After CBeebies’ Romeo And Juliet, Alex Phelps and Juliet Forster reunite for Around The World In 80 Days circus escapades

On your bike: Alex Phelps, front, in rehearsal for his dual roles as the Ringmaster and Phileas Fogg in Around The World In 80 Days

TILTED Wig are teaming up with York Theatre Royal for a nationwide tour of Around The World In 80 Days – in 171 days, to be precise – after a month of rehearsals in York.

Theatre Royal creative director Juliet Forster’s adaptation of Jules Verne’s first toured all four corners of York in August 23 days in 2021, not in a hot-air balloon, but on a trailer, in the tradition of travelling players going from town to town.

Forster’s circus-themed production played four York playing fields – Carr Junior School, Copmanthorpe Primary School, Archbishop Holgate’s School and Joseph Rowntree School – followed by a last stop, back indoors, at the Theatre Royal, where producers Tilted Wig’s new tour of England, Scotland and Wales will open from Thursday to Saturday.

In Forster’s version, Verne’s original characters are transformed, embracing different modes of transport in Phileas Fogg’s fictional frantic race to travel around the world in 80 days.

One original cast member, New Zealander Eddie Mann’s sharp-witted Knife Thrower and Detective Fix, will be joined by Alex Phelps’s resolute Ringmaster and unscrupulous Fogg; actor-puppeteer Katriona Brown’s Acrobat and real-life globe-traveller Nellie Bly; Wilson Benedito’s Clown and Passepartout and Genevieve Sabherwal’s Trick Rider and Aouda.

Around The World In 80 Days director Juliet Forster

Phelps had first made an impression on Forster when playing Sir Andrew Aguecheek with such brio in Joyce Branagh’s Jazz Age take on Twelfth Night for Shakespeare Rose Theatre in York in June 2019.

“That was the first time I’d seen Alex performing, though we’d met at Theatre By The Lake, and I was really keen to consider Alex for the role of Phileas Fogg last time around in 2021, when there were only two names I wanted on my list: Alex and Emilio (Iannucci), but Alex was already committed to doing Justin’s House for CBeebies.”

This time around, Emilio decided not to do the tour, much as he would have like to do so, opening the door for Alex.

“I was doing the CBeebies’ Christmas show when Juliet contacted me, and had a Zoom meeting with her while I was in the dressing room for Dick Whittington And His Cat,” he recalls. “I managed to find a quiet little corner where the wi-fi worked, while everyone wondered what was going on!”

And so, as fate would decree, Juliet has ended up working with both her preferred picks for Fogg.  “It does feel like it was meant to happen this way,” she says. “It’s not that you have to typecast a particular role, but there is something about the essential nature, or spirit, of a person that sits right with the role, and that was the case with both Emilio and Alex.

Alex Phelps: Actor noted for his comic skills of physicality and playfulness

“One of my strengths as a director is how I cast and I do a lot of work through the casting process, where interpretation of a character is a big part of that, and if someone is not quite aligned with my thinking…

“But Alex is completely right for it. Playfulness is really important in this role, and I would find it hard to work with someone who didn’t want to be playful, which also brings out the truthfulness.”

Alex concurs: “It’s an important element that can be overlooked, but you’re putting on a play that’s all about ‘playing’. Like two people playing tennis, you’re on either side of the net, and the other person has to hit it back.

“The audience are ahead of the cast – the circus performers playing Verne’s characters – where they know the goal is to complete the journey in 80 days, so the excitement is: how will they get there in that time?

“It’s a comedy, and I really believe great comedy has to tread the razor’s edge of great tragedy, as it does in Aguecheek’s case too, where’s it all very tragic for Aguecheek but very funny for the audience.”

Alex has been studying Buster Keaton for his latest role. “I’ve gone back to his films for Fogg because what he’s so good at is how his face never changes, but all his physical expression comes through his body and that tells the audience everything they need to know,” he says.

Alex Phelps’s Sir Andrew Aguecheek, back row, centre, with Cassie Vallance’s Fabian and Fine Time Fontayne’s Sir Toby Belch, winding up Claire Storey’s Malvolio in Shakespeare’s Rose Theatre’s Twelfth Night in York in 2019. Picture: Charlotte Graham

Juliet and Alex have worked together before, joining forces when she directed CBeebies’ version of Romeo And Juliet, recorded under lockdown restrictions. “Having seen how funny he is physically as an actor and knowing what a genuinely lovely person he is, I kept nagging the CBeebies’ producer to cast Alex as Mercutio, which was going to be a small role but needed someone who would fill it with personality immediately,” she says.

“Under Covid conditions, we had proximity devices to stop you getting within two metres of each other, lunch was at separate tables; everyone had to be completely separate  at the hotel.

“It was difficult not to want to direct close-up, and you could only be close to someone for a maximum of 15 minutes in a day, but none of us got Covid, so maybe it was the best way to work, even if it was a bizarre experience.”

Alex would go on to do more CBeebies’ shows, not least being asked to join Justin Fletcher’s Mr Tumble in Justin’s House and making Christmas specials.

Now it is time for his playful Phileas Fogg to fly under Juliet’s direction.

Tilted Wig and York Theatre Royal present Around The World In 80 Days at York Theatre Royal on Thursday, 2pm and 7.30pm, Friday, 7.30pm, and Saturday, 2.30pm and 7.30pm. Box office: 01904 623568 or Also: Cast, Doncaster, July 5 to 8; Age guidance: five plus.

Did you ever think you might not direct Guy Fawkes because of your pregnancy? ‘Absolutely not!’, says Gemma Fairlie

Gemma Fairlie directing a rehearsal for York Theatre Royal’s stage premiere of David Reed’s Guy Fawkes

DIRECTOR Gemma Fairlie is directing two productions this season, all while pregnant with a Christmas delivery on the way.

A driving force behind bringing York writer-performer David Reed’s play Guy Fawkes to the stage ever since Reed’s sketch comedy company The Penny Dreadfuls’ radio play more than a decade ago,  Gemma is overseeing rehearsals at the Central Methodist Church, St Saviourgate, for the stage world premiere at York Theatre Royal from October 28 to November 12.

Next, this director of Shakespeare’s Rose Theatre’s Henry V at the Castle car park in York in Summer 2019 will return to the Stephen Joseph Theatre Christmas show in Scarborough. After Jack And The Beanstalk last winter, she will be at the helm of Nick Lane’s Cinderella from December 2 to 31.

Here she discusses Guy Fawkes, Reed’s explosive comedy about York’s traitorous trigger man with its devilishly dangerous mix of Blackadder and Upstart Crow.

How did you become involved with the Guy Fawkes project, Gemma?

“The Penny Dreadfuls wrote the radio play about Guy Fawkes in 2009, which I heard and thought would work brilliantly as a theatre piece. So, in 2010, I approached the guys and we started to have conversations.

“It always takes time to get everybody in the room and start to figure out how it might work, but I knew David [writer David Reed] was excited about making it theatrical and exploring the journey of the characters in a different medium.”

 What intrigued you about the play?

“Guy Fawkes gets caught. Everyone knows that. But how can you shift an audience’s perception about a story they think they know? Are there moments where we hope he doesn’t get caught? Are there moments when we are on his side and want to blow up Parliament?

“It’s like Hamlet or King Lear. Everyone knows they die but you want the audience to have that moment where they don’t want that to happen, where they want a different ending. Can we have Guy as a hero and an anti-hero? And can a story that is so clearly a tragedy about a man that fails actually work as a comedy that makes us question that failure?”

When did York Theatre Royal first come on board?

“That was around ten years ago when we brought the play to York with the idea of the theatre being a co-producer or partner. I came to a programme meeting at the Theatre Royal and pitched the idea. They were really excited.

“Of course, it absolutely is a York-originated story although it’s set in London, and that’s a vital part of it. The North-South divide, particularly what that meant in the 1600s and how that relates to the characters and their experiences, is vital to the story.

“Then Covid happened and the planned York production was postponed, but what’s great is that this is absolutely the right time to put it on. What put Parliament back between 1604 and 1605 was the plague. What kept stymying them was this awful medical emergency and in the same way Covid has shifted our perspectives and our timescale over the last three years. It feels very prescient in that way.

“I think there’s disappointment and frustration with our current political system and a great deal of tribalism happening. It’s obviously very different to the persecution of Protestants and the Catholics, and what was happening politically in Guy Fawkes’ time, but there is a parallel in terms of the underlying tension and fear, with nobody knowing if they’re safe or quite knowing what’s going to happen next, what the next government will bring. Now is the perfect time to be doing this play.”

David’s play is billed as a comedy but the Gunpowder Plot – an attempt to blow up Parliament in 1605 – was a serious matter. Discuss…

“What we’re brilliant at in the UK is satire. This comes from a long tradition going back to pamphlets about the Whigs and political cartoons in general all the way through Monty Python, The Fast Show, even Spitting Image, which has recently had a renaissance.

“We love to skewer our political leaders; we love to question and cause trouble with humour. That’s absolutely what the arts should be doing: questioning our society and our values and what we hold dear as humans. Otherwise, what’s the point?

“For us, as a team, it’s about finding the right tone for the play – between comedy and the ultimate tragedy. So, sometimes there’s slapstick and it’s very silly but there’s an underlying truth and passion to this story and a real darkness to Guy’s fervour.” 

What should Theatre Royal audiences expect?

“We want people to discover the story of Guy Fawkes afresh. It’s really important people come in knowing it’s a comedy, so that doesn’t freak them out, but I think of it a bit like Blackadder Goes Forth. The end of the last series where they have to go over the top is a really heart-breaking moment.

“You have a bunch of clowns and they’ve been ridiculous; you’ve laughed at them a lot but you’ve also invested in them and grown to love them. That’s so important. The moment at the end where you think they’re all going to die, that’s incredibly moving, and that’s what comedy can do.

“If you laugh at someone, you start to care about them and really invest in their journey. We want our audience to laugh, laugh, laugh and then hopefully cry at the end.” 

You held the casting auditions in Yorkshire. How important was that?

“It was absolutely essential we represented York in the show and we have that authentic voice. We wanted to put York actors in front of York audiences and celebrate local talent. Also, having the right mix of people in the room that (a) an audience would love and (b) who would have comedy bones was key.

“You have to know very clearly who they are as characters and they’ve also got to work together as a team. We’re very lucky to have found a wonderfully talented bunch and it’s a total joy for David (Reed) and I to see it come to life, and see what the cast bring to it [including Reed in the title role].”

Did you ever think you might not direct Guy Fawkes because of your pregnancy?

“Absolutely not! I was always aiming to direct it, whether it was with a babe in arms or the day before being induced in hospital. Guy Fawkes has been my baby for so long, so what’s really lovely for me is to see this theatre baby come to life while my son grows in utero. 

“It’s kind of crazy to know they are both finally going to be out there in the world as both babies have taken me quite a long time to bring to life. Plus, laughter is really good for you in pregnancy and I’m getting lots of that in the rehearsal room!”

Next up?

“Directing Cinderella at the Stephen Joseph Theatre this Christmas. I’m very lucky I get to have this time in the rehearsal room at two incredible theatres, doing the thing I absolutely love, before I meet my son.” 

What sort of theatre work are you attracted to?

“I do a lot of Shakespeare, new work, and I come from a physical theatre background so I do movement and choreography within that, and occasionally a bit of circus as well. The pieces that I’m drawn to tend to have an epic edge to them, and they always have to have heart. Generally, they will have moments of big physicality and lots of comedy.

“When I go to Scarborough, I’ll be directing and choreographing five actors playing the whole story of Cinderella, playing multi-roles and singing their hearts out. I love that I go from Guy Fawkes with a stage revolve, pyrotechnics and sword fights to Scarborough, to work in the round with lots of Strictly Come Dancing moves and glitter. That’s the real joy of being a freelance director.”

Guy Fawkes runs at York Theatre Royal from October 28 to November 12, 7.30pm, except October 30 and November 6; 2pm, November 3 and 10; 2.30pm, November 5 and 12. Box office: 01904 623568 or

Cinderella, Stephen Joseph Theatre, Scarborough, December 2 to 31. Box office: 01723 370541 or

After turning Ugly in Cinderella, Robin Simpson and Paul Hawkyard’s double act reunites for Theatre Royal panto Peter Pan

Paul Hawkyard as the “the tall, dark and incredibly handsome Captain Hook” – as he puts it – in York Theatre Royal’s Peter Pan

AND then there were three. Not only the already confirmed Faye Campbell will be returning to the York Theatre Royal pantomime but so too will Robin Simpson and Paul Hawkyard, the award-nominated Ugly Sisters double act from Cinderella.

Completing his hattrick of Theatre Royal pantos after 2020’s The Travelling Pantomime and 2021-2022’s Cinders, Simpson will play Mrs Smee – effectively the dame role – while Hawkyard will take to the dark side as the villainous Captain Hook.

Calls aplenty had grown for Simpson and Hawkyard’s pantomime chemistry to be sparked up anew in the third Theatre Royal and Evolution Productions collaboration, particularly after their riotous sisterly double act as Manky and Mardy in Cinderella was nominated  for Best Ugly Sisters in the 2022 UK Pantomime Association’s Pantomime Awards.   

Mrs Smee: A new panto role for dame Robin Simpson in All New Adventures Of Peter Pan at York Theatre Royal

Glory be, they will be reunited in creative director Juliet Forster’s production of All New Adventures Of Peter Pan, performing once more alongside Campbell, last winter’s Cinderella.

Hawkyard, who previously showed York his Bottom in Shakespeare’s Rose Theatre’s A Midsummer Night’s Dream at the Eye of York in 2018, is chuffed to have hooked the role of Hook. “Robin and I kept getting mobbed last year in York, so we’ve had to change our identity this year. Manky and Mardy are back in the wardrobe, and the hook is being sharpened and polished as we speak,” he said.

“I’m so looking forward to playing one of the most famous and evil villains ever – the tall, dark and incredibly handsome Captain Hook, the original pirate king.”

Robin Simpson’s Manky, left, and Paul Hawkyard’s Mardy in their Ugly Sisters double act in Cinderella last winter

Simpson added: “I’m delighted to be returning to York Theatre Royal for my third pantomime there. I’m also very excited to be back on stage with Paul Hawkyard. He’s a very funny guy and I’m so glad that my ‘sister’ from last year is able to return. Can’t wait.”

Simpson first gave York his Dame in The Travelling Pantomime, touring to community venues in multiple York wards for socially distanced performance in December 2020, before turning Ugly in Cinderella.

He and Hawkyard previously worked together in both A Midsummer Night’s Dream and Macbeth in Shakespeare’s Rose Theatre’s first year in York.

Making an ass of himself: Paul Hawkyard’s Bottom in Shakespeare’s Rose Theatre’s A Midsummer Night’s Dream in York in July 2018

In late-March, book in hand at first, he stepped into the melancholic role of Jacques at very short notice in Northern Broadsides’ York Theatre Royal run of As You Like It, later filling in for Covid-enforced cast absences in further dates on the tour.

Previously he toured the country with the Halifax company as Benedict in Much Ado About Nothing. Hawkyard, meanwhile, has been filming the new series of Channel 5’s All Creatures Great And Small, set in Yorkshire.

Campbell starred in The Travelling Pantomime tour as The Hero and Dick Whittington, then took on the title role in Cinderella last winter. Come December, she will be Elizabeth Darling in All New Adventures Of Peter Pan, scripted by Evolution Productions’ co-founder, Paul Hendy.

Faye Campbell: Returning for her third York Theatre Royal pantomime

Joining Campbell, Simpson and Hawkyard will be CBeebies’ favourite Maddie Moate, the first name out of the panto hat, who will be flying into the Theatre Royal to play mischievous fairy Tinkerbell in the family-friendly pantomime adventure.

Creative director Juliet Forster said: “We are absolutely delighted to welcome back Robin, Paul and Faye for this year’s pantomime. They were all hugely popular with our audiences in Cinderella last year and we can’t wait for them to return to our stage in these fabulous new roles.”

Further casting will be revealed in coming months, first up the imminent announcement of who will be Peter Pan.

All New Adventures Of Peter Pan will run from December 2 2022 to January 2 2023. Box office: 01904 623568 or at

Little Britches Theatre Company to launch outdoor staging of Shakespeare’s Will… with Sunday afternoon tea in Ampleforth

Imogen Hope, left, and Josie Campbell in rehearsal for Shakespeare’s Will. Pictures: Michael J Oakes

LITTLE Britches Theatre Company should have launched already in Dubai but “guess what happened in between” then and now.

Instead, pushed back by the pandemic and now back home, North Yorkshire duo Josie Campbell and Imogen Hope will present Vern Thiessen’s two-hander Shakespeare’s Will in a private show in a Sutton-on-the-Forest garden on Friday night, followed by a public performance with afternoon tea at Hearts of Ampleforth, near Helmsley, on Sunday at 2.30pm.

In this one-hour, pop-up outdoor show about Anne Hathaway’s imagined life with, but mostly without, playwright William Shakespeare, teacher, theatre-maker, performer and erstwhile voiceover artist Josie will play Anne.

Theatre-maker, actor, musician and performing arts teacher Imogen will take the role of Actor-Musician.

“We are delighted to be performing our work within the community,” says Josie, who officially formed Little Britches with Imogen earlier this year while she was still living in the United Arab Emirates. Now the company is based in Ampleforth.

“Join us for a taste of some Renaissance mud, blood, and occasional stud, in this hilarious, energetic and ultimately tragic tale of love, labour and loss,” says Josie.

Here, she and Imogen answer CharlesHutchPress’s questions about Shakespeare’s Will, Little Britches’ projects and their creative partnership.

How and where did you meet Imogen, Josie?

“We’ve known each other since Immy was 13! She was in the same year as my son, Archie, at Gilling (Ampleforth College). I was subsequently her assistant housemistress when she moved to Ampleforth.

“I taught her A-level Theatre Studies, as well as coaching her through her ATCL Acting Diploma. We’ve kept in touch on and off through the years.”

How did you settle on the name Little Britches and why, Josie?

“Ha! I had a shortlist of possibles but we both liked the fact that this is a bit cheeky. We’re both little in stature – Immy’s taller! – and the ‘breeches’ reference resonated with the fact that our first play was set in a time when these were worn.”

How did you come across Vern Thiessen’s Shakespeare’s Will, Josie?

“It premiered in 2005 in Canada, where it has been performed extensively. The USA premiere was produced by Leonard Nimoy (yes, Spock!).

“I had spent ages and ages looking for a one-act, small-cast play that featured a woman of my age. It wasn’t easy, I can tell you! From a Little Britches point of view, there is still acres more space for women’s stories to be told.”

Josie Campbell rehearsing a scene from Little Britches Theatre Company’s Shakespeare’s Will

How would you sum up the play, Josie?  

“It’s a play about Anne’s imagined life with – but mostly without – her increasingly famous husband. Beginning just after his funeral, she prevaricates over reading the will, using the time to reminisce about her life.

“It’s been described as ‘catnip for Shakespeare fans’ and I love that! It’s light and irreverent, but there’s a point in the play when it darkens as the plague arrives…and there’s a tragic twist at the end.

“It does help to have a bit of knowledge about who Anne Hathaway was, and especially the debate surrounding ‘the second-best bed’, but it’s not essential.”

What are the themes, Josie?

“What appealed to me was that the play is a life as seen through the eyes of a woman – from a very domestic point of view. She’s more or less a single mother, keeping it together while her husband’s life turns out to be bigger than hers.

“There is so much that resonates for woman: accidental pregnancy, the less-than-idyllic realities of childbirth and babies, single motherhood, challenging relationships with in-laws, absent husbands, sexual freedom. I see a lot of wry smiles from women in the audience when we perform this!

“Its femininity as a play is represented by the fluidity of the repeated water/sea motif. The sea is Anne’s ‘safe space’, her retreat.

“There are also references in the play to theatres closing because of the plague. Maybe Vern Thiessen had a crystal ball when he wrote this!”

What does your staging of a show involve, Josie?

“We’re truly a pop-up show, so our set is whatever and wherever the backdrop is. We can perform in very intimate spaces – anywhere where you can fit an audience, from private gardens and cafés/pubs to larger arts centres and theatres.

“We can fit all our props – from model ships to a bunch of rosemary…and the will – in a hand basket. If the host can’t provide anything suitable, we bring along a table and chair. Of course, Imogen brings her violin, her guitar and her beautiful voice.”

What music have you composed for Shakespeare’s Will, Imogen?

“The period of the play is Elizabethan and so a folk-music style felt fitting. Some of the pieces, such as the fiddle jigs and the ‘Love Theme’, are taken from traditional folk tunes.

“However, some of the other tunes played and sung are composed by me, making sure to keep the folk genre and style consistent.

Where there’s Hope: Imogen Hope will provide the music for Little Britches’ production of Shakespeare’s Will

“Music is integral to our performance. It’s multi-purpose by its addition to the context of a scene, providing sub-text and fitting in with the overall performance arc. The use of leitmotifs is important in supporting this and also allows for a more conjunct flow between the spoken text and the music.”

What do you enjoy about performing two-handers, Josie?

“I much prefer it to performing solo! It allows us more flexibility in staging and the energy.

“It’s a wonderfully collaborative experience as we learn to bounce off each other. Imogen accuses me of giving her all the lines that I don’t want to learn, but that’s absolutely not true!

“It’s also great to build a relationship with the audience over the course of the play. There’s no fourth wall.”

What did your lockdown What Makes Me Woman online monologue project involve, Imogen? 

“I took the lead on this project, where a collection of original monologues was rehearsed and performed online on the subject of ‘What Makes Me Woman’.

“We asked for submissions and received an eclectic range of different writing styles and varied topics related to the given title. After receiving the submissions, we posted a call-out for performers and directors. Short summaries of the monologues were given so people could choose a first and second option for which monologue they were most interested in performing/directing.

“After putting the different teams together, it was up to them to rehearse and record:  they had a choice on how much editing they would like to do and the style in which they recorded it.

“Also note that none of these teams had met before.”

Who took part, Imogen?

“Our writers, performers and directors were a mix of ages and levels of experience – we had well-seasoned and experienced theatre-makers and we also had those who wanted to try their hand at something new.

“Wanting to promote a self-space where people could explore this and help each other with nurturing these skills was something important to the project.”

When was the work premiered, Imogen?

“We held a premiere in May of all the monologues online and hosted a Q&A afterwards to allow all the teams to meet and to discuss what the process had been like.

“Something that struck us was the community we had created. We weren’t entirely sure what the project would be like, but it was beautiful. A collection of voices from places near and far coming together to celebrate, commiserate and contemplate what it meant for them to be a woman.”

“There is so much that resonates for woman,” says Josie Campbell of Shakespeare’s Will

Who have you had as guests and what have you discussed in Coffee Morning Chats, your series of Zoom sessions where you talk to theatre makers about claiming their space within the industry, Imogen?

“Coffee Morning Chats was something we wanted to start after our ”What Makes Me Woman’ project. We wanted to continue this idea of a community through arts and conversation.

“We started pre-recording these and asked some of our fellow artists to join. However, we have had to take a hiatus with this when starting our tour of Shakespeare’s Will. It is something we want to continue but have put on the back burner, so watch this space!”

What are your upcoming plans, Josie?

“This autumn, I’m off to Central [School of Speech and Drama, London] to do an MA in Training and Coaching Actors, while Imogen returns to her job as a performing arts teacher in the West Midlands.

“But we will continue to pop up when we can, plus hopefully we’ll launch schools’ workshops. We’re also beginning to develop our own material.”

Four facts about Josie Campbell

1. At the 2019 Shakespeare’s Rose Theatre season at the Eye of York, Josie performed “on the wagon” as part of the pre-show entertainment in Shakespeare’s Village as Third Witch in the opening scene of Macbeth. Director Eleanor Ball is now executive producer of the Marilyn 60 project, One Night With Marilyn.

2.Josie is the voice of Oxford Park & Ride. “I used to be a voiceover artist, but my microphone has been packed away for a while as I much prefer live theatre performance,” she says.

3. In Dubai, Josie performed in the Short and Sweet Festival and directed Henrik Ibsen’s A Doll’s House for Dubai Drama Group.

4. Josie has not read Hamnet, Maggie O’Farrell’s family drama about William Shakespeare, his wife Agnes Hathwey (also called Anne Hathaway) and their grief over the death of their son Hamnet. “But everyone keeps telling me to read it. It’s next on my list!” she says.

Four facts about Imogen Hope

1.Actor, writer, director, producer, musician and teacher Imogen is from Northallerton, North Yorkshire .

2. She studied music (first study, singer) at the University of York, graduating in 2020.

3. At present, she is based between North Yorkshire and the West Midlands because of her job down there, teaching performing arts to pupils aged eight to 18.

4. On Zoom, she performed in Thunk-It Theatre’s project Common Ground for the National Student Drama Festival.

Little Britches Theatre Company in Shakespeare’s Will, at Hearts of Ampleforth, near Helmsley, August 15 at 2.30pm. Tickets cost £15, including afternoon tea, from the café or on 01439 788166; cash only. Proceeds will go to Cancer Research UK.