Born in Croydon, Clemens served his National Service where he was a weapons training instructor. When demobbed, he was offered a job as a private detective, but this involved moving to Leeds to take a training course – he preferred to remain at home instead. He worked his way up from messenger boy at advertising agency, to being a copywriter. In 1955 he had a thriller screenplay accepted by BBC TV.

Next he was a staff writer for the Danziger brothers, churning out dozens of ‘B grade’, half-hour television scripts, for series such as ‘Saber of London’ and ‘The Man from Interpol’. He then went on to write many of TV’s major classics, including ‘The Invisible Man’, ‘Danger Man’, ‘The Avengers’, ‘Adam Adamant Lives!’ and ‘Bergerac’. He even wrote the BBC TV sitcom, ‘My Wife Next Door’.

This timeless thriller from the Garrick Theatre Company can be seen at the Garrick Theatre, 16 Meadow Street, in Guildford. This two and a half hour play runs on Thursday, Friday and Saturday nights at 8.00 until 15^th October. There are matinées on the 2^nd and 9^th October at 2.00 pm.

It is the year 2000 in the English countryside. All of the action takes place in a remote house, belonging to Maggie Miller, which has been converted from a windmill.

The sitting room is wood-panelled. The front door leads straight into the main room. A side door goes to the outhouse. A short staircase leads up to a small balcony with two bedrooms. Keith Abbott, with the assistance of Luke Bogaers, solidly built the fine set to Fred Petersen’s design. There is a special ‘fun’ prop by Ray Egan and Guildford Potters.

    It is senior flight attendant, Maggie’s 50^th birthday. She is holding a party for this special celebration.

    When there is no reply to her knocking, Maggie’s fellow Air Hostess, Ann (Anna Head), lets herself into the house with the secreted key only to find a scribbled note saying that Maggie has gone down to the village to pick up her birthday cake. A few minutes later, busybody neighbour, Jenny Rayner (Fiona Forster) arrives. Jenny is upset about the lack of intimate interest being shown by her husband Peter (Rodney Palmer), and has called around hoping to catch him ‘en flagrante’ with Maggie.

     Local odd-job boy, young Andy Flewin (Blake Prosser), who also fancies his chances with the older woman, calls with Maggie’s present to herself.

     The front door opens and in marches Flight Captain, Terry Dexter (Ben Lowther). He is Maggie’s latest conquest. Ann confides that she intends announcing her engagement to her partner, Steve (Ben Russell), at the party – but Maggie and Steve do not turn up for the celebrations. Where could they be? Murdered?

There was a short glitch, when a surge of power knocked out the computer controlling the sound and lights. Geoff Holt and Mark Owen were magnificent in getting to system back up. This is a fault that the technicians could not foresee, but this had to be one of the fastest recoveries that I have known. Many congrats. Admiration must go to the cast who also coped with the error very well.

The red herring clues flowed fast, as the entire cast accused each other of the murder. Two particularly fine performances from Anna Head and Fiona Forster. We were kept guessing who the murderer might be, right up to the final curtain. Creepy and packed with suspense.

Talented director, Fred Petersen, is the John Farnham of the community theatre; he has had more ‘final shows’ than anyone else. Thankfully, he keeps coming back with yet another superb presentation. Fred is one of the rare breed of directors who is willing to give newcomers a chance. He also ensures that each actor fully understands the character and personality of the part they are playing.

A most enjoyable murder story, clever script, and especially well acted.

Presented by the Darlington Theatre Players Inc, at the Marloo Theatre, 20 Marloo Road, Greenmount Hill, Mundaring. This hilarious, two-hour and a quarter hour play – which premiered in 1983 – can be seen on Wednesday, Friday and Saturday evenings at 8.00 until 7^th May. There are matinees on 24^th April 24 and 1^st May at 2.00 pm.

The scene is the 1980s in a USA fishing lodge in rural Georgia.

This set is another jaw-dropping production from the best set designer in the area – George Boyd. Built by a dozen hard workers, including the techs and cast, and working on a minimal budget we are presented with a massive, timber panelled, lounge (convincing painting by Adrian Ashman), a double staircase, a brick chimney, motel reception area and patio doors with rain lashing down outside. As always at the Marloo, there were numerous props to give that special touch of authenticity (Lesley Sutton, Ray Egan).

The sound effects were crisp (George Boyd) and operated perfectly by Belinda Beattie. Several lighting effects, including a lightning storm, were well planned by Michael Hart and David Bain, then operated by Brendan Tobin. There were several unusual – to say the least – costumes required, and Marjorie De Caux was there as always.

       When English SAS trainer, Froggy Le Soeur (Keith Scrivens) has to go to America for a course, he takes along his friend Charlie (Joe Isaia) who has marital problems and depressed. He also suffers from extreme nervousness when in company. In fact, he is petrified to talk to anyone. 

      The two men arrive at Betty Meeks (Jacqui Warner) country fishing lodge. Betty has the usual warm welcome, but it is obvious that she is hitting hard times and having trouble maintaining the guesthouse.

      To hide Charlie’s shyness, Froggy tells Betty that Charlie is a foreigner and cannot speak a word of English. Because of this false assumption, whilst Charlie sits having a cup of tea, he hears several private conversations, including the ‘love secrets’ of the local vicar, David (Rodney Van Groningen) and his fiancée, Catherine (Kylie Isaia). Within hours, further local scandals become exposed.

      Before long, Charlie finds himself being taught English by Catherine’s retarded brother, Ellard (Blake Prosser). Into the house comes a local undesirable, Owen (Richard Hadler) an inbred thug who hates ‘outsiders’. Very soon, Charlie is in major trouble.

The director, Robert Warner and his assistant Joe Isaia faced a major task putting on such an unusual style of comedy. They chose a fabulous cast, including some of Community Theatre’s funniest actors; the chemistry between them was outstanding.

The giggles poured out, with a couple of belly laughs a minute. There were no jokes, it could not be described as a farce, and yet it was one of the funniest shows I have seen in months. Although every actor was perfectly tuned in and each gave a tremendous performance, I am sure they will not mind me saying that it was Joe Isaia – with their help – who nailed it. His expressions and body language had the audience falling about. Superb teamwork.

This is a DON’T MISS production. Hilarious from the opening minutes.

The LP soundtrack of the 1984 film sold 15 million copies. Two of the songs being nominated for Oscars.

This bright and effervescent musical is being performed by the Darlington Theatre Players at Marloo Theatre, Marloo Road, Greenmount each Wednesday, Friday and Saturday evening at 8.00, with matinees on Sundays at 2.00 pm until Saturday 12^th March.

There were no sets as such, but there were some very impressive structures (George Boyd designer) which were beautifully built and perfectly conveyed the atmosphere of the locality. Some were massive, such as the sport’s stadium, terrace seating – which moved around in total silence. Other features include the church entrance, a soda bar and barbeque eatery. The only ‘standard set’ is the minister’s home (props Raelene Cover). There were about two dozen involved in the construction, with a further dozen as stage crew.

The production was managed by Gail Palmer, and stage-managed by Rob Warner and David Bain – most impressive.

       Teenage Ren (Liam Borbas) and his Mum, Ethel (Clare Fazackerley), move from Chicago to the Mid-West, woop woop town of Bomont, to live with Ren’s Aunt Lulu (Jacqui Warner) and Uncle Wes (Alan Markham).

      At Ren’s new school is Ariel (Brittany Isaia), daughter of the puritanical minister, Reverend Moore (John Taylor) and his wife, Vi (Kylie Isaia). Ariel has an obnoxious boyfriend, Chuck Cranston (Blake Prosser), who works at the local garage with three wasters, Travis (Ethan Acott), Lyle (Owen Davis) and Rhett (Alistair Ball). Ariel’s school friends, Wendy-Jo (Suzy June Wakeling), Rusty (Teah Dunning) and Urleen (Charlize Gosnell) try to warn her about Chuck but Ariel will not listen.

       Ren finds himself being outcast by the school Principal (Michele Acott) for being too outspoken. Even local cop (David Seaman) gives him a ticket. The sports coach, Mr Dunbar (Luke Miller) and his wife, Eleanor (Sarah Palmer), treat Ren shabbily because they are Bridge friends of the Rev. Shaw.

       Whilst in Betty’s (Rachel Vonk) ‘Blast’ soda café, shy Willard (Chris Ball) explains the no pop music and dancing policy of the town council. As the trio sing (Georgia Kinnane, Nicola Kinnane and Belinda Beatty) Ren musters his classmates and unsuccessfully demands a senior prom, and so with a group of friends drive 100 miles to an untamed night of liberty at the Bar BQ Club. The Club is a wild place, where Bob (Simon Dreyer) and the cowgirls (Gemma Addison and Eden Sambridge) boot scoot, as the singers (Darin Aqila, Charlie Darlington) chant.

      Can Ren win Ariel’s heart? With the help of friends, Jeter (Billy Darlington) and Garvin (Matt Manning), can anything be done win over Reverend Moore’s mind block?

Other performers include: Steph Shaw, Aaliyah Thompson, Asha Vivian, Brooklyn Kamer, Rebecca Mattison, ​​Channing Whitworth, Laura Goodlet, Nieve Hope, Caitlyn Hughes, Sophie Todd, Jordan Tabb, Emilie Tiivel, Tania Morrow, Clare Smale, Caitlin Walker and Luke Heath.

Suzanne Kosowitz, the musical director, has done an outstanding job. The music from her seven-piece band was well-balanced and complemented the singing, rather than have the poor singers fighting to be heard (as so often happens). The band members were Tabitha Broughton (woodwind), Thomas Felton (Electric bass), Cameron Hayes and Harrison Love (Guitar), Jo Keenan and Daniel Slee (Keyboard) with Richard Pooley (Drums).

With a cast of ‘thousands’, each wearing around four intricate and stylish costumes each, wardrobe mistress Marjorie De Caux wisely enlisted the help of Shelly Miller, Rachel Vonk and Sophie Todd. The result was stunning, plenty of colour and quality, all based in that era three decades ago.

The choreography, thanks to Arianah Isaia skills, was inventive and fresh. With such a huge cast to handle, there is inevitably a couple of actors out of sync, however, this cast – right up to the final curtain – were smiling, fully charged and performing quite complex movements. Even the singers had intricate arm and hand movements. The dancing ranged from romantic waltz, boot scooting, soft shoe to tap dancing.

The sound, designed by Chris Hewitt, Greg Rusha and Dylan Borbeau, was brilliant. The train sound effects (Anita Bound, Lesley Broughton) amazing. The slight echo used on the voices gave them depth, and the ‘dreaded’ headsets actually worked perfectly.

Joy Miles and Shelly Miller’s pulsing light design was in sync with the music, with the choice of colours and brightness levels spot-on. Well done Lesley Broughton, Julie Hickling and Lachie Kessey.

The directors, Joe Isaia and his assistant Michele Acott, had to oversee dozens of youngsters and complicated teching, before they even got to the singing and dancing. Joe selected a great team and it showed. Most productions are lucky to get a couple of good singers and the rest are average. This production had at least a dozen talented singers, and most of them could dance beautifully too.

EVERY single actor was fully rehearsed, and performed immaculately. Congratulations.

This fun musical has drive, colour and vibrancy, try and catch it.

Last night was a charity event when all of the ticket profit and raffle money went to a family, sadly experiencing troubles through no fault of their own. A most generous action.

Often ‘One Act’ shows are an excuse for theatre groups to water down the standards. The scripts can be thin and amateurish, the acting ‘barely satisfactory’ and the whole set lit by a single white flood. So it was a pleasant surprise to experience three beautifully written plays, with very different themes, being presented with full professionalism.

The directors are all competent actors, but for Caroline this was her first venture into directing alone. The whole trio showed a huge amount of skill and technique.

For each play, the stage is surrounded by black drapes, so the atmosphere and location relies upon the well-chosen props.

The lighting and sound design is by Phyllis Graham who has provided some most realistic dramatic effects for the wartime play. In the same play, Liz Quigley has provided authentic uniforms and dresses of the First World War era. Great work.

‘Voices in the Rubble’ is a fast-moving, absurdist comedy written by Irish playwright and poet, Darren Donohue, and directed by Lisa Reilly (45 minutes).

After he was invited onto the ‘New Playwrights’ Programme’ at Dublin’s Abbey Theatre in 2010, Darren has been shortlisted for a Hennessy Literary Award three years out of the last four.

The scene is the sitting room of an average house.

     When 30 yrs. old Tony (Adrian Mills) comes home from a hard day at the office, his loving wife, Avril (Mary Murphy) enquires what kind of day he has had; he casually replies that he has ‘screwed’ the secretary. Totally unfazed, Avril, who is seemingly without any morals or conscience, goes on to describe her strange day and how she killed the milkman – or was it the postman?

     As the evening goes by, Avril become aroused by the details of Tony’s midday fun and the couple start to plan a wild romp of a holiday in Europe; however, the loving couple are interrupted by a half-dressed young man, George (Bobby Greaney) – Avril’s toy boy? Then who is the elderly man (Brian O’Donovan) in the flat, who seems to be paying more than a passing interest in Avril.

This is a very funny play. In the beginning you find yourself wondering where this tale is going and just as you think you know, the whole thing swings around and leaves you gasping and grinning as the couple lead their daring, private lives. Well-developed characters with very funny ‘muted’ delivery. Top-notch acting.

‘Over the Top’ highlights the harsh reality of war. It was written by Irish playwright, Rodney Quinn and directed by Katie Galvin (40 minutes).

This play is an extended version of Quinn’s 2005 play. This full version was first performed two years ago in south London.

The scene is a Great War battlefield trench in 1918; but this situation is relevant to any country’s troupes, in any war, at any time.

        Two, twenty-year-old soldiers are sitting in a damp trench waiting for their breakfast to be delivered. Jack (Brian Donohue) who is missing his beloved Maggie (Lisa Whelan) back home in Eire, is wondering why he is fighting for the English. Tommy (Blake Prosser) with his crisp upper-class English accent is determined to make a name for himself as a hero. Sergeant Jones (Liam McDonald), a loud bully, who has become tired of the endless war, breaks the peace. He is delivering two new recruits, both barely 16 yrs. old. ‘Witter’ (Oliver Kaiser) has joined because he does not want to be seen as a coward in the eyes of his girlfriend, Mary (Sofie Riedy-Crofts) or her mother (Charlotte Weber). Young Billy (Matthew Brennan) has left a broken-hearted mother (Jo Hennessey) behind.

     Will any of them see home again?

This is a beautifully constructed script, as it passes back and forward from the trench misery to the warmth of home. The poignant situation highlights the cruelty of war, and the dirty tricks used to get volunteers to fight for the lost cause.

Katie Galvin’s direction is a perfect balance, being powerful and yet not over sentimental. The cast, with the brutal sergeant and the weak helpless youngsters, brought convincing reality to the situation. Even the short cameos by the women ‘back home’ gave depth to the cruelty and the heartbreak war causes. The interaction of the cast was convincing and horrific, with each actor knowing exactly what was expected of them. A wonderfully moving play.

‘W.A.G.’ was written by multi-award winning playwright, Gemma Doorly and directed by Caroline McDonnell. (50 minutes).

Gemma was nominated for an IFTA ‘Best Actress Award’, however, Dooley is probably best known in Ireland for her 10 years in the soap ‘Fair City’.

The scene is an upper-class home, with comfortable furnishings.

        A smart but jaded, middle-aged woman (Rachel Bartlett) pours herself another vodka. The doorbell rings and in comes a smartly dressed woman (Chantelle Bertino-Clarke) about twenty years younger. The older woman thanks the girl for coming to have a chat – a chat about her husband’s infidelity!

     The girlfriend is an airline pilot who has made love to the husband in most cities in Europe. Naturally, the long-suffering wife has numerous questions to ask, and even more comments to this ‘slut’ who has pinched her husband.

     As the belligerent conversation progresses, and with a few more vodkas consumed, the wife mellows. Faced with four alternative actions, which compromise will be found for the two relationships?

For those that lead an innocent life, WAG means ‘wives and girlfriends’.

This play demanded subtlety in the facial expressions, body language and voice tone, with excellent guidance from the director and perfect chemistry between the two ‘lovers’ the result was outstanding. The actors were like tennis players, passing the ball back and forward, sometimes softly and then occasionally giving a good belt to rock the boat. Superb timing.

The good solid cheer at the end of the play showed how successful this wonderful play was. Many congrats.

This set of three plays is well worth going out on a cold night to see, probably the best trio that I have seen in some time. Try to catch them.