Performers:

Julia Faulkner

Clare Aster

Robin Lustig

Siobhan Ward

Maxine Howard

Kate Carthy

Richard de Lisle

Ian Dixon Potter

Natasha Killam

Louise Morell

Marissa Joseph

Albert Clack

Ilaria Ciardelli

Thomasin Lockwood

Peter Dewhurst

Samantha Kamras

Tristan Rogers

Lai-Si Lassalle

Gianbruno Spena

Katrina Allen

Duncan Mason

Nicholas Koy Santillo

Peter Collington

Catherine Dunne

Zara Banks

Will Mytum

Emily Rose Ambler

Barry Clarke

Mark Shaer

Tom Everatt

John McLear

Ben Harper

Rachel August

Martyn Stanbridge

Jessica Hawksley

Yuna Shin

Dan Maclane

Eden Ford

Mike Anfield

Elliot Hadley

Michael Matovski

Ben Scarles

Hugh John

Alyssa Fishwick

Jon McKenna

Gianbruno Spena

Neil Summerville

Juliet Grey

Chris Leveaux

Deborah Sadler

Jack Blackburn

Writers:

Ian Dixon Potter

Robert Pope

 

 

 

 

Directors:

Linda Miller

Courtney Larkin

Ian Dixon Potter

 

Stage management

Eleanor Webber

Fiona Mckeon

Hannah Ballard

Allie Hunter

Li Vinall

Ricky McFadden

Ian Dixon Potter

 

Set design:

Marcio Santarosa

Ian Dixon Potter

Hanna Wilkinson

Peter Foster

 

Graphic Design:

Rhys Jenkins

Ian Dixon Potter

Manami & Kenji Fukuda

 

Social Media/Marketing

Niger Asije

 

Sound and lighting design:

Janet A. Cantrill

Ricky Mcfadden

Courtney Larkin

Connor Moody

 

Other crew

Samual Harman

Tyrian Purple

Nathan Alexander

Andrea Webber

Emily Keeble

 

Choreagraphy:

Chris Cumming

Alan Wallace

 

Makeup Artist

Jen Wakeford

 

Composers:

Johnathan Palmer

Nick Barstow

Neil Thompson

Videographer:

Howard White

 

Artistic director:

Ian Dixon Potter

Golden Age Theatre Company is dedicated to creating theatre which explores 'big ideas' in both historical and contemporary settings.

'The Dead Shepherd' explores the imagined friendship between England’s greatest Elizabethan playwrights and the impact of Christopher Marlowe’s assassination on William Shakespeare’s life and work.

'The School of Light' explores the conflict between reason and superstition, the corrosive and manipulative power of the shaman, the influence of the unconscious mind and our capacity for self delusion.

'Good King Richard' explores the nature of power and statesmanship, the value of the hereditary rights of Kings, the relationship between morality and politics and the true story behind the rise and fall of Richard III.

'Boy Stroke Girl' explores the extent to which we are forced to conform to narrow stereotypes, to label and pigeon-hole ourselves. Are these labels a form of straight jacket, by adapting to them do we compromise our true nature and can we challenge the ultimate label of gender?  

Good King Richard

by Ian Dixon Potter

'The Resurrectionist' explores the conflict between radical science and the values of society and we ask the question, what if Frankenstein hadn’t rejected his creation?

'Tiresia' explores the impact of an extraordinary medical breakthrough on questions of identity, longevity and sexuality. A young artist, apparently recovering from a serious accident, experiences a unique transformation which challenges conventional notions of memory, personality and even the process of evolution.

'The Test' explores the nature of consciousness and provides an unique perspective on the character of humanity. A scientist uses the 'Turing Test' to determine whether an artificial intelligence is truly conscious. But who is really being tested? 

Hiding Heidi explores the dire personal consequences of Britain's departure from the European Union for one European woman. Made redundant as a consequence of stringent post-Brexit employment regulations and threatened with immediate deportation, Heidi seeks refuge with a deeply divided English family, seething with resentment and recrimination after the 2016 referendum. Set in 2020, this dystopian satire presents a vision of a backwards looking, post European, English society riddled with xenophobia, parochialism and paranoia.

In the closing months of the second world war the Nazis were determined to exterminate all remaining prisoners in their infamous concentration camps. 
In a race against time, Swedish aristocrat, Count Bernadotte has to 'deal with the devil' when he enters into negotiation with SS leader Heinrich Himmler in a last minute attempt to liberate thousands of prisoners and take them to safety in Sweden. His experience demonstrates the truth of the old adage that the only thing necessary for evil to triumph is that good men do nothing.

This modern day theatrical adaptation explores the belief that love can transcend death. Earnshaw, a Yorkshire sheep farmer adopts a Romanian immigrant, giving him the name 'Heathcliff'. The boy soon becomes Earnshaw's favourite much to the dismay of the farmer's son Hindley. Heathcliff develops a secret passion for Earnshaw's daughter Catherine but when the old farmer dies, Heathcliff's fortunes change for the worse.

A monumental ego and a self seeking ruthlessness have propelled Grossman to the top of his profession. An 'alpha male' in every sense, Grossman surrounds himself with flatterers and sycophants who fear and loathe him. Knowing his reputation for preying on young female employees, Caroline keeps her distance but an opportunity to advance her career propels her into Grossman's lascivious clutches.

'LITTLE ENGLAND' expands upon the theme of an earlier Golden Age Theatre company production, 'Hiding Heidi'. Set in the same household a few years later, 'Little England' anticipates the 'state of the nation' in 2024, exploring the broader social and political consequences of Brexit. Britain has become an impoverished and deeply divided nation, severely diminished on the international stage and policed by the powerful and sinister 'Unregistered & Illegal Aliens Enforcement Office'.

Given the chance, would you choose to be immortal? To expand your mind beyond the boundaries of human experience?

What would it feel like to upload your consciousness to the cloud? Would you yearn for interaction with the physical world?

Transhuman explores issues of mortality, identity and personality - challenging our notions of what it means to be human.

A decade after leaving the European Union, the United Kingdom is on the brink of chaos - with food rationing, labour shortages and no end in sight to a nine year state of emergency.

In contrast, Scotland (now a separate republic) is thriving after being granted EU membership.

In Westminster, an extreme right wing Tory government have turned what remains of the UK into a regulation free tax haven, a playground for the filthy rich.  Appalled by these polices and emboldened by the example of Scotland, liberal minded, pro-European Londoners vote for a Mayor who is campaigning for London to become an independent City State and ultimately to re-join the EU.

The year is 2024. A dark cloud hangs over a broken and vastly impoverished nation, its influence and standing in the world severely diminished. What remains of the United Kingdom is isolated from its neighbours, the union with Scotland has collapsed and war had broken out across the heavily fortified Irish border. Society is riven with division and conflict, creating an atmosphere of enmity and distrust. One half of the population despises and derides the other half. The authority of the populist government has been fatally undermined by their inept and short-sighted handling of both the coronavirus pandemic and the nation's chaotic and destructive departure from the European Union. Against this background and against all the odds, Dorothy has finally found a new carer.

 

Two worlds collide when self made millionaire Trevor, owner of the third largest chain of tanning boutiques in East Surrey, committed Tory and card carrying Brexiteer, suddenly finds himself at odds with a retired academic, the cosmopolitan and liberal minded Ewan. Although at first a trivial dispute, Trevor resorts to unusual tactics and matters start to escalate...

In the wake of the 'Black Lives Matter' campaign, positive discrimination has elevated people from formerly under-represented groups into positions of power and responsibility. Most of us accept that for too long able bodied white men have had an unfair advantage but not everyone agrees with this policy.

Iago, an experienced soldier passed over for promotion in favour of Cassius, wreaks dreadful revenge on his commanding officer Colonel Othello.

Carla, one of that rare breed of women, who harbours a powerful aversion for children, is hoping to save her old friend Roger from being drawn into the clutches of Sue, a woman who desperately wants to 'start a family' (as she puts it).

For most of his adult life Roger was equally unenthusiastic about the prospect of fatherhood but has he now changed his mind? They get together at a dinner party held by Ann, herself prematurely aged by the rigours of parenthood and struggling to control her unruly and malevolent children whilst being constantly reminded by Carla of the glittering career she was forced to give up.

The battle lines are drawn.

History is always written by the victor.  After Henry Tudor defeated Richard III at the battle of Bosworth, Tudor historians created the elaborate fiction of a deformed usurper who schemed and murdered his way onto the English throne.  But who was the real Richard III? 

 Drawing on contemporary sources, unsullied by Tudor propaganda,

‘I, Richard’ dramatises the true events which propelled Richard onto the throne of England and two years later, led to his downfall. 

 This is a tale of murder, betrayal, rebellion, revenge and political intrigue, starting with the drowning of the Duke of Clarence in a butt of Malmsey and ending on the eve of the Battle of Bosworth.

 A century after Richard’s death a celebrated play was written, based on the testimony of his greatest enemy, Cardinal John Morton.  Over four centuries later, Richard himself finally sets the record straight.

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