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Messrs Benjamin J Borley & Charlie Coldfield present

Devised by

Benjamin Borley & Charlie Coldfield Film and photography by Benjamin Borley Stage management by Luke Jeffery Music by The Dalwood Rocket Variations on Steal Away (trad.) arranged by D.Leach / Ariels song composed by D.Leach

Exeter & Devon Institution Historic Library on the Cathedral Green

Wardrobe by Beth De-Tisi with costume supplied by The Northcott Theatre

Artwork by Based on The Tempest by William Shakespeare Clarke Andrews would like to thank.... Exeter University Arts & Culture Polly Agg Manning The Devon & Exeter Institution David Leach The Babbacombe Cliff Railway Brian Hodge The Barnfield Theatre Dominic Jinks The White Hart, Exeter Jeni & Poppy Watts The Bikeshed Theatre In your space The Northcott Theatre St Marks Church, Exeter

Don’t be strangers! You can find us at, on twitter as @clarkestempest and on facebook too. We’d love to know what you think of the show. We’re available for performances in your local theatre, school, village hall or festival so please do get in touch.

The Tempest (Synopsis) King Alonso of Naples is returning home from Africa with his son Ferdinand, his brother Sebastian, his councillor Gonzalo and Antonio the Duke of Milan. The ship encounters a terrible storm which maroons them on a strange island. The storm has been raised by a magician named Prospero who lives in a cave with his daughter Miranda. Also inhabiting the island are Ariel, a sprite who serves Prospero and the monster, Caliban. Prospero reveals to Miranda that he was once the Duke of Milan but was usurped by his brother Antonio. Miranda meets and falls in love with Ferdinand. Sebastian and Antonio plot to kill the king. Caliban falls in with a jester and a drunken butler and they plot to kill Prospero. The plots are thwarted by Ariel acting on Prosperos behalf and the play concludes at Prosperos cave where he forgives the wrongdoers, lays down his magic and is restored to his rightful place.


TEMPEST THE CITY GATE PUB Lower North Street, Exeter, EX4 3RB £7 7.45pm 19th - 21st March 2014

“Clever, beautiful and rather sad” Anna Marks, Wildfire.

Wardrobe supplied by

EXETER NORTHCOTT Kindly supported by










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Clarke Andrews, who died this week was an actor long set adrift from the public eye but whose early promise and ability to bring a naturalistic grounding to his Shakespearian roles assures him a small but certain place in theatre and film history. Born Andrew Clarke on the 18th of April 1889 in London , Andrews (as he later became known) was the son of wealthy bohemian parents Mary and Cyril Clarke, part of the late Victorian ‘ Bloomsbury set’. His early years were spent with his West Indian nanny Vera as his parents were often busy supporting their artistic protégés. That changed with the arrival 3 years later of his brother Anthony from whom he was later estranged. A Dulwich education alongside opportunities to experience the world of performance, including a well remembered trip to see The Lumiere brothers early film presentations led Andrews toward a career as an actor, joining the London Shakespeare Company in 1908 where he began to make a name for himself on the London Stage. A well received production of ‘A midsummers night dream’ in 1910 lead to the opportunity to perform as Lysander in an early silent film version shot in Shoreham, West Sussex in the same year. Sadly the film is now lost as are most of Andrews screen performances. Eventually Andrews made the trip across the Atlantic , initially to join the cast of Hamlet in New York but with plans to move on to Hollywood . Whilst in New York Andrew met his future wife Liberty Hollander, know to close friends as “Bertie” the daughter of a tobacco millionaire who inevitably disproved of the romance. Nethertheless they were married on April the 19th 1913 with their only daughter Imogen born just 8 months later.

Andrews was soon attracting attention from American filmmakers based in New York and made the groundbreaking ‘ City Street ’ with his friend Jimmy Cotterall, who later became more famous as a spiritualist to the rich and famous. But then the outbreak of the first world war presented Andrews with a dilemma. Caught between duty and the desire to move on to Hollywood, Andrews eventually chose to return to England to enlist much to the pleasure of his brother Anthony who was quoted at the time to say he could not bear the shame of it if…Andrews… did not return to do his duty. So on the 1st of May 1915 Clarke, along with Liberty and Imogen departed from New York ’s pier 54 on the ill fated RMS Lusitania. On the 7th of May following a German U boat attack the Lusitania was sunk. Andrews of course survived along with the infant Imogen but Liberty ’s was one of the 1195 lives lost that day. In truth it was a shock from which Andrews would never recover and so began a long descent into grief stricken alcoholism. By the end of the year family and friends persuaded Andrews to pass the guardianship of Imogen to Anthony and his wife Sylvia following an incident at a Soho public house in which Andrews had seemingly abandoned his daughter on the street. The army though, happily accepted Andrews but couldn’t keep hold of him. He arrived in France early 1916 and promptly disappeared, not surfacing again till a journalist met him by chance in Marrakesh in 1919. Andrews spent the early part of the 1920’s floating through European and North African bohemian society under a series of assumed names. Several attempts to stage filmed adaptations of classic works stalled due to Andrews tendency to lose any money invested in gambling dens. He did perform on film at this time in experimental collaborations

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with many of the period’s leading lights, although actual footage of these collaborations has been lost or destroyed since. Returning to England in 1924, led immediately to his arrest on the charge of desertion and Andrews was sentenced to a surprisingly lenient 5 years at His Majesty’s Pleasure, possibly in the light of the extenuating circumstances of his mental well being at the time of desertion. During this period Andrews made repeated attempts to contact his estranged daughter, all of which went unanswered. Following his release in January 1930 Andrews set to work preparing his last known public performance in a solo rendition of The Tempest. The short tour was poorly received with audiences complaining that Andrews repeatedly fuffed his lines and appeared to be under the influence of alcohol. It was believed by some that the tour was merely a last ditch attempt to regain contact

For Sale e a n o s r e P s i Dramat ........... Charlie Coldfield

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Clarke Andrews Programme 2014  
Clarke Andrews Programme 2014