Take me back to where the serpentine stone bleeds red,
Take me back down The Lizard, I belong there, she said.
Kenza's Monologue, Fault play.
Thank you/Meur Ras
A heartfelt thank you to everyone who supported our 2024 show FAULT at the Temple Tent, Kynance Camping, from the 28th to the 30th of August.
Volunteers:
Our gratitude goes to the kind volunteers who assisted during the three performances, creating a welcoming and friendly atmosphere.
Cast & Crew:
A special thanks to our incredible cast & crew, each of you exceeded expectations.
Award Nomination:
We're thrilled to learn that the Cornwall Drama Association has nominated us for another Technical Achievement award for our multimedia use!
Ticket Sales:
We're excited to share that we achieved record-breaking ticket sales on all three nights, with all proceeds helping us expand and reach further into our community.
Fundraising:
A big thank you to the local businesses that donated amazing prizes; we raised an impressive £448 in the raffle, half of which will support Landewednack School's transport fund.
Recruiting New Members:
We're always eager to welcome new members. If you're interested in joining our next project, there are numerous ways to get involved.
What Happens Now:
The Bicycle To The Beyond has reached its destination (the skip), the Queen's emerald green dress now dazzles in a cupboard, The Geological Penetration of Spirits Hat is tucked away in its hat-box, the Sprites have vanished into the shadows, and our ghost Janet of The Granite has departed (until next summer's mischief tickling toes at Kennack), and Dave the Rave has even had a shave!
The Temple tent, our home for two shows including Catching Rabbit in 2022, has been sold to a local circus, marking the end of an era.
The magic now lies dormant under storage boxes, cable ties, and glitter, awaiting its revival "dreckly."
With love, the Lafta team. x
A heartfelt thank you to everyone who supported our 2024 show FAULT at the Temple Tent, Kynance Camping, from the 28th to the 30th of August.
Volunteers:
Our gratitude goes to the kind volunteers who assisted during the three performances, creating a welcoming and friendly atmosphere.
Cast & Crew:
A special thanks to our incredible cast & crew, each of you exceeded expectations.
Award Nomination:
We're thrilled to learn that the Cornwall Drama Association has nominated us for another Technical Achievement award for our multimedia use!
Ticket Sales:
We're excited to share that we achieved record-breaking ticket sales on all three nights, with all proceeds helping us expand and reach further into our community.
Fundraising:
A big thank you to the local businesses that donated amazing prizes; we raised an impressive £448 in the raffle, half of which will support Landewednack School's transport fund.
Recruiting New Members:
We're always eager to welcome new members. If you're interested in joining our next project, there are numerous ways to get involved.
What Happens Now:
The Bicycle To The Beyond has reached its destination (the skip), the Queen's emerald green dress now dazzles in a cupboard, The Geological Penetration of Spirits Hat is tucked away in its hat-box, the Sprites have vanished into the shadows, and our ghost Janet of The Granite has departed (until next summer's mischief tickling toes at Kennack), and Dave the Rave has even had a shave!
The Temple tent, our home for two shows including Catching Rabbit in 2022, has been sold to a local circus, marking the end of an era.
The magic now lies dormant under storage boxes, cable ties, and glitter, awaiting its revival "dreckly."
With love, the Lafta team. x
LAFTA's original productions:
Fault (2024)
Written & directed by: Tamara Stidwell
Produced by: Lizard Arts, Film & Theatre Association. All rights reserved.
Props & Costume by: Gillian Higgs
Light & Sound by: Annie Hills
Awards: Nominated for "Technical Achievement", Cornwall Drama Association.
Synopsis:
Kenza Trewin returns to her childhood home, a cliff-top bungalow overlooking Kennack Sands. At 30, disillusioned with modern life, she wants to reconnect with her Cornish roots whilst grappling with the loss of her brother and best friend, Bobby, who passed away two years prior. Through self-reflection and memory, she finds herself on a quest to "lay her ghosts to rest."
As she sorts through her late grandparents' belongings, Kenza is flooded with memories of her childhood with Bobby, who was born blind. Through film, we see the games they would play as children, her trying to protect Bobby from the things she didn't want him to see because despite the joy she shared with her brother, the unspoken absence of their parents looms large. Grappling with her grief and feelings that it was her fault Bobby tragically passed, she now finds herself seeking refuge in alcohol.
Enter Mr. Skins, the new lodger - an old, eccentric, mercurial man dressed in steampunk attire. Unbeknownst to them, the Otherworld Sprites have orchestrated their meeting. As a man who understands how to un-trap snagged spirits, Mr Skins feels a calling to help free a spirit in the house, but he has no idea that this is the spirit of Kenza's deceased brother Bobby, trapped in both the serpentine stone around the house and Kenza’s guilt.
Kenza's nosy neighbor, Janet, distrusts Mr. Skins, comparing him unfavourably to his revered mother, Wenna the Pellar, a well-respected healer who didn't need "none o' these new-fangled devices" like Mr Skins' modern contraption, a battery-powered "Bicycle To The Beyond".
Meanwhile, the Queen of The Otherworld grows frustrated with her Sprites, who are failing to fulfill their promise of resolving the spirits’ unrest.
Through Janet's wisdom about healing and guiding spirits, Kenza and Mr. Skins realise that they can only move on when they confront their feelings of unworthiness and guilt.
This play weaves Celtic Pagan themes with earthy Cornish humour, exploring the transition of departed souls and the emotional journeys of the living. The title encapsulates both the fault lines between the spirit and mortal realms and the characters' internal conflicts, symbolized by cracks in Cornish stones that link these intertwined ‘faults.’
Written & directed by: Tamara Stidwell
Produced by: Lizard Arts, Film & Theatre Association. All rights reserved.
Props & Costume by: Gillian Higgs
Light & Sound by: Annie Hills
Awards: Nominated for "Technical Achievement", Cornwall Drama Association.
Synopsis:
Kenza Trewin returns to her childhood home, a cliff-top bungalow overlooking Kennack Sands. At 30, disillusioned with modern life, she wants to reconnect with her Cornish roots whilst grappling with the loss of her brother and best friend, Bobby, who passed away two years prior. Through self-reflection and memory, she finds herself on a quest to "lay her ghosts to rest."
As she sorts through her late grandparents' belongings, Kenza is flooded with memories of her childhood with Bobby, who was born blind. Through film, we see the games they would play as children, her trying to protect Bobby from the things she didn't want him to see because despite the joy she shared with her brother, the unspoken absence of their parents looms large. Grappling with her grief and feelings that it was her fault Bobby tragically passed, she now finds herself seeking refuge in alcohol.
Enter Mr. Skins, the new lodger - an old, eccentric, mercurial man dressed in steampunk attire. Unbeknownst to them, the Otherworld Sprites have orchestrated their meeting. As a man who understands how to un-trap snagged spirits, Mr Skins feels a calling to help free a spirit in the house, but he has no idea that this is the spirit of Kenza's deceased brother Bobby, trapped in both the serpentine stone around the house and Kenza’s guilt.
Kenza's nosy neighbor, Janet, distrusts Mr. Skins, comparing him unfavourably to his revered mother, Wenna the Pellar, a well-respected healer who didn't need "none o' these new-fangled devices" like Mr Skins' modern contraption, a battery-powered "Bicycle To The Beyond".
Meanwhile, the Queen of The Otherworld grows frustrated with her Sprites, who are failing to fulfill their promise of resolving the spirits’ unrest.
Through Janet's wisdom about healing and guiding spirits, Kenza and Mr. Skins realise that they can only move on when they confront their feelings of unworthiness and guilt.
This play weaves Celtic Pagan themes with earthy Cornish humour, exploring the transition of departed souls and the emotional journeys of the living. The title encapsulates both the fault lines between the spirit and mortal realms and the characters' internal conflicts, symbolized by cracks in Cornish stones that link these intertwined ‘faults.’
We're Off To See The Lizard (2023)
Written by: Will Thomas (owns the rights)
Directed by: Esther Johns
Produced by: The Lizard Amateur Dramatics Society (now LAFTA).
Props & Costume by: Gillian Higgs
Synopsis: In a rare Cornish phenomenon, a tornado has swept Dorothy away from her home in The Lizard, transporting her to the enigmatic land of Oz. The malevolent Witch of the West, Ruana (named after Ruan Minor), is less than pleased by Dorothy's arrival, prompting both Dorothy and her loyal dog, Toto, to evade Ruana's wrath and seek a way back home, all without the aid of the 34 bus route.
Along her journey, Dorothy encounters a series of whimsical characters, including the hapless Glenda the Gormless and Beryl, the well-meaning but absent-minded witch of the Midlands, as well as charming yet bothersome little Munchkins and young witches. Eventually, she is joined by three misfits: the Scarecrow, the Lion, and the Tinman. Together, they embark on a quest to find the elusive Wizard, who is hesitant to respond to their knock, fearing an encounter with the Inland Revenue.
The adventure is punctuated by humorous interludes featuring Chubby Checker performing the "Tornado Twist Again," alongside the important investigative efforts of a simple but self-assured Sherlock Holmes and his far more qualified assistant, Dr. Watson with their mission to unravel the plot against Dorothy devised by the Wicked Witch Ruana and her rather foolish assistant.
In the end, the Wizard reveals that each of them possesses the qualities they believed they lacked: the courageous Lion, the kind-hearted Tinman, and the resourceful Scarecrow. With these revelations, Dorothy's journey concludes, allowing her to return to her Aunt Grouch in The Lizard, who has always exhibited an oddly witch-like demeanour!
Written by: Will Thomas (owns the rights)
Directed by: Esther Johns
Produced by: The Lizard Amateur Dramatics Society (now LAFTA).
Props & Costume by: Gillian Higgs
Synopsis: In a rare Cornish phenomenon, a tornado has swept Dorothy away from her home in The Lizard, transporting her to the enigmatic land of Oz. The malevolent Witch of the West, Ruana (named after Ruan Minor), is less than pleased by Dorothy's arrival, prompting both Dorothy and her loyal dog, Toto, to evade Ruana's wrath and seek a way back home, all without the aid of the 34 bus route.
Along her journey, Dorothy encounters a series of whimsical characters, including the hapless Glenda the Gormless and Beryl, the well-meaning but absent-minded witch of the Midlands, as well as charming yet bothersome little Munchkins and young witches. Eventually, she is joined by three misfits: the Scarecrow, the Lion, and the Tinman. Together, they embark on a quest to find the elusive Wizard, who is hesitant to respond to their knock, fearing an encounter with the Inland Revenue.
The adventure is punctuated by humorous interludes featuring Chubby Checker performing the "Tornado Twist Again," alongside the important investigative efforts of a simple but self-assured Sherlock Holmes and his far more qualified assistant, Dr. Watson with their mission to unravel the plot against Dorothy devised by the Wicked Witch Ruana and her rather foolish assistant.
In the end, the Wizard reveals that each of them possesses the qualities they believed they lacked: the courageous Lion, the kind-hearted Tinman, and the resourceful Scarecrow. With these revelations, Dorothy's journey concludes, allowing her to return to her Aunt Grouch in The Lizard, who has always exhibited an oddly witch-like demeanour!
Lizard's Got Err… Talent (2023)
Written by: Chris Ager and Tamara Stidwell
Directed by: Whole cast collaboratively
Produced by: The Lizard Amateur Dramatics Society (now LAFTA). All rights reserved.
Props & Costume by: Gillian Higgs
Content Advisory: This play contains strong language and references of a sexual nature.
Themes: An isolated village at the edge of the world, League of Gentlemen-style humor, and the concept of being trapped in time.
Synopsis:
"Lizards Got Err… Talent" is a comedic exploration of a village talent show held annually on The Lizard, which now has an exciting opportunity: a minibus is set to transport hopefuls from Cornwall to the renowned auditions for Britain’s Got Talent in England. The local group, LADS, takes on the challenge of identifying truly talented individuals to represent The Lizard on a national stage.
The show is hosted by Nobby Ender, a well-meaning but muddled elderly gentleman, alongside his naive and insecure co-host, Fanny Gurt-Licker. Fanny embarks on a personal journey of self-reflection, questioning the true meaning of talent and fame. Nobby provides a gentle Cornish perspective on the evolving world around him, confronting “exotic” and “new-age” concepts, including modern art and contemporary notions of identity. Meanwhile, Fanny struggles to find her authentic self, often resorting to imitating famous hosts and comedians in her quest for success.
The villagers showcase their unique and eccentric talents, featuring one-armed jugglers, tap-dancing plumbers, welly-boot-spinning ballerinas, cold-sea swimmers and cow-teat squirters. Each participant takes the competition seriously, eager to leave the village behind and seek fame in the vibrant metropolis of London.
In a bid to sway the audience, each performer presents a dramatized video recounting their “sob story.” Despite their lacklustre performances, the show raises questions about the nature of success in a world that often prioritizes spectacle over substance. The audience votes to determine the standout talent worthy of a seat on the village minibus, culminating in a humorous resolution where it is deemed unfair to declare one performer superior to another. The finale leaves the audience with the paradox of everyone being a "winner," yet none satisfied with the outcome.
Written by: Chris Ager and Tamara Stidwell
Directed by: Whole cast collaboratively
Produced by: The Lizard Amateur Dramatics Society (now LAFTA). All rights reserved.
Props & Costume by: Gillian Higgs
Content Advisory: This play contains strong language and references of a sexual nature.
Themes: An isolated village at the edge of the world, League of Gentlemen-style humor, and the concept of being trapped in time.
Synopsis:
"Lizards Got Err… Talent" is a comedic exploration of a village talent show held annually on The Lizard, which now has an exciting opportunity: a minibus is set to transport hopefuls from Cornwall to the renowned auditions for Britain’s Got Talent in England. The local group, LADS, takes on the challenge of identifying truly talented individuals to represent The Lizard on a national stage.
The show is hosted by Nobby Ender, a well-meaning but muddled elderly gentleman, alongside his naive and insecure co-host, Fanny Gurt-Licker. Fanny embarks on a personal journey of self-reflection, questioning the true meaning of talent and fame. Nobby provides a gentle Cornish perspective on the evolving world around him, confronting “exotic” and “new-age” concepts, including modern art and contemporary notions of identity. Meanwhile, Fanny struggles to find her authentic self, often resorting to imitating famous hosts and comedians in her quest for success.
The villagers showcase their unique and eccentric talents, featuring one-armed jugglers, tap-dancing plumbers, welly-boot-spinning ballerinas, cold-sea swimmers and cow-teat squirters. Each participant takes the competition seriously, eager to leave the village behind and seek fame in the vibrant metropolis of London.
In a bid to sway the audience, each performer presents a dramatized video recounting their “sob story.” Despite their lacklustre performances, the show raises questions about the nature of success in a world that often prioritizes spectacle over substance. The audience votes to determine the standout talent worthy of a seat on the village minibus, culminating in a humorous resolution where it is deemed unfair to declare one performer superior to another. The finale leaves the audience with the paradox of everyone being a "winner," yet none satisfied with the outcome.
Catching Rabbit (2022)
Written & directed by: Tamara Stidwell
Produced by: The Lizard Amateur Dramatics Society (now LAFTA). All rights reserved.
Props & Costume by: Gillian Higgs
Awards: Technical Excellence, Cornwall Drama Association.
Synopsis: Meet Rabbit, a 90-year-old man living in Mullion Residential Home, struggling to connect with his overworked carer. But Rabbit harbours a secret: he used to time-travel. Through vivid poetry, he escapes the sterile confines of his care home, returning to the double hedge between Cadgwith and The Lizard. One fateful night, under a full moon, Rabbit tumbles down a "rabbit hole of the soul," launching him into a both comical and heart-wrenching journey through his past.
In a series of poignant time-travels, we witness young Rabbit's adventures, from a poor boy lamping for rabbits on young Minnie's farm to falling head-over-welly-boot in love with her! Defying her mother, Rabbit and Minnie marry and move into a cob cottage built by his father, only to face heartbreak after losing a child. As Minnie grapples with depression, Rabbit becomes consumed by his own struggles, oblivious to her decline.
In the 70s, Rabbit's mid-life crisis leads him to Glastonbury Festival, where he discovers a broader world, only to return to find Minnie trapped in her own despair. Through time-travel, Rabbit confronts his father’s harsh judgments and the weight of expectations placed on Minnie, ultimately understanding the bittersweet nature of his sheltered life.
In a heartfelt resolution, Rabbit reconciles with his younger self, finding forgiveness through gentle humour and humility. As he requests to see the sunset, his carer reveals a breath-taking Cornish dusk. Finally, Rabbit drifts into a deep sleep, his life’s poetry fading softly away.
Written & directed by: Tamara Stidwell
Produced by: The Lizard Amateur Dramatics Society (now LAFTA). All rights reserved.
Props & Costume by: Gillian Higgs
Awards: Technical Excellence, Cornwall Drama Association.
Synopsis: Meet Rabbit, a 90-year-old man living in Mullion Residential Home, struggling to connect with his overworked carer. But Rabbit harbours a secret: he used to time-travel. Through vivid poetry, he escapes the sterile confines of his care home, returning to the double hedge between Cadgwith and The Lizard. One fateful night, under a full moon, Rabbit tumbles down a "rabbit hole of the soul," launching him into a both comical and heart-wrenching journey through his past.
In a series of poignant time-travels, we witness young Rabbit's adventures, from a poor boy lamping for rabbits on young Minnie's farm to falling head-over-welly-boot in love with her! Defying her mother, Rabbit and Minnie marry and move into a cob cottage built by his father, only to face heartbreak after losing a child. As Minnie grapples with depression, Rabbit becomes consumed by his own struggles, oblivious to her decline.
In the 70s, Rabbit's mid-life crisis leads him to Glastonbury Festival, where he discovers a broader world, only to return to find Minnie trapped in her own despair. Through time-travel, Rabbit confronts his father’s harsh judgments and the weight of expectations placed on Minnie, ultimately understanding the bittersweet nature of his sheltered life.
In a heartfelt resolution, Rabbit reconciles with his younger self, finding forgiveness through gentle humour and humility. As he requests to see the sunset, his carer reveals a breath-taking Cornish dusk. Finally, Rabbit drifts into a deep sleep, his life’s poetry fading softly away.
Hell Up Cabaret (2021)
Overview:
Originally titled The Goes Wrong Cabaret, this production has been renamed to avoid conflicts with the well-known and copyrighted “Goes Wrong” brand.
Written by: Chris Ager and Tamara Stidwell
Directed by: Tamara Stidwell
Produced by: The Lizard Amateur Dramatics Society (now LAFTA). All rights reserved.
Props & Costume by: Gillian Higgs
Content Advisory: This play contains strong language and references of a sexual nature.
Synopsis:
Hell Up Cabaret marks the inaugural production of the Lizard Amateur Dramatics Society. Set against the backdrop of a village revue, the play opens with Domestic Daphne, the village hall cleaner, who has always aspired to be a dancer. She engages the audience with a heartfelt performance reflecting on her career, lamenting her role as a cleaner who can only dust the stage rather than perform on it.
Next, we meet the comedic duo, Elf and Safety, who are determined to address any health and safety concerns that might threaten the cast or audience. Through song and dance, they humorously critique the extremes of political correctness, offering guidance on safely executing seasonal traditions—such as correctly pulling a Christmas cracker while wearing a hard hat and adhering to proper GDPR protocols for letters addressed to Father Christmas.
The proceedings are interrupted by the brash compere, Bruce Balding, who is primarily focused on maximizing profits from the annual Christmas cabaret. Bruce promotes local sponsors and intersperses each act with tongue-in-cheek advertisements for various businesses, oblivious to the double entendres present in these amusing promotions, such as the bush-trimming wonders of Darren’s Garden Maintenance.
The main act features Jenna and Jimmy, cast as Mr. and Mrs. Claus for the children. However, costume confusion ensues: Jimmy, an older gentleman, mistakenly arrives in a provocative Mrs. Claus outfit, while Jenna dons an oversized Father Christmas costume, complete with a fake pot-belly and beard, sourced from a charity shop. Frustration mounts as Bruce Balding watches Jenna and Jimmy struggle with their roles, including the distribution of Christmas raffle prizes. Domestic Daphne, yearning for the spotlight, comically confuses herself with a child, reflecting on her childhood dreams.
The play includes various fictional charitable organisations, such as the Wonky Donkey Sanctuary. There are also sketches throughout such as a whimsical performance by Mariah Carehome, who performs acrobatics with a zimmer frame, and a sketch titled “Who Do You Think You Aren’t?” which adds to the chaos as one of the main actors goes missing, prompting the cast to select an audience member to read the lines.
As the production spirals into disarray, Elf and Safety repeatedly rush in, attempting to enforce health and safety regulations. Jenna and Jimmy are unable to fulfil their responsibilities, and each sketch is plagued by absurd technical mishaps and moral dilemmas. Ultimately, Domestic Daphne succumbs to intoxication, collapsing onto the raffle table as gifts are comically hurled into the audience, all while Bruce Balding watches in exasperation.
Overview:
Originally titled The Goes Wrong Cabaret, this production has been renamed to avoid conflicts with the well-known and copyrighted “Goes Wrong” brand.
Written by: Chris Ager and Tamara Stidwell
Directed by: Tamara Stidwell
Produced by: The Lizard Amateur Dramatics Society (now LAFTA). All rights reserved.
Props & Costume by: Gillian Higgs
Content Advisory: This play contains strong language and references of a sexual nature.
Synopsis:
Hell Up Cabaret marks the inaugural production of the Lizard Amateur Dramatics Society. Set against the backdrop of a village revue, the play opens with Domestic Daphne, the village hall cleaner, who has always aspired to be a dancer. She engages the audience with a heartfelt performance reflecting on her career, lamenting her role as a cleaner who can only dust the stage rather than perform on it.
Next, we meet the comedic duo, Elf and Safety, who are determined to address any health and safety concerns that might threaten the cast or audience. Through song and dance, they humorously critique the extremes of political correctness, offering guidance on safely executing seasonal traditions—such as correctly pulling a Christmas cracker while wearing a hard hat and adhering to proper GDPR protocols for letters addressed to Father Christmas.
The proceedings are interrupted by the brash compere, Bruce Balding, who is primarily focused on maximizing profits from the annual Christmas cabaret. Bruce promotes local sponsors and intersperses each act with tongue-in-cheek advertisements for various businesses, oblivious to the double entendres present in these amusing promotions, such as the bush-trimming wonders of Darren’s Garden Maintenance.
The main act features Jenna and Jimmy, cast as Mr. and Mrs. Claus for the children. However, costume confusion ensues: Jimmy, an older gentleman, mistakenly arrives in a provocative Mrs. Claus outfit, while Jenna dons an oversized Father Christmas costume, complete with a fake pot-belly and beard, sourced from a charity shop. Frustration mounts as Bruce Balding watches Jenna and Jimmy struggle with their roles, including the distribution of Christmas raffle prizes. Domestic Daphne, yearning for the spotlight, comically confuses herself with a child, reflecting on her childhood dreams.
The play includes various fictional charitable organisations, such as the Wonky Donkey Sanctuary. There are also sketches throughout such as a whimsical performance by Mariah Carehome, who performs acrobatics with a zimmer frame, and a sketch titled “Who Do You Think You Aren’t?” which adds to the chaos as one of the main actors goes missing, prompting the cast to select an audience member to read the lines.
As the production spirals into disarray, Elf and Safety repeatedly rush in, attempting to enforce health and safety regulations. Jenna and Jimmy are unable to fulfil their responsibilities, and each sketch is plagued by absurd technical mishaps and moral dilemmas. Ultimately, Domestic Daphne succumbs to intoxication, collapsing onto the raffle table as gifts are comically hurled into the audience, all while Bruce Balding watches in exasperation.