Two graduates from the University for the Creative Arts (UCA) in Epsom, Surrey have been named in Universities UK’s 100 Faces campaign, celebrating the stories and achievements of first-generation students.

McKenna Marsden and Troy Hunter feature in the campaign’s arts and sports talents category alongside Happy Valley star, Amit Shah, the crime writer Sir Ian James Rankin OBE, and BBC Sports Personality of the Year 2022, Beth Mead. All 100 graduates listed by Universities UK were the first in their families to attend university.

“Going to university gave me a lot more independence and taught me new skills, developing my abilities in a subject which was once just a passion,” said McKenna, who is a BA (Hons) Fashion graduate. He was chosen by British Vogue as one of its top 50 emerging designers, showcased his graduate collection at London Fashion Week, and interned at Christopher Kane.

He said: “University gave me stability while allowing me to break into the fashion industry, leading to many big achievements. I don’t think I would have had the success I did without studying at university.”

Originally from Newcastle, McKenna’s working-class background was the main inspiration for his final graduate fashion collection and continues to influence his designs.

“Anything is possible if you believe it and work hard for it no matter how many setbacks you may have, if you believe you can achieve your goals you can,” McKenna added.

Troy, who graduated from UCA in 2013 with a degree in BA (Hons) Film Production, has gone on to write episodes for the hit Netflix show Sex Education and an episode of Eastenders. He was also nominated for Outstanding Breakthrough Creative (Television) at the NAACP Awards.

Troy said: “Studying film production at UCA made a huge difference in my life, it gave me the confidence and determination to continue pursuing a career in the TV and Film industry when people around me were telling me otherwise.”

His success continues in the form of a short film called Mya and his debut play Black Pride, as well as a television adaptation of the same name, with Maia Pictures.

New research commissioned by Universities UK revealed the transformative impact of going to university, with almost three-quarters of first-in-the-family students agreeing their degree gave them the confidence to apply for jobs without feeling like an imposter.

Vivienne Stern MBE, Chief Executive of Universities UK, said: “There are those who say that too many people go to university. I disagree. These stories tell you why. In this country, you are still twice as likely to go to university if you are from the wealthiest background, compared to the least wealthy. That’s not right.

Shelagh Godwin reviews last Saturday’s Epsom Chamber Choir concert at St Martin’s Church.

Imagine writing a piece that means a lot to you and then never hearing it performed. This was the fate of Maximilian Steinberg’s Passion Week. Composed in the 1920s just as the Soviet regime was banning any religious music, the piece was published in Paris at the behest of the composer in 1927, and scores eventually made it to the United States, but it was not until 2014 that a complete performance and an award-winning recording took place. It has had its enthusiasts since, one of whom, Epsom Chamber Choir’s conductor Jack Apperley, presented a performance on Saturday 23rd March in St Martin’s Parish Church in Epsom.

Based largely on Russian Orthodox chants, Passion Week could not be more different from the sacred music composed by Steinberg’s contemporary and fellow-student Igor Stravinsky. Indeed, it draws more from the influence of his father-in-law Rimsky-Korsakov. It is more reflective in mood than Rachmaninov’s more celebrated Vespers, and the stepwise movement of Orthodox chant pervades the work and the general mood. The texts are Church Slavonic hymns for Holy Week, and are reflective tableaux rather than narrative. The eleven sections tend to sound somewhat the same, but there are great moments, enhanced on Saturday by the Epsom Chamber Choir’s well-co-ordinated ensemble and effective use of excellent soloists from within the choir. Like much Russian choral music of the time, it abounds in low notes for the basses, who dealt with that challenge magnificently.

Interspersed with the hymns of Passion Week were the five deeply moving spirituals from Tippett’s A Child of our Time, which received superb and moving performances from the choir.

A more unfamiliar interjection was Owain Park’s Phos hilaron (Hail gladdening Light), a complex setting of psalms and Greek liturgy. I say complex because it was very difficult to follow the words! It did achieve the desired effect, as did the extremely evocative encore, John Rutter’s heart-rending Prayer for Ukraine, sung in Ukrainian. Entirely appropriate in view of the tragedies of the previous few days.

Shelagh Godwin

Jane Pickles reviews a concert given by the Ashtead Choral Society in Epsom’s St Martin’s Church on Saturday 16th March that included works from Rameau, Rossini and Rutter.

I don’t know about you, but when I open my Spotify application to listen to music I am immediately drawn to the familiar where one finds comfort and pleasure. The glory of this programme was to take the audience on a spiritual journey from the less familiar Catholic Baroque to the well-known glory of the modern English church tradition.

You will find it difficult to find a recording of Rameau’s Blow the Trumpet. One wonders why as this joyful opening set the scene invigoratingly for the evening, bringing together the full forces of choir, organ and soprano, Helen Pritchard. If you were at the last ACS concert, you will have enjoyed the rich, operatic dramaticism of Rossini’s Petite Messe Solennelle. This time we were treated to three of his glorious motets in the same vein, with Musical Director Dr Andrew Storey making the most of the sacred setting and acoustic of St Martin of Tours and the powerful shifts in expression offered by Rossini.

Helen Pritchard’s solo performance moved us firmly into the early 20 th century with a rare opportunity to experience Vierne’s Les Angelus song cycle in which John Carnelley’s shimmering organ playing underpinned Pritchard’s effortlessly lyrical appeals to the Virgin Mary. This set the scene for another rarely heard classic: the intense homophonic simplicity of Gorecki’s incantation Totus Tuus. Storey created and sustained a mesmerising soundscape, still yet kinetic, and crowned with a resounding silence at the end of this evocative chant to the Virgin Mary.

Faure’s Pavane and Cantique de Jean Racine brought us back to the familiar and foreshadowed the last stage in the evening’s journey, Rutter’s well-known Requiem. Rutter went to France to view the original manuscript of Faure’s Requiem before he wrote his own, and Storey illustrated exactly why Rutter’s offering is a modern classic.

The choir dealt purposefully with the anguished chromatic calls for eternal rest that open the work, before resolving into the simple, lyrical beauty of Rutter’s requiem theme. In the psalm setting movements – Out of the Deep and The Lord is My Shepherd – the choir shifted seamlessly from simple lines shared between the parts, to glorious harmonies and well-delivered choral recitatives. Pritchard gave us grace and purity in Rutter’s Pie Jesu, soaring to heaven and back again from the pulpit.

Storey gave a blazing Sanctus, an Angus Dei which tore at the heartstrings as he drove a crescendo of pleas to the Lamb of God from choir, and, finally, resolution and rest through the spare lines of the Lux Aeterna.

All in all, tour of Europe, a tour of musical epochs, and a tour for the soul. Storey must have tours on his mind as he mentioned that ACS will be taking much of this repertoire on tour to Italy later this year. Bravo!

Jane Pickles

_{Photo Credit: Sue Weeks.}

Amazon MGM Studios and Netflix have taken up residence in the completed expansion of Shepperton Studios. The development makes Shepperton Studios the second biggest film studio in the world with a total of 31 purpose-built sound stages alongside ancillary production accommodation, the whole site covers 1.5 million sq ft.

Chris Bird, Managing Director, Prime Video UK said, “It feels fitting that, ten years from the launch of Prime Video, we’re beginning our tenure in brand new facilities at Shepperton Studios. It’s so exciting that some of our most loved series and movies around the world will be made right here in the UK, including season three of our fantastic UK Original The Devil’s Hour. Shepperton Studios have long been synonymous with world class filmmaking, and we’re delighted to continue supporting and investing in the UK creative industries.”

Anna Mallett, Vice President Production EMEA/UK Netflix said, “The UK is our most important production hub outside North America. Today’s announcement reinforces our long-term commitment to Britain’s creative sector. Since 2020, we have invested over $6 billion in the UK creating shows like Sex Education, The Crown and Bridgerton here. The completion of Shepperton will allow us to expand our footprint even further, creating incredible new shows, jobs and a boost for the economy.”

Paul Golding CBE, Chairman, Pinewood Group said, “We’re incredibly pleased to have opened our new state-of-the-art facilities at Shepperton Studios and to see Netflix and Amazon MGM Studios making this long-term commitment to the studios and to the UK.”

Commenting on the announcement, Tim Oliver, Leader of Surrey County Council, said: “This is fantastic news for Shepperton and for Surrey as a whole, cementing our reputation as a region for innovation, creativity and top class talent.

“The fact that two of the largest content producers in the world have chosen Shepperton and Surrey for a global base speaks volumes for the amazing offer the county provides to businesses, large and small.

“We look forward to deepening our relationships with Shepperton, Amazon and Netflix in the months and years to come, so we can ensure our residents and businesses benefit from the investment, jobs and opportunities this brings.”

Prime Minister Rishi Sunak said, “The decision by the two largest content producers in the world to choose their long-term home in the UK and base their global productions at Shepperton Studios backed by private sector investment is testament to the support the Government has given to the UK’s screen sector.

“I am thrilled that Amazon MGM Studios and Netflix have taken possession of 17 new state of the art sound stages at Shepperton Studios making Pinewood Group, the biggest studio complex in Europe.

“This support was further demonstrated by the recent £1billion package of measures for the creative industries announced in the recent Budget. The UK is now the second largest production hub, second only to Hollywood, in the world.”

Peter Lutton reviews a concert given by Epsom Choral Society of English music conducted by their Musical Director, Julian Collings. The concert took place Saturday 9th March at St Martin’s Church, Epsom.

The concert opened with Elgar’s The Spirit of the Lord, the atmospheric opening to his oratorio The Apostles, contains several themes heard throughout the work. There are one or two tricky moments but it is very direct in its unison passages and with its majestically long melodic line. The choir ensemble throughout was good and the climax was very effective, Elgar’s word setting allowing real clarity of text. Just occasionally I felt that a little more support in the choir’s breathing would have lifted the line, but this was a strong start.

John Ireland’s Greater Love Hath No Man again has a strong melodic line and clear presentation of
the text. The opening tenor line was well projected with a good vocal blend and it was encouraging
to see a choral society with a healthy number of men, some younger – one or two of the latter
watching the conductor assiduously. Only once was the ensemble not quite together but the early
climax was powerful and was particularly dramatic as it subsided. The Soprano solo was excellently
projected and well balanced by the Baritone. The change of tempo was smooth and the build up to
the choral climax suitably staged. The arrival at the final climax was very effective, followed by a
well-supported soft closing section, though I would have liked to hear more bass in the final bars.
The emotional circumstances of this work’s early performances (during and after WW 1) resonate
today as much as ever and this presentation was in the best English tradition.

Herbert Howells’ Like as the Hart is one of four small-scale anthems written in war time when he
directed the reduced forces of the chapel music at St John’s College, Cambridge. The tenors and
basses produced a warm sound at the start and the first tutti was suitably intense. A few more
consonants from the sopranos would help in the acoustics of St Martin’s but the Piu Animato went
well as did the climax on ‘Where is now thy God?’ The Tenor and Bass were better supported than
the Sopranos but the latter handled very well the demanding descant which accompanies the return
of the opening material. Bliss indeed was the final tutti with its ecstatic solo Soprano, followed by
the atmospheric ending. A memorable performance of a great piece, an all-time favourite of your
scribe.

Gerald Finzi’s Lo the Full and Final Sacrifice is a work on a much greater scale. After the organ
introduction (full marks to the organist, Peter Jaekel, as this is a demanding piece on any instrument)
the first choral entry was excellent despite a hint of flatness at the end of the section. Again, we
have a piece where the words can be heard and understood – we heard them clearly. Though the
next entries were exposed, they were confident and accurate, not least the altos with the low start.
While the G flat section wobbled slightly, the Soprano entry with (another) big tune was very clear
and confident as indeed were the following entries, though the unison on ‘Help, Lord’ was less
united. But these are small points; the performance conveyed the rhapsodic nature of a musical
style very suited to the metaphysical poets, not least in the climax on ‘Lo the Bread of Life’.

The final work, Stainer’s ‘The Crucifixion’ of 1887 has, as the programme helpfully noted, had its ups
and downs. Stainer had rebuilt the reputation of St Paul’s Cathedral Choir; in ’The Crucifixion’ he
encouraged the grass roots of Anglican music.

This performance did full justice to this piece. The soloists gave us the lines with simple directness, as
did the choir in its first entries outlining the drama of the scene in the Garden. John Findon
sensitively sang the tender solo that provided relief before the final tutti section. The recitative
which covered the crucifixion itself was clearly given – the soloists were consistently top-class and
the solos which followed kept up the intensity, especially in ‘King ever Glorious’. John Findon was
very impressive at every level – I have not heard it sung better.

In the final chorus the pent-up tensions of the drama found release, in the brisk tempo and strong dynamic contrasts. There was some lack of clarity in the short ‘Crucify!’ shouts but we got the point. The final pages were well shaped, as well as being tender and dramatic in equal measure and having an effective ending, even though it was pianissimo.

Though we all know the end of the story, it still has the power to move, as this performance of the
final recitative and semi-chorus proved. The well-known final hymn leaves us with the hope for the
future even though Easter is not mentioned. It was clear that the choir had really enjoyed the whole
dramatic progression; the audience certainly did.

Peter Lutton

Vishal Soni student of Stagecoach Performing Arts in Epsom landed the lead role in the National Theatre’s musical production of Roald Dahl’s The Witches.

Vishal fought off strong competition in auditions to land the role of Luke in a rip-roaring musical version of Roald Dahl’s timeless tale. In the original the boy at the centre of the story is unnamed. “Luke” follows the 1990 film version which gave the boy the name.

Performing on stage at the National Theatre for the 11-week production, Vishal shone in his remarkable portrayal of the courageous young protagonist.

The Witches is a rip-roaring musical version of Roald Dahl’s timeless tale, filled with wit, daring and heart. The Witches have come up with their most evil plan yet, and the only thing standing in their way is Luke and his Gran. 

Vishal has been a student of Stagecoach Performing Arts in Epsom for nine years and has an impressive resume under his belt, including standout performances in The Sound of Music at Chichester, a UK tour of Les Misérables, and The Prince of Egypt in London’s West End. 

His upcoming role in the 2024 film adaptation of musical, Wicked, is a testament to his unwavering passion and undeniable talent.

Commenting Rachel Crouch, Principal of Stagecoach Epsom, said: “I’ve always been immensely proud of Vishal. Not only has he gone from job to job, but he has done so with such a professional and humble attitude.  He’s an absolute star and we couldn’t be prouder.  Thank you also to HF Management, his fabulous agents.”

The Witches run at the National Theatre has now closed. Wicked is due to be released later this year.

_{Vishal in the production at the National Theatre. Photo credit: Marc Brenner}

A young artist’s work was unveiled for the first time on 16th February at The Ashley Centre in Epsom. Created in celebration of all things Epsom, the giant mural by 21-year-old Bristol University student Ole Murphy is being displayed in the Ashley Centre before moving to its permanent home in the pedestrian tunnel on West Hill. The local community and representatives from Epsom Business Improvement District (BID) attended the unveiling along with the artist and his family. The artwork was unveiled outside the shopping centre’s flagship store which later this year will become the largest Primark in the UK outside of London.

The mural strengthens Epsom’s role as Surrey’s leading destination for inspirational artworks. Its bright, bold colours celebrate many elements of Epsom’s history, culture and people. Ole Murphy’s piece aligns beautifully with the graphic design students from the University of the Creative Arts (UCA Epsom), who created vibrant, colourful artworks for Epsom’s outdoor East Street gallery and Ashley Centre windows in 2022, to celebrate the late Queen’s Platinum Jubilee.

A year previously, the town unveiled a statue of suffragette Emily Wilding Davison, who died after stepping out in front of King George V’s horse Anmer at the Epsom Derby in June 1913. The suffragette flag Davison was carrying when struck by the horse now hangs in the Houses of Parliament, while her statue holds a position of honour in Epsom’s marketplace.

Karen Pengelly, BID Manager for Go Epsom, comments: “We are delighted to be adding Ole Murphy’s vivid and colourful mural to Epsom’s wealth of existing artwork, for enjoyment by all who live in and visit Epsom. Our town has such a rich history and culture, which Ole has captured beautifully in his creative and colourful design. The mural will ensure the West Hill tunnel is bursting with cheer, bringing joy to all those who walk, cycle or drive past.”

Every aspect of Murphy’s mural has been drawn from local life, from well-known elements such as horseracing and the discovery of Epsom Salts to more niche connections to the area.

Artist Ole Murphy comments: “I wanted the mural to represent the past and present of Epsom. Within my piece, I draw attention to the history and life that surrounds the town. Whilst Epsom is rich in historic events, I wanted to pay homage to current issues. I reference this in the sprinkling of music from the hands and the silhouetted figures that are walking down a runway. The figures represent the old and the new; their silhouettes are traditional but the red runway they are walking in foreshadows modernity in creative degrees at the university. Most importantly, I wanted my mural to be vibrant and light up the tunnel. I hope its colours run joyfully through the spirits of those who stop to observe it.”

Epsom has a long history of investing in the arts – as well as a bright future. UCA Epsom announced in 2023 that it had obtained planning permission to turn two former office buildings into exciting new places for students and staff. The campus expansion speaks to how valued the role of art is in Epsom life and how intrinsically it is linked with the town’s past, present and future.

In a bold move to redefine Surrey’s cultural landscape, a comprehensive strategy and vision for the years 2024–2034 has been unveiled by The Surrey Cultural Partnership (SCP). The “Surprising Surrey: Cultural Strategy & Vision 2024–2034” outlines an ambitious plan to transform Surrey into a vibrant hub of creativity and innovation, celebrating its rich heritage and fostering community prosperity.

Epsom and Ewell Times summarises the highlights:

Vision for 2034:

The vision for Surrey by 2034 is one of confidence and vibrancy, where the county’s cultural heritage and creativity are celebrated as cornerstones of individual and community wellbeing. Key objectives include improving access to creative experiences, fostering cultural engagement across demographics, supporting creative practitioners, attracting visitors, and boosting investment in cultural activities.

Cultural Strategy Highlights:

The strategy underscores the belief that culture is integral to societal well-being, offering benefits such as enhanced quality of life, improved mental health, and economic growth. It aims to address existing disparities in cultural access and investment across Surrey, recognizing the county’s diverse needs and potential.

Challenges and Opportunities:

Despite its affluent reputation, Surrey grapples with pockets of deprivation and underinvestment in cultural infrastructure. The strategy highlights the urgent need to secure funding and support from both local and national stakeholders to address these challenges and realize its goals.

Priorities and Action Plan:

The strategy outlines four key priorities: ensuring culture is accessible to all, fostering resilient communities, enhancing county-wide cultural infrastructure, and supporting creativity as an economic driver. An action plan details specific initiatives, including the establishment of cultural hubs, support for creative enterprises, and community engagement programs.

Monitoring and Financial Implications:

To ensure accountability and progress, the Surrey Cultural Partnership (SCP) will monitor the plan’s implementation and evaluate its impact through key performance indicators. Financially, the plan anticipates a requirement of approximately £2 million over the next decade, to be sourced from various public and private funding channels.

Next Steps:

SCP will establish a steering group comprising stakeholders from diverse sectors to oversee the plan’s execution. Additionally, workshops will be conducted to recruit Culture Champions and mobilize community support for the initiative.

The unveiling of the “Surprising Surrey: Cultural Strategy & Vision 2024–2034” marks a significant step towards transforming Surrey into a dynamic cultural destination, where creativity thrives, and communities flourish.

Surrey University’s Professor Caroline Scarles, Professor of Technology and Society, School of Hospitality and Tourism Management, and Director of Visit Surrey, said: “It has been a privilege to work with the Surrey Cultural Partnership to develop this strategy that brings together the wide range of vibrant and inspiring cultural leaders, organisations and communities across the county. It is a strategy that has the collaborative voices of the cultural sector as its very foundation. It provides the collective voice and vision for capturing the diversity, drive, and ambition of the county and recognises the central role that culture plays not only for the economy but also for inclusion, diversity, health, and wellbeing.” 

Stainer’s The Crucifixion is a classic of the Victorian era which is still loved by church choirs and choral societies. It tells the story of Christ’s Passion with compelling arias and dramatic choruses, as well as moments of reflection, such as the anthem, “God So Loved the World.”

The work features in Epsom Choral Society’s spring concert at St Martin’s Church Epsom on Saturday 9th March. The programme showcases some of the most celebrated English anthems of the twentieth century. In Elgar’s “The Spirit of the Lord” the Apostles tell of their calling to preach the Gospel, while Ireland’s transcendent “Greater Love Hath No Man” and Howells’ haunting “Like as the Hart Desireth” offer evocative interpretations of biblical texts. Finzi’s “Lo, the Full, Final Sacrifice” is a poignant reflection on the communion gifts of bread and wine, in the words of the 17th-century mystic poet Richard Crashaw.

Isobel Squire, Chair of Epsom Choral Society, expresses her excitement for the event, stating, “We are thrilled to offer balm for the soul with an evening of glorious English choral music. Whether or not you are a believer, the soaring melodies and gorgeous harmonies of these wonderful settings of sacred texts are guaranteed to uplift your spirit.”

Epsom Choral Society is delighted to welcome back esteemed international soloists John Findon (tenor) and Jon Stainsby (bass), alongside organist Peter Jaekel, for what promises to be an unforgettable evening of musical inspiration. Music Director, Julian Collings, said: “The five works chosen for this concert revolve around the Lenten themes of preparation, waiting and penitence. From John Stainer’s gloriously Victorian depiction of the events leading up to the Crucifixion to the emotional intensity and heartfelt intimacy of the music of Herbert Howells and Gerald Finzi, this concert presents some of the best and most moving music from the English Choral tradition.”

Tickets for “English Music for Lent” are available online at
https://www.ticketsource.co.uk/epsom-choral-society/t-moaqzdo or by phone at 01372 727078.

Tickets are priced at £20 in advance or £22 on the door. Admission is free for attendees under 18 years of age. Each ticket includes a complimentary programme and a glass of wine.

On Friday 19th January, the Band of the Coldstream Guards joined residents of Epsom to celebrate the fortieth anniversary of the Epsom Playhouse.

Led by Director of music Lieutenant Colonel Stewart Halliday, the band performed an eclectic mix of music ranging from classic marches to hits from the West End.

As expected the band played with military precision, and there were some virtuous solos from all sections including a stunning performance of ‘Victors Tale’ from the film ‘The Terminal’ by principal clarinettist Lance Sergeant Natalie White.

The audience was delighted to see the concert organiser and former Senior Director of Music, Household Division, Cllr Dr Graham Jones MBE (RA Cuddington) pick up his baton once again to conduct the band, and encouraged the audience to participate in the encore in the ‘Radetzky March’ by Johann Strauss.

This concert has raised awareness and funds for the Epsom & Ewell Royal British Legion and the Epsom & Ewell Mayor’s Charities. With all programme sales being match funded by Barclays Bank.

We hope this will be the start of more world class bands coming to perform at Epsom Playhouse.

The Epsom and Ewell Times is proud to have supported the concert.

Claudia Jones – Reporter

Image courtesy Steven McCormick Photography

Lionel Blackman, who was in the original staff team of the Playhouse when it opened 40 years ago, writes:

40 years have passed since the Epsom Playhouse first opened its doors to professional and amateur performers alike. The Council head-hunted Graham Stansfield, a great professional, to kick-start the programme and establish the venue. The first management was in the hands of a then young and dynamic Robin Hodgkinson. The theatre came with the development of the Ashley Centre by the Bechtel Corporation. Originally the main hall’s retractable seating allowed the venue to host balls and exhibitions. Today it has fixed and comfortable seating for 406 and a smaller flexible hall space, The Myers, with a seating capacity of 80.

From those early years onward Epsom Playhouse attracted many high-class acts: The Royal Philharmonic Orchestra, the bands of Humphrey Lyttleton, Kenny Ball and James Last. The Pasadena Roof Orchestra and the Instant Sunshine entertainers came regularly. The world famous Stepan Grappelli once cast his magic violin over a sell-out audience and many many more through to today. Many of the UK’s top comedians will spend an evening in Epsom when on tour: Jack Dee, Count Arthur Strong, Harry Hill and many others. It remains the venue for the annual and very popular Christmas Pantomime.

The venue is the permanent home of local amateur talent the Epsom Symphony Orchestra and The Epsom Players among others.

The Epsom and Ewell Borough Council and all local residents who support the venue can be proud of The Epsom Playhouse and its 40 year roll-call of talent, opportunity and entertainment.

Why not give up an evening of Netflix or YouTube and see some live entertainment at your local venue? Visit www.epsomplayhouse.co.uk