Epsom Choral Society again presents its ever-popular annual Christmas Concert on Saturday 21st December at 7:30pm at St Martin’s Church in Epsom.

Always a highlight of the festive season, this year’s concert promises to be a joyful celebration filled with music, readings, and plenty of audience participation.

The choir is delighted to welcome back Connaught Brass, one of the UK’s leading brass ensembles, known for their vibrant performances across the UK and Europe. Together, they will bring the true spirit of Christmas alive through stirring instrumental pieces and traditional favourites.

This year’s programme features a variety of carols and Christmas songs performed by the choir, accompanied by Marion Lea on the piano and Ben Lewis-Smith on the organ, as well as seasonal brass arrangements and uplifting Christmas readings. As always, the audience will also have the opportunity to join in singing much-loved traditional carols, filling the church with the warmth and joy of the season.

In keeping with the Christmas spirit of giving, there will be an exit collection in aid of the charity Cardiac Risk in the Young (CRY). CRY works to reduce the frequency of young sudden cardiac deaths through vital awareness, screening, and research, making this a particularly meaningful way to support those in need during the holiday season.

Tickets:

• £20 per person
• Half price (£10) for under-25s

Tickets, which include a free glass of wine and a free programme with the words of the carols, can be bought online at:
https://www.ticketsource.co.uk/epsom-choral-society/t-ojrzldn
or at the door.

The vibrant Ukrainian community in Epsom and Ewell and surrounding areas will celebrate Christmas Day for the second year on 25th December. This change was formalized when President Volodymyr Zelenskyy signed a law on July 28, 2023, moving the official Christmas holiday from January 7 to December 25.

This decision aligned with earlier moves by major Ukrainian churches. The Ukrainian Greek Catholic Church in February 2023 announced its plan to switch to the Revised Julian calendar followed by The Orthodox Church of Ukraine on May 24, 2023.

The shift to December 25 reflects Ukraine’s efforts to distance itself from Russian traditions and strengthen its integration with Western practices. Previously, Ukraine observed Christmas on January 7, following the Julian calendar, a tradition shared with the Russian Orthodox Church. The move to December 25 aligns Ukraine’s Christmas celebrations with those of most Western countries, symbolizing a step toward greater cultural independence.

The public are welcome to join Ukrainians, their hosts and supporters at Epsom Methodist Church on Ashley Road on Saturday 21st December for a special evening of music from wonderful Ukrainian musicians and singers. Entry is free and no reservations required.

A social event starts at 5pm and the music commences at 6pm concluding about 7.15. Entry is free and a leaving collection is devoted to the musicians whose livelihoods in Ukraine have been cut by Putin’s war.

You will enjoy a pianist, a violinist, a soprano, poetry, a brass ensemble, a bandura player (a traditional Ukrainian instrument) and a local Ukraine refugee choir in a packed and varied programme.

The event is organised by the charity behind The Epsom Jazz Club and supported by Epsom based Surrey Stands With Ukraine and the Epsom and Ewell Refugee Network.

Lionel Blackman, the organiser said “In one way it is a sad event as it is the tenth Ukrainian Music evening held in Epsom since the Russian invasion in February 2022, which reminds us how long this horrible war has been going on. The music can help take minds away from the tragedies in their homeland.”

All are welcome. If you do come you may if you wish bring and share a plate of some finger buffet food. There is no parking at the Church and you should leave plenty of time for travel as roads and rail will be busy.

There will also be time for you to get to Epsom Choral Society’s Christmas Concert at St Martin’s Church, Church Street, Epsom that starts at 7.30pm.

Full details of the Epsom Choral Society concert HERE

Creative Media students from North East Surrey College of Technology (Nescot) were joined by their tutors, family and friends for the premiere of their short film, ‘The Watching’ which was screened at Epsom Picturehouse last week.

The Watching’ was filmed on location in the South Downs in November by Nescot’s Level 4 and HND Creative Media students as part of their domestic filming project. Written by and starring former student, Charlie McCarthy, ‘The Watching’, is a psychological drama, exploring themes of identity, state control and the human cost of forgetting, set against the desolate beauty of an isolated coastline.

Louise Gaskin, Head of Curriculum for Creative Industries at Nescot said, “A huge well done to our cast and crew. We are so proud of their efforts and hard work on this project which has resulted in, I think, one of the best films we’ve made as a department. Thank you to Epsom Picturehouse and Satisfied Eye International Film Festival for supporting our students, we were thrilled to be able to showcase our students’ film on the big screen.”

Abigail Partington-Moran, Creative Media tutor at Nescot added, “The students have worked really hard on this filming project and enjoyed themselves too. They’ve taken the early starts, late nights, cold weather and countless unit moves all in their stride. The project has given them the real-world experience of working on set, and alongside the technical film-making skills, they’ve also learnt team work, problem-solving and time management skills.”

After the film screening, key cast and crew members involved in the filming took to the stage for a Q&A session with Creative Media tutor demonstrator, Alex Marshall. They included, former student, Charlie McCarthy, Script Writer and Actor, and Sam Gower, Actor; HND student, Hannah Lealan, Producer; Level 4 student Frankie Hamley and HND student Nathan Elford, Directors and Level 4 student, Amani McKenzie, Script Supervisor.

Former student Charlie was part of Nescot’s Gold Medal winning Creative Media team at WorldSkills UK 2023. He said his inspiration for the script was the filming location, “I liked the idea of writing something satirical with reference to the beach. Everyone involved was brilliant and so dedicated all of the time. We had lots of fun making this film and I do hope audiences enjoy it.”

HND student, Nathan, who had the role of Director along with Level 4 student Frankie said, “We all worked really well together, there were no arguments which was great! Both Frankie and I collaborated to bring together the visual aspects of the film. The whole production was very professional. The experience has given me an idea of the job role I’d like to get into.”

“Even though it was stressful at times, it was good stress and taught us how to problem-solve. We have learnt a lot from this whole production. It has made us ready for the film-making industry,” added Frankie.

HND student, Hannah who had the role of Producer said, “We were essentially two different classes, working together. We turned a challenge from never having worked with someone before into an opportunity to develop, work and learn from each other. We had lots of fun on set between takes which made the experience enjoyable.”

Level 4 student Amani explained that as part of his role as Script Supervisor, he had to ensure there was continuity through the whole production from props to the actor’s lines, to make sure everything ran smoothly. “It’s been an amazing experience and has prepared us for handling industry-related situations. We are ready!” he said.

Nescot Creative Media alumnus and industry professional, Luke James was present for the screening. Addressing the students, he reminisced about working on a similar filming project nine years ago when he was a student at Nescot and offered them key advice. He said, “Filmmaking is a labour of love and there are endless opportunities in this industry. The opportunity to make something like this film is just so valuable, and you may not feel it now, but you should all be extremely proud of yourselves.”

‘The Watching’ has been entered into the Student Short (UK) category for the 2025 Satisfied Eye International Film Festival

Nescot’s Level 4 and HND Creative Media students on location for the filming of ‘The Watching’. Credit NESCOT

Epsom Chamber Choir was delighted to welcome The Worshipful The Mayor of Epsom and Ewell, Councillor Steve Bridger, and the Mayoress, Mrs. Carol Bridger, to their annual Christmas concert at St Martin’s Church on Saturday, 14th December.

Starting at a family-friendly 6 pm and lasting just an hour, the choir’s programme, devised by conductor Jack Apperley, packed in all the elements expected at this time of the year. Inevitably, there was some Rutter – his arrangement of the Sans Day Carol – and audience carols including O come, all ye faithful with the Willcocks descant. The choir also sang newer music chosen to feature women composers, including Kerensa Briggs’ increasingly well-known A tender shoot.

Ralph Vaughan Williams, a composer closely associated with our local area, was represented by his popular Fantasia on Christmas Carols, based on folk tunes, with soloists from the choir.

The concert closed with a group of lighter items, including a long-time choir favourite, Peter Gritton’s close-harmony version of Have Yourself a Merry Little Christmas and a jazzy arrangement of Rudolph, the Red-Nosed Reindeer.

The Epsom and St Helier Hospitals Charity supports patients, their families, and staff at our local hospitals. We were pleased to offer them the opportunity to take a retiring collection after the concert which raised £413.94

Roger Miller

Image: Jack Apperley with Molly Simpson from the hospital charity with the Mayor and Mayoress of Epsom and Ewell

Surrey announces world’s first AI model for near-instant image creation on consumer-grade hardware 

A groundbreaking AI model that creates images as the user types, using only modest and affordable hardware, has been announced by the Surrey Institute for People-Centred Artificial Intelligence (PAI) at the University of Surrey.  

The model, NitroFusion, represents a world first and has been made open source by its developers – SketchX, a lab within PAI – a move that fundamentally transforms access to AI-enabled image creation models for creative professionals. 

Professor Yi-Zhe SonG, Director of SketchX and Co-Director of PAI, said: 

“NitroFusion represents a paradigm shift in making AI accessible to everyone, eliminating the need for large compute resources and the long waiting times between prompt and result that are common with most image generation platforms.”  

Typically, similar technology is available only to corporate giants with vast computing resources. However, NitroFusion runs on a single consumer-grade graphics card – marking a decisive step forward in bringing advanced AI capabilities to individual creators, small studios, and educational institutions. The almost instant creation of images allows rapid artistic iterations and greater control over the generated imagery.  

Dar-Yen Chen, the PhD researcher who helped to develop the project at PAI, said:  

“NitroFusion leverages a novel dynamic adversarial framework that works like a panel of specialised art critics, each evaluating different aspects of the generated image to ensure high quality in a single step. The system’s flexible architecture allows users to optionally use between one to four refinement steps, providing direct control over the balance between generation speed and image quality.” 

Professor SonG added: 

“With NitroFusion, we’re not just releasing another image generation model – we’re pioneering an entirely new approach which democratises AI interaction. 

“Following our DemoFusion release last year, which provided a new way to upscale AI-generated images, this innovation further establishes our position at the forefront of making powerful AI technology accessible to all.” 

This breakthrough delivers multiple leaps for the users and industry: 

• Instant image generation that responds as users type – a first in the field – enabling rapid iteration, greater control and better experimentation 

• Improved sustainability through greatly reduced energy consumption 

• Consumer-grade affordable hardware requirements (e.g. a single high-performance GPU) that mean individuals and small studios can create imagery affordably 

• Open-source availability enables global innovation, adaptation and variations 

• No cloud dependencies or subscription fees. 

Professor Adrian Hilton, Director of the Institute for People-Centred AI at the University of Surrey, said: 

“We believe we’re the first in the world to achieve interactive image generation at this scale and efficiency. This opens up access to state-of-the-art AI for image generation and is just the beginning of our commitment to democratising creative AI tools. Our Institute will continue to develop open-source, groundbreaking technologies that put professional-grade AI capabilities into the hands of creators everywhere.  

“We’re particularly proud of the great work that our SketchX Lab, creating new concepts and advancing the science of generative AI. Our research is focused on ensuring that the future of creative AI technology is inclusive, responsible and accessible to all, and we’re keen to continue to work with organisations that share this ethos.”  

The technology is available immediately through https://chendaryen.github.io/NitroFusion.github.io/, with comprehensive documentation and community support resources. 

The Epsom Symphony Orchestra, a cherished fixture in the town’s cultural landscape, has been delighting audiences since its founding in 1951. Over its decades-long history, the orchestra has shared the stage with numerous esteemed soloists, including pianists Phyllis Sellick, Eileen Joyce, and Semprini, clarinettist Gervase de Peyer, and, more recently, the internationally acclaimed pianist Benjamin Grosvenor.

Currently under the direction of its long-serving musical director Darrell Davison, the orchestra performs four concerts annually at the Epsom Playhouse. Mr. Davison, who has led the orchestra since 1981, brings an impressive musical pedigree to the role. A scholar of both Charterhouse and St Catherine’s College, Cambridge, Davison began his career as the principal cellist of the Ulster Orchestra before transitioning to conducting. A winner of the Sir John Barbirolli Conducting Competition in 1979 and a prize winner at the inaugural Leeds Conducting Competition in 1984, Davison has conducted major ensembles across England, including all four London orchestras, and has appeared at venues such as the Royal Festival Hall.

The Epsom Symphony Orchestra comprises a blend of professional musicians and dedicated amateurs, creating a vibrant and inclusive musical community. Among its members is leader Julia Burkert, a German-born violinist who studied on scholarship in Canada and Scotland before establishing a successful freelance career in London. The orchestra’s ethos of collaboration and shared passion for music resonates strongly with its members, many of whom describe it as a “musical family.”

The orchestra recently performed its annual Christmas concert to a packed audience at the Playhouse. The festive program featured interactive elements that encouraged audience participation, adding to the warm and lively atmosphere. This year’s Christmas concert continued a tradition of welcoming celebrity narrators for musical pantomimes, with past guests including Johnny Morris, Wayne Sleep, and Lionel Blair.

Looking ahead, the orchestra’s next concert on 23rd March promises a compelling program of classical masterworks. Highlights include Tchaikovsky’s Romeo and Juliet Overture, Rachmaninov’s Rhapsody on a Theme of Paganini with Cypriot pianist Christos Fountos as the soloist, and Shostakovich’s emotionally charged Fifth Symphony. Mr. Fountos, born in Nicosia in 1997, began his piano studies at the age of five and made his orchestral debut at 17 with the Cyprus Symphony Orchestra.

The orchestra’s commitment to nurturing local talent and delivering high-quality performances continues to enrich Epsom’s cultural life. It is also actively seeking new players of a good standard to join its ranks, ensuring its legacy endures for years to come. For more information, prospective musicians and concertgoers are encouraged to visit the orchestra’s website. http://www.epsomsymphony.co.uk/

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Epsom Playhouse is set to welcome one of comedy’s most beloved figures, Lucy Porter, on 18th January 2025, as part of her nationwide tour with the brand-new show No Regrets. For Lucy, this performance will be more than just a stop on her tour—it’s a nostalgic homecoming.

Lucy, who grew up in nearby Croydon and Wallington, has fond memories of Epsom. “Epsom was the place we went for a fancy day out—it seemed so much posher than anywhere else nearby,” she reminisces. “I used to hang out at the Ashley Centre, which is right next to the theatre. I’ll relive my youth by putting on some baggy jeans and Kickers, hanging around and terrorising the locals!”

Reflecting on her formative years, Lucy recalls special occasions at the Berni Inn at Tattenham Corner, where she developed her love of prawn cocktails, and visits to the Playhouse itself as a young fan. “I never dreamed that one day I’d get to perform there myself,” she says.

A Hilarious Exploration of Regret

In No Regrets, Lucy takes audiences on a journey through her most embarrassing mistakes and missteps, from disastrous dates and professional mishaps to parenting fails and ruined friendships. With her trademark wit, she examines the nature of regret, guilt, and shame—topics she knows all too well as a self-confessed middle-class, middle-aged ex-Catholic.

“It’s not all doom and gloom,” Lucy promises. “Regrets can also be inspiring. You can use them to change your ways. This show is about learning to laugh at the past and maybe using it to build a better future.”

Lucy’s comedic reflections are infused with sharp social commentary. In the show, she explores collective regrets, such as not maintaining the work-life balance we rediscovered during lockdown or failing to realise clapping for the NHS wasn’t enough to sustain it.

From Epsom to Stardom

Lucy Porter’s career spans acting, writing, and comedy. A familiar face on television, she has appeared on QI, Mock the Week, Have I Got News for You, and Would I Lie to You. Her stage credits include One Flew Over the Cuckoo’s Nest and even a stint on Eastenders. A passionate quizzer, Lucy co-hosts the hit podcast Fingers on Buzzers with Jenny Ryan (The Vixen from The Chase), and she’s a former Celebrity Mastermind Champion of Champions.

Her dulcet tones are regularly heard on BBC Radio 4, where she contributes to shows like The News Quiz and Just a Minute.

Don’t Miss Out

For those eager to catch Lucy’s laugh-out-loud performance and hear her candid confessions, tickets are available now at www.boundandgaggedcomedy.com.

Lucy’s final word on her return to Epsom? “I’m so excited to come back and share this show with a place that meant so much to me growing up. I hope everyone brings their prawn cocktails!”

I will never forget the first time I heard Verdi’s Requiem.  That crashing wall of sound that was the Dies Irae filled me with fear and awe.  It seemed as if the mouth of hell had been opened and nothing could stop the all-consuming fire.  And here on offer from Epsom Choral Society is this mighty work, accompanied by only five instruments.  Would it work?  I couldn’t wait to find out.

The choir started off solemnly setting the scene.  Their warm-hearted singing incorporated a range of colours – from a luminous ‘et lux perpetua’ to a firmness of purpose in ‘te decet hymnus’.  The four soloists also made an impressive appearance with their fugal ‘Kyrie’.

Then came the ‘Dies Irae’.  Such was the spirit of the choir as they hurled their phrases at us that it was hard to believe there were not twice the number of singers on stage. This was fearless and exciting singing.  With alternating timpani and bass drum replicating the original scoring, we were wholly immersed in fire and brimstone. 

In addition to the high octane ‘Dies Irae’, the choir is given other saner but even more challenging fare, such as the fugue for 2 choirs in ‘Sanctus’.  Here, ECS was nimble and assured, keeping the texture light, transparent and a joy to listen to.  The concluding movement ‘Libera me’ is a balancing companion to the ‘Sanctus’, demanding equally tight control to prevent any section from charging off the rails.  Such hair raising moments showed the true mettle of ECS in their ability to conquer details, keep a clear head and ride the storm.

What a fabulous quartet of fine young soloists. All performed magnificently and immeasurably added to the enjoyment of the evening.  There were simply too many superlative moments, the following being a cruelly curtailed list.

Soprano Elisabeth Findon‘s impassioned singing during the concluding ‘Libera me’ was a highlight of the evening.  Her high Bb near the end – a true pianississimo (pppp) – floated above a muted chorus;  it was translucent and sublime and a moment to remember.   ‘Quid sum miser’ was exquisitely sung by mezzo Judy Louie Brown.  It was accompanied by the marimba – an unexpectedly successful substitute for solo bassoon in the original score, and especially notable this evening for both percussionists duetting on the one instrument!

John Findon is a commanding tenor. He was majestic in the opening of the ‘Kyrie’, and tenderly sensuous in ‘Qui Mariam’.  Mark Nathan‘s cantabile bass solo ‘Voca me’ showed off Verdi’s song-writing skill at its most natural and beautiful.  And whenever the four of them joined forces to sing as an ensemble, at times a cappella, they always added colour, sparkle and emotion to the drama.  I came out from the concert knowing that the haunting ‘Lacrymosa’ will be my Ohrwurm for weeks to come.

Verdi’s Requiem is universally adored.  That this wonderful work can be accessible to local choirs with smaller forces at their disposal is thanks to Berlin musician, Michael Betzner-Brandt, who has miraculously reduced the massed orchestral requirements to an ingenious chamber ensemble of piano, horn, double bass, marimba (plus big bass drum) and timpani.  Yes, there are moments that are hard to replicate, such as the antiphonal trumpets in the ‘Tuba mirum’, but they are a very small price to pay for what has been gained.

Lynda Chang

Related reporr:

Epsom born baritone to bring requiem to life

The Royal Military Academy Sandhurst has seen a lot of famous faces over the years. Several members of the Royal Family have attended the Academy. Sir Winston Churchill graduated in 1894, Field Marshal Montgomery in 1908. The Academy is so respected that many countries send their military personnel there for training, making it one of the top military schools in the world.

But, how much do we really know about the origins of Sandhurst?

Local author and historian Paul Le Messurier has been a resident of Epsom for several years now. His latest book, Founder of Sandhurst, Maj-Gen John Le Marchant, tells the remarkable story of the British cavalry officer who started what has now become one of this country’s great institutions.

John Gaspard Le Marchant (1766-1812) was a French-born British cavalry officer who rose to prominence despite starting from humble beginnings. The son of a Guernsey father and a French mother, he joined the British Army at just 16. Through sheer skill and determination, he rose to become one of the most distinguished cavalry officers of his generation.

Le Marchant’s first taste of active service came during the French Revolutionary Wars, where he served as a captain in a cavalry unit during the ill-fated Flanders campaign. A skilled swordsman, it was here that he noticed that the British Army’s sword training was seriously lacking. Determined to make a difference, he designed a new cavalry sabre, wrote manuals on swordsmanship, and took it upon himself to train cavalrymen across the country.

Even then, he was still not satisfied and set his sights on an even grander and more ambitious attempt at reform: improving the overall standard and education of army officers.

Le Marchant’s idea for a military academy to professionally train army officers met with some initial resistance, but he eventually won royal and political backing. In 1801, Parliament approved his plans and allocated a budget of £30,000. The Royal Military College was established by Royal Warrant, initially based in High Wycombe and Marlow, with Le Marchant serving as its first Lieutenant-Governor. The college would later move to its prestigious location at Sandhurst.

In 1811, Le Marchant joined the Duke of Wellington’s army in the Peninsular War against Napoleon’s forces, taking command of a Heavy Cavalry brigade. He distinguished himself at the Battle of Salamanca, where he led one of the most successful cavalry charges of the campaign. Sadly, Le Marchant was killed in action during the battle at the age of 46. A memorial was erected in his honour at St. Paul’s Cathedral.

The Royal Military Academy’s motto today is ‘Serve to Lead,’ and that is exactly what Le Marchant did – both with the ground-breaking reforms he introduced and his bold leadership on the battlefield. Despite his many achievements, Le Marchant remains relatively unknown today. Paul Le Messurier’s engaging book seeks to change that, shedding light on the powerful and lasting impact Le Marchant had on the British Army.

Royal Military Academy photo: Antony McCallum – https://www.wyrdlight.com

The official reopening date for Dorking Halls is days away and a special ceremony has been announced to mark the occasion.

Mole Valley District Council was forced to close its veritable old venue in June so it could undergo a £11million facelift, to take place over two phases, to replace the 1930s plaster ceiling in the grand hall together with much needed mechanical and electrical work to its stage and internal workings.

Now, the first stage of that work, which has so far cost £4m, is done and Dorking Halls will reopen its doors on Monday, December 9 with screenings of Paddington in Peru, Wicked and Gladiator 2.

Then, from December 20 the big winter panto Sleeping Beauty takes to the stage, complete with 3D laser projections.

Ahead of the big day the council is also hosting a special reopening celebration the Friday before to show off the upgraded site, which will also feature newly enlarged toilet provision, and a draft lobby.

Speaking about the soon to be reopened Dorking Halls, leader of the council, Councillor Stephen Cooksey said: “I wanted to update you of an ‘early Christmas present’. 

“The work to replace the Grand Hall ceiling at Dorking Halls has gone brilliantly well and our entertainment venue will be re-opening as planned on Monday December 9, with the panto, ‘Sleeping Beauty’ beginning not long after on the 20 December and running until the end of the month.

“Whilst Dorking Halls has been closed, the opportunity has been taken to upgrade our film projectors meaning that they will not only present even better-quality visuals, but also run in a greener, more energy efficient, manner. 

“So, be prepared for an invigorated cinema experience when the Halls reopens with a comprehensive events screening and film listing.”

The second phase of the project’s £11m refurbishment will take place in 2025 and will focus on replacing “critical mechanical and electrical systems” – said to be its heating and cooling plant – that are near the end of their useful lives.

Related reports:

Dorking refurb: “it’s behind you”!

Dorking Halls to get refit