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      Interview: 50 Years of the Orange Tree Theatre

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      Laura Irwin, Curator of Richmond Museum’s exhibition celebrating Fifty Years of the Orange Tree Theatre

      So Laura, this exhibition celebrates 50 years of the Orange Tree Theatre in Richmond. Can you tell us a bit about how it came about?

      It was really the brainchild of one of the Museum’s former Trustees, who is also a Patron of the Orange Tree Theatre. I began in post this time last year when sadly both organisations were closed to the public due to the pandemic, so when they reopened after the best part of 18 months it seemed a really good opportunity to celebrate the resilience of cultural institutions like ours.

      The more I worked on the exhibition, the more I discovered the similarities between our two organisations. Not only are we two independent charitable and cultural institutions in Richmond, but I realised how theatres and museums as places are alike in being intrinsically tied to physical space, physical objects and physical interaction. There’s a sense of the here and now, with an emphasis on ‘the real thing’; the authentic.

      We conducted around twenty oral history interviews with a selection of writers, actors, directors, staff and people involved at the Orange Tree over the years, and this greatly informed the exhibition’s content. Some of these people were there from the very beginning such as Sam Walters and Auriol Smith, who founded the theatre in 1971. Others have been involved more recently such as the actors Liz Heery and Peter Davison, who are Orange Tree Ambassadors and Youth Theatre parents.

      Richmond has a long history of theatres, but the Orange Tree is unique in being in the round. Have you discovered other significant features about it through your research? 

      From the interviews, there’s been an overwhelming sense of the Orange Tree as a family institution, and in particular an extension of Sam and Auriol’s living room! Staff members are incredibly affectionate, and many have done every single job going, above and beyond the call of duty; maybe being roped in as an extra at the last minute, or sourcing a grand piano for that same evening. Often staff have stayed much longer than they originally thought they would.

      The Orange Tree is actually said to be London’s only permanent theatre in the round, and that format stems from the theatre’s origins in a room above the Orange Tree pub, which first hosted its initial incarnation as the ‘Richmond Fringe’. The round space really lends itself to a sense of togetherness, intimacy and community, and from the very beginning in that pub room the audience were able to be very close to the actors and stage, just as they are today. The Orange Tree’s Artistic Director, Paul Miller, describes this gathering together as like the oldest form of storytelling, going back centuries.

      The Theatre has a reputation as a ‘writer’s theatre’, with the focus often on the text itself in productions, so staging and costume are generally pared back to let the script shine through. It’s especially well known for the combination of reviving old and forgotten plays, from writers such as Harley Granville Barker and Terence Rattigan, whilst championing new writers like Martin Crimp or Vaclav Havel, and more recently the acclaimed modern playwrights Alistair McDowall and Zoe Cooper.

      Tell me a bit about the founding of the Orange Tree in that pub room, and what changes it has had over 50 years.

      ‘Richmond Fringe’ as it was then known founded was in 1971 by Sam Walters and his wife Auriol Smith. Sam was an actor and director, and Auriol an actress. They felt the need for a local, independent theatre venue outside of the West End and invited theatrical friends and former colleagues to help choose a suitable space. The group went on a pub crawl – well, two actually! – to find it, and eventually settled upon the upstairs room of the Orange Tree pub. And it really was just a room, with no stage, no backstage space, no seating or any of the normal trappings. Without artificial lighting, shows were performed at lunchtime in the daylight, and very nearly in the round.

      During my research I came across the now infamous story of the company’s first performance, Go Tell It on Table Mountain. Sam and friends had been expecting a handful of audience members to show up, but there were over 100 waiting to get in to the first performance, so he had to ask them to go for a pint in the pub downstairs and come back later, when they would perform it again. Shows were regularly oversubscribed from then on, with queues around the block and everyone clamouring to get in

      The first big change came in 1975 with a refurbishment to the pub. It became a licensed theatre, with fire exits, church pews and an office-cum-dressing room. Later, in 1991, they moved to the current venue, and formally established the space as in the round.

      Sam Walters retired in 2014 after 42 years at the helm, by which time he was longest-serving Artistic Director of a British Theatre. But Paul Miller then arrived and put his own stamp on things: some brave new productions such as Pomona and An Octoroon were incredibly successful and perhaps brought in a new crowd. The theatre’s ethos remained, however, with its focus on writing, the in the round format, and community.

      It’s not all been easy going though. The theatre lost all its Arts Council funding on Paul Miller’s very first day, so that was challenging! When the pandemic hit, the theatre really had to draw on its creativity, introducing live-streaming shows and then offering productions for socially-distanced audiences once it re-opened.

      You are going to be talking to the Richmond Local History Society about the exhibition next month, in conversation with Paul Miller. This sounds like a great opportunity to extend the reach of the Orange Tree’s story! How does it feel bringing local heritage and a leading edge, contemporary performance space under the same umbrella? 

      Great! We have a lot of similarities and this a wonderful opportunity to crossover our audiences, some of whom may not have visited the other venue. Interestingly, we discovered in interviews about the Orange Tree’s heritage that the Museum’s current location was for a short time even considered as a potential new venue for the theatre in the late 80s, and their offices were, for a while, across the road from the Museum in one of the buildings I can see from my office, so we have close historic ties too!

      Is it fair to say that both the Museum and the Theatre play important roles in the community?

      Absolutely, and they are just natural partners. The theatre was really pioneering in community work, setting up an education and participation programme back in the early 80s. They took musicals into old people’s homes for singalongs, and in 1982 one of its trainee directors Antony Clark set up workshops to bring Shakespeare into schools. This is still done as Primary Shakespeare, for pupils who may never have been to the theatre before. It also has its Youth Theatre, which is going strong.

      The Orange Tree had to raise £750,000 in the late 80s/early 90s in order to move into its current home, and it’s a testament to its place in the local community that this was achieved through raffles, fundraisers and donations.

      Similarly the Museum offers the community a chance to learn about its local history and see real objects. We run family workshops, outreach activities like talks, handling objects and summer fairs, as well as being supported by a team of around 25 volunteers, most of whom are locals.

      Together we are running a learning and community programme to accompany the exhibition including curator tours, family workshops in school holidays involving storytelling and Arts Award summer schools where students will have chance to visit behind the scenes at the Orange Tree before participating in arts and crafts activities at the Museum.

      There are so many different artefacts, images and interviews in the exhibition; do you have any favourites?

      The incredibly realistic rabbit’s head from An Octoroon and the Cthulhu mask from Pomona are both extraordinary artefacts, and it’s exciting to have them here, not just because they are so cool, but also because it’s not every day that we get to display something like them in the Museum’s showcases.

      I was particular happy to find a few images from The Room at the pub in its early days, complete with church pews, ‘do not disturb’ signs and makeshift storage. And then the interviews are all so fascinating, particularly those with behind the scenes staff like the Technical Manager and Wardrobe Supervisor, and a former Theatre Manager talking about how ‘the show must go on’; sewing hems at midnight, converting the stage to a swimming pool, a garden and growing real flowers onstage, trying to find enough seats to cram as many people in as possible.

      We’ve also had some wonderful memories about audience interaction from Sam Walters and the actress Clare Moody, which are well worth a listen.

      The exhibition is running until 31 August – will there be a life for it afterwards? 

      We have just released an online version, which will give it a whole new life, beyond the physical collection, and importantly will give further access, allowing people to listen to the interviews from home.

      There’s a possibility that the Royal Holloway Archives, where the Orange Tree Theatre’s archive material is currently kept, will be able to acquire audio interviews. All the material they hold will eventually all be catalogued, digitised and made available online for future researchers

      And our fabulous partnership with the theatre will, of course, continue. The Orange Tree are running their 50th anniversary season throughout the year, so check out their website for plays and events.

      Many thanks to Laura for taking the time to chat with us.

      The Museum of Richmond’s Exhibition OT50: Fifty Years of the Orange Tree Theatre runs until 31 August and is free to attend. https://www.museumofrichmond.com/whats-on/

      It is also available online here.

      Laura Irwin will be in conversation with Artistic Director Paul Miller for the Richmond Local History Society on Monday 14 March. Tickets are free to members, and non-members can pay £5 to attend. Book via the below button. More

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      Feature: Sophie Swithinbank on writing Bacon

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      Award-winning new play, Bacon, explores masculinity, sexuality and class through the eyes of an unlikely friendship.

      “London, present day, it’s Year 10’s first day back at school. Mark is new, Darren is out-of-control. Mark is too scared to make friends, Darren too scary. These boys need each other, but neither of them is going to admit it.”Extract from Bacon

      Bacon is about what happens when teenagers learn to bully and humiliate each other before they learn to love and accept themselves. The play is based on real events. It’s two central characters, Mark and Darren, were born from a real act of bullying I witnessed whilst working as a nanny. I began to wonder if the seven-year-old boy I was looking after might grow up to copy that behaviour, which led me to explore the idea of learning negative behaviours in my writing. Subsequently, other experiences attached themselves to the story. I began to connect the bullying incident to an intense and semi-toxic relationship I had experienced growing up. It was a confusing, dangerously exciting time; and through the play I intend to encompass that light, teenage, carefree lack of perspective, full of blindness. Remember, if you will, how difficult it is to learn how to be an adult when you are still a child. 

      Some people have asked me why I chose to write from the perspective of two teenage boys. Others seem surprised to discover that I am not male, while the play is seemingly rooted in masculinity. It is true to say that I have observed the behaviour of men more than the behaviour of women because men, historically, have been more visible. This is perhaps why I am drawn to writing male-dominated stories. I often feel my natural viewpoint is an open one, not particularly connected to gender. Mark and Darren are the characters through which I can best tell this story and their journey makes perfect sense to me. A number of people, regardless of age or gender, have said on reading the play, ‘this is my story’. The notion that the boys’ story is, in some ways, everyone’s story, is what makes it a complex and vital narrative through which to explore identity and sexuality. The play also explores the binaries of class in relation to sexuality, and how confidence and acceptance can be closely related to social standing, from family to family. 

      The play’s own journey to stage has not been an easy one. Thanks to the pandemic, it has faced two postponed runs, one in London, one at the Edinburgh Fringe, but being able to at last share it with audiences at the Finborough Theatre is something I am hugely grateful for. Seeing it come together in the lively buzz of rehearsals fills me with joy and the playful energy that the cast and director are bringing to the piece is really breathtaking. The production is fearlessly directed by Matthew Iliffe and stunningly designed by Natalie Johnson, who have worked in collaboration to physicalise the central notions of unevenly distributed power and control within the play. Mark is played by Corey Montague-Sholay, who will melt your heart, and Darren is played by William Robinson, who will break it.

      Bacon is a relationship drama for the modern age. At once tragic and euphoric, it questions whether we can do better to guide teenagers through the process of becoming adults. At the heart of Bacon, is the study of the journey from boy to man, and why so often, boys fail to make it there. 

      Bacon won the Tony Craze Award at Soho Theatre in 2018. It plays at the Finborough Theatre from 1-26 March 2022.

      You can also read our 5-star review of the play here. More

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      Interview: Erupting onto the stage with Volcano

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      Proforca’s David Brady talks about upcoming play Volcano

      For our latest interview on Runn Radio we spoke to David Brady. He’s been a guest on our show before, talking about Lately (you can catch up with that interview here). So it was our pleasure to welcome him back to talk about their latest show, Volcano. This show is a collaboration with Chewboy Productions‘ Georgie Bailey, who were in fact they were our first guest on our podcast (here).

      Volcano is billed as “One Man. One City. One Night to Remember.” It sees Max embark on a 12-hour odyssey across London that will change his life forever.

      We talk with David about the play, why he teamed up with Chewboy Productions for this play and whether they have succeeded in his desire to create a piece without any set. And we also discuss how fringe theatre can find a home outside of London.

      Volcano plays at Lion and Unicorn Theatre from 8 to 12 March, tickets are £14 from here. More

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      Interview: Escaping into real life with DeFriest

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      Aaron-Lee Eyles and Jay O’Connell on new play DeFriest

      We’ve interviewed Unmarked Theatre‘s Aaron-Lee Eyles previously about I Didn’t Want This, I Just Wanted You, so it was a pleasure to invite him back onto our Runn Radio show to chat about his latest show DeFriest. And this time he brought along his lead actor, Jay O’Connell.

      DeFriest, much like I Didn’t Want This, I Just Wanted You, is based on real life. It tells the story of Mark DeFriest, an American who has spent much of his adult life in prison. He earned some attention when he was dubbed the Houdini of Florida due to his numerous attempted prison escapes; it is claimed he has made 13 attempts to escape, succeeding on seven occasions. But the play isn’t about prison escapes, but more about the man who has been in and out of prison most of his life, even though it is widely agreed that the reason for much of it is his mental health, something that has never been fully addressed.

      The play is on at Lion and Unicorn Theatre from 10 – 15 March. Tickets can be booked here. More

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      Interview: Harpy on with Noga Flaishon

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      Founded in 2011, Everything Theatre started life as a pokey blog run by two theatre enthusiasts and – thanks to the Entry Pass Scheme for 16-25 year olds – regular National Theatre goers. Today, we are run by part-time volunteers from a wide array of backgrounds. Among our various contributors are people who work in […] More

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      Interview: Beware, the Zombies are here

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      Paper Mug Theatre’s Seb Gardner on Steve and Tobias Verses Death

      We first come across Seb Gardner and Paper Mug Theatre last summer with I Lost My Virginity To Chopin’s Nocturne In B-Flat Minor. Since then they have clearly been busy, as they already have two new shows ready for the stage. The first of which is Steve and Tobias Versus Death.

      Originally planned for the now cancelled Vault Festival, this zombie apocalypse horror is now heading to The Pleasance in March. And of course, with ET being big fans of horror (well, some of us are, others are just scaredy cats), it seemed a great time to chat with Seb about the show, and ask, will there be plenty of fake blood flying around? We also discuss I Lost My Viriginity and what they have planned for the rest of 2022.

      Steve and Tobias Versus Death plays at The Pleasance between 15 and 19 March. You can book tickets here. More

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      Interview: In the End Zone with Pravin Wilkins

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      Playwright Pravin Wilkins on his play Moreno

      Theatre503’s International Playwright Award really is an incredible thing; how this tiny pub theatre manages to attract entries to its bi-annual award from all around the world really demonstrates just what a reputation it has.

      And of course, it’s always great to see many of the shortlisted plays finding their way onto the stage in the coming year or two. Which brings us nicely to Moreno, 2020’s winning entry, which will be making its stage premiere in March.

      This debut play by Pravin Wilkins brings the world of American football to 503’s stage, although it isn’t so much about the sport (the stage just isn’t big enough for a game of American football after all), but about the fallout caused by the actions of one player: Colin Kaepernick is the man who first took the knee and started a movement, but at great personal cost.

      With such a heated topic at its core, we jumped at the opportunity to chat with Pravin, to find out more about the play and what brought him all the way to this little pub theatre in Battersea.

      How did you even hear about Theatre503’s International Playwright Award in the first place? And is it something you will be telling everyone to get involved in for its next edition?
      I came across Theatre503’s International Playwriting Award on Playwrights’ Center, a resource that many playwrights use to keep up on submission opportunities. Of the numerous open submissions I have sent my work to, Theatre503 far and away offers the most complete package, from the perspective of a playwright. It’s already something I’m telling my playwright friends to send in work for, especially as submissions for the 2023 award have recently opened.

      Has winning the award helped with your work back at home in Pittsburgh?

      To put it simply and honestly, not yet. I expect the boost to my playwriting career will really start when the play does go up at Theatre503 and people have a chance to see my work fully realised on the 503 stage. Since I won the award in 2020, some exciting opportunities have arisen – yet, with COVID-19 pushing theatre into relative dormancy in the US until quite recently, I’ve mostly been on my grind as an educator and organiser, preparing for this moment.

      Moreno is your debut play: is 503 getting the world premiere? And will you be here to see it happen?

      I’m thrilled to say that Theatre503’s production will be the world premiere and I will be travelling to London for some rehearsals as well as previews and performances.

      The play is set in the world of American football: were you ever worried that doing this would alienate audiences from outside of the US?

      Not at all. I recall when I was younger, the film Invictus, which centered around rugby, was quite popular in America, although the sport is not widely viewed there. I feel this is because that film, much like Moreno, is not solely about the sport, but about the people who play the game and the politics they must deal with as national (and sometimes international) figures. The personal drama between the characters in Moreno is universal, and the broader conversation about racism in sports and societal structures at large extends far beyond the borders of America, as these issues affect every nation in the world.

      Oscar Russell is credited as “football coach” for the play, which seems an intriguing addition; does that mean we might get to see a quarterback getting sacked on stage (have you seen how small 503’s stage actually is!)?

      I won’t speak to exactly what you will see (although, as a former defensive player, who doesn’t love to see a quarterback getting punished??), but some elements of the game will be represented onstage and Oscar’s professional support was instrumental. He helped our actors immensely with the task of embodying each character’s particular role and position. Additionally, Nancy Medina (Director) and Ingrid Mackinnon (Movement Director) have done a masterful job in making these moments work on the small stage at the 503.

      Colin Kaepernick’s career seems to have been seriously curtailed by his taking the knee: is this something you wanted to address in your play – that politics and sport are not always easy bedfellows?

      Yes, Colin Kaepernick’s career was cut short because of backlash from NFL owners and management along with many fans, media personalities, and indeed the former President himself. But politics, especially the politics of race and class, cannot be separated from sports, or, frankly, any part of society. These issues are universal: Kaepernick taking a knee during the national anthem in protest of police brutality did not bring politics to sports, it brought up the fact that it’s already there. Being the messenger of necessary but unwelcome truths is indeed a tall task, and a dramatically charged situation that Moreno explores.

      From our viewpoint on this side of the world, it felt like American football showed a very racist core with its spectators. Would that be a fair assertion, or was it just a microcosm of what was happening across the country?

      I don’t like to paint with a broad brush, but I will say that the hate and vitriol coming from NFL fans certainly drowned out the support and love for Kaepernick amidst his protest. If you were to go to an NFL or a Sportcenter comments section on a social media article about Kaep from around that time and just check out the hateful things people were saying… it was despicable. People were demanding he never be allowed to play again, some even posted videos of themselves burning his jersey. Yet, with the election of Trump, a famously vile torch-carrier of racism, I think we saw clearly illustrated that there is indeed a deep and enduring white supremacist element all across the country. So yes, the response of NFL fans to Kaepernick’s protest reflects a broader attitude across America.

      Taking the knee became very political both in America and the UK, with various politicians coming out for and against it, most famously Trump himself. Is it still talked about much in America, and is it still causing such division?

      The symbol of taking the knee not only continues to be widely discussed, but it has come up again in a tangible way with Eminem’s kneel during the Super Bowl LVI Halftime Show receiving both praise and criticism from both sides of the political spectrum. Moreover, athletes across the world – from soccer players on the US Women’s National Team, to Olympic fencers, to European footballers – have taken a knee during performances of songs celebrating national pride at major global sporting events: this has become a universally understood symbol of protest against injustice, particularly racial injustice. The Monday after the Super Bowl this year, MSNBC commentator Joy Reid wore a Kaepernick jersey as she and a co-host spoke about the halftime show and the ongoing lawsuit by former NFL coach Brian Flores alleging hiring discrimination. So yes, both the symbolic statement of taking the knee and the substance behind it remain highly relevant and continue to reveal divisions in American society.

      Do you feel that the racism around the booing is the same in America as in the UK? Do you feel it has made a difference at all, and is it something that will ever change?

      I don’t know enough about sports in the UK to comment on whether the reaction of fans to players’ races or their stances on racial issues are the same as they are in the US, but I believe it is fair to say racially-charged jeers come from the same root, regardless of the accent in which they are shouted. And while you can’t really get a booing crowd to stop booing, you can influence who makes up that crowd and how they view the players who make their entertainment possible. This change will occur if the NFL and other large sports organisations focus more on diversity in hiring at the uppermost levels, along with more outreach to fans from Black and brown communities. Because of people like Brian Flores, a former NFL head coach who is fighting right now to hold the league to account for likely subverting rules designed to bring more people of colour on as coaches, there is the possibility that things will improve. But with Colin Kaepernick’s NFL career effectively snuffed out by almost-certain collusion among NFL owners (who paid an untold sum to Kaepernick to keep the details of the court case under wraps), it is clear that progress will be slow and often hindered by reactionary forces.

      What’s next for you? Is sport something you would like to centre future plays around, or will you be stepping into new fields for your next work?

      I love sports, but for me it moreso is social movements that are at the centre of my work. The setting of American football is simply one arena in which these conflicts play out. Most recently, I have been interested in labour movements and the history of American unions. I am working on two projects in this vein: first, a play centring on a group of fictional university campus workers in San Diego, California who must consider bucking their union representation when it appears their leaders are colluding with administrators; second, a TV drama set in late 1800s Chicago, covering the events that culminated in the Haymarket Riots and the unjust execution of four anarchist labour organisers. The aim of the former is to spotlight and investigate the burgeoning modern revival of unions; the latter, to pay homage to the workers and organisers of generations past, whose struggles are inextricably linked with ours. Someday, however, I am sure I will return to sports – maybe I’ll write something about basketball.

      Our thanks to Pravin for his time to chat to us. Moreno opens at Theatre503 on 1 March, and then plays until 26 March. Further information and booking via the below link. More

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      Interview: We Consent to these questions

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      Director Paul Collins on bringing Consent to the stage at Questors Theatre

      Until recently, we weren’t aware of Questors Theatre (we apologise for that oversight on our part) but now it’s on our radar we are more than happy to see what amazing shows they are presenting us with. This community based theatre in Ealing are clearly not afraid to tackle the difficult subjects, as their next show, Consent, clearly proves. Nina Raine‘s play, first performed at the National Theatre, follows the two barristers on either side of the case and the turmoil of their lives away from the courtroom.

      We sat down with director, and former barrister himself, Paul Collins, to ask why this play appealed to him and whether being a former barrister is a help or hinderance to directing the play ahead of its opening night on 19 February.

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      What was it about Consent that made you want to bring it to Questor Theatre?

      This is a tautly written play raising issues about trust in personal relations and the contrasting demands of empathy and detachment, for lawyers and for us all. And it manages to be viciously funny from time to time, as well. 

      The play focuses on the two opposing barristers in a rape trial; as a former barrister were you able to bring personal experience to the play, and how realistic are the two based on your real-life experiences?

      The playwright, Nina Raine, acknowledged legal input and the legal side has an authentic ring. Some of the barristers’ chat is deliberately extreme for dramatic effect, but it’s not far off! But the real focus of the play is on the relationships between the characters.

      Did you ever need to stop yourself being too forensic and detailed in your approach to the legal moments of the play?

      No! There’s only one courtroom scene and we don’t attempt to set it realistically. I’ve used my personal experience to a limited extent, to help the actors, but the author has provided what’s really needed. The detailed work has been much more directed towards the ebb and flow of the characters’ emotional and sexual relationships.

      The play is only five years old, but in that time we’ve seen a lot of change, especially with the #MeToo movement and (hopefully) a changing attitude towards how we deal with sexual assaults. Has this affected your approach to the play at all?

      If the play were being written today I’m sure the author would think carefully about the implications of the binary approach to sexuality which it presents. But the central portrait of the law and its practitioners having a detached and sometimes callous attitude wouldn’t change. How can lawyers do their job without being detached? How can empathetic lawyers do their job objectively? These questions remain. And the audience may wish to think about fidelity, betrayal, disillusionment, revenge, and consolation.

      In 2021, only 1.6% of reported rapes lead to a suspect being charged. Does Consent try to give any reasons for such statistics.

      One word against another – in the absence of other evidence, prosecution is a lottery. The play demonstrates this clearly. Ways in which an alleged rape victim should be supported are highlighted in this play, but there’s no easy answer.

      What made you step away from the bar into directing? Was the attention to detail required as a barrister good training for directing?

      It was retirement from the circuit bench after 19 years (25 years at the bar previously) that gave me the time to direct. It’s stimulating, draws upon many different aspects of one’s abilities and highlights where they may be lacking! I love working in the the theatre with talented and dedicated people of all ages and backgrounds. You should ask the cast and stage team whether my background is a help, or a hindrance!

      What brought you to Questors Theatre, and what is it about the venue that should make people come and check it out?

      I’ve been an acting member of the Questors for over 40 years although for many years the demands of work prevented me from taking an active part in the life of the theatre. It’s a splendid place to have in a thriving, cosmopolitan community like Ealing. There’s much we can do to improve but we try to be a focus for young and old, wealthy and not, and for those of every race, colour, sexuality and for those with a disability. The Questors takes large numbers of young people under its wing for a wide range of classes. Anyone in West London who becomes involved, even just as an audience member, feels how important it is. Consent is the kind of play which can be raw, challenging and, to some, perhaps offensive in its language, but which doesn’t shrink from tackling real questions about human behaviour head on.

      Our thanks to Paul for giving up his time to chat to us about the play.

      Consent plays at Questors Theatre in Ealing between 19 and 26 February. Standard tickets are just £14, with concessions for members, under 16s and full time students. More information and bookings via the below link. More