Opera will be coming to Surrey this summer as the touring company Wild Arts presents Mozart’s The Marriage of Figaro in Guildford and at Titsey Place.

The production visits the Yvonne Arnaud Theatre in Guildford on Friday 7 August before returning to the county for a performance at Titsey Place, near Oxted, on Sunday 6 September.

Titsey Place will also host An Evening of Opera on Saturday 5 September, combining well-known operatic arias with songs from classic musicals.

Founded in 2022, Wild Arts takes opera and classical music to theatres, country houses, gardens and other distinctive venues around the UK. Its productions favour intimate staging, imaginative costumes and close engagement between performers and audiences rather than large sets and heavy touring equipment.

The company also supports singers, musicians and theatre practitioners at the beginning of their professional careers through its Emerging Artist Programme.

Its new production of The Marriage of Figaro marks the directorial debut of international opera singer Danielle de Niese. Orlando Jopling conducts the ten-player Wild Arts Ensemble, with the opera performed in English in a new translation by de Niese and Jopling.

Mozart’s comedy follows Figaro and Susanna on the morning of their wedding, when they discover that their employer, Count Almaviva, has designs on the bride-to-be.

A day of disguises, misunderstandings and plotting follows as servants attempt to outwit their master and ensure that the wedding goes ahead. Among the opera’s best-known musical moments are its fizzing overture, the Countess’s aria “Dove sono” and the jubilant finale.

The cast includes Jack Sandison as Figaro for the Guildford performance, Ellie Neate as Susanna, Timothy Nelson as Count Almaviva and Elinor Rolfe Johnson as Countess Almaviva. Matt Siveter takes over the role of Figaro for the September performances.

They are joined by Abbie Ward as Cherubino, Olivia Ray as Marcellina, Timothy Dawkins as Bartolo and Antonio, William Searle as Don Basilio and Don Curzio, and Eleanor O’Driscoll as Barbarina.

Wild Arts describes the production as an evening of “sparkling tunes, tangled romances and razor-sharp wit”, staged with bold costumes, inventive props and an emphasis on pace and storytelling.

The company’s second Surrey offering, An Evening of Opera, is intended to provide an accessible introduction to the art form as well as an entertaining programme for established opera enthusiasts.

Devised and directed by Guido Martin-Brandis, the semi-staged production follows four singers through a 75-minute story of intrigue, jealousy, comedy and love, accompanied by a string quintet.

The programme brings together music by Handel, Mozart, Puccini, Rossini and other leading opera composers alongside songs by Irving Berlin, Leonard Bernstein, Rodgers and Hammerstein and Noël Coward.

Selections include the Flower Duet from Delibes’ Lakmé, the overture to Rossini’s William Tell, “Anything You Can Do” from Annie Get Your Gun, “On the Street Where You Live” from My Fair Lady and “Make Our Garden Grow” from Candide.

The Surrey performances are:

The Marriage of Figaro
Friday 7 August – Yvonne Arnaud Theatre, Millbrook, Guildford GU1 3UX

An Evening of Opera
Saturday 5 September – Titsey Place, Oxted, Surrey

The Marriage of Figaro
Sunday 6 September – Titsey Place, Oxted, Surrey

Further information and booking links are available from the Wild Arts website and its dedicated Marriage of Figaro page. Tickets for the Guildford performance are available through the Yvonne Arnaud Theatre.

Lionel Blackman Photo: Marriage of Figaro scene courtesy Wild Arts

Before the stadium tours, private jets and worldwide fame, five young rhythm-and-blues musicians performed on a temporary floor laid over the swimming pool at Epsom Baths Hall. More than six decades later, as the Rolling Stones celebrate another chart-topping album, local history reveals that the band visited Epsom not once, but twice.

The Rolling Stones have returned to the top of the British album chart with Foreign Tongues, released on 10 July. It is the band’s 25th studio album and their 15th to reach number one in the UK—putting them level with the Beatles and one behind record-holder Robbie Williams.

That remarkable longevity offers an opportunity to look back to two winter Saturday nights in Epsom, when Mick Jagger, Keith Richards, Brian Jones, Bill Wyman and Charlie Watts were still climbing towards stardom.

A swimming pool became a concert hall

Epsom Municipal Baths opened in East Street on 15 March 1939. The £65,000 complex had been designed from the outset to serve two very different purposes: swimming during the warmer months and public entertainment during the winter.

Its main pool was 100 feet long and 35 feet wide, with galleries seating 412 people. For dances, concerts, boxing and theatrical performances, a moveable maple floor supported by tubular scaffolding was erected over the water. A stage, lighting system, microphone and record turntable completed the transformation. The converted hall was licensed to accommodate as many as 1,396 people for music, dancing and public meetings.

It must have produced an unusual atmosphere: a rock-and-roll audience gathered on boards above the drained or concealed pool, surrounded by tiled walls, diving boards and the acoustics of a municipal swimming bath.

After the Second World War, the Baths Hall became one of Epsom’s principal social venues, hosting dances, boxing, orchestral performances and visiting entertainers. The Epsom and Ewell History Explorer describes the Rolling Stones’ 1963 engagement as a sold-out highlight for which the band received a fee of £60.

Saturday 14 December 1963

The best-documented Stones appearance took place on Saturday 14 December 1963.

“Star Rhythm Blues Time with the Rolling Stones”

The publicity picked out the band’s two records, Come On and I Wanna Be Your Man, and advertised an appearance by supporting group The Presidents, described as “that ever popular attraction”. Dancing and music were scheduled from 8pm until 11.30pm. Tickets cost five shillings and sixpence in advance or six shillings and sixpence at the door, with reduced rates offered for parties.

The instruction to “get your tickets early and avoid disappointment” proved well judged if the History Explorer’s record of a sell-out is correct.

A surviving business trail also corroborates the engagement. Christie’s has catalogued an Eric Easton Ltd performance contract for the Rolling Stones at Epsom Baths Hall among a collection of early Stones agreements covering venues in and around London during late 1963. Eric Easton was then managing the group with Andrew Loog Oldham.

The Epsom booking came at a fascinating point in the band’s ascent. They were no longer an unknown club act, but neither had they become the international institution familiar today.

On the chart dated 11 December 1963, three days before the concert, I Wanna Be Your Man stood at number 16. It moved to number 15 the following week and eventually reached number 12. Their self-titled debut album had not yet appeared; it would enter the albums chart in April 1964 and spend 12 weeks at number one.

Thus, Epsom caught the Stones in the narrow interval between their first taste of chart success and their transformation into one of Britain’s biggest bands.

Back again four weeks later

Concert chronologies reveal something overlooked in the familiar local account: the Rolling Stones returned to Epsom Baths only four weeks later, on Saturday 11 January 1964.

The second appearance is listed in detailed Stones performance records as an “extracurricular gig”—a separate engagement fitted around the band’s first major tour of 1964. Their schedule at the time was punishing. They performed two shows at Walthamstow’s Granada Theatre on 10 January, played Epsom the following evening, and then gave two more shows at the Granada in Tooting on 12 January.

They were recording at the same relentless pace. On 10 January—the day before returning to Epsom—the band worked at Regent Sound Studios on Honest I Do, I’m a King Bee and an early version of Not Fade Away, before travelling to Walthamstow for the evening performances.

Their chart fortunes were still improving. I Wanna Be Your Man was at number 15 during the week of the second Epsom appearance and rose to its number 12 peak on the chart dated 15 January.

Contemporary touring accounts estimate that the Stones travelled more than 5,000 miles during this period, playing clubs, colleges, ballrooms, cinemas and halls across Britain. The Epsom concert was one of several additional ballroom engagements squeezed between the formal package-tour performances.

No dependable set list has yet emerged for either Epsom show. The December poster establishes that Come On and I Wanna Be Your Man were central to the promotion, while the band’s contemporary touring repertoire included blues, rhythm-and-blues and Chuck Berry numbers. It would, however, be unsafe to present any reconstructed list as the exact programme heard at Epsom.

Before the world knew their names

The contrast with the present could hardly be greater.

In December 1963, the Stones were travelling from town to town, earning comparatively modest appearance fees and promoting two singles. Their audience in Epsom paid a few shillings to see them in a converted public swimming bath.

Within months, their first album would displace the Beatles’ With the Beatles at the top of the UK chart. Their first British number-one single, It’s All Over Now, followed in the summer of 1964. The tours, television appearances and scenes of mass excitement then spread far beyond Britain.

Yet the five musicians who appeared in Epsom were already the classic early Stones: Jagger at the microphone, Richards and Jones on guitars, Wyman on bass and Watts behind the drums. Brian Jones and Charlie Watts are no longer alive, while Mick Jagger and Keith Richards—then barely out of their teens—remain at the centre of a band topping the album chart in 2026.

The hall has gone, but the night remains

Epsom Baths Hall continued to host entertainment after the Stones, including a performance by Genesis in 1972. Its popularity eventually declined as alternative venues opened and leisure habits changed. The hall closed in 1989; the original baths complex was demolished in 2001 and replaced by the present Rainbow Leisure Centre.

Nothing visible at the modern centre readily tells visitors that one of the most famous bands in the world once performed there—twice—on a wooden floor constructed above the municipal pool.

What is still missing are the human memories: who queued at the Baths Hall box office, who danced at the front, what the band sounded like through the hall’s public-address system, and whether anyone kept a ticket, photograph or autograph.

Epsom and Ewell Times would be delighted to hear from readers who attended either concert—or whose parents, relatives or friends remembered the Rolling Stones’ two visits to Epsom Baths.

Epsom and Ewell History Explorer is the definitive guide to all things historical and more. Run by dedicated volunteers.

Epsom Playhouse remains one of the regions premier venues for tribute bands including rock-and-roll.

Epsom Jazz Club

brings live top-flight jazz bands to the centre of Epsom. Next season starting 24th September.

Lionel Blackman

The Epsom and Ewell Town-Twinning Association has presented its annual Cyril Frazer Awards, sharing a total of £500 between three local recipients.

The awards went to Nescot’s Performing Arts Department, the Epsom and Ewell Refugee Network, and musical theatre student Julian Jackson.

Nescot received support towards its French-style cabaret production project. The Refugee Network was awarded funding towards the cost of a professional musician for the Ukrainian ladies’ Renaissance Choir.

Julian, who studies at Laines Theatre Arts, received an award to assist with his continuing musical theatre studies.

Association chairman Nigel Collin said: “We were really impressed by the quality of these entries and the committee decided that none of them deserved to miss out.

“So I am delighted that we are able to support all three and wish them well with their respective endeavours.”

The Cyril Frazer Award was established by the Twinning Association in memory of Cyril Frazer, who died in 2016.

Mr Frazer was Mayor of Epsom and Ewell when the borough was first twinned with Chantilly in 1995 and was a founding member of the association.

Alongside his commitment to twinning, he had a strong interest in singing and was a keen member of the Epsom Male Voice Choir.

Those interests are reflected in the award criteria. The annual £500 fund is available to individuals and groups within the borough, with applications assessed against criteria including whether applicants live or study locally; meet a particular need, including one connected with mental or physical health; benefit young people; have cultural or educational value; relate to music or performing arts; further links with Chantilly; or support an important twinning or community event.

The prizes were presented at the Twinning Association’s annual general meeting at Epsom Town Hall on June 23 by the Mayor of Epsom and Ewell and the association’s honorary president, Cllr Lucie McIntyre.

Related reports:

Epsom and Ewell Town-Twinning Association presents Cyril Frazer Awards for 2025

Epsom & Ewell’s French racing twin is a favourite

Epsom Choral Society concert – June 20th 2026

The Four Seasons is surely one of the world’s best loved and most widely played pieces of classical music. Written by the great eighteenth century Italian composer and violin virtuoso Antonio Vivaldi, this set of four violin concertos is a purely instrumental piece, so its appearance in Epsom Choral Society’s summer concert, performed to an attentive and enthusiastic audience, merits a little explanation.

What we heard on this warm summer’s evening in Cheam was a new choral re-imagining of Vivaldi’s masterpiece, published last year to coincide with the 300th anniversary of its publication in 1725. Entitled A Season to Sing, it is the work of composer and singer Joanna Forbes L’Estrange and has already been performed over seventy times.

Under the skilled leadership of their conductor, Julian Collings, and accompanied by a terrific quartet of professional string players, Epsom Choral Society sang the piece’s familiar melodies with confidence and spirit. And when required they brought the same confidence and spirit to whistling, whispering, clicking and stamping – which also requires a bit of explanation.

As the name suggests, each of the pieces that comprise The Four Seasons represents a different season and unusually Vivaldi provided for each one a short descriptive poem, possibly of his own creation. The poems are full of vivid imagery appropriate to each time year – buzzing flies, barking dogs, sudden downpours, chattering teeth and so on – which Vivaldi represents faithfully, and brilliantly, in his music. When you add to these instantly recognisable details a string of charming melodies and Vivaldi’s sparkling violin writing it’s easy to see why the piece retains its popularity.

To create A Season to Sing, Joanna Forbes L’Estrange had to graft voice parts on to Vivaldi’s original, along with appropriate texts, and unsurprisingly some sections of the work lend themselves more readily to this approach than others. But as a past Musical Director of the famous Swingle Singers, she knows something about how voices can be used to recreate instrumental music and clearly relished the challenge of translating Vivaldi’s special effects into vocal sounds. The choir certainly gave a committed and full-bodied performance of this interesting new addition to the choral repertoire. 

This was all after the interval. The first half of the concert consisted of two works by the Norwegian-American composer Ola Gjeilo – Dark Night of The Soul and its companion piece Luminous Night of The Soul – along with Morten Lauridsen’s contemporary classic Sure on This Shining Night.

These three pieces suited the choir perfectly, highlighting its precise and powerful singing, and at the same time showcased the skills of their accomplished musical professionals. Julian Collings, a genial and energetic presence on the podium, had put together a programme which would challenge any choral society, but the clarity and sensitivity of his conducting brought out the very best in his singers. The sinuous melodic lines and shimmering harmoniesof Sure on This Shining Night glowed brightly and provided a welcome moment of calm after the driving rhythms of Dark Night.

At times in both Dark and Luminous NightGjeilo relegates the choir to an accompanying role and thrusts the piano onto centre stage. It needs a really good pianist to bring this off and in the choir’s regular pianist Peter Jaekel we had an outstanding one. His fluent, controlled playing made light work of Gjeilo’s tricky piano writing. Those members of the audience unfamiliar with Gjeilo’s music will certainly have had their interest sparked by Epsom Choral Society’s stirring, robust performances of these two works; one lady I spoke to told me she had never heard any of Gjeilo’s music before but intended to search out some recordings as soon as she got home. I’m sure she wasn’t the only audience member to be attracted to this increasingly popular composer’s sound-world.

Thanks are due to Epsom Choral Society for a concert of interesting repertoire and strong performances, with a beautifully designed, informative programme booklet and a free glass of wine in the interval. A delightful way to spend a fine summer evening.

Review by Ian Assersohn

A major new poetry festival is coming to Surrey this summer, as the Surrey Poet Laureateship launches its first annual poetry festival.

Surrey’s Big Poetry Weekend ’26 will take place on Saturday 1 and Sunday 2 August 2026 at the Egham Literary Institute.

The festival has been created by the Surrey Poet Laureateship CIC, a self-funded, volunteer-led organisation founded in 2024. In its first two years, the Laureateship says it has delivered eight free Poetry Hubs across the county, created more than 5,000 engagements with poetry, established more than 20 partnerships and welcomed more than 200 open mic performers to the stage.

Organisers say the new weekend festival will celebrate Surrey’s poets while also bringing nationally recognised contemporary UK poets to the county.

Adam Gary, President of the Surrey Poet Laureateship, said: “When we launched the Surrey Poet Laureateship, people told us poetry was struggling. What we’ve found is the opposite. People are hungry for connection, creativity, and spaces where they can express themselves and be heard.

“Everything we’ve built has been powered by volunteers, belief, and an extraordinary community. Surrey’s Big Poetry Weekend is our biggest leap yet.

“We’re bringing together nationally recognised poets, celebrated Surrey voices, and complete newcomers under one roof because we believe poetry should belong to everyone. We want people to leave inspired, connected, and excited about what poetry can do.”

The weekend programme will include headline performances, talks, panel discussions, workshops and community meet-ups.

Poets appearing at the festival include Len Pennie, Bradley Taylor and Dakota Warren, alongside Surrey poets and emerging voices.

Talks will explore poetry, creativity and literary life, with speakers including Adam Gary, Nia Broomhall and Katie Griffiths. Panel discussions will bring together poets, performers, educators and creatives to consider poetry’s place in modern life.

Topics include Finding Your Voice: Poetry, Wellbeing and Empowerment, looking at how poetry can support wellbeing, self-expression, confidence and resilience.

Another panel, Poetry Without Borders: How Different Voices Shape the Art, will consider how poetry can bridge communities, preserve heritage and create understanding across different backgrounds and lived experiences.

The programme will also include Poetry in the Digital Age: Social Media and the Modern Poet. Guest panellists are expected to include Len Pennie, Bradley Taylor, Adam Gary, Shaniqua Benjamin and others.

Workshops will cover writing, performance, creativity and spoken word. These include a performance workshop led by Bradley Taylor and a poetry for beginners workshop led by Surrey Poet Laureate Adam Gary.

A key feature of Surrey’s Big Poetry Weekend will be its Community Meet-Ups initiative, allowing festivalgoers to help shape the festival experience themselves.

Organisers are inviting attendees to arrange their own gatherings across the weekend, whether focused on Victorian poetry, spoken word, performance technique, niche poetry movements or simply meeting other creative people.

Tori Monks, Vice President of the Surrey Poet Laureateship, said: “One of the things that makes the Laureateship so special is that it welcomes everyone, regardless of their experience with poetry.

“As someone who is new to the poetry world myself, I know how important that sense of openness can be. Our inaugural programme is packed with an incredible line-up of events, performances and voices, offering something to inspire, entertain and engage adults of all ages and backgrounds. We can’t wait to welcome everyone and celebrate poetry together.”

The Surrey Poet Laureateship says the festival is the next stage in two years of community-building, volunteer effort and work to make poetry more accessible.

Despite operating without regular funding, the organisation says it has created free creative opportunities for thousands of people across the county through workshops, outreach projects, open mics, competitions and community partnerships.

Organisers hope Surrey’s Big Poetry Weekend will become an annual fixture in the county’s cultural calendar, attracting nationally recognised poets while continuing to nurture local voices and emerging talent.

Early Bird weekend passes have already sold out. General release day passes are now available.

For more information, visit www.surreypoetlaureateship.org.

The Surrey Poet Laureateship is based at The Literary Institute, 51 High Street, Egham, Surrey, TW20 9EW.

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Visitors to Kensington Gardens were treated to an afternoon of brass music on Sunday 14 June, as the Epsom & Ewell Silver Band performed at the historic Kensington Gardens Bandstand.

The concert, which began at 2.30pm under bright June skies, was part of the Hyde Park and Kensington Gardens Bandstand Concerts, co-organised by The Royal Parks and its Friends groups.

For two hours, the bandstand, a short stroll from Kensington Palace and the Round Pond, became the musical heart of the park. Passers-by, tourists and brass band enthusiasts paused their Sunday afternoon walks to set up deckchairs or gather on the grass, forming an appreciative crowd.

Under the direction of Musical Director Tariq Ahmed, the band delivered a varied programme. The performance reflected the standard that earned the Surrey-based group a strong result at the London and Southern Counties First Section Regional Championships earlier this spring.

The programme included traditional brass band marches, contemporary arrangements of film themes and show tunes, and melodic pieces that showed the band’s balance, precision and warm tone.

The afternoon captured the charm of a British summer in one of London’s best-known green spaces. By the time the final notes sounded at 4.30pm, the band was met with warm applause from an audience reluctant for the music to end.

“Hearing a top-tier silver band like Epsom & Ewell playing in the heart of the Royal Parks is exactly what summer in London is about,” said one local attendee. “The acoustic warmth of the brass floating across the gardens was just spectacular.”

Those who missed the Kensington Gardens performance will have further opportunities to hear the band closer to home this summer.

The band’s annual Summer Concert takes place on Sunday 12 July, from 5pm to 7pm, in the Walled Garden at the Old Moat Garden Centre & Café, Horton Lane, Epsom.

It will also perform at a free community Band in the Park event at Rosebery Park, Epsom, on Sunday 9 August, from 2pm to 4pm.

The Kensington Gardens concert was another reminder of the continuing contribution made by the Epsom & Ewell Silver Band to the local arts scene, whether competing regionally or performing for wider audiences.

For ticket bookings for the Walled Garden concert, or for information about joining the band, visit www.eesb.org.uk.

Steven McCormick

Art lovers in Epsom and Ewell are being invited to step inside artists’ working spaces this summer as the annual Surrey Artists Open Studios returns from 6th to 21st June 2026. The county-wide event sees hundreds of artists open their doors to the public, offering a chance to meet creators, view works in progress and buy original art directly.

Studios are organised into geographic areas across Surrey, with those closest to Epsom and Ewell forming part of the East Surrey grouping, alongside nearby towns such as Reigate and Redhill. Visitors are encouraged to plan their visits in advance, with many artists opening on selected days throughout the two-week period.

Among the participating studios within easy reach of Epsom is AJ Studio Gallery, where visitors can view a large collection of oil paintings. Also in Epsom, Terry O’Brien and Jacky Cowdrey Studio will be welcoming guests to explore their work in an informal studio setting.

A little further afield in Redhill, Heart and Home Studios brings together a range of disciplines including sculpture, handmade books and jewellery, while other studios across East Surrey showcase everything from ceramics and textiles to contemporary painting and mixed media.

The appeal of the Open Studios format lies in its accessibility. Visitors can explore a wide variety of creative spaces—from garden workshops to established studios—and speak directly with artists about their techniques and inspiration. Many venues also offer smaller works, prints and cards, making the event an opportunity to purchase unique pieces at a range of prices.

Full details of all participating artists, including opening days, times and exact locations, are set out in the official Surrey Artists Open Studios programme, available here:

https://surreyopenstudios.org.uk/wp-content/uploads/2025/05/SAOS-2025-Programme-PAG.pdf

With dozens of studios within a short drive of Epsom and Ewell, the event offers a simple way to explore Surrey’s vibrant arts scene and support local artists this June.

Lionel Blackman

“Our rivers bring the community together and inspire people to protect them,” organisers said as the Living Rivers Exhibition officially opened at the Ebbisham Centre this week.

The community-led exhibition, organised by Epsom and Ewell Climate Action Network (eeCAN), welcomed residents, partners and supporters to its launch on 22 April. The event was led by eeCAN Chair William Ward and formally opened by the Mayor and Mayoress of Epsom and Ewell, Robert and Marilyn Leach.

Visitors also heard from several contributors, including Peter, Chair of Epsom Camera Club, local artist David Ede, a Hogsmill River citizen scientist, and representatives from Emma’s Bubble Trust.

The exhibition brings together artwork from local schools, colleges, art groups and individual artists, offering a wide range of interpretations of rivers and their importance to the environment and community life.

Inspired by Robert Macfarlane’s Is A River Alive?, the collection highlights both the beauty of local waterways and the environmental challenges they face, including pollution and neglect. Organisers say the aim is to raise awareness while celebrating creativity across all age groups.

A spokesperson for eeCAN praised the contributions from across the community. “The artwork brings our rivers to life and encourages people to think about how we protect them,” they said.

The exhibition is located on the first floor of the Ebbisham Centre, just outside the library in Derby Square. Entry is free, and visitors can also take part in family-friendly activities, with refreshments available on site.

Running until 22 May 2026, the Living Rivers Exhibition invites residents to explore, reflect and engage with the future of local waterways.

Epsom and Ewell Climate Action Network has also announced a Heritage Walk along the Hogsmill River, taking place on Thursday 30 April at 1:30 p.m.

A limited number of places are still available. Those interested can reserve a place by emailing: eeclimateactionnetwork@gmail.com

Facebook: https://www.facebook.com/profile.php?id=61573916432364

Webpage: https://www.eecan.org/home

Romy Sustar

Freelance journalist | SIA-certified |

Email: romana.epsomandewelltimes@gmail.com Linkedin: https://www.linkedin.com/in/romanasustar/

X:@RomanaSustar

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Children’s author Katie Kirby drew crowds to Waterstones Epsom today Friday 10th, as families queued more than 100 metres along the High Street for a book signing on the final day of the Easter school holidays.

In bright spring sunshine, parents and excited children waited patiently for their chance to meet the bestselling writer, whose hugely popular Lottie Brooks series has become a staple for young readers across the UK. Staff at the store reported a steady flow throughout the day, with the queue stretching well beyond the shop frontage at its peak.

Kirby, a former primary school teacher turned full-time author and illustrator, has built a devoted following with her humorous and relatable books aimed at middle-grade readers. Her breakout success, The Extremely Embarrassing Life of Lottie Brooks, was shortlisted for major children’s book awards and has sold in significant numbers, with subsequent titles cementing her reputation as one of the UK’s leading voices in children’s fiction.

Her stories, told in diary format, capture the awkwardness and comedy of growing up, striking a chord particularly with readers aged 8 to 12. The blend of cartoon-style illustrations and accessible writing has helped drive strong sales both in bookshops and through school reading programmes.

Today’s event reflected that popularity. Children clutching copies of Kirby’s books chatted animatedly in the queue, while parents described the visit as a highlight of the holidays. Inside, Kirby signed books and spoke briefly with readers, creating what one attendee described as “a really special moment” for young fans.

Booksellers say such events have become increasingly important in encouraging children to read for pleasure. The turnout in Epsom suggests that, despite digital distractions, the appeal of meeting a favourite author—and taking home a signed copy—remains as strong as ever.

Lionel Blackman

What a glorious evening of music there was to be enjoyed last Saturday night (21st March) in St Martin’s Church, Epsom, with the Epsom Chamber Choir accompanied by Affinity Chamber Orchestra. There were two apparently diverse works for the concert, one in each half, having no obvious connection to each other and yet surprisingly intertwined. The conductor was the fine musician Jack Apperley.

A Time to Dance by Alec Roth, performed after the interval, was composed with the idea of being heard alongside the work which opened the concert, Bach’s Magnificat. Alec Roth had thought to use very similar instrumental sections as Bach intended when composing the Magnificat, Mary’s song of praise to God on learning that she will bear the Messiah. Affinity Chamber Orchestra were therefore the perfect accompaniment to the Chamber Choir for both works, although A Time to Dance added some unusual percussion instead of the timpani for Bach’s Magnificat.

The programme notes were very thorough and helpful, reminding the listener of the rich history of Bach’s Magnificat and providing background to the composition of the modern work, A Time to Dance. The Choir and Orchestra gave an incredibly uplifting rendering of Bach’s Magnificat, a joy to hear with its choral drama and fine arias.

Throughout the concert, the sound was consistently glorious, with impressively clear enunciation from the Choir and very sensitive accompaniment by the Orchestra. The acoustics of St Martin’s Church were ideally suited to the extensive dynamic range of both singers and instrumentalists, as well as to the style of both the Magnificat and the modern Roth composition.

The whole concert showcased the exceptional talents of the Chamber Choir singers, as members took all the solos throughout. This followed Bach’s original intention when composing the Magnificat and was mirrored beautifully in the storytelling of A Time to Dance. This modern composition proved a tuneful delight, taking the listener through movements depicting Time, the Seasons, times of day, Love and Dance. These themes were inspired by biblical text from Ecclesiastes, chapter 3, alongside both modern and historic poetry used as settings for the various movements.

The audience was treated to an ever-changing variety of words and music for Sunrise, a Spring Morning, Summer Noon, Autumn Evening and Winter Night. After the delights of Spring, with soloists and Choir beginning a journey of joyful reawakening and the encouragement to dance, Summer Noon conveyed a sense of drowsy heat and gently swaying countryside, including text from William Blake’s The Fly. The Choir and soloists vividly captured the atmosphere of high summer.

In “Humdrum” during Part III, Autumn Evening, the Choir revelled in the fun of song and dance, escaping the daily routine of life. This movement was brought to life by percussive elements including washboard, dinner gong and desk bell. Moving into Winter Night, more delicate musical textures emerged before “A Glee for Winter” burst forth, bringing merriment and evoking love and laughter, with dance once again at its heart.

The final movement, Afterdance: Proper Exercise, saw the Choir put down their scores to sing and clap with visible joy and enthusiasm. The whole work was magnificently performed by both Orchestra and Choir, expressing a vivid sense of dance throughout.

This was an exceptional concert of the highest quality and clearly much appreciated by the audience.

Future concert dates for Epsom Chamber Choir are 27 June, 7 November and 12 December at St Martin’s Church, Epsom.

Elizabeth Hargrave

Photo credit: Paul McCan

A new Memorandum of Understanding has been signed between University for the Creative Arts (UCA), Nigeria’s Federal Ministry of Arts, Culture, Tourism and the Creative Economy and the National Council for Arts and Culture (NCAC) from Nigeria, marking a strengthening collaboration between the UK and Nigeria’s vibrant creative and cultural industries.

The signing of the agreement was the key event in a visit of UCA’s Surrey campuses in Farnham and Epsom by a Nigerian delegation, which was part of the Nigerian President’s week-long state visit to the Royal family in the UK.

Signing the agreement was the Honourable Minister of Arts, Culture, Tourism and Creative Economy of Nigeria, Hannatu Musa Musawa; the Director General of the National Council for Arts and Culture, Obi Asika; and UCA’s Joint Vice-Chancellor, Professor Mark Ellul.

Prof. Ellul remarked: “We’re delighted to sign this agreement and strengthen our deepening relationship with Nigeria’s creative and cultural industries.

“We’re pleased to be able to join the rallying call for an institutional commitment that aligns our expertise in creative higher education with Nigeria’s ambition to build lasting relationships that positions its creative economy as a central pillar to their economic diversification and youth empowerment.”

The Honourable Minister, Hannatu Musa Musawa commented: “Nigeria is proud to formalise its partnership with the University for the Creative Arts (UCA), marking a significant milestone in advancing the nation’s creative industry and creative economy.

“This collaboration reflects a shared commitment to innovation, talent development, and institutional exchange, building on sustained engagement with key stakeholders including the National Council for Arts and Culture and the Nigeria Governors Forum.

“The agreement underscores a forward-looking vision to strengthen bilateral ties between Nigeria and the United Kingdom, driving long-term growth and global competitiveness across the creative sector.”

Joining the Minister and Director General were multiple creative leaders from Nigeria and the UK including the British Council, the UK Department for Business and Trade, Bank of Industry Nigeria, Nigerian Film Corporation, DG of National Institute for Hospitality and Tourism, Nigeria, Senior Special Advisers to the Minister, VC and Pro Vice from University of Abuja.

The delegation received a tour of UCA’s industry-grade facilities in traditional and emerging arts at its School of Creative & Cultural Industries in Farnham and School of Creative Business, Fashion & Enterprise in Epsom. They also engaged in a panel discussion about UK–Nigerian Creative and Cultural Collaboration.

Director General, Obi Asika, added: “National Council of Arts and Culture (NCAC) is delighted to have convened the Honourable Minister Hannatu Musa Musawa, the Federal Ministry of Art, Culture, Tourism and the Creative Economy of Nigeria (FMACTCE), and UCA in the UK, to advance a bold global knowledge and curriculum partnership designed to unlock the full potential of Nigeria’s creative industry and creative economy.

“Strengthened by our ongoing collaboration with the Nigerian Governors Forum (NGF) established in 2025 and aligned with the UK–Nigeria co-working group under Enhanced Trade and Investment Partnership (ETIP), where I serve as Co-Chair for Nigeria with Hon Florence Eshalomi, Mp, as Co-Chair for the UK, this milestone moment brings together influential leaders across the public and private sectors to drive innovation, talent development, and sustainable growth across the creative ecosystem.”

Many talented creatives from Nigeria are already studying at UCA, across disciplines such as film, fashion, design, animation, and digital media, and making a lasting impact across UCA’s three campuses – bringing fresh perspectives, cultural richness, and creative excellence that continue to enrich the university’s global community.

By recognising Nigeria’s ambition to promote its nation’s cultural and creative industries, UCA will utilise its expertise to further help it grow and sustain the next generation of creative talent and cultural leaders globally.

University for the Creative Arts

Photo: Nigerian delegation at The Wells, UCA in Epsom

STEVENAGE, March 21, 2026 — The Epsom & Ewell Silver Band took to the stage today at the Gordon Craig Theatre for the London & Southern Counties Regional Brass Band Championships, competing in the highly competitive First Section.

Under the expert baton of Musical Director Tariq Ahmed, the band delivered a polished performance of this year’s set work, Variations on Was Lebet by Andrew Wainwright.

2026 First Section Results

The adjudicators, David Hirst and Steven Mead, faced a difficult task in a field of 14 high-quality bands. While Fulham Brass and the East of England Co-op Band secured the top two spots to qualify for the National Finals, Epsom & Ewell earned a respectable placing, further cementing their status in the section.

Looking Ahead

The result marks another year of solid progress for the band. Speaking after the results, members expressed pride in the performance, noting the significant step up in technical demands this year.

Fans won’t have to wait long to hear the band again; they are already preparing for their popular Summer Concert in the Walled Garden, scheduled for July 12th at the Old Moat Garden Centre.

Epsom & Ewell Silver Band website – www.eesb.org.uk

Steven McCormick

Photo credit – the author