Tag: the wharf theatre

PREVIEW – White Horse Opera’s La Traviata @ Wharf Theatre – 27th – 31st October 2027

A Must-see Dazzling Production!

by Andy Fawthrop

It seems ages ago since I was last listening to the guys and gals of White Horse Opera (WHO) bringing their considerable vocal skills together to bring a new opera production to Devizes. But yet here we are!

Following previous recent successes with Offenbach’s “La Belle Helene” and Mozart’s “Cosi Fan Tutte”, WHO have now turned their attention to one of my favourite opera composers Giuseppe Verdi. That’s Joe Green in English.  His “La Traviata” is probably one of the most famous, and most frequently performed, of all of his works, and indeed in the whole opera canon. It was a critical success from the very start, and has remained a popular favourite ever since.

“La Traviata” (or The Fallen Woman) is a three-act opera originally set to an Italian libretto by Francesco Maria Piave. It is based on La Dame Aux Camélias (1852), a play by Alexandre Dumas fils, which he adapted from his own 1848 novel. The opera was originally titled “Violetta”, after the main character. It was first performed in March 1853 at La Fenice opera house in Venice. Piave and Verdi wanted to follow Dumas in giving the opera a contemporary setting, but the authorities at La Fenice insisted that it be set in the past, “c. 1700” (because of some of the characters and themes in the opera, which were deemed a little too racy to be exposed to a contemporary audience). It was not until the 1880s that the composer’s and librettist’s original wishes were carried out and more “realistic” productions were staged.

It tells the story of Violetta Valéry, a celebrated Parisian courtesan who is dying of tuberculosis, and of her doomed love affair with the young nobleman Alfredo Germont.  Yeah I know – all the usual cheerful stuff, but bear with me. It’s not all doom and gloom. Well, it is actually, but let’s just press on.

In the first act (The Party & The Confession) Violetta hosts a lavish party at her Parisian salon, where she is introduced to Alfredo Germont, a young man who has adored Violetta from afar. He leads the famous drinking song (“Brindisi”), and Violetta joins him. When Violetta suddenly feels faint; Alfredo stays behind to care for her, and passionately confesses his love. Though initially hesitant to give up her independent lifestyle, Violetta is moved by his sincerity and agrees to see him again.

By the time of the second act “Sacrifice In The Countryside”, Violetta and Alfredo are living happily together in a country house outside Paris. But when Alfredo discovers that Violetta has been secretly selling her possessions to fund their quiet life, he rushes off to Paris to secure money.  Whilst he’s away Alfredo’s father, Giorgio Germont, visits Violetta unexpectedly. He begs her to leave Alfredo because her “compromised reputation” threatens to ruin his daughter’s upcoming marriage. Violetta reluctantly agrees, writes a farewell letter to Alfredo, and returns to her old life in Paris under the protection of Baron Douphol.  Alfredo reads the letter in agony, misunderstands her motives, and tracks her down at a party hosted by Flora. Consumed by anger, Alfredo publicly insults her and throws his gambling winnings at her feet as payment, prompting his horrified father to step in and rebuke him.

And in the third act “Death & Reconciliation” months later, Violetta is confined to her bed in a modest Paris apartment, severely weakened by tuberculosis and nearly destitute. She receives a letter from Giorgio Germont, revealing that he finally told Alfredo the truth about her sacrifice. Alfredo hurries to her side, and the two briefly dream of leaving Paris together. Her strength completely gives out, and Violetta dies in Alfredo’s arms.

I mean – tragic, or what? Well it is, but it’s a gripping story well told. Whilst some operas and plays rely upon some frankly ludicrous plots, mistakes and deceptions, La Traviata avoids these pitfalls.  It feels realistic, believable and very much in the moment.  A couple of hours in the company of this production passed in absolutely no time.

Lisa House as Violetta has a lot of heavy lifting to do in this role.  She’s on stage throughout the first act, and is rarely offstage in acts 2 and 3 either.  It’s a lot of work, and a lot of singing, but she carries it off effortlessly. If she ever made a mistake I certainly didn’t spot it. 

The other principals – Robert Felstead as Alfredo, Jess Phillips as Annina, Paula Boyagis as Dr. Grenvil, Barbara Gompels as Flora, Jonathan Paget as Gaston, Jim Donovan as the grumpy Baron Duphol, and Robin Lane as the Marquis D’Obigny were all absolutely spot-on with their performances too.

And, although I always hate to single out any one particular performer from a superb ensemble cast, I have to say that I was particularly struck by the outstanding performance of Niall Hoskin as Giorgio Germont, the agonised father of Alfredo. His doubts and his tortuous changing emotions were rendered with a heart-stopping authenticity that I found particularly moving. Bravo!

Again, let all WHO presentations,  this production relies on a stripped-down stage, with minimal props or other distractions. Equally the “orchestra” is a simple four-piece up in the Minstrels’ Gallery at the back of the stage (Roshan Hughes on clarinet, Tony James on piano, Nikki Marshall on flute and Raphael Todes on violin) all under the adept musical direction of Roland Melia.  The three scene changes are simple and quickly achieved, but there’s no lack of colour and variety.  The costumes are striking and bold, and the cast sparkles with life. This allows the production to breathe, and to move the story along with some pace.

To be honest, the cast all looked like they were enjoying themselves on stage, injecting the production with plenty of energy.  The whole opera is sung in English, and there are comprehensive plot notes in the programme, which makes the work completely accessible to a wide audience.

Did I enjoy it? – yes, absolutely! Should you go and see it? – again, an unqualified yes!  We don’t get nearly enough opera in Devizes, so I’d urge you not to miss out on what is an exciting and sparkling production.  There’s a few tickets left for tonight (Tuesday) and tomorrow (Wednesday). There’s no performance on Thursday, and then the Friday night and Saturday matinee performances are already close to being sold out.  You have been warned!

White Horse Opera are based in Devizes and regularly perform operas around Wiltshire and beyond.

Find  out more at sites.google.com/gompels.cloud/whitehorseopera/home

Future White Horse Opera productions:

Friday 11th December @ St Andrews Church, Devizes – Christmas Concert

Coming soon (TBA) Trial By Jury Touring Opera by G&S

“Playhouse Creatures” at The Wharf Theatre, Devizes, October 8th-10th 2026

by Ian Diddams
images by Simon Hoy

Cast your minds back around about a month and you may recall a Devizine preview of “Playhouse Creatures”, performed by “3rd Third Theatre” at The Wharf Theatre, Devizes.

Here is it to refresh your memories 🙂

https://devizine.com/2026/09/10/playhouse-creatures-at-the-wharf-theatre-devizes-october-8th-10th-a-preview/

That preview covers the basic premise and storyline of the play, and its societal equivalences to modern society. Its a rags-to-riches, riches-to-rags, rags-to-rags and riches-to-nothing story of five women who in their pursuits of idolatry, social climbing and wealth, and escaping the oppression of men, all in their own way achieve their aims – mainly – but are still left oppressed by the patriarchy.

Doll Common retains a semblance of normality but as a drudge to everybody – including other women – she neither improves nor worsens her lot. Rebecca Marshall full of confidence and panache during the story finally sees herself ruined by slander at the hands of the nobility – who also do the dirty on Elizabeth Farleigh who from lofty pretensions , airs and graces, descends to the gutter, abandoned. Nell Gwynn (yes – THAT Nell Gwynn) in many ways truly “makes it” – but at the cost of abandoning any independence and thoughts of fulfilling her dreams. And finally there is the matriarch of the group, Mary Betterton, who crashes from doyen of the theatre to a housewife, rejected in her middle age by her most dearest.

Director Debby Wilkinson in this debut performance for her new theatre company “3rd Third Theatre” has created a black box presentation focussing all attention on the actors, the characters and the story. It’s stunningly effective – less is more as they say – as with subtle lighting, and sound alone the action is embellished in this captivating and intimate portrayal of women’s experiences across all time.

Her cast is simply sublime; every member plays their role to the utmost excellence. In no particular order as they are all equally wonderful, Louise Peak drudges through Doll’s interactions with not a little humour subtly delivered as she plays her cynical underdog role. Sophie Kerr as Elizabeth Farleigh is cool and classy and haughty until undone and her transformation to a guttersnipe is seamless.

Wendy Dophiede as Mary Betterton portrays Mary’s self assured, slightly unworldly, diva drifting into obscurity, disbelief and self doubt smoothly, from self assurance to horror at her demise. Grace Sheridan captures the cheeky London orange seller, Nell Gwynn, whose social climbing reached the highest ranks of the land whilst retaining her charm and fun, and that twinkle in her eye, later resigned to her fate as a kept women to the King. Freddie Underwood completes the cast with her stunning portrayal of Rebecca Marshall, sassy, fun loving but ultimately ruined. A true cast of cohesiveness, bringing April de Angelis’ play to life.

Tickets for “Playhouse Creatures”, October 8th – 10th at the Wharf Theatre are available at

 https://www.ticketsource.com/the-wharf-theatre/playhouse-creatures/e-jpykpl


“Scenes from an Execution” at The Wharf Theatre, Devizes, September 21st – 26th 2026

by Ian Diddams

images by Wharf Theatre

An artist expresses their personal thoughts. The rich and powerful use their positions to shut that expression down and remove the artist. Yet the act of suppression feeds a wider interest in the subject being suppressed. Macklemore, Ed Sheeran and venue owners? Or a 1980s play about a fictional Viennese artist and her painting depicting the battle of Lepanto in 1571?

The answer in the case of “Scenes from an Execution”, by Howard Barker, showing at the Wharf Theatre, Devizes is the latter. But it is a classic case of a forty-two-year-old play imitating life where the same scenario in effect was played out last weekend with Macklemore, his support for Palestine, and the repercussions on what is now becoming known as the “Fled Sheeran” tour.

Controversial artist Galactia is commissioned by the Republic of Venice, to paint a glorious triumph by Christians over Muslims at the Battle of Lepanto. Instead, however, she portrays the genuine horrors of war : of bloodied and mutilated cadavers, suffering, and sheer unadulterated cruelty. The Republic’s leadership balks at this representation and attempts to hide the painting, as well as imprison Galactia whilst commissioning another painting in more celebratory style. But the truth finally outs and the painting becomes a public triumph much to the authourity’s despair… but is the interest because of the stark realities portrayed or is it merely voyeurism and a box ticking social activity?

We are led through what is a hundred-foot-long painting (CF Bayeux Tapestry), scene by scene, by a museum curator, cleverly played by Georgia Watson as we segue each time into the scene’s background by fictional characters’ interaction with Galactia, and the “real-life” storyline of Galactia’s interactions with her lover Carpeta, himself an artist obsessed by paintings of “Christ amongst the flocks”. Chris Smith captures his dichotomy of a husband’s guilt about his affair with her, and his servility to the law represented by Oli Beech’s sublime delivery of an initially effervescent then creepily oppressive Doge.

Adam Sturges multi roles superbly as Cardinal Ostensible of the catholic church, Admiral Suffici from the battle itself, and Prodo, a loyal veteran despite his own personal tragedies brought by battle. Laura Bartle as Supporta acts as one of Galactia’s daughters alongside Georgia as the other, whilst magnificently also portraying the haughty Rivera, an art critic moving in the higher social circles. The entire cast at times play sundry minor characters to aid the story along but the entire production is a thorough triumph, led by the quite excellent Julie Baker as Galactia who is on stage for almost all of the entire two-hour play and whose intensity and focus never wavers. She IS Galactia.

Director Jacs Brady has created a glorious show – her use of colour throughout with drab colours and lighting for the artists and pauper’s environments, and brilliant, stunning colours for the rich and powerful shines through (pun unintended!).

The set is a simple, stark artist’s studio, with lighting changes to represent also a prison, and a balcony for external scenes. It represents pretty much a kitchen sink drama – almost all the action happens in just one room aside from the above minimal exceptions.

The overall effect is not just engaging – it draws the watcher into that world. And the quality of the performance with the intimacy of the Wharf Theatre is breathtaking, and where the line between community and professional theatre is not at all apparent.

Barker’s play deals with themes of absolute power versus artistic freedoms, reality versus propaganda, censorship of free expression and visions of war as glorious versus horrific. The parallels with last weekend, Macklemore and tour management are plain to see.

This is not a “light” play – its intention is clearly to make one think about our media and information delivery. Though those that seek the occasional smile and smirk will enjoy the passive-aggressive interactions between artistic lovers and the Doge’s dry humour to the peasant classes. As well as the fixation on the word “buttocks”. Buttocks – though not seen ! – feature prominently in a text that is only two hours long 🙂

“Scenes from an Execution” is showing at The Wharf Theatre, Devizes September 21st to 26th.

Tickets from https://www.ticketsource.com/the-wharf-theatre/scenes-from-an-execution/e-kkrojk

Still Alice at The Wharf Theatre Raises Dementia Awareness

Valedictorian graduate of Bates College in Maine, and with a PhD in neuroscience from Harvard, neuroscientist Lisa Genova self-published her debut novel, Still Alice in 2007. Acquired for publishing two years later, Still Alice made The New York Times Best Seller list, was adapted for the stage by Christine Mary Dunford of Chicago’s Lookingglass Theatre Company, and spurred a 2014 movie by Memento Films, winning Julianne Moore an Academy Award. Under the direction of John Winterton, The Wharf Theatre brings this poignant play to Devizes……

It’s lovely to be back at Devizes’ cosy and communal theatre. Ian assigned himself our theatre critic and while his brilliant inside knowledge is gratefully appreciated, I figured I fancy this one, as I have a personal angle on the plot. Alzheimer’s Society suggests “every 3 minutes someone in the UK develops dementia,” therefore I imagine many others will find relevance in it too, and if not, might one day.

We found it amusing at the beginning, my Nan in Dad’s car still wearing her slippers for a party, and other trivial mishaps. But the last time I saw her I was saddened to note she didn’t remember me, as she spoke to me of her “husband,” rather than address him as “grandad.” My children were young and understandably apprehensive about going into the care home. But when they plucked up courage my boy stood before her and she was delighted to be face-to-face with who she assumed was me. Here was the relieving point; I realised she hadn’t forgotten me, she just didn’t recognise me because thirty-plus years was missing from her memory; thank you genetics!

The journey between these two points in time was arduous for her and our family. For her it went from confusion to frustration and onto an immune state of obviousness. Lisa Genova wrote Still Alice in first person narrative from the point of view of Alice, a university professor at the height of her career who is diagnosed with early-onset Alzheimer’s disease; it mirrors what we went through, and sheds a fascinating light onto what my Nan must’ve gone through too.

The play honours the narrative perspective by an ingenious method of a personification of Alice’s psyche. With a dual-Alice on stage, the real Alice, played sublimely by Linda Swann, says what she believes she should say, while her conscious shadowing her, equally delivered with skill by a younger version of Alice, Sophie Kerr, offers the audience an insight into what she is thinking. Just as I suggested, with the lost time of my Nan’s mind, Alice perceives herself as being younger, so this age gap works as her sense of reason, until reason runs short in her mind and her consciousness is reduced to the childlike drawing of pictures.

There are many elements to the happenings in the play which anyone who has experienced a loved one going through Alzheimer’s or dementia will recognise, and tears might trickle. There’s periods of thought-provoking awkward silence, intense confrontation at others, when the confusion turns to frustration. There’s poignant reality and touching scenes as the family come to terms with Alice’s deteriorating mind. There’s thought processes from Alice exposed, causing you to identify with her greater than that of her family; a window into the mindset of anyone suffering with this terrible condition.

Overall, akin to a film like Schindler’s List, this is a play you might not want to face, oh, but you must, and you should. 

Still Alice is evoking brilliance, you will leave impelled to discuss the subject further. It raises awareness of this horrifying condition and doesn’t meander from this for any purposes of entertainment. On the impaired particularly, the sentiment is pragmatic, but also in her relationship with her family and their emotions, all poignantly represented and acted with believable precision by John Myles, as the calm under pressure husband, Adam Sturges as the solicitude son, and Kezia Richards as the estranged daughter.

Still Alice raises awareness about Alzheimer’s or dementia in a similar way as Barry Levinson’s Rain Man raised awareness of autism, but only if we could have seen into the mind of Raymond would it be any more comparable. That’s the beauty of theatre, this is a play with the power to change you. 

Still Alice runs at The Wharf Theatre, Devizes from September 1st until September 6th 2025, Tickets HERE or at Devizes Books.

World Alzheimer’s Day is Sunday 21st September. You can find more information about local dementia groups at Alzheimer’s Support, and sign up for their Walk to Remember at Wilton House, HERE.

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Devizes Rising Star Jess Self in Final for West End Kids

If you’ve seen Jess Self performing at the Wharf Theatre, singing at the FullTone Festival or elsewhere I’m certain you’ll agree with us; Jess has that star quality which lights up the stage…..

At 13 Jess won Vernon Kay’s Talent Nation, studied performing arts at Trowbridge’s Stagecoach and has appeared in many productions including Devizes Music Academy’s Six:Teen, The Railway Children and lead roles in more pantomimes at The Wharf Theatre than I could name!

We’re delighted to hear Jess has made the final seven hopefuls for West End Kids, the UK’s renowned pre-professional company for musical theatre training and elite performance. From hundreds of entries, the final seven young contestants are decided by public vote, to win a scholarship for their training programme.

Jess said, “the first show I ever went to watch was Matilda when I was 9, after the show I said I want to do this’ and I haven’t stopped singing since. This would be a dream come true for me!”

Now, this is where you come in, interactive which we are! Please help Jess reach the dream, vote for her and support local talent. Vote HERE by entering your name, and confirming by email. Voting ends this Sunday, 3rd August, so don’t delay.

We wish you the very best of luck, Jess! 

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“Veronica’s Room” at The Wharf Theatre, Devizes, January 27th-February 1st 2025

By Ian Diddams
Images by Jeni Meade

No aficionado of 1960s and 1970s horror films would have missed seeing “Rosemary’s Baby”, a story of Satanic pregnancy, based on the book by Ira Levin. Shortly after that book’s release, Levin write a stage play “Veronica’s Room” which followed “Rosemary’s Baby” tone of horror with a disturbing, psychological thriller.

The Wharf’s production opens with a furniture draped bedroom, which is soon revealed to be Veronica’s room. The entire play is set in this room which in itself gives off a creepy, dark atmosphere; you can almost smell the mustiness of the dingy, sparsely furnished bedroom. A bed, chaise-longue, table and chairs, wardrobe…  and a barred window. Director John Winterton and his team designed and created the set and its ominous undertones, and the tech team produce eery lighting, subtly and extremely effectively fitting for this play. Without providing spoilers it’s however fine to say the costumes required for the story fit the requirements perfectly. And as ever Gill Barnes and the costume team have come up trumps to further set the period and the characterisations.

It’s a short play timewise – two acts comprising eighty minutes in total, plus an interval. But it is far from short with plot twists and turns, and as each new piece of information unfolds, we are drawn into a darker and more sinister world each time. The cast of four work well together to deliver Levin’s increasingly twisted story, with John’s direction keeping the pace exactly right at all times.

Jax Brady plays The Woman, embracing all the mood swings and dialects with ease, the perfect loving partner to The Man played by Gary Robson, whose sombre delivery is befitting of his character’s inner turmoil and glimmers of hope, of his love for The Woman whilst uneasy with their shared knowledge. Abigail Baker plays The Girl around whom the plot centres; at first brazenly flirtatious, then finally broken, desperate and terrified. The Young Man – the object of The Girl’s desires – is played by Cameron Williams who also has challenging characterisation and manages it sublimely.

It would be fair to say that “Veronica’s Room” is also challenging for the audience – it is a horror, and a psychological one at that, preying on one’s mind. Levin’s story is a slow burner to begin with but as Act 2 in particular progresses it becomes a runaway train with hard hitting realisations developing the full horror coming thick and fast. The cast and crew have created a super rendition of Levin’s story that will surely have you checking under your bed when you go to sleep afterwards…

“Veronica’s Room” is performed at The Wharf Theatre, Devizes January 2th to February 1st at 7.30pm each evening.

Tickets available online and from Devizes Books.