happen.” David Yip
Newcomer, Kevin Shen plays DHH. As well as appearing in various short films and fringe
theatre, Kevin has also recorded voiceovers for animation, audio books, and commercials. He
recently starred in a TV series airing in the US and has just completed voicing an animation
project with the Bafta Award-winning director Mikey Please.

Yellow Face will be directed by Alex Sims who is currently Associate Director of War Horse at
the New London Theatre. His production of The Promise, as part of the Donmar’s final season
at the Trafalgar Studios, received several four star reviews from national newspapers. He was
a Resident Assistant Director at the Donmar Warehouse and worked with, among others,
Michael Grandage and Douglas Hodge. Previously, he was assistant director at the RSC, the
Young Vic and the Almeida, working with Rufus Norris, Marianne Elliott and Josie Rourke.

Editors Notes
David Henry Hwang was awarded the 1988 Tony©, Drama Desk, Outer Critics, and
John Gassner Awards for his Broadway debut, M. Butterfly, which was also a finalist for
the Pulitzer Prize. His play Golden Child, which premiered at South Coast Repertory,
received a 1998 Tony© nomination and a 1997 OBIE Award. His new book for
Rodgers & Hammerstein’s Flower Drum Song earned him his third Tony© nomination in
2003.Yellow Face won a 2008 OBIE Award for Playwriting and was a finalist for the
Pulitzer Prize. His most recent work, Chinglish, won a 2011 Chicago Jeff Award before
moving to Broadway, where it received a 2012 Drama Desk Nomination.
Other plays include FOB (1981 OBIE Award), The Dance and the Railroad (1982
Drama Desk Nomination), Family Devotions (1982 Drama Desk Nomination), The
Sound of a Voice and Bondage. He co-authored the book for Elton John and Tim Rice’s
Aida, which ran almost five years on Broadway, and was the book writer of Disney’s
Tarzan, with songs by Phil Collins. As America’s most-produced living opera librettist,
he has written four works with composer Philip Glass, as well as Osvaldo Golijov’s
Ainadamar (two 2007 Grammy Awards). Hwang penned the feature films M. Butterfly,
Golden Gate, and Possession (co-writer), and co-wrote the song “Solo” with composer/
performer Prince. He won the 2011 PEN/Laura Pels Award for a Master American
Dramatist, the 2012 Inge Award for Distinguished Achievement in the American
Theatre, and the 2012 Steinberg Distinguished Playwright Award. A 2013 US Artists
Donnelly Fellow, he is currently the Residency One Playwright at New York’s Signature
Theatre, which is producing a season of his plays in 2012-13, including the premiere of
his newest work, Kung Fu.
Miss Saigon 1990s protests
The 1990s protests over the casting of Jonathan Pryce in Miss Saigon resulted in an
initial attempt by Equity to prevent the Broadway production from going ahead,
although this decision was eventually overturned. The furore sparked a debate (which
continues to this day) on the under representation of East Asian Actors in theatre

An Equity statement at the time stated: “The casting of a Caucasian actor made up to
appear Asian is an affront to the Asian community. The casting choice is especially
disturbing when the casting of an Asian actor, in the role, would be an important and
significant opportunity to break the usual pattern of casting Asians in minor roles.” Alan
Eisenberg, Executive Secretary of Actors Equity
Twenty two years after the Jonathan Pryce controversy and six years after the US
premiere of Yellow Face in 2007, public anger over the lack of visibility of East Asian
Actors in prominent stage roles continues to rage in theatre land, both sides of the
Atlantic. The RSC’s decision to cast only three East Asian Actors (all in minor roles) in
The Orphan of Zhao – a play described as the Chinese Hamlet, attracted serious
criticism and resulted in the UK’s major arts bodies organising a day’s conference to
address the problem (Opening the Door: East Asians in British Theatre at The Young
Vic). While over in New York last year – the creative team behind The Nightingale were
forced to hold a similar event to address their casting decisions.
Special Relationship Productions: Lucy Fenton and Kevin Shen
Special Relationship is a new production company set up by Lucy Fenton and Kevin
Shen. The duo are both late-career actors who, feeling limited by a dearth of
opportunity for their casting brackets decided to use their business backgrounds to
create work that provides roles for gender and race blind casting opportunities.
Lucy Fenton recently produced a profitable, site-specific version of Romeo & Juliet
and has just returned from teaching drama workshops in Northern Iraq during the
British Film Festival in Kurdistan. She has a PPE degree from Brasenose College,
Oxford University and an MA in Performance from Drama Centre London.
Prior to becoming an actor, Kevin Shen studied Computer Systems Engineering and
received an MA in Sociology from Stanford University and an MBA from the Wharton
School at the University of Pennsylvania.

“Yellow Face is that rarity in theater, a
pungent play of ideas with a big heart.
Picaresque tale brings to the national
discussion about race three muchneeded
commodities: a sense of humor a
mile wide, an even-handed treatment and
a hopeful, healing vision of a world that
could be.”

Variety

“The most invigorating American play
I’ve encountered in many a month.
Easily his finest play since M. Butterfly.
The beauty of Yellow Face is anything
but skin deep.”

The Guardian

“One of the Year’s Ten Best. This farcical
faux documentary investigates racial and
cultural authenticity in a play that knows
when irony must give way to sincerity,
and vice versa.”

The Los Angeles Times

“Fabulously inventive. Hwang offers
hard-won lessons about leading a public
life with personal integrity.”
The New Yorker
“Smart and delightful. A Chinese box of
deceptive amusements and crushing
beauty.”

New York Newsday

“Yellow Face triumphs as a laugh-outloud
comedy, and an unexpectedly
poignant odyssey of self-discovery.”

New York Sun

“Charming, touching and cunningly
organized as well as funny.”

The Village Voice

“Brave and engrossing. Part
autobiography, part documentary, part
self-parody, part protest play, Yellow
Face is funny and startling and moving.”

The Philadelphia Inquirer

Les Liasons

Have you ever had the urge to peek through a key hole? Take a glimpse into a lavish world where the rich know no bounds. Indulge in the schemes and frivolous antics of France’s pre-revolutionary aristocracy through the eyes of two of its most dissolute individuals, Marquise de Merteuil and her on and off lover Vicomte de Valmont.

Les Liaisons re-imagines Pierre Choderlos de Laclos’s 18th century novel ‘The Dangerous Liaisons’, by fusing the text with innovative physical theatre to a backdrop of Baroque music: a contemporary immersion into an 18th century world of decadence and debauchery.

Directed by Jacek Ludwig Scarso (Senior Lecturer and Artistic Director of award-winning Elastic Theatre), this is an LMU Performing Arts graduation show, in collaboration with Jacksons Lane Theatre.

ONE MUST CONQUER OR DIE!

April 24th, 25th and 26th at 7.30pm

Jacksons Lane Theatre

269A Archway Road

London N6 5AA

Tickets are free, booking essential.

Box Office: 020 8341 4421

http://www.jacksonslane.org.uk

90 Minute show

Suitable for 14+

You can find out more about the show at www.lesliaisons.co.uk and keep up to date with how our rehearsals are going by following us on twitter: @LesLiaisons2013

North London Actors

MARCH

Our April Production – come and see it!

Our monthly Circle reading for March was originally going to be a Feydeau farce, but due to problems obtaining the script in a suitable format to be given to our members, it was changed to a piece of new writing by our very own Chairman. ‘Fight for Your Life’ by Gareth Pilkington is based around a writing group and was partly done as a spoof of the members of a group Gareth used to be with. The basic story is of relevance to all – not only writers – but some of the spoof element will need to come out if the play is taken further. After the reading Gareth said “The last circle reading was Fight for Your Life a play I wrote in 1999 as a spoof of the writing group of which I was a member. I hadn’t originally thought of developing it until reading it again recently when I thought perhaps if pruned of some of the spoof element it might work as a play anyone could relate to. The reading was to see whether others thought it would be worthwhile. Everyone enjoyed it so I will revise it accordingly.”

Our March performance was a production of ‘The Fall & Redemption of Man’ by John Bowen directed by Kenn Michaels. As this play is still in copywright we had to get a licence for the performance, which we did. North London Actors doesn’t just perform out of copywright old plays, we also tackle modern plays that have dropped off of the radar. The proximity of Easter was what drew Kenn to the subject and it is a play he has known and loved for some time. Although it deals with events in the life of Christ it has scenes with no religious connotations at all (such as the sheep stealing incident) and is full of comedy.

Kenn commented “So The Fall and Redemption… well, I had, and have, a sentimental attachment to the piece as it was one of the first large-cast plays I directed, at university, many moons ago! It was a challenge then, and it presented different challenges this time round. Then, I was obviously much less experienced and had to deal with much ribbing from the cast about the ‘religious’ content of the play. Last week this was not brought up, everyone involved seeming to accept that it was a valid historical work that should be given an airing. I seem to remember having a certain Roger Allam in the cast all those years ago (he’s done rather well for himself since!).

It is a play that renders the old medieval Mystery plays into modern English and tells the story of human history from the Creation to the Passion, from a Christian perspective. The plays were originally commissioned by the church to convey the Bible stories to a largely illiterate population/congregation. This makes it sound a bit too reverential – far from it. There is much coarse humour in these plays, and they’re all the better for it.

It was a challenging prospect to try to do justice to this vast canvas in a mere 6 hours’ rehearsal and with a cast that was put together at almost the last minute. But all rose to the occasion wonderfully and were genuinely moved by the unfolding story, as were the small but select audience who braved a cold and unseasonably wintry night!

Because of the length of the piece we didn’t have a Q and A session afterwards. However one member of the audience suggested very forcefully that he thought the play was strange in being so ‘modern’ and yet he felt a little antisemitic. I tried to point out that this was an updating of the original English regional texts and reflected the times they were composed (15-16th century). However sensitive the subject matter, I feel the play has merit and I welcomed this opportunity to revive it.

This is the type of work that chimes with NLA’s mission statement.”

We had an extra event on Wednesday 27th March. We were asked to read a new play called ‘Chelsea Smiles’ by member Chris Rogers. The play is to be read at the Royal Court in due course (though by their own actors). Chris was looking for constructive criticism as well as a reading. The play was about a rich Chelsea family and the effects of the financial crisis. A group of regular members took the parts and we did a reading to Chris and a few guests. The evening was a success and Chris was pleased to hear his play, and to receive the feedback from the actors.

Further details of North London Actors can be found at

www.northlondonactors.co.uk or in our Facebook group. If you are interested in joining us please email membership@northlondonactors.co.uk for details.

The best way to see what we do is come along to one of our events.  April’s events are: A performance of ‘The Accrington Pals’ Peter Whelan on Wednesday 17th April and a Circle Reading of ‘De Monfort’ by Joanna Baillie on Monday 29th April. All events are held at The Oak and Pastor, 86 Junction Road, N19 5QZ (Nearest tube Archway. 10 minutes from Upper Holloway Overground. Bus 134 or 390, Pemberton Gardens bus stop. Parking in the area free after 6.30 pm.)

North London Actors

FEBRUARY

The Circle reading for this month was ‘Loyalties’ by John Galsworthy, chosen and led by Monty Holender on Monday 4th February. Monty says ‘From 1906 through to the twenties, Galsworthy’s plays’ addressed the class system and social attitudes and specific grievances of the time . He creates vivid characters both male and female (giving actors great possibilities of interpretation), which though of their time, speak to us today. ‘Loyalties’, written in 1922, is one of the first plays to deal honestly and openly with the problems of antisemitism, in the context of the British class system. As always in Galsworthy’s plays there is a strong narrative and the play builds to a dramatic climax.’

Our February performance was ‘The Colleen Bawn’ by Dion Boucicault, directed by Gareth Pilkington. The Colleen Bawn (meaning the blonde girl), or The Brides of Garryowen is a melodramatic play written by Irish playwright Dion Boucicault. It was first performed on 27 March 1860. The play is set in rural County Kerry in the 1790s. Hardress Cregan and his mother have fallen on hard times. His mother tries to persuade Hardress to marry the wealthy Anne Chute. He agrees, although he is already secretly married to Eily O’Connor, a beautiful fair-haired girl who has many admirers including the roguish Myles na Coppaleen.

This production required Southern Irish accents, so many of our Irish actors were drafted in, along with those good at accents. Rehearsals took place on Sunday 17th February at a member’s flat in Finchley. As is often the case there is a lack of young male actors, so the castings were all scaled up so older actors could play these roles, giving people the chance to play characters that may be outside their casting bracket. The rehearsal started with a read through of the play so we were all aware of what happened in the plot, before getting stuck into the rehearsal. Since we have such a short rehearsal time (6 hours for the whole play) rehearsals are quite concise. Actors are given the freedom to interpret their characters and lines as they see fit, as long as they stand in the right place!

The performance was on Wednesday 20th February and we had a very good turnout, almost a full house! One of our actors had to be rushed to hospital the day before so another actor kindly stepped in at the last minute. The actors had a brief rehearsal before the show to rehearse him in and also a couple of actors who had very small roles and were not needed at the Sunday rehearsal. The production went well and was well received by the audience. Irish accents were still intact by the end of the show, and we all had fun even if we couldn’t agree on whether the play was a melodrama or a domestic drama!

Further details of North London Actors can be found at

www.northlondonactors.co.uk or in our Facebook group. If you are interested in joining us please email membership@northlondonactors.co.uk for details.

The best way to see what we do is come along to one of our events. February’s events are: Circle Reading of ‘Fight for Your Life’ by Gareth Pilkington on Monday 4th March and a performance of ‘The Fall & Redemption of Man’ by John Bowen on Wednesday 20th March. All events are held at The Oak and Pastor, 86 Junction Road, N19 5QZ(Nearest tube Archway. 10 minutes from Upper Holloway Overground. Bus 134 or 390, Pemberton Gardens bus stop. Parking in the area free after 6.30 pm.)