Looking for Current Info About Playhouse Theatre Northampton?
Go to: www.playhousenorthampton.com

Review of What The Butler Saw at the Playhouse Theatre, Northampton

June 09, 2016 | asmallmindatthetheatre.blogspot.com/
What The Butler Saw was my first encounter with the works of Joe Orton, and based on this I very much look forward to seeing more of his work on stage. Frantically insane, saucy and more importantly incredibly funny, this is a wicked little treat of a play. It helps that Masque have created a particularly lively version of it as well on the compact little Playhouse stage. It includes also a few quite lovely performances as well. Although it has to be said that others didn't quite get the best out of some incredibly funny dialogue moments.

Butler is a play that you take an open mind to, as even to this day almost fifty years after is debut the content could be considered fruity and a tad controversial. It does however never feel offensive, even when we have Churchill's appendages, rape, golliwogs and near nudity on offer. Quite a night at the theatre there.

The six strong cast show no inhibitions, especially the two ladies Lisa Shepherd (Geraldine Barclay), Nicky Osborne (Mrs Prentice) who often find themselves in little attire. From the men in the cast Jof Davies (Nicholas Beckett) and Peter Collins (Sargeant Match) also find themselves down to their pants and into dresses for absolute gender equality. Maintaining some balance in the madness, both Michael Graves (Dr Prentice) and Victor Guse (Dr Rance) keep their clothes on.

There are clearly three performers who stood out for me from the cast. Jof was exceptional and at last given a more meaty role to get his talent into after seeing him try to steal scenes with minor roles before. He really was brilliantly entertaining, both as the roguish bell-hop and a rather wonderfully entertaining lady in dress, although even a blind man might have seen through that particular disguise.

The two other star performances came from the ladies of the piece, with Lisa Shepherd once again bringing in an exuberantly entertaining performance. Full of life and comic timing, her magnificent little turn in the wheelchair as the drugs started to kick in a particular highlight. Finally of note was the wonderful Nicky Osborne as the sexually insatiable Mrs Prentice. It was also interesting, having last seen Nicky as Lady Macbeth, to see her return once again with blood on her hands. Maybe an uncomfortable pattern emerging here? There was certainly more of a spot this time though.

Peter Darnell directs with pace on the small stage, keeping everything moving surprisingly well. Even that quite frankly mad scene towards the end still seems to work (broken doors permitting), and praise also for ignoring all health and safety rules with that neat wire rope ladder trick, a quite unexpected surprise.

So a really successful and entertaining performance of an ambitious little play. Full of daring production ideas and a brave cast to take on such bold roles. A really pleasingly funny play well presented, I loved it!

Performance reviewed: Tuesday 31st May/Friday 3rd June, 2016 at the Playhouse Theatre, Northampton. 
What The Butler Saw was performed by the Masque Theatre between Tuesday 21st May and Saturday 4th June, 2016 at the Playhouse Theatre, Northampton.

More Background on ThePlayhouseTheatre.net

ThePlayhouseTheatre.net represents an archived chapter in the story of one of Northampton’s most cherished cultural venues: The Playhouse Theatre, located at 115 Clare Street, Northampton NN1 3JA, in the heart of Northamptonshire. Although the domain now functions largely as a historical snapshot—directing visitors to the theatre’s current website—it preserves a vivid record of the theatre’s programming, membership structure, artistic ambitions, and community role during the mid-2010s.

Situated in Northampton’s historic “boot and shoe” quarter, close to the town centre, the Playhouse Theatre has long stood as a grassroots yet ambitious dramatic hub. For over half a century, it has provided both participants and audiences with hands-on engagement in the dramatic arts, staging six in-house productions per year while also opening its doors to visiting theatre companies and independent performers.

This article offers a comprehensive overview of ThePlayhouseTheatre.net and the institution it documents—exploring the theatre’s history, programming, governance, booking systems, audience culture, membership model, artistic identity, and cultural significance within Northampton and beyond.

Location and Setting: The Boot and Shoe Quarter

Northampton is internationally known for its historical association with leatherworking and footwear manufacturing. The Playhouse Theatre is located in the town’s traditional “boot and shoe” district, an area once central to the industrial identity of the town. Its proximity to the town centre places it within walking distance of shops, restaurants, and other civic venues.

This location is not incidental. Being embedded within a historically industrial quarter reflects the theatre’s community ethos: it is not a grand metropolitan opera house, but rather a neighbourhood stage rooted in local heritage.

The intimate size of the theatre further enhances its appeal. Unlike large regional venues, the Playhouse offers close contact between performers and audience members—an experience frequently cited in reviews of productions staged there.

Origins and Historical Development

The theatre’s own materials reference a history extending more than 56 years. This places its founding in the late 1950s or early 1960s—a period when community theatre movements flourished across the United Kingdom.

The Playhouse emerged as a membership-driven dramatic society rather than a purely commercial enterprise. This structure remains central to its identity. Members actively participate in productions, governance, and theatre operations, distinguishing it from venues that rely exclusively on professional touring companies.

Throughout its history, the theatre has balanced amateur dramatic society traditions with an aspiration toward high production standards. Reviews from regional theatre bloggers and critics have frequently noted the professional polish achieved within the constraints of a small stage.

The Website as Archive (2014–2017)

ThePlayhouseTheatre.net serves as an archival resource documenting the theatre’s activities between approximately 2014 and 2017. It preserves:

• Production listings
• Audition policies
• Membership structures
• Booking procedures
• Reviews and audience commentary
• Promotional materials and posters
• Video trailers for selected productions

The site also transparently informs visitors that it is no longer the primary current website and directs them to the theatre’s updated domain. This transparency reinforces its archival role.

Importantly, the archived content captures a particularly active period in the theatre’s programming history, marked by a notable expansion of performance nights through initiatives such as “Playhouse Extras.”

Programming and Production Philosophy

Six Core Productions Per Year

At its heart, the Playhouse stages six major in-house productions annually. These productions range across genres:

• Classic British farce
• Contemporary drama
• Comedy
• Character-driven ensemble pieces
• Literary adaptations

This diversity reflects an intention to appeal to varied audience demographics while challenging performers with stylistic range.

Visiting Companies and Collaborative Work

In addition to its in-house shows, the theatre regularly hosts external groups. Examples documented on the archived site include:

• Masque Theatre
• Spears Independent Theatre
• White Cobra

This openness to collaboration increases performance nights and broadens the artistic palette.

“Playhouse Extras”

Beginning in 2016, the theatre introduced “Playhouse Extras,” a program that reportedly more than doubled the 36 annual performance nights typically generated by the six core productions.

This initiative signals:

• Strategic expansion of programming
• Efforts to increase foot traffic
• Diversification beyond traditional stage plays
• Strengthened community engagement

By expanding usage of the space, the theatre positioned itself as more than a six-show seasonal venue—it became an active year-round cultural space.

Notable Productions (2016–2017 Season Highlights)

What the Butler Saw (2016)

A production of Joe Orton’s provocative farce marked a bold programming choice. Orton’s play, known for its sexual irreverence and satirical edge, requires fearless casting and precise timing.

Contemporary blog reviews of the production praised:

• Energetic performances
• Strong comedic timing
• Commitment from cast members
• Effective direction despite the compact stage

The decision to stage Orton reflects artistic ambition. Even decades after its premiere, the play’s content remains edgy, indicating that the Playhouse does not shy away from controversial material.

The Killing of Sister George

Frank Marcus’s dark comedy explores fame, control, and personal disintegration. By selecting this work, the theatre demonstrated a willingness to explore psychological complexity and mature themes.

Mindgame (Anthony Horowitz)

A psychological thriller written by the well-known novelist and screenwriter added suspense and genre variety to the season.

Steel Magnolias (Robert Harling)

The inclusion of Steel Magnolias highlights the theatre’s sensitivity to audience appeal. This beloved ensemble piece balances humour and pathos, offering strong roles—particularly for female actors—and broad community draw.

The History Boys (Alan Bennett)

Alan Bennett’s intellectual ensemble drama presents a significant undertaking for any company. It requires a strong male ensemble, precise pacing, and intellectual nuance.

Programming Bennett signals confidence in both the acting pool and audience sophistication.

Membership Model: Community at the Core

The Playhouse Theatre operates on a membership-based model that underpins its sustainability.

Acting Membership

• Annual fee (archived rate): £20
• Required for regular participation in productions
• Includes insurance coverage
• Includes ticket discounts

A one-off acting membership option was also available for those participating in a single production.

Non-Acting Membership

• Annual fee: £10 (£20 per couple)
• Ticket discount benefits
• Higher-tier Patron and Vice President options provided unlimited access to annual productions

This structure reflects a hybrid model combining:

• Community theatre
• Subscription support
• Volunteer-driven operations

Such models are common in UK amateur dramatic societies but increasingly rare in commercial theatre.

Audition Policy and Inclusivity

The theatre’s audition policy explicitly states:

• Auditions are open to all.
• Roles are not pre-allocated.
• Directors retain final casting authority.
• Paid membership is required for participation.

This open-audition policy supports:

• Accessibility
• Community integration
• Development of new talent

The archived pages also show specific audition notices for productions such as Deckchairs and Relative Confusion, demonstrating active recruitment and transparency.

Booking System and Audience Experience

The theatre adopted an online booking system integrated with PayPal—forward-thinking for a small venue during the mid-2010s.

Booking methods included:

• Online seat selection
• Telephone reservation
• Email booking
• Cash payment at box office

The theatre’s communication style emphasizes friendliness and flexibility, but also practical constraints (e.g., no credit card processing at the physical box office).

The bar opened at 7:00pm on performance nights—an important social element of the theatre-going experience.

Critical Reception and Media Presence

Though not a major metropolitan venue, productions were reviewed by:

• Regional theatre bloggers
• Local arts commentators
• Audience reviewers

Reviews frequently highlighted:

• Strong ensemble work
• Fearlessness in staging risqué material
• Effective direction on a small stage
• Commitment from volunteer actors

The theatre’s programming choices also connect it to the broader British theatrical canon through works by:

• Joe Orton
• Alan Bennett
• Robert Harling
• Anthony Horowitz
• Alan Ayckbourn

This alignment situates the Playhouse within the tradition of British repertory and dramatic society performance.

Cultural and Social Significance

Education in the Dramatic Arts

The theatre explicitly frames itself as offering education in dramatic arts—both for performers and audiences.

Through:

• Regular productions
• Audition access
• Membership engagement
• Hosting visiting groups

the Playhouse functions as a cultural incubator.

Community Cohesion

Community theatres serve as civic glue. Participants range from experienced actors to newcomers making second stage appearances.

The venue provides:

• Intergenerational collaboration
• Social engagement
• Skill development
• Creative outlet

Regional Cultural Infrastructure

Northampton is not London’s West End. In towns outside major metropolitan centres, venues like the Playhouse sustain local culture and ensure that theatre remains accessible.

Without such institutions, residents would rely on touring productions or travel to larger cities.

Popularity and Attendance

The archived content includes anecdotal commentary describing improved attendance following increased online visibility and marketing efforts.

Expanded programming through “Playhouse Extras” suggests growth in demand.

While precise attendance numbers are not publicly documented, evidence of:

• Online booking adoption
• Sold-out nights
• Expanded season programming

indicates sustained audience support.

Leadership and Governance

Though the archived site does not list detailed governance structures, the membership model implies:

• Committee-based leadership
• Volunteer administration
• Director-led production teams

The collaborative structure is typical of long-standing UK amateur theatre organizations.

Artistic Identity

The Playhouse Theatre’s identity may be summarized through several key traits:

• Intimate stage, close audience engagement
• Bold programming choices
• Volunteer-driven excellence
• Open auditions and community access
• Balanced mix of comedy, drama, and classic works
• Commitment to regular annual programming

Its willingness to stage Orton’s controversial farce alongside sentimental ensemble works and psychological thrillers reveals flexibility and courage.

Digital Evolution and Continuity

The archived website now directs visitors to the theatre’s current domain. This continuity demonstrates:

• Institutional resilience
• Adaptation to digital change
• Preservation of historical record

By maintaining archived content, the theatre preserves its narrative and legacy.

A Stage with Staying Power

ThePlayhouseTheatre.net offers more than nostalgia—it documents a thriving period in the life of a deeply rooted Northampton cultural institution.

For over five decades, the Playhouse Theatre has:

• Provided six major productions annually
• Hosted visiting companies
• Expanded programming through “Playhouse Extras”
• Supported open auditions
• Sustained a membership-based model
• Delivered intimate and ambitious performances

In the broader landscape of UK regional theatre, the Playhouse represents the enduring vitality of community-driven drama. It stands as a testament to the power of small stages to deliver large cultural impact.