In the OPEN AIR, in the lovely grounds of
The Gregg School, SO18 3RR

18th - 27th July 2024

At 7:30pm,
Saturday 20th matinée at 2:30pm.
No performance on Sunday 21st.

Telephone bookings 0333 666 3366

Due to the nature of Shakespearean language and a suicide scene, recommended for ages 12+

'Shakespeare's classic tragic love story.'


The Reviews


18 July 2024

It’s summertime, the rugs and champagne flutes have been dusted off, the camping chairs loaded and the quick dash back to the house for the mozzie spray and hats accomplished.
Now in their sixth decade, Maskers Theatre Company certainly know a thing or two about open-air theatre and the ever-popular Romeo and Juliet playing at The Gregg School, Townhill Park until 27 July is perfect for the group’s many talents. This is the Maskers’ fifth year at Townhill Park, having previously spent many happy summers at Mottisfont Abbey and Hamptworth Park.

Normally utilising the larger, western side of the beautiful Georgian Townhill Park House (ironically remodelled in Italian style in the early part of the 20th century), this latest show has moved location to the other side of the house where a more intimate setting with its slightly raised terrace lends itself to be the Verona home of the Capulets, aided by a couple of set constructions to represent Juliet’s sleeping quarters (and that famous balcony) and her family’s drawing room. Entrances and exits are accomplished by at least four different routes, including the main house entrance itself, and the distances involved are controllable to ensure no delays in arriving on stage.

For Shakespeare aficionados, the play needs no introduction. Indeed, even those with scanty or no knowledge of the bard’s works will know the rudiments of the story: two well-to-do families in Verona, the Capulets and the Montagues, have a long-standing feud which immediately presents the gloomy backdrop and problems for the fated relationship between the Capulets’ daughter, Juliet, and the Montagues’ son, Romeo. They are forced to court in secret and in lightning-quick time they are married in secret, thanks to the services of Juliet’s loyal nurse (who, having lost her own daughter of a similar age is more of a mother to Juliet than her real one) and the good natured and well-meaning Friar Laurence.

A duel between Juliet’s trouble making cousin, Tybalt (played with suitable Italian excess by Adam Taussik), and Romeo’s friend and ally, Mercutio (Sam Hussey), ends with Mercutio dead and Romeo no longer able to resist having some satisfaction by duelling with Tybalt himself and killing him in a fair fight not of his making.

This presents a dilemma for all concerned (including Juliet) and, as the body count begins to stack up, things become impossible for the loving pair. It is impossible to even spend any time together let alone declare their marriage openly. Thoughts turn to suicide and, for the sake of avoiding spoilers, I won’t reveal too much more except to say that it doesn’t end well. In fact, it has a tragically sad ending which the cast treat with reverence and sympathetic clarity rather than playing it for effect. Good direction.
Heading up the cast of main protagonists is Neil Forster, a relative newcomer to the Maskers lineup, with a commendable portrayal of the happy and balanced Romeo, who becomes someone quite different when things go pear-shaped. Juliet is beautifully played by Katherine Evans and her ability to show range of emotions is put to the test on many occasions during the play – as well as her ability to play a ‘corpse’ for a good half hour in full sight of the audience.

Lord and Lady Capulet are played by Jezz Minns (actually a bit of a nice guy underneath it all) and Kate Grundy-Garcia (with effectively venomous disdain), and Lord and Lady Montague by veteran Maskers performers Philip de Grouchy and Jenni Watson.
Standout performance for me must be Abi Linnartz in the tricky but rewarding role of Nurse. Tricky because she must talk non-stop, come across as fiercely loyal but a little dim, laugh her socks off one minute and cry in despair the next. Rewarding because she has some of the best lines, affords some light relief in an otherwise dour plot and because her performance stands out as an exemplary example of fine entertaining.
A solid supporting cast, including Rob Iliffe as Benvolio and Duncan Randall as the good friar, provides the glue that binds the show together and the pace is good, the lines delivered well – no mics that I was aware of – and the art of playing crowd scenes in the open air is well executed thanks to some deft direction by Brian Stansbridge. There are some convincing sword/fight scenes – remember that duelling was commonplace in 16th century Verona, even if it was illegal, and the staging ensures that every inch of the space available is used. The occasional scene when someone is lying on the ground will sadly be missed by all except the first two rows as there is no obvious raised stage or raked seating.

The costumes appear to be set in Georgian/Jane Austen times which works well and suits the story, even if it’s meant to be much earlier (of course the play is based on even earlier versions of the star-crossed lovers of Verona).

Diction is good and every word, whether Shakespeare’s vocabulary and style is fully understood or not, and is delivered with confidence and sufficient volume to be heard, even in the quieter scenes. With open air acting, it is imperative to keep the volume up (without being shouty) and projected straight out to the audience; one or two of the cast occasionally dip their heads or turn to talk to the recipient at which point the speech can become difficult to hear clearly. But overall the delivery is superb and the director should be very proud of his team.

I was a little disappointed with the lighting when it was required after the interval. It is a little too white (some colour might have helped to pick out warmer and cooler areas in various scenes) and there are a few dark, unlit patches, the main one unfortunately dead centre mid-stage where it falls between the two main light sources. I’m sure that could be adjusted. A little lighting from the side might also alleviate some harsh shadows. For instance, Lady Capulet’s face is entirely eclipsed when sitting on the bed with Juliet in one scene.

But these are finer points and the whole production amounts to a thoroughly enjoyable evening’s entertainment – bravo, Maskers.

- David Cradduck

"Anything Goes:The Honest Reviewer"

23 July 2024

In fair Southampton, where we lay our scene, in the beautiful grounds of Town Hill Park House, Maskers Theatre Company perform Romeo & Juliet. They have undertaken the not-so-small task of performing Shakespeare’s most famous tragedy, and perhaps more challengingly, outdoors. Most know the story; two feuding houses whose youngest members meet and fall in love in a whirlwind romance, only for their fragile happiness to be thwarted by murder, scheming, and eventually death for them both.  This version of the tragedy is ably directed by Brian Stansbridge, who has been with Maskers for fifty years now and directed many a show in that time.

Upon arrival you are shown to a cordoned off area where you can park within the grounds and are then directed to find the stage by the friendly people manning the box office tent. The path to the audience area is easy to follow and well-lit and you can sit yourself anywhere in the cordoned off area. You need to bring your own seating and a blanket too, as it can get rather chilly when the sun has gone in. They also welcome picnics and a nice bottle of wine if you so fancy.

The set is built and incorporated into the back of Town Hill Park House and cleverly adapted into the already standing structure.  There are set walls extending from the stone staircase and a Capulet banner strung across the entrance of the house as well. The set is simple but effective and they often utilise not only the large stage but the surrounding area where the audience are seated, regularly walking around the audience who are separated into two sections by a cordoned off path. I originally wondered if the cast would use this middle path but alas, they did not. Although likely put there for safety reasons or to ensure that the light set up at the back was not blocked, it did feel like the audience was separated to represent the feuding houses in the story – and on purpose or not, it was a nice touch. The only downside to this set up was Juliet’s balcony; a staple in any performance and perhaps the main thing that people envision when they think of Romeo & Juliet. As explained in the programme, they were unable to do this properly due to technical issues with the existing building and their solution was a raised block and staircase on the higher level. This was a neat work around that, although noticeable, did not detract too much from what you were watching.

The lighting was simple and well done, and it was only utilised in Act Two which began just as the sun had gone down. The lighting team clearly knew their cues and timings by heart. Maskers do utilise speakers for sound effects and music, including the use of ‘The Dance of Knights’ by Sergei Prokofiev to open and close the play. I mention this because whilst this song originated in the 1935 Romeo & Juliet ballet as part of a longer orchestral suite named ‘Montagues and Capulets’, many people in the audience, hilariously, only recognised it as the theme tune to BBC’s The Apprentice, which caused a ripple of confusion on the night.

Maskers main challenge is performing the show in the open. Performing outside brings its own sets of issues, many of which were outside of Maskers control but do affect the overall experience. Whilst the weather held out for my performance, I can only imagine the difficulties faced if it hadn’t. The venue itself does not have step or raised seating, therefore unless you are early enough to nab the front row, or exceedingly tall, it is easy to miss some of the action on the ground levels of the stage. This was most noticeable in the second act finale during the infamous death scene of the title characters.  This was set on the middle level of the stage but naturally the actors are sat or lying down which meant a lot of this went unseen by many audience members who were further back.  The cast valiantly vocally projected to the best of their ability but some of the dialogue was lost to the noises of nature, such as chirping birds and the wind blowing through the trees. And sometimes by not so natural noises like revving car engines or, when every 25 minutes or so, a Boeing flew overhead from the nearby airport. I will say that the cast handled this very well and some well-timed dramatic pauses in their monologues meant that more was saved than lost. Short of shutting down an entire airport somehow, what could they really do aside from having microphones?  Although useful in helping with projection, this idea may deviate too far from the traditional.  

Brian Stansbridge, in my opinion, made the wise decision to age up the lead couple from 13 to 19. This works for two obvious reasons. Firstly, in today’s climate, it’s rather odd for children to be waxing poetic about their true loves and marriage (not to mention some throw away lines about the 13-year-old Juliet’s wedding night, future pregnancy and her new husband’s sexual appetite). And secondly, the actors portraying Romeo & Juliet are clearly in their mid to late twenties and upwards.  Speaking of Romeo and Juliet, Katherine Evans who has performed with Maskers Theatre on several occasions, brings Juliet to life wonderfully, bringing a naïve charm to the character but also a strength and determination that’s shines through in every scene. The famous balcony scene (though as mentioned before not so much a balcony) was performed impressively well and you root for her each moment she is on the stage. Neil Forster, in his fourth Maskers performance, plays Romeo. Whilst not the strongest actor of the bunch, and at times a little awkward, he really comes into his own in the second act. Neil brought the vengeful Romeo out to play and then slid delightfully well into despair and grief when he believes his love to be dead. Together, Katherine and Neil, while sometimes a little lacking in the chemistry department, do a very commendable job of bringing the star-crossed lovers to the stage and are believable in their love for one and other.  As much as two children can love each other after one meeting anyway.

A surprising stand out for me was Robert Osbourne in the role of Count Paris, who made the character so creepy and villainous that I genuinely felt uncomfortable watching him. Paris is not often the most memorable character, but Robert genuinely gave me chills. Well done!  Adam Taussik brings the character of Tybalt to the stage in a wonderfully funny way. More of a caricature than a character, his Tybalt made me smile every time I saw him, even if he was just loitering in the background of someone else’s scene. I could watch Adam strut around like a peacock for much longer than we were given with him. Sam Hussey’s Mercutio was another comedy stand out and he had a fantastic way of making the blandest lines amusing. He utilised a strong control over his voice, was very likeable, and made you feel truly sad when killed. I must also commend the wonderful drunk acting and the commitment to singing at the top of his lungs as he left the stage and stumbled past the audience. Rounding out the cast, Anna Hussey made a very handsome Sansom in a reversal of the Shakespearean tradition of having males play females. She brought the lesser-known character to life well and often stood out in the group scenes.  In truth, the whole cast should be commended.  Shakespeare is not an easy feat, and they all did very well, with even the smallest of roles being well researched and well-acted. 

However, it would be remise of me not to mention what I believe to be the standout of this show. Abi Linnartz as the Nurse. The Nurse is another character who is often overlooked when discussing the story of Romeo & Juliet but is also one of the hardest to portray. In Act One, she is a joyful, if put upon lady, who has a hilarious monologue that just keeps going and going to the annoyance of Lady Capulet but to the joy of the audience. Abi has perfect comedic timing here and a laugh that is very infectious.  Act Two brings this character full circle, as she comforts Juliet who is being forced into an unwanted marriage.  She later finds Juliet’s ‘dead’ body and Abi portrays this moment amazingly. The only thing as contagious as her laughter was her gut-wrenching grief and this was a truly stand out performance.

Overall, whilst this production of Romeo & Juliet wasn’t groundbreaking or anything particularly new to the genre, it was a fun, enjoyable, and perfectly serviceable slice of Shakespearean tragedy. A tale as old as time, with some incredible stand out performances, propped up by a strong cast who knew their stuff and were clearly having a grand old time.

- The Honest Reviewer

Audience Comments

"This outdoor theatre production is exquisite. The script is carefully abridged to give the tale a good pace, every character is clearly spoken and convincingly portrayed and the clever staging makes you feel as if you are peering through Juliet’s bedroom window one minute and on the edge of a field watching a duel the next. Pack a picnic and go!” - J.B.

"Delightful! The Sundial Lawn is a perfect little theatre" - Anon

"Thoroughly enjoyed the play. Brilliant performances as usual" - L.C.

"Thank you for last night's production, which was polished and gripping. The tragedy, played in the open air, seemed more tangible and raw than when held on an indoor stage. The weather was in keeping with the mood of the audience in the final act, as we watched in breathless silence as the drama drew to its inevitable chilling end. Romeo and Juliet gave strong convincing performances and the nurse was brilliant, squeezing so much humour from her part as welcome light relief. " - J.H.

"Despite the showers we thoroughly enjoyed the play. Maskers shows are always of such a high standard.." - J.J.

"Really enjoyed the performance. The costumes look great" - J.M.

"You were all fantastic tonight. Fantastic group of actors. Didn’t like you being killed or shouting……that’s how good you were. Bravo" - S.H.

"We were there for your wonderful opening night. What a great performance by all the cast, with some very impressive fight scenes! Thank you all!" - S.V.

"I loved the costumes it was refreshing to see the Regency styles and they worked so well for this play" - A.A.

"Romeo and Juliet was brilliant, the dramatic and emotional scenes were totally captivating and then the humour made the production great fun." - L.M.

"Congratulations to all cast and crew on their opening night of R&J. You absolutely smashed it!! Best of luck for the rest of the run." - C.F.

"We had a lovely time and it was a great performance. A thoroughly enjoyable evening." - H.J.

"We came on the opening night – it was perfect, really terrific performance in a great setting." - V.B.

"Wow those fights were so realistic." - Anon

"Fantastic show, well done everyone." - J.D.

An age-old vendetta between two powerful families erupts into bloodshed.

Lord Capulet has arranged a party to introduce his daughter, Juliet, to Paris, the man he wants her to marry. A group of masked Montagues gatecrashes the party and Romeo and Juliet meet and fall in love, each unaware that the other should be a deadly enemy. In haste, they marry, intending to present their families with a fait accompli. Immediately after the secret wedding, Romeo unwillingly becomes caught up in renewed fighting, which leaves his best friend dead and Romeo guilty of killing Juliet’s cousin in revenge. Romeo is banished from Verona.

Will the lovers see each other again?
Will Juliet be forced into a bigamous marriage with Paris?
Will anything reconcile the Montagues and the Capulets?

Director & Cast

The Director of this production is Brian Stansbridge
Brian has been a member of Maskers for fifty years and during that time has performed in many, many productions. His most recent performances have included Time and Tide... - an anthology of poems, songs and readings celebrating Southampton’s maritime history – and Falstaff in The Merry Wives of Windsor.
Brian is also a regular Director for the Maskers. In recent times, he has directed Much Ado About Nothing, The Importance of Being Earnest, The Servant of Two Masters, The Comedy of Errors and The Man in The Iron Mask, as well as several of the ever-popular Christmas productions at the Makers Studio in Shirley.
During Covid lockdown, when theatre performances weren’t allowed, Brian wrote a short play, Parklife, which a small team of Maskers presented in parks in and around Southampton, to general acclaim. The play saw a friendship develop between a couple of slightly lost souls enjoying the sunshine in their local park, whilst bemoaning the way lockdown impacted on their daily lives. That probably sounds a bit grim, but there were many comic moments! It might be worth reviving in a few years’ time, just to amuse us and remind us of those unprecedented precautions we were all obliged to take.
When not busy with Maskers and grandparent duties, Brian sings and plays guitar and keyboard in a covers band, which he absolutely loves. We guess that performing is just part of his DNA.

Romeo is played by Neil Forster
This is Neil's fourth show with Maskers since 2022, after appearing in Almost, Maine, The Picture of Dorian Gray and Four Weddings and an Elvis. A native Geordie(ish), Neil grew up in South Shields and studied at York University, where he performed in various productions including Cider with Rosie, Arcadia, and Journey’s End. He later moved to London, where he appeared in many other shows including A Clockwork Orange, Oh What a Lovely War! and A Midsummer Night's Dream.

Juliet is played by Katherine Evans
Katherine is extremely thankful for whatever stars aligned to give her the opportunity of playing the iconic, star-crossed heroine Juliet! She also likes to think it a favourable omen that her mum got a dog last year called Montague (aka Monty), who has proved a trusty practice companion. Previous roles with Maskers include Anne Page (The Merry Wives of Windsor), Hero (Much Ado About Nothing), Eliza Doolittle (Pygmalion), Emily (Our Town) and Cecily (The Importance of Being Earnest). Katherine studied Classics and English at university and is a big Shakespeare fan. Other passions include singing, music, birdwatching and crochet.

Lord Capulet is played by Jeremy Minns
Lord Capulet played by Jez Minns - Jez has been a member of the Maskers for nearly thirty years now. He started off playing small supporting roles, and then, more recently, has been taking on bigger challenges. His last performance was as Mr Jenkins, the fuddy duddy benefits inspector in Cash on Delivery. Other recent performances include the corrupt Lord Henry Wotton in The Picture of Dorian Gray and the drunkard Borachio in Much Ado About Nothing. When he isn’t doing theatre, Jez enjoys painting and sketching and writing poetry.

Lady Capulet is played by Kate Grundy-Garcia
Kate has been a Masker for many years and most recently played Ruth in Blithe Spirit. She is loving playing the rather selfish and demanding Lady Capulet but, as a mother of four, cannot quite comprehend how any mother can be so dismissive and cruel to her one and only daughter!

Nurse is played by Abi Linnartz
Abi is delighted to be returning to Townhill Park House, where she last appeared as Aramis in The Three Musketeers. Abi has performed with a variety of drama companies throughout the area such as Southampton University Players, Forum Theatre, Dolce Vita Theatre Company, The Wayfarers, RAODS and with Titchfield Festival Theatre, where she also directed The Two Gentlemen of Verona at the Great Barn. Abi has also performed at the Brighton Fringe in The Field Street Monologues for Rusty Bucket Productions. Having always been at the wrong end of the age scale for Romeo and Juliet, she’s delighted to finally have been deemed old enough for the Nurse!

Montague is played by Philip De Grouchy
Lord Montague played by Philip de Grouchy — Over the last fifty years, Philip has played a large number of varied characters with Maskers, including Scrooge in Christmas with the Cratchits, East/Man in Almost, Maine and Mr Forbright the Undertaker in Cash on Delivery. Philip also directs; his most recent production was Blithe Spirit last year.

Lady Montague is played by Jenni Watson
Jenni is delighted to be cast as Lady Montague and to be directed again by Brian Stansbridge. Over the last 55 years she has performed for Maskers, as well as many local groups, in a variety of settings. Her favourite roles include, Lady Booby (Joseph Andrews), Nancy (Sitting Pretty), Mrs Pearce (Pygmalion), Bottom (A Midsummer Night’s Dream) the Contessa (An Italian Straw Hat), Margaret (Much Ado about Nothing), and Mrs Reed and Mrs Fairfax in last year’s summer production of Jane Eyre. More recently she appeared as Beatrice in After Life for SUP and as Yvonne in Hi-de-Hi for RAODS. It will be a pleasure to be acting with such a talented cast!

Benvolio is played by Rob Iliffe
"Dad, why are YOU playing the only sensible one in the play?!" “You'll have to ask the director...”
Rob has previously performed for Maskers in Murder in the Studio, Almost, Maine, and Jane Eyre.

Mercutio is played by Sam Hussey
Sam is very excited to be back in an outdoor Shakespeare play again, having debuted with Maskers as Andrew Aguecheek in Twelfth Night, followed by playing Benedick in Much Ado About Nothing, opposite his wife, Anna, as Beatrice. Most recently he decided to take to the director’s chair for the hilarious farce Cash on Delivery at the studio but couldn’t pass up a chance at another bucket list role in the open-air. It’s also an excellent chance to fight his wife with swords, which is generally frowned upon outside of the theatre.

Tybalt is played by Adam Taussik
Since joining Maskers 20 years ago, Adam has played characters of many ranks, from peasants to kings (with a smattering of vicars, chefs and bears), and now an Italian dandy – though not his first Shakespearian Italian. For this show, Adam will also be keeping up the swashbuckling tone of Gormenghast and wields a sword as well as the next man - especially as the next man is Sam, who slayed Chef Swelter last year ("Revenge!" as the ghostly Swelter demanded, and now served 'con ghiaccio')

Friar Laurence is played by Duncan Randall
Duncan started as a character actor at primary school. He has been involved in various community theatre groups. On moving to the south coast, he joined Titchfield Festival Theatre (TFT); creating roles such as: Bri in A Day in the Death of Joe Egg, Enobarbus (Anthony and Cleopatra), Goldberg (The Birthday Party) and the Landlord in Jim Cartwright’s Two. Duncan joined the Maskers in 2022, playing Athos in The Three Musketeers. Since then, he has appeared in The Picture of Dorian Gray, Gormenghast, Time and Tide..., Blithe Spirit and most recently Murder in the Studio, where he died each night (more accurately his cabbage head was foleyed!)

Samson is played by Anna Hussey
Anna joined Maskers in 2018 and has been involved both on and off stage. Debuting with Maskers in Wyrd Sisters as part of the ensemble, Anna has since played many roles, including her favourite: Beatrice in Much Ado About Nothing opposite her husband, Sam, as Benedick. Anna is excited to fight toe to toe with him again as the brash and antagonistic Samson!

Gregory / Friar John are played by Paul Baker
Paul has been in over twenty-five shows in the open air for Maskers. During that time he has played a variety of roles including Weasel Norman in The Wind in the Willows, Thomas Cromwell in Anne Boleyn and often multiple parts in the same production, as evidenced when he played four different characters in The Three Musketeers. This is Paul’s first production outside since 2022, ending a run of four consecutive productions in Maskers Studio, where he played Sepulchrave in Gormenghast and Chris Kriegle, the Santa Burglar in Sorry, Wrong Chimney!, Uncle George in Cash on Delivery and, most recently, three different characters in Murder in the Studio. This year he appears in the opening act as a servant and near the end briefly as a hapless Friar John.

Paris is played by Robert Osborne
Robert has been with Maskers since 2011. He has served on the committee as Productions Director, acted in over 10 shows and, most recently, directed Maskers 2023 Christmas show, Sorry! Wrong Chimney! He has stage managed several of Maskers’ open-air shows at both Hamptworth Lodge and The Gregg school but this is the first time he has acted in a Maskers’ open-air production. Despite having a degree in English Literature, this is also his first time appearing in a Shakespeare play. Learning Shakespeare is certainly different to writing essays on it!

Prince is played by Michele Zadra
Romeo and Juliet is Michele’s second play for Maskers. In 2021, he played Father Francis in Much Ado About Nothing. Apart from Maskers, Michele has been involved in several productions from other amateur companies in the Southampton area, such as SUP, RAODS, and Bishopstoke Players. His experiences range from farces, sketch shows, and improv, to murder mysteries, radio plays, dramas, and Shakespeare. Michele is enjoying playing the Prince of Verona and he is looking forward to performing in front of an audience in the beautiful scenery of the Townhill Park House gardens.

Petra is played by Tash Priddle
This is Tash’s third time performing with Maskers. She has previous played Brenda Dixon in Cash on Delivery and Julia in Murder in the Studio.

Apothecary is played by Angela Stansbridge
Angie has been an active member of Masker since 1973 and has enjoyed playing a wide variety of parts including in The Lion, The Witch and the Wardrobe, Out of Focus, Much Ado about Nothing, Twelfth Night, Ten Times Table, The Comedy of Errors, A Midsummer Night’s Dream, Don Quixote, and Treasure Island. She also regularly works on the set dressing for the studio plays. Angie is working alongside her husband Brian as Production Manager for this show making sure everything runs smoothly! Angie has recently been Chair of Maskers and as a member of the Marketing Team she is rarely seen without a bundle of flyers in her hand promoting our shows!!

Creative Team

Production Manager
Angela Stansbridge
Stage Manager
Kathryn Salmon
Set Design
Brian Stansbridge & Clive Weeks
Set Construction
Maskers' team
Set Painting
Zoe Harris and Team
Set Dressing
Angela Stansbridge
Stage Lighting Provision
Tony Lawther
Lighting Design
Brian Stansbridge
Sound Design & Infrastructure
Jamie McCarthy
Lighting & Sound Operation
Ashley Martin & Emily Smith
Stage Crew
Simon White, Meri Mackney, Rachel Di Nucci
Wardrobe & Costumes
Sheana Carrington & Susan Wilson
Adam Taussik
Rehearsal Prompt
Jenni Watson
Show Photography
Ian Wilson & Marketing Team
Front of House
James Lawson
Bandy Smith, Ruth Smith, Chris Baker
Jenni Prior & team

Ticket Information

EARLY BIRD OFFER - buy before 31st May and get £2 off Adult fixed night ticket!

Fixed night: £14* until May 31st, then £16;
Flexible night in advance: £18;
On the gate: £18

under 16yrs: £13 (all options)

Due to the use of old fashioned language throughout it may be difficult for under 10's to comprehend, but this is at parent's discretion.

(16+ in full time education - ID required)
£14 (all options)

10% off fixed night tickets for groups of 10 or more (not applicable for Early Bird Offer)

Note: this show is being performed in a different location in the grounds.
SEATING IS LIMITED - SO BOOK EARLY to avoid disappointment!


Patrons are welcome to picnic in the beautiful grounds of TownHill Park House (The Gregg School) from 6pm (1pm for the matinée on Saturday).

Note – the Gertrude Jekyll garden also will be open for viewing but no picnics are allowed in that area.

You are advised to bring low-back chairs, rugs, etc., as NO SEATING IS PROVIDED.

We suggest you also bring jumpers or coats, as it can get cold even on the warmest of evenings.  Please also come prepared for our English weather, we have been known to have the occasional shower.  Usually, we continue to perform unless the weather is extremely bad.  Any decision to postpone a show or cancel a performance will not be made sooner than 30 mins prior to the published start time.  Should we have the misfortune to have to cancel a whole show then no refunds will be given but tickets for alternative performances will be offered.

The Gregg School is a private school, and the grounds are not generally open to the public.  There is no public access prior to the performance dates.  Dates of occasional open days to view the gardens at other times can be found on the Gregg School website.

Ample free parking and toilet facilities will be provided with provision for disabled patrons.   There is a short walk of approx. 100 metres to the performance area.

Hot and cold drinks and snacks will be available to buy.  There will be no alcohol for sale, but you are welcome to bring your own.

No unaccompanied children under 16.   No dogs (except assistance dogs).

Poster, Flyer & Programme

Available after the performance

For the Maskers

Technical Manager:- Jamie McCarthy;   Lighting Consultant:- Clive Weeks;   Sound Consultant:- Jamie McCarthy;   Marketing Team:- Angela Stansbridge, Clive Weeks, Robert Osborne, Meri Mackney, Paul Baker;   Front of House & Box Office Manager:- Chris Baker;   Photographer:- Clive Weeks;   Bar Manager:- Meri Mackney
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Shirley's own LOCAL theatre!

Maskers Theatre Company
Off Emsworth Road
SO15 3LX

Registered Charity 900067

Established 1968

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