Summer production coming soon: The Merchant of Venice!

Hello Networkers!

Rehearsals and preparations are certainly well underway for Network’s summer production – William Shakespeare’s The Merchant of Venice, and it promises to be a fun one.

With six dates and five locations (including beautiful parks and gardens) to choose from, you’d be a fool to miss this one! See the poster below for dates, places and times and then head over to to secure yourself a ticket or two.

If you want to keep up with news, trivia, and the occasional rehearsal snap, you can also follow the MoV Facebook page at

See you all soon!


LNTG presents The Picture of Dorian Gray (or: Fifty Shades of Dorian Gray…)

With only two weeks to go until curtain up on The Picture of Dorian Gray, the more male and less glamorous member of the Network Comms Team sneaked into a rehearsal to see what all the fuss is about.

Putting on The Picture of Dorian Gray is a huge challenge. For a start, so many of us are familiar with Oscar Wilde’s well-loved novel and will go into any production with our own preconceptions. Then there have been the numerous adaptations, starring such luminaries as Bela Lugosi (in a silent, Hungarian version!), Angela Lansbury (Murder, she painted?), Jeremy Brett (as both Dorian and Basil, 16 years apart), John Gielgud and Colin Firth.

So how can an original version be produced which does not betray such a literary classic? That’s what I am here to find out!


Despite the cold weather and cavernous Duke St rehearsal space, which my inside contact (whose identity it would not take Jeremy Brett to figure out) informs me has been lovingly dubbed ‘the fridge’ by the cast, the atmosphere is enthusiastic and the game of Zip Zap Boing one of the most competitive I have seen in a while. The warm-ups give me just enough time to sneak a cup of tea, although I had to indulge in my own game of ‘pass the sell-by date’ with the multiple milk containers, losing repeatedly.

Finally, it’s time to see some of the action and I am instantly impressed by a monologue from Rory, playing Dorian. He is a compelling presence, even in ‘civvies’, and you can easily see why he got this most sought-after of roles.


Another striking aspect of this production is the almost constant presence of the chorus, with the actors switching from individual characters to a menacing group, who comment and threaten as the action unfolds. It makes for a very unsettling and atmospheric scene and the contrast with the fun and games beforehand could not be more marked.

I have a chance to see two more scenes, providing me with a snapshot of both some of the shallow, snobbish society in which Dorian moves and one of the more sinister scenes from the second half. It is excellently done and the play looks to be in a very good place with a fortnight to go.
Apart from the photos, my main aim is to get an interview or two with some of the key folks involved and luckily enough I managed to grab five minutes with both Rory and director Elaine.


This is Rory’s first production with Network and indeed his first out of university and he is only too happy to discuss playing the lead character in what he describes as “one of the greatest stories ever written”.
I start by asking him how much he knew about the character before starting rehearsals and whether he had read the book.
“I hadn’t actually read the story, but I loved the film The League of Extraordinary Gentlemen and I thought he was one of the best things in it,” he explains. “I just think he is an amazing character and, let’s be honest, playing the antagonist is always more fun. You get to be the real driving force behind the plot. What is special about The Picture of Dorian Gray is that Dorian is both the antagonist and the main character. That is a very rare and exciting combination. What’s not to like?”
“Why do you think he is such an enduring character?” I ask.
Rory doesn’t hesitate: “for me he symbolises a life without ambition. He is basically doing what we all crave doing, namely living life to the full in every way. Of course, some of his terrible deeds are definitely taking things to an unhealthy extreme, but I can see the admirable side of the character. Admirable insofar as he decides to make the most of every opportunity. It’s just he turns into a psychotic druggie! In the end, there is a part of all of us that wants to do what he does. After all, you only get one shot at life.”


I am impressed by how passionate he is about the part. This is the easiest interview I have ever given! I ask about what particular challenges he has faced.
“It may sound funny, but probably posture. You’ve probably noticed I am a sloucher!”
“How did you overcome that?”
“Practice! I have to mention my Uncle Daniel here, who is a huge fan of the book. He described Dorian as ‘coming into the room like a waft of perfume’ and that’s something that really helped me when it comes to the social situations in the first half. The key thing was ensuring I got the transformation right, from an awkward young man into the hedonistic party animal he becomes. In the end, he is a monster, because anyone who does exactly what they want and ends up hurting so many people cannot be considered anything else.”
As this is Rory’s first time with LNTG, I ask him about his experience working with us and with the director, Elaine.


“Well, this is actually my first show out of university,” he explains. “I think the general feeling here is a group of people who all really want to get something done. I could gush about the wonderful experience, but I think the main thing is that we are all motivated and passionate and want to produce something special. Elaine has been great in letting me find my own interpretation of the character. She hasn’t been restrictive in any way and I really feel that the Dorian the audience will see on stage comes from me. This is how direction should be: letting the actors find what is right for them and ensuring we all have scope to be creative. For instance, sometimes I will be off dancing in the corner on my own! But Elaine doesn’t tell me off. It’s all part of me and finding Dorian.”

Trying to get the dancing Dorian quickly out of my head, I ask my final question: “why should a potential audience member come and see the show?”
“Because this is one of Oscar Wilde’s greatest works,” he smiles. “There may be a moral message, but the play is uncompromising and unapologetic throughout. Plus it is such a character-driven piece. I think every kind of theatre has its place, but Dorian Gray will be a powerful, hard-hitting drama. Why would you miss it?”
I am really impressed by how committed he is and a lot of that must come from the director, Elaine Stewart. I managed to grab five minutes with her during the break and the first thing I wanted to ask was what drew her to The Picture of Dorian Gray.


“Well, I love dark, Gothic theatre,” she explains. “I also love Oscar Wilde, of course, and one of the big pluses about this adaptation is how it uses the original text from the novel in the play script. It is as authentic as it can be. Another exciting thing for a director was the use of the chorus. It was clear right from the start that we couldn’t have an actual portrait on stage. I mean, how could we age it, right? It would be totally impractical. So we actually have a blank canvas throughout and it is the chorus who act as Dorian’s conscience. They are always there in his mind. It’s also how they move from being simple commentators at the start to actually closing in on him and driving his thoughts and actions by the end.”
I have to admit, it does sound pretty cool! I wonder whether there have been any particular difficulties involved in this particular production.
“The staging was always going to be tricky, but I actually feel that the intimate space of the Lantern is a plus here.”
“How so?”
“Well I think having the audience closer to the action heightens the feeling of paranoia and discomfort we are trying to create. The closer the better to be honest. Oh, and if I could add something else? One other issue was bringing out the homoerotic undertones. It’s not always easy to get that intimate atmosphere with a bunch of straight guys, but we managed it at our rehearsal last weekend and it was amazing! We had a rehearsal with just the men and it was so charged. I think the audience will really be able to invest in these characters. Character development has been tough, but such a fun and rewarding process.”


I ask her what the best aspects of the rehearsal process have been and she is quick to praise the cast.
“They have been so positive and supportive,” she enthuses. “It’s such a great cast to work with and I honestly don’t have a bad word to say about them. We all saw this as a challenge and have striven to overcome it together.”
Finally, I ask her my favourite question about why people should come and see it. For Elaine, it’s a no-brainer.
“This is something totally different, a really dark piece. The subject matter may be difficult, but this is a unique adaptation that is really not to be missed. There is so much subtext going on that the audience are going to be really drawn in and absorbed by the action. I think the play will be both educational and entertaining and something completely original. You will really want to come and see this!”

I thank Elaine and the cast and slink out, but to be honest nobody really notices. I have taken up enough of their director’s valuable time and they are already engrossed in the next scene. It is great to see everyone so passionate and excited and you cannot help but be swept up by it all. This really looks like an excellent production and one you would be a fool to miss! This little taster has really whetted my appetite and I cannot wait to see the finished article.

Who needs Colin Firth?

The Picture of Dorian Gray is on at 7.30 p.m. from Thursday 7th to Saturday 9th April at The Lantern Theatre, 57 Blundell Street, Liverpool, L1 0AJ. Tickets cost £8 (£6 for concessions) and can be purchased at:





Article by Will O’Neill for Liverpool Network Theatre.

Summer play 2016: The Merchant of Venice – production team members wanted

Those who follow our Facebook group might have already seen the announcement that the Network Summer play for 2016 has now been decided: Shakespeare’s Merchant of Venice, to be directed by Lauren Steele.

Audition dates are still to be confirmed, so stay tuned for more news around March. In the meantime, the Merchant of Venice team is seeking some backstage talent:

“Calling all theatre enthusiasts! We need artists, carpenters, drivers, costume experts, make up specialists, Social media wizards and especially budding assistant Directors to help create something wonderful with our latest summer production of Merchant of Venice. If you feel that you can contribute something special to our team, please message us!”

Performance dates will be in mid to late July. If you are interested in being a part of the production team for Network’s summer play 2016, you can send a message via the Facebook page set up for the production or email

Exciting times!



The Picture of Dorian Gray in rehearsal

With rehearsals now in their third week for The Picture of Dorian Gray, the cast are feeling their way into the characters, themes and relationships within Oscar Wilde’s dark tale of a man who trades his soul for eternal youth and beauty.

Below are some impressions of the cast working on the first few scenes of the play (all photos by Rowan Dyer).

Liverpool Network Theatre Group’s “The Picture of Dorian Gray” will be performed at the Lantern Theatre on April 7th, 8th and 9th.


Rehearsal1 Rehearsal2 Rehearsal3 Rehearsal4 Rehearsal5Rehearsal9 Rehearsal8 Rehearsal7 Rehearsal6

Update: The Picture of Dorian Gray

Following our very well-attended audition on Monday 11th, director Elaine says:

“The Picture of Dorian Gray has now been cast. I was very impressed by the high standard of acting during the auditions and had some difficult decisions to make. Thank you to everyone who auditioned and please look out for audition calls for our next production. Thanks Elaine x”

Call for proposals – Summer 2016

More exciting NEWS!

We are now looking for proposals for Network’s summer show in 2016. The deadline for submitting initial proposals is 25th January and any proposals we receive will be reviewed at the committee’s next meeting on the same date (so please get your emails/messages in before 6pm).

Dates and venues are still to be confirmed at this point, but the performances typically take place towards the middle/end of July. Please bear in mind that the chosen show will be performed at several different venues, and will include outdoor performances!

If you do have an idea, then please submit your proposal to, including a few sentences about why you think this play would be a good choice and some initial ideas on staging. Both a director and production manager should be included on the proposal.

If you need any advice or have any questions, please feel free to get in touch before you submit. If you have any ideas for a smaller show outside of our usual April/July/October windows, we will be happy to hear from you. Send us an email and we can discuss your plans.

As we mentioned last time, if you have never directed for us before, the self-proclaimed Wicked Uncle of Network, Andy Kerr, has some entertaining and helpful tips which are embedded in this previous post:

Stay tuned for more details about proposals for the Autumn show, which will complete our line-up for a fun and productive Network-2016!

All the best from your friendly neighbourhood Network Comms team x


Network April 2016 Production: The Picture of Dorian Gray

Liverpool Network Theatre Group is delighted to announce that our next production will be Oscar Wilde’s The Picture of Dorian Gray, adapted by Neil Bartlett, to be staged at the Lantern on 7-9 April 2016 and directed by Elaine Stewart.

Auditions to be held in early January, with exact dates coming very soon. For everyone happier backstage, there will also be opportunities. Watch this space!

The Pals are coming!


With less than two weeks to go until Network’s latest production, The Accrington Pals, Network’s dedicated Comms team, Will and Sandra, managed to catch up with busy director Andy Kerr, who was only too happy to whet our appetites for what seems sure to be another fantastic show.

So, Andy, what made you choose the play?

AK: To be honest, the play chose us. It seemed the perfect reflection of the values of the group and the social content is more relevant than ever. The characters are warm and strong and I feel everyone can relate to them. As soon as I read the synopsis, I felt it was something we simply had to do. And I also felt that we, as a company, were capable of doing it justice.

What has been the most rewarding aspect for you?

AK: The most rewarding aspect for any director is seeing the individual cast members become a genuine company. It happened so quickly with this cast. They are such talented and generous actors. There is no competition for attention (well, almost none – they are actors after all) and the atmosphere has been friendly and fun throughout. Yet at the same time, there has been no sign of false modesty. These are talented actors, who enjoy showing what they can do. It is always a magic moment when you first see the glimpse of what they are capable of. You may then lose sight of it for a rehearsal or two, but gradually it all comes together until you can spend half an hour just watching them with no need to direct anything. In fact, the only problem working with such talented, hard-working, beautiful people is that it will be my fault if it’s crap!

Have there been any particular challenges to overcome?

AK: Probably the short time scale. This isn’t so much a challenge for the actors, as I know they will all put the time in, but more of a headache when it comes to props and costumes and the general logistics of the show. Of course, I am feeling the pressure, but I can count on the support of an excellent team. If there is one thing that does keep me awake at night, though, it would be the time factor.

What can your audience expect and what will they take away from the play?

AK: It’s a topical play, as next year marks the 100th anniversary of the Battle of Somme. The play still feels very current even though the action takes place a century ago. I think everyone will feel the tragedy of the whole generation of lost youth. What makes Pals unique, however, is the focus on a northern mill town and the lives of the women left behind. Of course, we see the male characters at the front as soldiers, but they are no more important than the women, which is refreshing and powerful.

Audiences will shed some tears as they get to know and love the characters and experience their personal tragedies, but in the end not all the women have a grim fate. They are able to work, make decisions and genuinely change society, which had been impossible before. Throw in some Coronation Street-style, northern cobbles humour and you have a genuinely enjoyable and moving piece, which does not seek to be overly worthy. The play is very much a product of when it was written, the early 80s, when the first Thatcher government had just been elected. In the play, the character of Tom symbolises a communitarianism, in contrast to May and her Thatcherist individualism. Tom’s wartime experiences reinforce his belief in the group as an entity and the contribution we can all make to it, where May believes in making your own luck and looking after number one. It is the genius of the writer that ensures that both characters are likeable.

A word on the set and costumes?

AK: The set is fairly minimal and audiences will need to use their imagination. This was a deliberate directorial choice; minimal set means fast scene changes and a rapid pace can be maintained throughout the piece, in keeping with the extremely natural dialogue. There will of course be enough period references for authenticity. So I would describe our production as stylised staging but naturalistic presentation of the subject matter.

You have been a Networker for a long time now, Andy. Could you share some of your highlights?

AK: My Uncle Vanya was boss! Why? Because I did it! Sonia Chapman and I are the unstoppable duo, like the Catholic monarchs of Spain. As for Network today, I am delighted that the workshops have really taken off again. I think a major plus is our incredibly broad age range. Too many amateur theatre groups are either youth clubs or full of older people. We have a mix of generations, at the risk of sounding like an old fart! This bodes well for the future of the company.

I have so many great memories. I remember the Assistant Stage Manager for Uncle Vanya a few years ago saying: “none of them is bad. Usually at least one cast member is, but not one of yours!” He was amazed, but that just sums us up for me.

And of course, we have our annual summer tour of the parks, with a Shakespeare play or a show like this year’s Easy Virtue. I remember when our summer tour first started many years ago. It was a Midsummer Night’s Dream. And of course, I was Andrew Aguecheek in Twelfth Night at Sudley – they had to change all the references from thin to fat! Lastly, I’ll never forget an Ideal Husband in Reynold’s Park in a storm. Robbie O’Neill, who is now a professional actor in London, was in the middle of a speech. We had wrapped the chaise longue in cellophane, to keep it dry. Suddenly, it came loose and he had to deliver his lines accompanied by a 20-foot sale wafting in his face!

Thanks, Andy, and good luck with the show! We can’t wait to see it.