Beginnings

Gordon Duffy-McGhie
Oct 6
4 min read

In the second instalment of our Now We Are Forty! celebrations, SIMON PELL – Creator of the Castle Players’ artistic policy and director/designer of 20 summer and

15 winter productions - shares his memories.

Simon, in the grounds of Barnard Castle with his set model.

QUESTION: How did the idea of forming The Castle Players come about?

I first joined the fledgling Castle Players in 1987, which was the year after Helen Brown

famously formed the group during a legendary power-cut and an improvised game of charades by candlelight in The Old Well, Barnard Castle.

1987 was also the year that I journeyed northward to work for Durham Theatre Company on

a 6-month contract. However, due to being introduced to the CPs (and for sundry other reasons) I neglected to return to London when my contract ended and made Barnard Castle my permanent residence.

Prior to this, during the summer seasons of 1985 and 1986, I was employed as a stage

manager and designer of a professional theatre company that specialised in touring outdoor

productions of Shakespeare to National Trust and English Heritage castles and stately homes all over the country. This was an incredible experience (which I developed a strong affinity and taste for), but the productions themselves were second rate and poorly directed – I remember thinking at the time that even I could do a better job.

This thought was foremost in my mind when I was first introduced to the Bowes Museum by

Helen and was awed by its huge potential for site-specific outdoor Shakespearean theatre

performance!

What’s your favourite memory from your time starting up the group?

I don’t know about a favourite memory, but certainly my scariest memory was when

escalating the size of the group from 12 actors performing a pantomimic version of Tom Stoppard’s ‘Fifteen Minute Hamlet’ in small public house gardens, to a full-scale indoor/outdoor promenade production of ‘A Midsummer Night’s Dream’ in the extensive grounds of the museum with a proverbial cast of thousands in 1989.

The most daunting bit was commencing the Dream rehearsals in the September of the

previous year (a full 9 months before D-Day) with only half the cast of 25 characters in place –

fortunately word got out that we were desperate for extra bodies, and an overwhelming response was ultimately generated.

One of my most cherished memories (of many) is the last night of the Dream run when the

full capacity audience stood on the front terrace of the museum to enjoy a spectacular firework display (as they did every night).

This celebration was a testament to the audience’s willingness and their ability to endure

and enjoy a five-act Shakespeare play outdoors (regardless of the weather). It was also a recognition of the awesome contribution made by the volunteer cast, crew, backstage and front stage helpers involved. The whole event was magical.

On that night, I was overwhelmed by a profound sense of relief that we had finally arrived at

the end of an extraordinary first journey – it was time to party!

The die was cast for further spectacular productions at the Bowes Museum and in the castle.

Which production (or role) has meant the most to you, and why?

At the risk of repeating myself, the production that has meant the most to me is A

Midsummer Night’s Dream – not only was it my first CPs summer show in 1989, it was also my last summer show (of 20) in 2013 – this felt like the culmination of a natural life cycle for me as a CPs director; but I have continued to support the CPs in other ways to this day.

How has The Castle Players changed over the years?

For me it has been a huge shame to be denied or lose links to the Bowes Museum and The

Witham (at the latter, of course, there were serious plans in the 90s to build a CP theatre on the land behind the then Yorkshire Bank, which was purchased for a token £1 for this specific purpose).

Have there been any “disasters” or funny mishaps, either on stage or behind the scenes, that you’ll never forget?

We have had many evenings of inclement weather over the years – but the most torrential

episode that I remember was during ‘The Two Gentlemen of Verona’ in 2007 when a performance was nearly washed away.

This, uniquely, resulted in at least half the audience leaving at the interval and resulted in

me sitting on my own on the front row of seats for the second half, soaked to the skin, in support of the cast (it was almost worth catching double pneumonia for!).

The night in question was a memorable combination of potential disaster, humour and stoic

Brit fortitude in the face of adversity - the show went on (and on, and on……!).