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/

Related report:

Spanish fiesta came to Epsom

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

Two mass settings in the same concert – too much of the same thing or the starting point for a creative programme of music?

During his time as music director of Epsom Chamber Choir, Jack Apperley has demonstrated a flair for devising intriguing programmes, whose themes emerge as you listen and learn about the music, revealing fascinating links that stitch the pieces together in interesting and often surprising ways.

In Saturday evening’s concert at St Martin’s Church in Epsom, we were invited to compare and contrast the mass settings of two composers, Stravinsky and Bruckner – the same liturgical texts but different musical language; the same instrumental forces but different ways of using timbres of woodwind and brass to accompany the choral textures. More on these pieces later but, linking them to the present, Peter Burton, a member of Epsom Chamber Choir, deliberately used the same forces in his setting of words from Psalm 19, “The heavens declare the glory of God”, which opened the concert. Peter captured the essence of the Psalmists’ words in music which expressed awe and wonder through a series of luminous chords before growing to a soaring climax.

The influence of Mozart then emerged as one of the programme’s themes in the next piece, Jonathan Dove’s Movements from Figures in the Garden. Commissioned by Glyndebourne for their 1991 Mozart bicentenary celebrations, this wind serenade was designed to be played outdoors before a performance of The Marriage of Figaro. Each movement subtly weaves snippets of arias, recitatives and musical phrases from the opera into more abstract musical textures, causing a ripple of amusement at moments of recognition amongst both the players (Chameleon Arts Wind Ensemble) and audience.

We then learned from Jack’s introduction that Stravinsky had spent much time listening to Mozart’s Missa Brevis during the period 1944 – 1948, when he was writing his mass setting. It is not easy to tell what effect this may have had on him but we can certainly hear the influence of Stravinsky’s Russian Orthodox faith in the syllabic setting of much of the text, especially in the Credo. The choir’s excellent clear diction made this particularly effective. The final a cappella ‘Amen’, sung with great beauty and stillness, brought a peaceful sense of calm to the close of the first half of the concert.

The second half took us from Stravinsky’s rather austere neo-classical style to the more lush, romantic sound world of Bruckner and the choir embraced this shift with delight. There was a good sense of ensemble and balance between the players and singers and a palpable sensitivity to the text. Particularly beautiful were the close harmony exchanges between a cappella female then male voices in the Qui tollis and Benedictus passages, where intonation and balance between the voices was flawless. Other highlights were the radiant beauty of the Crucifixus and the perfectly executed suspensions at ‘miserere’ in the Agnus Dei.

Two mass settings framing a varied musical menu and subtly woven themes: this was a creative programme that both challenged and delighted. I’m looking forward to the next one!

Carolyn Boulding

Epsom-born baritone Mark Nathan will feature as one of the soloists in Verdi’s Requiem, performed by the Epsom Choral Society on Saturday, 23rd November at 7:30 pm at St Martin’s Church, Epsom. Known for his commanding stage presence and dynamic voice, Mark is delighted to perform this dramatic piece with his hometown choir.

Mark Nathan has earned acclaim for roles across opera stages in the UK and Europe. A former Emerging Artist with the Scottish Opera, he has captivated audiences as Joseph de Rocher in Dead Man Walking (Royal Conservatoire of Scotland), which garnered praise for his intense portrayal and powerful baritone. His notable performances also include Schaunard in La Bohème Maximilian in Candide, with Welsh National Opera, Giuseppi in Scottish Opera’s The Gondoliers which was televised for BBCTV, the title role of Don Giovanni with Opera Loki, and roles with Garsingto Opera, Waterperry Opera. Critics have celebrated his performances as “commanding” and “emotionally rich,” and he continues to expand his repertoire with roles for Scottish Opera and English Touring Opera this season.

In addition to his operatic work, Mark is an accomplished concert soloist, with oratorio performances that include Vaughan Williams’ Five Mystical Songs, Fauré’s Requiem, and Saint-Saëns’ Requiem. His versatility and vocal warmth make him an ideal choice for Verdi’s Requiem, a piece known for its dramatic intensity and sweeping emotional range.

“Performing Verdi’s Requiem with the Epsom Choral Society in my hometown is very special,” said Mark Nathan. “The power and emotional depth of this music are incomparable, and to share this experience with my community is a privilege.”

This special performance by the Epsom Choral Society uses an innovative arrangement by Michael Betzner-Brandt, making Verdi’s Requiem more accessible for local ensembles without sacrificing its grandeur. For Mark, who has returned to his roots in Epsom, the opportunity to perform this iconic piece with the Epsom Choral Society is especially
meaningful.

For tickets and more details on this powerful evening of music, please visit the Epsom Choral Society website

www.epsomchoral.org.uk .

Event Details:

• Date: Saturday, 23rd November 2024
• Time: 7:30 pm
• Location: St Martin’s Church, Church Street, Epsom KT17 4PX
• Tickets: Available online https://www.ticketsource.co.uk/epsom-choral-society/t-
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Visit Bourne Hall from 30 November – 21 December for a whole host of festivities this Christmas.

The celebrations kick off at 2pm on 30 November at the Christmas Lights Switch On, when Ewell Grove players will be hosting a special community panto ‘A-Lad-In Ewell’, raising money for Epsom & Ewell Foodbank. There will also be bookable wreath-making workshops from 2pm – 4pm and you can enjoy an array of market stalls with mulled wine, live music, carol singing from Heart & Soul Choir, and more from 4pm – 7pm.

The Mayor of Epsom & Ewell, Councillor Steve Bridger, will Switch the Bourne Hall Christmas Lights on at 4.30pm. Visitors can also meet Cinderella and Buttons from the upcoming Epsom Playhouse pantomime, and Father Christmas will even be flying in especially for the day to open the Christmas grotto, and will return every Saturday up until Christmas.

The Christmas Grotto is open Monday to Saturday every day until Christmas to post a letter to Father Christmas. Then why not pause for a moment to enjoy a hot drink and a delicious home-made cake chosen from the festive menu in the Flying Saucer Café?

A wreath-making workshop will be taking place on Saturday 7 December from 4pm – 6pm and you can enjoy live music from Andrew and Allan’s Electric 80s on Saturday 14 December, as well as a Christmas magic show on Saturday 21 December.

Councillor Clive Woodbridge, Chair of the Community & Wellbeing Committee, said:

“Bourne Hall is a fantastic meeting place and it’s great to see so many people in the local community working together to bring us these celebrations this year.

The community panto promises a smashing start to the festive season and Bourne Hall is so pleased to welcome back Andrew and Allen’s Electric 80s night which is great fun and the perfect opportunity to dance!

With a free Christmas Grotto and Christmas Lights Switch On, as well as the opportunity to buy tickets to the Electric 80s night and the Christmas Magic Show, there is something for everyone at Bourne Hall this Christmas.

Bourne Hall Christmas Lights Switch On.

Saturday 30 November, 4pm – 7pm. Free event.

• A day of festive fun including the community panto, ‘A-Lad-In Ewell’ at 2pm and 5pm.
• 4.30pm: The Mayor of Epsom & Ewell and Father Christmas switch on the Christmas lights at Bourne Hall.

To book ‘A-Lad-in-Ewell’ visit the links below:

2pm show: https://sessami.co/events/07573091-237e-4072-8e0f-404d979f3968
5pm show: https://sessami.co/events/6616b0e2-eaa2-4861-bc56-28356fb677d3

Wreath-making

Revel and Ribbon will be hosting a wreath-making workshop on Saturday 30 November from 2pm-4pm and Saturday 7 December 4pm–6pm. Tickets are priced at £45.

Book here: https://www.revelandribbon.com

Santa’s Grotto.

Saturday 7, 14 and 21 December, 10am – 4pm. Free event, no pre-booking required.

• Father Christmas will be in the Christmas Grotto on Saturday 7, 14 and 21 December. On other days, visit the beautiful grotto at Bourne Hall and post him a letter in the Bourne Hall post box.

Live music from ‘Best of the 80s’.

Saturday 14 December, 7pm – 11pm. £10 a ticket.

If the 1980s was the fun decade, then there can only be one way to remember those great days and that’s with the fun and entertaining ’Electric 80s‘.

Andrew & Allan charge this show with AA power and will have everyone up and on their feet from the very first song!!! So, dust off those shoulder pads, get out your eyeliner and back-comb your hair to within an inch of its life and party with Andrew & Allan’s “Electric 80s”. Music includes greatest hits from 1980’s legends including Spandau Ballet, Dead Or Alive, Erasure, Human League, Wham, Tears For Fears, The Jam and many more.

Book here: https://sessami.co/events/1a8f93c2-c3df-4ca7-a967-9ba9762bd2ad?utm_mediu.

Christmas Magic Show starring Ritchie Rosson

Saturday 21 December, shows at 11am, 1pm and 3pm – each show is 45 minutes long.

Join us for a magical extravaganza with the one and only Ritchie Rosson. Ritchie will be doing 3 shows at Bourne Hall delivering 45 minutes of festive fun and amazement. Don’t miss the best magic show in town, promised to bring pure entertainment!

Tickets are £6 each and bookable via: https://sessami.co/events/ritchierossonschristmasmagicshow

Eric Fong is a multimedia artist whose work spans film, photography, sculpture, and installation, often exploring themes of the body, identity, and vulnerability. His unique approach is informed by his background as a former medical doctor, merging art with science and technology.

His latest project, Apparitions, is a series of cyanotype portraits derived from Victorian-era glass plate negatives of pauper patients from the Manor Hospital (part of the Epsom cluster). These haunting images were salvaged after being abandoned in the 1990s and now reside at Surrey History Centre. Fong’s cyanotypes, toned with ivy leaves gathered from the burial site of Horton Cemetery, symbolise the connection between the patients’ bodies and overgrown landscape. This project reclaims the dignity of these long-forgotten individuals and encourages a reflection on mental illness both in the past and today.

You can also view cyanotypes of found Victorian needlework, referencing those made/mended/worn by female patients in Victorian asylums through his Asylum Needlework project.

Keeping with the Asylum photograph theme, Us and Them led by Alana Harris (Department of History at Kings College London), creatively re-imagined 19th-century asylum photographs to highlight issues surrounding disability and challenge how people with disabilities have been portrayed over time.

In partnership with Surrey History Centre, the project unearthed archival photographs taken in local psychiatric institutions and paired them with newly commissioned portraits of the disabled artists. Guided by portrait photographer Emma Brown and oral historian Laura Mitchison, the artists used historical photographic techniques to create new images that provoke questions about ableism, mental health, and representation.

The project culminated in a public exhibition at The Horton Arts Centre in Epsom, where the new and historical photographs were displayed side by side. The exhibition opened to great public interest, sparking important discussions around disability and inclusion.

Surrey History Centre read more….

Controversy surrounded the appointment of the salaried Centre Manager of Epsom and Ewell’s new arts and exhibition venue, The Horton Arts Centre.

Documents obtained by the Epsom and Ewell Times under Freedom of Information Act requests reveal that the Charity Commission found that the trustees of the Horton Chapel Arts and Heritage Society did not seek its prior permission to employ the wife of a trustee.

A recently retired trustee, a trustee or a person connected to a trustee through marriage may not be given paid employment by their charity without prior Charity Commission approval.

The Commission found that Maria Reeves, the wife of founding chairman of the Charity, Ian Reeves, who was herself previously a trustee, was appointed to the manager role without its permission.

In these circumstances the Commission would normally order the trustees to pay the Charity the salary of the employee in question. However, in this case the Commission determined that the appointment had been hidden from the Commission for so long that such an order would be “disproportionate”.

The Commission also determined that the eventual appointment was “made in good faith”, but refused to answer how that finding was compatible with the failure to seek its permission. It has also refused to disclose the justification submitted to it by the trustees for the retrospective Commission approval.

Other documents obtained by the Epsom and Ewell Times show that an earlier recruitment exercise, described by an expert as “exemplary”,  was reversed on the intervention of trustees, including the then Chair Ian Reeves and his next door neighbour and trustee, Rupert Salmon.

That process had not short-listed the Chair’s wife Maria Reeves.

One former short-listed candidate who asked not to be named said: “I was of course disappointed that the recruitment process for The Horton Centre Director role was aborted as I had been shortlisted to the second round and was expecting to attend a second interview.

With regards to the Charity Commission’s role – it is disappointing that the Charity Commission’s own guidelines were difficult to enforce in this instance.”

None of the short-listed candidates from the aborted recruitment process were invited to re-apply and it appears that the recruitment process that led to the appointment of Maria Reeves was from a candidate list of one.

Ian Reeves and Rupert Salmon have been requested on a number of occasions to provide their response. Our press regulator confirmed that they had been provided with a reasonable opportunity to do so.

One former trustee stated: “Mr and Mrs Reeves deserved a reward for all the unpaid effort they had put into converting this disused chapel into a beautiful arts centre”.

Lionel Blackman, a former trustee and chair of the initial 6 strong recruitment committee, that consisted of three independent trustees and three independent external experts, said “I only wish to make a general observation that trustees of charities should comply with the rules. That expectation is somewhat heightened when a charity has been given £3 million of public money.”