Epsom and Ewell’s own international film festival is coming. The Satisfied Eye International Film Festival, now in its fourth season and consistently rated in the top film festivals in the world, is already acknowledged for its high quality programme. This year, due to Co-Vid delays, the Festival has two year’s worth of submissions from over 50 countries; so the organisers could cherry pick even more for an extra high quality programme.

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The Festival takes place at Ewell’s Bourne Hall in Spring Street between Friday 26th and Sunday 28th May.

There will be more Oscar nominees than ever before, with European and UK premieres and some of the best up and coming directors, producers and other talent from around the world.

The People’s Choice screening this year (Friday 27th … films chosen from the programme by local filmgoers) is probably the strongest they have ever had, with an Oscar nominee, an Oscar winner and a real battle to see who picks up the People’s Choice award.

The Festival is part of the sci-fi rebranding of Bourne Hall this year so there will be some extra fun treats in store for film and TV fans.

Anyone who likes a good photo op can come and have their picture taken in the Game of Thrones’ Iron Throne, get a selfie with the Back to the Future DeLorean and a whole lot more during the festival.

And there’s scheduled to be a live performance after the screening of Finding Her Beat. The film is a joyous, uplifting documentary that follows the struggles to launch the first concert for women taiko drummers … something reserved normally only for men.

There will be free screenings for children throughout the weekend at Bourne Hall, Spring Street.

This year sees the first ever Emily Davison Award for Best Female Director. The association with Epsom and Ewell being obvious with the statue to the famous suffragette in Epsom’s Market Square.

Once Upon a Lunchtime, several years ago, a group of friends were reminiscing about the exciting lives they lead as young female journalists working on top selling pop and women’s magazines in the ‘60s, ‘70s and ‘80s.

It all came flooding back, the incredible interviews, the ground-breaking features, the photo shoots, the dramas, the drugs, the creativity, the opportunities, the freedom, the glitz and the glamour and the sheer excitement about being part of the explosive magazine world in the most crazy and attitude-changing decades.

‘We should write a book’, they said. And they did.

Top photo: The Magazine Girls left to right: Penny, Linda, Shirley, Sandie and Jan.

The Magazine Girls took six years from possibility to publication, during which time they saw four Prime Ministers, battled with Brexit and struggled with Covid, losing loved-ones along the way, but overcame the trials and particularly the distance and time difference between them, being scattered between Epsom and Sutton, London and Loughton, Herefordshire, Hampshire and Montreal, where co-author Jan Iles-Kaluza has lived and raised her family for many years. Now in their ‘70s, the seven authors of The Magazine Girls-The inside story, are still firm friends and celebrated the launch of their book with bubbles, nibbles and sparkling repartee at a signing event in Waterstones Epsom on Sunday 23rd April.

‘None of this would have been possible without learning that essential new skill – Zooming –says co-author Jan Collier. ‘It kept us on track and united in our determination as we made important democratic decisions, which to be fair weren’t always easy and we did have our differences at times.’

One of the greatest bonuses for the girls, says Jan, who volunteers with Epsom and Ewell Talking Newspaper for the blind and visually impaired, was learning about and working with Calibre-Audio. The national charity started in the 70s and brings the written word to life via audiobook, free of charge, for those members who are visually impaired or have any form of disability that makes reading print difficult. ‘We are so pleased and proud that members of Calibre-Audio will soon be able to hear our ‘inside story’ and hope it will bring back happy memories of those iconic decades to all who lived through them.’

Former Editor of Rave Magazine who worked with the girls in the late ‘60s, esteemed comedy writer Colin Bostock-Smith adds ‘’The magazine girls made my life mad –and magical. They were sweetly feminine and tough as old boots. Stunningly sane and frequently quite cuckoo. They were a riot. And judging from this great book, they still are.’’

Further information: www.calibreaudio.org.uk
The Magazine Girls is available in bookshops and online at www.troubador.co.uk
Epsom & Ewell Talking Newspaper https://eetn.org.uk

Romy Sustar In conversation with the father of The Satisfied Eye International Film Festival (SEIFF), Chris Hastings:

When discussing film festivals, one thinks of the famous five festivals: Venice, Cannes, Berlin, Sundance and Toronto. However, you might not come up with Epsom when thinking about film festivals in England. 

Q: Is there a film festival in Epsom?

A: The Epsom Film Festival is also known under the name The Satisfied Eye International Film Festival (SEIFF), and it was launched in 2018. The festival attracted international attention, and in 2020 SEIFF took place at the Odeon in Epsom just a week before the lockdown. 2021 was a year of uncertainties and lockdowns, so the team decided to plan ahead, especially after the Picture House announced its arrival in Epsom 2022. Unfortunately, unpredicted delays took place, and there is still no sign of Picture House opening its doors soon. The good news is that Bourne Hall kindly agreed to host the film festival, and we are grateful to be part of their exciting rebrand and relaunch between the 26th and 28th of May. 

Q: Why do you think Epsom needs a film festival?

A: In our first year, we carried out an audience survey to discover local likes and habits. Apart from finding out that Epsom’s two most desired things were a Primark and fewer potholes, we found that many people travel to Wimbledon, Kingston and Guildford for entertainment. I grew up in Hastings, like living in an episode of The Last of Us. The town completely reinvigorated and reinvented itself through arts and culture. Many towns and cities have done the same, with arts and culture driving regeneration. When you ask what Epsom is famous for, most people say Epsom Salts or the Derby. And nobody is coming to Epsom for the salts, and the Derby is one weekend yearly. So to have any sense of sustainability and to battle ever-changing shopping habits, there need to be events and attractions that draw people in. After our first year, we were rated in the top 100 festivals in the world so that we could be a part of that cultural change.

Q: Please share with us a few past SEIFF insights.

A: The festival always finishes with our gala red carpet awards ceremony, our chance to enjoy glitz and glamour. The awards ceremony is open to everyone, so we always get a mix of our filmmakers and festival goers and local people. It’s an excellent chance for anyone who has been to any of the screenings to come and meet some of the filmmakers and for the filmmakers to talk to their audiences. Generally, the audiences like to dress up for the occasion, and filmmakers, like I, dress down! They’re our mini Oscars with all the awards you’d expect and a few particular to SEIFF. We also have a People’s Choice award, which goes to the best film chosen by local people who are part of our judging panel. The People’s Choice is always the first event of the festival, where we screen 90 minutes of the most popular short films as voted by local filmgoers, and for instance, this year includes one of this year’s Oscar winners.

Q: How can Epsom support the Film Festival?

A: SEIFF is an entirely voluntary event run wholly by local volunteers, and local people’s excitement and enthusiasm help keep it growing. So, the most important thing is bums on seats and volunteers! We’re lucky to have a loyal following, but we want to grow because that will allow us to do more events and bring more fun and excitement to the borough!  

Q: Any final thoughts?

A: Every year, some of our films end up at the Oscars or go on to secure big deals. While these are all independent shorts, feature films, documentaries and animation, the quality is phenomenal, and you’ll see some of the best films you’ve seen in your life. That’s why a festival like the Satisfied Eye International Film Festival exists. So, save the date and meet us in Bourne Hall, Spring St, Ewell, Epsom KT17 1UF, between the 26th and 28th of May. 

Q: How would you describe Epsom with one word and why?

A:  Prospect. Epsom is a bit like a rookie footballer or boxer.  There’s huge potential and the possibility to be something special. It simply needs everyone to come together and help make that happen.  

Q: Where can we find out more about the Epsom film festival? 

A: The best thing to do is follow our FB group at https://www.facebook.com/satisfiedeye.

BUY TICKETS HERE

About Chris:

Chris Hastings is a multi-award-winning writer, director and producer. He has become a familiar name at festivals around the world. He is the CEO of 1066 Productions,  an independent film and television production company based in London.

 Linkedin: https://www.linkedin.com/in/chrishastings1066/

About Romy:

Romana Sustar is a multilingual freelance journalist, University Language Tutor, accomplished marketer and owner of  Epsom Digital Ltd., a local digital marketing agency.

LinkedIn: https://www.linkedin.com/in/romanasustar/

Epsom Chamber Choir performed “Music for Passiontide” in Epsom’s St Martin’s Church on Saturday 25th March in a varied programme of singing and playing. Passiontide is a name for the last two weeks of Lent, and the repertoire for the concert, which was directed by guest conductor Jack Apperley, had been carefully chosen to reflect the emotions and suffering of this time.

The central work was Dieterich Buxtehude’s Membra Jesu Nostri, a Passion-meditation for Holy Week, which consists of a series of seven cantatas. On this occasion, the cantatas were performed over the course of the evening, interspersed with other a cappella anthems and motets.

For the Buxtehude, the choir was joined by the Chamberlain Ensemble, an early music group of 9 members, including violins, a violone (a large viol), viols, theorbo and organ, along with four excellent soloists (Lily Platts – soprano, Pete Dockrill – alto, Dominic Edwards – tenor, and Fionn Ó hAlmhain – bass). I was particularly moved by Lily’s aria in the third cantata, “Ad manus” (to the hands) and I very much enjoyed the well blended trios with alto, tenor and bass in the later cantatas.

The accompaniment by the Chamberlain Ensemble enhanced the variety of moods, often reflective and sombre but sometimes uplifting, and the sound became even more intense when 5 viols joined in the sixth cantata for orchestra and soloists alone. Each member of the ensemble added to the texture and brought out the beauty and
sensitivity in the music. An extra special mention needs to be made here to one of the viol players, Helen Williams, who is also a long-standing member of the Chamber Choir.

But what of the Epsom Chamber Choir themselves? They obviously knew all the music very well and maintained good contact with the audience throughout. Dynamics, diction and storytelling were beautiful and well executed, and the blend and balance between the voice parts (as many as 9 in Paul Mealor’s Ubi Caritas) was clearly heard.

The anthems and motets were all unaccompanied and ranged from the 16th to the 21st centuries. I had two particular favourites. To begin the second half of the concert, the choir processed to the back of the church, formed a semi-circle using the full width of the building, and sang Antonio Lotti’s 8-part Crucifixus (written around 1718). The sound was fuller in this configuration, as if surround sound had been switched on… The
suspensions were spine tingling, and the emotional intensity exceptionally powerful representing the agonies of the Crucifixion. You could have heard a pin drop at the end.

My other favourite was Crux Fidelis, (Faithful Cross) with music by Sarah MacDonald (born in 1968) and set to words written by Emilia Lanier (1569 – 1645) and Emily Dickinson (1830-1886). The piece is not as complex from a musical point of view as some of the others we heard, but you could tell that the choir were fully engaged in
delivering its message, with the meditative refrain of “Crux Fidelis” underpinning the excellent storytelling.

Jack Apperley, the Guest Conductor for this concert was in fine form, giving clear direction throughout. His energy, his explanations of the music in between items, and his obvious enjoyment of the performances, completed the experience for everyone.

Anne Ridge

The Epsom Players performance at the Epsom Playhouse on Tuesday 21st March is reviewed by Nigel Dams for Sardines and reprinted with permission. It runs till Saturday. Tickets from Epsom Playhouse box office

Until I spoke with one of the cast members (the leading cast member actually, the glorious Lydia May Whiteside) after the show, I thought this was a professional production.

When the curtain went up, I thought, hang on, amateurs can’t afford a set like this. And then when the dancing began, I thought, hang on, amateurs can’t afford dancers like this. Same with the singing.

So I decided they must be pros, and settled back to be more and more entertained as the evening went on.

Let me get the minor niggles out of the way first. I couldn’t always make out the words the singers were putting across. This was sometimes because the band, especially the horns, were just a shade too loud, sometimes because the lead was not cutting through the chorus, and sometimes because the vocal frequencies blended too much with the band’s. But this was only in the beginning, really, and got better as the show progressed.

Also, when the stage crew flew in various bits of scenery, they sometimes hung suspended and swinging an inch above the boards, which was pretty distracting. It seemed to me that another inch would have grounded them, and eliminated that.

But the rest was great, and kept getting better and better.

Right from the opening number I kept thinking how sharp the choreography was – kudos to Della Bhujoo – and how fit and well-drilled the dancers were. I have great respect for people who can do intense cardio and sing at the same time. They were singing very well too, all of them. Harmonies were crisp and close, high notes and belt notes all well struck, all very impressive. I must make special mention of the eye-popping opening number in Act 2. The entire troupe were skipping (sorry, jumping rope) in time to the music, with great vigour, while singing, led by Millie Shields as Brooke. Max respect. Especially because Ms Shields had to speak shortly afterward and you could barely tell she’d been working out.

It seems unfair to single anyone out from the cast, because they were all excellent, but I must mention Imogen Smart-Steele as Paulette (excellent accent, great singer), Akhil Gowrinath likewise and Ms Whiteside, who led the whole show, playing an enormous part with total confidence, swagger and beguiling blondness. Oh, and the two dogs who were obviously classmates at RADA.

A final special mention to the whole cast for the ‘Gay or European?’ number, which was …. perfect, and very funny.

I have to say again, I can hardly believe that this show was done by amateurs (am I allowed to use that word any more?) it was so slick, so tight, so well done. My humble and sincere congratulations to Director Chris Malone, Musical Director Dan Francis and the entire cast, band and crew. Superb.

Nigel Dams

Reprinted courtesy of Sardines Magazine

Sarah Dewing, who initiated the statue of Emily Davison in Epsom’s Market Square reviews “Emmeline” a play about the foremost British suffragette, Emmeline Pankhurst, and the fight for the vote for women at the start of the 20th century.

“Emmeline” was performed at Esher Theatre on 24th and 25th February, as part of a tour that began in Oxford and will end in Manchester on 8th March, International Women’s Day, It is the debut play of young playwright and actor Beatrice Hyde, who also played Sylvia Pankhurst in the production. It was staged by the Theatre Lab Company, a London-based theatre company and was directed by Its Artistic Director, Anastasia Revi.

Beatrice condensed thirty years of suffragette history into two and a half hours, which sounds intense, but the interval broke it up nicely. She spent five years researching the Pankhursts and the events that took place around the struggle for government acceptance of women’s suffrage.

The play focused on the relationships between the newly widowed Emmeline and her three daughters, Christobel, Adela and in particular, Sylvia. Her relationship with her mother becomes increasingly fractious as the strategies pursued by the Women’s Social and Political Union, founded by Emmeline, become increasingly at odds with her socialist principles. These were encouraged further by her relationship with the founder of the Labour movement, Keir Hardie.

At the same time as we are let into the Pankhurst family dynamics, we are shown their social and political context including the debate around the cause between prominent politicians of the day and many of the stand-out events during the suffragette era, including the actions of Emily Wilding Davison at the Epsom Derby in 1913.

The play was well acted by a diverse cast of actors, with a stand-out performance by Georgie Rhys as Emmeline in particular. Direction was impressive, given the sheer intensity of the plot, and coordination of all the different aspects of the production.

The set was very simple but effective, with a two-tier stage with raised platforms at the rear and sides, minimalist lighting and a variety of props that often acted as symbols rather than literal objects. The sound design accompanying the production was an important aspect of the overall impact of the play, with several authentic and beautifully sung suffragette songs. reprieved throughout the play to rousing effect.

I loved the use of the background presence of an actor portrayed as the “heroic woman” motif throughout the play, representing the movement and its ups and downs. This was inspired by an illustration on the front page of an original Suffragette newspaper. I also thought the sound design and production really took the play to a different level.

For me, the psychological aspects of the play highlighted the personal costs, as well as rewards and triumphs, that are paid by those in single-minded pursuit of a mission to the exclusion of all else, including health, safety and relationships with loved ones. The play alludes to Emmeline’s drive to finish the work started by her beloved husband as the source of this obsession.

Ironically, without those like Emmeline and her daughters, who willingly devote their lives to a cause, social progress could not happen. In this case, women would not have the rights they have today, even if there is still a away to go. This is brought home to the present day at the end with a scene where Emmeline is portrayed as her statue outside the Houses of Parliament, This play is an impressive debut for Beatrice Hyde, but also a production that I would highly recommend for anyone with an interest in 20th Century history, women’s rights and psychological drama.

Sarah Dewing
Chair
Emily Davison Memorial Project

Fresh from their ‘Two for the Road’ concert at Ronnie Scott’s, internationally renowned virtuoso jazz guitarist visiting from Norway, Frode Kjekstad is pairing up with local legend Nigel Price. Together with Italian drum sensation Laura Klain and the brilliant Mikele Montolli on double bass, they will give a special live concert in the heart of Epsom on Saturday 11th March.

Epsom Jazz Club, resident in the Oaks Room, Church Street, Epsom has sold out all its regular Tuesday concerts this season. So this is the last chance to enjoy the unique cabaret seated venue until next season starts in May. A real taste of the world famous Ronnie Scott atmosphere and music brought to your own Town.

Frode has wowed audiences whilst playing alongside heavyweight jazz stars such as Dr Lonnie Smith, Mike LeDonne and Eric Alexander.

Epsom Jazz Club advises buy your tickets in advance. Go to www.epsomjazzclub.com for tickets.

Surrey History Centre celebrates the February LGBTQ+ month with, among many others, the story of local born Quentin Crisp, who attended Kingswood School in Epsom. Born in Sutton and named Denis Charles Pratt in 1908, he changed his name in his twenties, had a colourful and controversial career and died in 1999.

“I started to wear make-up because it was necessary for me to live out my life getting up, going to work, buying food and going home again, so that someone could be seen to be homosexual and to be part of life.”

This quote, following the screening of his acclaimed work The Naked Civil Servant, encompasses Quentin Crisp’s attitude to his appearance and homosexuality – it was vital to his individuality, something on which he refused to compromise.

Throughout his life Crisp was a controversial figure; within the gay community he was not liked by everyone.  However, his contribution to the gradual acceptance of openly gay men is universally acknowledged.

Early Years

Born Denis Charles Pratt in 1908 in Sutton, then part of Surrey, he was the fourth child of Charles and Frances Pratt, a solicitor and a former governess.

Attending Kingswood Preparatory School in Epsom, Crisp was mercilessly teased for his effeminate behaviour. In 1922, he won a scholarship to Denstone College, near Uttoxeter, and on leaving in 1926, studied journalism at King’s College London.  Failing to graduate, he then took art classes at the Regent Street Polytechnic.

Leaving home to move to central London at the end of 1930, Crisp adopted his new name and cultivated an effeminate appearance that shocked many and provoked homophobic attacks.

Crisp attempted to join the army at the outbreak of the Second World War but was rejected and declared exempt by the medical board on the grounds that he was ‘suffering from sexual perversion’. He left his job as engineer’s tracer in 1942 to become a model in life classes in London and the Home Counties. He continued posing for artists into the 1970s. “It was like being a civil servant,” he explained in his autobiography, “except that you were naked.”

Fame, acceptance and America

Crisp became a gay icon after the publication of his memoir, The Naked Civil Servant (1968), brought his exhibitionism and refusal to remain in the closet to the attention of the general public.  In 1975, a film adaptation of The Naked Civil Servant was broadcast on British and American television making both actor John Hurt and Crisp household names.  Crisp declared himself one of the great stately homos of England.

Afterwards Crisp developed a one-man speaking show that toured Britain but he still felt like an outsider. In 1981, Crisp moved to New York where, experiencing a fuller sense of social acceptance, he continued his one-man show, An Evening with Quentin Crisp.

During his extraordinary life Crisp wrote a number of influential, controversial and provocative works, and acted in a variety of television dramas, films and stage plays, the last being the film Orlando with actress Tilda Swinton.

Just short of his 91st birthday, Quentin Crisp died in November 1999, in Manchester on the eve of a nationwide revival of his show.  With a minimum of ceremony his body was cremated and his ashes flown back to the US and scattered across his beloved Manhattan………. “

You can read more of this story and others from the Surrey History Centre HERE and use its interactive map to find out about the lives of gay figures who lived or had connections with the County of Surrey.

Courtesy Surrey History Centre

Image – painting by Ella Guru of Quentin Crisp – creative common licence

The suffragette movement is celebrated in the heart of Epsom with the statue of Emily Davison in Epsom’s Market Square. At our neighbouring Esher Theatre between 24th and 25th February Emily’s colleague Emmeline Pankhurst‘s life and struggle will be brought to life in a drama play by The Theatre Lab Company. “Emmeline – The Suffragette Movement, follows the journey of the inspirational leader of the Suffrage movement on her life’s mission to achieve the vote for women. Delving into the dynamics of the Pankhurst family, Emmeline explores the tensions that arose between her and her daughter Sylvia on militant tactics and social values, emblematic of the conflicts that divided the movement. Does the end justify the means?

Should the cause come first, no matter the personal cost? A story of the courage and sacrifice of the Suffragettes, their struggle and exaltation, and their undying determination that made history.

“A story to inspire the country to continue the fight for human emancipation.”

ABOUT THE COMPANY

Theatre Lab Company is a London-based international theatre company, with reputation for mesmerising theatrical imagery, physical theatre/performance and work that crosses the boundaries of culture, language and taboo.

Notable credits include commendation from Off West End (2019), an award by Global Entertainment Awards for Most Innovative International Theatre Company — UK (2018), critiques selection at Avignon Festival D’OFF, (2014)and Prague International Theatre festival (2007), nominations for a Fringe First and Total Theatre Awards,Edinburgh Festival (2007) They have produced their shows in highly acclaimed venues like RIVERSIDE STUDIOS (2010-2014), Sadler’s Wells Theatre (2016), Hoxton Hall Theatre (2017-2018) ,BT at Oxford Playhouse (2019) and National Theatre of Greece (2005).

Reviews

A thoughtful, well-researched and compelling production.” 4. STARS **** LONDON THEATRE 1

“Every element of this production was so well thought out and meticulously refined to create a cohesive masterpiece.” 4.5 STAR ****1/2 THEATRE AND OTHER THINGS LDN

“This is an important, informative and entertaining production that everyone should see.” – BRITISH THEATRE GUIDE

Tickets: https://eshertheatre-tickets.ticketsolve.com/ticketbooth/shows/1173627634

Question: What do the following three people all have in common? An accordion player with the Strictly Come Dancing live band, one of the most exciting vocalists of her generation and a finalist in the 2022 BBC Young Jazz Musician of the Year competition?

Answer: Starting on Tuesday the 17th of January at 7.30pm in Epsom’s cabaret style venue at the Oaks Room, Church St, Epsom, they are all playing at the Epsom Jazz Club in the next three months!

The Epsom Jazz Club launches its “Spring season” of concerts on Tuesday 17th January with the tantalising L’Esprit du Jazz quartet taking to the stage in The Oaks Room for a highly anticipated performance.

Incepted less than a year ago, Epsom Jazz Club has gone from strength to strength, steadily building its audience for their monthly Jazz gigs. The cream of UK Jazz have accepted invitations to perform at the new Club and have collaboratively helped create something rather special. The intimate 70-seater venue, with each table adorned with a charming cocktail table lamp, is the perfect setting to sit back and listen to some of the very best professional Jazz musicians the UK has nurtured. The venue has a bar open just for the jazz guests.

Accordionist Karen Street along with her bandmates Sam Dunn (guitar), Charlie Pyne (double bass & vocals) and Katie Patterson (drums) kick things off for Epsom Jazz Club at 7:30pm this coming Tuesday evening (17th January). Dave Gelly from The Observer noted that “Karen Street has evolved an entire vocabulary for the accordion that works beautifully in the jazz context without forfeiting the instrument’s awkward individuality”.

The vast array of jazz styles explored at Epsom Jazz Club and the variation of instrument lineup each month is purposeful and well-curated. A Piano Trio may perform one month, followed by an all-string Gypsy Jazz ensemble the next. French Musette and the world of Tango will be explored on one given Tuesday evening, while lilting Afro Cuban inspired grooves and hard hitting modern jazz & funk numbers will be offered up at a subsequent event.

The acts booked are no strangers to the renowned jazz stages of London’s Ronnie Scott’s, Nottingham’s Peggy’s Skylight or Brighton’s Verdict Jazz Club. For the price of a train fare into London you can now buy a ticket to see world class jazz musicians performing within the Borough of Epsom & Ewell. A growing number of local residents clearly appreciate this and are in the audience for every concert. Other jazz fans are more selective and only pop along every so often when the lineup suits their tastes. And some are just waiting for leading UK jazz guitarist and longtime Epsom resident Nigel Price to make his return to the Club’s stage (hint: he’ll be back in June!).

Epsom Jazz Club welcomes everyone equally – there’s no members-only clique, no tiered ticket pricing, and not a raffle in sight! If the accordion isn’t your thing, how about a wondrously charismatic and mesmerizing jazz singer with outstanding vocal ability? Emma Smith brings her loyal trio of gentlemen (Jamie Safir piano, Conor Chaplin double bass, Luke Tomlinson drums) with her to Epsom on Tuesday 21st February. Or how about going to see multi-award winning young saxophonist and composer Emma Rawicz perform, accompanied by David Preston (guitar) and Scottie Thompson (piano), on Tuesday 21st March?

The Oaks Room venue with bar open for just the jazz club is at the back of the Conservative Club on Church Street, Epsom and is a fine addition to Epsom’s Live Music venues. Tickets are just £15.

For more information on the Spring 2023 jazz programme please visit http://EpsomJazzClub.com or @EpsomJazzClub on Twitter/Instagram/Facebook – tickets are on sale now!