A world premiere blending sharp wit, choral storytelling, and jazz rhythms will take centre stage at Epsom Choral Society’s summer concert this month.

On Saturday 21st June at 7.30pm, the Society will unveil True Story, a brand new choral piece composed by Russell Hepplewhite with text by renowned writer and former Children’s Laureate Michael Rosen. The performance takes place at St Andrew’s Church, Cheam (SM2 2HF).

Described as “witty and wonderfully offbeat”, True Story is based on Rosen’s chaotic and comic account of the birth of his son Joe. Known for his distinctive humour and accessible lyricism, Rosen’s writing lends itself to vivid musical interpretation. Composer Hepplewhite’s score is full of energy and character, promising a premiere that’s both playful and poignant.

The new work forms part of Living Voices, a national project from publishers Stainer & Bell pairing contemporary British poets with composers to explore modern life through choral music. Other pieces in the collection reflect on themes including youth, memory, health, and landscape—ranging from the light-hearted to the deeply moving.

For Epsom audiences, True Story headlines a lively summer programme entitled ‘All That Jazz’, which also features:

• Mass in Blue by Will Todd – a jazz-infused setting of the Latin Mass blending gospel influences with the classical choral tradition. The Society will be joined by soprano Lisa Swayne and a professional jazz trio for this soulful and energetic work.
• Birthday Madrigals by John Rutter – a playful, jazz-inspired cycle of songs combining Renaissance style with swing-era harmonies.
• Evening Prayer by Norwegian composer Ola Gjeilo, offering a more serene interlude with choir, piano, and saxophone.

Speaking ahead of the concert, the Society’s musical director Julian Collings said the programme celebrates the range and vitality of contemporary choral music:

“This concert combines the best of tradition with innovation—bold new work alongside modern classics. We’re especially proud to present a world premiere here in Epsom as part of a major national project.”

Tickets are £20 (under-25s half price) and are available at:
🎟 www.ticketsource.co.uk/epsom-choral-society/t-molojed
📞 Box Office: 01372 274418

Image of St Andrews – Google Street view.

From the parks of Alexandra Rec to the playlists of rock fans across the country, a new local band with deep Epsom roots is making waves with their debut single.

Penny Rebels, a blues-rock outfit formed by long-time friends and musicians, are preparing to release their first original track, “Bad Man”, on July 1st. The single, described by the band as “gritty, blues-infused rock with big energy and attitude,” marks the culmination of years of songwriting, performing, and musical collaboration.

The band’s connection to Epsom is woven into its story. Two of its members grew up in the town – attending local schools including St Martin’s, Wallace Fields, and Glyn – and spent their formative years playing at Alexandra Recreation Ground. The group’s bass player, a long-time resident of Ewell Downs Road, still calls the borough home.

Formed in Farnham, Penny Rebels emerged from a shared passion for music among friends balancing work, family, and creative life. “We were in bands when we were younger, but life took over,” the band explained. “Now, with more space in our lives, we’ve returned to music — and we’re loving every minute of it.”

Their debut single is accompanied by a newly completed music video, available via a private link ahead of the public release. The band has also released an electronic press kit (EPK) featuring promotional images and media resources for broadcasters and press.

With all members contributing vocals and a sound described as “originals with soul and grit,” Penny Rebels are setting their sights on festival stages and high-energy live performances throughout the region and beyond.

The band welcomes opportunities to share more about their journey and would be delighted to speak to local media or take part in community music features.

• Website: www.pennyrebels.com
• Instagram | YouTube | TikTok | Facebook: Penny Rebels
• Email: pennyrebelsband@gmail.com

Listen to “Bad Man” from July 1st on all major platforms.

The show will go on for an exclusive summer concert on a private island in the Thames. D’Oyly Carte Island has been given the go-ahead to host three days of music and entertainment as part of the Weybridge Festival over July 4-6, 2025.

The private island, inaccessible to the public for part of the year, opened its grounds last year for Weybridge Festival and celebrated music ranging from Motown and Soul to 70s’ and 80s’ soft rock.

In January 2025, the festival plans were put on hold as Elmbridge Borough Council decided to stop the event going ahead due to “serious health and safety concerns”. After four months of working on risk assessment and escape plans, the weekend concert can now go ahead.

A unique location, only one bridge serves as the connection from the mainland to D’Oyly Carte Island. Officers raised the alarm that the evacuation routes in the event of a fire or an emergency were not enough for the requirements.

Owner of the Island and event organiser Mr Andy Hill said: “It’s an island, it’s surrounded by water, it’s 50 yards from the mainland. My experience of human beings, if confronted with burning to death or taking on 50 yards of the Thames—I know what I would do. People that are confronted with death will do a lot of things to avoid it.”

Mr Hill explained people can evacuate via the bridge in 5 minutes and 3 seconds—just 3 seconds over the legal time. He also added there will be a ferry that is available for the “odd straggler who can’t get on”.

The environmental officer said she is “still concerned about Mr Hill’s attitude and competency to health and safety, and fire safety”. Officers stressed their key concern was the evacuation plan as they were not satisfied proper emergency routes and exits were in place. The environmental officer said the barge is not licensed to carry people.

Councillors recognised Mr Hill had put plans in place like an evacuation plan and alternative routes. But Cllr Paul Hughes, chairman of the licensing committee, said: “I really encourage you to carry on working as there are clear issues that need to be resolved.”

Mr Hill said after the meeting: “We have worked very closely with the Fire, Police and Health & Safety for the last four months to ensure the events in 2025 are as safe and enjoyable as they were in 2024 and we very much thank these services for their valuable input. We are very grateful to the three Councillors at the TENS hearing who listened to the points made by all parties and concluded that the extensive safety measures that have been put in place will result in a safe and fabulous event with some sensational performers.”

Related reports:

Surrey’s D’Oyly Carte Island concerts cancelled.

Bridge to private D\’Oyly Carte Island, Weybridge. (Credit: Google Street View)

Ashtead Choral Society and Kent Sinfonia – Dvořák Triumph. St Martin’s Church Epsom 24th May.

Let me get straight to the point. This was a special evening and, at least for me, unexpectedly so. Dvořák’s Romance for Violin and his Stabat Mater are very much ‘B-list’ on the concert repertoire and don’t feature on the Classic FM ‘Hall of Fame’. You must wonder why when the performance by Ashtead Choral Society, Kent Sinfonia, and Christian Halstead on solo violin was so enthralling from start to finish.

Halstead set the tone for the evening with Dvořák’s restless Romance for Violin. You might expect a straight love song from the title ‘Romance’, but Halstead made the most of this restive paean to foreshadow what was to come.

Now, the Stabat Mater. It is one of those pieces that is, to my mind, not very interesting when listened to as a recording. But, wow! It comes to life in a performance setting, as Music Director Dr Andrew Storey demonstrated, navigating the orchestra, soloists, and choir through Dvořák’s journey from darkness to light.

Each movement is compelling, and on Saturday night in Epsom it felt like reading a great book. As each chapter ended, I wanted to get on to the next one and find out what happens next. There is too much to write about in this review, but to give you a flavour: we were treated to solo quartets that felt appropriately ‘cathedral’ rather than ‘opera house’; soprano and alto choruses that sparkled; tenor and bass choruses plucked from the depths of Bohemia; and, oh, the magical end where Storey closes with 140 performers quietly triumphing over tragedy.

This concert was a very good end to the Ashtead Choral Society season. But there is good news: if you missed this concert and want to experience Dvořák’s Stabat Mater for yourself, Epsom Choral Society will be performing it next season. Even better news: Ashtead Choral Society’s next season will include a mouth-watering line-up: Elgar’s Dream of Gerontius, Bach’s St John Passion, and Handel’s (rarely performed oratorio) Theodora.

www.ashtead.choralsociety.org.uk

Jane Pickles, 26 May 2025

Epsom Choral Society (ECS) has said a heartfelt goodbye to their much-loved accompanist, Marion Lea, who is retiring after an extraordinary 50 years.

At a special farewell party held in her honour, choir members gathered to celebrate Marion’s remarkable contribution to ECS since she first joined in 1975. In a warm and emotional tribute, ECS President Jon Pullinger shared the story of Marion’s involvement with the choir, remarking, “What amazing good fortune for us” – her musicianship, support and professionalism have been a cornerstone of ECS for half a century.

In recognition of her long-standing dedication, Marion was presented with a series of personal gifts: a facsimile of Mozart’s C minor Piano Concerto (K491), a subscription for a monthly bouquet of flowers for the next year, and a set of four handmade, music-themed coasters. She also received a beautiful bouquet of flowers and a magnificent, personalised cake in the shape of a piano.

Members past and present paid tribute to Marion’s extraordinary skills, her quiet professionalism, and the musicianship she brought to every rehearsal and performance. As Jon Pullinger said of Marion: “The accompanist will pick out weaknesses in one part or another and come to their rescue with appropriately judged emphases. We have been so fortunate in having Marion with us as both fine soloist and consummate accompanist.”

ECS looks back with gratitude for all Marion has brought to the choir and with warm wishes for her retirement.

Nina Kaye

Another great concert from Epsom Symphony Orchestra, directed and conducted by Darrell Davison with Christos Fountos the piano soloist. The theme was Romance & Revolution.

The concert began with Tchaikovsky’s Romeo & Juliet Overture (Fantasy) – inspired by Shakespeare. The dramatic and forbidding opening, depicting doom and gloom, moved to a mood of lightness – a faster pace with dancing notes from the flutes – before reverting to solemn chords. The music captured the feud between the Montagues and Capulets. The love theme was special – lyrical notes first heard on the Cor Anglais, then the flautists’ melody rang through, and finally the distinctive notes of the harp. Flowing and haunting chords of the ending metamorphosized from hints of happiness to one of pessimism and death, demonstrated so convincingly by the timpani.

Rhapsody on a Theme of Paganini by Rachmaninov was amazing. Christos Fountos played the piano with aplomb, his fingers racing up and down the keyboard. There were contrasting moments of lightness and solemn intensity. The lyrical melody on the piano was joined by flowing chords from the strings and then the wind, finally ending at a diminished pace on the piano.

Shostakovich’s Symphony No. 5 was a wonderfully deep symphony. A menacing theme from the cellos and double basses contrasted with the haunting notes of the violins. Spiky and unsettling chords added intensity, creating an ominous atmosphere. The serene notes of the flautists changed the mood – reinforced by the calming notes of the lower strings. Other sections were fast, with an atmosphere of expectancy and individual solo parts. The Largo movement was introduced by strings with moments of pathos. As the intensity built up, the mood changed. Was it anger? Or determination to overcome adversity? It resolved serenely. The final movement had a strident atmosphere which moved on to more tranquil waters. Unsettling chords and a melody with almost full orchestration concluded with triumphant notes, the timpani resounding through the hall at the finale.

Sue Haines

Epsom & Ewell is fortunate to have many excellent music and drama groups to join, learn and perform with, and for audiences to enjoy old favourites or explore something unfamiliar and perhaps a bit challenging.

This lovely concert by Epsom Chamber Choir gave us contrasting styles from the 17th, 18th, 20th and 21st centuries, all with a meditative quality. Good programme notes were helpful.

In the fantastic acoustic of St. Martin’s Church one was immersed in the spacious depths of the sounds; the intensity produced several spine-tingling moments for me.

The choir opened with I was glad when they said unto me – not the familiar setting used at King Charles’ coronation in 2023 (which is by Parry) but one written by Henry Purcell for the coronation of James II in 1685. It sets off in a joyful dance. The top part floated over the others in a plea for peace and it drew to an exultant finish in a wish for world without end.

Purcell’s style is perhaps less familiar to us today than Bach’s, so it was great to hear three more pieces which showed his skill in dramatic and plangent composition, and the choir’s skill in their performance. My notes on Thou knowest, Lord, the secrets of our hearts and Hear my prayer, O Lord say sublime and understated intense anguish – sounds which produced more delightful shivers up the spine.

Then to compare them with Bach across four pieces – in these there were stately dance rhythms and delicacy as befitted some of the words. Fürchte dich nicht (Do not fear, I am near you), probably written for a funeral (it’s a pity we don’t know who commissioned the work), seemed to demonstrate all the complexities which Bach could write in a short piece. I hadn’t heard this before, but it did not sound an easy sing!

In Arvo Pärt’s The Deer’s Cry, written in 2008, the dynamics, sonority and breath were beautifully controlled in some very exposed writing, then the very long lines of John Tavener’s Funeral Ikos were effortlessly phrased.

Three short modern pieces followed – John Tavener’s A Hymn to the Mother of God, James Macmillan’s A Child’s Prayer (dedicated to the 16 children and their teacher who were killed at Dunblane in March 1996), and Eric Whitacre’s Lux Aurumque (Light and Gold, which was introduced as representing light falling through stained glass) – they were full of space, profound, resonant and uplifting.

In the baroque pieces the choir of just over 30 singers had a light accompaniment on chamber organ and cello. Poppy Walshaw, the cellist, also played three movements from the Bach cello suites. This was more music to get lost inside, the two dances leading us into a celebration of life in the joyous Der Geist hilft unser Schwachheit auf (The spirit comes to help our weakness) to conclude a most enjoyable evening.

Upcoming Events

The choir is holding a Come & Sing! Haydn’s The Creation on Saturday 10th May, 1.30–5pm, at St. Martin’s Junior School, Ashley Road KT18 7AD
(£10, students £5, under 18s free – includes music hire and light refreshments).

Their next concert, ‘The Food of Love’, is a choral tapestry ranging from 16th-century fun, through West Side Story, I Got Rhythm and Summertime, to Billy Joel –
Saturday 28th June, 7.30pm, St. Martin’s Church, Epsom KT17 4PX.

Anita Littler

Surrey Arts held its latest Gala concert on Saturday, 15 March, at G Live in Guildford, showcasing the incredible talent of over 300 young musicians from 15 different ensembles. The event featured a diverse array of performances, including original compositions and well-known pieces, highlighting the inclusive spirit of Surrey Arts.  The event included Surrey Arts inclusive orchestra UP! alongside its newest ensemble, World in Music, a diverse group which aims to introduce young people to unfamiliar cultures through both western and non-western musical traditions. 

Sarah Lee, Head of Service for Surrey Arts said: “The Gala is a fantastic event which showcases the talent of our young people from many of our bands, orchestras and choirs. The concert allows young musicians to collaborate with others they would not normally have the chance to play with and gives an opportunity to play in a professional theatre.” 

At the event, Councillor Denise Turner Stewart, Deputy Leader and Cabinet Member for Customer and Communities, said: “It is lovely to be here tonight at the Surrey Arts Gala 2025. I’m really impressed with how hard the children are working.  They are really enjoying themselves this evening and the audience are having a great time. It’s actually really moving to see the effort they are putting into their performances, so I would like to say a big thank you to all the staff and everyone who has organised this tonight.“

The groups performed to a delighted audience with one parent commenting “Thank you to all the members of Surrey Arts staff for putting on such an epic concert! We thoroughly enjoyed it, and it was a pleasure to see the wide range of ensembles run by Surrey Arts, many of which I’d never come across before.” 

Performances from the Gala will soon be available to view on the Surrey Arts YouTube channel. 

Surrey Arts’ ensembles perform at locations across Surrey throughout the year. Visit the Surrey Arts Ensembles webpage to find out more. 

March is concert season at St Martin’s Church, Epsom. Between Ashtead Choral Society on the 8th and Epsom Chamber Choir on the 29th, Epsom Choral Society took their turn on March 15th, with a programme of two favourite pieces from the classical period, performed just the way everybody likes them.

Haydn’s Mass in Time of Troubles, nicknamed in honour of Lord Nelson, has its moments of subtlety and reflection, but when the string orchestra and solo quartet get augmented with trumpets and timpani, it needs a full choral society sound to rise above it and deliver the dramatic moments too.

Conductor Julian Collings likes tempi fast, making the most of the English Sinfonietta, whose string players’ fingers moved so perfectly together they could have been attached to a giant pantograph. That meant the singers, too, had to know their parts thoroughly beforehand—well enough to keep up with the speed of both cascades of notes and a whole booklet of Latin words.

Mozart’s Solemn Vespers covers five whole psalms before the more familiar text of Magnificat, and the words span many human experiences—from justice, compassion, and almsgiving to footstools and skulls. Their weekly practices for the two preceding months had been well spent.

The piece they knew best was the bijou motet Ave Verum Corpus, which they all sang from memory. That meant they could rise and fall musically as one instrument and stay together during the conductor’s extensive rallentando between the two stanzas. The odd forgotten note length matters not at all when the ensemble improves by a leap.

Hearing pieces as familiar as Ave Verum Corpus or Laudate Dominum, the fifth of those Vespers psalms, I am reminded of other times I’ve heard or sung them myself. Next time I hear Laudate Dominum, I shall enjoy being reminded of this performance. Eleanor Pennell-Briggs’ soprano voice has a liquid agility that nourishes every note. Meanwhile, the accompanying choral forces took care to supply the harmony without ever being overpowering.

However easy they were for the listener, these classical-period works pose challenges for the singer. At some distance from the conductor, the basses and tenors did well to keep up with his faster tempi. Everyone had to contend with tricks like tuning odd intervals in the many fugal passages, singing on the beat while the orchestra played off it, or vice versa, and at times, half the choir having to sing a whole movement a few beats behind the other half.

The opening Haydn motet Insanae et Vanae Curae was the only appearance of the main church organ, played by Peter Jaekel. He found some rich and sonorous colours during the outer sections. I always enjoy his playing, but the choir couldn’t quite match his volume. They wisely had to keep enough in reserve for the longer pieces to follow.

Near the end of the Nelson Mass is a minor-key Benedictus movement, with martial trumpets and drums. I was glad to hear the sopranos still had the power to confidently scale past the top of the clef, wholly in the spirit of a ‘time of troubles.’ Likewise, the altos were prepared for some telling moments in the concluding movement of the Creed.

The other three soloists had less chance for display than the soprano. Gavin Horsley sang a prayerful Qui tollis, asking gently for Jesus’ mercy. Beth Moxon demonstrated that she could keep projecting even at the lower realms of a mezzo’s range. In brief solo moments, Paul Hopwood showed signs that he would be comfortable in an even larger venue than St Martin’s Church. All showed delightful awareness of the others during ensemble moments.

The concert ended with Helen Phillips, the choir’s chairman, thanking the audience for providing the motivation that prompted the musicians to put the effort in, taking great pains to make it sound easy. It was a duty I, and all in the building, were very happy to perform.

Nigel Williams

Photo: Epsom Choral Society at St Martin’s Church. Credit Clive Richardson

Epsom is swinging to the sound of jazz, thanks to the Epsom Jazz Club – a not-for-profit community project dedicated to bringing Nationally and Internationally renowned jazz musicians to the heart of Epsom. Situated at The Comrades Club, The Parade, Epsom, this intimate venue promises an unbeatable jazz experience, offering a warm welcome to all.

The club, a subsidiary of the registered charity Epsom Music, operates with the sole aim of promoting live music. Other than essential costs like venue hire and promotions, all ticket revenues go directly to the talented musicians. Any surplus funds are reinvested into enhancing the experience for concert-goers.

With no membership required and a strict capacity limit of just 70 seats – all arranged cabaret-style – everyone gets a great view and the same fair ticket price. Epsom Jazz Club is a rarity in its field: no booking fees, no tiered pricing, and not a raffle ticket in sight!

Upcoming Events to Mark on Your Calendar

Thursday 23rd January 7.30pm – Steve Fishwick & Leon Greening Present SoulTime!

The first event of 2025 kicks off with a spectacular tribute to Bobby Timmons, the legendary pianist, composer, and sideman to jazz greats like Art Blakey and Cannonball Adderley. Trumpet maestro Steve Fishwick and pianist Leon Greening – hailed as the club’s finest pianist to date – lead the evening alongside bass and drums. Expect soulful melodies and toe-tapping grooves in a night that jazz aficionados won’t want to miss.

27th February – Coloriage: Accordion Meets Tango and Gypsy Jazz

February brings the enchanting sounds of Mike Guy on accordion and Harry Diplock on guitar, exploring the legacy of Richard Galliano. This quartet will take audiences on a journey through Argentine tango, French musette, and gypsy jazz, with works from Astor Piazzolla and Django Reinhardt. It’s a rare treat for fans of accordion-led ensembles.

27th March – Sharp Little Bones with Tony Kofi

A saxophone showcase awaits in March with the award-winning Tony Kofi leading the invigorating modern post-bop quartet. Fresh from a sold-out London Jazz Festival performance, Kofi’s appearance is a must-see for lovers of dynamic, contemporary jazz.

Join the Jazz Community

Epsom Jazz Club is open to everyone, whether you’re a lifelong jazz lover or new to the genre. The “Ronnie Scott’s” like venue, central location near bus stops and the railway station, and welcoming atmosphere make it the perfect spot for a night of live music.

Tickets are available exclusively via TicketSource

The charity also supports a national appeal providing grants to small struggling jazz clubs up and down the country led by Epsom’s own jazz legend Nige Price.

Epsom Choral Society presented its ever-popular annual Christmas Concert on Saturday 21st December at St Martin’s Church in Epsom. Always a highlight of the festive season, this year’s concert was a joyful celebration filled with music, readings, and plenty of audience participation. The concert was attended by the Worshipful, the Mayor of Epsom & Ewell, and the Lady Mayoress, Steve and Carol Bridger.

The choir welcomed back Connaught Brass, one of the UK’s leading brass ensembles, known for their vibrant performances across the UK and Europe. They brought the true spirit of Christmas through their entertaining instrumental pieces and in their accompaniments to the traditional favourites.

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

In keeping with the Christmas spirit of giving, there was an exit collection in aid of the charity Cardiac Risk in the Young (CRY) where over £650 was raised. CRY works to reduce the frequency of young sudden cardiac deaths through vital awareness, screening, and research, making this a particularly meaningful way to support those in need during the holiday season.

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

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

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

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

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

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

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

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

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

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

Full details of the Epsom Choral Society concert HERE

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Roger Miller

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

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!”