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Theatre is about communication.  All our team members at APA understand that the most important part of our job is to enable the creatives and cast to communicate to audiences on so many levels, so that they can be immersed in the performance. 

For centuries, creatives have altered the state of audiences minds and enabled them to believe in what they see as an emotional experience.  Every performance takes audiences on a mind cruise.

And that ultimate communication with the audience… starts now.

About APA

Anscombe Production Associates

anscombe-banner4aTim Anscombe and Stephen Holroyd have worked on numerous projects as producers since 1985. In 2010 we decided to produce as a team. It was at this point we realised that there were very few production service providers in our industry and that we had been individually providing first rate production management to arts organisations and producers for years. So, Anscombe Production Associates was born. After presenting back to back artistically successful productions of our own at the Dome and Theatre Royal Brighton we decided to include production services for other companies based on our own record as producers of theatre and events. We want for our clients the values which we have always given our own productions. QUALITY, VALUE, CARE and TOTAL AUDIENCE SATISFACTION. We understand budgets, we understand exploding limitations and we understand our clients. Take a look at our site, You will see from what we have assembled that we can offer you all the services that will make your journey from page to stage successful. If you have a production you wish us to manage or just wish to run an idea by us, please use our enquiry page. We look forward to hearing from you. We understand budgets, we understand exploding perceived limitations, we understand our clients.


Executive Producing and General Management

  • Writer and creative team recruitment.

  • Financial management and budget preparation.

  • Contractual negotiation.

  • Casting via Spotlight.

  • Contracting of production and technical staff.

  • Access to press & marketing campaign management.

  • Programme & brochure design.

  • Opening night event management.

  • Production insurance tendering.

  • Access to legal, accounting, tax and immigration advice.

  • Reviewing budgets, financial reports and marketing campaigns.

  • Weekly preparation of financial reports.

  • Provision of payroll services.

  • Purchase ledger management and supplier payments.

  • PAYE and VAT management.

  • Preparation of production accounts for producers.

Production Management

  • Design costing & feasibility assessment.

  • Pre-production planning and project management.

  • Budget management.

  • Brokering deals with suppliers, workshops & specialist contractors.

Tour Booking and Management

  • Provision of comparative theatre gross potentials.

  • Tour venue booking.

  • Venue deal negotiations.

  • Venue contracting.

  • Venue settlements.

  • Corporate event booking.

  • Tour & logistics management.

Coming Productions

Our Productions

From Sullivan to Sondheim

About the Production

Producer / Lighting Designer: Stephen Holroyd
Print design: Alan Kite
Technical Assistance: Robert Laws
Chorus Coordinator: Jane Haines
Lighting: Peter Shepherd and Mike Cawte
Catering: Lorette Mackie and the Haven Team
Stage Manager: John Coit
Front of House: Lyn Shepherd and Team
Publicity: Martin Love
Programme: Steve Bailey
Photography: Neville de Moraes
Finance: Malcolm Eastwood
HTC Production: Dorrit Bernascone, Tony Westwood
Hosts: Rosemary and Jerry Nice
Promoter: Digby Stephenson


Producer and Performer: Tim Anscombe
Musical Director: Robert Orledge
Sylvia Clarke
Ian Belsey
Sue Burchett
Jan Spooner Swabey

The Show

Around 1970, Dr. John Squire of Henfield decided that the health clinic he had operated in his own house was no longer big enough and he built a new medical centre on his own land at the back of his house. For many people, the new centre became known as “Hewitts” after the name of the road where it stands. By the early nineties, the population of Henfield had again outgrown the building and a new Medical Centre was needed. It was built in Deer Park where the Parsonage estate was being constructed. Dr Squire kindly gave the old building to West Sussex County Council for use as a Day Centre. Henfield Day Centre thrived on Hewitts until 2011, when the Council changed its policy and made the Day Centre a specialist unit caring for people with advanced dementia. The service received high praise for the level of care provided but, under budget pressure, WSCC announced that it would close the Day Centre unless a rescuer could be found.

Henfield Community Partnership put forward a proposal for a community-led solution, to open the centre for a much wider range of community uses to help people live well in later life. WSCC supported the idea, and during 18 months of negotiations agreed to give the community a 25 year lease on the building and to support it with building improvements and a start-up grant. A new community organisation, Henfield Social Enterprise was set up to develop the centre and partnered with a local charity, Impact Initiatives, to provide the professional staff. Grant funding was raised from a number of sponsors and the building was totally refurbished. Nigel Parsons Builders carried out the construction work, volunteers from Henfield Theatre Company’s Workshop Group did most of the decorating and another group of volunteers, largely from Henfield Garden Club, landscaped the front garden. A public consultation was held to find a new name for the centre and “Henfield Haven” was the popular choice. The Haven opened its doors to customers for the first time on 23 November 2015 and ‘From Sullivan to Sondheim’ was staged on Sunday 27th November 2016 to celebrate the First Anniversary of this much needed local facility.

Anscombe Production Associates would like to thank everyone involved in bringing this charity concert to the stage.
Without the immense effort from the staff, friends and volunteers of Henfield Haven,
vocal and artistic support from the acting and stage management members of Henfield Theatre Company
and the full support of local Henfield traders this concert would not have been possible.
We also give our most sincere thanks to our guest performers,
Sylvia Clarke, Jan Spooner Swabey, Sue Burchett and Ian Belsey, for giving their time to make this such a special occasion.
Our special thanks go to Robert Orledge for his musical expertise in helping to create this concert.
We are pleased to announce that with the joint effort of all those involved we managed to raise a total of


To view the full programme pdf, click here.


About the Production

Play By: Peter Nichols
Music By: Denis King
Directed By: Carole Todd
Choreographer: Damien Delaney
Lighting Designer: Stephen Holroyd
Production Manager: Tim Anscombe
Casting Director: Alan Kite
Musical Director: Eric Potts
Associate Musical Director: Simon Gray
Associate Lighting Designer: Adrian Emmerson
Sound Designer: Bryan Mercer
Stage Manager: Chris Keen
Assistant Stage Managers:
Kat Rayner, Jose Da Silva & Louisa Ransom
Wardrobe Mistress: Sonia Hogg


Acting Captain Terri Dennis: Jason Sutton
Major Giles Flack: Eric Potts
Sergeant-Major Reg Drummond: Tobey Nicholls
Private Steven Flowers: Samuel Holmes
Corporal Len Bonny: Richard Colvin
Flight-Sergeant Kevin Cartwright:
Richard Hadfield
Lance Corporal Charles Bishop: David Heywood
Leading Aircraftman Eric Young-Love:
lzaak Cainer
Sylvia Morgan: Harveen Mann
Cheng: Sheng-Chien Tsai
Lee: Michael Fan
Sentry Box Singers: Chay Lewandowski,
Jordan Southwell & Alan Soutter

The Show

Privates on Parade is set in a Singapore British Army camp for the first part of the play and later, the jungle of Malaya the ‘Ulu’ , as Flack calls it with some expertise. The action takes place around the activities of the post-war entertainment section of the Army: the Song And Dance Unit South East Asia (SADUSEA) a collection of armed forces rank and file, some of which are regular servicemen and some national servicemen. The unit is fictional but closely based on the author, Peter Nichols’s own experiences in the true-life Combined Services Entertainment unit (CSE), which succeeded the wartime Entertainments National Services Association (ENSA-which was also pithily said to stand for Every Night Something Awful).

The play was first performed at the Shakespeare Memorial Theatre in Stratford-upon-Avon by the Royal Shakespeare Company. Its London premiere took place at the Aldwych Theatre, which was then the London home of the RCS. After a move to the Piccadilly Theatre, “Privates” ran for 208 performances and won the 1977 Lawrence Olivier Award for Best New Comedy. The play captures the essence of life in the CSE in the various camps from Singapore to Hong Kong and the post-war theatre of the 1948 Malayan Emergency. Peter Nichols spent his National Service in the company of the Combined Services Entertainment with other servicemen and (some, but not many) women. Almost all the characters in this play are taken from his real life experiences in Nee Soon military camp in Singapore. Also in Nichols’s company and his journal, to be drawn from later for this play, the genius of Kenneth Williams and Stanley Baxter, both of whom would eventually delight the country with the experiences learned in CSE South East Asia. Nichols wrote of Williams: ‘At 19, his virtuosity was complete, owing nothing to anyone, waiting only for public taste and tolerance to change’. Nichols had to learn a new vocabulary to work in this environment: familiar words but with new meanings e.g. camp, drag, queen, queer, chopper, cottage, gay and auntie. Of Baxter he wrote at the time ‘He is a producer and writer of cryptic stories and obscure poems. On his walls is a picture of Picasso. Spent a miserable period of his life as a Bevin Boy in the coalmines near his native Glasgow. Dislikes Shaw’s plays. I have not yet decided whether I like him or not’. In Privates on Parade both Flowers and Dennis are given bits of that early writing to help their characters take shape. Terri Dennis appears to be loosely based on someone Nichols describes as ‘A bohemian blonde’ who was the star of ‘Over to You’: Barri Chatt, a dancer and drag-artiste who’d lately arrived from England with his female partner. The presence of girls in the troupe gave Barri no excuse for drag, though his offstage gear was so effeminate that his costumes in the show looked almost butch. ‘Oh Duckie’, he said to Nichols one day by the swimming pool, varnishing his toenails, ‘sex is becoming an obsession’. Another base for Dennis was Sergeant Denis Parker, then a leading drag-artiste. Plump already balding, on arrival in CSE he’d been a serious, almost priggish youth who liked nothing better than talking Art and the spiritual side of Drama. Then he experienced a ‘Pauline Conversion’ and became a raver overnight. Nichols has poured so much truth into this play that audiences are drawn into each individual life of these characters and it becomes a delight to be drawn back in time to Malaya 1948. Straight, gay, bisexual, bullied, shy, virginal and contemptuous, they are all in this play with music, Nichols called it ‘My University’.
Prepare yourselves to laugh and cry, then laugh, as we take you on this journey.


About the Production

Original Book and Lyrics by: Linda Wilkinson
Original Music by: Robert Orledge
Directed by: Ed Burnside
Designer: Ryan Dawson Laight
Choreographer: Damien Delaney
Lighting Designer: Stephen Holroyd
Production Manager: Tim Anscombe
Casting Director: Alan Kite
Musical Director: Robert Orledge
Percussion: Samuel Firsht
Stage Manager: Catherine Colbourne
Assistant Stage Manager: Jose Da Silva


Diamond Lil – Dave Lynn
Maisie – Richard Pocock
Bella – Holli Hoffman
Lena – Corinna Gray
Bill – Stephen Richards
Arnie – Allan Jay
George – Mark Enticknap
Gladys – Georgina Budd

The Show

In 1924 during his last day at school Harry Young became Diamond Lil. Returning after lunch dressed as a woman in high heels, make up and a frock, an East End legend was born.
Always dressed in female attire, but with a speaking voice that could crack glass, Lil was a central character in the community. Diamond is a love story on several levels. Lil and her partner Maisie entertained the area for years and theirs was the unlikeliest of love matches tempestuous, obvious in a time when homosexuality was illegal and sadly tragic. It is also the tale of a community that survived the worst excesses of WWII. Lil was central to this and to this day people recall her with fond affection. Along with a cast of characters including larger than life Bella and young prostitute Lena, Diamond is a true slice of life written by somebody who knew these people. The tales are true, the people real and the East End on show more honestly portrayed than anything seen before. On the day war ended, Lil’s signature tune “l want a boy”, was sung loudly by one and all. Says it all really.

Your Productions

Whatever format you wish your production to take….
We can help you at whatever stage your production has arrived.   We have managed large scale productions that have been up and running for a number of years and enabled productions which came to us as just a few words on a page. Our clients have given us concepts ranging from an empty park in Dubai in which to stage children’s spectaculars, a musical to produce which a client was still writing, and an empty warehouse which a client envisaged as a restaurant,  studio/lecture theatre,  gallery and aftershow ‘fall out’ club. We have even been given a list of acts, entertainers, volunteers and asked to build a tribute show around them.   These clients had no concept of setting nor had they ever produced anything like the show they wanted, we even booked a large-scale theatre for them and they made a profit when the dust had settled. We have arranged Arts Council colleagues to come and chat with potential producers and even changed the name of an opera company to attract better funding! Your production or concept is the standard, image and style you want in the final product. We see our job as visualising that concept and enabling you to create that image and style to the highest standard. That’s what we do, we care as much about your production as we would about our own.


Alan Darlow Entertainment – Anvil Arts – Ariel Camera Systems – Avalon Entertainment Ltd – Barrymore Productions – BBC Wales – Bill Kenwright Ltd – Birmingham Opera – Birmingham Stage Company – Brighton Dome – Cantabile – The Cat Factory – Carl Rosa Opera Company (UK) – Carl Rosa Opera Company (USA) – Connaught Theatre Worthing – European Chamber Opera – Frankie Howerd – George Logan – G-Scene – Hinge and Bracket – Jon Conway – Komedia Brighton – Leicester Haymarket – Michael Bentine – Middleground Theatre company – The National Gilbert & Sullivan Opera Company – Opera Della Luna – Patrick Fyffe – Pieter Toerien Productions (South Africa) – Polygram Records – The Proper Pantomime Company – UK Productions – Universal Live (Dubai) – Qdos Entertainment – QPQ International – Raymond Gubbay – Royal Festival Hall London – The Great Entertainment Company (Dubai) – Theatre Royal Brighton – Theatre Royal Windsor – Theatreworks Ltd – Trends Management – Wimbledon Theatre – Young Variety Club of Great Britain


Concorde House,
18 Margaret Street,
United Kingdom


P: 01273 679698
M: 07710 148366


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